I Saw the Devil (2010)
★★★★ / ★★★★
A woman was driving in the middle of nowhere and her luck turned grim when one of the tires gave out. She called her husband, Secret Agent Kim Soo-hyeon (Byung-hun Lee), to inform him of her predicament. In the middle of their phone conversation, a man named Kyung-chul (Min-sik Choi) knocked on her window and offered to help. She refused, told him that she already called a car service, and thanked him for his kindness. He insisted but she refused again. So he decided to break into her car and beat her until she lost consciousness. When, covered in a plastic bag, she became aware of her surroundings, he transected her limbs and threw her head into the river. Written by Hoon-jung Park and directed by Jee-woon Kim, “Akmareul boatda,” also known as “I Saw the Devil,” was an intense psychological study of a man so hell-bent on vengeance, he didn’t care if he hurt the wrong man. The lush cinematography made an interesting contrast with the characters’ dark ideations. When the searchers found the woman’s head in the river, there was something so sad and sinister about the scene. It was sad because her father and husband expected that the head wouldn’t be her’s but at the same time they somewhat knew that it was over. It was sinister because I felt like Kyung-chul was watching among the crowd of journalists and photographers. What I found unique about the story was in the way Agent Kim had the upper-hand for most of the film. It was unpredictable because it didn’t follow a typical narrative. For instance, the sadistic killer and the husband confronted each other prior to the half-way point. With each time the killer lost a physical confrontation, a part of his body was broken and he was allowed to run (or limp) away. Unbeknownst to the killer, the secret agent forced him to swallow a tracking device. The comedy kicked in when Kyung-chul was aghast that every time he was about to molest a young girl, Agent Kim foiled his plans and gave him another broken body part. Behaviorism failed to work. We wanted to see the killer suffer but there came a point where we had no choice but to ask ourselves how much was enough. Agent Kim claimed that the violence he inflicted was driven by the promise he made to his late wife. But maybe there was something inside him that relished being in control of another human being and acting like he was above the law. It worked as a meticulous case study of what torture does to the person inflicting the pain. As wild as the picture became, I admired that it had ways of pulling us back to the murdered wife. I especially liked the way the director handled the difficult phone call between Agent Kim and his wife’s family. His father-in-law actually asked him to stop. I imagine it must have been so difficult for him to come to that decision. “What you’re doing will not bring her back,” the sister said. Agent Kim’s eyes searched for an answer that could prove her statement wrong. There wasn’t any.
Dead Man’s Shoes (2004)
★★ / ★★★★
Vengeance was in the air when Richard (Paddy Considine) returned home from the military after he learned that his mentally challenged brother (Toby Kebbell) had been bullied by local drug addicts and dealers (led by Gary Stretch). I love revenge movies but I felt as though this picture somewhat glorified the drugs and the violence. It’s not that I didn’t connect with Richard. I certainly did because if my brother was victimized, as scary as it is to admit, I probably would have done the same thing–maybe even worse. We watch the main character terrorize the drug dealers by breaking into their homes and leaving little warnings on the walls or on their bodies. And then we cut to scenes in black-and-white that showed us why the criminals deserved to be punished. It was heavy-handed and I wasn’t convinced that Shane Meadows, the director, embedded enough complexity in the material to go beyond threat-and-kill formula. As the body count began to rise, I kept waiting for the film to change the formula and infuse real human characteristics in its characters. It would have been more interesting if we saw a part of ourselves in the people who were about to be killed. Instead, none of them personally felt like they deserved what was coming to them. They kept running away, making fun of each other like they weren’t in deep trouble, and putting themselves in vulnerable situations such as drinking in the middle of the night until they passed out when they knew all too well that the person who wanted them dead could easily break into their homes. Their lack of logic made me feel like they were caricatures and when they did die, they made no big impact in my viewing experience. I simply thought, “Okay, so who’s next?” Toward the end, we were given a chance to feel Richard’s pain and his desperation to achieve some sort of redemption but it ultimately felt forced. Despite the anger and sadness in his eyes, I felt like there was a wall between me and his convictions. I felt no catharsis and I felt sorry for everyone involved in the madness. What “Dead Man’s Shoes” needed was complexity in who the characters really were under the façade they showed the world and laser-like focus in terms of exploring varying levels of responsibility and remorse. Although I must say the film’s best quality was its gritty realism. Either the actors were really good or there were some improvised material thrown in. It made me believe that the events that transpired could happen at just about anywhere.
True Grit (2010)
★★★ / ★★★★
Mattie Ross (Hailee Steinfeld), a plucky fourteen-year-old girl, was adamant about finding Tom Chaney (Josh Brolin), her father’s cold-blooded killer, and getting even. She left her grieving mother and siblings at home while she went to town to hire a competent bounty hunter. She crossed paths with an alcoholic U.S. Marshal Rooster Cogburn (Jeff Bridges) who was first reluctant to tackle the task. Mattie desperately wanted him because she claimed he had “true grit” or the right spirit she was searching for. Mattie and Cogburn were accompanied by a Texas Ranger named LaBoeuf (Matt Damon) who also wanted to bring the criminal to justice. The western genre is normally not my cup of tea, but I couldn’t help but enjoy this film. Steinfeld’s energetic performance as a headstrong girl who wanted vengeance instantly caught my interest especially the very amusing scene when she tried to sell back the horses her late father bought. In just one simple scene, Steinfeld established that Mattie was intelligent, resourceful, and unafraid to bluff when the occassion called for it. She saw adults as untrustworthy so she had to be self-reliant and use fear to motivate others. Adults saw her as a child who didn’t know any better. On the positive side, she could get away with certain things that older folks simply would not. Much of the picture’s humor was embedded in the scenes where Cogburn and LaBoeuf tried to ascertain which one of them was the more effective lawman. Cogburn, aging and a drunkard, just didn’t know when to quit while he was ahead and LaBoeuf was difficult to take seriously because he walked around as if he already deserved to be respected. Bridges was successful in delivering the softer side of a man who wanted minimal contact with the world. Meanwhile, Damon complemented Bridges’ character by wanting to be seen, heard and admired. It was obvious that both were having great fun with their roles. As opposite as Cogburn and LaBoeuf were, the two could make a great duo when the situation turned grim. I admired the look of the film because I felt transported to that era. The contrasting images of the blistering hot desert and the bone-chilling snowy nights not only were great visually but they reflected what the characters felt, especially Mattie since we saw the story from her perspective, during their arduous journey. I just wished we had a chance to get to know Chaney a bit more in order to make room for another layer of complexity. Based on Charles Portis’ novel and directed by Ethan and Joel Coen, “True Grit” was a straightforward and character-driven revenge story. Simple is not something I’m used to when watching Coen brothers picture. Maybe that’s the irony.
Day of the Woman (1978)
★★★ / ★★★★
An aspiring writer (Camille Keaton) decided to live in a secluded cabin in a small town during the summer to work on her first novel. At first it seemed like a nice place because the people (Richard Pace, Anthony Nichols, Eron Tabor, Gunter Kleeman) she met were friendly but those were the very same sick-minded individuals who eventually tortured and gang-raped her multiple times. This exploitation flick was definitely unsettling to watch because of its extended realistic violence. However, I thought there was a certain lyricism with its lack of soundtrack and periods of time when the characters did not particularly do anything interesting. It gave me the feeling that the events that I saw could have happened and can still happen to anybody which made it that much more chilling. While the rape scenes were indeed shocking and painful to watch, I liked the way the female lead took her time to systematically plot her bloody revenge. Although the things that were unfolding were dead serious, there was a certain cheekiness and dark humor with the way Keaton used her feminine wiles to lure the men who did her wrong and to push them to their grizzly demise. The second half was stronger not just because of the revenge scenes but also due to one of the characters explaining why they decided to rape her. Of course, the classic argument of a woman “asking for it” was brought up. There was also an interesting metaphor about catching fish and getting a woman. That relationship was compelling to me because the men treated her exactly like an animal. Perhaps worse. Many elements came together in the second half that took me by surprise because, to be honest, I did not expect the material to have much insight or intelligence due to my prior experiences with exploitation movies. I was happy that it defied my expectations. It would have been easier for the picture to rely on the obviousness of the images but it had a surprising amount of subtlety. In the end, I was convinced that writer and director Meir Zarchi successfully made a feminist film. I thought it was funny that the women in the movie were portrayed as smart and strong but the men were idiots and lacked goals. “Day of the Woman” also known as “I Spit on Your Grave” had risen beyond the sadistic and the ugly and actively confronted issues such as blame, responsibility, and entitlement.
The Ghost Writer (2010)
★★★ / ★★★★
Adapted from Robert Harris’ novel, Ewan McGregor played a ghostwriter who was hired to help complete an ex-British prime minister’s (Pierce Brosnan) memoir. Suspecting that something wasn’t quite right in the former British prime minister’s stories compared to what was said by the media and those around him, The Ghost did an investigation of his own which led him to endanger his life. Directed by the controversial Roman Polanski, what I liked most about the film was the director’s ability to take material that we’ve seen before concerning the dangers of politics and inject just the right mood and pacing to create something quietly sinister. I must admit that I did not immediately understand what was going on because it felt as though the protagonist was thrusted onto an island where he had barely any idea what he was doing or why he was really there. He tried to convince himself that he was there for an assignment (with great pay) but his instincts made him question until he couldn’t bear his curiosity any longer. The characters such as the former prime minister’s lead assistant (Kim Cattrall, whom I would love to see more in serious roles), wife (Olivia Williams), and even the housekeeper made me feel uneasy so I could not help but suspect them of hiding something key that might lead to the big revelation. Another interesting layer was the question of whether The Ghost was really on an assignment involving politics, or personal revenge, or possibly both. The questions were difficult to answer and the answers were vague. But I liked the fact that the movie chose to challenge its audience by allowing us to read between the lines. Since the real answers were elusive, we couldn’t help but question whether our protagonist was truly on the right track in terms of solving the mystery or whether he was merely putting together random information and forcing himself to make sense of them. “The Ghost Writer” thrived on subtlety and often reminded me of the underrated “Breach” directed by Billy Ray. Like that film, what kept the film together was not the extended action scenes but the strong acting and constantly evolving atmosphere. Perhaps I am giving the movie too much credit but I did notice some references to noir pictures in the 1940s, the most obvious one being Stanley Kubrick’s “The Killing.” My only minor complaint was I hoped Polanski used Tom Wilkinson a lot more. Wilkinson managed to do so much with how little he was given and it would have been interesting to see how much more he could have turned the main character’s life upside down if he had been given more material.
Edge of Darkness (2010)
★★★ / ★★★★
Mel Gibson stars as a homicide detective and a father of a girl (Bojana Novakovic) who was gruesomely killed by two men the night she visited him. The deeper Gibson’s character got into the investigation of his daughter’s death, the more he realized that maybe he was up against something way bigger than himself. However, that didn’t stop him from trying to do what was right even if he had to commit a few wrongs. Even though the film was very serious (sometimes too serious), I couldn’t help but enjoy it because it was such a joy to watch Gibson deliver such intensity into his character. It was kind of like watching Liam Neeson in the sleeper hit “Taken.” Every pause, every sharp breath and every shifting of the eyes communicated something to the audiences so it was fun trying to figure out what the main character was really thinking or what he was about to do in each scene. I completely believed that he was a father who wanted both justice and vengeance; I didn’t agree with some of his methods but I rooted for him because he exuded confidence and intelligence without sacrificing his heart. However, if I were to point at the movie’s major weakness, as the body count started piling up, the picture became more convoluted. Elements of politics and business were introduced but it didn’t quite hold up for me. By the end of the movie, some of my questions were left unanswered such as the further involvement (or lack thereof) of a rival company that Gibson’s daughter worked for and the real identity of a mysterious figure named Jedburgh (Ray Winstone). Winstone matched Gibson’s intensity in some scenes but I wanted to know more about him and his motivations. Since I didn’t know more about that particular key character, certain developments toward the end made me not buy what had just happened and I was left confused and a bit cheated. (Perhaps his character was further explained in the mini-series.) I’ve read reviews that said “Edge of Darkness” was an old-fashioned thriller. That’s exactly what I liked about the movie. “Edge of Darkness,” directed by Martin Campbell, is an effective thriller-mystery about corruption and revenge. The lead character may not be a typical hero that we can easily root for but we instinctively identify with him in his journey to finding out or getting as close as he can to the truth.
Iron Man 2 (2010)
★★★ / ★★★★
Robert Downey Jr. reprises his role as Tony Stark/Iron Man who is as narcissistic and self-centered as ever. This time around, he had to face-off with a Russian physicist (Mickey Rourke) who was out for revenge for the wrongs done to his father and an American weapons expert (Sam Rockwell) who craved power in politics. Tony also has to deal with his health, Pepper (Gwyneth Paltrow) being the new CEO of the company, a new sexy assistant (Scarlett Johansson), and Rhodey’s (Don Cheadle) need to deliver the Iron Man suit to his superiors. There was no doubt that “Iron Man 2” was bigger and grander than the original. However, I don’t believe it was one of those sequels that disappointed. What I loved about the first one was the fact that it was an origins story. The first hour bathed us in curiosity and the rest tried to explore the lead character’s depth (although we came to realize he didn’t have much depth at all–which I loved). In “Iron Man 2,” it was more about having fun with the main character and his big ego. I thought it was funny, exciting and I liked that it didn’t try to be darker or deeper than the original. In some ways, I had more fun with the sequel than its predecessor. I was also very into what was happening on screen because of the many hints of The Avengers slowly forming (make sure to stay until after the credits). The tone was different than other superhero films because it made me feel like the superhero that we were watching was not the only one in his universe. I also enjoyed Rourke as Whiplash. He wasn’t given much screen time but every time he was, he generated maximum impact. I thought he was menacing but at the same time I felt somewhat sorry for him. When I looked in his eyes, I saw pain and vulnerability trying to wrestle (pun intended) with anger and thirst for blood. One of this film’s drawbacks was it didn’t spend more time putting Rourke’s character on screen to add some sort of enigma and rivalry between him and Tony Stark. I absolutely loved the race track scene and when Stark visited Whiplash in jail. There was a certain crackle and pop between the two characters when they spoke to each other because Downey Jr. and Rourke knew how to play with certain subtleties in terms of intonations and body languages. Those scenes left me at awe and it’s unfortunate because small moments like the jail scene would probably be ignored since most scenes were loud and bright and glamorous. Bigger and louder isn’t necessarily a bad quality but as the “The Dark Knight” has proven, a nice balance between quiet moments and adrenaline rush makes a superior and ultimately unforgettable superhero film–not just a superhero film but a movie that has the power to stand alone in its own right. Directed by the very funny Jon Favreau, it was apparent that “Iron Man 2” had actors that had fun in their roles so I had fun with it as well. I loved that Favreau put himself in his own movie for kicks. I think most professional critics are wrong about this one because they claimed it was inferior to the first. But I’m saying see it and pretend as if it’s not a sequel. I have no doubt that you will recognize a really good movie in it.