Showing posts with label afterlife. Show all posts
Showing posts with label afterlife. Show all posts

Saturday, July 28, 2012

After Life (1998) Review

After Life (1998)
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A masterfully humorous, compassionate, quiet and moving film by a Japanese director whose work has primarily been in documentaries. The premise is strange but thought-provoking: after death, you have to choose one memory to take with you into eternity; everything else will be forgotten. In a brilliant series of cuts the staff at a run-down, out-of-the-way establishment explain this to the weekly intake of their "clients"--people who have just died. They have three days to decide; then the staff, with summer-camp-like enthusiasm, stages tiny films that recreate the memories. On the last day of the week the films are shown, and the clients vanish, one by one, as they relive the memories that are projected.
Kore-Eda worked with actors and scripts, actors telling the camera their own memories, and non-professionals; the marvellous cast mixes all three and it's impossible to tell which is which. A young girl wants to relive Splash Mountain, only to reconsider after a worker gently tells her that thirty others had made the same choice that year. A boastful roue explains that the memory of course has to be of sex--and then chooses something quite different. An old woman remembers dancing for her older brother's friends in a red dress, and shyly coaches the little girl who will play her in the memory film. And a seventy-year-old salaryman can find nothing worth remembering, so videotapes of his life are requisitioned--touching off what plot there is.
There are no flashbacks and little overt drama, but as the clients look back at their lives the staff are drawn in, and the viewers, too, can't help but wonder what memory would be worth living with for ever. What glows from the placid surface of this extraordinary film is the wonder and mystery of everyday things, the tenuous but rich beauty of merely living. "After Life"-- the Japanese title is "Wonderful Life"--is only ostensibly about death; no film of recent years has been more life affirming.

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Saturday, June 23, 2012

Wristcutters - A Love Story Review

Wristcutters - A Love Story
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Most romantic comedies take place in... you know, the world of the living. They rarely star dead people. And not suicides, either.
But "Wristcutters: A Love Story" is not going to be tied down by that. This delicious, dark little cult film is about people who have committed suicide, and are now stuck in a limbo zone that is just like the living world, but less appealing. It's also dark, funny and poignant -- everything you want in a very original little indie movie.
Because of a breakup, Zia (Patrick Fugit) has decided that life is no longer worth living. He cleans his house, slits his wrists -- and finds himself in a strange twilight-zone with no sunshine, smiles, or appetizing food, and entirely populated by suicides -- think a Midwestern small town, but more depressing. He eventually gets a job, a nasty roommate, and befriends Eugene (Shea Whigham) a likably bombastic Russian rocker.
But then Zia learns from a new suicide that his girlfriend, Desiree (Leslie Bibb) has also offed herself. So he and Eugene bundle into Eugene's horrible old car, and start a road trip to find her -- picking up the pretty, feisty Mikal (Shannyn Sossamon), who says she's been placed there mistakenly. The odd trio rattles through this suicide world, until they stumble across a strange camp in the wilderness...
I first heard about "Wristcutters" a long while ago, on myspace -- but in the months that followed, it just sort of floated in a limbo of its own. Pretty frustrating, but Goran Dukic actually makes it worth waiting for -- it's a quirky and dark indie comedy, a tragedy, and a love story all in one.
As you can probably guess, the movie's main message is that you should live a life worth enjoying, and love someone worth loving. Yeah, the core of it is a guy who loses the girl, kills himself, tries to regain the girl, and falls in love with the worthier choice -- all while wondering if love is still possible for those whose hearts have stopped.
But that potentially soppy message is wrapped up in clever little quirks in Wristcutterville (Zia works at "Kamikaze Pizza") or the various deaths of the people who live there (Eugene electrocuted himself to get the crowd to pay attention). It feels pleasantly, wistfully warped -- both with macabre humour (the hole-in-the-head cop) and delicious dialogue ("I'm not going out tonight. It just makes me depressed." "So, what you gonna do? Kill yourself?").
And you gotta admit, this postmodern Purgatorio is an interesting concept -- it's portrayed with a sort of low-budget magical realism. Suicide wounds, pale faces, bleak landscape, and "Love Will Tear Us Apart" is a popular tune. It's pretty fitting that the place for those who have given up hope is a place where hope and joy are nonexistant.
It also has a very pleasant, poignant ending -- yeah, it seems like a bit of a cop-out, but somehow by the time we got there, I didn't mind. It ties in with the lesson of the movie, and the poignant little love between Zia and Mikal.
Fugit is a likably confused, sweet character who is just a bit dense, since it takes him awhile to figure out what a great, funny girl Mikal is. And Whigham -- whose character was partly based on Gogol Bordello's Eugene Hutz -- rules all the scenes he's in, as one of the few suicides who still has his vitality, libido and humour intact ("Everyone knows that man in back does not have c**k").
Sad, quirky and poignant, "Wristcutters: A Love Story" is an offbeat love/road-trip movie in the land of suicides -- it's a brilliantly warped little cult movie, and definitely worth seeing.

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Friday, July 29, 2011

What Dreams May Come (1998) Review

What Dreams May Come (1998)
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There is such a profound sense of drama, magic and emotion behind the story in "What Dreams May Come," a film based on the novel by Richard Matheson. There is a strong story with which anyone who loves someone else can identify, as well as an austentatious and elegant scope of visual and auditory imagery that jumps right for your eyes onscreen. Matheson's visions of heaven and hell are magnificently realized here, as well as the love between two people that is unbreakable, even after death.
The movie begins with the chance meeting of two American tourists traveling in Switzerland. Soon after, Chris and Annie become inseperable, and after their wedding, they bear two children. Many years later, Ian and Marie are killed in a car collision, leaving their parents distraught yet overcoming. Another couple of years later, Chris dies in a car accident as well, on his way to celebrate the "Double D" anniversary of his wife's emotional recovery from their childrens' deaths. This begins his trip into heaven, which is rocky at first during his attempts to console his living wife, then graduating into his acceptance of his immortality and ascemding into heaven, which turns out to be the creation of his own thoughts and settings. When he realizes that he is not completely happy without Annie, he becomes depressed, so it is no surprise that when Annie commits suicide and is sent to hell, he readies himself to rescue his wife from her emotional confines that keep her in her prison of eternal darkness.
The story for this movie is very ambitious, as are the filmmakers who bring it to life. There is an abundance of vivid memories in the form of flashbacks, many of which are precisely used to move the plot along and keep the story moving. Instead of becoming bored with the ongoing story of Annie and Chris's married and parental life, I found myself becoming more and more entranced as their lives unfolded, and say what you will, but the only way to tell a story like this is through flashbacks. If you were to take all of the memories and place them in order at the beginning of the movie, the audience would forget about the important moments that have an effects on the actions and events that take place in later instances of the film. Each one is a separate piece of the puzzle, and they all fit together quite well.
This film is one of those movies that showcases the possibilities for filmmaking in the future. Really, when you think about it, there is no way that the movie could have been made thirty years ago and still have the same impact as it does now. The settings and scenery play the most important role of the movie, for they provide the reason for the emotion and action that affects our characters. The beginning shots in Switzerland show us beautiful vistas of mountains and lakes, which will later become the inspiration for Chris's heaven, as well as many of the paintings Annie creates. Their home bursts forth with color and brightness, proving that color plays a big role in the film. When everyone is alive, everything seems light and airy. After Chris's death, all is dark, and the walls of the home seem dismal and gray. One scene in particular is a scene in which Chris watches his children being driven away in their van down a long line of lilac trees, a slight fog covering the scene. Their is that brilliance of color, yet the dark fog makes us uneasy, hence the accident that kills their children.
Heaven is elegantly portrayed in this film, and is done so with a new twist: that each person has their own private heaven created in the image of their own personal desires and thoughts. Chris's heaven is based on the paintings of his wife, from the mountains of Switzerland to a small island in the middle of a mountain lake with an opulent, airy house. The filmmakers give each scene the precise look of a painting, even after the special effects fade, using vivid colors, lots of flowers and mountainous backdrops, to transport us into Chris's new world. This is one of the most incredible film achievements ever, taking us to a special place that is warm, inviting, and personifies every thought we, as an audience, have ever had for beauty and vision.
Hell is given a truly horrifying and intense treatment, displaying visions of suffering as well as the personal and emotional pain of life that haunts us all. Somewhat like the way in which Heaven is created, Hell is seen as a persons's "life gone wrong," which allows for the creation of their pain-driven eternity. The gateway to hell is a stunning visual image, a vast, smoky graveyard of smoldering shipwrecks that creak and groan. There is also a dismal, endless sea of decrepit faces of hell's inhabitants, that groan and scream at one another. The most striking of all the settings is the overturned cathedral, where Annie resides. The columns rise from the ceiling and go on forever into the darkness, which gives the whole place a sense of the neverending.
There is a unique chemistry between the two leads that carries on the film's emotion and power. Robin Williams is charming, humorous and bold as Chris Nielsen, and through his acting and talent, he is able to make us believe in the love that Chris holds for Annie. Annabella Sciorra is moving as Annie, embodying all of the emotions and grief that set the stage for the second half of the story. When the two are together onscreen, they are happy and in love, and we buy it because they make it appear very authentic. Cuba Gooding, Jr. plays the angel that brings Chris to heaven, doing well in his performance of helping Chris through his struggle to realize his death. Max von Sydow, whose part is not as big as others he has had, is the tracker who takes them all to hell, and his words of wisdom keep the film's informative angle moving.
"What Dreams May Come" will go down in history as one of the most innovative and spectacular films ever made, full of ambition and inspiration. In its story, we are taken on a journey of the human heart, as well as a striking vision of what may lie in store for everyone under God's eye.

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Sunday, April 10, 2011

After.Life (2009) Review

After.Life (2009)
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The "surprise ending" of this movie was telegraphed pretty early in the film .. so that kind of killed the suspense factor.
Otherwise this could have been a much better film considering the acting talent, great photography and overall mood and tone they were able to create.
But in the end, something just doesn't come together and give this movie the spark it could have had.
One redeeming feature of the film ..... if you are a young man who likes Christine Ricci, you will get LOTS of opportunity to see more of her in this film.
She spends 75% of the movie walking, sitting and laying around nude.
Since she is cute, you can't find any fault with that !
What struck me as the most eerie in this film was how Liam Neeson made this movie so near the time of his own wife's death.
It is the same strange feeling when you see Christopher Reeve's last movie where he played a paralyzed cop and weeks later was of course really paralyzed.
Or seeing John Wayne in the Shootist playing an old gunslinger trying to die in peace from cancer when we know that in real life he was battling cancer when he made that film.

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A YOUNG WOMAN CAUGHT BETWEEN LIFE AND DEATH... AND A FUNERAL DIRECTOR WHO APPEARS TO HAVE THE GIFT OF TRANSITIONING THE DEAD, BUT MIGHT JUST BE INTENT ON BURYING HER ALIVE.

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