LarkWithakay Reviews

The Fountain (2006)

The Path to Life

[10/10 · 18 October 2006]

I had the immense pleasure of viewing this film for its second screening ever, when it was showcased at Chicago's International Film Festival. Fans of Aronofsky who enjoyed the intensity of 'PI' and 'REQUIEM FOR A DREAM' will find that Darren's primary thematic focus has shifted yet again from the mind and gut ('PI' and 'REQUIEM', respectively) to the heart. However, don't take this to mean that 'THE FOUNTAIN' isn't intellectually engaging or visceral in its impact.

In a word, this film is warm. Aronofsky's palette for his third feature is a swirling miasma of golden yellows, and it sets the tone for the work. 'THE FOUNTAIN' is a life-affirming treatise on the eternity of love. Cynical hacks might decry this as a mawkish, facile rumination of saccharine proportions, but despite the sentimental themes, the film is never cloying, opting instead for a (sur)realistic portrayal of the nuances of one of life's most powerful emotions.

The casting was superb: Rachel Weisz and Hugh Jackman are outstanding in their roles, with both offering utterly believable performances. Weisz reveals the same depths she did in 'THE CONSTANT GARDENER', portraying myriad subtleties in a role that could've easily been misplayed, starring as Jackman's love throughout time. For those who've only seen Jackman in action-oriented mutant movies, his command of his character's strengths AND frailties is a welcome surprise. The supporting cast was excellent as well, with Ellen Burstyn standing out in particular.

Special effects were phenomenal, even without taking the film's halved budget into consideration. I won't spoil the surprise, but when you find out how Aronofsky and Co. achieved some of the extraordinary images, you're sure to be impressed (and reminded of a film classic from over 25 years ago). This is not a film to rely on FX, though. In fact, the segment (not scene; the story is split across three time periods) using the bulk of the effects is probably the shortest.

Aronofsky ambitiously tackles heavy themes and concepts and he does it in a little over 90 minutes. I didn't realize how short the film was until it was over. However, 'THE FOUNTAIN's brevity could also be perceived as an extension of one of its themes: learning to appreciate the world and its beauty in whatever time we are allotted.

Renaissance (2006)

Eye candy mind rot

[6/10 · 11 October 2006]

This was one of the most visually stunning animated features I've ever seen. Unfortunately, the plot was nonexistent and the dialogue was cribbed from every noir film ever made. Some might look upon this as an homage, however, but I thought it was just laziness on the part of the screenwriter(s). Even if one doesn't have a background in film noir, it's difficult to take the hackneyed/trite plot/dialogue seriously since the writer(s) used up one noir cliché after another.

Ultimately, 'Renaissance' is visual masturbation. The animation was choppy at times, but the overall effect was breathtaking: reflections, transparencies, etc.

I highly recommend this for any action or anime aficionados, as that audience is typically more forgiving and able to concentrate more on the important things in these types of films, such as fight scenes and FX wizardry.

3 Extremes II (2002)

Haunting and lyrical

[7/10 · 24 July 2006]

Peter Chan's 'Going Home' makes this collection worth watching. A haunting examination of loss and and the clash between Eastern and Western ideologies, 'Going Home' paints an elegiac portrait of isolation and longing in modern day Asia. The cool colors set a mood of emptiness and despair, while the understated performances are poetic in their simplicity. The child actor who plays Cheung is simply amazing; his emotions are utterly convincing and it's easy to forget that he's acting.

Unfortunately, the other two pieces, 'Memories' and 'Wheel', leave much to be desired. 'Memories' somehow manages to be tense and predictable at the same time, so I have to give the director credit for at least being able to instill some sense of terror in the audience. But ultimately, the hackneyed plot is yawn inducing, though the scenes are shot beautifully.

Finally, that leaves 'Wheel', a confusing mess if there ever was one. Throughout the short, I kept wondering if censorship was the reason I hadn't been scared yet.

All in all, most would probably be happier renting Saam Gaang. Although regardless of your decision, I am sure that 'Going Home' will spark some thought-provoking conversation on the dangers of globalization and the dilution of culture to Americanization.

Henry: Portrait of a Serial Killer (1986)

He makes it look so easy

[9/10 · 21 July 2006]

Really, now, are people's necks so easy to snap?

This is a minor quibble, given the film's fair portrayal of a serial killer: not some evil being, but simply someone with a different moral code (or none at all). This is evidenced with Henry's tenderness towards his roommate's sister and his heroics at putting an end to her sexual assault. Contrasted with Henry's neck-snapping activities, the film induces an uneasy tension as the viewer searches for some sort of redemption for Henry.

The only thing the viewer should search for while watching this film is the REWIND button, as some scenes are best viewed again.

High Tension (2003)

Nothing new, but done well

[7/10 · 21 July 2006]

I would've given this film an "8", but for its lack of originality: it seemed suspiciously similar to Dean Koontz's book and film, 'Intensity'.

Despite that, the acting was believable, which isn't something one can say too often about a film like this. You can feel the characters' tension, but I found it hard to identify with any of them because we don't get a chance to know them before the killing starts.

Except for two murders, the physics and mechanics of death were authentic. For the two that weren't, fans of Takashi Miike will revel in their over-the-top gore.

One last thing, I advise against watching the dubbed version. Although I had my doubts about watching a horror film with subtitles for fear of not getting the full, visceral impact, watching the characters' lips move out of sync is far worse.