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Reviews
Sungnyangpali sonyeoui jaerim (2002)
Ambitious, Flawed Yet Brilliant
The other reviews here make many good points. It is true that "Resurrection Of The Little Match Girl" is a very unorthodox film and it is certainly true that it does have its problems. But, quite simply, I was thrilled and excited watching it in a way I have been by few other movies.
Most films do not take anywhere near as many risks, or have anywhere near as many ideas, as this movie. True, the film does seemingly try to work in every single genre simultaneously and wildly fluctuate between reality and fantasy, humour and sadness, beauty and violence. But I felt this was a definite strength. From the USA to Mainland Europe, from Britain to Asia, there are so many films that do not push boundaries, do not take risks and are far too scared to step outside themselves and I think this film should be applauded for daring to risk these flaws.
For all of its faults, this was easily far and away the best film I saw in 2003.
Cold Mountain (2003)
I'm A 21 Year Old Guy! I Don't Cry At Films!!!
Whilst not perfect, I thought this was a film full of beautiful and moving moments and the simple fact is that I had tears in my eyes at 4 or 5 points during the film and, whatever comments or criticisms I can have, nothing can change the fact that I was deeply moved from this film.
I think one of the biggest perceived criticisms of the film (i.e. the fact Inman and Ada barely know each other film) is the very thing that makes it such a beautiful, moving idea. I really loved the idea that someone could be going through such a terrible time and the only source of hope that I have is not even, as such a person, but the image and idea of a person who they don't even really know.
I found Ada's letters to Inman extremely touching and the sense of longing throughout the film is absolutely staggering heart-wrenching although, to be truthful, this sense of longing also does cause problems with the film's end as the hope and longing can never live up to to the final realisation.
Elsewhere, Natalie Portman has the single saddest, sweetest moment of the film in a brief but outstanding cameo while Philip Seymour Hoffman adds brilliant comic relief. Renee Zelwegger must surely be a strong contender for the Best Supporting Actress nods at the Oscars and elsewhere.
True, the ending has its problems, true the chemistry between Jude Law and Nicole Kidman does not entirely work and Law gives a strangely muted performance (I don't mean in the sense that the character doesn't speak much, although he doesn't, but that Law does not give as strong an impression as the character as you might expect from such a talented actor).
But, when a film is as moving and brilliant in its conveyal of the horrors of war and when I enjoy virtually an entire two and a hour film - I'm a firm believer that there is seldom ANY excuse for making film more than 120 minutes - all quibbles seem minor.
Love Actually (2003)
Let's face it, you already know what this film's like...
OVERVIEW
It strikes me that this is a Working Title film by Richard Curtis and it delivers exactly what you'd expect from a Working Title Film by Richard Curtis so it is a little churlish to complain about it being over the top, schmalzy and full of angsty but charming middle-class English people. Frankly, if you passionately loath Four Weddings, Notting Hill, Bridget Jones etc...then you probably shouldn't even bother turning up to the cinema.
Now this is said I must point out that, as someone who has mixed feelings about his films, I enjoyed this one more than I expected.
NEGATIVES
Obviously, it also had some moments where you wanted to throw things at the cinema screen. For example, the airport scenes at the beginning and end are completely over the top (and might I say that the voiceover during this scene is basically stolen from Dogma). The sections with the little kid are faintly annoying and there are probably too many stories competing for space so that whilst some are perfectly weighted (Andrew Lincoln, Chiwetel Ejiofor & Keira Knightley and Martin Freeman & Joanna Page), others could use more room to breathe (Alan Rickman & Emma Thompson) while others still maybe should either have been developed or cut completely (Laura Linney & Rodrigo Santorio) and the Kris Marshall section seems to have strolled in off a different film.
Furthermore, comparisons with It's A Wonderful Life are misguided (Frank Capra's film achieved its status as the most feelgood happy ending in film history by preceding the ending with two hours of some of the darkest, bleakest material ever to grace the screen and the multiple endings here do not have enough lows preceding them to anywhere near match up to this).
POSITIVES
All that said, there are a lot of strengths to this film.
Bill Nighy is exceptionally funny and, as is always is the way when he appears in anything, he is the best thing in it by a country mile although Hugh Grant & Colin Firth also put in fine (though admittedly hardly mould-breaking) performances. Quite unusually, there is something of a political agenda in the film with regard to Hugh Grant and comments about his predecessor and there is something satisfyingly subversive about the fact that this mainstream entertainment takes an albeit subtle and foppishly charming stand against US Imperialism.
Andrew Lincoln's story of unrequited love is one of the most appealing sections on offer here whilst Martin Freeman & Joanna Page's section may be one-joke comedy but it is a funny joke and sustains its section well.
TO SUM UP THEN
So, basically when all's said and done, this is a funny, likable and entertaining film which probably won't change your life or your view of the cinema will keep you entertained for a couple of hours. But then, this is a Working Title film by Richard Curtis, so you probably knew that already didn't you?
AfterLife (2003)
Grr...The Ending! (WARNING: SPOILERS - STRONGLY HINTS AT THE ENDING)
Before I had seen this film, I had heard some negative comments about it. However, when watching it I found myself thinking "ok, it's a little slow-paced but this is quite interesting". As it built toward the end, it created a complex moral dilemma, leading to a shocking yet, within the context of the film, entirely believable decision with extremely powerful dramatic consequences. If this had been followed through, it would have been a tremendously powerful ending and would have given me a very favourable impression of the film.
However, due to an ending which not only cops out emotionally, tacking on an unnecessary happy-ish ending without real emotional credibility but also within the context of the film makes absolutely no sense whatsoever for you clearly see one of the character take an action which should end her life but inexplicably doesn't. Incidentally, please tell me if I did miss something here and there is a reason why she survives as I just couldn't how logically she could have and this wrecked the whole film for me.
This said, all three leads put in powerful performances although Kevin McKidd's characters' transformation by the end goes a little further than is fully convincing and it does create a very powerful ethical triangle.
This film is recommended if you ready yourself to walk out when the mother and the sister are lying on the bed. But do not watch further than this unless you have only a pinch, but several mountains, of salt.