Another European mood piece. Inferred narrative, incessant close-ups, panning, tracking, and angled camera shots, minimal dialogue. It's all here, quite claustrophobic and irritating. Many are talking about the daring incest plotline; to be honest, if the characters hadn't casually mentioned the mother/son relationship (about three times), I would never have known; it's handling is quite subtle, there's no indication in their behavior that distinguish this from student/teacher, or simply older/younger. Dialogue is so sparse (generally no more than two lines exchanged between characters at any given time), one can't be sure what's going on in the story; the last 20-30 minutes of the film has no conversations, none; we're treated to a little twist, fade to white, it's months later, and our two characters never exchange a single word, or share a real moment to explain what has happened or the nature of their relationship. As for the sex in the film, I know folks believe they saw these two engaging in intercourse, but we didn't see any such thing. To be sure, there is plenty of nudity, some foreplay, an HJ, and the off camera use of an item for pleasuring, however, any act of lovemaking between the characters is not shown; no grinding, thrusting, groaning, or sweating with our protagonists wrapped around each other. There is little, if any, romance here. Given that avoidance of honest passion, the minimal dialogue, and fuzzy narrative, this movie's subject matter is rendered more tepid than bold or shocking; indeed, it would be difficult to show mother/son incest much safer than it's depiction here. Ultimately, the movie just aimlessly rolls around the deck until the end credits appear.
Reviews
6 Reviews
Entre Ses Mains
(2022 TV Movie)
Less than meets the eye.
11 June 2023
Warning: Spoilers
There isn't much in this 2-part miniseries; consolidated into a single movie. It's fairly typical for the erotic thriller genre; offering up absolutely nothing new, bold, or surprising. The film is the usual narrative; wife in a long time marriage, meets and hooks up with a charismatic individual (usually an artist type),for a torrid affair, soon thinks better of it, breaks it off, resulting in escalating obsession, violence and danger for her and family; leading to the inevitable conclusion.
'Entre Ses Mains' is one of the latest in "wife affair" movies, of which there is a very extensive catalogue, but it fails to explore this central concept; indeed, the affair is merely a catalyst to move the story to the film's predictable events and final confrontation. The couple's relationship is only moderately delved into (the impact of the affair is never explored); it is here I have to disagree with the description of their marriage as "monotonous", it is not; they have two children, successful careers; she's stressed about a case, he's upset that she works too hard and neglects having more family time, but is supportive of her work. They argue on occasion, but resolve the conflict (not sure how, it just happens), and seem to have a physical passion for each other, although interrupted by family matters. The marriage appears rather normal, but certainly not monotonous. Which begs the question why does Clara have this one-nighter? (To the actors' credit, this moment doesn't come across as incongruent as it could, and should, have.). This leads to the central issue with the movie, there is little real character development in it; motivations are left absent. Rather than any of that nonsense, we get filler about the case she is working on (including courtroom scenes), and an unnecessary murder. Coming in at just under 90 mins., except for the filler, every event is a one-and-done; the antagonists obsession appears almost immediately, his indiscreet intrusions, shortly thereafter; the ultimate reveal of the Clara's assignation to her husband is done off screen, dismissed in the following scene with a single sentence, as he has a more important priority, protecting his family from a psychopath (this is the most common narrative shortcut for these erotic thrillers; rather than a character driven exploration of the betrayal, working toward some kind of relationship closure or redemption, the couple are re-bonded by the intense personal threat, problem solved). So compressed is the story, that the climax, which includes a kidnapping and cross-country travel, is resolved in under 6 mins. Whether the marriage survives, they don't waste the time showing or telling us.
The scenery is nicely shot, giving the film a more expansive and expensive sheen than is typical for the genre; the actors bestow the characters with more than what they're called on to do. If you're a fan of erotic thrillers 'Entre Ses Mains' will go down easy. Ultimately, it's typical straightforward storytelling, with few surprises; a confection. As a recent release, given the multitude of examples in this genre, there is little reason the makers of the series couldn't have given us something with more depth and development, rather than the usual tropes.
'Entre Ses Mains' is one of the latest in "wife affair" movies, of which there is a very extensive catalogue, but it fails to explore this central concept; indeed, the affair is merely a catalyst to move the story to the film's predictable events and final confrontation. The couple's relationship is only moderately delved into (the impact of the affair is never explored); it is here I have to disagree with the description of their marriage as "monotonous", it is not; they have two children, successful careers; she's stressed about a case, he's upset that she works too hard and neglects having more family time, but is supportive of her work. They argue on occasion, but resolve the conflict (not sure how, it just happens), and seem to have a physical passion for each other, although interrupted by family matters. The marriage appears rather normal, but certainly not monotonous. Which begs the question why does Clara have this one-nighter? (To the actors' credit, this moment doesn't come across as incongruent as it could, and should, have.). This leads to the central issue with the movie, there is little real character development in it; motivations are left absent. Rather than any of that nonsense, we get filler about the case she is working on (including courtroom scenes), and an unnecessary murder. Coming in at just under 90 mins., except for the filler, every event is a one-and-done; the antagonists obsession appears almost immediately, his indiscreet intrusions, shortly thereafter; the ultimate reveal of the Clara's assignation to her husband is done off screen, dismissed in the following scene with a single sentence, as he has a more important priority, protecting his family from a psychopath (this is the most common narrative shortcut for these erotic thrillers; rather than a character driven exploration of the betrayal, working toward some kind of relationship closure or redemption, the couple are re-bonded by the intense personal threat, problem solved). So compressed is the story, that the climax, which includes a kidnapping and cross-country travel, is resolved in under 6 mins. Whether the marriage survives, they don't waste the time showing or telling us.
The scenery is nicely shot, giving the film a more expansive and expensive sheen than is typical for the genre; the actors bestow the characters with more than what they're called on to do. If you're a fan of erotic thrillers 'Entre Ses Mains' will go down easy. Ultimately, it's typical straightforward storytelling, with few surprises; a confection. As a recent release, given the multitude of examples in this genre, there is little reason the makers of the series couldn't have given us something with more depth and development, rather than the usual tropes.
G.I. Joe: The Rise of Cobra
(2009)
Holy mackeral! Racially insulting! -SPOILERS-
10 August 2009
Warning: Spoilers
First, my grade is based on what I viewed as a thin story, largely, inane dialogue, and there not being an unpredictable moment in the film. Don't get me wrong, I'm not against such things as pure entertainment, but this movie lacked any sort of smarts or cleverness(which it seemed to have potential for); dragged down by more clichés than any in recent memory. Most notably the one of white male supremacy. Before getting ticked off, take a look: the two "lead" characters are 'Duke'(white guy) and the comedically hip 'Ripcord'(black guy); when introduced in the first action set piece, Duke chases down the main villainess and (in an initial misunderstanding) arrogantly stands up to 4 armed G.I. Joes, Ripcord was earlier incapacitated by one knife-wielding Joe; it's Duke who was invited into this elite band 4 years earlier, Duke who now tests in the top 1/2% of recruits, Ripcord is only invited in because his score combined with Duke's allows him to pass; the black guy doesn't make it of his own accord, but as an attachment to his white counterpart(anti-affirmative action folks would have a field day with this). Duke is the only recruit who's ever "tagged" martial arts expert 'Snakeyes' in a training match; Snakeyes, himself being that oldest of clichés, the white male who rises to martial arts supremacy in the Orient. Let's continue; during the chase through Paris, it's Ripcord who neglected to read the instructions for his enhancement suit, stumbling to the ground at least twice, he fails to stop his villain from taking down the Eiffel Tower, leaving up to Duke who successfully prevents further damage to Paris itself. Shortly, when the team is confronted by Paris authorities, in a show of bravado mirroring Duke's earlier successful one against the Joes, Ripcord is "smacked down"; even following his triumph, in saving Washington D.C., this success in blunted by his arrest on the White House lawn. Tom Sawyer and Jim, Robinson Crusoe and Friday; admittedly not as bad as that, but running along the same vein. How did the producers get away with this? I do give them props for an on screen interracial kiss; America needs more of that, but it doesn't need this movie.
Watchmen
(2009)
Inconsistantly pedestrian....
7 March 2009
To say I was disappointed in 'Watchmen' would presume that there were certain expectations. Having read Alan Moore's literary work during its original release, and again very recently, I was never under the impression that the comic would make it to the screen significantly unchanged. So, I approached with an open mind and found Zack Snyder's interpretation sorely lacking. When adapting literature for the movies, what you leave out and/or rearrange determines the difference between acceptance or rejection. I'm afraid Snyder failed, and created a work of stilted, uneven narrative. While having some interesting moments, the Director misstepped at almost every level; In spite of having numerous political figures (in heavy, distracting make up) telling us of impending Armageddon, there is little real feeling of the "inevitable" worldwide destruction; instead of a city which should bring to mind Tim Burton's Gotham City, it looked more like '40's New York. Character development was often sketchy, as Snyder had to decide what should be left out and what shouldn't; this lack of development limited the impact of certain key moments throughout the picture; as when Rorschach reveals an uncharacteristic moment of appreciation to Nite Owl; their history's as former partners in arms is glossed over, and Nite Owl's tirade (which fails to mention their friendship), makes the Rorschach moment seem strained; Silver Specter's discovery has little shock value, since the relationship between two other important characters was not adequately explored, and key information revealed at the moment of discovery. The actor's don't seem to understand their parts, bringing little to the table, coming across as playing the characters rather than being them; Snyder shows us his weakness is character development (his previous efforts required little) and is unable to bring it out of his actors. However, if there is one big flaw, it's Snyder's failure to demonstrate how much the past informs the present, in Watchmen; the two, in effect, existing almost simultaneously; he seems to miss the small things that impact the larger events. Unable to completely free himself, the Director is most successful at the more straightforward moments of superhero action, demonstrating why these people were heroes to begin with. Much of 'Watchmen' comes across as mechanical and distant, rather than dark or ominous. The final reveal is so changed, explained by the most underdeveloped character, and so truncated that I barely understood the significance of the plan to this person; it was as if Snyder himself didn't understand what Moore had written at that point; his ending change was unimaginative, common. The final minute of the film punctuates its problems, when two characters (who existed throughout the comic, but nowhere in the film) hint that the story may be far from over. In the final analysis, I can give Zack Snyder no slack for this pedestrian work; he knew what he was getting into.
Fahrenheit 9/11
(2004)
Reminded who was at fault.
29 June 2004
Given the number of comments, it seems pretty much everything has been said. Moore's latest effort, while important, is not flawless. He occasionally fell into hyperbolic rhetoric and the amount of time lingered over Lila Lipscomb's grief bordered on exploitation. Still, there was no arguing many of the facts. The plight of the African-American Coalition was exasperating and amusing, pointing out just how many wealthy middle-aged white males consistently hold the reins of power. As I was leaving the theatre one of the patron made the point that the Bush Administration wasn't only at fault, the American people shared the blame. My initial response was the typical "Yeah, they voted him into office.";however, before the comment was finished it dawned on me that Al Gore received the popular vote! Our fault lies in not being more outraged. Why haven't the people called for the elimination of the outdated Electoral College? Why are we allowing the continuation of the Primaries, which in a matter of weeks give voters no real choices? Why do we keep putting these monied politicos in office; individuals who'll complain and bluster about an opposing party until it's time to do something meaningful(A-A Coalition, voting against the Patriot Act, putting there own children in the military)? We accept a mainstream media that is so afraid of losing access to the White House they'll refuse to report anything controversial, but parrot Administration rhetoric. We got plenty on Bill Clinton's sexual liaisons, even an impeachment, yet Bush Saudi connections, or the Bin Laden family exodus barely caused a blip on the radar screens. Moore's film and views are important; after all we have been constantly bombarded by the conservative opinions of the Drudges, Rush Limbaughs, and President Bush himself. Fahrenheit 9/11 starts to balance the scales with the facts.
The Day After Tomorrow
(2004)
Entertaining, but nothing original. *MAY HAVE SPOILERS(not sure though)*
28 May 2004
Warning: Spoilers
My 13 year old daughter and I just saw "The Day After Tomorrow"; even one of her youth and limited number of viewing experiences could pick out the similarities this movie had with others (The Core, Vertical Limit, The Poseidon Adventure, etc.). I've been around long enough to have enjoyed the 70's disaster movies period, which was far superior than the current one.
TDAT went down easy and the time passed quickly, but there wasn't a lick of originality to be found. Oh sure, the effects are bigger and better; however, you could predict almost everything that happened, from beginning to end, including the shmaltzy uplifting finale. Character development seemed to be sacrificed for unnecessary "plot points"(the wolves, a terminally ill child, the character who would die without medication, and the "love" story); consequently the movie had little emotional impact. Still, I found it far more enjoyable than the thoroughly unfortunate ID4.
I must disagree with an earlier writer who felt that Dennis Quaid's character wouldn't have gone after his son. Clearly the writer doesn't have children. If my daughter was stuck somewhere in life-threatening conditions and I knew how to cross the tundra, you can bet I would.
Much has been said of scientific believability or lack of it; my addition to this part of the discussion is more basic. With all the sophisticated effects in today's movies, how did the makers forget to add breath vapors to characters in these subzero temperatures? And there wasn't a single runny nose! :)
In my overall analysis, Roland Emmerich seems to make entertaining movies that start big(look, ideas, approach) but become small; they begin as epic motion pictures and shrink to the size of our TV screens by their end. TDAT struck me as the latest one of these.
TDAT went down easy and the time passed quickly, but there wasn't a lick of originality to be found. Oh sure, the effects are bigger and better; however, you could predict almost everything that happened, from beginning to end, including the shmaltzy uplifting finale. Character development seemed to be sacrificed for unnecessary "plot points"(the wolves, a terminally ill child, the character who would die without medication, and the "love" story); consequently the movie had little emotional impact. Still, I found it far more enjoyable than the thoroughly unfortunate ID4.
I must disagree with an earlier writer who felt that Dennis Quaid's character wouldn't have gone after his son. Clearly the writer doesn't have children. If my daughter was stuck somewhere in life-threatening conditions and I knew how to cross the tundra, you can bet I would.
Much has been said of scientific believability or lack of it; my addition to this part of the discussion is more basic. With all the sophisticated effects in today's movies, how did the makers forget to add breath vapors to characters in these subzero temperatures? And there wasn't a single runny nose! :)
In my overall analysis, Roland Emmerich seems to make entertaining movies that start big(look, ideas, approach) but become small; they begin as epic motion pictures and shrink to the size of our TV screens by their end. TDAT struck me as the latest one of these.
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