• 2 Fast 2 Furious
• 3-Iron
• 9 Deaths of the Ninja
• 12 Angry Men *Classic*
• 12 Monkeys
• The 13th Warrior
• 15 Minutes
• 16 Blocks
• 24 Hour Party People

• 28 Days Later
• 32 Short Films About Glenn Gould
• 48 Hrs.
• 102 Dalmatians
• 300
• 1941
• 2000 A.D.
• 2001: A Space Odyssey *Classic*
• 3000 Miles to Graceland

2 Fast 2 Furious (2003)
Starring: Paul Walker, Tyrese Gibson, Cole Hauser
Director: John Singleton
Plot: An ex-cop now on the run and his childhood buddy get tagged by the FBI to infiltrate the money laundering operation of a local drug lord by posing as professional street-car drivers.
Review: The popular hit The Fast and The Furious was actually quite a fun surprise when it came out, giving us some solid character development and an engaging story. Eager to make a quick buck on the success of its predecessor, 2 Fast 2 Furious was quickly thrown together and what came out is a mess. Gone is any tension and suspense; gone is any semblance of reality; and gone, too, is any interest in the proceedings. The tired, throw-away plot, the shallow characters, the uncaring direction, and the unimpressive villain all add up to an almost insulting narrative that will turn off all but 12 to 14 year old males (and even they will find some long spots). Sure, there's lots of tits-and-ass and sleek power cars on screen to distract attention (and indeed the whole movie aims for the lowest common denominator of its target audience) but make no mistake, it's all so fake and ludicrous that audiences will get little enjoyment out of it. Even the steamy Miami setting, and all the gaudy clothes and colors, makes it all feel like a comedy more than an action flick. The real fun to be had here, of course, is the high-powered street racing sequences and the movie works these pretty well with lots of excess CGI effects and dynamic camera shots. Too bad that there aren't more of them, and that without the necessary emotional payoff even these lack any sparkle. Director Singleton (who started his career with the powerful Boyz N The Hood) seems to have forgotten what makes a good movie, and his latest Hollywood flings (such as Shaft) have been lacking of any drama or interest in the material. Co-lead Gibson, at least, provides some much needed energy and lifts the movie up a notch. As for the rest of the cast, the less said the better. The movie feels like a strung up made-for-TV movie , and quickly becomes a parody, plain and simple - problem is, the filmmakers didn't notice or just don't care. If you're in need of another street car fix, go see The Fast and The Furious again, and leave this wreck of a movie in the ditch.
Entertainment: 3/10

3-Iron (2005)
Starring: Hee Jae, Seung-yun Lee
Director: Ki-duk Kim
Plot: A young drifter who breaks into temporarily vacated homes to live in them for a few days chances upon a woman who is looking to escape her abusive husband.
Review: A low-key Korean drama that wallows in its own quirkiness, 3-Iron is a kind of romantic fairy-tale with an adult twist. Having found a kindred spirit in each other, the two main characters barely speak throughout the movie, leaving their emotional communication to silent understandings and meaningful looks. This minimalist take is followed through with the film itself, a film that is on occasion slow going but always quite engaging, and nimble enough to avoid sentimental part-falls yet manages to be quite affecting. Director Ki-duk Kim (who also did the beautiful Spring, Summer, Fall, Winter... and Spring and the violent Bad Guy) is an unpredictable director and here he's managed to achieve a delicate, poignant tale of a bizarre love. Along with some touching moments and some careful, clever scenes that leave a lasting impression, there's also a good sense of humor mixed in with the drama (as the title suggests, the young hero has an unexpected killer swing). Yes, the depiction of the victimized trophy wife who needs a knight to save her isn't exactly a role model, but it does depict the a social reality of male-dominated Korea that has not yet disappeared. The ending is open-ended, bordering on mysticism and will undoubtedly engender some discussion - does the film's last scene indicate a woman empowered or imprisoned? No matter, the message in 3-Iron isn't so much that love works in mysterious ways, as people will find strange ways to keep their love, and for that it's worth a look.
Drama: 6/10

9 Deaths of the Ninja (1985)
Starring: Sho Kosugi, Brent Huff, Emelia Lesniak
Director: Emmett Alston
Plot: Two anti-terrorist agents, one a Ninja the other a commando, must save a busload of tourists who have been kidnapped by Philippine terrorists led by a wheelchair-bound Nazi.
Review: Hoo boy, where to start with the absolutely horrid martial arts flick that is 9 Deaths of the Ninja, the Plan 9 From Outer Space of Ninja films? This is, from start to finish, some of the cheesiest stuff ever put to celluloid - and it knows it. To say this was the most popular Ninja genre flick of the '80s is saying something of the genre and the decade. Serious thrill seekers or action fans should avoid this entry like the plague. Veteran Z-movie audiences might get a few chuckles or groans at the low-brow inventiveness and ridiculous excesses found herein: horrid action scenes, kung-fu dwarves, red-neck terrorists, exploding arrows, cardboard ninja stars... To be fair, the film does everything in its power to keep its audience from being bored, and it works. However, the acting is terrible, the plot unbelievably silly, the dialogue groan-inducing, and the characters so dumb it's amazing this was ever green-lighted to be made. It's also a terrible display of Kosugi's abilities with fights so badly realized that it's embarrassing. As entertainment 9 Deaths of the Ninja is horrible, but for pure campiness it can't be beat.
Entertainment: 2/10

*Classic* 12 Angry Men (1957)
Starring: Henry Fonda, Lee J. Cobb
Director: Sidney Lumet
Plot: A dissenting juror attempts to convince the rest of an antagonistic murder trial jury that the case against a working-class youth is not as clear-cut as the trial appeared in court.
Review: Based on the play by the same name, 12 Angry Men is a hands-down classic of the genre. Though often called one of the best courtroom thrillers, we never see the actual trial; the narrative plays out the heated jury deliberations in real-time instead, and its terrific stuff. Though the affair can't help but be manipulative, setting up people with extreme views against one another for dramatic purposes, the dialogue is punchy, the atmosphere sweaty and tense, and the deduction / detective work being done behind closed doors is downright enthralling. Sure, the narrative is presented in a very theatrical manner: not only is the script faithful to the original stage play, but the film also plays out like a made-for-TV adaptation, a media that was becoming quite popular at the time. However, first-time director Lumet (who went on to a successful career with films like Fail Safe, Network, and Dog Day Afternoon) keeps the direction focused on the case and the various personalities, and shoots the film to make the most of the claustrophobic spaces. Of course it helps to have a stellar cast, many of whom became quite popular in TV land. They're all overshadowed however by top-billed leading man Fonda who, playing to type as the sole beacon of reason, slowly turns the jury to the truth. If there's one film that proves that a good script and able direction should be king, the tightly-paced 12 Angry Men is it.
Drama: 8/10

12 Monkeys (1995)
Starring: Bruce Willis, Madeleine Stowe, Brad Pitt
Director: Terry Gilliam
Plot: A survivor of a plague that has decimated humanity is sent back through time to 1996 to observe for clues that may help find a cure in the future and ends up miggling with an animal-rights group that may have unleashed the virus.
Review: Largely based on Chris Marker's classic short film La Jetée, 12 Monkeys combines an intelligent story that's a little more complex than your average matinee with sci-fi thriller themes, some grim atmosphere and the uniquely imaginative vision of director Terry Gilliam (Brazil, The Fisher King). In fact, more akin to a dark fantasy than a thriller in both tone and mood, it's also one of the better science-fiction films of the decade. Though his usual splashes of color are more subdued here, Gilliam's talents as a film-maker and his great visual style are still in evidence, none more so than the scenes when freed zoo animals run around the city. What's interesting here is that the "anti-hero" is not sent to change time but to observe it. He quickly gets caught up in a somewhat cliché sanitarium sequence, but one which brings up a certain ambiguity to the film - as seen for the most part from the point of view of what might be a delusional protagonist which part is real and which is not? Another interesting aspect is that this is a very atypical Hollywood product: it's darkly humorous without being tacky, it has adventure without the use of special effects or action sequences, and it never dumbs down its narrative. In all, a rather mature, fun effort from all involved. Though Stowe does a fine job with her role, and Willis manages one of the better performances of his career as the anti-hero forced into service, it's really Brad Pitt who steals the show as a twitchy, schizophrenic mental patient in an Oscar-nominated supporting role. All told, 12 Monkeys is an engaging, smart piece of apocalyptic entertainment.
Entertainment: 8/10

The 13th Warrior (1999)
Starring: Antonio Banderas, Diane Venora
Director: John McTiernan
Plot: An Arab ambassador finds himself side-tracked from his travels and joins a band of Viking warriors against a seemingly supernatural enemy.
Review: Based on the Michael Crichton novel "Eaters of the Dead" and directed by John McTiernan (Die Hard, Hunt for Red October), The 13th Warrior is a typical story of courage and adventure set in a mythical time. It's not an epic-battle film like Excalibur or Braveheart, nor is it trying to be. It's a decent, straight-forward plot, with an interesting setting and some good (if underdeveloped) characters. The landscapes are beautiful, the cinematography is excellent, the production values are high, the battle sequences intense, and the cast, especially Banderas, put in solid performances. Though the expected fantasy elements of the film quickly disappear and some of the potential of the film is wasted, The 13th Warrior is still a good old-fashioned rousing adventure.
Entertainment: 6/10

15 Minutes (2001)
Starring: Robert De Niro, Edward Burns, Kelsey Grammer
Director: John Herzfeld
Plot: A media-savvy cop and an arson inspector follow two Eastern European criminals who have come to the U.S. and started a killing spree, all captured on video tape, that they plan to sell to the American media.
Review: 15 Minutes, taking its title from Warhol's prediction of fame's real timeframe, wants to be an indictment to TV sensationalism, bundled in a typical crime thriller coating. There are some brutal, powerful moments here, such as the depiction of the killings themselves and the public reaction to the media coverage of a cop's brutal slaying, and director Herzfeld always manages to keep things moving along. The story does have something to say about media relations, but the film just doesn't know how best to say it. In fact, it doesn't even know what it wants to be: a thriller? a black comedy? a satire on the ratings-crazed media? Unfortunately, one can never tell with the mix of genres colliding constantly, from the typical cop "buddy" pic, to the romantic, to the melodrama. Unlike other films that tried to portray the same message such as Network or Man Bites Dog, Herzfeld falls into the same trap of sensationalizing events that the film wants to denounce - and it doesn't help that much of the story is convoluted and clichéd. That, and the whole theme of shlock journalism only really rears its head in the last act of the story. Worse, to ensure that audiences don't go out of theaters depressed, there's a clean, mainstream-satisfying resolution that makes sure that audiences will forget any of the stronger points made. The actors playing the two East European killers are mesmerizing and intense and are the real stars, running around and acting more like violent, demented clowns, with a good portion of slapstick punctuating their calculated, murderous spree. In contrast, De Niro and Burns are rather lifeless and barely sympathetic, despite some decent dialogue between them. 15 Minutes has style, and as entertainment it's not bad, but it lacks the core substance one would have expected from the subject matter.
Drama: 5/10

16 Blocks (2006)
Starring: Bruce Willis, Mos Def, David Morse
Director: Richard Donner
Plot: A burnt-out New York detective assigned to escort a witness to a courthouse 16 blocks away finds his task more deadly than expected when dirty cops afraid of prosecution decide to kill his charge.
Review: If the premise of 16 Blocks is interesting, the execution - alas - is a bit pedestrian. Though veteran director Donner knows how to competently construct this kind of action-thriller, coming from the man who gave us the modern buddy-movie classic Lethal Weapon and all its sequels, it's a bit of a disappointment. One issue is the uneven pacing; the action bits are fine, including some gunplay, a city bus chase and lots of running around, but though it's all meant to somewhat play in real-time there's never that sense of urgency or panic, and even the suspense bits seem too planned out. To be fair, this is all entertaining enough to pass the time and there are some exciting moments, but a tighter script that didn't rely so much on the familiar clichés, bad dialogue and tired genre concepts would have worked wonders. There's also little in terms of substance to really make us care for the protagonists, and their connection seems vague to say the least. However, making the most out of limited dialogue Willis really impresses as the cynical, burnt-out cop, making his flawed character deeply sympathetic and believable. Mos Def, playing a naive, idealistic small-time thief is ok, but nowhere near as interesting a character. The pairing might remind one of 48 hours, but without the humor or chemistry. Still if 16 Blocks won't long be remembered but it's good enough to merit a late night showing.
Entertainment: 5/10

24 Hour Party People (2000)
Starring: Steve Coogan, Lennie James
Director: Michael Winterbottom
Plot: From a Sex Pistols concert to the rise of techno music - an account of the influence of the independent label Factory Records and its founder on the British New Wave and the Manchester music scene.
Review: Half-factual, half-fictional account on the Manchester music scene from the punk influences of the late 1970s to the early techno beats of 1990s, 24 Hour Party People is in essence an ode to the 1980's New Wave. The story follows larger-than-life impresario Tony Wilson, the creation of focal-point La Hacienda, and the rise and fall of his record label Factory Records which brought to the world bands like Joy Division (which morphed into New Order) and Happy Mondays, bands that deeply influenced European pop music. Much like the way the characters' life is portrayed, the movie presents a social circle who's existence is one big drug-induced music trip full of strobing fluorescent lights, packed dance floors and a soundtrack that is, of course, excellent. It's unfortunate, then, that there's not enough substance to be had in this chronicle, with large parts of the film recreating the sense of the club / rave scene, leaving the best moments to be told in narrative. Though it contains some fascinating details on the music, all the players are kept at a distance, unknown and unknowable. Even the band members barely make a substantive appearance, save for Ian Curtis perhaps who comes off as a strange, paranoid guy; but though the facts behind the suicide of the lead singer are evident the reasoning is never explained. For most of it, however, director Winterbottom keeps the film awash in 80's style and virulent decay, keeping up a narrative that's extremely self-referential and full of very British humor. In fact, comic Coogan - who does a terrific Tony Wilson as a self-absorbed TV personality who went out on a limb for Manchester music - breaks out of character often, acting as our guide, often turning to the camera to adds telling details about the era or the movie itself. For anyone who lived through these times, 24 Hour Party People is a nostalgic retro trip - for everyone else it remains an amusing, interesting document on the Manchester music scene.
Drama / Entertainment: 6/10

28 Days Later (2003)
Starring: Cillian Murphy, Naomie Harris, Brendan Gleeson
Director: Danny Boyle
Plot: A bicycle courier wakes up in a deserted hospital from a four-week coma only to realize that a virus has spread a rage across the UK turning everyone into crazed blood-thirsty killers.
Review: In part an homage to the zombie films of yore (Dawn of the Dead, etc), in other a flashback to that era's post-nuclear dramas (Omega Man, The Quiet Earth), 28 Days Later elevates the material from geek-fodder to movie connoisseur level - and that's a good thing. The fear of a biological terror decimating entire populations is one that has become pervasive in modern times, more so than nuclear annihilation, and the film plays well to those fears, as well as the fear of the "other". It doesn't help, too, that for all their cannibalistic, murderous tendencies, these aren't your typical zombies - for one, the creatures are infected, not dead, and for two they're fast, really fast, making them all the more dangerous. The script by novelist Alex Garland feels quite familiar to any zombie-movie converts, but there are some clever twists on the usual themes and conventions. Most interesting, however, is how realistically it captures the best and worst of those few survivors trying to etch another day of existence in extreme circumstances. And the tension is palpable, as is the sense of paranoia when facing both the living and the infected. A large part of that rests on director Boyle; best known for his stylistic, tense dramas like Trainspotting and Shallow Grave, he brings his talent for tense human drama while showing great mastery for the genre, imbuing the film with that so-important feeling of paranoia and dread. There's also a surprising nastiness and suddenness in the violence, one that thankfully doesn't play to the self-conscious voyeuristic gore of the genre, and works all the better for it. Not that there isn't the occasional black humor, such as a Church graffiti reading "the end is extremely fucking nigh", among others. One item of special note is the opening sequence, with eerie scenes of a desolated, empty London; making the city seem like a graveyard in broad daylight is in itself an amazing feat, and all the more impressive in that little special effects were used. Boyle's decision to shoot on video, however - aiming for a gritty, more intimate look, perhaps - doesn't always work in the movies favor, but that's really a forgivable flaw once audiences get really involved in the plot. As for the cast, led by a note-perfect Murphy as the lost protagonist and helped by thespians such as Gleeson, they're convincing enough adding much credibility to the far-fetched plot. 28 Days Later may not be the most original horror flick ever but with its solid plotting and tense direction it's a nice addition to the select few zombie films that are really worth watching.
Entertainment: 7/10

32 Short Films About Glenn Gould (1994)
Starring: Colm Feore, Gale Garnett, David Hughes
Director: Francois Girard
Plot: Acclaimed Canadian pianist Glenn Gould is portrayed in a series of short vignettes highlighting his life, works, and eccentric nature.
Review: 32 Short Films About Glenn Gould is more than a film on music, and more than a simple biopic. Instead of presenting a life and providing a linear biography, the film instead tries to give insight into the personality, the very character of the man behind the music. There are indeed thirty-two short films here, with a great variety of narrative style between them. Some of these segments are performed as docu-dramas, some are only interviews of friends and acquaintances he left an indelible mark on, some are re-enactments of revealing moments in his life, while others are completely experimental pieces of filmmaking inspired by the music, all accompanied of course by Gould's impeccable playing. Structured to parallel Bach's Goldberg Variations, Gould's most famous recording, each short film is quite enjoyable on its own, and gives a small perception of who Gould, the man, was. Well conceived, imaginative, and thoughtful, the film shows a brilliant, charismatic and very eccentric character who was keenly aware of his music and of the events around him. Director Girard (The Red Violin) doesn't claim to understand his subject or know his secrets, but in 32 Short Films he has created a fascinating film that brings out the passion and intimate relationship one can have with music and the world around us.
Drama: 8/10

48 Hrs. (1982)
Starring: Nick Nolte, Eddie Murphy
Director: Walter Hill
Plot: A maverick detective releases and teams up with a young conman to try to find two violent escaped convicts who killed his partner and are now on a crime spree.
Review: 48 Hrs marks one of the highlights of the '80s high concept cop-buddy movies, and for the most part it deserves its mark as a classic comedy / thriller, one that has since been much imitated. One of the reasons for its original popularity, perhaps, is that it's foul-mouthed and violent for the pure sake of it. Sure, the plot is as derivative as these type of Hollywood films get, and the crime or action elements aren't anything to write home about. However the script manages to put its focus on the characters, and the film is at its best when playing up the squabbles and rivalry between the two reluctant partners. Indeed, it all works thanks to the palpable charisma and chemistry between its two stars. The young Murphy was at his prime here and as charming as he would ever be, and the gruff Nolte plays his foil in the tough guy role to perfection. The no-nonsense directing by Walter Hill (who went on to milk the mix-and-match cop buddy movie with films like Red Heat) also provides some professional polish to the whole breezy affair. On repeat viewing, 48 Hrs appears a tad dated, perhaps, but it's still an entertaining outing.
Entertainment: 7/10

102 Dalmatians (2000)
Starring: Glenn Close, Gerard Dépardieu
Director: Kevin Lima
Plot: A reformed Cruella De Vil is released from jail and opens a dog shelter to atone for her past, but her obsession for a Dalmatian fur coat comes back to the fore to threaten a new generation of cuddly puppies.
Review: 102 Dalmatians is, in a word, a poorly-made sequel to the live-action version of 101 Dalmatians. The animals are cute and well trained, but remain without personality, and the animal antics so evident in the first film are non-existent here. The one exception is the parrot who thinks he's a Rottweiler, voiced by Eric Idle, who steals every scene and easily has the best lines. Dépardieu is embarrassingly miscast and foppish in another senseless American movie role. Indeed, of the human characters, only Close seems to have any real personality and her marvelously flamboyant, over-the-top performance and constant costume changes are the only redeeming points of the film. Worse of all, there's nothing here that hasn't been accomplished far better in the previous live-action film, without even mentioning the original Disney animated feature. The story is bland, the script lacking in comedy or wit displayed previously, and the romantic sub-plot is plain boring. There are some redeeming moments, though, such as the scene where Cruella sees London in spots, or the occasional homage to past Disney animations, but there aren't nearly enough of them to keep the film afloat. 102 Dalmatians ends up as a useless, dull family sequel that provides little fun or entertainment for either adults or children alike.
Entertainment: 3/10

300 (2007)
Starring: Gerard Butler, Lena Headey, David Wenham
Director: Zack Snyder
Plot: In Ancient Greece, King Leonidas leads 300 Spartan soldiers into battle against the vastly superior invading Persian army.
Review: Based on Frank Miller's graphic novel about the Battle of Thermopylae in 480 B.C., 300 is a buffet of stunning visual artistry and blood-strewn confrontations, a film that is operatic in its grandiose emotional excess. Much like Sin City before it, Frank Miller's very polar, macho universe is brought to the screen with impressive results - the visuals are superb, the CGI backgrounds duplicating the imagery of Miller's work, each image a beautiful shot given motion. This is eye-candy from the first shot to the last, and the imagination will make those who get caught in the film's web giddy with excitement. The paper-thin story holds together well, and though it's obviously too shallow to make for a convincing account of the battle one shouldn't be expecting historically accuracy from this sort of mainstream product. And with all its fantastical creatures, mutants and costumed swordsmen this is a tale clearly told in Homeric terms. But the film's real selling point are the myriad in-your-face battle scenes (some would say the entire film is but one extended battle) all expertly choreographed and glorious in their excessive, cartoon-like violence, with limbs and heads flying about with abandon. Director Snyder cut his teeth with the zombie genre in a solid Dawn of the Dead remake, and here he takes a bold leap forward - the story-telling is old school, but the methods are wholly modern, putting clear attention on capturing faithfully the look and feel of the comic medium. Though there was little intention to make a political statement, it's no surprise that there seems to be brewing resentment among Iranians for what is being labeled as racist overtones in its portrayal of the Persians; the invaders are all either deformed, or barbarous, or simply monstrous, to provide that fear of the "other", so alien as to be obviously evil compared to the aryan-like Spartans, honorable men who spew modern values of justice and freedom in perfect, short sound bites. In fact, all the characters are over-the-top caricatures of what would pass for real people, all screaming the one-note dialogue, and none better than the buffed-up Butler as the Spartan king emoting to the beefcake on display (did we mention the Spartan soldiers only wear loincloths?). If 300 comes off as an ode to War, what with its hyper-real violence and greater-than-life ideals, its goal was probably more to bring about a visual feast and in that it succeeds marvelously; for good and bad, this is cinema distilled to its purest, most visceral level.
Entertainment: 7/10

*Classic* 2001: A Space Odyssey (1968)
Starring: Keir Dullea, Gary Lockwood, William Sylvester
Director: Stanley Kubrick
Plot: After discovering an alien monolith on the Moon, a secret manned-mission using an artificial intelligence-controlled spacecraft is dispatched to Jupiter to find answers.
Review: Director Kubrick (Eyes Wide Shut, Paths of Glory) and legendary SF author Arthur C. Clarke broke all the rules when they created their vision of the ultimate science-fiction adventure, 2001: A Space Odyssey. The narrative is cold and distanced, set to a slow, deliberate pacing, all of which pays off admirably in the end, relaying the insignificance of Man when compared to the vastness of space. Though lacking in mainstream "thrills", it's a film that seeks to inspire awe and promote contemplation. The terrific script never tries to steer its audience to any clear-cut answers as to what is really going on, instead focusing on its visually stunning journey and allowing each of us to take from it something different. The film is full of memorable moments - the first monolith appearing to our ape-like ancestors, the HAL computer's rendition of "Daisy" sung while losing its mind, and the final psychedelic trip beyond the stars, amongst many others. The most famous protagonist is undoubtedly HAL, the artificial intelligence that brought the ambiguities of the original Frankenstein monster to our new high-tech information age. As for the human characters they are secondary to the story and the ideas being expressed, though Dullea and Lockwood make for a convincing pair of astronauts. The spectacular cinematography and the excellent visuals are always impressive, giving the film an epic scope. The Oscar-winning special effects are still state-of-the-art with a meticulous attention to detail evident throughout, all of which form a grand, believable vision of the near-future. The choice of classical music to accompany some of these long, stretched-out moments was a good one, and the background audio that enhances the subtlest sound intensifies the tension and suspense. Brought to life by a master filmmaker, its sweeping epic tale, its philosophical implications, and its spectacular effects easily make 2001: A Space Odyssey the most visually stunning, mind-bending, influential and yes, even moving, science-fiction tale ever created. (Check out the extended review!)
Science-Fiction / Drama: 10/10

2046 (Hong Kong - 2005)
Starring: Tony Leung, Gong Li, Ziyi Zhang
Director: Wong Kar-Wai
Plot: Having left Singapore to become a second-rate journalist in Hong Kong, a man turns to writing pulp science-fiction tales of love and loss using the women around him as subjects.
Review: A loose sequel to writer / director Kar-Wai's masterful In The Mood for Love, 2046 is like a "take 2" of the previous film re-examining Kar-Wai's usual motifs of longing, nostalgia, memory and impossible love. With all the sadness and human failings of its predecessor it also embodies the apotheosis of it, its characters replacing carnal passion for unrequited love. Despite their intimacies, the characters are but strangers to each other, passing in the night. Half improvised and perhaps never quite completed, the narrative often feels like it grew organically, with no specific goal in mind. Because of that there's little real story here, and once again the style of the telling is all which makes it so effective. If it often feels mightily self-indulgent and long, there's no denying the power of each scene and the efforts that went into capturing the sorrow, sadness and longing of its characters for that elusive thing called love. In fact, the deliberate pacing allows for some lavish style and texture, and mood is everything, with the bittersweet "atmosphere" of nostalgia and heartbreaks oozing from every scene. It helps that the director's long-time associate Christopher Doyle once again exquisitely captures the many close-ups and intimate poses with his careful, gorgeous cinematography. Of note are the future tales of impossible love being penned by the protagonist - its future denizens android versions of his real-life consorts, their actions a metaphor for their follies - all brilliantly visualized in moments that recall 60's kitsch like Barbarella. The cast, of course, have much to add: shy and introverted in the first, Leung is now a charmer, a ladies man - despite his womanizing ways, Leung has a sadness about him. The women who come in and out of his life are played by some terrific actresses, including Ziyi in a touching role as a call girl, and an almost cameo-appearance by Gong Li as a professional gambler, but it's little-recognized Faye Wong that surprises most in an innocent role. Though not quite the masterpiece of its predecessor, 2046 is a gorgeous, tragic romance that leaves an indelible impression even as the details slip from memory as the film comes to a close.
Drama: 7/10

3000 Miles to Graceland (2001)
Starring: Kevin Costner, Kurt Russell, Courteney Cox
Director: Demian Lichtenstein
Plot: Back-stabs and crooked dealings ensue after a gang of five violent thieves rob a Las Vegas casino hosting a convention of Elvis impersonators.
Review: From an interesting premise, that of mixing a heist movie with John Woo action pieces and Elvis nostalgia, 3000 Miles to Graceland quickly descends into a cliché-ridden, mean-spirited mess that defies any sense of good taste. The attention span of the film is incredibly short, throwing elements into the story to keep its audience's attention but to no avail. The movie is also shot in a frenetic fashion with various unrelated experimental effects that would be better suited to a series of music videos than film. As if that's not bad enough, the actors chew through their lines, the directing is half-baked, and the action scenes - filmed in slow-mo to extend already too-long gun fights - are just ridiculous and quickly become downright boring in their violent, bloody excesses. The script is also dumb, confused and pointless, never giving any of the vapid characters any sense or motivation. In fact, Costner's role has him swerve from honorable bad guy to evil sadist in a flash, while Russell (who might have been keen on putting on Elvis garbs once again) just seems flaccid. As for Cox, this is a definite step backwards in her career. The real question becomes how could such a solid cast end up doing such a dud? Yet though it often crosses over to the tedious, the extended violence and absolute ridiculousness of the entire proceedings keeps our attention, if only to see how much worse the film can get. Long-winded and unsympathetic to the extreme, 3000 Miles to Graceland is a curiosity at best, one that stands as an example of how to alienate just about any audience.
Entertainment: 2/10