Once Were Warriors

Once Were Warriors [1994]

Director: Lee Tamahori
Actor: Rena OwenTemuera MorrisonMamaengaroa Kerr-BellJulian ArahangaTaungaroa EmileCliff Curtis


.: Synopsis

A very raw and visceral film about Beth (Owen) and Jake (Morrison), two Maori no longer living among their tribe due to the elders disapproving of their union. Beth was a special girl, offered the blessing of the elders, which happens only once a generation, and Jake a descendent of a long line of former slaves. Their life sees high highs and low lows as they live in poverty and general dissatisfaction. They have several children together; Nig (Arahanga), the eldest son, who is reluctantly seeking for opportunities within the local Maori gang. Grace (Kerr-Bell), the eldest daughter, is a young and intelligent girl, and is the only one in the family that shows any academic interest. She’s also the one that takes care of the younger kids. Boogie (Emile) is still a young boy who is basically good at heart but is hanging out with the wrong people. And then there are Polly and Huata, the two youngest kids. They live in dilapidated, government subsidized housing along the highway.

Jake has a violent temper, especially when he drinks, and he drinks a lot, often inviting his friends back to his house to continue the drinking and singing when the bar closes. All the while the kids to lie awake listening to the drunken debauchery downstairs, unable to sleep. Beth is hardly a saint, she drinks, too, and while she’s clever, and generally doesn’t agree with her husband, she’s susceptible to his charms and to the partying, and so eventually gives in and enjoys the debauchery as much as her husband does. She’s dissatisfied with her life, though, and the dissatisfaction deepens when Jake announces he’s quit his job since the dole (social security) pays out only 17 pounds a week less than his wages. She’s what Jake calls a “smart-mouth,” and she regularly gets on his nerves to the point that he severely assaults her, and when she voices her dissatisfaction with him quitting his job, he puts his hands on her.

Severely bruised and beaten up she misses Boogie’s court-date and he is placed in a boy’s home run by a fellow Maori, a strong, old man who teaches him the depth and ways of the tribe’s traditional ways. He even goes so far as teaching him the Maori martial art, dance and songs. Meanwhile, Grace is deepening her connection with her best friend, an orphaned, homeless, Maori boy who lives close by in an abandoned car underneath an overpass.

.: Spoilers
One night, as Jake’s friends have loaded up with liquor and have demolished the house with their partying, one of Jake’s best friends, Bully, who has known Grace all her life, sneaks into her bedroom and rapes her. Grace runs away from home and joins her friend underneath the overpass, smoking weed to forget about their problems, he kisses her, and she misunderstands the gesture as a sexual advance (which it wasn’t) and she freaks out, saying that he’s just like everyone else. She wanders the city for hours while Beth is looking for her (and Jake is once again partying at their house, not really caring that his daughter is gone.) When Grace once again returns to the house, she’s confronted by her father and his friends, all drunk, and “Uncle Bully” asking her for a kiss, like he used to do before he raped her. She refuses, and her father almost assaults her for her disrespect. She runs out when Jake’s friends manage to calm him down, and she goes into the backyard where she hangs herself. When Beth returns Jake dispassionately tells her that Grace came back and went out the back again. When Beth goes into the backyard and discovers Grace hanging from a branch of a tree, Jake is paralysed, and once again his friends are the ones that act, helping Beth cut her down from the tree.

All of this gives Grace enough strength to defy Jake, determining that Grace should be buried on tribal lands. Jake refuses to go back to the tribe, and refuses to attend her funeral. The funeral is very nice, with Boogie and his group performing a special Haka (tribal dance) to commemorate Grace’s passing, and indicating how he’s grown and matured. Jake is at the local bar with Bully and another friend, who both tell him that it’s not too late to attend his daughter’s funeral. He refuses, and instead continues to drink himself into a stupor.

After the funeral, Beth heads home with her children, as well as Grace’s best friend to enjoy some food together. One of the kids asks for Beth to read from Grace’s notebook – a book she carried around in which she wrote her stories, indicating that she wanted to write a book one day. When Beth enthusiastically opens the notebook to read from it, she finds Grace’s final words, explaining how Bully raped her, and how she couldn’t live with what happened. Furious, she lets Nig take her to the bar where Jake is still drinking, to confront Bully. When Bully denies the accusations, Jake angrily intervenes on behalf of his friend Bully. Nig steps in, protecting his mother from his father and urging him to read the book. When Jake does so he realises the truth and takes out his wrath on Bully. (Not pretty.)

All of this gives Beth enough strength to finally leave her bleak life, take her children and return to the tribe.

.: Opinion
It doesn’t happen very often that I write such a synopsis of the entire film, and it should be taken as a good indication of how moved I was by this tale. Don’t get me wrong, the quality of the film isn’t very good, especially the acting and dialogue, but the story is a moving one. Rena Owen has a weird gift to appear stunningly beautiful, yet damaged and worn out at the same time. Temuera Morrison is tough and pathetic, and Julian Arahanga is a big paradox as well. There’s no hero in this film, no person that you could offer your support to, which makes the watch rather unpleasant, even without all the acts of depravity and violence.

Also, from what I understand, the lower-class Maori in New Zealand often live in poverty and without much chance of escaping the violence, poverty and alcoholism that runs rampant through their society. Interestingly enough, these are the same problems that the Aboriginals deal with in Australia. Coincidence? Probably not.

The Dark Knight

The Dark Knight [2008]

Director: Christopher Nolan
Actor: Christian BaleHeath LedgerAaron EckhartMichael CaineMaggie GyllenhaalGary OldmanMorgan FreemanEric RobertsMichael Jai WhiteCillian MurphyAnthony Michael HallWilliam FichtnerJim Priz

When Batman Begins came out, it was a break from the campy direction that the Batman franchise had taken since Tim Burton stopped working on it. It was already getting close to a gothic fantasy, which Burton is wont to do, but once Joel Shumacher took over and made Batman Forever (Batman 3) and Batman & Robin (Batman 4) the movies really started to suck real hard. It took roughly a decade before they decided to try it again, this time with Christian Bale in the lead, playing Bruce Wayne and his vigilante alter ego Batman. As you can read in the Batman Begins review linked above, I really, really liked it, even though the storyline was a bit chaotic. Imagine my surprise when they got a great storyline, with a fantastic villain!

That villain is The Joker, played, masterfully, by Heath Ledger, a then young and budding method-actor who sadly, shortly after finishing the film passed away from an overdose prescription medication. It’s sad because they did a hell of a job in setting him up to become a regular and appealing nemesis to Batman. In short, his performance is brilliant; from his voice and demeanor, down to his mannerisms, like obsessively licking his lips while he talks, making him at the same time kind of gross as well as eluding to some complication resulting from the massive scaring on his face. Oh, let’s not forget the delivery of his several explanations of his scars, each different, but each told with an almost moving ring of truth to them.

I also liked The Joker’s motivation; chaos. Not greed, not revenge, not malice. No; chaos. In response to a question of money, he says; “See, I’m a man of simple tastes. I like dynamite, and gunpowder, and gasoline! Do you know what all of these things have in common? They’re cheap!” He doesn’t need anything, and therefore material gain or any absolute ideology is not what drives his actions, which makes him all the scarier as a villain because he doesn’t follow a predetermined, cookie-cutter, formulaic course throughout the story.

Storywise, the film is simple and straightforward, without too many frills, which, after Batman Begins, was exactly what I was hoping for. The story is solid and well thought-out, and basically sets up a long-lasting rivalry between Batman and The Joker, which sadly won’t come to fruition with Ledger’s untimely death. The Joker comes to town and steals large sums of money from a mafia-run bank. He does this to verify a ruse set up by Gordon (Oldman) and Batman, who have lightly irradiated money and put it into circulation among the criminal enterprises in order to identify the banks that they use in order to launder their money. Once The Joker learns this, he approaches several crime syndicates; the Blacks, the Russians, the Italians, etc. He explains to them what Batman and Gordon are up to and proposes that in exchange for half of their money he’ll kill Batman and secure their funds for them. This is how his reign of terror in Gotham starts, while chief district attorney Harvey Dent (Eckhart) is busy collaborating with Batman in order to convict all the crime bosses.

And there’s the Harvey Dent hook. Dent, played by Aaron Eckhart, is considered a hero in Gotham, much like Batman is considered a hero. Many similarities exist between Dent and Batman, but there’s one big, defining difference; while Dent is the public hero, Batman is the vigilante hero. Dent rules the day while Batman rules the night. Dent is the White Knight of Gotham, and Batman is the Dark Knight of Gotham. And guess what? They both vie for the love of the same woman; Rachel Dawes, this time played by Maggie Gyllenhaal instead of Katie Holmes, who turned down the opportunity to reprise the role after Batman Begins.

Spoiler Alert
One of the things I didn’t like about the film was the fact that they go through great lengths in order to create this villain; Harvey Two-Face, giving him a great backstory and well fleshed out personality, only to let him die off near the end of the film. Considering Ledger’s death, it would seem even better to keep Two-Face alive, in order to give Batman a recurring villain to combat. Personally, I was a little surprised and disappointed at the fact that Scarecrow only has a small, walk-on cameo on The Dark Knight, and perhaps it’s best that Two Face died, because perhaps he’d be relegated to the same cameo-roles in future movies. Still, I considered it a missed opportunity.

And, of course, let’s not forget that Big Jim had a small, but very visible role as an extra during Wayne’s fund-raiser for Harvey Dent! It’s not hard to spot him if you know what Jim looks like, but being the only one cheering.

Doomsday

Doomsday [2008]

Director: Neil Marshall
Actor: Rhona MitraBob HoskinsAlexander SiddigMalcolm McDowellDavid O’Hara

What can I say about Doomsday? It’s British and it’s good, reminiscent of Dog Soldiers, but only in terms of Britishness and quality. It’s kind of what 28 Weeks Later should’ve been, but wasn’t, a post-apocalyptic urban jungle with Mad Maxian brutality.

Early 21st century a disease breaks out in Glasgow, Scotland and spreads rapidly across the Scottish peninsula. The old roman wall between Scotland and England is once again erected, only this time a lot higher. Scotland is isolated and the disease contained. Sort of. 2035 rolls around and the facist English government is confronted by a starting epidemic. They decide to send a team of military specialists and scientists over the wall. You see, for three years, orbital sattelites have been taking pictures of people in the streets of Glasgow, survivors where before there were none. The team under the leadership of Marjor Eden Sinclair (Mitra) is sent to Glasgow to find Kane (MacDowell), a scientist and arguably the person with the most knowledge of the disease before the quarantine. If Kane is still alive, it’s likely that he has figured out a cure. The team finds survivors, a lot of them, but all of them are Mad Maxian savages with a thirst for violence.

It’s a good, very well-produced movie. It’s not Oscar material, but it’s a solid one.

Iron Man

Iron Man [2008]

Director: Jon Favreau
Actor: Robert Downey Jr.Terrence HowardJeff BridgesGwyneth PaltrowJon Favreau

Iron Man is the next in a long procession of movies based on characters in the Marvel comics universe. Some of these movies were pretty good (X-Men, X2), and some were pretty bad (the rest). One of the things that takes away from these movies is the notion that all of them must develop into mega-movie franchises, and so they’re entirely geared up towards that. The stories are written in such a way that they can be picked up, which is fine if it actually does get picked up, but if it doesn’t, then I start to get irritated by the high number of loose ends in the initial film. Also, to set up a franchise costs quite a bit of money, and in order for there to be sufficient return on investment they try to make the movie appeal to everyone, effectively turning it into a family movie, leaving the option open for action figures and lunch-boxes. I could go on listing the reasons why a movie that is supposed to be a deliberate franchise is usually a flaming bag of dogshit, but I’ll leave it at this and conclude that usually they don’t really appeal to me. Iron Man, in all its attempts to set up a massive mega-movie franchise, was actually quite fun to watch. And before you jump down my throat while reading the rest of my review, I said it was fun, not good.

Tony Stark (Downey) is a sexy, rock and roll, billionaire, genius, engineer-slash-CEO of Stark Enterprises, a massive multinational, primarily developing and manufacturing arms. When he is in Afghanistan to demonstrate Jericho, a new missile system, to the American military, he gets kidnapped by some very determined “terrorists,” who lock him up in a cave with some other dude and force him to build them a Jericho missile. He’s a good patriot, however, and tries to resist them for, like, eleven seconds before he agrees. Nefarious little Tony decides to build a super-suite instead to bust out of his cavern prison and succeeds.

Oh, wait, let’s back up just a second; ironically, during his kidnapping he gets wounded by a shrapnel bomb, built by his own company. When he wakes up in a cave, they have installed a big electromagnet right over his heart so that the small slivers of shrapnel in his bloodstream are kept from moving into his heart, which would surely kill him. Tired of lugging a carbattery around, he decides to use the supplies given to him in order to build a Jericho missile in order to build a tiny nuclear fusion reactor instead. So while faced with his own demise, he perfects nuclear fusion…in a cave! That should be the end of the movie, since he should just go back to the real world, publish his findings and everyone would have free, clean energy for the rest of humanity’s existence, ending all war, eradicating hunger and strife.

But no. He goes back after the dude who was in the cave with him, who saved his life on two occassions, dies during Tony’s escape in his super-suite and tells him to change his life around and become a philantropist-slash-superhero.

Anyway, he’s back in the real world and immediately announces that his company will cease arms manufacturing and concentrate fully on renewable energy instead. Obidiah (Bridges), his father’s best friend and long-time advisor to Tony, gets a little pissed off at that and tries to overthrow Tony as head of Stark Enterprises. Tony is blind to this as he works day and night to build a new suite, a better suite, with working rocket boosters, elbow-lasers and airconditioning. When he’s done, he transforms into Iron Man, superhero and alround-do-gooder!

Oh, the reason why I know this is supposed to be a franchise is because of the little short extra clip at the end of the credits, which is kinda worth the wait.

Jon Favreau directed this film, which is a surprise, because I thought he was all about Indie-projects, but I must admit, considering what an empty, contentless script it was, he did a really good job. So did Downey, who basically reprised his Kiss Kiss-roll only was now that guy with a suite and money. I liked Kiss Kiss a lot, and I like seeing Downey play that goofy character. Actually, that’s exactly what made this movie fun (not good); Downey is hilarious and has great comedic timing. It never occurred to me during Kiss Kiss, though it should’ve, but he’s very funny. And to think that the first movie I ever saw him in was Weird Science. That should’ve clued me in, right? :)

Appleseed: Ex Machina

Appleseed: Ex Machina [2007]

Director: Shinji Aramaki
Writer: Masamune Shirow
Producer: John Woo

The first time I saw the original Appleseed was with Sam, by accident, because I had heard that the writer of Appleseed was also responsible for that piece of wank called Dominion Tank Police. Of course, I hadn’t realised that the guy was also responsible for all the Ghost in the Shell stuff, which is, arguably, the best damned anime I’ve ever seen. It was much like GitS in the way that it was fast-paced, gritty, mature, and dealt with some deeply philosophical subject matter. It did, however, deviate a little bit into Dominion Tank Police land, where the biggest Japanese, cultural mystery lies; their facination with the combination of super-cute and hyper-violent. It’s something that I can’t wrap my head around too well. In my experience, everything that’s hyper-violent is hardly ever cute, but those guys gobble that shit up like it’s eggs on toast. The cuter and deadlier the jailbait, the better. Anyway, Appleseed certainly had a tendecy to go there at times, but luckily they kept it to a minimum and focused more on the ravaged world, the rebuilt society, the constant threat of terrorism, and the introduction of so-called “bioroids,” synthetically generated humans, gengineered to have none of the negative human emotions, like greed, anger, jealousy, etc.

In this episode of Appleseed the story still revolves around Deunan Knute, the young, brash but gifted officer at ES.W.A.T., a paramilitary organisation working hard to keep the streets of Olympus safe in the year 2199. The world has been ravaged by decades of war and a vast majority of the world’s population has perished. In order to replenish the global population to a workable level gengineered humans, or Bioriods, are created, who are indistinguishable from humans, except that they have no propensity for violence.

Deunan’s partner at ES.W.A.T. is Briareos, a cyborg, and her lover. Before Briareos was critically injured trying to save Deunan from an enemy grenade, they loved eachother deeply but had yet to really start admitting that to one another. After that tragic incident, Briareos’ radically altered physique was always a barrier for them to get truly romantically involved. After Briareos gets injured while on a mission (see movie below), the Olympus council decide to use his genetic tissue to start making Bioriods, and the first to come off the assembly line is Tereus, who looks and acts exactly like Briareos, which confuses Deunan deeply, especially when she is partnered with him during Briareos’ recovery period.

When the Olympus council tries to get a hold of every remaining nation’s sattelite system, in order to combine it into a sophisticated network of sattelites to counter terrorism they get unexpected support from one of the largest industrial corporations left on the planet; Poseidon. One of their newest products, Connexus, a small, portable, wireless device that allows users any number of conveniences (think a VR-Blackberry on steroids), has shown some glitches and they are willing to make repairs in order to safe their corporate backsides. Secretely, unbeknownst even to Poseidon, a disgruntled employee is using these devices to link every consciousness on the planet together into one big hive-mind. Cue rapid violence and stunning visuals.

As said, the visuals are absolutely stunning. As with the first Appleseed, which wasn’t fully 3D yet, a lot of the visuals are there simply to impress the fuck out of you, and you know what? It does just that! The only thing they haven’t really mastered yet is how to make people look a) detailed, b) ugly. I’m sure that in 2199 there are some women left without a perfect 10 body and some men left with a beer-gut.

The story gets a little confusing sometimes, especially when you’re watching the Japanese version, as I did, and you’re watching it with horrible subtitles. In the end it all makes sense, logically, but the jarring things are mostly those things that are way out of proportion. A secret Poseidon laboratory the size of a city, hovering half a kilometer above the ground like some massive conglomerates of Borg ships. “Oh, I remember that place, I know where it is,” Briareos says like he drives past it on his way to work every day. Yeah, it’s a massive upside down pyramid made of Borg ships hovering half a kilometer above the ground, eclipsing the sun for miles around, I’m sure you have!

Anyway, as far as the quality of the anime, I prefer GitS, but there’s little that can touch that gem. Appleseed isn’t bad by any stretch of the imagination, but it does lack a certain depth. It has about the same depth as an average Ghost in the Shell: Standalone Complex episode, for those of you who know what that means. :)