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28 Weeks Later

Movie name: 28 Weeks Later
Year of release: 2007
Director: Juan Carlos Fresnadillo
Stars: Robert Carlyle, Rose Byrne, Jeremy Renner, Catherine McCormack, Harold Perrineau, Idris Elba, Imogen Poots, Mackintosh Muggleton
Genre: Horro/Sci-Fi/Thriller
Score out of ten (whole numbers only): 6

Synopsis:
28 Weeks Later picks up the action where the original film left off. The virus has been contained, and London starts to get repopulated, with the assistance of American soldiers. As always something goes wrong, and the killing spree begins again. This is a smartly written and directed sequel to the innovative Danny Boyle’s film, 28 Days Later.

When 28 Days Later came out in 2002, Danny Boyle and his team were trying to put behind them the flop that was “The Beach” with Leonardo DiCaprio. 28 Days Later was their vision of a bleak London/UK plagued by a virus that transformed people into ravaging zombies. Made with a tight budget and using digital video, the film was a hit and introduced Cillian Murphy and Naomi Harris to a wider audience.
The sequel was inevitable, since the success of the first film, however Danny Boyle does not return in the director’s chair (since he directed “Sunshine” in the meantime). The director chosen this time is the Spaniard Juan Carlos Fresnadillo, who made the interesting “Intacto”. The choice was a good one, because Fresnadillo manages to create a tense, intelligent film, that does not lose when compared to it’s original.
The film starts with an attack of the infected on a small cottage house, filled with a small group of survivors. Amongst them. Don and Alice, a married couple get separated, and Alice gets left behind at the mercy of the zombies, due to Don’s unwillingness to help. The story moves forward and we are introduced to the American army contingent stationed in London and in charge of getting people back in the city. Scarlet, the medical officer in charge of checking the new residents fears that the virus may come back, which is quickly dismissed by her superior, General Stone. Among the new inhabitants are Tammy and Andy, Don and Alice’s kids, who are greeted by their father upon their arrival. Hoping to visit their former house the duo find out that their mother has survived the attacks and has been hiding there. She is a carrier of the virus but she hasn’t been consumed by it, due to a genetic abnormality. When Don tries to get in contact with her, he’s infected and the rampage starts again.
28 Days Later left off with the three survivors living in a remote cottage, far away from the big cities, and that’s precisely where we find new survivors in the beginning of its’ sequel. The city os London is once again apparently deserted, but it has new visitors – the American army, that is supervising the introduction/repopulation of the city. When the new outbreak occurs, they simply opt to decimate the entire population that was placed within the city.
Juan Carlos Fresnadillo creates with 28 Weeks Later a tense and gripping horror film that is also an analogy for what is currently happening with the war in Iraq. It provides the thrills and gore usually associated with a zombie film (and there are plenty of scenes to make the viewer squirm and jump), but there is an underlying sense of pertinence and accuracy to what our everyday reality currently is and the way War happens. This mix of horror and political allegory end up making the film truly remarkable, unlike instant disposable horror films that just keep repeating cliché upon cliché (the recent The Messengers immediately pops up to mind). The cast is also uniformly good, with Robert Carlyle doing a good weak man (he can do no wrong, from “Priest”, “Trainspotting” to “The Full Monty”), Rose Byrne as the doctor desperate to save the young ones (she was one of the revelations of “Troy”), Catherine McCormack (from “Braveheart” and “Spy Game”) and Jeremy Renner (from “North Country”). The young actors, who end up carrying the center core of the film – they are the key to the spreading of the virus, but also the possible cure – are excellently well cast – both Imogen Poots and Mackintosh Muggleton do a great job, without carrying the cutesy factor which sometimes damages a performance and the tone of the film.
All and all, 28 Weeks Later is a really good horror film that continues the legacy of 28 Days Later and in some ways develops the content of what it’s predecessor laid out. Definitely worth checking out.

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The Hoax

Movie name: The Hoax
Year of release: 2006
Director: Lasse Hallstrom
Stars: Richard Gere, Alfred Molina, Marcia Gay Harden, Hope Davis, Julie Delpy, Stanley Tucci, Eli Wallach, John Carter, Christopher Evan Welch, Zeljko Ivanek
Genre: Comedy/Drama
Score out of ten (whole numbers only): 7

Synopsis:
Lasse Hallstrom finally manages to shake off the mantle of the “prestige” film and creates a gripping, challenging and ultimately rewarding film with “The Hoax”, anchored on two great performances from Richard Gere and Alfred Molina.

Lasse Hallstrom is a filmmaker that has had a long career in Hollywood, one that has been connected with Miramax and so called “pretigious/art” films, that ultimately and invariably have failed to deliver results that live up to the expectations. Having started his American career with the interesting “Once Around” which was followed by the quirky and still his best film to date, “What’s Eating Gilbert Grape?”, his career has been prolific, but rarely consistent in the delivery of truly memorable films. You can check this in the list of films that he has directed in the last couple of years, namely “Something to Talk About”, “Chocolat”, “The Shipping News”, “An Unfinished Life” and “Casanova”. The only exception to the list may be the interesting “The Cider House Rules” which boasted a great cast (as it is usual in his films), and a terrific screenplay based on the John Irving book.
“The Hoax” happily joins the ranks of his good films, boasting as usual a terrific cast and a screenplay that is extremely well written (based on the autobiography of Clifford Irving).
The film introduces us to Clifford Irving, a writer, in the process of selling his new book, something that goes wrong once early reviews come up and destroy all his chances of doing so. Desperate to find a new project, Clifford comes up with the idea of writing an autobiography on reclusive and eccentric millionaire Howard Hughes. He gets the help of fellow author and researcher Dick Susskind, and sets out to sell his pitch to McGraw-Hill. Once the first suspicions emerge (via an agreement with Life Magazine), Clifford manages to keep up his elaborate charade by sending Dick on an elaborate trip to create the sense of plausibility (which is helped by fake letters that he writes). Eventually Clifford manages to sell the book for 1 million dollars, whose check is issued in the name of Howard Hughes, therefore impossible for him to withdraw. At this point Edith Irving, his wife intervenes, creating a solution for the situation, one that requires fake passports and a Swiss bank account. The whole charade is eventually blown up when Howard Hughes comes forth, denying any involvement in the autobiography.
If the story almost looks surreal, watching the film is totally engrossing – Richard Gere perfectly captures the seedy allure and enthusiasm that Clifford Irving had. It was above all his capability of manipulating people that sold the pitch, the story, that Howard Hughes was actually choosing him to write his autobiography (as it is mentioned in the film, he was a minor author). Lasse Hallstrom intelligently creates (with the aid of his usual collaborator, cinematographer Oliver Stapleton) a sense of the reality of the 70’s, of the discomfort with Nixon’s policies, and the way how faking and even taking official documents from the Pentagon(!) were so uncomplicated. The screenplay unravels with delight and precision, watching the web of lies that Clifford creates, lies in which he progressively becomes more and more tangled in, something that the audience realizes there is no way out for him.
Hallstrom manages to show a depth to Clifford Irving beyond the trickster and charlatan, something that is displayed in the way that Irving impersonates Howard Hughes and answers his own questions. Irving is a lost man, desperately reaching for something that reality keeps denying him.
The cast of the film really excels in their compositions, starting with Richard Gere. With the aid of a fake nose, Gere imbues the character with a charm but also vulnerability that makes Clifford Irving more sympathetic and not just a “slimeball” (as the real Clifford Irving was quoted when he saw the film). Alfred Molina and his Dick Susskind end up stealing the movie whenever he shows up – his are the fears, insecurities of an every day man. His ambitions are moderate and with his twitches, sweats and awkward reactions, he is the embodiment of someone who just got on a game way beyond their capabilities. Hope Davis and Marcia Gay Harden are terrific as usual and Julie Delpy and Stanley Tucci deliver reliable performances as is expected from them.
“The Hoax” proves to be a good surprise, in the sense that is a film that is simultaneously entertaining, challenging and ultimately rewarding for the viewer.

Grindhouse

Movie name: Grindhouse
Year of release: 2007
Director: Robert Rodriguez, Quentin Tarantino
Stars: Rose McGowan, Freddy Rodriguez, Marley Shelton, Michael Biehn, Jeff Fahey, Naveen Andrews, Josh Brolin, Nicky Katt, Michael Parks, Bruce Willis, Stacy Ferguson, Kurt Russell, Rosario Dawson, Zoe Bell, Tracie Thoms, Mary Elizabeth Winstead, Sydney Tamiia Poitier, Jordan Ladd, Vanessa Ferlito, Eli Roth, Quentin Tarantino
Genre: Action/Horror/Sci-Fi
Score out of ten (whole numbers only): 8

Synopsis:
“Grindhouse” is all you could expect from the minds of filmmakers Robert Rodriguez and Quentin Tarantino, in their homage to the exploitation and low budget films of the 70’s and 80’s. It’s fun, daring, over the top and unlike anything you’ll see anytime soon.

By now everyone has read that “Grindhouse” is not exactly corresponding to everyone’s expectations in terms of box-office receipts, particularly The Weinstein’s who financed this double feature (to a reported budget of 50 million dollars or even more, according to different sources). It has also been reported that there are plans of re-releasing the films separately, since there is enough footage that was shot in order to do so (the original plan was to release the extended versions on DVD). One of the problems that has been hinted is the fact that this double feature runs over 3 hours, and the audience doesn’t realize that after the first segment, “Planet Terror” and the “bogus” trailers, the film “Death Proof” follows. Ultimately this is a double feature that totally corresponds to what the filmmakers intended and set out to do – recreate the low budget films of the 70’s (and to some extent, 80’s), that where exhibited in drive-ins, with low quality projection and sometimes even missing sections of the film (the missing reels).
Grindhouse starts and intertwines both main films with “bogus” trailers, directed by the likes of Edgar Wright and Eli Roth, and for those alone it’s worth going and checking out the film. However the main attractions here are “Planet Terror” and “Death Proof”. “Planet Terror” from Robert Rodriguez starts fast, introducing us to an underground transaction in a military facility that goes wrong and where a strange gas is released producing disturbing results on those who inhale it. We are then introduced to the character of Cherry, a go-go dancer who wants to have a career change and whom we later know plans to become a stand up comedian. We also start following the life of Dr. Dakota Block, whom we understand is meeting with her lover and abandoning her Dr husband, William Brock. The lives of these characters and of Wray, Cherry’s former lover (and for whom she still has feelings) end up crossing, mostly because the gas that was released to the atmosphere earlier on has transformed the city’s inhabitants into flesh eating zombies. In the process of running away the group suffers some losses, namely Cherry’s leg that ends up being replaced by a machine gun. The group manages to find a way to escape, not without the sacrifice of Wray, whom due to a night of passion with Cherry is to become the father of her unborn child. Ultimately the group finds a safe haven in an area that they manage to keep zombie safe.
“Death Proof” on the other hand introduces us to a group of four girls who are meeting for a couple of drinks in a bar. These four friends are approached by Stuntman Mike, an iconic and seductive man who is ultimately a serial killer, that uses his car, “Death Proof” to kill unprotected women. Stuntman Mike manages to kill the four girls and starts checking another group to prey on. However his attack on the latter group turns out sour, when the girls quickly recover and come in his pursuit.
This very resumed view of the film doesn’t make justice to all the gross out moments, frights, sheer laughs and adrenaline rush that populate both films. “Planet Terror” is a typical Robert Rodriguez film, with all that comes attached. As always a multi-tasker (he’s responsible for the music, photography, editing, screenplay, production and direction), Rodriguez aims to create a spectacle where the focus is the non-stop action and gross out humor that derive from the situations (Naveen Andrews’ character and the jar filled with testicles?). There isn’t much to know about the characters, they are simply introduced to give the audience something to howl and have a few laughs about. In a way, this ends up being faithful to the spirit of the films that Grindhouse aims to emulate. It’s fun, non-stop and ultimately there are scenes iconic enough to stay in your mind for some time (namely Rose McGowan’s Cherry). All the actors fill their parts with gusto and irreverence, from McGowan, to Freddy Rodriguez, Marley Shelton and Aliens vet Michael Biehn (just to name a few). “Death Proof” however subverts and draws new cards in the concept. Quentin Tarantino (also lensing, producing, writing and directing) not only pays an homage to the B-pictures, but he also imbues it with a character development and a depth that isn’t usual in those films. He introduces the audience to two groups of women, and he allows the actresses to really flesh them out – we are drawn into these women’s universes. Curiously Kurt Russell’s Stuntman Mike oozes a menacing charm (much like Snake Plissken, his character in the John Carpenter films, Escape from New York and Escape from LA), but he ends up being the character we don’t really follow that much. He’s a catalyst for all the action, but as always in a Quentin Tarantino film, the whole adds more than just the highlight. “Death Proof” also has one of the best and gutsiest car chases recently filmed – and what is even better, all without any computers. It’s a typically Tarantino film, where the action and the sudden outbursts of violence occur within a structure that is far more complex than it may appear. It’s a rewarding view, and it allows actors like Rosario Dawson, Vanessa Ferlito, Sydney Tamiia Poitier and Kurt Russell to really give memorable performances.
A special highlight should also be given to the “fake” trailers that introduce and divide the presentation of each film. All of them end up being so over-the-top (Nicolas Cage as Fu Manchu) and so hysterically funny, that they alone should be given the right of their own film (Werewolf Women of the SS anyone?).
Grindhouse is ultimately a film that entertains, amuses and thrills the audience. It demands repeat viewings for better savoring!

Zodiac

Movie name: Zodiac
Year of release: 2007
Director: David Fincher
Stars: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, Donal Logue, Elias Koteas, Dermot Mulroney, John Carroll Lynch, Philip Baker Hall, Chloe Sevigny, Brian Cox, Clea DuVall
Genre: Crime/Drama/Thriller
Score out of ten (whole numbers only): 9

Synopsis:
David Fincher’s new film is what you usually expect from him and so much more. It’s a terrific thriller about the Zodiac killer that terrorized San Francisco in the late 60’s early 70’s. This is a film where everything works in a flawless way, from the acting to the production values – everything comes together to form this incredible and unforgettable film.

Last time David Fincher directed a film, 2002’s Panic Room, a lot of his audience was disappointed, since they considered that film to be a commercial concession unworthy of the talent this hugely talented filmmaker has. Panic Room again showcased his technical virtuosity and a great central performance from Jodie Foster, and it’s respectable box office performance, essentially gave the director time to choose which project to tackle. After being attached to some different projects, namely The Black Dahlia and Lords of Dogtown, Fincher eventually settled on Zodiac, based on a screenplay from James Vanderbilt (more well known for his interesting screenplay for John McTiernan’s Basic).
Zodiac tracks the real killings that occurred since the late 60’s to the early 70’s, in San Francisco, from a serial killer who introduced himself with that name, the investigation that followed and the remaining conclusion that the killer was never caught (as is widely known). This crime spree was also the basis for the Don Siegel film Dirty Harry where Clint Eastwood’s iconic Harry Callahan made his debut, something that is actually inserted in David Fincher’s film.
What sets this film apart from any of the others, is the scope and the the exhausting extension of investigation it goes to in order to present the facts that surrounded the killings and the investigations around it.
Zodiac starts with the killings of a young couple in their car. The killer sends a message to the main newspapers in San Francisco, claiming authorship on that killing and some others. This is how we are introduced to the characters of Robert Graysmith, a cartoonist, and Paul Avery, an investigation reporter. As the killings continue and the police starts their investigations, we are introduced to further characters, namely the inspectors David Toschi and William Armstrong. The clues that keep surfacing aren’t enough to give them any edge over the Zodiac’s threats. They use a handwriting expert to get more insight to the killer’s reasonings, but the clues always lead them to dead ends – something that the bureaucracy and police procedures also help. Eventually reaching a suspect, Arthur Leigh Allen they have to let him go due to insufficient proofs. By then, the years start going by and the killer disappears. When another of his letters resurfaces, Robert Graysmith starts doing his own investigation and uncovering a lot of details that lead him to a possible and certain suspect.
Zodiac has been described as a film that provides you with a huge amount of information about a true case. And that is true – the level of research that has been done in the making of this film is impressive. However it never feels tiresome and repetitive – David Fincher has managed to create a film that is thoroughly engrossing from start to end. Whereas in Seven the details of the killings were always fully exposed, they were the canvas with which the killer expressed himself and how we, the audience knew the character, here the killings are just the beginning for us to understand the journey that the main characters take. For Jake Gyllenhaal’s Robert Graysmith it starts as something interesting that eventually leads to obsession, at the very cost of losing the love of his wife and the unity of his family. For Robert Downey Jr’s Paul Avery, it becomes such a part of his life that he lets himself be consumed by it. For Mark Ruffalo’s Inspector Toschi, it’s something that he, as a policeman can’t overcome – the fact that it is a case unsolved. By focusing on these characters, David Fincher leads us into different perspectives on how this very menacing situation affected the lives of so many people in the San Francisco Bay Area in the 60’s/70’s.
David Fincher has mentioned that this is the film where he has matured as a filmmaker – where he has really focused on the story itself, putting his visual and technical flourishes aside. Seeing the film, you have to agree with him, however there are so many accomplished and beautiful shots, that you instantly recognize his touch everywhere – from the tracking shots of the police car, to Harris Savides’ stunning photography (he also worked with Fincher on “The Game” and “Seven”). The film manages to evoke the 60’s and 70’s so vividly that the audience is instantly carried away – the production design and set design is simply put, impeccable. As far as the actors are concerned, Mark Ruffalo deserves all the praise – he transfigures himself and becomes this middle-aged man desperately trying to find a solution for something that he knows is a matter of life or death. Jake Gyllenhaal’s performance ends up feeling a bit wooden – he gives a feeling of uneasiness all throughout the film and only when the character takes center stage does he have a chance to stretch out a bit more. Robert Downey Jr. and all the incredible cast turn out really impeccable work (Brian Cox is wonderful as always).
All and all, this is a stunning film proving that David Fincher’s work continues to impress and dazzle. Let’s see what “The Curious Case of Benjamin Button” will bring.

New Web Site

I'm currently developing the new version of my portfolio. I'm going to be placing images of new projects I've been working on, but the older version of the portfolio shall be available for consultation.
The purpose of the new website is to create something different, easy to update and with new detail to the work that I've been doing.

Music to Listen to

2006 allowed me to listen to plenty of good music. Not necessarily from 2006 though. Just albums and artists that have left a really strong mark and whose albums I'll always cherish.

Hanne Hukkelberg - Little Things

Thom Yorke - The Eraser

Ulrich Schnauss - Far Away Trains Passing By

Marisa Monte - Universo ao Meu Redor

Plaid - Remixes: Parts in the Post

Herbert - Scale

Ryuichi Sakamoto - Bricolages

Special mentions to:

Claud - Contradições

Suba - São Paulo Confessions

Madita

Claud's Presentation Concert

Check Claud's Website for the details on the concert.

Best Films of 2006 - Part1

2006 was a year that saw many interesting films coming out, but regrettably few masterpieces. There is no particular order in which they are placed.

The Fountain
Director: Darren Aronofsky
Cast: Hugh Jackman, Rachel Weisz, Ellen Burstyn

The Departed
Director: Martin Scorsese
Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Vera Farmiga, Alec Baldwin

Volver
Director: Pedro Almodovar
Cast: Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo

Little Children
Director: Todd Field
Cast: Kate Winslett, Patrick Wilson, Jennifer Connelly, Noah Emmerich, Jackie Earle Haley

Shortbus
Director: John Cameron Mitchell
Cast: Sook-Yin Lee, Paul Dawson, Lindsay Beamish, Peter Stickles

Susana Lemos' New Site - Online Soon

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