Lars Von Trier's Dogville is a cinematic experience that's difficult to describe. Set entirely on a mostly blank soundstage representing a cosy village in the Rocky Mountains, Von Trier succeeds in creating a powerful atmosphere through just his camerawork and the terrific ensemble cast. The film sees Grace (Nicole Kidman), a fugitive being chased by gangsters, take refuge in Dogville. At first she is sheltered by the inhabitants, especially the young and philosophical Thomas Edison Jr. (Paul Bettany), but later on, as the film puts it, 'Dogville bares its teeth'. Von Trier presents it almost as a morality tale, but the shocking and unexpected ending will have you turning over his message in your mind for weeks. I can say no more about the plot of the film here without ruining it, but rest assured, this is a film that has to be seen. Boasting phenomenal performances, especially from Kidman, Bettany and Patricia Clarkson (who has one particularly chilling and powerful scene) and a suitably 'epic' scope in such a small environment, Dogville is one of the most intriguing works of this new century.
*****

The Taking Of Pelham One Two Three, which I recently viewed on TV, is one of the most underrated and gripping heist thrillers I've ever seen. Four men in coats with automatic weapons, calling themselves Mr. Blue, Green, Brown and Grey (a clear inspiration for Tarantino's Reservoir Dogs) board a typical New York subway train and put into action a meticulously-planned operation to land $1 million. Meanwhile befuddled Walter Matthau, with Jerry Stiller and Dick O'Neill as his partners above ground, must negotiate with the ingenious but ruthless leader of the hijacking (Robert Shaw in a superbly chilling performance).
Not only is Pelham incredibly engrossing, it's also a charming New York movie mixing in great sterotypes (the passengers include "Mother", "Homosexual", "Hooker", "Old man", "Spanish woman", "Alcoholic", "Pimp", "Hippie" and "WASP") and a typical New Yorker attitude permeating through the whole film: note the passengers' nonchalant obliviousness to the gangsters producing weapons, a wonderful Tom Pedi as a gruff Italian-American transit officer who won't have the tracks slowed by something as trivial as a hijacking, and the great line 'Screw the goddamn passengers! What the hell did they expect for their lousy 35 cents -- to live forever?'.
A magnificent example of the heist movie, a charming and endearing New York movie and featuring a great ensemble (Hector Elizondo's Mr. Grey and Martin Balsam's Mr. Green in particular), The Taking Of Pelham One Two Three rises above its datedness and manages to consistently entertain. As perfect as it can be.
*****

Clint Eastwood's Mystic River is a depressing, dark meditation on the effects of violence and a continuing cycle of murder. Beginning with the abduction of a young boy in front of his two friends, it shows how each character has progressed into adulthood as a result. Jimmy Markum (Sean Penn) is a reformed convict running a local supermarket in Boston with three daughters, Sean Devine (Kevin Bacon) is a dedicated cop who's neglected his wife, and Dave Boyle (Tim Robbins) is a haunted, dark shadow of a man. The brutal murder of Jimmy's daughter brings the three back together, with tragic consequences. Sean Penn is outstanding, bringing his character from normal parent with a dark past, to shattered and vengeful, to powerful but once again forsaken. Tim Robbins is very, very affecting and tragic as Dave, giving the film one of its most powerful scenes. Bacon has a less showy role but works wonders, pulling off another great understated performance. In the role of Dave's wife Celeste, Marcia Gay Harden is marvellous, as a loving but confused wife growing ever more afraid of her husband's bizzare actions. Her confession scene to Penn is superb. Laura Linney's role as Jimmy's wife Annabeth is smaller, but she is allowed one great final speech, where she convinces her husband to continue with a life of crime. It's a powerful moment that could easily have struck a very false note. Brian Helgeland's adaptation is faithful to the novel it's based on, losing none of the power of Lehane's writing.
Overall Mystic River is simply one of Eastwood's best movies to date, and one of the most powerful and affecting American films of a very long while, that resonates long after it has finished.
*****

Beyond Borders, Martin Campbell's attempt at a more serious movie, is on most counts a failure. It's a romantic drama about a sheltered American, Sarah Jordan (Angelina Jolie) who is married to a Brit and becomes involved in world relief efforts in places like Ethiopia, Cambodia and Chechnya. Over time she falls in love with a rogue doctor (played by Clive Owen). Jolie does her best but is hampered with an appalling script. Owen is better, at his most ridiculously rugged and smouldering. His performance does something to make the film interesting, but overall Campbell's direction and Caspian Tredwell-Owen's writing means the film never rises above pure formula. Oliver Stone was once attached to direct--with him, the movie could have been something worthwhile. Under Campbell it's just a few nice shots of various countries, a London covered with snow and populated with stereotypes, and two talented performers trying vainly to rise above the poor material. Martin Campbell's next film is Zorro 2: perhaps it's for the best.
**

Down With Love is a witty, arch and knowing homage to the Rock Hudson/Doris Day pictures of the 50s and 60s, set in a New York decorated in beautiful colors. Ewan McGregor and Renée Zellweger gamely fill the Hudson/Day roles, with David Hyde Pierce and Sarah Paulson both excellent as their respective sidekicks. Well written (it's easy to see what's being spoofed, even if you're unfamiliar with the material) and dazzlingly put together by Peyton Reed, it's a lot of fun but altogether a bit empty. McGregor is his usual charismatic self and succeeds better than Zellweger, who fails to make their chemistry very convincing--we know that they are meant to fall in love only because the formula being aped demands it. Overall by the end the postmodernism becomes a bit too much, and the ending takes its time to arrive, but it's still great fun to watch. A perfectly enjoyable night out.
*** 1/2

After the longest six-year wait, Quentin Tarantino has finally produced his fourth feature (or at least the first half of it), Kill Bill. And it totally delivers in every way it can. It's a rip-roaring revenge picture, with Uma Thurman's wronged bride exacting her bloody revenge on those who put her in a coma and killed her husband-to-be. The film lacks the distinct snappy dialouge that has marked Tarantino's past films but doesn't suffer from it. It does have an abundance of style, though, from The Bride's glorious yellow tracksuit to the stunning battle at the House of Blue Leaves (in particular a showdown with Lucy Liu's O-Ren Ishii in a snowy garden). Loaded with over-the-top violence (the characters seem to have garden hoses for veins) some very sick humor (that still will provoke laughter) and a marvellous lead performance from Thurman (it's abundantly clear why Tarantino waited for years to have her play the part), Kill Bill may be just an action movie, but it's one of the most enjoyable, thrilling, funny and tense cinematic rides in a long time. Its only fault? The four-month wait for volume 2.
*****