Weekly Review -- Different kinds of darkness

Looking at the movies I was going to review this week, I realized that they all had one thing in common -- dealing with darkness in various shapes and forms. Whether a movie concerns itself with psychological or physical abuse, or a clouded mental state, or even fear for survival, all of the following films dare to examine the menacing corners of the human psyche and the delirious ways some humans use to preserve their existence, often at the expense of other people.


Sunshine (2007) -- Intriguing science fiction films have been hard to come by in recent years, with the exception of a few titles; too many end up going straight to DVD, mostly because they ignore the deeper potential of science fiction themes. Danny Boyle's foray into this genre did not fare too well with critics, a possible reason being the story's inconsistencies and the fact that the screenplay bites off more than it can chew. However, the story is still very original and occasionally introspective, showing overall promise. The film takes place in the near future, during what can be considered the second neo-glacial period. The Sun is dying and a team of astronauts have been sent on a mission to re-ignite the star. The team includes physicist Robert Capa (Cillian Murphy), engineer Mace (Chris Evans) and pilot Cassie (Rose Byrne). During the trip, various complications arise, not the least of which are the involvement of another spacecraft and tensions among the crew. The group cannot afford to fail, but what happens if the obstacles are greater than themselves? Sunshine's main asset is the chemistry among its lively cast, as well as the acting. Murphy and Evans stand out -- as conflicted-yet-efficient Capa and voice of reason Mace, respectively -- but Cliff Curtis also has some genuinely poignant moments as psychologist Searle. The film effectively combines action with contemplative aspects and cares about its characters, treating them with compassion and understanding. Unfortunately, the film's weakness is exactly what should have been the greatest strength for a story of such philosophical and psychological scope -- the sometimes illogical and inconsistent screenplay.

**SPOILERS (please highlight to read)**

The very idea that anyone could forget protocol during a mission of this magnitude is absurd. I am talking, of course, about navigator Trey (Benedict Wong) forgetting to change one of the heat shields' angle during re-routing. I can understand that these characters were written as realistically as possible, with all their flaws and potential, but this seems like standard operating procedure to me. Another part of the screenplay, one that seemed abrupt and unfinished, was the one dealing with Icarus I's captain, Pinbacker (Mark Strong). The surface was merely scratched with this character and I am not even sure if Pinbacker should have even entered the picture, since it might have been wiser for the story's focus to pay more attention to Icarus II's crew's dilemmas.

**END OF SPOILERS**

Sunshine is a fantastic film to watch if you are looking for a twist on the sci-fi genre. It is sometimes heavy-handed and clumsy when dealing with its topics of life, death and infinity, but it is an unusual experience that will surely leave you talking afterwards.

8/10


Let's Scare Jessica to Death (1971) -- If you are looking for an exercise in subtle, haunting horror, look no further. This 1971 offering by director John D. Hancock offers quiet scares in a timely context, and layers them with the lead character's fragile feelings. Jessica (Zohra Lampert) has just been released from a mental institution after suffering a nervous breakdown. Along with her husband Duncan (Barton Heyman) and their friend Woody (Kevin O'Connor), she is leaving for Connecticut, to move into a farmhouse Duncan bought. Once they get there, they are unexpectedly greeted by a hippie girl named Emily (Mariclare Costello), who is just passing through and has made herself comfortable in the house. Once Jessica permits her to stay, strange things start happening, and Jessica starts doubting her own sanity... The film boasts good acting and gorgeous New England locations, the solemn quality of which contributes to the general feeling of unease throughout the film. Lampert is oddly fetching as Jessica, about to burst at the seams with emotion, while O'Connor brings a disarming quality to Woody. I have to mention Orville Stoeber's serene music, which occasionally comes in short bursts, dispersing tension throughout the seemingly peaceful surroundings. The film can be seen not only as a horror film, but also as a horror metaphor of a different kind, one for the raging Vietnam conflict. The analogies to the war -- violence interspersing with home life, the wounded not being able to adjust and a way of life apparently dying out -- are apparent, making this film all the more relevant. A required viewing for horror fans, but also everyone who appreciates the art of storytelling.

9/10


Death Weekend (1976) -- A film has not left me this speechless ever since Sheitan. Those who follow my reviews know that this is not a good thing; then again, Death Weekend is not a very good film. Model Diane (Brenda Vaccaro) is driving with dentist playboy Harry (Chuck Shamata) to his country mansion. On the way, a group of hooligans that includes psychotic Lep (Don Stroud) try to run Diane and Harry off the road. However, Diane manages to get rid of the maniacal group, setting in motion a chain of events that can only end in tragedy... but will it? Going into this movie, I knew that violence would be a given, but I was unpleasantly surprised with the degree of exploitation the movie uses to treat all of its subjects. Without mercy or scruple, it exploits the female and male psyche and body; it strips down gender politics to the most primitive of instincts; it stirs up all possible frustrations one may have with the human race and brings all the negative emotions to the surface. The rape scene is one of the worst scenes I have ever seen on film, partly because of the act itself and partly due to the fact that, by this point, I was sick and tired of seeing a bunch of neanderthal, imbecile, cruel quasi-people torture actual human beings. Throughout the movie, I also had a tough time figuring out who was sleazier -- Harry or Lep and his gang. I tried to root for Diane, but then I realized that I would be condoning this movie if I did. Knowing that Death Weekend is allegedly based on a real life incident, one that took place in Canada in the early 1970's, only makes me question my faith in humanity even further. Please, do everything in your power to skip this one.

3/10


V for Vendetta (2005) -- Imagine a film that creates an atmosphere that is at once suffocating and liberating. Imagine a cinematic world so vivid, so palpable, that you feel being drawn deeper into it with each sequence. V for Vendetta is this movie, an impressive and unique take on the standard rebel-against-oppression sub-genre. The story takes place in a fascist futuristic Britain, a region somewhere on the path from noir to Orwell's "Nineteen Eighty-Four". After being at the wrong place at the wrong time, Evey Hammond (Natalie Portman) gets involved with a resistance fighter known only as V (Hugo Weaving), who plans on overthrowing the regime that rules the country with an iron fist and that eliminates any and every kind of individualism. Each of the unlikely pair learn more about themselves in the process, as they plan a revolution and as they approach the 5th of November, the day they hope will bring victory... The film is a rich and imaginative fantasy that celebrates freedom and differences that make us human. Weaving is excellent as the offbeat hero, particularly considering that he relies on body language throughout the film, since the role leaves facial expressions out of the equation. Portman also does a fine job, especially in the film's crucial scenes. I also found Stephen Rea's turn as a weary inspector very appealing. The production design by Owen Paterson is outstanding, fleshing out a world that speaks to the audience. V for Vendetta is dramatic, suspenseful, lush, romantic and poetic. Above all, it is a thought-provoking piece of work, both esthetically and thematically. Don't miss it.

8/10