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DEPARTURES

Director: Yojiro Takita
Stars: Masahiro Motoki, Tsutomu Yamazaki, Ryoko Hirosue, Kazuko Yoshiyuki, Kimiko Yo
Year: 2008
Rating: PG-13
(in Japanese w/English subtitles)

In over forty years of loving film, I am not sure I have ever seen a movie as touching, as lyrical, as wonderfully done, or as nearly perfect as Departures. Winner of the 2009 Academy Award for Best Foreign Language Film, this is nothing short of a masterpiece that should have also - at the very least - seen Oscar nominations for its star, Masahiro Motoki, and director Yojiro Takita. I cannot remember the last time a filmed moved me as much as this one did, nor gave me such a positive and uplifting affirmation of life. Consider what a feat this is, especially, for a film whose subject matter is death.

Motoki stars as professional cellist Daigo Kobayashi, who has just gotten his first job with a major orchestra ... only to have the orchestra dissolved from under him, for financial reasons. Frustrated and suddenly unsure of his own talent, Daigo suggests to his wife Mika (the wonderful Ryoko Hirosue) that he give up the cello altogether, and cut their losses by leaving the expensive Tokyo and relocating to the small country home he'd been left by his mother, after her death, instead. Mika, a good woman who loves and supports her husband, agrees wholeheartedly - and once back in the small town in which he was raised alone by his mother (after Daigo's father abandoned them while Daigo was still a little boy), the ex-cellist knows he has to still get a job, so applies at what he believes to be a travel agency.

The ad called for someone to help with "departures" all right - but after he is immediately hired by the business owner, who takes a strong liking to him, Daigo learns that he is now the assistant to a man who prepares the dead for burial. Not an embalmer or funeral director (this is Japan, after all) - but an "encoffiner" ... one who, as the family watches, discreetly washes and redresses the body, ritualistically preparing the body to be placed into the coffin for burial, even as he also sets the soul on its enlightened path to peace.

Daigo freaks out when he learns what his job is, but his boss (Tsutomu Yamazaki) won't take no for an answer and in fact gives Daigo an advance and offers him an excellent salary. Daigo ends up being pressured into taking the job, but keeps what he does a complete secret from his wife, friends, and anyone who knows him - all of whom would surely be embarrassed or even humiliated about what he is doing for work.

And slowly, as Daigo tries to resolve some unwanted memories of his own runaway father - whom he hasn't seen since childhood, and can't even remember the face of - Daigo comes to both learn and respect his important role of giving both the dead and their surviving loved ones peace. A job becomes a career, then soon what feels his calling ... though along the way, there is also a lot of humor to be found in Daigo's training, and his initial squeamishness about handling corpses, as well as his trying to hide everything from Mika.

I know I am not doing this film justice with this review; every damn thing about it - from the performances to the incredible music (which, alone, will bring tears to your eyes) to the look and feel and pure emotional impact of the film, is flawless. The sheer beauty and dignity the film has toward its subject matter is breathtaking - its confirmation of life, and the value of life to those left behind by death, will touch you down to your very soul.

I have never seen a film like Departures, and probably never will again. Astonishing and gently and absolutely beautiful, my only regret is that I can only give it five stars when it deserves at least eight or ten. Of all the films you will find reviewed by me here, you will not (and probably will never) find one more recommended. ***** - Reel Must-See

PLATINUM BLONDE

Director: Frank Capra
Stars: Loretta Young, Robert Williams, Jean Harlow, Halliwell Hobbes, Reginald Owen
Year: 1931
Rating: N/R

Even with a long-term fascination for Jean Harlow, this was my first time seeing Platinum Blonde - one of her more famous films (even though, as the "platinum blonde," she receives third billing in it). Though the film doesn't tread any particularly new ground (though it might have, at the time), a really good cast and the direction of a very young Frank Capra make the film a lot of fun to watch.

Robert Williams (who, sadly, died of an appendicitis just three days after this film's release, after making only a handful of films) is outstanding here as ace big-city reporter Stew Smith, who is sent by his editor to the home of the famous and wealthy Schuyler family to dig up some dirt on a scandal involving the family's son. Smith gets his story, mostly by tricking the family into thinking he's on their side - and while there, meets beautiful, rich socialite Anne Schuyler (Jean Harlow). Though Smith's subterfuge turns the entire family (including Anne) against him, soon after his initial meeting Stew actually helps the family (well, Anne's brother) out of a huge jam, endearing him to her all over again. The two take up an affair that ends up in a secret elopement that turns reporter Smith INTO the news - and breaks the heart of his best "buddy" at the newspaper, Gallagher (Loretta Young), who has secretly been in love with him all along - even though he's only ever seen her as "one of the guys."

Now married into one of the wealthiest families in the city, Stew Smith vows to hang onto his independence ... but before long has been talked into moving into the Schuyler mansion, where he and Anne have a private wing, instead of telling Anne they have to move into his tiny apartment and survive on his salary. Opinionated and outspoken, Stew soon gets beyond frustrated with Anne's lifestyle and friends, missing the newspaper and other buddies of his that Anne in turn loathes, and a particular jealous streak that Anne exhibits upon meeting "Gallagher" (whom she's always assumed was a man) only exacerbates things even more.

This is a fine film, largely due to the chemistry between Robert Williams and Jean Harlow. Some of their scenes together, singing a song or just cuddling, in the early stages of their relationship, are so genuinely sweet and tender, you just know these two had to have had some deep affection for each other in real life (an affection that comes off AS affection, as opposed to just physical). Loretta Young, as the starring role, pretty much takes a backseat to this chemistry, and in particular to the charisma of Jean Harlow - but it's really the wisecracking Robert Williams who is so much fun to watch here, as one liners and sarcastic remarks fly like sparks from him.

A really good examples of comedies of the period, and a real treat for classic film fans; if that's you, don't miss this one. Prime character actors Halliwell Hobbes as Smythe the butler and a fairly young Reginald Owen as a weasel of an attorney only make things that much better. ***1/2 - Reel Cool-Reel Awesome

LITTLE ASHES

Director: Paul Morrison
Stars: Javier Beltran, Robert Pattinson, Matthew McNulty, Marina Gatell
Year: 2008
Rating: R

Little Ashes traces the school days of two of Spain's most famous new-wave artists, writer Federico Garcia Lorca (Javier Beltran) and filmmaker Luis Bunuel (Matthew McNulty) ... when, in Madrid in 1922, they are joined at their school by the artistic genius who becomes a new friend to both - the very young painter, Salvador Dali (Robert Pattinson). Bearing in mind that Madrid in 1922 was heavily influenced by the church and a strictly conservative government that tolerated NO forms of personal freedom (social, artistic or sexual) in its people, and you have three men who quietly fought to have their forces heard, often risking arrest or worse if they yelled too loudly.

The film begins with Dali's arrival at school, and Garcia Lorca and Bunuel's instant infatuation with his talent. Garcia Lorca (almost painfully brought to real - and really sensitive - life by a terrific Javier Beltran), in particular, becomes fascinated with Dali the man (who Pattinson - showing off acting chops here FAR beyond Edward Cullen - makes quirky while never falling into caricature) ... so much so, the two become friends to the point of isolating everyone else. This includes Bunuel, who soon grows to suspect that there may be more than a friendship brewing between the two men.

And in truth, as the film develops so does the love (and lust) Garcia Lorca finds himself developing for Salvador. A love whose affection is returned, even as the young men grow closer and Dali's personality gets stranger. The two men are (at first) very careful to keep the true nature of their relationship a secret, particularly when the day's moral code could get them thrown into a prison camp - complete with years of hard labor - for any signs of homosexuality. But as Dali's behavior gets more out of control, his ego growing to mammoth proportions as his fame does the same, the relationship begins to strain ... as, seemingly, does Dali's sanity - as the social and political climate in Spain grows that much more dangerous for any artist speaking his/her mind.

The film is, supposedly, loosely based on some revelations Dali made toward the end of his life about his relationship with Garcia Lorca, after years of denying anything more than a friendship existed between them. Anyone wanting to see some Pattinson skin beyond a shirtless shot - or even Pattinson in a heated clench (or two) with another guy - should find those scenes of the film interesting, as well. But despite some people spewing about Pattinson being a bit over the top as Dali, I really liked his performance, as well as the film. Yeah, the Spanish accents by the British actors are very weak at times, straining believability a bit, but that didn't hurt the film for me. Also of note is a standout performance by Marina Gatell, as a close friend to Garcia Lorca who is secretly in love with him. Every time she's on screen the whole film just lights up.

This might be one of those films that you either like or hate, with no middle ground. For me, I found the story and performances intriguing and emotionally involving - especially by Javier Beltran. This was the first film of his I've seen, but it won't be the last. *** - Reel Cool

[REC]

Directors: Jaume Balaguero & Paco Plaza
Stars: Manuela Velasco, Ferran Terraza, Pablo Rosso, David Vert
Year: 2007
Rating: R
(in Spanish w/English subtitles)

Almost exactly one year after I reviewed the film Quarantine (which you can read, if you like, here), I'm glad to finally have seen the original Spanish-language film it was based on, [REC]. Quarantine heavily followed this original (and much creepier, overall), very short but effective horror film, but didn't do a shot-for-shot retelling of this story, as some reviews would imply. No, even if you've seen the American remake, this eerie little gem from Spain still has plenty of jolts for you ... and, in fact, does most of them even better.

The story is a deceptively simple one: Angela Vidal (Manuela Velasco) is a young, fresh-faced television reporter on the night beat in Spain who, with her cameraman Pablo (Pablo Rosso, who's never really visible on-screen throughout), is covering a routine night in a local fire station, depicting the life of a firefighter. The night shift starts off slowly, but soon the alarm goes off and the company is dispatched to an apartment house in the city, where an elderly tenant has been heard screaming.

Angela and Pablo follow (the entire film is shot through Pablo's hand-held camera, a la The Blair Witch Project), and when the firemen arrive and get up to the old lady's apartment, they find a woman who looks more than a bit deranged and seems to have something rather resembling blood on the front of her nightgown. She's incoherent and wary, snarling as the men try to calm her down and tend to her ... until she bites one of the two cops that showed up first, tearing off part of his face with her teeth like a rabid dog - and all hell breaks loose from there on.

Even before the firefighters/rescue crew can knock the old lady unconscious and get out of the building with the injured police officer, all entrances to the apartment building are sealed off and no one - not even if they are injured or dying - are allowed to leave. Over a bullhorn, Angela and everyone else (including the building's tenants) are calmly informed that this is a temporary emergency that will be resolved soon ... but as the night goes on, the people trapped in the building realize there is something set loose in the building with them; something that is highly contagious and turns people into carnivorous monsters when spread.

One big difference between this and the American Quarantine - a fairly telling difference - is that in this film the authorities are much nicer and more caring for those in the building; even if they can't let them out (and will shoot anyone who tries to get out), at least they try to keep those in the building in the know about what is going on (unlike the uncaring authorities in the American version, who pretty much keep the building occupants in the dark throughout). Interesting, this; makes you wonder if the comparison would be the same in real life, were this to happen. The scares, once the games begin, come fast and ugly, and at only 78 minutes the film goes by in a hurry, piling on the shocks and enough gore to keep things lively. But it's the ending, here infinitely more chilling than in the American remake, that may keep you checking under your bed or in the closet for a few nights after viewing the film.

An awesome little haunter well worth seeing - and if you have the choice of this or its American counterpart (and don't mind subtitles), THIS is the version you want to see. **** - Reel Awesome

JULIE & JULIA

Director: Nora Ephron
Stars: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, Jane Lynch
Year: 2009
Rating: PG-13

It was a foregone conclusion I was probably going to like this one, as I grew up with both Julia Child and Meryl Streep as a big part of my entertainment life ... and Enchanted pretty much endeared me to Amy Adams for life. What I was NOT prepared for was just how much heart and soul this films has, and how much fun it would be to watch - especially due to the performances of Streep and Stanley Tucci. This film is one of pure joy, lovely and funny, and with all due respect to Sandra Bullock if Streep doesn't win Best Actress at the Oscars this year, I may never watch the ceremony (which I've caught every year since childhood) again.

The film chronicles two lives - that of Julia Child (Streep) and her husband Paul (Tucci) starting with their years in Paris and ending with the publication of the book that would start Julia's rise to fame, Mastering the Art of French Cooking. Their story spans from the mid-1950's to early 1960's - but is counter-balanced with the modern-day tale of harried wannabe writer Julie Powell (Amy Adams), a Brooklyn-ite working in Manhattan, on a phone line counseling victims and survivors of 9/11. Julie is frustrated, in dire need of a purpose or goal in her life, and finds it when - with the encouragement of her husband Eric (a charming Chris Messina) - she decides to write a blog that will chronicle her year-long project of cooking every one of the 500+ recipes (most of them fairly complex) from Child's landmark cookbook.

After this set-up, the film goes back and forth between the lives of these two women, both of whom are trying to find their niche in life - their passion. In both cases that passion ends up being food, and though the film is in a large way the story of the great love that Julia and Paul Child had for one another ... and Julie and Eric as young marrieds whose love ends up getting tested by Julie's huge project ... ultimately what this film celebrates is food, and a life of joy and happiness through food.

It's charming and upbeat without being sentimental or silly. You expect Streep to have the voice and accent and mannerisms down for Julia Child; that is, after all, what Streep does with every performance. But here it's like she's really channeling Julia Child (or, at least, the Julia Child that's come to life in Julie Powell's mind); there are many times in the film when you lose Streep entirely and feel the joy of watching Julia Child onscreen. Even better, especially for those who pretty much know Streep from her various TV appearances and PBS cooking shows, here you will discover the fully-realized characterization of a woman who loved food, had an amazingly happy marriage with a man years older than her, and even had a healthy sex life well into middle age! And though the film sometimes might feel a bit uneven (Julia's scenes sparkle with life and energy, where Julie's are more straightforward comedy), when Streep is on the screen you will not be able to stop smiling.

The film is a beautiful homage to an American icon - but also a sweet, funny and warm valentine that celebrates life ... and (yeah, sorry to say it again) food. Really wonderful all the way around, and one of the best "feel-good" films I've seen in years. ****1/2 - Reel Awesome-Reel Must-See

MYSTERIOUS MR. MOTO

Director: Norman Foster
Stars: Peter Lorre, Leon Ames, Mary Maguire, Henry Wilcoxon, Harold Huber, Erik Rhodes
Year: 1938
Rating: N/R

In maybe the best film in the series (at least, of the ones I've seen so far), Peter Lorre returns as Japanese detective Mr. Moto of the International Police, this time in London seeking to break up a notorious gang of killers known only as the League of Assassins.

The film opens on Devil's Island, with the prison escape of Paul Brissac (veteran character actor Leon Ames) as aided by his cellmate Ito (Mr. Moto, in disguise). The two inmates get away from the cops after them, with Brissac's eventual destination being London - and when Mr. Moto, as Ito, talks Brissac into taking him along as his manservant, things seem set up for Moto to infiltrate the gang at last.

But at Moto learns of more and more of the assassins who are in London, he has yet to learn of WHY they are in London ... or, more to the point, who their leader is. Even a trip to New Scotland Yard, to fulfill his obligation of letting the local authorities know he's in town to work on the case, meet with disapproval from the man in charge because he won't divulge any detailed information.

Meanwhile, the gang has their target in site: steelmaker king Anton Darvak (Henry Wilcoxon), in London from Prague, who has a secret formula the gang wants. Constant threats to Darvak - to either turn over the formula or get killed - don't seem to phase the millionaire businessman, however, even as Darvak's secretary, Mary (Ann Richmond), begs him to seek the police for help. But Mr. Moto's investigation soon leads to Darvak, and a couple of bar fights and a brilliant finale in an art gallery have Mr. Moto - once again - saving the day.

It's all here in this one - action, mystery, suspense, and a way-cool, very satisfying ending. Along the way, you have the usual politically-incorrect dialogue and characterizations, along with a bit of humor tossed in like seasoning - but the fun and adventure and mystery of the film will quickly help viewers to suspend any disbelief in order to just sit back and enjoy the story. Peter Lorre is at his best as Moto here, bringing heart and humor to the detective who seems phased by nothing, and the action/fight scenes are rousing and just plain fun to watch. What a great entry in the series, with Lorre (along with an awesome supporting cast of fine character actors) making it all a blast to watch. ****1/2 - Reel Awesome-Reel Must-See

YOSSI & JAGGER

Director: Eytan Fox
Stars: Ohad Knoller, Yehuda Levi, Assi Cohen, Aya Steinovitz, Hani Furstenberg
Year: 2002
Rating: R
(in Hebrew w/English subtitles)

The first ten minutes of this film had me wondering if I should watch it at all. Set in the snowy mountains of the Israel/Lebanon border, the film is about a platoon from the Israeli Defense Forces who are staking out the mountain in case of an ambush. The group of tired, overworked men is led by Yossi (Ohad Knoller) - their young but very macho, no-nonsense commander - and his platoon leader, Jagger (Yehuda Levi), who is more of a fun-loving free spirit. Early in the film, when Yossi pulls Jagger off work detail for a walk around the perimeter, making sure things are okay, viewers learn very fast that the two men are actually lovers - and evidently have been for some time. So when the guys got away from the other men, then fell into the snow for some kissing and warm conversation, my first thought was, "Oh God, a soft-core porn flick pretending to be more" (as many gay-themed films are today).

But I stuck with it - and, much to my surprise, the film was a hell of a lot more.

Though Yossi is obviously the more closeted one, both men have to (of course) keep their real relationship secret from the other men - and the Israeli military - if they want to avoid any trouble. Their initial "love scene" (such as it is; if you're looking for gratuitous nudity or sex here, you're going to be disappointed) is brief but sweet, basically establishing that they really a couple, as opposed to just sex buddies or the like. Jagger, in fact, is completely in love with Yossi - a fast that's complicated when the leader of a different platoon (and Yossi's superior) comes to visit, and brings with him a pair of attractive female soldiers the guys are happy to see again ... one of whom in particular (Aya Steinovitz) has been in love with Jagger for sometime, trying to work up the nerve to tell him so. Worse yet, a misconstrued scene between this girl and Jagger, by one of the soldiers under Yossi's command (Assi Cohen) who in turn is in love with this girl, could threaten both Jagger and the exposure of his relationship with the company commander.

And when Yossi's commander sends the company on another ambush mission, by then the tension's built up enough, you're not sure what is going to happen - and even though, in all honesty, the ending of the film might be very easy to figure out long beforehand (as I did), it still doesn't take away from the emotional impact of the film ... or the tears in your eyes as the screen fades out.

The two male leads, Knoller and Levi, are both perfectly suited to their roles, garnering your sympathy (especially from Levi's Jagger, who only wants to keep him and Yossi alive long enough to get out of the military and go away somewhere, where the two of them can be together), and it's because of them the film works so well. At only 64 minutes, it's a short little film about love and war - but one which surprises with real emotional impact in the end. The lack of unnecessary nudity or sexual content only lets you concentrate on the story and characters more, and that's a real plus here, in what ends up being a rich and touching film I was very glad I stuck with, after all. **** - Reel Awesome

BOOTH

Director: Yoshihiro Nakamura
Stars: Ryuta Sato, Maiko Asano, Makoto Ashikawa, Mansaku Ikeuchi
Year: 2005
Rating: N/R
(in Japanese w/English subtitles)

This short (just 74 minutes), sinister little film is billed and marketed like a horror film, when in reality it's more of a suspense thriller with some supernatural elements thrown in. Set almost entirely in an old DJ's booth at a Japanese radio station - one that's gone unused for thirty years, and is said to be haunted - Booth is the tale of radio DJ Shogo (Ryuta Sato), who works the midnight shift with his late-night call-in show centering on the pitfalls of love and relationships.

This particular night is Shogo's first in booth 6, an old booth at his radio station that's gone unused for decades - and, as the short intro to the film shows us, was the site of a DJ's suicide some thirty years ago; a DJ haunted by a spirit that drove him to do it. The radio station is moving, you see, and Shogo's relegated to this basement area because all the other equipment is already packed up and ready to go.

But right away, as the loud, brash and very vain Shogo begins his broadcast, strange things begin to occur. The subject for tonight's show is "unpardonable words" - things past or current lovers have said to you that were particularly cutting - and as the calls progress, Shogo finds that the tale each person phoning in reminds him of a similar case in his own background. Also, in the first few calls, in the tiny and cramped booth Shogo suddenly hears mechanical squealing coming over the air, along with a woman's voice calling repeatedly calling him a liar.

It's all unnerving, but Shogo blows it all off as a joke or technical glitch, at first; that is, until each call brings back a new and painful memory - and reveals more to the viewer of Shogo's past, along with a few secrets hidden within it. As almost the entire film (except for some flashbacks, via Shogo's past) takes place within the confines of the DJ booth, the film gets that much more claustrophobic as the calls get more creepy - and soon Shogo is not only unnerved but downright terrified, as he feels someone (or something) is getting closer and closer to seeking their revenge.

It seems that everyone who sees this film, from what I've seen, either really likes or really loathes it. Me, I fit into the former category, as for me I was along for the ride the entire way, the eerie setting and circumstances growing more sinister and threatening as the film goes on. Ryuta Sato, as Shogo, does an outstanding job of coming apart at the seams one layer at a time; certainly by the film's end his cockiness and self-absorbed personality are gone completely, as he's become a man terrified that the ghosts of his past are coming back to get him. There are even a few surprises along the way, one of which may have you scratching your head at first - but stick with the film, and if you're watching you'll understand just what's going on (sorry, but I've almost given away too much, already).

It's no secret that I love Asian horror films, partly for the way they screw with your mind and know how to induce real psychological fear without assaulting the senses with blood and gore. I wouldn't even classify Booth as a horror film, as said earlier, but don't be surprised if it still gets a bit under your skin, or still leaves you thinking about the film long after the end credits roll. (NOTE: I always try to find posters for foreign films that are in that country's original language - but could not with this one. If anyone reading this finds a scan of the original Japanese poster for this film, please hit me up? Thanks!) **** - Reel Awesome

ZOMBIELAND

Director: Ruben Fleischer
Stars: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Bill Murray
Year: 2009
Rating: R

Low on plot but high on humor and good, old-fashioned zombie fun, Zombieland is narrated by a young man known here as Columbus (Jesse Eisenberg), because of where he's from originally - a typical, virgin-esque, stay-at-home nerd with no backbone ... who, somehow, has come into his own and survived in a world now almost overrun completely by zombies.

The opening scenes (including some way-cool opening credits) are some of the funniest scenes in the film, as Columbus briefly recounts how the world succumbed to an international virus that turned its inhabitants into the ghoulish flesh-eaters they are now. Viewers are treated to a fairly hilarious set of rules for surviving zombie attacks, as taught by Columbus - before he meets up with a true zombie ass-kicker named Tallahassee (Woody Harrelson, so wickedly good here), and the two travel across the country together until Tallahassee can get Columbus home to Ohio, to see if his parents are okay.

On the way the pair kill some rather insistent zombies before running into a pair of sisters, Wichita (Emma Stone) and Little Rock (Abigail Breslin), who are still human ... and soon trick the men out of their guns and Tallahassee's SUV. Left stranded, the boys finally find another ride and Tallahassee vows to track down the girls and get his truck back - as the girls head toward Little Rock's favorite amusement park, just outside of Los Angeles, which the girls have heard is still zombie-free.

Lots of zombie action and gore abounds - though things kind of slow down on that front, when the gang gets together to camp out at the home of a Hollywood film/TV star - before the foursome gets to the amusement park and Tallahassee continues his search for the one things he wants most: Twinkies. A semi-suspenseful finale with an ending you can see coming from miles away still doesn't do much to deflate what is a short, brisk, and often very funny tale of a world gone mad, known now as Zombieland.

Woody Harrelson and Jesse Eisenberg in particular are excellent in the film, Harrelson (thankfully) never quite going over the top to become a caricature as Tallahassee. Eisenberg's Columbus manages to hold onto his charming sense of innocence throughout, even as he learns to become one heck of an effective zombie basher, and the chemistry between the two guys works so well in their scenes together. Stone and Breslin, as the world-weary ladies just trying to survive, are effective (Breslin - who has really grown into a young lady - especially) but don't quite shine like the boys do, especially in kicking zombie ass.

Overall, Zombieland is a fresh and funny new take on life in the land of the undead. Definitely a great night's entertainment, if you don't mind the gory parts, and one heck of a funny comedy. If you're looking for fun and a few thrills, and have no problem with the lack of a real plot to back things up, this film is for you. ***1/2 - Reel Cool-Reel Awesome