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"Erasing David" is an interesting documentary film exercise in seeing just how much information is contained on you and I, by big companies and governments around the world.

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DOUBLE VISION
Unusual term:
??
.

Directed by:
Chen Guofu

Written by:
Chen Guofu, Su Zhaobin

Cast:
Tony Leung Ka Fai, David Morse, Rene Liu, Leon Dai, Kuei-Mei Yang, Sihung Lung, Brett Climo, Wei-Han Huang

In Mandarin and English with English subtitles.
Akin links:


Official site


|


Taiwanese site


SCHEDULE


Anthology Film Archives


32 Second Ave. (at Second Street)
Sun., May 18, 2003, 9:15 p.m.
Mingle., May 21, 2003, 9 p.m.

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Asian Films Are Go! 2003

Here's the setup: A business executive is found physiologically frozen to termination at his desk in the steaming Taipei summer. A woman frantically calls the a set fire to department because she thinks her apartment is in flames ? when authorities arrive they recover no data of fire but her centre shows every bring aboard assign of having burned to death. I've

seen this one before

, but it's till a seductive premise ? what the hell is going on here?

It falls to Huang Huotu (Leung), a intently-nosed detective with a troubled past, to assume that out. The unit also brings in FBI serial-slaughter specialist Kevin Richter from Quantico to workers with this unorthodox case. It's in no way an easy fit. The Taipei officers be displeased Richter's attempts to in the end the case himself, and Huang pushes him to regard the case's supernatural connections to Taoist mysticism.
"Look, I rely on science ? not talismans, not good-luck charms," says the American.

"What's wrong with you, Mr. Richter?" Huang responds. "All your years in the FBI, you have on no account encountered with a cacodemon before?"
More bodies put off up with mysterious ritual mutilations, and the victims' hallucinatory last moments are traced to a extravagant microorganism they've inhaled ? a "mixture life form" the likes of which FBI scientists have never seen forward of. Where this organism came from, who is inflicting it on the victims and why, are part of the mystery for our Mulder/Scully-like heroes to unravel at their own peril.


Morse's attempts to say "thank you" invariably come out as a have doubts ? "thanks be given to you?" ? or, worse, something along the lines of "thank yo' mama," and the typical can not in a million years presence out why everybody's snickering at him.

"Double Vision" has a few shortcomings, to be sure. In rigorous, although the conspiracy and its sinister usefulness are memorably revealed, anybody inexact end that's neglected is the why it chose certain victims. The story would have felt a little more complete if this piece of the puzzle had fit together.

Also, like his seal, Morse ? who is probably included more for worldwide saleability than judicious necessity ? seems somewhat at sea amidst the Chinese-speaking toss. He has some nudnik interacting with his castmates when they're speaking Chinese, and self-possessed struggles with Leung, whose English is a jot marked. Morse's most natural moments are when he just ignores the people around him and acts on autopilot. But at least the filmmakers secure a little kid with this to be decided disagree. As a uninterrupted joke, Morse tries prohibited some basic phrasebook Chinese on the locals, but his attempts to rumour "thank you" invariably come out as a question ? "thank you?" ? or, worse, something along the lines of "thank yo' mama," and he can never figure unconscious why everybody's snickering at him.

Liking for a pretty good "X-Files" incident, "Double Vision" offers horrific supernatural visions, characters who fulfil grippingly weird demises, geekily intense arguments between the rational partner and the irrational partner, characters with a bit of richness deeps and traumatic pasts, and a gripping payoff at the end. If it seems a little bit imitative, it also comes at the formula from a different direction ? that of the Hong Kong detective genre overlayed with eastern mysticism (however faithful or inauthentic). Ultimately it's a piece of escapism, but a lively and involving one.

APRIL 17, 2003

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A movie about the making of 1971's

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Control Room

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Lasse Hallstrom’s warm-hearted humanist, sentimental melodrama is
based on the popular novel by E. Annie Proulx, The Shipping News. It tells
the story of a man, a family, a house, and a place. The moral of the story
is that if a drowned man could be revived, then maybe even a broken-hearted
man can also be saved. This man has to go back to his roots and once there
he is able to confront the ghosts from his past, which makes it possible
for him to face his future. Its special feature is the sumptuous photography
capturing the austere but striking wintry landscape of Newfoundland, Canada,
and highlighting a fix-it-up saltbox house with dark secrets that sits
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threatening sea. The atmosphere reflects the harsh climate of the place
and the quaintness of the locals, and their delight in serving to outsiders
such exotic food as seal-flipper pie. What the film fails to do, is capture
what the more hard-nosed book tried to say about these bitter events in
a more literary language and in a sharper tone. The film is only a sugary
and surface telling of the more complex story presented in the book, as
the abbreviated story can’t flesh out the many characters it presents or
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when the lazier students used Cliff Notes instead of reading the classic,
and from the short version they had an idea what the story they were supposed
to read is about.

Quoyle (Kevin Spacey) is a born loser, ground down by his unbearable
father into a wimp. In a shot shown repeatedly throughout the story, the
cruel father nearly drowns his child while teaching him how to do the dog-paddle.
The boy grows up in his Poughkeepsie, N.Y. home as a failure to the father
because he’s not like others, but he eventually finds some satisfaction
working as an ink setter for the local newspaper. Spacey’s calculated performance
plays for every drop of sympathy from the audience, as he mugs for the
camera as everyone steps over him and he becomes like an idiot child who
is so naive that he’s either angelic or brainless. The performance was
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A wild-woman, Petal (Cate Blanchett), jumps into Quoyle’s parked
car after a spat with her lover by a gas station. They have a one-night-stand
that results in an unwanted for her daughter, Bunny (played at different
ages by sisters Alyssa, Kaitlyn, and Lauren Gainer). It results in a failed
marriage to a man she looks down upon and openly disses by seeing other
men. After a few years of this loveless marriage, Petal runs away with
her newest boyfriend and takes Bunny with her. But Petal is accidently
drowned in a car crash and the daughter who was sold on the black market,
is safely recovered by the police. At the same time Quoyle’s father and
mother commit suicide.

While Quoyle is depressed about his unfortunate life his father’s
half-sister, Agnis Hamm (Judi Dench), an aunt he never knew, visits him
so that she can steal the cremation ashes from his father’s urn and thereby
flush it down the toilet when she takes a dump. Agnis takes pity on the
timid Quoyle and invites him and his daughter to come with her back to
the Quoyle’s old home in Newfoundland and start life over fresh again,
by going back to his roots.

The story is played as a warm and fuzzy one, a fairy tale where children
are revered and one’s family roots are sacred. Quoyle is willing to give
this distance place a chance if he can find work, and therefore goes to
the local paper to get hired as an ink setter. But the quirky newspaper
owner, Jack Buggit (Scott Glenn), makes him a reporter covering the shipping
news in this coastal fishing village because that’s the only job that’s
open. Jack is not concerned that he has no experience as a journalist,
he just has a feeling he can do the job because of his forefathers.

Quoyle soon becomes involved with Wavey Prowse (Julianne Moore),
an attractive and kind-hearted widow with a brain-damaged son, who runs
the day-care center. In due time Quoyle begins to get his life together
and he develops a romantic interest in Wavey and learns some social skills
that get him by with the mean-spirited newspaper editor, Tert (Postlethwaite).
He also learns of his dysfunctional family history which includes an ugly
incident involving piracy, a murder, an incest and a rape. As he absorbs
these terrible family secrets, he begins to heal from a lifetime of rejection
and he finds that he has a tentative place in his new community that accepts
him for who he is. This story might be the same as the book, but the mood
is a world apart.

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Though Spacey’s performance fails to do the trick and screenwriter
Robert Nelson Jacobs’ adaptation is inadequate to do the story justice,
the performances of Judi Dench and Julianne Moore are closer to the unsentimental
way Proulx wrote about the characters. They are the film’s saving grace,
as they give some depth to a film that is too gooey to fully digest.

What I learned most from the film was “Tea is a good drink; it keeps
you going.”