When a Woman Ascends the Stairs

A

Directed by Mikio Naruse

"When a Woman Ascends the Stairs," arguably the masterwork of Mikio Naruse, the "Fourth Master" of Japanese cinema, displays the work of a director who, like his co-masters, Kurosawa, Ozu, and Mizoguchi, operated on a 'cinematic plane," so to speak, that few directors can even aspire to, let alone reach. Although it may sound hyperbolic, when you sit down and watch the best work of these four directors (and "When a Woman Ascends the Stairs" definitely stands up to the best of Kurosawa, Ozu, or Mizoguchi) you can't help but be humbled by their work. There's a timelessness and understanding of the human condition that infuses much of the best work of these four directors and explains why all four are so revered amongst both filmmakers and film watchers.

"When a Woman Ascends the Stairs" is, in many ways, one of Naruse's most biting social critiques. It follows the efforts of "Mama" (played by Hideko Takamine), a bar girl in Tokyo's Ginza district who wants, like most of the girls around her, to find a way out of the crummy confines of the bar that employs her and begin enjoying a measure of personal freedom. As Naruse is careful to point out, however, post-war Japan was no place for a woman's dreams to find flight and indeed Mama, although headstrong and intelligent, finds her efforts at securing a better future for herself and her extended family thwarted at every turn. Naruse's empathy for the plight of women gives "When a Woman Ascends the Stairs" an almost feminist perspective, as Mama's inability to find happiness is shown as a direct by product of a strictly male dominated, patriarchal society.

Since "When a Woman Ascends the Stairs" is widely considered the penultimate achievement of one of Japan's greatest directors, it should be unsurprising to hear that there isn't much to criticize here. Indeed, Naruse's film is anchored by wonderful dialogue, a cool aesthetic, and great performances from its leads, particularly the wonderful Hideko Takamine as Mama. Naruse is often compared to Ozu, not so much for his material (Naruse was interested mostly with members of lower social strata than Ozu who studied mostly middle and upper middle classes families), but due to their similar ability to tell rather minimalist stories that nonetheless have a profound emotional resonance and are both very "Japanese" and timelessly universal as well. Nevertheless, I have always found that even though both directors' best work is indeed perceptive about human interactions and emotions, to a degree almost unmatched by any of their peers, Naruse never really hit the level of universal "transcendence" (for lack of any better word) that Ozu did. Indeed, in "When a Woman Ascends the Stairs," I felt that Naruse's point was perfectly summed up in the brief paragraph on the back of the Criterion Collections edition of the film, which noted how in the film "Keiko (Mama) comes to embody the struggles of a woman trapped in a male dominated world." Indeed, this is mostly the crux of the story in "When a Woman Ascends the Stairs." Mama tries to make a place for herself in a patriarchal society but finds herself increasingly frustrated by the very fact that she lives in a male dominated society. As such, Naruse's point seems to be that it was tough to be a woman in Japan in the 1950's. So I've heard.
Beyond that, however, and despite the fact that this point is well illustrated throughout the film, this seems to be the extent of the work. I'm sure Naruse scholars would scream bloody murder if they read this, but I can't help feeling that there just isn't as much simmering beneath the surface of "When a Woman Ascends the Stairs" as many believe there is. This "criticism," however, is actually anything but and is rather a question of a personal taste moreso than any shortcoming in Naruse's film. Indeed, "When a Woman Ascends the Stairs," is a deep, moving, and flawlessly executed film and the only real elements to nitpick or argue over come down largely to questions of preference.

Shaolin Soccer

B+

Directed by Stephen Chow

Although "Kung Fu Hustle" remains my favorite Stephen Chow film, the similar "Shaolin Soccer" is often equally hilarious and visually engaging, showing of Chow's aesthetic panache and flair for a physical, slapstick brand of humour that is mixes well with his subject matter.

Stephen Chow pulls double duty in "Shaolin Soccer," both serving as the director and the star of his film, in this case playing a downtrodden, jobless Kung Fu master named "Mighty Steel Leg" Sing whose skills have been rendered useless by the population's waning interest in his art. As a way to stave of bankruptcy he plots to enter a local soccer tournament and vie for the million dollar prize. To do so, he attempts to enlist the help of his brothers, all of whom are also former martial arts masters now struggling just to get by. After some initial reticence, the brothers finally agree to join Mighty Steel Leg and participate in the tournament. Hilarity obviously ensues.

Chow did well to cast himself as the lead in "Shaolin Soccer." His comedic timing is second to none and he infuses the whole film with a sense of non stop raucousness that is a pleasure to watch. Much like "Kung Fu Hustle," "Shaolin Soccer" is notable for its CG powered stunts, Chow and his buddies flying through the air, sending soccer balls to the moon, and succeeding in pulling off a variety of other totally implausible kung fu/soccer moves. Chow's heavy reliance on CG gives the film a complete lack of believability but anyone who expected something authentic in a film titled "Shaolin Soccer" deserves to be disappointed. As comedy, "Shaolin Soccer" works susprisingly well and is consistently funny despite the fact that many jokes probably didn't translate well from Mandarin to English.

A great little movie. I recommend it to everyone.

Late Spring

A+

Directed by Yasujiro Ozu

Yasujiro Ozu's, throughout his distinguished career, pumped out masterpieces at an almost assembly line like pace, making 33 films, many of which are towering achievements in their own right. Amongst his career's work, however, three particular films stand out as arguably his best, namely "A Story of Floating Weeds," Tokyo Story" and "Late Spring." Although "Tokyo Story" often gets the nod as Ozu's best film, "Late Spring" is my favorite, mostly because it deals with a much more nuanced and rarely dealt with issue, namely the relationship between a father and daughter, than "Tokyo Story" which examines (albeit masterfully) the generational conflicts experienced by Japanese families in the aftermath of World War II.

"Late Spring" focuses on Noriko (played by longtime Ozu cast member Setsuko Hara), a 27 year old women who still lives with her widowed father, Shukichi (played here by another recurrent Ozu player, Chisu Ryu). Sukichi worries that his daughter should seek a husband, a concern shared by Sukichi's sister who wants desperately for Noriko to wed, fearing she will become something of an old maid if she does not. Noriko, however, appears to be altogether unimpressed with the prospect of marriage and would prefer to continue living the quiet life she enjoys with her father.

Like most of Ozu's great works, "Late Spring" has more to say about big issues such as the relationships between parents and children and the constraints of societal expectations and pressures in a few frames than most films can cover in their entire length. Ozu is praised in almost religious terms by most film critics and scholars and the praise can seem overblown until you watch some of his masterworks and realize that his films more than deserve the semi-religious reverence that is attributed to them. Ozu's ability to tackle major existential issues through anecdotal situations is perfectly illustrated in "Late Spring" where the focus revolves primarily around the day to day life of Noriko and her father and the details of the tension between them, as well as their own hopes and aspirations both for themselves and each other, most of which is communicated non verbally until the end of the film when Noriko finally and bluntly lets her father know her wishes, resulting in a rather unvarnished show of emotion that stands in stark contrast to the restrained exchanges between father and daughter that proceeded it. The final impact is, in many ways, devastating, as Noriko attempts to keep her perma-smile plastered to her face even as she fights back tears, asking her father why things can't simply remain the way they are. It remains one of the better scenes in movie history (I know this appears to be a hyperbolic statement, but I don't consider it very controversial) and showcases Ozu's ability to deliver emotional power to his stories without having to resort to stirring strings, slow motion scenes, or other similar devices. No, like most of Ozu's films, "Late Spring" is delivered unfettered and bare, it's emotional impact stemming entirely from the fact that as viewers we can relate, in an almost universal manner, to what we are seeing on the screen.
It doesn't hurt, however, that "Late Spring" is anchored by the acting of Setsuko Hara and Chisu Ryu whose performances here are wonderful. I recently watched "Black Narcissus" by Michael Powell and Emeric Pressburger, a film released in 1947 which, although very good in its own right, features mostly the type of acting that I've come to expect from English actors of that era, namely a range of emotions that is strikingly limited, appearing to have two settings; either "utter rapture" or "overwhelming fear." The acting in "Late Spring,'" which was released around the same time, is infinitely more complex, and Hara especially succeeds in conveying Noriko's emotions, both those repressed and those released, with unbelievable authenticity. The rather apparent disconnect between the type of almost caricaturistic acting in a film like "Black Narcissus" and the restrained, and truly lifelike acting in "Late Spring" leaves me puzzled as to where, exactly, Ozu's actors acquired their acting chops and why Western actors have, in many ways, never caught on to the "less is more" realities of conveying human emotions.

Black Narcissus

B+

Directed by Emeric Pressburger and Michael Powell

Pressburger and Powell's tale of nuns gone wild in the Himalayas is noted more for its gorgeous cinematography than its plot line, but "Black Narcissus" rendering of the age old battle between the spirit and the flesh contains a number of insightful nuggets into not only the nagging desires of men and the relentless temptations of pleasure but also the importance and place and space in shaping individuals.

Sister Clodagh and four other of her fellow sisters are sent to establish a convent/hostpital/girls school for the inhabitants of a remote village in the Himilayan mountains. When they arrive, they are met by hunky, misbehaved Mr. Dean whose sex appeal is undeniable though I'm not sure how and why he ended up living in such a remote area of the world in the middle of the twentieth century. I guess the Brits have always been an adventurous lot...
Regardless, the sisters are soon faced with a number of difficulties as they all try to keep busy in the windswept, secluded convent while not giving way to their own desires which, isolated from the rest of the civilized world, have slowly crept up on them.

During their time, Powell and Pressburger rolled out masterpieces at an almost predictable clip. Although much of their success can be attributed both to their concern for detail and aesthetic value of their films ("Black Narcissus" and "The Red Shoes" often being the director's two most cited movies mostly for their visual flair) Powell and Pressburger's films also manage to deal with subject matter that is timeless and familiar to most viewers. Indeed, "Black Narcissus" examines perhaps one of the oldest dualities in human history, that between duty and desire and between our basest carnal instincts and what we believe is morally right. The honesty of Powell and Pressburger's investigation of this particular dilemma in "Black Narcissus" is particularly moving since Sister Clodagh and her fellow sisters are never painted as being simple dupes of the faith but rather as true believers whose fervent belief in the righteousness of their religious faith nonetheless belies aching desires for the "things of this world." Likewise, raucous and rude Mr. Dean is never judged for his refusal to believe but rather allowed to explain it. As such, the disconnect between sister Clodagh and Mr.Dean is never as large as it seems, their differences explained only by the energy they are both willing to expend in believing in God's providence and power.

Blow Up

B-

Directed by Michelangelo Antonioni

Did I just give "Blow Up" a "B-"? I sure did. Michelangelo (his ghost, that is) will be PISSED when my reviews hit the big time and he finds out that I refused to fawn over one his most beloved and revered works. Sure...
"Blow Up" is not a bad movie but after hearing only good things about it, especially from critics I hold in great esteem such as Peter Brunette, I though this film was going to be a barnburner, which it unfortunately wasn't. Despite this, however, there is still alot to recommend in "Blow Up" and I can certainly understand why so much ink has been spilled writing about it.

David Hemmings plays a yeah-baby photographer in London in the swingin sixties, racing around town in his Bentley, taking photographs of mostly nude female models, getting laid, and generally fulfilling every stereotype anyone ever had about life in the hip and sexy sixties. His philandering is put on hold midway through "Blow Up" (and let me stress that "midway" is probably generous--the action only gets underway very late in the film) when he helps himself to some photos of Venessa Redgrave and her lover in a park and has them developed only to discover what he believes was a murder taking place at the time he took the photos. But was it really murder, or iws David Hemmings just crazy?

The subjective nature of reality is an issue that has been an alluring topic for directors to tackle since the very dawn of the cinema. It really has blossomed into a genre unto itself and a number of classic films fall into this particular category, films such as Kurosawa's "Rashoman" or Peter Weir's "Picnic at Hanging Rock." Just today I picked up a Korean film titled "A Virgin Stripped Bare by Her Bachelors' which promises me a similar essay on the elusive nature of reality. The appeal of such films is not hard to see, and I would argue that many directors are drawn towards such stories because they offer an opportunity to construct movies that are suspenseful, complex, and, above all else, open ended. Indeed, films like "Blow Up" are maddeningly open ended and it almost seems that directors like Antonioni like it that way because they can simply toss the film out there and let academics and laypeople interpret every which way, eventually giving the film a meaning of its own that may or may not have been intended by the director. Burnett in his commentary even admits that "not everything" adds up in "Blow Up," which is okay, I suppose, but there are obviously limits to how open ended you can make your story. All we ever learn in "Blow Up" is that a murder may or may not have happened and David Hemmings may or may not be imgaining things. The climx of the film, the infamous "mimes playing tennis" scene, simply confirms what we've suspected all along, namely that in "Blow Up," reality consists of what we choose to buy into as opposed to what is really there.
Having to sit through a two hour film to be given such a wishy washy message is a bit annoying, frankly. Nevertheless, the film is suspenseful and stylish enough that you don't just feel ripped off at the end by the rather lackluster payoff. Like most of Antonioni's films, "Blow Up" might not be perfect but from an aesthetic point of view there is enough of interest going on that is is worth a watch regardless of how you feel about the underlying "message" of the film.

Quantum of Solace

B

Directed by Marc Foster

"Quantum of Solace" was in many ways undone by the success of "Casino Royale" insofar as the latter film, a literal bucket of ice water to the face of critics who had grown tired of Pierce Brosnan's limp wristed 007, was both excellent and very well received which set a rather unrealistic standard for "Quantum of Solace" to strive for. Indeed, "Quantum of Solace", although not nearly as good as "Casino Royale" is still a very satisfying action film that is similar in many ways to its predecessor and didn't deserve the lukewarm reception it was given by film critics upon its release.

After Vesper Lynd's betrayal and death, Bond sets out to find her would be assassins and administer some serious street justice. Things go awry when Mr.White lets Bond and M know that he's part of something much bigger than himself, a fact he punctuates by ordering M's longtime body guard, who was obviously and Mr.White's payroll, to break rank and start shooting everyone. TREACHERY!!! The rest of the film follows Bond as he attempts to track down the leaders this global conspiracy and uncover their dastardly designs which, in the case, have an evil eco-twist.

"Casino Royale" rejuvenated the Bond series in the same way as "Batman: The Beginning" brought the Batman series back to life. However, whereas "Batman: The Beginning" was basically just a way to warm up audiences for the jaw dropping spectacle that was "The Dark Night," "Casino Royale" appears to have not only been the jolt that shocked Bond back to life but also the gold standard for the series which "Quantum" simply failed to match. Despite this, "Quantum of Solace" is an immensely enjoable film that delivers actions and international intriguer in spades and in th best spirit of the most memorable Bond films but also highlights Daniel Craig's appeal as a brutal, hard-assed Bond who can not only dish out the pain but take a fair bit of it himself. Indeed, I had long argued (as other had) that the casting of Brosnan had killed the Bond franchise, essentially wussifying 007 and making him into a debonair ladies man that looked like he could barely shoot a gun, let alone win a close quaters knife fight. Craig simply looks like he belongs in these films and his casting as Bond has been a major asset to the film and one of the main catalysts to the series' revival.
Despite all that is good about "Quantum," I will say that the whole thing seemed a bit thin and was noticably less layered than "Casino Royale." I personally blame the script since everything else in this film appeared to be clicking on all cylinders but there just didn't seem to be anywhere for the story to go. In the end, though, this film is far better than it has been given credit for and is a wild and enjoyable ride that is worth watching.

Throwdown

B-

Directed by Johnnie To

Although many jaded moviegoers would contend that martial arts is a genre that has been played out, I would respond that only films about kung fu, karate, ju jitsu, mixed martial arts, tae kwando and Muay Thai are played out, meaning that JUDO, the kinder, gentler martial art, is still an unmined treasure trove of movie possibilities! Johnnie To obviously decided to strike the iron before it had ever been struck at all and thus produced "Throwdown," possibily the greatest (and only) judo film ever made.

"Throwdown" stars Hong Kong dreamboats Aaron Kwok as Tony and Louis Koo Sze To Bo as former judo stars who are now trying to get by on the tough streets of HK, the latter managing a night club and the former a travelling musician. Although the presence of Kwow and Koo make "Throwdown" one for the LADIES, To decided to throw a bone to his male viewers by tossing in Cherrie Ying as Mona, a night club singer who wanders into Tony's bar looking for work. The first part of the film features some truly random fight scenes that eventually culminate in Tony, who has given up judo, taking the sport up again while Sze To Bo ends up challenging Tony Leung to a juduel! I'd be lying if I said the storyline was very coherent, but that's what I gathered.

"Throwdown" is a deeply flawed film, its narrative structure buckling under the weight of a weak script. Johnnie To is a fantastic director but many of his films suffer from the same issue, namely giving off a vibe that they were filmed with nothing scripted besides the action sequences. "Throwdown" is certainly guilty of this, as the judo sequences are tightly and expertly choreographed but the non-judo stretches of the film are at times confusing and almost always lacking in any clear direction. Nevertheless, there are some great moments in "Throwdown" and watching the friendship evolve between Mona, Sze To Bo and Tony is enjoyable although hardly believable. "Throwdown" is also one of the most melancholy action films I've ever watched, the whole thing infused with a moodiness whose origin is difficult to pin down. It's definitely a unique film, if nothing else, and To deserves credit for continuing to push the boundaries and try different things with his films.

Strange Circus

D+

Directed by Sion Sono

Winner of the Grand Jury Prize at Fantasia two years ago, I was frankly expecting alot more from Sion Sono's "Strange Circus." Although the jury at Fantasia often praises films I dont particularly enjoy, they also more often than not get it right which is why I was surprised that they warded this rather unpleasant and dark offering with thier highest degree of praise.

"Strange Circus" follows young Mitsuko who is abused by her father, than by her jealous mother, ends up in a wheelchair, and generally leads a fairly hellish life. We learn, however, that Mitsuko's agony and hardships may only be the fruit of novelist Takeo's fertile imagination. As the film progresses, however, we are led to believe that Takeo may have a closer relationship to her novel's protagonist than we may have originally believed.

"Strange Circus" is a pretty unpleasant trip, but being unpleasant is not in and of itself always a bad thing for a film to be. Indeed, a number of really good films are very unpleasant (All About Lily Chou Chou comes immediately to mind). The problem with "Strange Circus" is that is it unpleasant and shocking solely for the sake of being so with no real motive behind it. Unlike films such as the the aforementioned Lily Chou Chou or Miike's "Audition" where extreme and brutal violence of general misanthropy were used to both move the story along and make some type of social commentary, "Strange Circus" simply shocks because it can. It's almost as if Sono tried to cram every single taboo or unpleasant subject into a single film, throw it out there to the masses, and see what came back. Judging by "Strange Circus'" Grand Jury Prize at Fantasia, it obviously struck a chord with a number of viewers but I can't honestly say I understand what they see in this film. Although Sono has loads of talent and produces some beautiful (if fleeting) images that almost come as a relief after being subjected to so much ugliness, the point of this film appears simply to shock are rather titilate. Furthermore, whereas "Suicide Club," Sono's best knwon work, employs violence rather liberally, it also features a tight, layered, and surprisingly cerebral plot that requires a great deal of mulling over before the viewer finally "gets it." Not so with "Strange Circus," where the plot is neither intellecutally rewarding nor very well put together. Indeed, Sono lazily tosses in some flashbacks here and there to infuse some faux-suspense in his film but by the end of it, the whole exercise comes off as incoherent, poorly edited, and generally lacking any type of cohesiveness.
I will say that lead actress Masumi Miyazaki deserves some credit for her performance as Mitsuko/Sayuri/Takeo. Her work is excellent and eschews the often charicaturistic acting of many Japanese leading ladies.

Tristram Shandy: A Cock and Bull Story

B

Directed by Michael Winterbottom

Michael Winterbottom's film adaptation of the "unadaptable" novel by Laurence Sterne, although self-referential to the point of being annoying is nonetheless a fairly droll film which tackles both the complex process of film making as well as the complexities of contemporary relationships.

Steve Coogan plays himself who is playing Tristram Shandy in a film adapatation of "The Life and Opinions of Tristram Shandy." The whole thing is a pretty big fiasco, as the film goes through a number of rewrites, scenes are cut and added on a whim and the whole thing just appeard to be a mess in the best style of "Day for Night." Throughout it all, Coogan is attempting to deal with his girlfriend and baby while at the same time recklessly flirting with his assistant. There are far too many side stories and tangeants to even start discussing here, but suffice it to say that if you pick up this film midway through, you're going to be confused as hell.

"Tristram Shandy" doesn't take itself too seriously, which is good because this film succeeds best when it lets itself turn into the truly rollicking, mad cap gem it is supposed to be. There are some hilarious sceneces such as Coogan/Tristram recreating the moment of his birth in a gigantic model of a womb which appears woefully unauthentic. The film is infused with a healthy dose of dry, Brit humour that requires some rewinding to fully catch all the jokes but overall the humour is accessible enough, and truly funny enough as well, that most audiences will find it enjoyable. The major drawback of a film like "Tristram Shandy" is since it is adapting a book that is notorious for have almost no structure whatsoever, there is no real flow to the film beyond watching the trials and tribulations of those involved with its making. The film jumps to and fro from the actual film to "real" life and eventually to real-real life and it isn't so much confusing as borderline exasperating in the end. Nevertheless, Winterbottom and Co. aren't trying to make an artistic statement with this piece and aim solely to entertain and they are mostly succesful in this regard.

2LDK

D-

Directed by Yukihiko Tsutsumi

An incredibly stupid film. Sure, movies don't all have to be groundbreaking, perceptive, and life changing but I don't think a modicum of sense and taste is too much to ask. This film will please those who enjoy watching two girls beat each other senseless for 70 minutes over some conflict that I have since forgotten. I laughed twice so I can't in good conscience give it an "F," but consider yourselves warned.

Election, Election 2

Election

A+

Election 2 (Triad Election)

A+

Directed by Johnnie To

Although Johnnie To is far from an underappreciated director, I would still argue that the true value and importance of some of his work has yet to be fully realized. "Election" and "Election 2," in particular, will hopefully someday be refered to in the same way Jon Woo's "Hardboiled" and "The Killer" are today, namely as films that completely changed the tenor of Hong Kong cinema. All though this may seem like a hyperbolic wish on my part, I remain convinced that To's Election and Triad Election are two oft he finest filsm to come out of Hong Kong in a decade.

"Election" follows the power struggle between Lok (the always solid Simon Yam) and Big D (the always crazy looking Tony Leanug Ka Fai) who are competing to become the next Chairman of the Wo Sing society, Hong Kong's oldest triad. When the triad's elder members vote for Lok rather than Big D, all hell breaks lose, resulting in Lok and Big D factionalism testing the strength of Wo Sing as both attempt to wrestle away the Chairmanship from the other. "Election 2," the aptly named sequel to the first "Election" takes place two years later, as Lok's tenure as Chairman is winding down (Yeah, he wins. Hate to ruin it...) and his power is being tested by upstart Jimmy who, in "Election," helped him defeat Big D.

Although it may seem odd, most people who will see "Election" will likely see it after "Triad Election" since the latter is, in my experience at least, much easier to get your hands on than the first installment of the series. As such, I watched the two films in the wrong order, going from "Triad Election" to "Election." Although some would say this kills the suspense of the first film (admittedly it sort of does), there is nonetheless a whole different dynamic when watching a film where the denouement is largely known to you already, in the sense that I was filled more with a feeling of forebodding and anticipation than I was with a feeling of suspense when watching. Regardless of how it's viewed, this film is fantastic, showcasing To as the height of his game, mixing sound and images with a tight, complex, and nuanced storyline that results in an excilerating though still cerebral and hyper realistic film. To largely turns his back on elaborate gun play or complex fight scenes, choosing rather to portray violence in a largely realisitc way; short, brutal, messy, and for the most part unplanned. To's use of an esemble cast adds a wealth of depth to the film as the perpective and motivations of a number of characters, many of whom reappear in "Triad Election" are fleshed out and considered, adding layers of depth and suspense to the film.

Both films are in my opinion equally superb and for similar reasons. In both cases, To creates a densely layered story butressed by fantastic acting which is hyper realistic in its intrique and its violence and, at all times, completely riveting. Add to this the presence of a number of fantastically talented actors who, thanks to To's skill as a storyteller, are all made to seem three dimensional in a way that almost defies belief when you take into account the relative brevity of both films, an indication of how little time is wasted in both films.
One of the major reasons for the success of To's crime saga, however, is his attention to detail. To teams up with long term cinematographer Cheng Siu-Keung in both films to capture a rendering of Hong Kong as To seems to know and love it--cramped and steamy and always on the move--adding a significant measure of authenticity to the story. To's use of music in both films is also fantastic, with a mix of traditional Chinese music and forebodding percussions punctuating the action.

To has been rather hit or miss throughout his career and has the ability to produce both magnificent work and relativelly uninspired crap as well. "Election" and "Election 2" fall squarely into the former category (and then some) and are mandatory watching for anyone who believes that Hong Kong cinema has gone the way of the dodo.

Waiting for Guffman

B-

Directed by Christopher Guest

Whenever anyone asks me if I've seen a Christopher Guest film, I always tell them that I've seen "Best in Show" and "Spinal Tap" to which they invariably respond "Wait until you see 'Waiting for Guffman!'" Well I just saw "Waiting for Guffman" and must say that I was pretty disappointed. Maybe the weight of expectations choked out any possible enjoyment I could have derived from this film but I found it only marginally funny which, from the guy who brought us Fred Willard as an inept and hilarious dog show host, is pretty much unexceptable.

Corky St. Clair is a former off-off-off-off-off broadway playright who has somehow landed in tiny Blaine Missouri where he is now in charge of putting together a patriotically infused play for Blaine's anniversary. To do so, he recruits the talented townsfolk, played here by regular Guest colloborators such as Eugene Levey, Fred Willard, and Parker Posey, and sets off to make an epic play the likes of which the Midwest has never seen before. In the midst of rehearsals, Corky finds out that major talent scout Mort Guffman may be in the audience, a fact he shares with his impressionable cast who immediately hear the call of Hollywood.

"Waiting for Guffman" isn't unfunny but I will say that it goes through large stretches of fairly uninspiring humour before unleashing a flury of hilarious Christopher Guest style moments. The issue really is that "Waiting for Guffman" lacks the constant, underlying humour of a film like ÈBest in Show" where, even if something hilarious wasn't happening, you still couldn't help from laughing just because of the ridiculousness of the situation. Ièm sure "Waiting for Guffmann succeeds on this level for many people, and there is no denying that it has it's fair share of funny moments, but overall I simply didn't find this film that funny and since the only point of a Chistopher Guest mocumentary is to draw laughs, I can't say I was overly impressed.

Good Morning

A-

Directed by Yasujiro Ozu

Although thos who are expecting another "Tokyo Story" will be deeply disappointed, Yasujiro Ozu's whimsical and breezy comedy about two boys who try to pressure their parent into purchasing a television set is one of the directors most intimate and touching films.

"Good Morning" follows the intrigue of a handful of suburban families in post-War Japan as they go through everyday life trying to keep their spouses and children happy while not pissing off the neighbors. In the midst of the low key drama, Minoru and Isamu, two young boys who desperately want a TV after watching sumo at the home of their deadbeat, youthful neighbors. When their plea is rejected by their parents the two boys take a vow of silence, agreeing to speak only when their demands are met.

Like most of Ozu's films, the premise of "Good Morning" is simple and revolves primarily around the examination of intergenerational dynamics of Japanese familes. Ozu's real genius, in my opinion, is his ability to deal with these same dynamics in most of his films with varying degrees of seriousness. Indeed, "Tokyo Story" is a far different film thant "Early Summer," even though both deal with roughly the same subject matter, and "Good Morning" has a completely different tenor than either of the latter two films, complete with some hilarious set pieces and relentless fart jokes. As such, "Good Morning" completely lacks the seriousness and biting social critique of a film like "Tokyo Story," despite the fact that some critics have attempted to convince us that "Good Morning" is in fact a deep and textured commentary and post-war suburbia in Japan. It isn't, and those who are hoping to get a slice of "serious" Ozu in "Good Morning" will be sorely disappointed. This does not, however, change the fact that it is a wonderfull little movie that is funny and even immature at times but is also deeply compassionate and humanistic in the style of Ozu's best work.

Art School Confidential

C+

Directed by Terry Zwigoff

Based on the graphic novel by Daniel Clowes, Terry Zwigoff's "Art School Confidential" is, to be brief, an at times amusing but essentially quite a bad effort.

Young, idealistic Max enrolls at Strathmore Art Institute, wanting to become the "greatest artist of the 20th Century," only to discover that art school may not really be about making good art, but rather more about marketing one's art to the impressionable and fickle teachers and students that populate the school (You mean art is about image rather than product? What?) Max is re-energized, however, when he meets beautiful, elusive Audrey who he immediately falls in love with, only to be crushed when she goes for hunky, talentless (but wildly popular in the local art circle) Jonah. As Max attempts to regain Adurey's effections (did he ever have them to begin with?) the ugly underbelly of art school reveals itself more fully, leading to a shocking climax...of art.

Poking fun at the pretentiousness of the art world, regardless of what some may say, never gets old. In this respect, "Art School Confidential" has some brilliant moments where it openly mocks the ridiculousness of most "serious" art and take jobs at the pompous phonies who produce them. had "Art School Confidential" stayed the course and simply spent 90 minutes skewering self important, conceited, and marginally talented "artists," I probably would have loved this movie. Unfortunately, however, "Art School Confidential" spends too much time trying to build intrigue around Max's various tortured relationships and his obsession witn Audrey as well as mapping his attempt at winning her hand through his artistic brio. The film, in many ways, suffers from an identity crisis, not knowing if it wants to be a straight up comedy, a satire, or rather a semi serious dramady. The presence of a host of reputable actors in this production, including Steve Buschemi, John Malkovich, Jim Braodbent and Agelica Huston, might have caused thd director to shy away from the laughs and bring on the high brow seriousness which is tragic because there was so much promise to begin with. Indeed, when one of Max's classmates applies a pair of car jumpers to his nipples and tell his friend to "give him the juice," only to find himself blown page into the stone age, I too was ready to be blown away (albeit not via the same method...) It's pretty disappointing "Art School Confidential" couldn't build on some of these ideas and jsut deliver a hilarious satire, something it was more than capable of doing had it wanted to.