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Star Wars: Attack of the Clones (2002)
Yes, it’s easy to say that Attack of the Clones is better than Phantom Menace, but hey, most anything was better than watching that movie about trade and taxes. The truth of the matter is that for a long while Clones is just as boring as Menace, especially anything involving Anakin onscreen. It’s slow moving, dull, and remarkably poorly written. Lucas cannot write dialogue and someone needs to take away his yellow writing notebooks before he strikes again. The movie only shows life during the last 45 minutes when it finally cooks with a non-stop rush of action. Before then though I would recommend resting up for this period.
Can anyone ever say “no” to the Jedi master in plaid? What Lucas needs desperately is collaboration, writing and directing. Lucas needs to loosen up the reign of his empire before the three Star Wars prequels undermine the original set. He may have the technology to create any manner of CGI creature but he has no power to get his actors to show any of the realistic and animated life. It seems all Lucas cares about is directing blue screens and leaving his actors out to dry.
And that much ballyhooed romance between Anakin and Amidala? Oh ye God, what romance? You could find something more alive in a monastery. Portman and Christenson have as absolutely no chemistry (unlike the romantic pairs in another, huge Hollywood movie out now). Portman has perfected the staring ahead method. I don’t know if that’s supposed to be romantic. Now I like Natalie Portman, I really do. Her performance in The Professional gets me every time, but her acting is stiff and overly serious here.
I thought Anakin could not get any more annoying than Jake Lloyd’s awful “yippee”-filled run in Menace, but I’m starting to reconsider this begrudgingly. It’s easy to see why Christenson was chosen, he looks like the lost N’SYNC member. His acting on the other hand is not with the force. The Clones Anakin mopes around and when he gets upset he whines in a falsetto voice. It’s actually quite funny to see the future Darth Vader, evil master of the Dark Side and much feared, whining like a six year old throwing a tantrum. This Anakin needs a time out and a lolly.
When Anakin returns to become a protector for the senator, upon their first meet in ten years he shoots her the puppy eyes and says, “I see you have grown as well — grown more beautiful.” Subtlety, thy name is not Anakin Skywalker. The very next scene where they’re alone he’s trying to put the moves on her, though he does not try and use the force to undo her bra. Then somewhere along the line his dogged persistence just wears Amidala down and she relents. She says, “I’ve been dying a little bit day by day, ever since you re-entered my life.” Ugh. You’re likely to find more romantic passages in a Harlequin bodice ripper at 7-11.
The romance in Clones is like spontaneous romance. There is no beginning, the nurturing of it is not shown, we don’t see the eventual progress. All that happens is he shows up and then instant romance. It just happens. I don’t think so. It’s like a kid went to a girl’s third grade birthday party, then they meet in high school for the first time since that day and are instantly in love. Do you buy that? Well I certainly don’t.
The scenes revolving around Obi-Wan are the only ones worth opening your eyes for. Ewan McGregor has got the Alec Guiness voice down and proves to be a capable leading hero. His voyage to see the clone army and Jango Fett is the subplot that we want, but the movie keeps skipping back and forth between this and the inept romance. By this time everyone knows that Yoda shows off his fighting mettle with a light saber. This is a great idea and the audience I saw it with was having the time of their life during this moment. It’s the only part of the movie that taps into the feeling of whimsical fun of the original trilogy.
Lucas curtailed the criticism of Menace saying it was the setup for all five other movies. I imagine he’ll say the same thing with this one, except that it was setup for four movies. Yes it’ll make a huge amount of bank. Yes it’s a technical achievement but what good are all the bells and whistles if we as an audience are bored? You’ve got one more Star Wars left George, please do it right.
Nate’s Grade: C+
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Black Hawk Down (2001)
In the fall of 1993 Somalia was a nation being torn by civil war with feuding warlords and slowly being crippled by rampant hunger. The UN intervened to try feeding the starving nation but warlords like Mohamed Farrah Aidid cut off many of its shipments of food. The United States had plans to capture two top lieutenants of Aidid’s in the capital of Mogadishu. Over 100 Delta units and Army Rangers were sent into the heart of the Mogadishu market to execute the operation.
Things didn’t go well from the start as casualties began to pile up and first one, then two Black Hawk helicopters were shot down from ground fire. Medical vans and Humvees were continually blocked access to help the stranded soldiers by civilian roadblocks consisting of smoldering debris. It wasn’t supposed to take longer than 45 minutes. It ended up lasting over 15 hours. In the end 18 American lives were lost, over 70 were wounded, and over a 1000 Somalian lives were lost. What’s truly amazing is the courage the men displayed, and the fact that being surrounded by a sea of armed Somalians that more lives weren’t lost.
Black Hawk Down is essentially a two-hour action sequence. The emphasis of the film is on the stark recreation of the Somalia skirmish and it is indeed an achievement in grueling realism. You truly feel like you have been thrown into the middle of this firefight. With all the gunfire and chaos it leaves little time for getting to know characters. This is probably why they have names written on their helmets so the audience can attempt some semblance of who’s who.
The film is by no means for the faint of heart. Saving Private Ryan had some intense violence, but it was mainly condensed for the opening and closing 20 minutes. Black Hawk Down, on the other hand, is two straight hours of non-stop blood and gore. The violence and the intense realism are not gratuitous but indicative of the horror these men faced. If you can’t stomach a soldier plunging his entire forearm into the chest cavity of another to cut off a bullet wound – stay at home and read a good book.
Ridley Scott is on an ultra-violent hot streak after directing big name Hollywood tokens like Hannibal and Gladiator. His handling of Black Hawk Down is masterful, just for the simple fact of keeping the audience free from confusion. Throughout the duration we know who is where, where they want to go, and the general geography of the hot spot. The staging of the entire battle is beautifully filmed and the recreation of the Mogadishu market place is amazing in its fine detail. Some criticism has been projected at the film for portraying the Somalians as basically black people with guns. This is entirely true, but one must remember that the film is told from the American point of view.
The acting, as expected in a war film, takes a back seat to the heroic histrionics and the fireworks. Josh Hartnett is sullen in his duty as Staff Sergeant Matt Eversmann but always a comfortable figure to see on screen amidst the chaos. Ewan McGregor plays a soldier promoted to action instead of desk work and adds some touches of humor to the fray. Tom Sizemore is the most recognizable person as the often-frustrated Lt. Colonel Danny McKnight who fearlessly strolls across the battlefield while bullets whiz by.
Black Hawk Down for some will be the right movie at the right time, though it was never intended to be. The riveting action is more than entertaining and worth admission price, but you might leave pondering on the sacrifice few know the full details. Just make sure to go to the bathroom before the film starts.
Nate’s Grade: A-
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Moulin Rouge! (2001)
Director Baz Luhrmann’s last project was the MTV-friendly William Shakespeare’s Romeo + Juliet (like someone else has a Romeo and Juliet) which was adored by the under 15 set that now buy N*SYNC merchandise. Luhrmann waited a long time for his follow up with Moulin Rogue, a manic musical that seems like candy for the eyes. It may have been a long time but it was well worth the wait.
The sparkling world of Moulin Rogue is around turn of the century France. Christian (Ewan McGregor), an aspiring writer, has traveled to this place against his father’s wishes. Christian believes in the beauty of love and the pull of the heart. Within minutes of setting foot in France he gets wrapped up into a production by a dwarf (John Leguizamo) and his cadre of assistants. Christian is sent to the most provocative club in town, the Moulin Rogue. Here he attempts to persuade the most famous showgirl Satine (Nicole Kidman) to help push for their musical to get financial backing. Satine inadvertently confuses Christian for the man she is supposed to seduce for a large some of money, the Duke (Richard Roxburgh). And thus the merry band of misfits get their play the backing while Christian blossoms a love for Satine. But their love must remain hidden for the Duke is led to believe that Satine is his and his alone.
Kidman owns this movie, plain and simple. From her first shattering entrance being lowered from the ceiling to the last scene, she is absolutely magnificent. McGregor gives a nice performance as the dough-eyed lover. Jim Broadbent plays the Moulin Rogue’s owner, Zidler with howling delight in all his manic expressions. Even Roxburgh gives an underwritten antagonist the right amount of weasely twitch.
One of the more surprising features is how well the two leads can actually sing. Kidman gives a soft and sexy take on “Diamonds are a Girl’s Best Friend” and McGregor can belt out a tune with some admirably throaty pipes. As these two veer in and out of songs it’s a pleasure to watch and hear.
Luhrmann has crafted a musical with ADD, but I say this as a compliment. Moulin Rogue‘s pace is fast and pounding. People twirl above the sky, the camera zooms wildly through town streets, and dump trucks worth of confetti fly through the air. Moulin Rouge is exploding with glitz and never lets up. The editing and visual artistry is stirring. By about ten minutes into the proceedings when a green fairy starts singing a seductive version of “The Hills are Alive” you know you are in for something else. And what a something else the film delivers. There was not a moment I didn’t have a smile glued to my stupid face.
Moulin Rogue could be described as a musical for people who dislike traditional musicals. In traditional musicals people go along stuffy formula, then break out into great choreography song-and-dance. With Lurhmann’s musical is a breakneck of pomp where the characters zip around to exaggerated Hanna-Barbara sound effects and start chiming away with 70s and 80s pop songs that we all know. After the initial shock/humor of hearing characters belt out renditions of “Roxanne” and “Like A Virgin,” a familiarity sets in and it blends in to produce a surprising artistic addition.
The story of the movie is nothing new or extraordinary; it’s well worn territory. But where Moulin Rouge breaks apart and shines are with its style and exposure. The visuals are astoundingly lush and lively, the music is game and pumping, and the movie is just screaming to be seen. This was a true work of love.
The movie is bursting to the seams with life. I loved every single second, every single frame, every single moment of Moulin Rouge. I can’t wait to go see it again.
Nate’s Grade: A
Reviewed 20 years later as part of the “Reviews Re-View: 2001” article.
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