The Good, The Bad, The Weird review from Louis Vuitton Presents the Hawaii International Film Festival (HIFF), 10/19/2008-dated screening http://hawaii.bside.com/2008/films/goodthebadtheweirdthe_hawaii2008

I liked this film. I really did I didn't love it. I would say that this film was, oh, slightly better than The Chaser (see below review) and waaay better than Divine Weapon, both of which I saw at this Fall HIFF.  I thought I REALLY was going to end up saying that The Good, The Bad, and The Weird (GBW) was HIFF's best screening of a movie EVER, even above Battle Royale and Shiri, both of which I saw in past HIFFs.  I can't say that, though.

There was about a minute and a half (I mean, it was LONG) Louis Vuitton ad before the HIFF Jason Scott Lee/Kelly Hu opening sequence. Funny how that Louis Vuitton ad did not seem to have anyone wearing Louis Vuitton; actually no Louis Vuitton-ness except for certain motifs flashed on screen. Sigh. I can't stand abstraction sometimes.

Another thing at the beginning of the film showed that it is affiliated with IFC Films. I was contemplating whether I should see GBW at HIFF because I understand it's going to get a commercial release in North America. Now I see it's an IFC deal? I have IFC as part of my cable package. I coulda' just sat at home and waited for GBW to show up on TV, heh!

GBW is South Korea's highest grossing film so far this year, according to HIFF exec' Chuck Boller (who introduced last night's HIFF GBW screening).  The Man's review of the film?  Here we go:

The Good
First and foremost, if I WERE to love this film (with apologies to O.J., heh), the direction would do it for me. I mean, director Jee woon Kim REALLY takes you on a ride with the gunfights, the chase scenes all bespeak a certain originality -- as in you've seem to not have witnessed this kind of wonderful, chaotic, and adventurous constant camera shots -- with a nod to classic U.S. wild west films that we've seen for real or imagined. Hell, even cowboy-class contemplations under a night sky under burlap (or, in the case of Song Kang ho's character, somewhat of a children's blanket) keep our attention and help to care about these characters.

Gunshots, thrown blades, explosions . . . all plausible in any popcorn/soda/ice cream adventure flick. All works in this film.

And talk about the characters! LBH, Woo-sung Jung and Kang-ho Song really seem to have the same amount of screen time to take care of any ego problems (HIFF exec' Chuck Boller's introduction to last night's screening also reported that, in a press conference on Saturday [or Friday?] here on Oahu, Director Kim DID mention that he didn't want to: 1) work with horses; and 2) work with Korean mega-stars again after having made this film), and, make no mistake -- each actor takes very, VERY good care of their roles, so much so that, I cannot see LBH in the role of Woo's character or Song's characters. I cannot see Woo in the role of LBH's or Song's characters. I cannot see Song in the role of LBH or Woo's characters.

Jung's a lean, proficient bounty hunter who would've given a certain infamous western 7 troop no choice but to add an 8th member if they saw him in action. When he quite actually leaps onto the scene, you love the fact that he's on the side of good and you know he's going to kick to right butts AND in a blunt, satisfying style as well.

Song Kang ho . . . simply steals the show if I'm not thinking about it too much; his antics are just classic Song Kang ho and really reminded me of his Memories of Murder portrayal at times, so, was nice to get that "greatest hits" flavor. An actor for the ages, simply put.

Lee Beong Hun (LBH), just -- yes, I am biased -- just my FAVORITE darn character in the film. Helped that he was dressed all in my fav' color, black, throughout the entire film and really spooky. Really deadly. Whoever is responsible for casting him in the role of Storm Shadow in the upcoming G.I. Joe: Rise of Cobra (and, there's a "BVD" scene of him [BVD also in black -- does this guy ROCK or what????] and, lemme tell ya, this guy is in SHAPE [he was also kind of wet, too, in that scene, but, never mind] -- yes.  I'm going to predict LBH is bad ass in that upcoming film as well. LBH is not steroid'd out, but, a lean, efficient being who could do whatever he wants) film should have his or her salary doubled -- I mean, LBH in GBW is no bottled-up angst'd character that he was in JSA. LBH is like a striking king cobra in this one. His lines are terrific, his delivery is terrific, and if he wasn't so freakin' ruthless, I wish I were him. The guy makes wearing mascara look bad ass. Tell you something . . . considering the time period, if, say, Indiana Jones ended up having Chang-yi (LBH's character) as a foe in this time period, the good Dr. would have a tough time with his whip against the former's knives (and that's a matchup I wouldn't mind seeing, especially with LBH winning, 'specially after that last "Indiana Jones and Crystallized Epic Fail" this past summer). Ledger's Joker wasn't disturbing to me as much as LBH's Chang-yi villain was in this film.

The homage to Westerns was decently well done. There's a train that's attacked. There are authorities and their resources to hinder the main characters.

The movie soundtrack . . . now THAT's the best I've heard in a long time. Brilliantly original with seeming Asian drums straddling the classic whistling, brass horn'd, heavy stringed guitar yarns that we know and love from Westerns. Such a juxtaposition works quite well in this case.

Lastly . . . I love ladies. But, it was just TOO refreshing (I'm saying this is a GREAT thing) that there was no damsel-in-distress to get in the way of the action. I guess when you have three of S. Korea's biggest mega stars in a film, there's hardly any room for a love . . . quadrangle, should we call it? Maybe eliminating this obligatory factor, especially in Westerns, helped to move this film as quickly as it did. Reminds me of the missing bass line in Prince's When Doves Cry, which is now a pop classic, yes? GBW should end up being something similar in its own film genre.

The Bad
I don't want to spend too much time on "the bad" in this movie? But, I DID not "love" the film and it's not in my top 5 of all-time fav' HIFF films.

The storyline seemed convoluted, as simple as the tale might've been (manhunt, treasure map, etc.). Some things mentioned, I didn't see how they played into the whole equation.

It's good (pardon the reverse pun) that Kim kinda' pronounced that it'd be a while before he did a "kim chee Western" any time soon and, thus, slightly discouraging the creation of such films done in the same categorical vein. Because . . . to have this kind of gunfighting in Manchuria during that time . . . just not . . . well, let's just say it's kind of stretching it. Maybe some history prof' might have to school me on this, but, I don't know if this kind of thing even CLOSE to what was portrayed in this film really went on.

Lemme just say, if they did a sequel, [and I'll put the following in black font; scroll over with your cursor if you want the spoils] what would be incredible is if Jung's Do-won would end up pitted against American gangsters in Chicago or something (of course, with Song's Tae gu character getting in the way, somehow) or being hired to handle a dispute South of America's border sorta' a la The Wild Bunch (without either Korean character suffering the same fates as Peckinpaw's heroes in THAT classic western) in the early stages of the 20th century. Better yet, how 'bout a prequel showing Do-won, at least, earning his skills in the American West . . . you know, at a time when U.S. gunslingers would be aging, some Eastwood-ish character understanding Do-won's plight from a Japanese-occupied Korea and teaching a Do-won gunfighting skills. Toshiro Mifune and Charles Bronson acted together in a Western. Hey, director Kim, call me, heh.

I'll also say that the "kim chee Western," (by the way: this is how the film was labeled throughout the fest' and has been monikered as such elsewhere) if not handled correctly, can become a joke within itself. And I dunno if the S. Korean movie industry would do too well and make too many of these, you know, since GBW is the highest grossing movie this year, again, according to what Boller said last night.

The Weird

I'll put in black font. Use your cursor to scroll over the black space if you want to know what I thought was weird in this film: The mustaches, especially on Jung, are just cheesy. Should've been left out.

LBH's black BVDs. Yikes. Eek. 'Nuff said.

LBH's (Chang-Yi character), well, I was ABOUT to say "grudge" against Song's Weird character, but . . . I seemed to not get how LBH's bad a$s character ALLOWED The Weird to [white font] CUT OFF LBH's finger. There seemed to be a disconnect.

Another disconnect occurred with Jung's Do-won character. It seemed that as moral as he was supposed to be, you didn't get jusssst the correct bead on just how far he was willing to get the "treasure" on the map. Yes, he IS a bounty hunter -- and if you've observed any bounty hunter from Boba Fett to Dwayne "Dog" Chapman, you know that that's one profession where the badges come with the love for money. But, again, as Do-won represents THE moral compass in the film -- I mean, that's pretty much needed in a Western -- you, or at least I, kinda' hoped that he didn't have this potential black mark on his face throughout the movie. I dunno. Was this question on Do-won's character intended as part of Director Kim's redefinition of the Western? Was it more along the lines of portraying how displaced Koreans were managing to thrive, not just survive, in a land they haphazardly fled into?

And, going back to what Boller commented about Director Kim's (new?) aversion to handling/directing three Korean mega-stars in one film . . . as much as I enjoyed seeing them all in action? I think allowing that kinda' hindered the film. There WERE certain lags in this film and I caught myself yawning three, four times.

The conclusion

Any fan, however slight, of action films and those who understand the very significant contribution that the Western makes to the world of film will be missing a significant contribution to the Western itself if s/he opts to never see The Good, The Bad, The Weird.

Director Na Hong jin's first feature film The Chaser was a last minute addition to last night's slate of movies at the Louis Vuitton Presents the Hawaii International [(gasp), (gasp), (gasp), let me catch my breath] Film Festival.  This was a film I'd heard so much about thus far this year and when I heard it was added, I knew I needed to see it.  The Chaser replaced Cyborg She that will be, HIFF Ohana are told, shown this Thursday at 8-ish, sorta', at the Dole Cannery Theatres on Oahu.

There is a lot of blood and bludgeoning in The Chaser.  That's no spoiler; that's to get those of you who haven't seen this film prepared if you plan to see it!

I dunno if I'd buy The Chaser on DVD and if I watched the thing in its entirety again, it'd probably be due to having channel surfed and suddenly saw it playing on the IFC or Sundance channels.  Its main subject matter (serial killer vs. ex-cop turned pimp) is as seemingly idiosyncratic as its delivery.  The Chaser's main theme borrows from an old adage -- that, in chaos, there is opportunity.  For the most part, that favor is given the villain and, while you might thing everything's resolved at the end, there are still questions and, to me, I'll put in black font: not a happy ending despite the serial killer finally -- and you will sigh, "finally" -- getting caught.

I think this is what the director (really brilliant in slow-burning the delivery of this film -- reminded me of when I wasn't thinking whilst at the grocery store and managed to buy a near-medium-sized [and if you know me and steak, "medium-sized" is a TRAVESTY!!!], moderately-priced steak for dinner once [stick with me, now, this analogy's long, but, I think you'll get a better picture of what I'm trying to address with regard to this film], started slow-frying it, at some point wasn't looking good . . . until I threw some chopped Maui onion that I remembered I had, threw in some olive oil, Hawaiian salt and pepper . . . and what I thought would've been a mediocre meal turned out into a definite ways and means to do my steak every so often.  But, you get the picture, and, enough about me) Na Hong jin wanted elicit in his audience; to not merely know in an instant or quickly acknowledge, but, rather embrace -- throughout the entirety of the film -- how the mere idea of "confusion" hovered over the setting of this Korean neighborhood like the darkest cloud you've ever seen over your own; in fact, it rains at pivotal points in this film.

Here's an example: the pimp/ex-cop, played by Kim Yun-seok (one of the more brilliant classic anti-hero roles I've seen in a long time; it seems most anti-hero roles -- most notably from Hollyweird films -- are shallow and try too hard.  Kim Yun-seok nails this type of character and his portrayal should be observed and studied by film students), even calls the apartment of one of his girls "a dump" when it seems every other dwelling in this film is a similar "dump," not the least of which is his base of operations, a veritable closet.  In other words, things are in such definite disarray in this part of the world, one can't realize his own very similar foibles in comparison to those that he's criticizing.  Don't even consider trying to, oh, solve something as crucial as a murder in such a situation.

But, the unmade homes, dishelved clothes of all, the human dudu thrown on the city's mayor, a close up of teeth being cleaned (spit residue shown in sink, too), filthy restrooms, and broken headlighted Jaguars -- just to name a few devices used by Na Hong Jin to promote this theme of "confusion" -- is not simply to show how gritty and dire the situation is in this film.  It is almost as if the city is (with advance apologies to the upcoming The Spirit film) screaming, crying out that an evildoer is doing so very competently, very craftily, in a part of the city where you'd never expect.  The city screams and cries out like this because it is trying to get the attention of its citizens as there is seemingly no other way that they can know what evil acts are going on.  And you will gasp at the evil shown in this film.

And with regard to the villainy in this film (who makes his presence in every scene, seemingly), If I were to make a comparison?  I wouldn't say that say that Ha Jung woo's Young-min villain in this film out-dos this summer's Heath Ledger's Joker.  I'd say that each is in a class all their own.  Kinda' like Michael Phelps for swimming and Tiger Woods for golf -- I think you'll never end up satisfying the argument, "who has had the better career thus far"?  But, in terms of demonstrating on screen to an audience who the more evil of the two are?  Ha Jung woo's murderous serial killer (and that's not overdoing the descrīption or offering up a tautology -- that's for starters in describing the guy.  He brought to life a very disturbing character.  This guy should be in more films) wins THAT match in the Battle of Evils chess tournament.

All in all, my overall impression of The Chaser was that it starts off as a neat, tout, Raymond Chandler-esque/Ross McDonald-flavored mystery-thriller.  Bloody, too, did I mention?  The Chaser's being touted as that which is supposed to inject new life into a seemingly and suddenly sluggish and mediocre S. Korean film industry (I disagree; except for D-War, I disagree) and, you could make an argument for that.  I don't think [more black font] that a solid and constant stream of film endings that make you feel like you've been punched by an MMA fighter square in the stomach as you're leaving the theatre should necessarily be a common thing, either, though.

Because I think a lot of folks haven't seen it yet, HIFF needs to show this again before the festival's end.

There aren't as much harrowing lines of people in the cordoned off areas.  The only large crowd I saw was for Jason Scott Lee's (who I saw dashing toward the elevators on the 2nd parking floor; nice to know celebrities gotta find parking just like us, no?   :eek:If I'm not mistaken, he was running with Kelly Hu, too) Living Pono, screened at HIFF yesterday afternoon.

I don't think Living Pono was something you could find online to download (which is not something I do anyway); makes you wonder about the state of film for theatres, no?

Well, since this one's going to be re-released in January 2009, I'll offer the following (which I had posted uner mein name at a different 'site):

The Dark Knight (2008)

Well, I don't want to give too much away about The Dark Knight (and I am simply surprised with how many of those that I run into [with my own Batmobile, yuk yuks!] in my day-to-day have NOT yet seen this film, this second installment of the post Peters/Burton/Batman era.

I would say . . . that they ("they" being Hollywood; and, I hate saying that knowning that this is a DC Comics movie) are beginning to get the Batman costume right.  Especially the modifications shown near the end of the film.  What can I say?  I'm not gonna be satisifed until the Bat symbol on the chest is given the correct color for its oval, which the new creators of the Batman movie series need to incorporate as well.  The 1989 movie got it right . . . why the disconnect?

I didn't dig the new "Batcave" (whether I'm using that term metonymically or not, you'll just have to see, true-believer; ooh!  Is that too "Spidey" for some of you).  I mean, the Batcave has certain characteristics that must come along WHEN YOU WATCH A BATMAN MOVIE OR READ A BATMAN COMIC BOOK.  I thougth, though, that if I needed a Batcave following what happened in the first movie, well, I suppose it would have to do, and, it is suggested that this Batcave might not be around forever.  And to be the Bruce Wayne we know for sure, he needs to go live in ye olde mansion out of the city limits, at least for my tastes.

Bruce drives a Lamborghini in the film -- this is not a spoiler as the fact is mentioned in the previews/TV ads for The Dark Knight -- and, whoops, gonna put a spoiler here [run your cursor over the the following if you want to know]: since the Batmobile is trashed, and so, the appearance of the sleekness and defensive capabilities of the great Italian masterwork [notice I refuse to label the Lambo' as a mere "car" or "autombilie] can only become noticed by the constantly distracted Wayne, especially in this installment. SPOILER OVER.  I'd expect a kick-%#$, more sleek, something-that-actual-b/millionaires-will- want-to-buy-yes-I'm-talkin'-real-life Batmobile next time around.

The thing I really liked seeing in Batman was what Bats himself touched upon: how The Joker simply relished in acting on how much he could manage to corrupt Gotham City's denizens; I mean, every single one of 'em.  References to those types of folk ("men," a very brisk and sharp Michael Caine -- my vote to play Robert McCall in a The Equalizer movie is they should ever make one -- says as the very capable Alfred).

When it's all said and done, you "get" Batman, you "get" the Joker, and, above all, you "get" that these seemingly otherworldly problems (even a few detonators shown late in the film seem like an homage to both the camp' series and the comic books) that will take over the raw, underworld mob scene must be remedied by no one who wears a white hat, much less anyone wearing spandex colored in red and blue (you've probably thought of at least two already) that seem to soon take over a city like Gotham City.

Now the thing I seem to be missing: Ledger.  You know . . . I'll be honest: it doesn't seem TOO difficult to play The Joker.  I've seen on other 'sites (I'm thinking of one particular one that has "cool" coming to mind) how you think of Ledger's Joker even when he's off-screen, Ledger this, Ledger that, Ledger best thing since whatever.  You know.  I'll tell you that his portrayal of the Joker was outstanding and excellent -- and I'm not like Mary on So You Think You Can Dance, so, that's not all the comments I have to say about Ledger.  He did not take over the show, is what I'm saying.  There are outstanding performances by Gary Oldman (loved Gordon's side story in this movie; I'd say that should do a whole movie about Jim Gordon with limited Batman appearances, but, I'd be biased -- I read the entire Gotham Central comic book story; long story.  PM, I'll try to keep it succinct).  Like I said, too, Michael Caine does a great job, as does Morgan Freeman.  Eric Roberts woulda' gone head-to-head with James Gandolfini's Tony Soprano if their universes ever crossed -- my goodness if Roberts' career shouldn't be revitalized out of some of these B-movies on the movie channels that you can see him doing sometimes.  And, Christian Bale . . . man . . . is THIS a seasoned actor already?  As young as he was in Empire of the Sun, the guy was already A-list in terms of acting abilities, to me.  And Bale just brings it the hell out, man.  He's playboyish when he needs to be (shades of Bateman from American Psycho, you ask me) and he's a damn rough, focused, and forceful avenger when he's in the Batsuit.  See?  I balanced the "Heath Ledger as Joker" paragraph that I specifically reserved for fawning over that performance, so, I guess that just shows how every actor did well in this film.  I have to say, I didn't like Gyllenhal's performance -- cripes, when she's interrogating that Hong Kong accountant, it's like she's selling furniture or something.  And I only like it when Aaron Eckhardt's Harvey Dent turns into . . . you know who.  Or, you will know who.

Anyway, a great effort.  I still got the year's earlier offerings, Rambo (my friggin' fave film this entire YEAR) and Iron Man better than The Dark Knight.  Sad, because I really like Batman comics.  Don't get me wrong, though -- The Dark Knight IS a great film.  I just thought it'd be the best all year.

They'll get it right REAL soon (make Batman # 3 right away!!!!).

Right now, though, The Dark Knight is beginning to seem, to me, almost the Bible of superhero films, in that there's not enough you can say about it.  I wonder how Watchmen will turn out?

You just can't immediately write-off the opening ceremony last Friday (08/08/2008, of course) because the games have already begun.

Bravo, bravo, bravo.

China hit it.  In spades.  The Bird's Nest spectacular was just that, times a thousandfold.  China did a terrific job of reminding (as that great land has a history that needs be learned by everyone) the world of their place on the planet.  They touched on everything that China contributed to the world in terms of writing, their sense of and respect for nature, their examples and embrace for the vastness that China retains in a myriad of aspects.  And if there was ever a lull in the activities, it was filled in by the great scene of China's perennial manpower.

Who didn't love that e-scroll on the field?  Nothing short of incredible.  The scroll as a theme in an East Asian venue . . . just priceless and brilliant.  If Japan or South Korea or any of the neigbhoring East Asian countries get the Olympics again, well, they better start planning NOW to try to best this offering by China.

Just simply brilliant.  Takes a lot for a guy like me to tear up, but, that's exactly what I was doing from the start of the ceremonies until that incredible torch-lighting.

I don't know if I want this Olympics to end.

I'm beginning to despise television ads.

I know they're necessary for most television shows to be aired.  But, I have to switch to another channel (thank God I have many) whenever another car or product ad' or whatever interrupts (and that's how I see it -- interrupting) what I'm watching.

I mean, I don't base my car buying on what's on a TV ad anyway.  It's always been: 1) well, what looks like I can drive in and not get embarrassed; 2) what I can pay off in no time.

Really.  I can't stand them.  I don't even know why I did a blog entry.  I just hate TV ads.