The International (2009)
A lot of scenes involve people explaining the plot to each other, or discoursing in clichés about why they’re going to be thrown off the case or justice is an illusion or whatever. In a rare moment of something approaching innovation, we don’t have to suffer a romance between the two leads. It should be something of a concern when one of a film’s high points is something it doesn’t do.
Is Anybody There? (2008)
Far from being “lightweight”, it’s a subtle tale that covers a lot of ground in an unshowy way. Aside from the main plot, which is very worthwhile in itself — about how a lonely, slightly odd 10-year-old boy and a lonely, stubborn old man accidentally wind up bringing out the best in each other and helping each other to move on from the troubles they’re stuck in — the supporting characters are used to paint succinct pictures of old age, abandonment and regret.
Max Payne: Harder Cut (2008)
director John Moore doesn't use Matrix-derived bullet-time visuals, but, despite keeping a snow-bound New York and a revenge plot, he's somehow managed to also throw out everything that made Max Payne: The Game good. Despite the similarities in plot and setting, this doesn't feel at all like the game. Max Payne: The Film, to put it simply, is a load of crap.
Also this week, an editorial piece on the abundance of Director's Cuts (and the like) that we now see. Which is the definitive version of a film these days? Read my thoughts here.
More next Sunday.
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