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Film: Versus
Release date: 30th June 2003
Certificate: 18
Running time: 120 mins
Director: Ryûhei Kitamura
Starring: Tak Sakaguchi, Hideo Sakaki, Chieko Misaka, Kenji Matsuda, Yuichiro Arai
Genre: Action/Comedy/Fantasy/Horror
Studio: Tartan
Format: DVD
Country: USA/Japan
Versus was the film that made the world sit up and take a serious look at Japanese director Ryuhei Kitamura. Now over ten years later, having had several re-releases with extra footage and even a US remake supposedly due for a 2010 release, is Versus still the internationally acclaimed gem that it would appear to be?
The opening scrawl explains that there are 666 portals on earth leading to the afterlife, one of which is found in Japan, and is called the ‘forest of resurrection’. The film then jumps to the present day, where Prisoner KSC2–303 and a fellow prisoner meet with a gang of Yakuza mobsters in the forest, after escaping police custody.
Following a disagreement, KSC2-303 flees the Yakuza with a mysterious woman that the mobsters had kidnapped. The gangsters run deep into the forest after the two of them but discover that the dead bodies of people they have killed and buried in the forest are coming back to life as zombies. The gang then furiously fight off the zombified hordes approaching them; losing most of their numbers in the onslaught.
KSC2-303 meanwhile has started to forget details of his life, and begins to experience flashbacks of events he hasn’t knowingly experienced. Matters become clear as he meets face to face with a mysterious man. This man turns out to be an arch rival of KSC2-303 from a past reincarnation, and seeks to use the woman to open the gates of hell and acquire a great power.
Now knowing that his destiny is to stop his nemesis, KSC2-303 vows to protect the girl and settle the age old rivalry once and for all…
Whilst Versus is primarily an action horror flick, there are also occasional comedic turns. These are relatively outrageous and self-conscious scenes that juxtapose the heavy premise and the gory aesthetic. Moreover, these don’t necessarily undermine the flow of the film. Much of the comedy is self-referential and parodying of generic elements in Far Eastern action films.
The gore used by Kitamura for many of the action and zombie scenes go to show he is a man who doesn’t wish to hold back on visceral horror and instead gives the audience the blunt imagery. As a result, there are people having huge holes blown through their body, bits of limbs being cut up, and guts flying ad nausea. Indeed, it is true to say that those who do not like blood will be looking through their fingers for much of the film. It is splatter core at its most visual.
What is probably the most enjoyable factor about Versus is that the plot is simple, but without lacking any narrative depth. The story of resurrection, reincarnation, sibling rivalry and love across spiritual worlds manages to squeeze its way in amongst the gun and swordplay, and this somehow feels right. Not many films manage to strike this balance successfully, however for Versus it just about works. This is also despite the movie being quite minimalist when it comes to dialogue, as, in most cases, actions speak louder than words. Occasionally this makes some scenes more interesting and poignant - this is beautifully displayed during a particular flashback sequence where emotion is created simply by facial expressions.
If there is one thing that comes across most with Versus, it is the overt stylistic comparison with the Matrix. This is probably no accident as the Matrix smashed box office records the year before Versus was released, and that in itself borrowed stylistic elements very heavily from Far Eastern cinema. However, in this case, the Matrix style effects are somewhat sent up. In one particular case, a man attempting to dodge a bullet in the style of Neo fails spectacularly and is blown to smithereens. It is also worth noting how many times KSC2-303 is referred to as ‘the one’ and, most notably, how he wears a very similar jacket to Neo’s.
Despite the fact that he is clearly modelled on Neo, Tak Sakaguichi manages to put in a fine performance as KSC2-303; portraying a character that is not as clear cut a hero as it would seem. Sakaguichi succeeds, despite the character being somewhat of an undesirable, in making the audience root for him and gives KSC2-303 an ice cool edge, as well as a fiery ruthlessness.
Versus is a film with many hidden depths, and is not simply the big loud action film it would appear to be on the surface. The somewhat deep story of rivalry and conflict crossing over many reincarnations successfully compliments the zombie splatter core, and makes for an engaging and entertaining two hours. Versus has ultimately stood the test of time, but it seems hard to imagine what could be improved upon should the US release actually happen. DJ
Film: Apocalypto
Release date: 11th June 2007
Certificate: 18
Running time: 132 mins
Director: Mel Gibson
Starring: Raoul Trujillo, Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead
Genre: Action/Adventure/Drama
Studio: Icon
Format: DVD
Country: USA
The late 16th century brought an end to the enigmatic Mayan civilisation, which dominated Colombia and its neighbouring countries as far back as 2000BC. Their decline remains one of the great archaeological mysteries: the Mayans were fabled for their forward thinking, particularly in their use of mathematics, which enabled them to formulate unrivalled astronomical knowledge. However, they were unable to prepare for the combination of factors which contributed to their demise, which are still debated today. One of the most commonly attributed reasons for their decline is the Spanish colonisation, which spanned many centuries. Apocalypto investigates this theory further, providing a snapshot of Mayan civilisation in its twilight.
The spotlight focuses on the plight of Jaguar Paw and his immediate family. Whilst on their daily hunt they encounter a local tribe drawn in a similar vein, bringing with them tales of impending invasion and capture. Choosing to ignore the warnings, Jaguar Paw and family return home, and in next to no time, find themselves to be the next victims of a violent uprising.
Jaguar Paw hides his pregnant wife and son in the nick of time (his quest to get back to them provides an overriding story arc), but finds himself isolated from them in the scenes which follow, as he is taken to the Mayan city; an agglomeration of evil, the stench of death and disease emanating off the screen. Human sacrifice becomes the order of the day, and a nauseating sadness inevitably accompanies subjecting one’s self to the epic torture scenes, as we briefly bond with one or two secondary characters, but only as a means of accentuating our sorrow at their visceral treatment at the hands of the Shaman-like leader.
The situation appears hopeless, but in a single moment of good fortune in amongst the tumultuous evil (a twisted scene in which Jaguar Paw and his remaining fellow captives are treated as human game), an opportunity of escape presents itself.
What follows for Jaguar Paw is a test of both endurance and guile, as Gibson turns up the heat in a series of pulsating chase scenes, which will have audiences casting their minds back to the archetypal hunter vs. hunted films of old. The dynamic between predator and prey is reversed in several set pieces, in which the chasing pack is subjected to Jaguar Paw’s expansive knowledge of the forest, via a plethora of jungle-inspired booby traps.
Meanwhile, his abandoned wife and son encounter their own complications, who find themselves at the mercy of nature and the elements, which may prove detrimental to the film’s intentions of an emotional reunion at its climax…
One of the things that will strike audiences is the distinct lack of dialogue from minute one. Perhaps the intention here is that the action scenes are allowed to dominate as a result, but there is also another direct result - we are never given an opportunity to understand the enemy. Motive is never made clear, and this helps us to develop disdain for the evil, and empathy with the protagonists.
We are kept guessing throughout, as characters the audience might expect to make the final reel are cast aside, and often in very gruesome ways. No cost is spared when it comes to gore factor, and the harrowing death scenes develop empathy with those left alive. It is also worth noting the lack of a limelight-stealing actor, as this gives the characters a vulnerable human edge.
The absence of A-list personnel within the cast may be as simple as cost-cutting, but one suspects this decision runs deeper. Think Tom Cruise in The Last Samurai, where the larger-than-life actor, though unquestionably popular, inadvertently steals the thunder from the teachings of a mysterious culture. Perhaps in the ilk of 300, in which Gerard Butler does justice to the lead role without detracting from the heroic nature of the narrative, Gibson adopts a subtler approach by electing the little-known Rudy Youngblood to play the central character, Jaguar Paw.
Gibson’s second foreign cinema effort takes a less controversial stance than his first, the both positively and negatively acclaimed The Passion Of The Christ, but packs a similarly raw punch. Apocalypto maintains a break-neck speed throughout, and as a result its running time (140 mins) feels much shorter. The gripping chase scenes, and the imaginative ways in which Jaguar Paw disposes of his assailants will linger most in the memory.
Mel Gibson may have proved to be his own worst enemy when it comes to earning the appreciation of the critical media, however, with Apocalypto he meticulously conjures a lost world the audience can identify with, namely in the timeless staples of human nature: pride, passion and, foremost, familial loyalty. MC
Film: While The City Sleeps
Release date: 27th September 2010
Certificate: PG
Running time: 100 mins
Director: Fritz Lang
Starring: Dana Andrews, Rhonda Fleming , George Sanders, Howard Duff, Ida Lupino
Genre: Crime/Drama/Thriller
Studio: Exposure
Format: DVD
Country: USA
This is an English-Language release.
A legend in the world of film noir, Austrian filmmaker Fritz Lang has been dubbed the Master of Darkness for his contributions to the genre. After emigrating to America, Lang’s films took a turn away from his expressionist roots but not necessarily for the worst. While The City Sleeps is the perfect example why.
A who’s who of 1950s cinema is recruited to act out Casey Robinson’s interwoven screenplay of murder, mystery and marriage.
At the centre of all the action, and tying together every strand of this plot is a newspaper office. The aptly timed death of a young lady in New York City convinces Kyne (Robert Warwick) that priority coverage of this murder mystery will ensure his publication beats the competition and simultaneously throw women into panic. Minutes after dubbing the murderer (John Barrymore Jr.) “The Lipstick Killer” Kyne passes away, leaving it up to his son and sole heir Walter (Vincent Price) to run the newspaper and continue the search for the murderer.
As anticipated by everyone at the paper, Walter doesn’t know where to begin, or how to approach his new role as boss in the publishing industry, and quickly concocts a plan which will relieve him of his responsibilities whilst maintaining the credit.
With the newly established role of executive director up for grabs, Walter challenges three of his department heads to crack the case, with the first man to the post being offered the job. News editor Griffith (Thomas Mitchell), wire-service chief Loving (George Sanders) and news pictures head Kritzer (James Craig) scramble to find resources and allies in the office in a bid break the news first. High flying reporter Ed Mobley (Dana Andrews) turns down Walter’s offer opting instead to focus his attention on wooing Nancy Liggett (Sally Forrest), who happens to be Loving’s secretary.
A web of alliances are made across the office, with Mobley teaming up with Griffith and sharing his close police contacts, Loving recruits famed female columnist Mildred Donner (Ida Lupino) and while Kritzer appears to be tackling the case solo, he indulges in an affair with Walter’s wife, Dorothy (Rhonda Fleming).
The glory of unravelling the mystery quickly consumes each journalist: Loving instructs Donner to seduce Mobley in an attempt infiltrate his investigation, and, after a weak Mobley drunkenly complies, he sets his sights on using new fiancé Liggett as live bait for the murderer…
Overshadowed by his own past works, Metropolis and M, Lang really did produce a classic with While The City Sleeps. The allegorical undertones of media manipulation and moral panic this story presents are relevant enough to be a modern day box office smash. Lang combines crime and its coverage with the executive director position acting as the binding agent for the two - showing how news stories are used to sell papers rather than spread information or caution.
The real genius of Lang’s imagining is the main setting - the office - and the way he uses it to prolong suspense for the characters. Entirely made of glass walls, the office allows the three competitors and Mobley to keep a close eye on each other. It creates the illusion that nothing is secret; Mobley can watch Liggett squirm as he calls her while Loving is watching over, and in this office appearances are everything. The characters are subjected to frustration in that although they can see what is happening right underneath their noses, they cannot hear it. It’s not just the audience who are privileged to a little inside information; the characters are teased into a false sense of knowing.
Robinson provides a strong script, allowing for brilliantly sharp exchanges between the lead characters. The dialogue is as fast paced as the action in the office surrounding the hunt, and lines seem to bounce off the actors nonchalantly. Where other film noirs from this era can seem somewhat stilted and forced, conversation in this film flows naturally and believably thanks to polished performances from the entire cast. Even the barman at their after work hang out, The Dell, manages to interact with the main characters with a little more punch than your standard yes-mam-serve-a-drink-step-out-of-shot bar tender. Andrews delivers an endearingly cocky performance in reaction to Forrest’s almost blasé attitude towards her love interest.
While this film does provide a few twists and turns to keep the audience interested and anticipating the next possible murder, it lacks excitement at the crucial moment. As a chase scene ensues right at the climax of the film, it leaves the audience wanting to jump into the screen and catch the murderer themselves. Dragged out to possibly try and sustain tension, Lang’s tactics seem a little desperate, and more rat and mouse than cat and mouse.
A gem of a film unfortunately lost amongst the critical disdain for Lang’s later career. While The City Sleeps offers a modest glimpse at the world of film noir and Hollywood’s star system and is a definite feather in Lang’s cap. JHA
An international football star (Eduardo Verastegui) is on his way to sign a multi-million dollar contract when a series of events unfold that brings his career to an abrupt end. A beautiful waitress (Tammy Blanchard), struggling to make it in New York City, discovers something about herself that she’s unprepared for. In one irreversible moment, their lives are turned upside down…until a simple gesture of kindness brings them both together, turning an ordinary day into an unforgettable experience.
Film: Bella
Release date: 1st October 2010
Certificate: PG
Running time: 91 mins
Director: Alejandro Gomez Monteverde
Starring: Tammy Blanchard, Eduardo Verastegui, Manny Perez, Ali Landry
Genre: Drama/Romance
Studio: Kaleidoscope
Format: Cinema
Country: USA/Mexico
Film: Valentino: The Last Emperor
Release date: 6th September 2010
Certificate: 12
Running time: 123 mins
Director: Matt Tyrnauer
Starring: Valentino Garavani, Giancarlo Giammetti, Nati Abascal, Giorgio Armani, Jeannie Becker
Genre: Documentary
Studio: Optimum
Format: DVD
Country: USA
Matt Tyrnauer invites us to delve behind the seemingly superficial world of fashion and witness, or lament, what was to become the final working year in the life of a style icon.
Single-minded, passionate, pleasant, caring, grumpy, awkward, disillusioned and talented are just a small number of facets on display in this fly on the wall documentary surrounding the lead up to the 75-year-old leathery skinned designer’s forty-five year anniversary as a leading player and brand name in the fashion industry.
Through Matt Tyrnauers seemingly limitless access to Valentino, as well as his life partner Giancarlo Giammetti, we learn how the fashion industry has evolved throughout his lifetime, and how the financial aspects of the business have been virtually swept from beneath his feet. We are allowed access to not only his working environment, studios, runways and shows full of celebrity guests (including the likes of Joan Collins, Gwyneth Paltrow and Liz Hurley), but also his various homes, plus his private jet and elaborate yacht.
We watch him declare his love for crafted style while showing distain for over indulgence and tackiness, before sincerely stating that what women want most in life is to be beautiful. He clearly believes every word he says but others, from a more grounded background, may find some, if not all of his distorted views hard to swallow; especially as the further we are permitted to explore his overtly decadent lifestyle, the further removed from our normal reality he seems to be. Yet this is part of the fun, it can be enjoyable in small doses to watch the mega rich indulge their little idiosyncrasies - for example, Valentino having a special settee on his private jet for his five pug, ironically quite ugly dogs to lounge...
Tyrnauer obviously admires Valentino, his reverence drips from every pore of this well shot documentary, yet despite this, and admirably so, he is also willing to show the designer’s flaws, his humanity and vulnerable side. In fact, this is the film’s strongest aspect - a brave decision, as Valentino could have so easily vetoed the recordings of his bad-tempered, almost childish remarks, and perhaps even limited the camera’s access to areas and meetings that display his less attractive traits. Others too seem open to scrutiny - Giammetti is so laid-back in front of the camera, at points, that he is in danger of toppling over, whilst bad-tempered head seamstress Antoinetta de Angelis never disguises her true feelings when the crew pay her any attention. Yes, they are all passionate, they care about their craft and their tantrums are, for the most part, semi calculated outbursts to enhance the Valentino name and that is, in essence, what has been so beautifully captured by a skilled documentary maker obviously relishing in his task.
On the negative side, the director, as is unfortunately too often the case in recent documentaries, takes it for granted that his audience will have an extensive knowledgeable background of the subject matter on display. Point in case is when the camera enters an enormous room with high walls covered in literally hundreds of dresses designed by Valentino, stretching back to his earliest days. This is our subject’s life, his history and a guide to, not only how fashion has changed over the last four decades, but more so it is a visual demonstration of how he has influenced that very change. Yet, bizarrely, Tyrnauer merely skips over this opportunity with only a few sweeping camera moves and the briefest of narrative. Sadly, a waste of a potentially scene stealing opportunity, and a reinforcement of an attitude rife in the fashion world that the so called rich/elite ‘know’ and we, the underclass, do not ‘need’ to know. That said, there is still plenty to enjoy from merely observing the various, often self-important characters go about their duties, and, in reality, without a working or fan based understanding of this privileged world, although helpful, does little to dilute the overall enjoyment of the piece.
Valentino is an insightful, charming, interesting and occasionally informative documentary structured around one of the most passionate and influential fashion icons of recent times. MG
Film: Dinner For Schmucks
Release date: 3rd September 2010
Certificate: 12A
Running time: 114 mins
Director: Jay Roach
Starring: Steve Carell, Paul Rudd, Zach Galifianakis, Jemaine Clement, Stephanie Szostak
Genre: Comedy
Studio: Paramount
Format: Cinema
Country: USA
This is an English-language release.
Le Dîner De Cons: intelligent, raucous and thought provoking - words you don’t tend to associate with the majority of Hollywood’s output. But they do insist on highlighting their failings.
Everything is going well for Tim. He has an easy, well paid job, a stunning girlfriend, and a flash apartment - but he wants more. He desires promotion to the next level of the firm he works for, a chance to gain more income, and impress his girlfriend who has thus far refused to bow to his relentless marriage proposals – he also becomes increasingly insecure she will find herself in the bed of the charismatic artist she’s working with.
Despite impressing at a board meeting, Tim must attend his boss’ annual dinner to ensure his promotion goes through – the catch: each attendee must bring a fool, who will provide the boss and his guests (including an orange David Walliams as Swiss royalty set to invest millions into their company) with entertainment.
Despite the protests of his girlfriend, Tim sees an opportunity too good to pass up when he mows down the slow minded Barry whilst distracted on his cell phone. Barry shows excitement that he’s been hit by a Porsche, and even offers to payoff Tim, despite being the victim – he’s the perfect candidate.
However, Tim will soon regret extending his dinner invite to Barry, as his presence soon sends his life into chaos…
It’s hardly going to be a surprise to read a website purveying in foreign-language filmmaking slate an American remake of one of France’s golden comedic achievements, Le Dîner De Cons. But we never wanted much. We always knew this was going to be a dumbed down version, but with the likes of Steve Carell, Paul Rudd and director Jay Roach at the helm, who have been involved in many of America’s more palatable releases in recent years, we would have forgiven the sledgehammer approach for ninety minutes of mindless, throwaway entertainment. It never comes close to such modest expectations.
Steve Carell has always struggled when moving into Jim Carrey territory – most obviously in his follow-up to Bruce Almighty – and whilst his ‘fool act’ was tolerable in the likes of Anchorman, where he had a much smaller role within an ensemble, here he comes painfully unstuck. Unlike Carrey who had such success playing dim-wits in the likes of Dumb & Dumber, Carell doesn’t have the physique, the facial elasticity or persona to carry off goofy behaviour whilst retaining the audience’s empathy (even if he sports the same haircut as Carrey’s Lloyd Christmas character in Peter Farrelly laugh-out-loud original). He simply becomes infuriating. More so, when he’s given such inconsistent and barrel scraping material to work with.
The early premise made by Rudd’s over reactive partner is that laughing at people who are odd is wrong, yet all attempts at humour stem from mocking Carell’s Barry character, whose OTT appearance and behaviour is an attempt at milking as many laughs as possible from somebody who surely has a mental disability. Yet despite these tasteless sets up, where, for example, Barry is given a telephone number containing a series of 1’s and doesn’t understand the strange noise from the handset informing him he’s misdialled, he’s managed to retain a long-term job working for the IRS (perhaps a dig from clearly overpaid scriptwriters bemoaning their tax bill); has previously been married (although he had to look under the sofa and still couldn’t find the cliterous); and can create intricate and detailed dioramas, populated by dead mice he preserves, makes up and dresses in custom made costumes – yet you are supposed to believe he would find it impossible to get himself dressed in the morning.
Carrel has proven when he plays it straight – Dan In Real Life, Little Miss Sunshine – he’s a competent actor, but he comes unstuck when asked to absurdly destroy a stranger’s flat play fighting with a leather clad stalker. Although, in fairness, he never comes to Rudd’s do-gooder love interest for exasperating viewers.
As with Carrel, Rudd is another actor whose limitations were easily overlooked within Farrell’s star-vehicle Anchorman, and whilst he’s become the unfunny ‘go to’ comedy actor for Hollywood within recent years, he serves no purpose when the lead fails so miserably. He’s clearly type-cast as the ‘well off’, career type with a beautiful partner, who jeopardises it all once he makes acquaintance with a dysfunctional male. He’s diminutive and plain in a stereotypically good looking way, so he’ll never distract from the star turn of a Seth Rogen (Knocked Up) or Jason Segel (I Love You, Man), and, with no obvious failings, he’s perfectly credible when it comes to the requisite Hollywood schmaltzy ending, but the more Carrel floundered, the more dislikeable he became. His vacant expression throughout the film’s running time was the only appropriate inclusion, as we were asked to root for a selfish character who displayed only monetary greed and dishonesty throughout. No story or character arc prepared us for the clichéd ending, which is swiftly tagged on despite ample time to build up to such predictability.
That brings us to the film’s running time. Two hours is too long for most films, particularly comedies, and when you are throwing out so many misses, it’s arduous to say the least. Roach has form with the Meet The Parents and Austin Powers franchises, but there were enough original set pieces – and two confirmed comedy actors in Ben Stiller and Mike Myers respectably – to maintain interest in those earlier hits.
Producer Sacha Baron Cohen has proven with characters Ali G, Borat and Bruno that he has little shame, but hopefully he’ll show some red-faced humility in apologising to the likes of David Walliams, Zach Galifianakis and Kristen Schaal who provide the only guilty chuckles, although Lucy Punch (recently enjoying success in BBC 2’s Vexed) is made to look ridiculous as the crazed stalker that wants Carell to spank her like a school girl (“You’re a little old to be a school girl, aren’t you?”). Let’s also hope this isn’t a sign of things to come for Jermaine Clement, whose cult television hit Flight Of The Conchords is in a completely different league to this offering.
Dinner For Schmucks has somehow managed to be worse than any fan of the original could possibly have feared when the remake was announced. ‘Nuff said. DH
Film: The Karate Kid
Release date: 28th July 2010
Certificate: 12A
Running time: 140 mins
Director: Harald Zwart
Starring: Jaden Smith, Jackie Chan, Taraji P. Henson, Wenwen Han, Rongguang Yu
Genre: Action/Drama/Family/Martial Arts
Studio: Columbia/Sony
Format: DVD
Country: USA/China
This is an English-language release.
The classic 1984 underdog story gets an aesthetic makeover for the 21st century. Will “Pick up your jacket!” become the new “Wax on, wax off”?
With work scarce in America, 12-year-old Dre Parker (Smith) is forced to move to Beijing with his mother Sherry (Henson), who seeks to grasp opportunities in the ever expanding Chinese economy.
On his first day, Dre falls foul of local boys who belong to an elite kung-fu academy run by the strict, drill sergeant-like Sifu Li (Yu), who encourages a ruthless approach to combat.
Struggling to adapt to his new environment and culture, Dre’s problems worsen until he is saved from a severe beating by the unlikeliest of sources - the enigmatic maintenance man, Mr Han (Chan), who reveals a martial arts mastery Dre never expected.
With an invitational tournament looming, Han agrees to teach Dre the true meaning of kung-fu, so that he can stand up for himself without fear…
With Rocky director John G. Avildsen’s seminal 80s classic being somewhat dated but fondly remembered, there’s little sense of cinematic ‘sacrilege’ with this remake, and not once will an audience ponder what ‘need’ there could be for a new version of The Karate Kid. The original script by Robert Mark Kamen (who is given a thoroughly deserved ‘story by’ credit here) remains one of Hollywood’s most spiritually sound examinations of the values of martial arts - values that should absolutely be promoted in popular culture. To this end, an updating of the story for young 21st century audiences not only makes perfect sense, but is entirely welcome.
The differences between the two films are merely aesthetic: the protagonist is 12 rather than 17; he is uprooted to a whole new country rather than a different coast; and he studies not karate, but kung-fu (the title being a distracting misnomer). Despite all this, this remake sticks almost religiously faithful to its source material, even down to its bloated running time and almost superfluous romantic subplot. Running through the same beat-for-beat narrative, with many an amusing tribute to the original, 2010’s The Karate Kid should delight and inspire a whole new generation of young moviegoers. The classic underdog story is never revised nor radicalised. Instead, this is a purely traditional narrative, perfectly executed - proof that formulas can still thrill an audience if mixed the right way. What worked for the children of 1984 will work for their children in 2010.
Indeed, in this new version, the plight of young Dre is arguably one deserving of more sympathy than that of Daniel, the older teenager played in the original by Ralph Macchio. Where Daniel was a sullen, petulant, somewhat melodramatic character, Dre - as played with natural charm by Jaden Smith - is an instantly likeable boy with little hope of adapting easily to his new surroundings, thus earning an audience’s goodwill from the off. Unlike the original, the protagonist’s arguing with his mother is understandable rather than irritating, his alienation affecting. It helps that Smith - whose comic timing and easy charisma is highly reminiscent of his father Will in his Fresh Prince Of Bel-Air days - has not only the acting ability that Macchio lacked, but also a credible athleticism when it comes to the training and fighting sequences.
Smith is one half of a destined-to-be-classic double act with the venerable Jackie Chan, who shows a determination to grow old as gracefully as possible, bringing to his Mr Han a quiet intensity that differentiates him from the jovial, twinkly-eyed Mr Miyagi played so memorably in the original by the Oscar-nominated Pat Morita. Come ‘awards season’, Chan’s work may be forgotten by academies and critics groups, but that should not detract from his performance here, which is hands-down the best he has given in an English-language film. Building on the sombre weariness exhibited in recent Asian films like The Shinjuku Incident, Chan plays his age, with his body of work and reputation lending a Master’s credibility to his character. If some actors are described as being “born for” certain roles, then Mr Han is surely the role that Jackie Chan has lived for.
This unlikely dream pairing of Smith and Chan is given feisty back-up by Taraji P. Henson as Dre’s mother Sherry, who brings the same matriarchal warmth to this role as she brought to her turn as Brad Pitt’s adoptive mother in The Curious Case Of Benjamin Button, spiked with an appealing dose of sass and spirit. As Sifu Li, Yu Rwong-kwong might not end up on as many nostalgic T-shirts as Martin Kove’s Sensei John Kreese, but there are few actors in the world who could convince an audience of their martial arts mastery in a role that requires almost no fighting, and Yu is never less than a thoroughly menacing presence.
On the subject of fighting, the action sequences - coordinated by the Jackie Chan stunt players - might not match the creative ingenuity of his best Hong Kong work, but are certainly on a par with Chan’s Hollywood output. With the man himself having only the one fight sequence, it falls to the younger actors to thrill an audience with their martial arts prowess. Though the characters are blessed with exaggerated physical capabilities - a combination of wire, trampoline and computer effects gives the Chinese bullies preternatural grace and agility - that could undermine believability, the fights are perfectly staged, and the stakes of each fight perfectly raised. And if the action is more bone-crunching and hard-hitting than the original - early scenes feature Dre getting hit with kicks and punches that should, by rights, put him in hospital - the aforementioned stylised approach tempers any sense of gratuitousness or sadism.
This is a bona-fide American/Chinese co-production, as evidenced by not only the dual-language closing credits, but also the filmmakers’ commitment to showing off the cultural and architectural wonders of contemporary Beijing, and the natural scenic beauty of China in general. It is a testament to the engrossing nature of the story that director Harald Zwart can pad a training montage with shots of Mr Han and Dre training on a Great Wall of China curiously devoid of tourists and not leave his audience alienated with eye-rolling incredulity. That said, a sequence with Dre’s class on a field trip to The Forbidden City (making this, after The Last Emperor, only the second international production to be granted permission to film there) adds nothing to the narrative, and is symptomatic of what is really the only flaw in an otherwise fine, classy production - running time.
During a scene involving violin prodigy Mei Ying - the object of Dre’s chaste affections, their mild flirting being what attracts the bullies to Dre in the first place - practising for an all-important audition, she is told by her stern tutor that she should “play the pauses.” This is a motto Zwart and screenwriter Christopher Murphey seemed to have taken to heart, regularly putting the brakes on a narrative that should, when aimed at a young audience, be fast and energetic. While the sojourns to mystical temples and mountains are pleasing on the eye, and the subtle (if slightly clichéd) master-student/father-son relationship between Dre and Han is packed with moments of genuine emotional power, Dre’s courting of Mei Ying feels like needless padding. Indeed, it is questionable how invested this film’s intended audience - ‘tween’ boys - will be in a gentle romance that seems to delay the action scenes rather than add weight to them. Among the many virtues Mr Han teaches Dre is the importance of focus - it is ironic that the filmmakers don’t seemed to have taken this on board themselves.
But this is a minor notch against a well-made, well-intentioned film that is not only uplifting, exciting and inspiring, but also shows a cultural sensitivity uncommon to Western films taking place abroad. It may not have quite the same impact on popular culture as its source material, and it may not spawn as many sequels, but The Karate Kid is one of the better summer event movies to come out of Hollywood in 2010.
A very pleasant surprise, and a near-perfect underdog story for children who will surely cherish it and compare it favourably to the inevitable remake in 2034 - even if its title makes no sense at all. JN
