KEA Productions: DVD Movie Reviews

from the archives of NuReel.com, The Berkeley Daily Planet, and Alameda Sun- written by Kamala Appel
ratings: Plus (highest)-Neutral (okay)-Negatives (pass & omitted from archive)
T:  Traffic, Training Day
U: Unbreakable
V: Vanilla Sky

TRAFFIC (Plus)

"Traffic" is not a story about the congestion many of us face on Highway 101, but rather about drug trafficking from Mexico to the United States. Initially, I thought this film would be a glossy Hollywood blockbuster with a lot of negative stereotypes and gratuitous violence. Much to my surprise and delight, "Traffic" is one of the most thorough, impressive, and captivating films that I have seen on the topic of drugs and the Americas. Steven Soderbergh ("sex, lies, and videotape", "Kafka", "The Limey", and "Erin Brockovich") proves once again that it is possible to be innovative and intelligent. In common with many of Soderbergh's other films, "Traffic" has an untraditional look and feel (in terms of Hollywood). Along with Cinematographer, Peter Andrews, Soderbergh uses colors (most likely lens gels) to connote and contrast the different characters' worlds. At first, I found the color contrast somewhat distracting; however, as the film progressed, I realized how the varying color schemes help the audience keep track of the multiple storylines and characters. If the film had been shot without the visual variation, the complex storyline would have been too complicated to follow.

"Traffic" argues many points from many different perspectives without preaching; as a result the arguments made are more persuasive. The film works because all of the elements are perfectly balanced and measured. Some of the dialogue may have seemed contrived, if the overall script had not presented such a variety of perspectives on the topic of drug trafficking. Some of the characters may have seemed simplistic, if the actors had not brought depth to their roles. I would attribute the proper balance to director Soderbergh, writer Stephen Gaghan (ABC's THE PRACTICE and NYPD BLUE), and his long list of producers who include: Ed Zwick ("Shakespeare in Love", "Glory", "Courage Under Fire", "Legends of the Fall", "The Siege", and television's THIRTYSOMETHING and ONCE AND AGAIN), Marshall Herskovitz (THIRTYSOMETHING, MY SO-CALLED LIFE, ONCE AND AGAIN, and "Legends of the Fall"), Laura Bickford (CITIZEN X), Richard Solomon (ONCE AND AGAIN, "Shakespeare in Love", and "The Siege"), Mike Newell ("The Awakening", "Enchanted April", "High Fidelity", "Donnie Brasco" and "Four Weddings and a Funeral"), Graham King ("Gangs of New York" and "Savior" starring Dennis Quaid), Andreas Klein ("Gangs of New York"), and Cameron Jones.

Even though the entire cast play their parts effectively, Benecio Del Toro brings a level of depth and compassion to the role of Javier Rodriguez, a somewhat corrupt but also courageous Mexican Cop, making his character the most sympathetic in my opinion. Del Toro has starred in "The Usual Suspects", "Basquiat", "Fearless", "Swimming with Sharks", "Fear and Loathing in Las Vegas", and "The Way of the Gun". Michael Douglas ("Basic Instinct", "Disclosure", "Romancing the Stone", "The American President" and "Wonder Boys") also does a fine job of evolving with his character in the role of Robert Wakefield, the bourgeois Drug Czar of the DEA. Along with Del Toro and Michael Douglas, the all-star cast includes: Amy Irving ("Carrie", "The Fury", "Honeysuckle Rose", and "Yentl") as Barbara Wakefield, the disgruntled wife of Michael Douglas; Don Cheadle ("Boogie Nights", "The Meteor Man", "Hamburger Hill" and television's FAME, PICKET FENCES, and THE FRESH PRINCE OF BEL AIR) as Montel Gordon, a DEA officer; his DEA partner, Ray Castro, is played by Luis Guzman ("The Limey", "Boogie Nights","Magnolia", and "True Believer"); Dennis Quaid plays, Arnie Metzger, the attorney friend of Catherine Zeta-Jones' drug lord husband, and Catherine Zeta-Jones ("The Haunting" and "Entrapment") stars as Helena Ayala, the seemingly naive pregnant wife of a drug lord, Carlos Ayala played by Steven Bauer ("Scareface", "Raising Cain" and television's WISEGUY).

Many other films have provided insight into the political and economic repercussions of illegal drug importing and exporting. Distinguishing itself from other films, the powerful impact "Traffic" had on me stemmed from its ability to shed light on the emotions that surround the entire drug trafficking process. "Traffic" puts forth the argument that no one is above corruption nor below redemption; drug trafficking has become a virus that has spread throughout the Americas. In many ways, "Traffic" provides a cross section of the drug trafficking world that enables audiences to watch the system in action like medical students attending a surgery or autopsy.

I would not be surprised to see Soderbergh receive an Oscar nomination for directing, especially with the success of "Erin Brockovich" during the same year. I also think that the members of the Academy will consider nominating Benicio Del Toro for Best Supporting Actor.

"Traffic" is definitely a film worth seeing for its educational and aesthetic value. I would strongly recommend that you watch the film when you are able to pay attention, since the multiple storylines may be difficult to follow if you are tired or tune out for even a moment. Surprisingly, the film does not contain a lot of graphic violence, however there are some disturbing scenes involving child endangerment, drug consumption, and prisoner interrogation that would take this film off my list of family pictures. "Traffic" opens wide Friday, January 12th. This film would be enjoyable on video, but I think it is worth seeing on thebig screen to fully appreciate the visual aesthetics.

TRAINING DAY (NEUTRAL/PLUS)   

Denzel Washington plays a jaded narcotics detective who gives an idealistic rookie cop, played by Ethan Hawke, a rude awakening in TRAINING DAY. Denzel Washington and Ethan Hawke generate potent on-screen energy together. At times I found it a little difficult to buy Hawke as young (early twenties) naive, wide-eyed bordering boy scout rookie; however he did an excellent job of bringing depth to his character. Washington gives a performance that is almost as powerful as his performance in THE HURRICANE; but I do not think the overall film is strong enough to harvest an Oscar nomination for his role.

TRAINING DAY suffers from somewhat of a slow pace and an uneven tone; these short comings would be forgivable, if the writer, David Ayer, had not created such a violent, apocalyptic ending (similar to many independent films in the 1970s by such directors as Scorsese and Cassavettes). The closure at the film's conclusion seems forced; the film probably would have had a greater emotional impact, if the writer had left the ending some narrative questions unanswered. By contrast, the unresolved aspects of the character development make the characters more sympathetic, complicated and intriguing. Just as no one ever knows everything about someone else in real life, the characters never get to know everything about each other, nor does the audience. The characters and the audience become educated at the same time, creating a fascinating character study. The audience and the other narrative characters never truly know who is good or bad, who was good or bad, and who will become good or bad.

A hybrid of genres, TRAINING DAY is somewhat of a buddy film, however the primary characters have clashing philosophies; somewhat of a road trip since each stop in various regions of Los Angeles County holds a new lesson for the rookie cop; somewhat of a coming of age film; even though the maturity has more to do with psychological growth than physical. The writer effectively communicates how much can happen in a single day and how drastically one's life can change in just a matter of moments, by using the full two hours to represent the passing of a twenty-four hour time period.

Although the film is a bit melodramatic at times, especially at the film's conclusion, the performances by Washington and Hawke make the film worth seeing. Scott Glenn, Tom Berenger, Dr. Dre, Snoop Dog, Macy Grey, and have supporting roles. I would not recommend TRAINING DAY to families due to the elements of graphic violence and adult situations. TRAINING DAY opens wide starting October 5th.

Unbreakable (neutral/plus)

"Unbreakable" is the much anticipated feature by writer/director M. Night Shyamalan ("The Sixth Sense"). This film stars Bruce Willis as an ordinary guy who is thrown into a situation he tries desperately to avoid, a character type that has made him famous (especially in the "Die Hard" trilogy); and Samuel L. Jackson as a strong-willed individual who struggles to overcome a desperate situation, a character type that has also made him famous (in films like "The Negotiator" and "A Time to Kill"). The two cross paths after Willis' character, David Dunn the apparently "unbreakable" Ishmael, miraculously survives a tragic train accident. Samuel L. Jackson plays Elijah Prince, whose survival despite his fragile, very breakable, body, appears equally miraculous. Throughout most of "Unbreakable", Elijah persistently pursues David, in efforts to grasp his survival (both Willis and Jackson).

Shyamalan writes a lot of witty dialogue and creates a lot of scenes that are funny because of the genuineness of the characters' reactions (after all, how would you react if you found out that an ordinary Joe was a supernatural hero?) In addition to Willis and Jackson, Robin Wright Penn ("She's So Lovely", "Message in a Bottle" and "Forrest Gump") who plays Audrey Dunn, Willis' depressed and protective wife and Spencer Treat Clark ("Double Jeopardy" and "Gladiator") who plays Joseph Dunn, Willis' wide-eyed son, all give convincing performances as if they were indeed living through the strange experience in real life.

Although "Unbreakable" has many strong points, I fear that it will not meet audience expectations. The first three-quarters of the film moves slowly but effectively builds the suspense. The sound design reinforces the eerie drama and furthers the audience's desire to find out what will happen next. Yet despite the initial smooth ride, the film crashes at the end. Shyamalan does a tremendous job of creating anticipation, however, the ending he creates is abrupt and made me feel as though I had crashed into a brick wall.

If you enjoy films that explore the paranormal, then you will enjoy much of what "Unbreakable" has to offer. If you can see the humor in extraordinary explanations of ordinary events, then you will appreciate the humor "Unbreakable" has to offer. However, if you are looking for a surprise ending that wraps up all the loose elements of the storyline like "The Sixth Sense", do not hold your breath because you will have the wind punched out of you. "Unbreakable" opens wide Thanksgiving 2000. This film would probably be more enjoyable on the big screen for the full thriller effect.

VANILLA SKY (NEUTRAL)

Did you ever notice that European filmmakers seem to take more risks with filmmaking in terms of untraditional story and characters? Did you ever wonder why more American filmmakers seem to stick to traditional Hollywood ClassicalCinema style (sympathetic lead character, audience as omniscient, linear presentation of events, closure at the end)? Well, as much as I like American films, it seems that the Europeans are better at capturing the bizarre without creating a film that is just bizarre.

VANILLA SKY is the American version of the 1997/1999 Spanish film, ABRE LOS OJOS (OPEN YOUR EYES). Penelope Cruz appears in both films in the same role (the leading man's love interest). Tom Cruise, Cameron Diaz, Kurt Russell, and Jason Lee join her in the American version, directed by Cameron Crowe. I am not sure why Cruz is so incapable of generating any semblance of on-screen chemistry with some of Hollywood's hottest leading men including Nicolas Cage, Johnny Depp, and in this case, Tom Cruise. I would never believe that the Cruz and Cruise were an item from this film, even though Cruise does do his part of heating up the screen. Tom Cruise does bring a level of sympathy and complexity to his character that proves him to be more than a mere pretty boy. Unfortunately, the convoluted story over-shadows the character development and acting.

It would be very difficult to describe the film or relay the story without giving away key elements of the film and ruining the elements of suspense. I would describe VANILLA SKY as MEMENTO crosses paths with FATAL ATTRACTION. Tom Cruise plays a rich playboy who relies on his good looks to control the company he inherited from his wealthy father, as well as everyone else he encounters, until he suffers a disfiguring injury. For the majority of the film, he along with the audience, attempt to figure out what really happened and what his true current reality is. VANILLA SKY is suspenseful and visually innovative, but it is also convoluted, fragmented, and somewhat contrived.

The film is a lot heavier than people may expect and a lot more disjointed than any of the stars, or director's earlier works. Unlike Cameron Crowe's other works (SAY ANYTHING, FAST TIMES AT RIDGEMONT HIGH, SINGLES, JERRY MCGUIRE, and ALMOST FAMOUS), VANILLA SKY does not touch your heart with sophisticated characters and poignant humor. He does do a fine job of giving VANILLA SKY an unusual, dreamy look and feel that resembles a painting. VANILLA SKY is an interesting film, but I am not sure how many people will find it entertaining. VANILLA SKY opens wide on December 14th. This film would be equally enjoyable on video.

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