Jane (2016)


Mousy So-hyeon and confident Jane walk the streets of Seoul.

(2016) Drama (Atnine) Lee Min-ji, Koo Gyo-hwan, Lee Joo-young, Park Kang-seop, Lee Seok-hyeong, Park Hyun-young, Kim Young-woo. Directed by Cho Hyun-hoon

Loneliness can change your reality. People who don’t relate well to other people sometimes find themselves almost desperate for human contact but don’t quite know how to maintain it. When it becomes part of a cycle of poverty and desperation, strange things can happen.

So-hyeon (Min-ji) is a runaway teen girl who has been living in a hotel room in Seoul with her boyfriend Jung-ho who has abandoned her. Alone and with nowhere to go, she slits her wrists and prepares to die. Enter Jane (Gyo-hwan), a transgender nightclub performer who also has a crush on Jung-ho. She rescues So-hyeon and patches her up, bringing her into an impromptu family of fellow runaways including Dae-po (Kang-seop), Jjong-gu (Young-woo) and Ji-soo (Joo-young).

Life is idyllic for So-hyeon for awhile, surrounded by the family she never had and the almost magical Jane who is everything that she is not – elegant, beautiful, self-confident and kind. However, nothing lasts forever and So-hyeon is eventually obliged to find herself another family, this one much darker and much less idyllic.

The story of the movie isn’t even about Jane but about So-hyeon. We are never quite sure if Jane is real or a construct of the imagination of the lonely and shy So-hyeon who early on in the film makes plain her unreliability as a narrator. We’re never sure how valid the two families are; are they both real? Is one real and the other one not? Are neither real? Hyun-hoon is not disposed to give the  viewer easy answers and in some ways that’s a blessing and in others it’s a curse.

Much of the movie has a dreamlike quality to it and that is reinforced by the ethereal IDM soundtrack which is alternately beautiful and occasionally discordant. Min-ji is a terrific actress who occasionally has to convey a lot with her silence. The standout here however is Gyo-hwan, himself an independent filmmaker, who instills in Jane a kind of presence that is both vulnerable and strong. Jane imparts a good deal of wisdom to So-hyeon (not all of it listened to) as well as a good deal of compassion. Her transgender status is taken matter-of-factly; it is not commented on much and it is taken as a matter of course that she is accepted for who she is which rarely happens in films these days even now.

The movie is framed by So-hyeon’s narration in the form of reading a letter. She reads it I believe three different times during the course of the film; you are left to determine what of the letter is true and what is the invention of So-hyeon and even who it is addressed to. I found the story hard to follow at times and some might get frustrated with the circular narrative. The ending takes a loooong time to arrive and when it does the payoff is not worth the patience. Some are also going to find So-hyeon to be a frustrating lead as she often seems to just go along to get along and despite her occasionally manipulative nature seems content to shuffle along through life, head down and eyes averted.

This is one of those films that is both engaging and frustrating at the same time. The repetitive nature of the story makes it a hard sell to begin with and the fact that it overstays its welcome doesn’t make it easy to recommend. However, the powerful performances and the occasional moments of intense beauty make this hard to ignore too. Juxtaposed are moments of ugliness and violence, particularly in the second half of the film. Definitely those who have adventurous tastes in movies will want to see this; those who are a little bit more traditional in their  storytelling needs will likely find this too much to take and should move on to the latest blockbuster.

REASONS TO GO: The atmosphere is dreamlike. An ethereal score enhances that feeling.
REASONS TO STAY: The ending is way too drawn out. So-hyeon is a little bit too mousy of a character to get behind.
FAMILY VALUES: There is profanity, violence and some adult themes here.
TRIVIAL PURSUIT: The music is from Flash Flood Darlings, a Korean electronic band.
CRITICAL MASS: As of 7/9/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Kids
FINAL RATING: 6/10
NEXT: The Midnight Matinee

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The Legend of Tarzan


Him Tarzan, you Jane...don't you wish!!!

Him Tarzan, you Jane…don’t you wish!!!

(2016) Adventure (Warner Brothers) Alexander Skarsgård, Margot Robbie, Christoph Waltz, Samuel L. Jackson, Djimon Hounsou, Jim Broadbent, Ben Chaplin, Casper Crump, Sidney Ralitsoele, Osy Ikhile, Mens-Sana Tamakloe, Antony Acheampong, Edward Apeagyei, Ashley Byam, Clive Brunt, Charles Babalola, Yule Masiteng, Mimi Ndiweni, Faith Edwards. Directed by David Yates

 

The pulp era gave us some of our most enduring characters and heroes. From the comic books to the detective novels, iconic characters like The Shadow, The Phantom, Superman, Doc Savage and Conan the Barbarian all were created in that era. Perhaps the famous one of all, however, is Tarzan. Created by Edgar Rice Burroughs, he has been active in nearly every medium for nearly a century, from comic books to novels to television shows to of course the movies. Now comes the latest big screen Tarzan adventure, but what would the 21st century make of the pulp hero?

Tarzan (Skarsgård) has left the jungles of Africa and come home with his sweet Lady Jane (Robbie) to England, where he now inhabits his father’s title and mansion, and these days goes by the name of John Clayton, his given name. Meanwhile, back in Africa, Belgium’s bloodthirsty King Leopold II has quietly enslaved the natives in the Congo which was, at the time, a Belgian colony and has loosed his nefarious right hand man Colonel Leon Rom (Waltz) to take out the only man capable of stopping his plans – Tarzan.

Colonel Rom lures Tarzan back on an expedition ostensibly to inspect Leopold’s supposedly enlightened progress in the jungle and, as representatives of the English government imply, in the meantime assisting England with trade relations with the fractious monarch. Tarzan is decidedly reluctant to go back although Jane, who also grew up on the Dark Continent, is eager to return to her home and friends. Tarzan is accompanied by the American activist George Washington Williams (Jackson) who believes that Leopold is up to something – slavery, to be specific – and wants Tarzan to help him document it.

Of course, you don’t need Admiral Akbar to tell you it’s a trap. On a visit to the peaceful village where Jane grew up and near where Tarzan was raised by a tribe of apes, Jane is kidnapped by Rom and of course Tarzan chases him through the jungle relentlessly. What Tarzan doesn’t know is that an old enemy (Hounsou) awaits him on the other side of the jungle to take his revenge on the Lord of the Apes, in exchange for a boatload of diamonds that will enable Leopold to pay for a mercenary army to wreak havoc in central Africa. Definitely not cricket, that.

Skarsgård, who made so many fans on True Blood, makes a fine Tarzan. He reminds me a little bit of Viggo Mortensen with the kind of twinkle in his eye smirk that Mortensen has, particularly when he played Aragon. Skarsgård who took the role largely to please his father who’s a big Tarzan fan (his dad is noted actor Stellan Skarsgård for those not in the know) gives the pulp hero a brooding presence, perhaps more so than any other actor who has played him (and there have been plenty of those).

The pacing here starts off a little bit slow, but does pick up by the end. Yates, who helmed the last four Harry Potter flicks, knows how to build a level of action in his movies and by the time the final confrontation between Tarzan and Rom takes place, the audience is well-primed for it. As for that confrontation, trust me it’s a doozy. As far as thrills go, The Legend of Tarzan delivers.

One thing that was inevitable was that the modern liberal sensibilities of film critics were rubbed the wrong way. A lot of copy has been written about colonialism, and Tarzan as the Big White Bwana and there is truth to that – but considering Tarzan was created back in 1918, one must have at least some leeway for the times not only portrayed in the film but in the source material.

Although to be fair, in this case that source material was the Dark Horse comic rather than Burroughs’ original novels, which truth be told probably wouldn’t play well these days. Curiously, real people are used here – Leopold, Rom and George Washington Williams all existed and pretty much as they are depicted in the film. Adding Tarzan to the mix is an interesting idea, but it’s a lot like having Austin Powers try to stop the Kennedy Assassination, although of course the events in the Congo back at the turn of the 20th century are a lot less well-known to American audiences than JFK.

I will say that the lush backgrounds filmed in Gabon are absolutely extraordinary, although the actors mainly filmed on stages with green screens and CGI animals. And that to a very large extent defines what’s wrong with this film. They really wanted to go with realism in the story line, but rather than going with real animals, they went the CGI route and it shows at times. In other words, the filmmakers wanted to have their cake and eat it too, but ended up with a doughy mixture with too much sugar and not enough substance.

REASONS TO GO: Skarsgård has A-list potential. The film utilizes gorgeous African vistas, although most of the jungle scenes are on sets.
REASONS TO STAY: Too much CGI spoils the broth. The mix of real and fictional is less enticing than it sounds.
FAMILY VALUES: You’ll find plenty of action and violence, some rude dialogue and a bit of sensuality.
TRIVIAL PURSUIT: This was the last film to be produced by Jerry Weintraub, who passed away shortly before shooting wrapped.
CRITICAL MASS: As of 7/31/16: Rotten Tomatoes: 36% positive reviews. Metacritic: 44/100.
COMPARISON SHOPPING: Greystoke
FINAL RATING: 6/10
NEXT: Observance