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Matthias-25
Reviews
Bandits (1997)
Finally some actors who can actually play!
While watching movies about music or musicians, I often sympathize with these poor bastards of actors: The script requires them to play - say - a guitar, but they obviously have no clue as to how to even hold this instrument. And then the singing voice sounds so suspiciously different from the one they talk with...
In this respect, 'Bandits' is a welcome surprise: Obviously, these actresses know far more than just the pure basics of their instruments and deliver a convincing performance as a rock band. And sitting through to the end of the credits reveals that they not only did their own singing, but wrote the major part of the music and lyrics by themselves, most notably "Luna" Jasmin Tabatabai.
For me, the great music more than compensates for the rather fantastic, sometimes clichéd plot with some minor holes. All in all, a remarkable movie!
The Jungle Book 2 (2003)
Just a shadow of the original
I had the opportunity to see a preview of JB2 in a Zurich theater together with my 5 year old daughter. Having seen JB1 the first time when I was just a little bit older than my daughter is now, I was wondering what the sequel, one generation later, could add to the original mood.
To make it short: It is just as I feared. A rehash of the original motives, same characters, same songs, no surprises. Even my daughter has been slightly bored most of the time: She said there's much more happening in the first movie. It is also possible that the german dubbing didn't help matters - perhaps I will rent this film when it is out on DVD, just to see how it sounds in the original language.
Swordfish (2001)
An intriguing beginning and unconventional ending - with not much in-between
In a rather self-referential opening scene, the film poses an intriguing question: Why must Hollywood movies always end the way they do? Why wouldn't it be a happy ending when the bad guy gets away unharmed for a change?
Unfortunately, what follows seems to be an implementation straight from the template "Action Film Making 101". The explosions are spectacular, the stunts breathtaking, and the techno-gadgets are impressive. Besides that, there is not much substance. One thing kept my interest, though: There's a hacker involved. As an IT-Professional, I am always interested how computer programs are represented in movies - some artistic license is always required, because the real-life hacker tool, the standard 27 by 80 character terminal window, just doesn't make for good visuals. The solution to this dilemma in 'Swordfish' is not too bad. But working seven screens simultaneously like a rock band drummer - honestly...
*** Warning: Spoilers below ***
'Swordfish' tries to answer the question that was posed in the opening scene by its own ending. If I got that right, it is OK that the bad guy gets away if a) the good guy gets away also b) the bad, but beautiful gal gets away also c) the bad guy uses his loot to bomb terrorists and nuke the capitals of rogue states. In my eyes a rather questionable morale, but then, I am not American...
Speaking of morale: It keeps amazing me that films have no problem showing people shot, stabbed, burnt or converted into walking bombs - but big discussions arise as soon as a pair of female breasts is plainly visible for about ten seconds. Oh well...
L'Elisir d'amore (1996)
Absolutely convincing!
Can you imagine Luciano Parvarotti act as a young, handsome peasant? So can't I, and hence I fell in love with the Opéra de Lyon production of Donizetti's light opera the first time I saw it on TV. Roberto Alagna and Angela Gheroghiu are as convincing actors as they are virtuous singers, and also the rest of the cast is absolutely believable in their roles.
Conductor Evelino Pidò takes a welcome break from the well worn belcanto tradition and delivers the musical score in a refreshingly light manner, although the tempi get sometimes recklessly fast.
The DVD comes with a 51-Minute feature that illustrates the emergence of this production and serves equally well as an introduction to the opera itself.