Despite last-minute changes, it's still predictable. In fact, the only surprise in Captivity is that its director isn't some ambitious, blood-hungry, cut-rate kid but Roland Joffe, a veteran British-born helmer who used to make reputable movies. Having made The Killing Fields (1984), an account of the real torture and murder committed under the Khmer Rouge regime in Cambodia, Joffe ought to know better than to turn suffering into this kind of exploitative, pornographic spectacle. Scripter Larry Cohen uses the same repugnant blame-the-victim strategy as the Saw franchise, introducing us to Jennifer (24's Elisha Cuthbert), a heartless model-slash-actress who pouts, pampers her lapdog, appears in haughty, sultry photos pasted all over New York, and likes to brag that she was born without t...
The film's deliberately shambolic style parallels the chaos of Afghanistan and the young men's confused and luckless passage through it. Dogged by dysentery and fogged by misinformation and miscommunication, the friends try to hitch a ride back to the Pakistan border on an overcrowded truck and end up on a convoy going deep into Taliban territory just as the Northern Alliance forces close in. They are captured, crammed into lorries and then taken to a holding prison run by Afghani authorities. This jail-cell POV is gruelling, and the real-time interrogations are unbroken by the usual cinematic sops of story and character development. What we get instead is a horrific condemnation of torture's inhumanity to man, as well as an effective challenge to the belief in torture's efficacy. Thi...
Taxi to the Dark Side, a documentary detailing the Bush administration's policies on prison torture, won best documentary at the Tribeca Film Festival. Limp Bizkit frontman Fred Durst's directorial debut won the festival's Made in NY award for his film The Education of Charlie Banks. Mexico's Enrique Begne was honoured as the best new narrative filmmaker for his Two Embraces. And Armenia's Vardan Hovhannisyan was chosen as the best new documentary filmmaker for A Story of People in War & Peace.
John Hurt is Dr. Joe Buchanan, U.S. researcher of the year in 2031, stuck in the middle of a dimension-busting wartime particle-beam exchange. After a near-miss, Buchanan is sucked into a time vortex along with his talking, nuclear-powered automobile. Finding himself stuck in 19th-century Switzerland, Buchanan impresses young author Mary Shelley (Bridget Fonda) with a cruise in his futuristic love-mobile. But the plot thickens as our hero realizes he's driving between twin realities: the original past in which Shelley is merely writing the novel Frankenstein and a place just down the road where the monster is real. The film's scariest moment: ageing Hurt pitching woo to a teenaged Mary. The car belongs to nutty Doc Brown (Christopher Lloyd), a scientist who figures out that he can brea...
...The film's two sequels torture time paradoxes beyond all reason, though apologist...
...'s entry in Oscar's best foreign language film category, Incendies promptly removes us from the c... secrets involving assassination, rape and torture. Director Denis Villeneuve, whose last film, Polyt...
... free will -- the same will that raped, tortured, and brutally murdered two people. There is no dou...If a glimpse into the mind of a man who can film rape, torture and murder is not important to the p...
It was no secret that the film had been taken away from director Brian Helgeland (the screenwriter of L.A. Confidential and Conspiracy Theory). This special edition gives Helgeland back his original cut -- which had been largely mainstream-ified by [Mel Gibson] himself prior to its bastardized theatrical release in 1999. In that version, Gibson added hard-boiled voiceover monologue, a torture sequence (why did Mel always insist on being tortured?), a kidnapping subplot and even added a hitherto unseen bad guy in Kris Kristofferson. Befitting the "straight up" of the title, Helgeland's film is leaner and meaner and Mel doesn't get a chance to cute up his career criminal Porter. That kind of stuff flies in the face of studio wisdom, but it was well in keeping with the movie's pulp ori...
One of [Peter] and Paul's little games involves making up "explanations" for their behaviour and then tossing them out. No, they're not the revenge of the proletariat, scarred by abuse, addiction and poverty. No, they're not the spoiled brats of the upper classes, turning on their own. In their neat tennis whites, they're as elemental and enigmatic as the pageboy murderer in No Country For Old Men. Supposedly the film is exposing those American B-movies that pretend to be condemning violence while actually exploiting and enjoying it. But I'm not sure whether [Michael Haneke], whatever his serious socio-political intentions, doesn't end up caught in a similar conceptual trap. There is a slick kick to his filmmaking. His pacing, his eye for the killing detail, his sense of what to put i...
... see is harrowing, with the psychological torture cranked up to almost unbearable levels. Supposedly...
South Park guys Trey Parker and Matt Stone seem to think so. Indeed, the prescient duo anticipated [Mel Gibson]'s recent breakdown in the 2004 season of South Park in the Passion of the Jew episode. Mel is portrayed (in the cut-out photo-style animation typically reserved for Saddam Hussein) as a flat-out looney when Kenny and Stan go all the way to L.A. to ask the star for their money back after seeing The Passion of the Christ. ("That wasn't a movie; that was a snuff film," says an outraged Stan.) History may judge it differently, especially given Parker and Stone's astute observation that most of Gibson's films deal with the theme of "redemption through torture." They cheekily suggest Gibson is more attracted to the latter than the former.
[Tony Leung] has often played weary, worldly men, especially in the films of Wong Kar Wai, but here he's heading for something much darker. The sex scenes are graphic, unusually specific, a welter of rawness, cruelty and vulnerability. Mr. [Yee]'s day job, with its interrogations and torture, bleeds over into his nighttime encounters. And for [Wong Chia Chi], sex is a dangerous weapon, because in wielding it she becomes as unguarded as her target. Some of these same ideas were explored in last year's Black Book, Paul Verhoeven's film about Nazi-occupied Holland, but Verhoeven's naughty bits seem adolescent compared to the transgressive, disturbing and deeply kinky scenes in Lust, Caution.
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