Review #1,421: 'Mulan' (1998)

Based on the Chinese folktale of a woman who disguised herself as a man in order to battle against the Hun and help protect her homeland, Disney's Mulan came at a strange time for the juggernaut studio. While still riding the wave of its own 90's renaissance in the wake of smash-hits Beauty and the Beast and The Lion King, it was also watching another studio, Pixar, emerge as its greatest competition, and Pixar's use of computer animation was in danger of rendering Disney's traditional hand-drawn pictures obsolete. Of course, Disney would go on to gobble up its rival and take the studio under its sizeable wing, but back in 1998, Mulan, although a box-office hit, didn't leave the same mark as Pixar's effort that year, A Bug's Life. As a result, Mulan was remembered as one of Disney's lesser 90's efforts, but time has aged the film incredibly well. It doesn't feel like one of the last of a dying breed to be pushed out before computer animation took over completely, but a joyous reminder of how timeless and splendid hand-drawn animation can be.

The Huns, led by the fearsome Shan Yu (Miguel Ferrer) have breached the Great Wall and invaded China, causing the Emperor to hand out conscription notices that demand one man from every household. The elderly Fa Zhou (Soon-Tek Oh) has fought his country's wars before, but he nevertheless tosses aside his cane and dusts off his old sword and amour. His daughter, Fa Mulan (Ming-Na Wen), doesn't want to see her withered father march off to his death and so steals the armour and heads off to the join the army in his place. Her country doesn't allow for women to fight, so Mulan ties up her hair, deepens her voice, and puts on her most manly stance for her new commander, the handsome and formidable Li Shang (BD Wong). The spirits of her ancestors summon a tiny dragon named Mushu (Eddie Murphy) who they hope will convince her to return, but the gong-ringer decides instead to help Mulan battle against the Huns. With Li Shang's training and guidance, Mulan and her unit are transformed into warriors, but are they ready to face off against the mighty Shan Yu?

Mulan distinguishes itself from the rest of the Disney back catalogue with its wartime setting and location in a foreign, ancient land. While it may still carry familiar themes of finding your inner strength and being true to yourself, there's no doubting that a darker and more serious tone runs through the story's centre. The violence is kept to a minimum so it's all still family-friendly, but the stakes feel higher, and there's a real sense of dread when Mulan and Li Shang first lay their eyes on the charging Hun. This weightier atmosphere is also helped by Mulan herself, who is less a traditional princess longing to meet her true love than a fully-formed, believable character who is learning to adapt at all costs in a world that will do everything it can to try and stop her. Disney still couldn't resist a tacked-on ending that seems to go against everything that was said and suggested before, which is a shame, as Mulan is evidence that Disney was tackling issues of diversity and gender equality long before it became a social media revolution. This doesn't have the catchy tunes of Beauty and the Beast or the adorable characters of The Lion King, but Mulan has its fair share of moments, packed with elegant animation and compelling action.


Directed by: Tony Bancroft, Barry Cook
Voices: Ming-Na Wen, Eddie Murphy, BD Wong, Miguel Ferrer, Harvey Fierstein, Gedde Watanabe
Country: USA

Rating: ****

Tom Gillespie

Review #1,254: 'American History X' (1998)

Watching American History X again 19 years after its release, the sight of Edward Norton's enigmatic frame captured in stark black-and-white quickly reminded me of just why I loved the film so much, and why it was one of the first DVDs I purchased when the transition from VHS was starting to take hold. I was 13 when I first saw the film in 1998, and now I'm 32 with more life experience and many, many more movies under my belt, the cracks and problems with Tony Kaye's tale of brotherly love and neo-Nazism also became apparent. It was something I could never quite put my finger on as a youngster, but the film's main issue is with trying to resolve a lifetime of hate and dysfunction in a single night, and by setting itself such time constraints, over-simplifies an incredibly complex and sensitive subject, although its heart is certainly in the right place.

American History X tells the story of two brothers; Derek (Norton), a charismatic and hardened skin-head freshly released from prison following a brutal double-murder, and Danny (Edward Furlong), an intelligent kid following in the doomed footsteps of the older sibling he admires so much. Danny has just written a paper on Adolf Hitler, glorifying the fascist leader as a civil rights hero. His (black) schoolteacher Dr. Sweeney (Avery Brooks) is outraged, but sets Danny the task of penning a paper on his brother, who had walked free that very morning. Hurrying home to reunite with his hero, Danny finds his brother a changed man. Derek has grown his hair, and no longer proudly displays the swastika tattooed on his torso. Something happened in prison that allowed Derek to let go of his misguided hate, and sets about ensuring that Danny doesn't follow the same path by confronting hate teacher and former ally Cameron (Stacy Keach).

This impeccably-performed and suitably rough-around-the-edges movie is far more successful with depicting Derek's rise to legend-status amongst his gang than it is with handling his drastic change of heart. Despite a rather silly basketball game, the bulk of the black-and-white flashbacks offer a keen and convincing insight into the mind of a highly-intelligent leader of men who has inherited prejudice and hate. When he enters prison following the shocking murder, Derek becomes torn between the hypocritical Aryan Brotherhood and his laundry-room work mate Lamont (Guy Torry). These moments, which are supposed to convince us that a man of Derek's single-mindedness could learn the error of his ways, are reduced to a handful of clumsily-written conversations and a particularly nasty rape. It ultimately fails to deliver on its initial promise, and whether this uneven narrative was the result of Norton being brought in to help with the final edit, causing Kaye to completely disown the film, I couldn't tell you. Despite the glaring flaws, American History X still retains its raw power, and Norton gives a performance of such staggering intensity that he will likely never best it.


Directed by: Tony Kaye
Starring: Edward Norton, Edward Furlong, Beverly D'Angelo, Ethan Suplee, Fairuza Balk, Avery Brooks, Elliott Gould, Stacy Keach
Country: USA

Rating: ***

Tom Gillespie

Review #389: 'Goodbye, 20th Century!' (1998)

We are only able to interpret from a piece of art what we bring to it. Our own personal knowledge is all we have to unravel, or judge information, when confronted with something that requires diagnosis. Whilst there is limited writing on this obscure Macedonian film, what is written I have found not to be what I considered whilst viewing it. The film's intention I gleaned, began with it's own remission, with a reference to the old testament. This is followed with a scene apparently set in 2019, where Kuzman (Nikola Ristanovski), is gunned down in a post apocalyptic desert, only to survive these apparently severe wounds.  Kuzman then has to battle with heavy weaponry with the "Man With Green Hair" (Toni Mihajlovski), and ends the first sequence bathing with a naked woman who has just dropped a basket of apples into the water (is this a reference to the garden of Eden?).

Before the second half appears, we are shown a wedding in 1900 that results in the killing of the groom. After this we are introduced to a man dressed as Santa Claus (Lazar Ristovski) who travels back to his apartment on the 31st of December 1999. At his apartment he finds that a wake for what appears to be a military official is underway and the members of the party are dismayed to see his entry. This is the extent of my formal explanation of "what happens on the screen". I spent the majority of the film in confusion. I perhaps need to research the history of Macedonia (war has always been prevalent in the Balkans - but that is all I know). And this is why I am standing by my opening sentence, and therefore will state what I took from this bizarre but interesting film, is what very limited knowledge I had to begin with.

I personally felt that this often violent piece of cinema was attempting to break down, and possibly eliminate icons that should have dissipated before the 20th century even began. The first half I felt was Jesus - his body is unbreakable, despite being shot on many occasions, he simply rises from this - but, like Adam in the garden of Eden, he is tempted by the body of woman. In the last sequence, Santa occupies his apartment, which is completely white - perhaps a signal to a waiting room of death - where the occupants degenerate into madness and violence, and death to the real is the only outcome. This brings me to the interpretation that I have of this apparently confusing and a seeming clash of disparate ideologies, comes into effect. I see this as an analysis of the need for a destruction of false idols, icons, or illusions.

Unfortunately, it is the illusory - i.e. the image of Santa Claus - that will prevail at the end of the 20th century. We are left with the concept that the fantasy of the man in red, will always prevail over what is real will always take precedent over the realities of our constantly complex world. But again, in conclusion, I probably have this completely wrong, and can only speculate over the historical aspects that I have no knowledge of. In terms of the films overall result, it is certainly interesting, and absolutely different. It is also wonderful to look at - it's aesthetic seeped in often clinical beauty.


Directed by: Darko Mitrevski, Aleksandar Popovski
Starring: Lazar Ristovski, Nikola Ristanovski, Vlado Jovanovski
Country: Republic Of Macedonia

Rating: ***

Marc Ivamy

Review #353: 'Apt Pupil' (1998)

In the late 1990's there was a small resurgence in interest in the work of Stephen King, who had been popularised in the 1970's and '80's as the prime horror author. What was slightly more interesting about this late reprisal, was that the stories were not directly linked to the horror genre, and led to one of the most loved films of the 1990's, The Shawshank Redemption (1994). Whilst this film did not do well in the cinemas, it made it's impact on video, and therefore the more dramatic, cerebral and often realistic King adaptation's were given the green light. Hot off the success of 1995's The Usual Suspects, Bryan Singer was brought in to direct this story of power over other humans, and the devastation this can cause.

Todd Bowden (Brad Renfro) is a top student in his high-school, and the film opens on a closing class focusing on the holocaust. The subject has clearly opened up something in the young man. Being convinced that there is an ex-Nazi officer living secretly in his neighbourhood, he decides to pay the man, Kurt Dussander (Ian McKellen), a visit. What transpires is that Todd had collected research on the subject, and uses this to blackmail Kurt into revisiting and verbalising his war stories, with particularly macabre focus on the killing of Jews. As the relationship between the two progresses it becomes clear that what fascinates Todd the most, is the power that was exerted over a people, and he has a hunger to know what this power is like. This begins with his power over Kurt; he revels in a display of power after he purchases a Nazi uniform for Kurt and makes him march on the spot. However the power that Todd exposes, is also resurfaced in the very isolated old man.

Well, as this is a Stephen King adaptation, the film obviously leads to murder. But the main theme of the film is the abuses of power, and the corrupting nature of power over others. It's a very interesting film, and Singer's direction is spot on. Seeing this now also highlights the loss of a very promising actor, Brad Renfro, who unfortunately died of a drug overdose in 2008. However, without any doubt this is McKellen's film. He is note perfect for this ageing, lonely man, who has had to live with his knowledge of the concentration camps for many years. The film does tend to lose it's effect at times, and falls into a cliched trap; for example, after Kurt has attempted to kill a homeless guy, but has to get the young Todd to finish the job after suffering a heart attack, Todd repeatedly hits the tramp with a shovel - a jump moment proceeds as the tramp gets back up after 'being killed' - yawn. However, this seems mainly to be the fault of the narrative, and is easy to overcome, particularly with the two fine central performances.


Directed by: Bryan Singer
Starring: Brad Renfro, Ian McKellen, Joshua Jackson
Country: USA/Canada/France

Rating: ****

Marc Ivamy

Review #59: 'The Idiots' (1998)

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Review #20: 'Le Dîner de Cons' (1998)

French comedy has always been something of a required taste. Whether it be the madcap, over-the-top physical comedy of Gerard Pires' 1998 Taxi, or the outrageous campness of 1978's La Cage Aux Folles, it's always been a hit-and-miss affair for me. One of France's more critically-acclaimed comedies, Le Diner De Cons (Dinner For Idiots), pretty much sums these feelings up for me. On one hand I found it clever, hilarious, and refreshingly savage, yet on the other hand I found it clumsy, obvious, and a bit up it's own arse.

It tells the story of a Parisian bourgeois Pierre Broachant (Thierry Lhermitte), a successful publisher who every week attends a dinner where the upper class get together and each bring along someone they consider an 'idiot' for their amusement. These 'idiots' are usually someone in a boring job and who have a peculiar interest or hobby. Each week a winner is selected when the biggest idiot is chosen. Pierre can't believe his luck when a friend recommends Francois Pignon (Jacques Villeret), who has a passion for building replicas of famous architecture out of matchsticks. Pierre pretends to be interested in publishing a book of all Francois' works, and invites him round to get a feel for him before taking him to dinner.

The day doesn't start well for Pierre when he injures his back playing tennis which renders him unable to attend the dinner, and his wife walks out on him after being tired of his sadistic dinners and overall feeling of arrogant superiority. When Francois arrives, Pierre is gobsmacked at the man's ineptitude and general stupidity, and is visibly excited about the prospect of taking him to dinner. But as the day goes on, Pierre finds it difficult to get rid of him. Francois' lack of social skills land Pierre into hot water, and only digs a bigger hole when he tries to resolve the situation.

The film takes a while to get into it's stride, spending the first 30-40 minutes basically showing what arseholes Pierre and his friends are. It's such an obvious and rather lazy attack on upper class arrogance that I failed to raise more than a smile during the first half. It's the kind of social commentary that Bunuel and Godard were so successful at in the 60's and 70's, and especially in the case of Bunuel, were also very funny. Thank God, then, that when the second half kicks in, the comedy starts to hit it's mark and the laughs come. Francois bumbles from one scene to the next - mistaking Pierre's wife for his mistress, inviting a tax inspector over when the house is full of undeclared antiques - and as Pierre disillusionment increases, the laughs come thicker and faster.

It's a fantastic performance by Villeret (who sadly died in 2005). He truly is an idiot, and doesn't overplay it . Same can be said for Lhermitte, who has to put in a much more subtle performance in stark contract to the Tati-esque baffoonery of Villeret. Watch this before you see the American remake Dinner For Schmucks (2010), starring Paul Rudd and Steve Carrell. I haven't see it, but judging from the trailer something tells me that this one will be superior.


Directed by: Francis Veber
Starring: Thierry Lhermitte, Jacques Villeret, Francis Huster
Country: France

Rating: ***

Tom Gillespie