July 10, 2015 by  
Filed under Jerrod, Reviews

Starring: Ryan Reynolds, Ben Kingsley, Natalie Martinez
Directed by: Tarsem Singh (“The Cell”)
Written by: David Pastor (“Carriers”) and Alex Pastor (“Carriers”)

Body-switching mumbo-jumbo has been popping in and out of theaters for the better part of my lifetime, cresting in the ‘80s with kid-friendly comedies like “Vice Versa” and “Like Father, Like Son.” Rarely, it seems, is the concept played for the drama and weirdness that it would result in, instead relying on jokes about how the guys end up dealing with convincing some woman they are who they say they are or having a different dick between their legs. “Self/less” attempts to fill this void, complete with body-swap comedy veteran Ryan Reynolds playing a man on the run, but the film shows its cards too early and follows too predictable a path.

“Self/less” opens with billionaire Damian Hale (Ben Kingsley, with an awful New York accent) dying from cancer. Some shady meetings with a clipped British scientist Albright (Matthew Goode) point toward a certain immortality afforded to the super-rich. You see, Albright has been growing blank humans in a lab and developed a technology to transfer the consciousness of the dying into a brand new body. After staging his death, Damian wakes up in a makeshift lab in the body/identity of Edward Kidner (Ryan Reynolds), a healthy, young (well, sort of…he’s 35) man living the high life in New Orleans. To keep the brain seizures associated with the mind transfer away, Damian must take some pills administered exclusively by Albright, who wants to keep an eye on his patients. But when one of the seizures seems to reveal suppressed memories, Damian grows suspicious and tracks down the woman (Natalie Martinez) from his new-found memory, with dangerous results!

Boring and predictable, “Self/less” could have benefitted from a lot more mind bending and a lot less store-brand Jason Bourne action. When the telegraphed twist kicks in—Goode’s Albright may as well have a maniacal laugh—and sends Reynolds on the run, the movie loses any sort of imagination the casually tossed off miracle of science mind-swapping plot device brings to the proceedings. I didn’t come to see Reynolds shooting oddly-loyal goons and kicking ass using muscle memory, I want to see what the devastating psychological toll of having your old self transferred into a new body that looks nothing like you. But no, Reynolds and Martinez spend the movie on the run with every move telegraphed leaving the movie with no tension whatsoever. Is Albright evil? Was the whole “lab-grown body” thing too good to be true? Will the former cutthroat industrialist end up having a heart of gold? Yes, now go see something better instead.

Tarsem Singh – The Fall

June 6, 2008 by  
Filed under Interviews

He has only made one movie in his entire professional career yet director Tarsem Singh is already being helmed as one of the most visually-stunning filmmakers to ever step behind the camera.

Best known for his work in the TV commercial and music video industry (he directed R.E.M.’s 1991 video “Losing My Religion,” which won MTV’s Video of the Year), Singh’s only credit as a feature film director came in 2000 when he created the warped world locked inside a serial killer’s mind in “The Cell,” which starred Jennifer Lopez.

In his second film, which was shot in over 20 countries, Singh not only directs but also writes and produces “The Fall,” a mythical adventure that follows the unique friendship between a little girl (newcomer Catinca Untaru) and an injured stuntman (Lee Pace), who uses vivid storytelling to trick the child into bringing him morphine.

Originally from India, Singh, 47, talked about his new film, why he almost became homeless making it, and why he may never make another film for the rest of his life.

What was your intention when you decided to cast a first-time actress (Untaru) as one of your lead roles?

I wanted everything to be as realistic as possible. When I found the little girl she was so amazing. I later found out that the casting director had made a mistake and told her she would be working with an actor that was handicap; a Hollywood star that couldn’t walk. Then I realized why she was acting the way she was. It was so phenomenally natural. She had the magic in her.

I read that you financed this film by yourself, which automatically makes this a labor of love in my opinion. How did this work out for you?

When I made the film I wanted to go on this magical mystery tour. I told my brother [executive producer Ajit Singh], “Call me if you have to sell [my] house.” Four years later, we had liquidated almost [all my assets] and I asked him, “Did we come close to having to sell the house?” He said, “Almost.” Then when we brought [the film] to the U.S. we didn’t have a distributor, so I asked, “What will it cost?” I just think [“The Fall”] is a cinematic experience you have to see in a cinema. It’s a very polarizing film and I wanted to get it out there.

No one can deny that “The Fall” is beautifully shot. From a visual sense, do you consider filmmaking an art form?

It’s a film that I think is very original looking. I had this style in mind for some time. I wanted it to be theatrical. The landscapes are basically made by the art department. I was very interested in the visual form and the structure of the storytelling.

Are you comfortable with people considering you a “visual director” or do you want people to see you as a director who can create more than just a beautiful scene?

You are what you are. I just happen to come from a visual background, so I am exorcising those demons.

As a child, who was your favorite storyteller?

It just dawned on me recently, but I did have a school teacher when I lived in the Himalayas who told our class mesmerizing stories. She would use her body language and mix things up all the time. Telling a story is very much like being a deejay. A deejay may not play music someone particularly likes but they get them to get up and dance. 

With an audience of 3.6 million, do you ever think about tapping into the Bollywood arena at all?

It isn’t my cup of tea. I used to like watching it every now and then but I don’t know anyone in that world. I watch it now and get kind of bored.

Are we going to have to wait another eight years to see another film directed by Tarsem Singh?

I don’t know. You can’t push a button and say, “I’m ready.” I might get something in three weeks and say, “That’s the film I want to make” or it might take another decade or two. Or it might never happen. Right now I’m in love with a lovely woman and having a lovely time in life.

The Fall

May 27, 2008 by  
Filed under Reviews

Starring: Lee Pace, Catinca Untaru, Justine Waddell
Directed by: Tarsem Singh (“The Cell”)
Written by: Tarsem Singh (debut)

Sometimes it’s hard not to like a movie that is so eye-catching and beautiful but so empty in all other filmmaking aspects. So was the case for director Tarsem Singh’s first film “The Cell” in 2000. Eight years later, he returns to redeem himself and his novice errors with “The Fall,” a touching, well-acted fantasy saturated with Singh’s style.

Set in a hospital in 1920’s Los Angeles, “The Fall” is a story within a story told by Roy Walker (Lee Pace), a bed-ridden stuntman who befriends a little girl named Alexandria (Catinca Untaru) by telling her a tall tale about five mythical heroes who go on a journey to kill an evil ruler named Governor Odieus (Daniel Caltagirone). The only thing Roy asks in return for his storytelling is for Alexandria to steal pills for him so that he may commit suicide.

Although “The Fall” is still missing some key elements in the story within, the scenes where actors Pace and first-time actress Untaru interact are effortless and rewarding. Sure, Singh’s vision still favors style over substance, but when film imitates art it is extremely engaging.