My first Milla Jovovich movie was Ultraviolet, which has spawned more "worst movie ever" threads on IMDb than any other. Well, I wouldn't call it that bad, but still... it hardly gave me any faith in Milla's career as a dramatic performer.
So I popped this flick in the DVD player not expecting much. Sacrée merde! What a surprise. It seems, stripped of her futuristic-mutant-motorcycle-riding-vampire persona, she's really quite good. This film--probably the least glamorous of her entire repertoire--really gives her a chance to show her full dynamics. I can't say much more without giving away the plot, so I'll drop it for now.
Now on to the director Luc Besson. For the first half hour or so, he seems to suffer from "I wanna be Kenneth Branagh" syndrome (which is almost as painful as the avian flu). We get a dozen scenes of someone running down a corridor with the camera chasing behind. We get a dozen overhead-camera-twirly shots of someone lying on the ground. We get so many crane shots, you start thinking you're on a construction site. What's wrong with all this? I'll tell you. When the camera swings & sways too much it detracts from the actors' performances. Sure it adds visual drama, but so can a good fireworks scene (with just as much subtlety).
But suddenly, right around the halfway mark, the camera man simmers down. The whole tone of the film changes, becomes darker and more intense, relying on the power of the actors instead of the gimmicky camera-work. This works brilliantly, especially when Dustin Hoffman finally steps in.
This is the break that takes the movie in an entirely different (and possibly offensive) direction. It looks like some IMDb reviewers weren't too happy. I'm sure plenty of others got bored (because the swordfights stop). But me, I thought this change of mood was what made the movie. Suddenly it becomes a spooky, psychological thriller with a lot of great dialogue and a ton of good acting. THIS is the payoff.
My biggest gripe with the movie is that after seeing the 2nd half, I kept saying to myself "why the hell did Besson waste so much time getting here?" There were a few too many insignificant fluff scenes in the beginning (like the virginity test lol) that should have been replaced with more of the powerful Milla-Dustin dialogue toward the end.
I won't comment on historical accuracy, religious sacrilege, lack-of-realism or the fact that there were a few too many American accents for 15th century France. These flaws fall by the wayside if you're instead paying attention to the complex conflict brewing in Milla's character. This is really her movie, and a damn good one at that. Like my title implies, it's good enough to make me want to give Ultraviolet another try.
So I popped this flick in the DVD player not expecting much. Sacrée merde! What a surprise. It seems, stripped of her futuristic-mutant-motorcycle-riding-vampire persona, she's really quite good. This film--probably the least glamorous of her entire repertoire--really gives her a chance to show her full dynamics. I can't say much more without giving away the plot, so I'll drop it for now.
Now on to the director Luc Besson. For the first half hour or so, he seems to suffer from "I wanna be Kenneth Branagh" syndrome (which is almost as painful as the avian flu). We get a dozen scenes of someone running down a corridor with the camera chasing behind. We get a dozen overhead-camera-twirly shots of someone lying on the ground. We get so many crane shots, you start thinking you're on a construction site. What's wrong with all this? I'll tell you. When the camera swings & sways too much it detracts from the actors' performances. Sure it adds visual drama, but so can a good fireworks scene (with just as much subtlety).
But suddenly, right around the halfway mark, the camera man simmers down. The whole tone of the film changes, becomes darker and more intense, relying on the power of the actors instead of the gimmicky camera-work. This works brilliantly, especially when Dustin Hoffman finally steps in.
This is the break that takes the movie in an entirely different (and possibly offensive) direction. It looks like some IMDb reviewers weren't too happy. I'm sure plenty of others got bored (because the swordfights stop). But me, I thought this change of mood was what made the movie. Suddenly it becomes a spooky, psychological thriller with a lot of great dialogue and a ton of good acting. THIS is the payoff.
My biggest gripe with the movie is that after seeing the 2nd half, I kept saying to myself "why the hell did Besson waste so much time getting here?" There were a few too many insignificant fluff scenes in the beginning (like the virginity test lol) that should have been replaced with more of the powerful Milla-Dustin dialogue toward the end.
I won't comment on historical accuracy, religious sacrilege, lack-of-realism or the fact that there were a few too many American accents for 15th century France. These flaws fall by the wayside if you're instead paying attention to the complex conflict brewing in Milla's character. This is really her movie, and a damn good one at that. Like my title implies, it's good enough to make me want to give Ultraviolet another try.