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  • Michael Bay

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    Transformers  (2007)

    Any discussion of Transformers must begin and end with Michael Bay, as he is the man responsible for this travesty. If he ever felt a human emotion, there is little evidence of its presence in this "film." I place film in quotation marks because moreso than the cartoon series, this felt like an extended commercial, aimed squarely at the lowest common denominator. In every imaginable way Bay's taint has infected this property and rendered it diseased. 


  • Bridge to Bitterness

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    Bridge to Terabithia is the second film directed by Michael Rabiger, who is best known for creating Rugrats. It could be described as a bittersweet film about the struggles of childhood and the importance of imagination, and it certainly has the right ingredients: Jesse Aarons is a poor farm boy that is constantly bullied at school, but he has a hidden artistic talent which keeps him going through the rough patches. His melancholy is interrupted by the arrival of the new girl, Leslie Burke, who quickly learns her place in the playground pecking order. The two form a friendship, retreating to a fantasy world of their own making. It sounds promising, but this film uncomfortably straddles fantasy and reality, I’m guessing in an attempt to reflect the uneasy transition period between childhood and adulthood. Unfortunately, one of the downsides of imagination is that it does not keep its promise. I am all too familiar with the kind of disappointment that comes from realizing that I cannot soar like an Eagle or run as fast as a Cheetah, but I am not sure I want to revisit that lesson while watching a film, especially when the cost is so high.

    Instead of imagination invading reality, this film’s emotional content comes from a cruel twisting of that concept until it bleeds. It then applies a cheap bandage so no one is too disappointed at the end, but I am left grieving for what could have been. I do not think children need to be reminded of how hard life can be. When they go to a movie they should get what they want, which is the closest thing to an escape that one can have in 90 minutes. I cannot imagine taking a child to a film like this unless I wanted them to remember how much they cried as adults.


  • Beijing Massacre

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    Beijing Bicycle  (2001)

    Directed by Xiaoshuai Wang, Beijing Bicycle is about two characters whose paths intersect over the ownership of a bicycle. The first owner, Guo Liangui, arrives from the country and finds employment with a messenger service, illustrating that his livelihood depends upon his continued possession of a bicycle. The second owner, Jian, presumably acquired the bike from Guo Liangui by nefarious means (it's not clear if he stole it or paid for it with stolen money) to increase his social standing and impress a girl.

    Guo Liangui is the more sympathetic of the two characters, but both of them are too ill-equipped intellectually and emotionally to make a lasting impression. To describe the life of Guo Liangui and Jian as bleak would be an understatement, as they are both trapped by their obsessions, forced to stumble on, hoping for respite. The conclusion of their journey resembles nothing more than a brief pause on the road to unending nightmarish frustration. Still, for those that enjoy the misery of others, it might be good for a laugh.


  • Emotional Isolation between Father and Son

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    Riding Alone for Thousands of Miles (2005) follows Gou-ichi Takata, played by legendary Japanese actor Ken Takakura (The Yakuza), as he embarks on a quest to reconnect with his ill son. He makes his way to China's Yunan Province to record the performance of Li Jiamin, as his son had promised to do a year earlier.

    Directed by Yimou Zhang, who is perhaps best known in the West for Hero (2003) and House of Flying Daggers (2004), audiences might be surprised by how intimate Riding Alone for Thousands of Miles is compared to his martial art epics, but this is actually a return to form for the Oscar-nominated director.

    While the film is most easily approached as a conversation about the relationships between fathers and sons, the growth experienced by Takata is far more intriguing, and is perhaps best expressed by his envy of Li Jiamin's public display of emotion over the absence of his son Yang Yang, who is being raised by a small village. Takakura's performance is incredibly subtle, reflecting his character's struggles with emotional isolation.

    It is not until Takata is stranded in a canyon with Yang Yang that he is able to come to terms with his relationship with his own son and how impoverished his life has been since his wife's death. Riding Alone for Thousands of Miles is a powerful film, resonating much like the beautiful and still landscapes of Yunan Province that feature so prominently.


 

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