The Passion of the Christ

Tags

2000's, Biblical, Biblical Drama, Hristo Shopov, Jim Caviezel, Luca Lionello, Maia Morgenstern, Mel Gibson, Monica Bellucci, Religious Drama, Rosalinda Celentano, The Passion of the Christ

Depicting the last twelve hours in the life of Jesus Christ, Mel Gibson’s unrelenting religious drama pulls no punches on the brutality scale. Though that does offer hope, if you can get make your way through the startling brutality depicted. All in all, The Passion of the Christ emerges as a truly powerful and emotion churning film.

We begin in the Garden of Gethsemane where Jesus(Jim Caviezel) knows he will be betrayed . Judas( Luca Lionello), one of his trusted disciples, betrays Jesus for pieces of silver and leads them to where the master he followed is . Arrested, Jesus is accosted by priests and faces the temptation of Satan. Watching are his disciples, plus his mother Mary(Maia Morgenstern) and Mary Magdalene(Monica Bellucci), who are devastated by the proceedings that follow. As the hours pass by, it’s an emotional rollercoaster for all involved. From being taken to the conflicted governor Pontius Pilate(Hristo Shopov) to his scourging by soldiers, Jesus is put through sickening abuse and soul shaking cruelty. Despite being tortured and mocked, Jesus remains as resolute as he can in his conviction of his purpose to be the saviour of the people. As his torture continues, Jesus eventually carries the cross to his place of death as jeering crowds and devastated followers continue with him. The hope of resurrection comes in a soulful conclusion with the ascension of the Messiah.

Mel Gibson directs with real conviction and pardon the pun, passion. He’s created a film that doesn’t sugarcoat or simplify the last twelves of Jesus Christ’s life . I’ve found that often in religious movies depicting Christ, the brutality and hardship of his last hours is watered down and over rather quickly . And while many of those movies are fantastically made and crafted, The Passion of the Christ is a different movie altogether. Gibson crafts a truly harrowing experience that both rewards and scars. The decision to have the film be in Aramaic, with also bits in Latin and Hebrew, is an interesting one that I think pays off because it makes things feel realistic and immediate. Now I’ve read that there are those who view as anti-Semitic because the main people wanting Jesus put to death are Jewish priests. While I can understand where the accusation is coming from , though I don’t believe that the film itself is anti-semitic . It rather shows how there is sin and darkness on either side of things and how man can often be cruel and shockingly vicious towards others . The scenes of vicious brutality are intercut with flashback from Christ’s past, including the Last Supper and rescuing Mary Magdalene from the street. These scenes are bathed in a beautiful glow which counteracts the almost muted colour palette of the early passages, followed by glaring brightness as the journey towards crucifixion comes into motion. All of this is strikingly shot and realised by the talented cinematography Caleb Deschanel .  His work is stark yet strangely beautiful; reminiscent of old fashioned painting and artwork. Among the savagery on show, the cinematography holds moments of soulful grace. The focus on eyes throughout is arresting in a very visual sense and in between the often harrowing images depicted, translates a lot of emotion to the audience. Sound editing makes every moment of brutality stand out, particularly the sound of the whip that cuts in the back of Jesus and into the ears of the audience. A truly haunting score from John Debney heightens all the emotions displayed in a way that is truly hypnotic, dark and yet stirring as it unfolds. For many viewers, the level of brutality, violence and general intensity will prove too much for them. And it is true that The Passion of the Christ is a test of endurance on both the emotions and the stomach. Some parts of it due feel like overkill, like a beating that refuses to end. But I believe that’s the main point of the movie and that by refusing to shy away from the brutality, it is attempting to bring a level of reality to the story which is often eschewed for something nicer. 

Jim Caviezel is truly astounding as Jesus Christ in what is obviously an immensely challenging role. Caviezel finds the core of strength that comes through when experiencing startling torture. His soulful expression, underneath viciously inflicted wounds, brings volumes of depth and beatific humanity to Christ. Put through the emotional and physical mill, Caviezel is on hand to deliver a performance that says so much and is filled with deep reverence and dignity throughout. Maia Morgenstern is sublime as Mary, the mother of Christ who is seen throughout the movie enduring every parent’s worst nightmare. What this woman conveys with her eye is simply extraordinary; you feel every emotion goes through her and is expressed on her marvellous and nuanced face. My hats off to the immensely talented and totally believable Maia Morgenstern.  The same can be said of Monica Bellucci, who doesn’t have a lot of dialogue but whose face speaks more than reams of dialogue ever could. Both women are truly superb as the important women in the life of Jesus. They both must watch with mournful, expressive eyes, the man they care about go through immense pain in order to save people from their sins. And they truly deliver work that like that of Caviezel, burns itself into the memory for its power. Hristo Shopov, who possesses a palpably haunted and weary aura, plays Pilate as a man who is damned if he does and damned if he doesn’t . The burden weighs heavy on him and Shopov plays this convincingly and authenticity .Rosalinda Celentano appears in the brief but important role of Satan. With her piercing visage and unnerving aura, she’s a memorable part of The Passion of the Christ and pretty unforgettable. Luca Lionello appears as the traitorous Judas, who soon feels the immense guilt and feeling of disgust that comes with betraying someone who trusted you. Lionello embodies when he’s on screen this feeling of self-hatred and regret as demons swell around him. 

At the end of the day, The Passion of the Christ is both a soul shaking and powerful movie. It’s not for the faint of heart and I wholeheartedly mean that , but if you have the stomach, it’s an unforgettable experience.

Angel Eyes

Tags

2000's, Angel Eyes, Drama, Jennifer Lopez, Jeremy Sisto, Jim Caviezel, Luis Mandoki, Romance, Terence Howard

Film Title

Angel Eyes

Director

Luis Mandoki

Starring

• Jennifer Lopez as Sharon Pogue
• Jim Caviezel as Catch
• Jeremy Sisto as Larry Pogue
• Terence Howard as Robby

An unusual romantic drama that has enough touches to set it apart from others, despite some shortcomings, Angel Eyes comes out as surprisingly engaging and heartening, in no small part due to the acting work from the main cast.

Sharon Pogue is a Chicago cop who is as tough as they come when patrolling the dangerous streets. Yet beneath her armour like facade, she is actually vulnerable, embittered and somewhat broken. Most of this stems from tensions with her family, in particular the fact that she had her abusive father arrested years before for beating her mother. Ever since, this has driven a wedge between Sharon and her mother, brother Larry and father as they saw what she did as a betrayal. Also receiving news that her parents are renewing their vows and that brother Larry has also been abusive towards his own wife, Sharon is completely at a loss and attempts to channel her anger into her work, though it often spills over. Meanwhile, a quiet young man known simply as Catch wanders the streets doing good deeds for people without any clear reason. Catch comes into contact with Sharon at a crucial moment for both of them. Sharon is chasing down a thug and is nearly killed, only for Catch to step in and save her life. Grateful to the stranger for saving her life, Sharon attempts to get to know Catch as a feeling of romance begins to rise. Yet every time she thinks she’s getting closer to understanding him, Catch pulls away and shuts her out, hiding a mysterious past that he won’t speak of. The same can be seen within Sharon who while wanting him to open up, still needs to exorcise her own baggage to be truly honest. The hitch is, can a relationship ever truly blossom if neither of them will open up and let feelings in? Can by baring their souls they finally connect and benefit from the other?

There is a sensitivity to Angel Eyes that slowly reels you in and while some it gets a bit pat and filled with schmaltz, Luis Mandoki( through clear-eyed and assured direction) still keeps us watching and adds some good touches of mystery to proceedings, particularly in regarding Catch’s mysterious past. Although a romantic drama, when Angel Eyes begins it plays with audience expectations of what it could be and teases many things. A thriller, a cop drama or something more fantastical are all references, before it settles into an unconventional romance. Something about the way the film does this and wrong foots you impressed me as it kept it more than a little fresh. The two main characters are very well-developed and shown to be damaged and riddled with psychological scars and torment that is mutual between them. The question is not so much will they get together, it’s more a case of will they open up and face their demons, creating something a little different from the formulaic romantic dramas that are often released. It must be said that the script has a few shortcomings, with some dialogue being a bit forced and unnecessary, but thankfully the heart of Angel Eyes covers up these cracks and embellish some of the flawed parts of the movie. Ambiance is created through a Marco Beltrami score that sprinkles events with a dark undertone yet still filled with an emerging hope.

At the centre of Angel Eyes there is a surprisingly effective and moving performance from Jennifer Lopez. I’ve said it in the past that for all the bad movies she has made, when given the right material, she can really show her talent and in Angel Eyes, her talent is on display portraying the shut off Sharon. Exuding a steely and fierce attitude when in company of others, but showcasing a vulnerable and bruised pain, Jennifer Lopez gets us to sympathise with Sharon. As Sharon’s feelings for Catch grow, Lopez delves into how she wants to open up and now more about him, but must also work through her own demons along the way. If you have only ever thought of Jennifer Lopez as a glamorous pop star, then prepare to be taken by surprise by her natural and mature performance here. Creating a tentative chemistry with her is Jim Caviezel, who nails the haunted mystery of Catch and his good Samaritan tendencies without becoming overly saintly. Through his eyes, Caviezel says so much yet keeps a distance to shroud him in secrecy as Sharon attempts to break through his high walls. Jeremy Sisto does his best with the role of Sharon’s abusive brother who appears to be following in his fathers footsteps, while Terrence Howard is wasted more than a little as one of Sharon’s police friends. Then again, it’s the main characters that matter and with good work from the main two, Angel Eyes gets by.

Although there are clichéd moments and some let downs within it, Angel Eyes benefits from sincere performances from the leads and an added touch of depth and some mystery that makes it watchable and something a bit different.

High Crimes

Tags

2000's, Adam Scott, Amanda Peet, Ashley Judd, Bruce Davison, Carl Franklin, High Crimes, Jim Caviezel, Juan Carlos Hernandez, Legal Thriller, Morgan Freeman, Thriller

Film Title

High Crimes

Director

Carl Franklin

Starring

• Ashley Judd as Claire Kubick
• Morgan Freeman as Charlie Grimes
• Jim Caviezel as Tom Kubick/Ronald Chapman
• Adam Scott as First Lieutenant Terence Embry
• Amanda Peet as Jackie
• Juan Carlos Hernandez as Major James Hernandez
• Bruce Davison as Brigadier General Bill Marks

A legal thriller that was somewhat underrated and written off upon release, High Crimes is actually an efficiently made movie. It ain’t going to win any Oscars for originality or fresh ideas, but it more than does the job of being a gripping thriller nonetheless.

Claire Kubick is a successful attorney in a loving marriage with her woodworker husband Tom. The great life they live together in California is shattered when Tom is captured by the FBI while the two are out Christmas shopping and charged with the murder of nine peasants in an El Salvador village years before. It transpires that Tom is not who he says he is; his real name is Ronald Chapman and he was part of a secret Marine Corps operation. He has been on the run for over twelve years and is now being accused of the savage murders. Claire is shocked by the revelation that her husband has hidden from her, but because she loves him so much deals with the emotions that come her way by suppressing them. Her husband tells her that he was present in El Salvador, but strongly denies any involvement. He says that he has been set up for the crimes by his Major James Hernandez, who is now working highly with a brigadier general. Trusting her husband and wanting to help, Claire decides to defend her husband during the military trial, as the man appointed to represent him , First Lieutenant Terence Embry, is impressionable and new on the job. Yet when the trial begins, Claire realises that none of the rules that she usually abides to and works with apply in a military court. She then seeks out someone who knows their way around the court and comes across Charlie Grimes; a former military lawyer who is now retired and prone to drinking a lot. The tenacious Claire manages to get Charlie on side and help her husband in the trial; Charlie displays an aptitude for not playing by the rules and cutting through lies given by supposed witnesses. Yet twists and turns abound as evidence of a possible military cover up come to Claire’s knowledge and as she edges towards answers, risks her life in the process. Aided by the brilliant but not by the book Charlie, Claire is determined to get to the bottom of this no matter what happens. But is everything as it seems or very different to what meets the eye?

Carl Franklin’s direction of High Crimes is crisp and very well done. It’s not the best directing I’ve ever seen, but it does the job with a sense of urgency and commitment to the material in hand. Tossing in red herrings throughout the movie, Franklin knows how to keep a thriller entertaining and engaging. Granted some of the twists are a bit drawn out and overly complex, High Crimes manages to retain interest due to some sharp writing and thrills. I’ve read some reviews of High Crimes that say it becomes incomprehensible and predictable throughout. I wouldn’t agree with the first part because the film is supposed to be shrouded in mystery and wrong foot the audience occasionally. A few parts of High Crimes are predictable, but its a hell of a lot better than some of the other thrillers to be found out there due to the way it keeps you on edge trying to distinguish the truth. Some of the courtroom scenes are very well-played with lies spilling out and questions going back and forth creating a lot of tension. A technique that was utilized excellently was the presence of flashbacks from differing points of view, designed to spin a web of doubt and accountability. It’s only employed in a few scenes during the film, but it is effectively used and not overly relied upon. The musical score is a little generic in parts, but a competent enough one to go with the tense material on display here.

Ashley Judd turns in a typically strong performance as the determined Claire, who stifles her shock to defend her husband and unearth the possible cover up of events. Judd makes the character tenacious, unwavering and natural as she navigates through dangerous waters. She shares a great chemistry with Morgan Freeman, as both worked well together in Kiss the Girls. Morgan Freeman displays a dry sense of humour and serious undertones as the rebellious Charlie, who loves anything to get one up on the military and can run rings around them with his silver-tongued responses. With a glint in his eye and a sense of morality, despite his unorthodox ways of getting information, the character of Charlie is brought to life by the talents of Morgan Freeman. Jim Caviezel displays a sensitivity but an enigmatic presence as the man on trial, its credit to him that we are constantly on a seesaw about whether he is lying or telling the truth. Adam Scott impresses as the green lieutenant assigned to defend the man on trial and has some amusing moments due to the character’s lack of experience and sometimes naive tendencies. The same can be said of Amanda Peet who is delightfully irresponsible as Claire’s slobby sister who comes to stay and delights in being outrageous. Juan Carlos Hernandez, armed with a sinister smile and battle-ruined eye, is well cast as the menacing Major who may have been the perpetrator of the massacre in El Salvador. There is a small appearance from Bruce Davison as a smarmy brigadier, but I would have liked to have seen more of his character if I’m honest.

It doesn’t break any new ground and may get a little convoluted, but for a slick and entertaining thriller, High Crimes more than does the job.