Three Monkeys

Turkish import “Three Monkeys” derives its title from the primate promoted proverb “see no evil, hear no evil, speak no evil.” The fourth monkey who advises to “do no evil” is missed, because there are plenty wrongdoings to go around.

Nearly asleep at the wheel, politician Servet (Ercan Kesal) kills a man on the road and escapes the scene. Afraid of losing an election, he bribes his driver Eyüp (Yavuz Bingo) to take the blame. The rest of the film chronicles what happens to Eyüp’s troubled son and adulterous wife while he’s in jail.

The concept of threes is there if you’re looking; three visits to father in prison, three family members, three sins committed. But does ignoring the truth make it go away? There’s pain that can’t be forgotten. Sweeping everything under the rug seemingly destines the family to misery.

Realism is splashed with creepy surrealism in the form of a ghostly figure that haunts the family, who I presume is the fourth monkey, but you should see the film to find out who that is.

The acting is nuanced and professional. The actors give us just enough clues but don’t tell us everything that’s going on in their heads. A minimalist approach with dialog leaves us with a very sparse film, save the rich visuals.

Superb cinematography abounds. Many scenes are shot in shadows, delivering a noir-like atmosphere and a very distinctive mood. Key scenes are shot with the camera pulled way back, leaving us cold and detached. Colors are mostly muted, with only ugly greens and yellows surviving. It’s equally unpleasant and gorgeous to look at.

While the pace is slow and deliberate, the film never gets boring. However, a little more tension would have helped propel things along. Also, the conclusion to the circular story arc feels like both too much and not enough. You’re not beaten over the head with the message, but you’re also left with not quite enough to chew on.

“Three Monkeys” almost gives us a hat trick with stellar imagery and strong acting, but the storytelling leaves something to be desired. Art house fans will be satisfied but not enthralled.

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Brüno

Here you have it folks; 2009’s answer to “Milk.”

Maybe it’s not as much of a gay groundbreaker, but Sacha Baron Cohen’s “Brüno” is definitely gayer. This guy is all shades of gay. He’d make the “Queer Eye” guys look straight.

Brüno is the host of “Funkyzeit mit Brüno,” an Austrain fashion program. He is disgraced when he wears an all Velcro suit to Fashion Week and tumbles out on the runway stuck to everything near him. Being blacklisted in his home country, he flies to LA with his assistant Lutz (Gustaf Hammarsten) to try to become the “biggest Austrian celebrity since Hitler.”

Just like in his 2006 hit “Borat,” Cohen puts his character into real situations. Sure, some bits are scripted and acted out, but most are the real thing.

If nothing else, this is the boldest comedy this year. Not for depth or ideas or anything like that, but the sheer ludicrousness of the feats Cohen tries to pull off.

Brüno interviews a real terrorist. Their chat is understandably short. There’s also a gay wrestling match before an angry crowd of good ol’ boys. One pelts a folding chair at Brüno.

The weaker moments are typically the scripted ones. The love story between Brüno and Lutz falls flat.

“Brüno” tries to expose homophobia in the United States, but does so with gay stereotypes. Many of Brüno’s antics are so wild that anyone would be taken aback. He’s much different than your average gay man who’s probably not going to force you to watch a video of his talking penis.

Therein lies the reason this film isn’t nearly as funny as “Borat:” the laughs here are really provoked. Borat let his victims hang themselves, but Brüno gives them little choice. Sure, it exposes gay prejudice, but it’s not saying a lot under such extreme conditions.

But that’s secondary to the jokes. This is a comedy after all. Preposterous hilarity abounds. The sex scene between the lead and his boyfriend is probably the most riotously vulgar sex scene since the puppet sex in “Team America: World Police.”

In places, the film succeeds with both social commentary and big laughs. Brüno interviews parents who try to get their babies hired for a film. They’d be willing to dress their kids as Nazis, strap them to a cross, or give them liposuction to become stars.

For the most part, Brüno is pretty funny. The tension builds between Brüno and his victims to staggering heights and is enthralling to watch. But if less of the material had been scripted, the film would have been much better off. Borat is also a more inherently likable character than Brüno.

While it’s not as strong as “Borat,” “Brüno” hits more than it misses. Prepare to laugh, be shocked, disgusted, and back again.

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The Garden

It’s a classic David and Goliath story. Race, class, and politics flare up in this excellent documentary. “The Garden” was nominated for Best Documentary Feature at the 2009 Academy Awards and finally gets a run in theaters.

A 13-acre plot of farm ground in downtown Los Angeles has been worked for over a decade by low income Latinos. Land is communal, open to anyone to farm. The location is a lone spot of nature in the otherwise developed cityscape.

The city bought the land from a private developer in the 80s, but recently sold it back to him in a backroom deal off the record. Now the city and developer want the immigrants out so a warehouse can be constructed.

The land has become much more than it seems for its workers; it has become their livelihood, their way of living.

Director Scott Hamilton Kennedy wisely lets the farmers tell the story instead of opting for a narrator to string things together. These real people carry the picture and let us get to know them. They simultaneously feel authentic and like characters in a work of fiction.

Lack of narration helps draw you in and forget you’re watching a documentary. Title screens are used to fill in bits of information not covered elsewhere.

Lawsuits and rallies abound to save the garden. Trouble doesn’t only brew between the city and the farmers though. A farmer is evicted after not complying with community established rules and attacks another with a machete.

Guess it’s not in the Garden of Eden.

It’s great to see that this movie contains an honest to goodness story, richer than many concocted by Hollywood writers. A few years worth of the power struggle for the garden are covered in the brisk, 80 minute running time.

The direction and editing are adept, working to clearly tell the story. The movie was obviously shot a low budget, but this gives it a homespun charm much like that of the garden itself. It feels like an indie picture produced lovingly by professionals.

The only thing that kept me from getting completely behind the cause was the likelihood that not all of the farmers were legal citizens; illegal immigrants shouldn’t have a legal leg to stand on. But it appeared that many of them were legitimate residents.

While the film obviously sides with the farmers, both sides are represented. The councilwoman and developer responsible for the illegal deal get to express their side, even though the latter refused to be interviewed. Kennedy went out of his way to make sure everyone was heard.

Go see “The Garden.” It’s an excellent slice of life picture with a real story to tell.

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Whatever Works

Woody Allen is nothing if not prolific and is back with his yearly cinematic offering.

New Yorker Boris Yellnikoff (Larry David) wouldn’t hesitate to impose his views on intellect, religion, and worthlessness of existence to anyone within earshot. He’s a crotchety, recently divorced old guy with little to live for. When Melodie (Evan Rachel Wood), a southern runaway, meets Boris and convinces him to let her stay in his apartment, she adds a little light to his otherwise dark existence.

Despite their 40+ year age gap, the two get married. They seem oddly content until Melodie’s parents show up and complicate things.

Larry David fits into the Woody Allen persona well, but isn’t as likeable as the characters Allen once played himself. Boris can be downright abhorrent. Wood is cute and likeable, but her southern shtick wears thin. And she’s given some really, really bad jokes.

Story structure is helter-skelter at best. The first half of the picture focuses on Boris and his ramblings, but the second half takes lengthy diversions with Melodie’s infidelity and her mother (Patricia Clarkson) discovering herself.

The conclusions come too quickly and neatly. Some jokes fall flat. And no one makes a better Woody Allen than Woody Allen.

This is disappointing because parts of the movie are charming and poignant. There are some good laughs too. The main point the protagonist is trying to make is that though life is miserable and worthless, you should hang on to whatever bit of happiness you can find. “Whatever works,” he says.

And while that’s a nice sentiment, I walked out of the theater thinking “whatever.”

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Public Enemies

Michael Mann is back after 2006’s god-awful “Miami Vice” with “Public Enemies,” which is thankfully an improvement. Johnny Depp stars as 30s gangster John Dillinger and Christian Bale as his FBI foil, Melvin Purvis.

Depp is pretty good as Dillinger. He’s indifferent yet cool as ice when he needs to be. It’s refreshing to see Depp play a human being again as opposed to all the cartoon like characters he’s been doing lately. He gets all the best lines too. Some of them are so good they seem to be from a different movie altogether.

That is perhaps what’s most frustrating about “Public Enemies.” It has flashes of a great, Oscar worthy picture, but they’re too few and far between. The last scene in particular has an aura of going for gold.

The movie prefers settling somewhere between good and not bad. The acting is solid but never enough to get you emotionally involved. The story is interesting, but lacks direction and strong conflict. I was looking for an electric match up between Depp and Bale, but the tension was only there in one instance.

Bale does nothing with his one note performance. Billy Crudup as the slightly imprudent J. Edgar Hoover is much more interesting. The subplot of the birth of the FBI was worthy of more screen time.

The project based on Bryan Burrough’s book, “Public Enemies,” was originally pitched to HBO as a miniseries. More time could have been given to Hoover, the FBI, and outlaws Baby Face Nelson and Pretty Boy Floyd. This would have been nice here, but the picture belongs to Depp.

Marion Cotillard as Dillinger’s girlfriend Billie Frechette is one of “Public Enemies” greatest strengths. She adds a little weight and gives Dillinger a more human side to root for.

But in the end, I guess the lead and the viewer are both detatched; Dillinger from society, the audience from emotion. Despite the letdowns, “Public Enemies” is worth seeing. Who doesn’t want to see a gangster Johnny Depp run around robbing banks?

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