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Wred RIDING: 1983D: Anand CALENDA R ( COMMUNITY SPORTS ARTS F ILM MUSIC) LIST I N GS Karachi Club cold case, and an additional most clarity, if not completion. There are unsolved murder, but – as in the first film of some needling loose ends – whatever the film of the trilogy – Red Riding: 1980 is happened to the whey-faced Bob Craven not particularly interested in the participa- (Sean Harris), part two’s monster cop? tory thrills of crime procedurals. The audi- – but there’s still a great deal of satis- ence can try sleuthing it out all it wants; the faction to be had in both the resolution clues are there, but it takes absorbing the of the plot’s many mysteries and the trilogy as a piece to make sense of them. In thematic through-lines of the three films. Julian Jarrold’s RR: 1974, a dolorous thing Breaking from RR: 1974’s gritty 16mm thrumming with style, it hardly mattered; and the formal beauty of RR: 1980’s the artistry of the filmmaking trumped 35mm, Tucker uses the hyperdetailed all. RR: 1980 helmsman Marsh opts for a Red One digital camera, which frequently cleaner, less claustrophobic approach (the produces flares that bisect the screen shift from 16mm to 35mm stock also con- (far less distracting than in J.J. Abrams’ tributes to a less frenzied-feeling aesthetic). Star Trek). The effect recalls images Stylistically, it’s a good fit for this install- from the previous films – RR: 1974’s ment’s lead, the honorable if a tad plodding crisscrossing lines denoting abduction Hunter. But when Marsh tarts up the film sites on a map of the Riding districts, – handheld family Christmas footage, flash- abstractly and artfully mimicked in the backs too literally arrived upon – the result opening credits of RR: 1980. The les- teeters toward the same kind of corniness son, so powerfully dramatized in this that threatened to engulf his crowd-pleasing under-the-skin, utterly engrossing series? documentary Man on Wire. RR: 1980 isn’t a Everything is connected, and neither cor- placeholder by any means, but it suffers by ruption nor redemption happen without its middle placement, lacking the newness the assist of others. – Kimberley Jones of the first film or the cumulative satisfac- ★★★★ Dobie tions of the last. – Kimberley Jones ★★★★■Dobie REPO MEN D: Miguel Sapochnik; with Jude 71 Law, Forest Whitaker, Alice Braga, Liev Schreiber, Carice RED RIDING: 1983 D: Anand van Houten, RZA. (R, 111 min.) w Tucker; with David Morrissey, Mark Addy, Warren Where has all the fun science-fiction Clarke, Peter Mullan, Robert Sheehan, Jim Carter, Shaun filmmaking gone? I mean the kind Ray Dooley, Daniel Mays, Gerard Kearns. (NR, 100 min.) Bradbury dreamed up, the sort of thing In the Red Riding trilogy, a long-form exam- with zippy flying cars and the cool bebop ination into corruption and man’s capacity bounce and throb of post-millennial jazz? (even proclivity) for evil, we’ve seen various Instead of “what if?” cinematic sci-fi has characters called or identified by a pig, a morphed into “WTF?” and now all of our swan, a badger, an owl, and a wolf. But in futures, most of them already closely this final installment, it’s the sacrificial lamb enough wound, are dystopian hellholes that comes to the fore. Red Riding: 1983 on par with Sarajevo, circa 1992. I’m cycles back to the terrible events set in not asking for another Buck Rogers, motion in Red Riding: 1974, when a series God forbid, but would a little more Sky of young girls went missing and a mentally Captain and the World of Tomorrow be retarded man, Michael Myshkin (Mays), was out of the question? Dark as they are in wrongfully convicted for the crime. Detective the real world, these days have become Inspector Maurice Jobson (Morrissey), a even darker in our shared reel world, and regular if mostly background character in the Repo Men (which, incidentally, stars, Sky first two films, becomes our first focal point Captain himself, Jude Law) is a perfect here as a man deeply wracked by his com- case in point. It’s the story of Remy plicity in the Yorkshire Constabulary’s gen- (Law) and his partner, Jake (Whitaker), eral lawlessness. (“To the north,” goes the two “repo men” working for a massive dirty cops’ back-slapping mantra, “where we artificial human-organ conglomerate do what we want!”) When, in 1983, another known as the Union and presided over by young girl disappears, Jobson decides to Frank (Schreiber at his most mustache- do some actual police work, reopening twirlingly evil, although the mustache in several old cases his colleagues would pre- question is purely metaphorical). The gist fer to keep closed (or buried) and sniffing of the story – and it’s a good one, too – HOW TO TRAIN YOUR DRAGON 3D (PG) Fri. & Sat. 12:15 around the likes of series constant the Rev. is that in the near future, you can have 12:45 2:30 3:00 4:45 5:15 7:00 7:30 9:15 9:45 11:30 11:50 Martin Lawes (Mullan, with the omniscience your failing rock & roll liver replaced with Sun. - Thu. 12:15 12:45 2:30 3:00 4:45 5:15 7:00 7:30 9:15 9:45 and eerie stillness of a very dark angel). one made of nuts and bolts and such … HOT TUB TIME MACHINE (R) Fri. & Sat. 12:05 12:45 2:30 4:55 7:20 11:59 Simultaneously, in the trilogy’s first dual for a fee. And what a fee it is – usually Sun. - Thu. 12:05 12:45 2:30 4:55 7:20 ALICE IN WONDERLAND 3D (PG)Fri. & Sat. 12:00 2:25 4:50 7:15 9:40 11:55 narrative, another lead emerges in the form around $600,000. Remy and Jake enter Sun. - Thu. 12:00 2:25 4:50 7:15 9:40 of “right fat bastard” John Piggott (Addy), a the picture when the new you defaults OUR FAMILY WEDDING (PG–13) Fri. & Sat. 12:00 2:25 4:50 7:20 9:45 11:59 sad-sack solicitor and Yorkshire native who on the payments. They arrive in the Sun. - Thu. 12:00 2:25 4:50 7:20 9:45 reluctantly agrees to file an appeal on behalf middle of the night, with scalpels at the GREEN ZONE (R) Fri. - Thu. 2:00 4:30 7:05 9:35 11:55 of Myshkin. Piggott marks the trilogy’s most ready, to repossess your liver – or kidney, AVATAR 3D (PG–13) Fri. & Sat. 1:00 4:15 7:30 11:00 uncomplicated hero; his obvious humanity eyes, etc. Eventually, of course, Remy Sun. - Thu. 1:00 4:15 7:30 and grim-grin humor about himself and the finds himself in need of a brand-new REPO MEN (R) Fri. & Sat. 2:00 4:35 7:10 9:45 11:55 general awfulness all around him leaven Union-made ticker. This is high-concept, Sun. - Thu. 2:00 4:35 7:10 9:45 what has been a torturous ride down to the dystopic sci-fi, and, by all rights, it should THE CRAZIES (R) Fri. & Sat. 12:00 2:30 4:35 7:00 9:15 11:30 Sun. - Thu. 12:00 2:30 4:35 7:00 9:15 depths of depravity. RR: 1983 is at once the work just fine, but no, it doesn’t: Repo DIARY OF A WIMPY KID (PG) Fri. & Sat. 12:15 2:30 4:45 7:00 9:15 11:30 most confusing of the three films, with its Men is a snooze and a half. Law seems Sun. - Thu. 12:15 2:30 4:45 7:00 9:15 long stretches of unannounced/unheralded to be playing himself playing a variation FORMOSA BETRAYED (R) Fri. - Thu. 1:30 4:20 7:00 9:40 flashback, and also the one that gives us on his character from Gattaca, while a u s t i n c h r o n i c l e . c o m MARCH 26, 2010 T H E A U S T I N C H R O N I C L E 71.
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