petr-17

To evaluate this American version of the British film based on a British film about a soccer fanatic you need to compare it to the previous efforts that it is reinterpreting. I am commenting on this film beyond the sport of baseball (which I'm pretty sure the film makes really great and knowledgeable references to.) The original book by Nick Hornby is an incredibly difficult read, even for a soccer player (like me.) It is very British and is the ultimate soccer geek book with only a couple sentences devoted to the main character's personal life.

The British film ups the personal level, but it maintains the sport geek as the primary goal with the personal life coming through. The film is far from perfect but the charisma of Colin Firth holds the film together and the director manages to weave the magic of a sport fan, not necessarily from the objects that make up the world of the sport fan, but the feeling of being a fanatic in love with the sport.

Alas, the American version of Fever Pitch fails miserably on three counts:

Firstly it portrays the sport fan (as in baseball) as an object hording maniac with almost no feeling (and I don't mean the ability to site every statistic and memorable play) to the game itself. I'm sure there are wonderful obscure historical references which completely elude a non-marketed baseball fan (I am a fan of the sport, not the business.) Maybe that attempts to revitalize the "feel" of the sports fan (a pretty cheap plot device.) The British film makes similar obscure references, but somehow makes it more believable.

Secondly this film is a Drew Barrymore vehicle car smash. Her character is dominant to the storyline. I suppose the sports fan can identify her as the questioning spouse/partner/friend. But making her story dominant casts a negative light on her character right from the beginning of the film. I assume Ms Barrymore raised some of the funds and upped her screen time.

Thirdly and finally, this film makes a sock puppet show look like the most emotional coaster ride you will ever experience. There is absolutely no real life connection between Ms Barrymore and Jimmy Fallon. Jimmy Fallon, usually a cute, if slightly spastic, addition to a film acts like a tree in a slight breeze. Ms Barrymore portrays the art of heavy chewing gum mastication whenever she speaks. I know she can act (see Donnie Darko), but not in this film. It basically comes across as a rehearsal for a daily soap (yup that bad.)

Did the Farrelly brothers actually have anything to do with this film? Even their weakest effort, Stuck on You, is a brilliant comet lighting up the night sky compared to this ... darkness.

The best way of describing this film is like the antithesis to Mike Judge's Office Space.

The story covers a year of a Belgian/Japanese girl working in Japan for a large Corporation. The insanity of this arrangement goes beyond mere cultural East and West differences, and borders on sado-masochism. And in fact is pointed out as a metaphor for sex (although there is none in the film.) The cultural differences and rules portrayed in the film completely engross the viewer. It is a rare film where the play out of the subject matter completely engulfs your attention. Though the film does focus on familiar (or rather identifiable) stereotypes there are enough twists in etiquette to even break those.

The acting is superb all around. Sylvie Testud's performance is exceptional.

Cinematography is OK. The special effects of flying over Tokyo are below standard, and the window overlooking the city looks extremely fake.

Audio suffers from some blatant re-dubbing (particularly on Sylvie Testud's Japanese dialog.) The Bach music is out of place and does not fit the film very well, particularly as it is a harpsichord piece.

Overall a definite film for anyone who worked in an office environment and thought they had it tough. Also a good second thought for anyone considering working in Japan.

The first Transporter was enjoyable Euro action fun, even though it was directed by Hong Kong Chinese Corey Yuen. It was a silly frolic in the European countryside with obvious homo-erotic overtones. It was Eurotrash to the core.

Alas, Transporter 2 suffers from being Americanized and butchered by novice director Louis Leterrier, who simply brings shame to his country of birth, France. His direction, or rather lack there of, emphasizes the cookie cut stereotypes and empowers a deep sexist and racist style.

Jason Statham is fantastic as the film burns to the ground around him, with a perpetual look of horror at the film's ashes. Kate Nauta, his woefully underused adversary, is exploited to the hilt by labeling her insane (she even says so) and wearing underwear throughout the film. She could have carried such great poise with a different wardrobe and smarter direction.

Only the sequences with François Berléand provide any aesthetic to the film. But they are short, limited and obviously added on after the film to provide it with some sort of saving grace (but alas the ship sunk before his involvement.) The rest of the actors are purely dough to their American character cookie cutters. All must be ashamed and hopefully will try very hard to do a European or art-house film to bring credibility to their now very tarnished names.

Story is nothing special, if a little stupid, and contains many chases. A typical dumb action formula that relies on being distinguished by direction (not in this case though.)

Cinematogrpahy stinks so badly,that your eyes gag, burn and dry heave at every single frame of the film. Almost every single frame contains bloomed highlights and has a orange tone that is reminiscent of a very cheap digital video camera. A lot of the shots are slightly out of focus (just look at the title sequences and you'll see that it is not the fault of the projectionist at all as the titles are crisp against off focus footage.) The special effects team, including novices like Mike Doyle, are blatant amateurs who have no business to be in film at all. The jet CG sequences are atrocious, and bring dishonor to world of computer animation.

Music is OK, and a good reuse from Sin City's instrumental rendition of Cells by The Servant is nicely integrated to save some weak footage.

Ultimately a film to avoid at all costs. Better to see the original Transporter twice in a row.