Heaven

Last night I watched "Heaven" on television. I was about to skip it because I hadn't heard nothing about it. Luckily, I stayed tuned. And I say luckily because it's one of the best films that I've seen lately.

"Heaven" is a marvelous conjunction of neo-noir drama with a surprising touch of magic realism. The story-line is so original that caught me in a while. The film construction is puzzling, but never confusing, and helps the film to be even more thrilling and fascinating than it's promising premise allowed us to expect. The editing job here is really remarkable; I'd dare to say it is, along with "Pulp Fiction" and "Memento", one of the most coherent and creative works seen in the nineties American filming.

Martin Donovan is excellent, as well as the rest of the cast, but if you look for one unforgettable character, the travesty Heaven, sweet, strong in her weakness and with the surprising ability to anticipate the fate of those who surround her, will immediately catch your eye.

After watching "The ugly" and this extraordinary piece of film art, I'm really looking forward to see Scott Reynold's new project.

New Zealand director Scott Reynolds has a flair for getting into viewers heads while they watch, and this was very apparent in his previous film, The Ugly. Time seems to be a force in this film as well, by playing with the sequence of events, going forward and back. Fortunately, we seem to understand what happens (like the constant time playing in the film Siesta), and become more involved with what is happening to the characters. Gambling addictions, child custody, seedy strip joints, and even a psychic all weave a fascinating situation that could help or destroy all involved. Despite its rough nature, it still manages to be a very satisfying experience. One you will tell friends you have to see to believe. It does deserve notice as a unique film and hopefully word of mouth will help get this film the recognition it deserves.

one of the best films i've seen this year. unfortunately nobody got a chance to see it because harvey and bob over at miramax decided to release it on only ONE screen. it's sad that they didn't have faith in it. martin donovan is absolutely incredible in it. it's a really remarkable film - it has the most innovative narrative structure i have seen in a film in years (including pulp fiction). It's a brilliant film - rent it when it comes out on video.

Robert Marling is a struggling architect who is a gambling addict, a drunk and separated from his wife. His wife is filing for divorce, seeking sole custody of their son and chasing Robert for more money than he has. The reason she is after the money is because she is having an affair with Dr Melrose, who is treating a stripper called Heaven. Heaven has a gift of premonition and she has seen Robert winning a lot of money from her boss, Stanner, in a card game. However, in her sessions with Melrose, Heaven tells him these visions - information he feeds to Jennifer's lover. Heaven also shares this information with Robert and, as a result, they get closer - however Heaven is also haunted with dark, violent visions of the future that she cannot fully understand.

I confused this film with another one of the same title when I videoed it last week. Despite this I decided to give it a try anyway and see if it was any good and I'm glad I did - which is not to say that I'm proclaiming this film for everyone. The plot is never less than weird, and this is possibly the only way to describe it. It goes places that I didn't expect and it goes there in moments of sudden pace changes or sudden violence. This is made more impacting by the non-linear way that the story is told, other reviewers have compared it to the backwards telling in Memento but it is not to that extreme. However we do quite often see consequences before the film shows us the actions that caused them. For the most part this seems to work really well, even if I would find it difficult to really explain why. What I do know is that the story and the manner of the telling served to pull me along with it effortlessly for the whole running time. The only word of warning would be that the film is quite graphically violent at times and the whole subject matter is unrelentingly dark.

The cast is a very strange mix that really reflects the strange mix of characters that are depicted. Mixing actors from America with those from New Zealand and Australia has a slightly confusing effect (at the start I thought it was happening in two different time zones) but the majority of them are worth this minor quibble. Donovan is nearly always watchable and he is here again, giving a great performance in a difficult role. Even more surprising is Danny Edwards, who plays Heaven without cliché and manages to make such an unlikely person into a character that I cared about. Schiff is a surprise and is very different from the West Wing character who I always see him as now; the film also has a pre-lord of the rings role for Karl Urban - he has not much character but he has a good presence. Going and Malahide are OK but really the film belongs to Donovan and Edwards (and to a lesser extent, Schiff) and they carry it well.

Of course by `belongs to them' I mean in the acting stakes as the film is very much the property of writer/director Reynolds. He gives the whole film a great feel and has written a script that could easily have been silly and exaggerated and it is to his credit that in his hands it only manages to be involving and really enjoyable.

Overall this is a great film that pleased me even more by the fact that I found it by chance. I'm sure many viewers will be put off by the character of Heaven, or the unexplained nature of her gift, or the way the film goes extreme places or even the fact that bits are told out of sequence, however I hope that most viewers will see these aspects as strengths - strengths that were held together by a writer/director who I will be looking out for from now on.

I had a premonition about this movie. Young NZ director (Scott Reynolds) makes low budget but interesting first feature ("Ugly") and gets snared by Hollywood. Makes more ambitious next film (although the budget doesn't seem to be much greater) in the style of film noir meets Tarantino (with less humour and more gore.) Bet he fluffs it.

Well, he does, up to a point. There's plenty of talent here in this familiar but painful tale of an architect (Martin Donovan) down on his uppers and suffering from a severe case of compulsive gambling trying to preserve access to his young son (Michael Langley.) He is really up against it. His beautiful but very fed-up estranged wife (Joanna Going) is having an affair with their marriage guidance counsellor (Patrick Malahide) and for good measure has appropriated his lawyer as well (there's enough professional conflict of interest here to keep a couple of misconduct tribunals going for months).

Our architect's current client, a sleazy nightclub owner (Richard Schiff), is doing his best to reduce him to penury through their late-night poker games. Into this mess floats Heaven, a six-foot four Polynesian transsexual and nightclub dancer (Danny Edwards, in a standout performance), who sees in the near future useful things like winning card hands, and some more nasty pending events. She takes a shine to the architect and helps him through the mess, but not after being pretty badly treated herself.

Really I think this film is spoiled by too much gore. It has a good intelligent storyline, fine acting, suitably grungy locations and sets, plenty of pace, imaginative time-shifting and cross-cutting (without being too obscure) and then all this stupid carnage towards the end, lovingly and lingeringly shot. Less is more!

Still, I enjoyed Patrick Malahide (unforgettable years ago as the nasty perpetually frustrated Inspector Chisholm in TV's "Minder") who plays the unethical counsellor. Danny Edwards beautifully conveys the pain of someone who can see the future but, having a rather passive nature, is not well equipped to deal with it. Still, people like Heaven do attract protectors, and, fittingly, she gets it together with Raymond (Karl Urban), the club's handsome macho bouncer.

The film was shot in Auckland, New Zealand with an NZ cast apart from (I think) four of the leads, but it appears as an identi-kit grungy urban environment from anywhere. (Though it has to be pointed out that Auckland railway station's 1930s "Georgian Maori" architecture is pretty distinctive and there are plenty of right hand drive cars of 70s vintage that never saw a US freeway). I don't know what it is about Auckland, a pretty place on a fine harbour, that makes filmmakers present it in such a way. Another recent example was "Once Were Warriors" but that was a film of great cultural relevance. This one just uses Auckland as a toilet.

The price of participation in global film culture? Though Miraxmax are listed as the producers, I'd feel happier if it carried the wording "no government money was used in the making of this film."