Published in Based on a book,
Based on a novel,
Black Comedy,
Buddy Comedy,
Comedy,
Film Noir,
Filmmaking,
Murder,
Mystery,
Neo Noir,
New York,
Suicide,
Thriller and
Twist .
From the previews I was really looking forward to this movie, but I have to say I was pretty disappointed with it after actually seeing it. I really wanted to just turn it off while watching. I felt like it was giving me attention deficit disorder. The flow was choppy and hard to follow, the events just didn’t make sense, the lines were cheesy, etc. I then realized why the movie seemed so weird. They were trying to mimic a myster-detective-trashy-romance paperback series they reference throughout the movie. When I finally realized this, everything started to make sense. However, I still didn’t like the movie.
For starters, we have Robert Downey Jr., Val Kilmer and Michelle Monaghan as the three main characters in the film. Downey is a theif-actor who is job shadowing Kilmer. Kilmer is an actual private detective investigating some murders. Monaghan is Downey’s childhood/high school crush that randomly turns up and runs into Downey. The movie is narrated throughout by Downey as he re-tells this story with Kilmer interjecting a couple times. I will say the movie is clever, but it’s probably a little too clever for most people to follow. So much so that I really, really wanted to just turn it off. Luckily I have a rule that I need to just watch movies til they’re over because you never know how you might feel about it after the credits start to roll.
Some of the reason it’s hard to follow, in my opinion, is because the story is being narrated. And just like when some people tell a story, Downey would accidently leave a part out or have to re-tell something. So the story would backup or pause while the details were worked out. The story also jumped from one character to another, which isn’t bad in itself (Look at Pulp Fiction for example), but didn’t flow very well. Another problem I had is that things just weren’t making sense. I felt like I was watching a soap opera at times. This can be explained by the following-the-book-genre theory of mine. People would say weird things or have stupid ideas, crazy thoughts, do weird things, etc. Many of the situation just seemed contrived and not real. There were even several times where nudity was introduced. However, it didn’t have a point and it wasn’t really that American Pie/National Lampoon-esque either. You know - the kind that draws in the 13-20 yr old crowd.
If I didn’t think this movie was the way it is, I would say this is probably the worst movie I’ve seen in a long time. I’m sure there are many that would disagree with me on this one, so maybe you should give it a watch yourself and then put up a comment as to what you think.
Here’s one I’ve been interested in seeing for a while mainly because it was directed by Pedro Almodóvar and starred Gael García Bernal. I wasn’t quite sure what to expect here. This movie is about a Catholic priest who sexually abused a small boy. It’s also rated NC-17 so that will deter some people right away. I’d have to say the story was a bit interesting but I never really quite got into it. It’s like I was missing something. Maybe it’s because I’m not catholic or, maybe more specifically, Latino and catholic. I’m not sure. I know a lot of times I watch foreign films and I know I’m missing something but just can’t put my finger on it because I’m not part of that culture. Oh to be more culturally aware.
Anyways, this is definitely a darker film. I wouldn’t say it’s disturbing, but (as I always seem to bring up) I’ve seen stuff like Irreversible and House of 1,000 Corpses among other films so I feel a bit un-shocked by a lot of things. I can think of a couple people right now who have probably seen this or might see this. I can also think of a lot that will probably stay far, far away from it. I’m not entirely sure why it’s rated what it is. I think there’s more explicit material in Boogie Nights and that’s only rated R. If you’re looking for a better insight to the more recently exposed scandals involving the Catholic church, this probably isn’t going to be extremely helpful to you. This is more of a movie about some people involved in something tragic and life-changing.
The infamous Pedro Almodovar returns with this stunning, NC-17 homage to film noir flicks and previous Almodovar films such as “All About My Mother” and “Talk to Her” with the much anticipated “Bad Education.”
So why is this movie not really about attacking the Roman Catholic Church? And why is it not simply about transexuals, homosexuals, and drag queens? And why the oh-so-uncomfortable material dealing with child molestation and other similar abusive attacks on the Church? So many questions, so little answers.
Yes, the movie makes you uneasy but it also makes you intrigued. From the opening credits that mimic “Psycho” in its score, however, even more intensified with the credits acting as pieces of blood-stained colorful paper, ripping crossward and upward up off of the screen, to the final end melodramatic “ah-ha” that’s so reminiscent of many 50s and 60s films within the film noir tradition (”Double Indemnity”, “Dead Ringer,” to name just two of the many great ones), “Bad Education” is the kind of film you leave either loving movies all over again OR hating and disgusted with what you’ve just seen. To the latter people, they probably won’t be able to handle or enjoy watching all the sexually charged drama that is constantly unfolding here, but to the former (if you’re a true film buff) you won’t be able to deny the movie’s bantering on greatness and (dare I say it) what might be called a cinematic masterpiece. But the film, essentially, is not about a bunch of gay guys who secretly want each other or about the way the Catholic church might have been largely at fault in creating some of the most significant personal and social problems of our time, but it’s about the crave and struggle for power, in every facet of life. Gael Garcia Bernal, who gave one of the most moving performances of the year in “The Motorcycle Diaries” gives another, possibly even richer performance here that is so different and unique, he may have just unconsciously self-declared himself the most monumental force working in the film industry abroad today.
I know many will hate me when I do this (especially those who end up watching it) but “Bad Education” is going on my top ten list. See it, if you dare.
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