The essence of mainstream Chinese cinema reflects in certain values and textures of the mythic. In Brothers, the ideal reflects back in the war in the 1920s between the nationalist and the communist factions in China. While the ideology is not specifically addressed, the specific story is integrated between two brothers indoctrinated into the army but ultimately through circumstance they find themselves on separate sides. The filmmaking structure of the technology according to the behind the scenes bonus features began in 2010 and the film was purely made on a stage with green screen. The look of the film reflects that mostly of “Sin City” and, to a lesser point, “300” (made in 2005 and 2006 respectively). Creating whole battle sequences on water and on mountains in this way is interesting but obviously labor intensive as the film didn’t come out until 2016. The conflict involves the older brother Wang and the younger brother Chen coming to terms with the men they have become and their loyalty to those they serve. The underlying narrative structure involves Chen being assigned after a particularly brutal battle to escort some female musicians to a place called High City for a performance. His brother, now part of an assassin squad, finds them and their conflict of ideals begins. While the dialogue is very matter of fact, the texture of the relationship makes definite sense as it does rouse to an almost blindsided conclusion until the resolution is structured. The bonus features also speak to the two actors’ approach to their perspective characters but the enclosed trailer does give away too much of the plot. “Brothers” shows the continually evolving market’s ability to try new things while remaining in certain element of mythic themes resonant to the individual.
By Tim Wassberg
Approaching and trying to compare Frank Miller’s late 1980s dystopian opus “The Dark Knight Returns” to the new animated perception of it requires a degree of separation. Miller’s perception of a darker view of the older, worn-down exploits of Gotham’s crime fighter can be reflected at times in “The Dark Knight Rises”. In adapting this noir progression, the director and animators do an effective job of respecting the source material and the dark color schemes. “TDKR” was always a difficult property to adapt because of the age of its lead character but also the general myopic view of the state of society. Most of the graphic novel works from the access of how the news media sees how these ideals in the world function. Oddly enough, what Frank Miller envisioned in 1986 is much more prevalent today than it ever was because of the internet and cable television. While The Mutants (including their grandly fat leader — who has more than a passing mixture of DeVito’s Penguin and Tom Hardy’s Bane), there is something less human and more lethal about them especially with his physical form (like the Clown from “IT”). The story has a built-in cliffhanger which probably intersperses itself from the books. This is the crux of the waking of Joker out of a coma in Arkham Asylum which is nicely played within the final moments without overarching what it means. The intermittance of a new female Robin actually plays more into the texture of today even more so than in the 80s when it was written. The use of incessant incantations of blood also in a more realistic setting does set the progression aside because it feels more grounded. The small featurette on the disc points to the next installment with a little bit of animation as well as concept drawings which seem to keep it in texture. The inclusion of a promo for a dark Batman/Superman animated film where they are hunted down like villains keeps in the track of the general tones of the DVD. The presentation of “The Dark Knight Returns – Part I” is bare bones but understands necessity and the point of the track without overdoing it.
The intention of another plague like the one in the Middle Ages seems like a given at some point in modern life. The key is how does one fight against this kind of knowledge versus what we are able to control. “King Of Thorn” attacks this idea with an old world resonance, using mythology against us. The “Medousa” virus is born out of that legend of the woman/lizard who turned men to stone with a glance. The same element rules here with an incubation period of 60 days which is 100% fatal. Creating a Noah’s Ark type scenario, a scientist brings together a way to stop the virus until a cure can be found. The set up is wonderfully clever despite many holes along the way. The director interview on the extras would have one believe that everything is tied in together (which might be true) but the reality is that there is a lack of clarity on first viewing. The visuals and labyrinth approach in terms of structure are quite interesting but, not unlike the new “Dredd”, it suffers as well from the “just-get-out” problem. The reality is that the timeline and the basis of two twins becoming the catalyst for dreams (or video games) coming to life just doesn’t connect. The back story which involves the lead scientist and CEO finding an alien that was created by a little girl in Siberia by her mind tries to recount “Hellboy” but again without a truly specific through line. Even the intrigue behind the scenes with both the planted engineer as well as the soldier/spy sent in to protect the “experiment” seem a little far fetched. The influences from “Resident Evil” and beyond are apparent. The narrative is a bit clearer in the English dub but only based on the precedent of differences in accents and backgrounds in the character which for English speaking audiences cannot ascertain in the original Japanese dialogue. The eventual revelation of the two sisters as well as the connection to the computer/spirit of Alice has possibility but is not truly flushed out. The Q&A in the extras as well as the director interview tries to explain some of this but the visuals seem to take an overall higher road. The pilot film hints at something much more religious and intensive in the process and shows why the director got the job because there is scope. The overall film itself carries this but, towards the end, it forgets about context. The Japanese trailers do play to the strengths but the initial overseas trailer does the best job outside the pilot film. The US trailer uses different music which works but takes the idea in a different direction. In terms of other previews on the disc, “Stein’s Gate”, with its notions of time travel, has interesting possibilities until the microwave scenario cuts in. “Gai-Rei-Zero” in terms of its tone provides the most energy and darkness with a sense of knowing. “King Of Thorn” is ambitious in many ways and succeeds in some of them. However, despite its good ideas, there is a lack of overall clarity, some of which might be cleared up in consequent viewings, but nonetheless creates confusion on first impression.