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movie review - Basic

the journal of Michael Werneburg

twenty-eight years and a million words

Toronto, 2003.08.10

I'd heard that this was an American take on the Akira Kurosawa flick "Rashomon". I rather liked Rashomon, and thought, "They might have pulled it off despite the dreadful trailers..."

Wrong. So wrong.

I'm a reasonably bright person, and I've rarely come away with a movie thinking 'What the hell?' And when I have, the answers have usually sunk in during the next few hours, or during conversation with friends. A case of the former was "Jakob's Ladder", in which my brother and I worked out - as we crossed the cinema's parking lot - that the whole thing was the fevered imagining of a dying soldier in Vietnam. An example of the latter was "The Ninth Gate", into which I simply read too much to catch the relatively straightforward ending.

Anyway, it's been 12 hours since I saw "Basic", and my estimation of the film continues to slide. For while this movie was fairly well executed, and certainly leads a merry chase in a strange plot involving drug trafficking in Panama's (now defunct?) 'Canal Zone', it has a crucial failing. For a movie that's all about plot, the plot of this movie simply can't be pieced together. And by that, I don't mean to say, "In my estimation there are problems with obscure elements of the plot". I mean, there are basic flaws that start to become apparent at about the 1/3 mark, and become more and more problematic until the final threads holding the seams together get sliced open in the final, unnecessary denouement.

And still, I give it marks for being an entertaining attempt, and certainly a decent change from the usual pacing of such flicks. Also for the very un-American characterization that happens in fits and starts throughout.

Not recommended.

rand()m quote

Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.

—T.S. Eliot