Reviews:

• Romeo Must Die
• Ghost Dog: The Way of the Samurai

ROMEO MUST DIE
Starring: Jet Li (Han Sing), Aaliyah (Trish O'Day), Russell Wong (Kai Sing),Delroy Lindo (Isaak O'Day)
Directed by: Andrzej Bartkowiak
115 minutes, Rated R

Jet-Li is the latest in a slew of Asians making it big in Hollywood. Following a wave pioneered by Bruce Lee,John Woo, and Jackie Chan, Li first landed on our shores in 1998's 'Lethal Weapon 4' in an uncharacteristic turn as that film's inscrutable villain.

In 'Romeo Must Die', Li returns to the big screen, this time as the hero. 'Romeo Must Die' is a standard revenge piece. Li plays Han, an ex-cop turned convict in a Hong Kong prison who escapes to avenge his younger brother's death. He travels to the US and finds himself embroiled in a bitter gang war between his family, the Sing Triad, and the O'Day's, a ruthless group of African-American gang-bangers. Despite the allusions to the Shakespeare play of the same name, 'Romeo Must Die' bears little resemblance aside from the relatively underused subplot of Li's attraction to the daughter of a rival crimelord, Trish O'Day (played by R'n'B diva Aaliyah).

As is usually the case, the main reason to check out this movie is Li's fighting moves. Although hampered by American style editing (too many cuts break up the action, making it occasionally hard to follow), Li's classic wushu style wins through. I find it hard to understand why American film directors consistently decide to interfere with natural talents like Li's (fer chrissakes, he studied at a monastery...) by augmenting them with CGI, but so be it. The Hong Kong style wire work (which is used to hold actors aloft for brief periods of time, allowing them to pull off physically impossible moves like leaping eight feet in the air and throw seven consecutive kicks before hitting the ground) may look funny to American audiences, but its right at home in a Jet Li movie (and it looks cool as hell to boot). Other Hong Kong touches abound, as in one particularly amusing scene in which Jet Li squares off against Francoise Yip. He can't bring himself to hit a woman, so he grabs Aaliyah and starts using her as a weapon, lifting her off the ground and using her feet and fists as tools of destruction. Pretty funny stuff and cool to watch. But once again, this is one of those bits that American audiences will shake their heads about and say 'What's up wit dat?'

Romeo Must Die's cast plays out like a Who's Who of American Hip Hop culture and Hong Kong cinema HK regulars like Russel Wong (Joy Luck Club) and Francoise Yip (Rumble in The Bronx) make welcome appearances next to hip-hop stars Aaliyah and DMX. The acting in Romeo is spotty at times, but the 'Surprisingly Good Performance' award goes to Aaliyah, who is fairly convincing as Trish O'Day (except for a little scene that called for 'distraught anguish' and she delivered 'pouty spoiled bitch', but that's aaight, cuz' she a hottie...). Anyway, back to planet 'Erf.

This movie is not without its problems. The plot kind of dances around a bit, not willing to commit to one central point. Therefore, we get kind of a gangsta movie, kind of a love story, and kind of a kung-fu revenge flick. It would have been better if the screenwriter had chosen to commit to one of these themes and stuck with it, rather than try to be 3 movies at one time. I really wanted to know exactly how Jet Li ended up in prison to begin with, but we never find out. Plus, the supposed 'romance' between Alliyah and Jet Li never really plays out. It's not like the chemistry between them is smouldering or anything, but a simple kiss would have been nice for all the romantic subtext that's thrown about (otherwise, why make the 'Romeo' connection? They could have just called the movie 'Han Must Die').

In the end, 'Romeo Must Die' is a fun, if light, film that will keep you entertained for 90 minutes. This may not be the blockbuster action vehicle Li fans were clamoring for, but its a fine weekend distraction, and a nice showcase for Li's prodigious talents and onscreen charisma.

Rating: 7 (out of 10)

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Ghost Dog
Starring: Forrest Whitaker (Ghost Dog), John Tormey (Louie), Henry Silva (Vargo),Camille Winbush (Pearline)
Directed by: Jim Jarmusch
115 Minutes, Rated R

Jim Jarmusch has long been one of the most creative and idiosyncratic filmmakers in Hollywood. Actually, that's an innacuracy. Hollywood has, for the most part, completely ignored Jim Jarmusch, and its easy to see why. His films are less about explosions and T&A shots than they are about showing simple truths about complicated people. This has obviously not endeared him to the mainstream film distribution system.

It comes as somewhat of a surprise, then, to see Jarmusch making what on the surface could easily be regarded as a hitman/action movie. But to dismiss 'Ghost Dog: The Way of The Samurai' as simply an example of a great filmmaker trying to cash in on a profitable genre would be innacurate. 'Ghost Dog' is far more complex, and far more creative, than its simple premise would seem to predicate. Ghost Dog is a story of obsolescence. Its about how ancient codes of ethics and honor conflict with the modern world, and how those who choose to follow them follow a road to extinction.

The title role is played by the insanely talented Forrest Whittaker, who portrays the enigmatic hitman with sublime strength. Ghost Dog lives on a roof with carrier pigeons and studies the Hagakure, the Code of the Samurai. In return for a life-debt, Ghost Dog has pleged his fealty to a member of the Italian mafia, contracting hits through the use of his carrier pigeons. After the mob contracts Ghost Dog to rub out one of their own guys, they decide that he needs to go too. It's a matter of honor, see? Ghost Dog's conflict of interest soon becomes clear. Does he honor his oath to his master, or become a Ronin, a rogue Samurai?

Its the answer to this question that lies at the heart of the film. The symbolism of the character's name, Ghost Dog, is telling. Jarmusch populates the film with references to animals, particularly extinct ones, further pressing the point that both Ghost Dog and his Mafia masters are, in this day and age, obsolete. At one point in the film, Ghost Dog is compared to a Black Bear, an animal in danger of extinction. His carrier pigeons are yet another example.

The mafia bosses in the film are portrayed as aging, overweight, chainsmoking relics of the past, barely able to carry out their own hits (a point that is carried to hilarious effect, especially in one scene involving a Cayuga indian...yet another example of an extinct tribe).

This is still a Jim Jarmusch movie, however, so despite the high body count, Ghost Dog treats us to a great deal of very touching, and often funny moments. A subplot involving a Hatian ice cream vendor, who can only speak and understand French, is probably my favorite aspect of the whole film. Jarmusch's lens captures the beauty of life so wonderfully that it leaves me speechless. His characters are wonderful, from the little girl who totes around her personal library in a pink plastic lunchbox, to the 'hip hop hitman' Sonny Valerio, who makes a point of singing Public Enemy at least twice in the film. This is classic Jarmusch.

The film's soundtrack, by Wu-Tang Clan member RZA, creates a fascinating backdrop combining elements of New York hip-hop and Japanese culture. Its this fusion of hip-hop, zen, and mafia culture that create such a wonderfully unique atmosphere.

Of all of Jarmusch's films, Ghost Dog has recieved the widest release, most likely due to its subject matter. While a mainstream audience may be turned off by Jarmusch's philosophy-heavy script and typically slow pace, Ghost Dog stands as one of the best movies of his career.

Rating: 10 (out of 10)

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