DVD films have ap-
peared this week that absolutely merit that advice. Though both are perfectly OK (if a little been-there/
done-that) in the story department, their "look" -- the colors, composi-
tions, and all-round visual flair -- is such that I believe any-
one who prizes what beauty and and originality can bring to a genre film will appreciate either of these two treats.
Within his much-commented-upon deadpan style, Jim Jarmusch has managed to work in an interesting array of genres, from crime to ensemble comedy, romance to western. His latest, and certainly the most beautiful color film the fellow has yet given us, is in the "thriller" mode. You might call THE LIMITS OF CONTROL the Jarmusch answer to the Bourne movies but, of course, a lot slower-paced. Which is fine, because this gives your eye plenty of time to pop, pop, and pop again.
|Using few words, most of them oft-|
repeated, he com-
mands the screen via his quiet strength and classy suits worn so well (to get a more hu-
mane sense of the man, see the under-
rated movie The Guitar). If The Limits of Control has little plot and the capper smacks of red state/
blue state division, it works well enough to carry us along, murmuring quietly, again and again, "Just look at that!"
|South Korean filmmaker Park Chan-Wook's latest to reach our shores, the nouveau-vam-|
pire flick THIRST, is another lesson in how cleverly chosen and created visuals can add immense pleasure to, as well as ringing changes on, a genre as old and often dog-eared as the blood-sucker movie. What especi-
ally sets Thirst apart from others in the genre is that it's "hero" is a priest, carrying along with him all the fun Catholic guilt you might expect. And if the wordplay of vampire priest doesn't quite have the delight of Nazi zombie, never fear: Thirst is ten times the movie that Dead Snow wishes it was.