Boarding Gate Reviews
The sotryline is shit and so shit that even at the end your wondering what the hell that movie is about !
not worth the time ir effect crap!!
There is also the simple fact that at times there is like chinese or French spoken and unfortunately there are no subtitles. This has the habit of leaving one feeling lost sometimes. This isn't to say that the dialogue is all that convincing or moving. It merely seems to be lines strung together to, I guess help the plot along. It's not that they characters don't look natural saying the lines or the things they do, it's just the way they deliver them feel like there is no heart behind them and someone is coaching them. I find it seriously hard to get invested in this film as I don't really feel any pull or meaning behind it. I guess this was suppose to be something to show off Asia's acting chops and it feels almost too natural for her to carry on the way she does. Something to be said for an actor/actress to act like they aren't acting at all but I think it adds to the "cheap" feel of the characters. Almost feel like she really is a whore but then again who in Hollywood isn't?
The actual conspiracy or plot nonsense that she's involved with is somewhat murky (or perhaps my attention wandered?) but what they do eventually pay off mystery-wise is too little, too late.
Rental, possibly? For Asia fans? You decide your level of involvement with this turkey, and look for Sonic Youth's Kim Gordon in a cameo!
I've been hearing about the wonders of Olivier Assayas for a while now, but never got round to watching one of his films until yesterday. I didn't know Boarding Gate was an Assayas movie, I just cued it up because hey, Asia Argento. Boarding Gate is not the kind of brainless-but-fun action thriller I've been associating with Argento for about fifteen years now (viz. the wonderful Red Siren, for example). That might put some people off; it certainly has based on the movie's current rating at Netflix. I, on the other hand, found it quite a pleasant surprise, a slow-burn talk piece that contains some of the best acting I've seen from some of these principals in many a year.
Plot: Argento plays Sandra, a French expatriate living in China. She is the mistress of Miles (Kill Bill's Michael Madsen) but as we open, Miles is about to give up his old life; he's selling his shares in his high-powered financial firm in order to pay off his debts, retiring, and going back to America with the wife and kids. This includes breaking up with the piece on the side, which leads to two quite extended scenes of nothing but Madsen and Argento talking (and arguing). Miles, however, is not Sandra's only fling, and one of her others is Lester (The Viral Factor's Carl Ng), an import-export professional who moonlights in some shadier business. Sandra goes to him for help in getting rid of Miles permanently; he provides her with the proper tools and tells her that, once it's done, he'll set her up with a new identity and get her out of the country and into Hong Kong before anyone realizes anything is amiss. All seems to be going well, but you know what they say about the best-laid plans.
If the movie has a flaw, it's that it seems to be two different movies grafted onto one another, though I rush to add both are very good and very well-executed. The excruciating extended breakup scenes with Madsen and Argento are sterling; Argento turns in her best work since 1998's b.Monkey, Madsen probably since Reservoir Dogs; in fact, this may be the best performance I've ever seen from him. Once that storyline is...resolved, you've got Sandra-on-the-run, about which I can say very little because the entire plotline is laden with spoilers for the earlier part of the film. It, too, is very good, and the two tie together as pieces of an overarching plot, but thematically they don't quite gel most of the time. They're paced differently, they're different genres (the first half of the film is a drama, the second a thriller), they're about entirely different parts of Sandra's character. That last is not necessarily a bad thing, of course, but they are put together in such a way that Sandra ends up essentially having to rebuild herself as a character. I do have to say that Assayas did come up with an inventive way of making that work, though.
And with all that I have just said, I certainly gave the impression I'm panning this movie, didn't I? I don't mean to, I liked it a great deal. Perhaps it's the fact that I liked it as much as I did that causes me to dwell on its flaws. There is a great deal here to like. The drama part is just spectacular. The thriller part is not as good, but it's still better than probably 75% of the thrillers you've seen out of Hollywood in the past five years. And the conclusion is so very satisfying. Put all that negative stuff I said in the last paragraph aside, as much as you can; it all exists, and you will think about it all once the film is finished, but man, I enjoyed the hell out of this movie, and I think if you like intelligent, slow thrillers, you will too. *** 1/2
Sandra and Miles have a long talk about their long, slow dissolve into a permanent breakup. She goes off to work with Sue and Lester Wang. She kills Miles for Lester Wang. Then she's off to yet another gig in Hong Kong under a new identification.
Her friend Lisa goes to Hong Kong as well, but separately. Sandra finally gets to the appointed place, and finds Lisa murdered. Whom to trust? She kills two would-be assassins, then goes on the run.
Sandra talks to Sue, who is also in Hong Kong. Sue says Sandra can meet Lester but Sandra meets Sue instead. They talk about Lester, and his cheating on Sue. They talk as well about Sue's expertise with Beijing versus Lester's being limited to Europe and Hong Kong.
By this time, there is a warrant for Sandra's arrest for her murder of the two assassins she killed. She has no ID that will allow her to fly or register at a hotel. Plus, Sue drugged her. Ah, jealousy.
She awakes in a dwelling that one of Lester's friends owns. She gives Sandra passport, tickets, and money for a trip to Shanghai, where a job awaits her. Lester is not happy with Sue. Sandra sees Lester meet with Andrei, Miles' long time partner. So, she killed Miles for Andrei. Nice. What will she do with this knowledge? Smells like a sequel, but I do not see one in IMDB.
Cinematography: 6/10 A bit blurry and soft in focus for perhaps 80% of the film. The camera work was jumpy for far too many minutes.
Sound: 4/10 Better than the video. However, sound also transmits information; well, sometimes it does. The Netflix version had unacceptable problems. There were dozens of lines in French, with no translation in the subtitles. This was not good. There were five times as many lines in Chinese, also with no English in the subtitles. That was even worse.
Acting: 6/10 I liked the performances of Kelly Lin and Michael Madsen, but Asia Argento was more bizarre than interesting.
Screenplay: 4/10 This is a nice 10 minute short done in 106 minutes. The conversations between Miles and Sandra went on forever. Thirty plus minutes of those conversations could have been cut. The conversations between Sandra and Sue go on forever.
I wanted to really like this movie but I don't even think it knows what the hell is going on during it. The movie kept me interested throughout but I was left with more questions than answers at the end. A disappointing near-miss.
Ms. Argento doesn't need to act. She lives the role of Sandra, relying on her naturally scary-cool charisma and complex heart to suck us in to her character?the script isn't going to do it. She's transcendentally tough and vulnerable at the same time. From one moment to the next she is spitting razor sharp barbs and then crying but never weeping, never weak. The incomplete script works to her advantage here. It's not clear why she is attracted so deeply to either of her love interests with the net result that she appears twisted, courting danger and abuse to feel alive.
Contrary to what the movie posters might lead one to believe, Argento doesn't parade around the entire film in her underwear. There's one quick shot of her being thrown to a bed by her lover where upon she delivers the most authentic and erotic response I've seen in a movie, and there's an extended scene in Madsen's apartment where she's in and out of her dress a couple times. The latter is the best scene in the film, not for its limited display of flesh but for the warped cruelty in their battle of wits?mirrored in stop/start kinky sex they never manage to get very far along with for one reason or another.
[i]Boarding Gate[/i] is billed as a thriller and, given its writer/director's resumé, is supposedly about how selfishly cruel and inhuman the world of contemporary multi-national capitalists can be. Blah blah blah. Who's arguing that point? What emerges from the film is a portrait of a modern day neo-femme-fatale who doesn't dress nice or comb her hair trying to juggle a couple of corporate wackbirds (I stole that word from somebody) to her meager advantage and gets a lesson in betrayal along the way. The action parts of the film, the parts where people run around and shoot guns and stuff, aren't interesting at all. The thriller parts, the parts where mystery and suspense are supposed to propel the film, aren't articulated very well. It's the parts where the players settle down to talking smack on one another to gain psychological advantage that are red hot brutal good. If you are a fan of Asia Argento and like your eroticism dark and implied, or are interested in finding out what Argento is capable of as an actress, then check out [i]Boarding Gate[/i]. If you are looking for a good thriller, or a film with a little action and good production values, look somewhere else.