Imagining Argentina (2003) and Man on Fire (2004)

Imagine they're perfect

Is it coincidence or are Ayala Cinemas becoming venues for critically-panned films? Last year was Gigli (starring Ben Affleck and Jennifer Lopez).

The first quarter of 2004 has just passed by when Imagining Argentina opened at Glorietta 4 (and possibly moved to a Greenbelt theater a week after). Don't pay 100 bucks to see it - the movie sucks big time.

It's hard to tell if writer and director Christopher Hampton, who won a Best Screenplay Oscar 15 years ago, picked the wrong project or his best days are long gone. The script is bland, the actors (notably Emma Thompson) are distracting the viewers with their accent (is it British or Argentinian?) and the movie sorely lacks the spirit and passion commonly seen in Latin American films.

On top of all of it is the subject matter is so stale. It's about Argentina's darkest years, when the military is responsible for the disappearance of countless civilians especially the critical minded. The topic is hot during the 80s, and proof of it is Costa Gavaras' Missing (1982) and Luis Puenzo's The Official Story (1985), both of which is about the Hispanic military junta's dirty deeds, were better tackled and widely acclaimed.

Antonio Banderas plays a suffering artist while off screen, he's been enduring mediocre flicks or box-office bombs. The talented Spaniard's early career shows he can be among cinema's greatest actors if given the right material and director, but both still elude him since setting foot in Hollywood in the early 90s.

There's a better viewing option - Tony Scott's Man on Fire. The British-born Scott debuted two decades ago with The Hunger. Critics weren't endeared to it, but its surreal mood is cool (aside from casting rocker David Bowie and ravishing French actress Catherine Deneuve as vampires).

That surreal factor is what also makes Man on Fire hot (for at least two-thirds of its running time), as it transforms Mexico City into a melancholic fortress inhabited by jaded people. Magic realism is an appealing trait of Mexican Cinema, which Scott seemed to be aware of because at certain scenes, moviegoers would be confused if the setting is Mexico City or Los Angeles.

Creasy (Denzel Washington) is a lost man, but whenever Blue Bayou is played, there's a feeling that Linda Ronstadt is somewhere in the background providing him with the will to live. Enter Pita, whom he is hired to protect and sparks some hope in Creasy such that he no longer listens to the depressing Blue Bayou when they get along. Dakota Fanning plays Pita and she is casted once more as a kid who speaks like an adult. Be the judge if you love her or sick and tired of her playing the same role again.

The producers claimed that the relationship of Creasy and Pita is similar to Belle and the Beast (of Beauty and the Beast), which is true for nearly half an hour, but Fire mainly focuses on the rampant kidnappings in Mexico. In the movie's case, Pita's abduction turned Creasy into Charles Bronson (of the Death Wish series) - or the avenging bride in Kill Bill (for those who haven't seen much 70s pictures).

The only things going against this film is it's too long and it's a remake (the original stars Scott Glenn), but both can be overlooked because after a long while, Tony Scott came up with something good and watchable. This is one rare moment when Hollywood blockbusters rule and so-called “art” films stink.

(First published in Inquirer Libre on April 28, 2004)