Tsotsi (2005)

Compelling and startling, "Tsotsi" chronicles a young thug in Johannesburg's surprising redemption. The somewhat quick development of the violent main character strains credulity, but the storytelling is so earnest (and the acting is so convincing) that it should suck in even the most hard-hearted cynic.

   "Tsotsi," whose name simply means 'thug,' is a man without hope, without love, without a future or aspirations higher than being a ruthless criminal. He is played with dead-eyed determination by virtual unknown Presley Chweneyagae, in a performance so good you wonder where this guy has been for the last ten or so years. Tsotsi is part of a violent gang, and mercilessly abuses those around him, commanding control in spite of his non-threatening appearance.


   When Tsotsi shoots a woman during a car-jacking and drives away with an unnoticed infant in the backseat, he is thrust into the role of caretaker that he never could have anticipated. But what can a gang member and murderer do for a newborn? Your maternal instincts will cry out as Tsotsi keeps the baby in a paper shopping bag and allows it's face to get dirty and crawl with ants.

   Gradually, something changes- Tsotsi is finally living for someone other than himself. His heart begins to ache, memories of his abusive childhood flood in. He forces a young mother (Terry Pheto) to serve a wet nurse for the newborn, and they build an unusual rapport. Meanwhile, the injured mother (Pumla Dube) of the baby desperately tries to locate her missing child.

   I'm glad the movie didn't take the easy way out and go with a sensationalistic ending. Director Gavin Hood knows how to build a tense climax without overplaying his hand, and I appreciate him for it. The acting was all around very good, and the script was strong.

   I guess the only problem I had with the film was that the premise was far-fetched. I honestly thing that a character like Tsotsi, if he was unable to kill the child, would have left in the car rather than taking the responsibility of caring for it (or trying to) upon himself. Anyway, if anyone can make us believe in Tsotsi, it's the talented Chweneyagae. "Tsotsi" is an interesting and well-made film, and definitely worth a watch for lovers of international moviemaking.
                                       Rating-
                                              7.5/10

Broadchurch: Episode 1

This smart, beautifully acted British crime drama, which premiered in the U.S. yesterday, is a tear-jerker.

Gun Hill Road (2011)

   Compelling from beginning to end, "Gun Hill Road" is a powerful and touching picture about race, gender, and family that refuses to incorporate stereotypes or cliches into it's scorching script. The three leads serve up great performances in a movie that offers no pat solutions for it's tough subject matter.

   Mexican tough Enrique (Esai Morales) gets out of prison to find his world has changed dramatically- his wife, Angie (Judy Reyes,) is involved with another man, while his son Micheal (Harmony Santana) is looking and behaving more and more like a girl.

   Michael, who is transgendered (and played by a real-life intersexual,) who has ambivalent emotions about his dad getting out of the can, is saving up his money for a painful and strenuous sex reassignment surgery, and his traditional dad is not even close to accepting his son's identity as a woman.

The Hit (1984)

Death, power, deception. They're all the subjects of Stephen Frears' "The Hit," and they all have their time in the spotlight. From the opening scene, "The Hit" seems to have all the workings of a great movie. So why is it merely a good one?

   Surely not the actors, who have talent written all over them: Terrance Stamp, John Hurt, Tim Roth in his pre-"Reservoir Dogs" days. Surely not the setting of steamy Spain, which has the feel and intensity of a wild, dangerous place.

   Maybe the problem lies in the lack of immediacy in the story. Nothing happens in much of a hurry, and the pace has the feel of a window shopper, just there to browse, for as long as it takes. Even the Salsa-flavored score of the film doesn't scream danger.

   Willie Parker (Terence Stamp) is a former gangster who has settled down in a Spanish village after serving as an informant to the coppers. His relaxed life screeches to a halt when two hit-men, vicious Mitch (John Hurt) and wet-behind-the-ears trainee Myron (Tim Roth) take him captive, with the intent of driving over to France and then, you know, wasting his ass.

Reservoir Dogs (1992)

"Reservoir Dogs," Quentin Tarantino's second film after the little known low-budgeter "My Best Friend's Birthday," is a good and polished early effort from a brilliant and controversial filmmaker.

 A lot of Tarantino's trademarks are present here: extreme violence, black humor, brilliant dialogue, and an unflinching portrayal of racism, but a little more emotion is present than with Tarantino's other works, including a rather touching relationship between two of the main characters, Mr. White and Mr. Orange.

   The color-coordinated characters, Mr. White (Harvey Keitel), Mr. Blonde (Michael Madsen), Mr. Orange (Tim Roth), Mr. Pink (Steve Buscemi), Mr. Blue (Edward Bunker), and Mr. Brown (Director Tarantino) are a group of criminals cornered by the police during a diamond heist.