britesparc
Posts: 1967
Joined: 3/10/2005 From: Manchester
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Brick is in many ways an oddity, and I'm not surprised that some people have found it obtuse or baffling. However, in other ways it's refreshingly simple and decidedly old-school, and for that it should be applauded. The world presented by writer-director Johnson is a representation of our own, but, like the 80s of Donnie Darko, one filtered through eerie symbolism and representation. As such, the dark miseries of fitting in at school come hand-in-hand with serious crime and slacker slang is replaced with a shrewd and knowing alternate language. This is a world where children have the run of the town; where 26 is considered old; where selling drugs and having brutish minders is apparently run-of-the-mill; and where bespectacled, awkward-looking loners can become Oracle-esque information gatherers. It's a fantastic world, and, like the best cinematic landscapes, it's one we just want to spend time in. However, there's more to the film than mere setting, and it's the depth of narrative and the strength of the performances – especially Gordon-Levitt, in what is hopefully a career-making role – which raises the film above “interesting curio” to “genuine treat”. For despite the trippy language and groovy characterisation, this is simply a good old-fashioned film noir, specifically echoing not just archetypes (the troubled hero, the femme fatale, the kingpin) but also specific movies, and moments from those movies; the noir fan can have great fun spotting the touchstones. That's not to say that this is a sub-Tarantino exercise in homage; rather, Johnson plays on genre tropes to craft something new, something decidedly 21st Century, and decidedly dark. For although Brick is funny, it's no comedy, and its themes of alienation and despair are echoed brilliantly in the washed-out, damp-looking California of its setting, a million miles away from the bleached beaches of Clueless and the like. It's a fantastic juxtaposition, reminiscent of the trick Joss Whedon pulled off in Serenity, of marrying two disparate genres – there, sci-fi and western; here, films noir and teen movies – and coming up with one original, thought-provoking, wonderful new whole.
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