By David Poland poland@moviecitynews.com

Creation Directed by Jon Amiel

Creation seems to be rather misunderstood already. It’s not really a Charles Darwin biopic or a period piece by its nature (though it is, in fact, period). It is, very surprisingly like the still-controversial Antichrist, a movie about the loss of a child and how the parents deal with it. In this case, however, it just happens to be Darwin, whose work on The Origin of Species was promising to, as one provocateur in the film says, “Kill God.”

Creation is an unfortunate name for the film because it is seems both too simple and obvious. And indeed, it is not the shock machine that Von Trier would make. But it is reasonable to look back at Jon Amiel’s history of films and to guess that if you like what he often does – going back into historic eras to discuss issues that are still vexing us today – you will like this movie.

-by David Poland

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima