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  • This is not quite as muddled as made out to be, but it's not any kind of Hong Kong pistol stuff that it may appear to be based on plot and cast either. It's the kind of film that presents itself as a thriller but is actually about people and the structure.

    It's a two-part complex. The first part plays like an emotional upskirt peek at the tormented soul of this woman, who loved at the hands of a man who tossed and toyed her around for pleasure. She's played by Asia Argento who so effortlessly can channel sex mixed with pain - one of her early film roles after all was back in Italy for father Dario, where she falls victim to a serial rapist. We get some stuff about drugs, pistols are whipped out then forgotten again.

    Now the French touch, our first pointer about what it's all really about; she becomes the character she has written about, a fictional sci-fi woman who controls men.

    Tables are switched, and turns out she was really manipulating this whole time from inside the image he had been used to subdue. For the second part we fly down to Hong Kong where it threatens again to become a thriller. Pistols are whipped out again and forgotten once more. Here we come to understand that she's fallen prey to another lover controlling her for own purposes. There's another woman who is also vying for control of her strings, a sexual antagonist.

    So having consummated one desire about revenge, she is not one step closer to being a free person. Her present suffering is still bound to that first violence that was a sexual desire; this is given to us as having been raped in her sleep, and so the horrible hurt of an unconscious drive, repressed, felt to be beyond any control and so any responsibility. Aptly enough, this second part is about self-discovery then; she's vulnerable for the first time, no more games or roles, conceding to flow where it may.

    It is film noir as far as world dynamics go, make no mistake. To pursue desire is to be trapped helpless in a self-generating chimera.

    Usually in noir that desire was codified as the femme fatale and who is here our protagonist but rendered as an image, a fictional guise, full of cracks suggesting the distraught person behind.

    Finally she follows this second manipulative lover so that it can be revealed to us who was pulling the strings from behind all this time. She gets a second chance for revenge. The final image is one of poignant beauty, as blurry, out-of-focus for the world of plotting and machinations that we felt as the film, she ascends out of view liberated. She is literally no longer part of the film that was pure deceit from the start.

    So for all intents and purposes, it should have been a great film about karmic cycles. It's not quite, but only because, for some reason, this was felt that should also appeal to a broad audience. So, it's filmed in a syncopated manner that is associated with TV, which makes sense in context because the camera is meant to be a frantic eye searching for things as she is, but which probably threw a curveball at those who usually expect a character study in long painterly sweeps and would be otherwise rewarded here.

    It didn't help that it came out in the same year as No Country, another post-noir, much more overtly cinematic, and a host of other well-received films. So not a groundbreaking film, but see it if it shows up.
  • Two things are interesting about the film.

    The first and most discussed is the actress, Asia Argento. She and Beatrice Dalle are similar I think. They both have the quality of fearless commitment - like Emily Watson in "Breaking the Waves" and never afterward. They both have fumbled around facial features. They both are known as sexy — only because of nudity and the roles.

    But more fundamental to me is that they both know things. I believe that an artist has to both have talent and be truly an interesting person; they have to know things we do not. Asia does. In fact, you can see it even in her first movie just as she is hitting puberty. This woman shows us a character that has qualities that this woman understands.

    Streep has talent but no knowledge. Asia has less talent but she matters. This is one of her best. Don't miss it. Don't miss how she breathes. The nudity and story is nothing compared the grace of her visible breathing.

    Here, she plays a woman who does what we all do: make compromises for companionship which if it has what we want we call love. The missing bits always catch up with us and with her the writer maps these pretty deftly into components of a thriller.

    The structure of that thriller is the second notable bit. Of all genres, the thriller is most plastic. Allowing many flows so long as tension and guns are involved.

    The story here sneaks up on you. Almost nothing is predictable. It starts slowly, and then bam. It goes off in an unexpected direction. The interesting narrative device here is that we follow her and discover things as she does. But she knows things, many things, that we do not. She does get surprised as we do, but not always so. At the end, she is allowed to write the future, for her lover at any rate.

    My guess is that if she had never gotten and displayed that labial tattoo, she would have been taken more seriously. And we would be better off cinematically.

    This is a good one. Angelic.

    Ted's Evaluation -- 3 of 3: Worth watching.
  • Warning: Spoilers
    If it weren't for the smoldering performance of Asia Argento, and I'm not talking about the parts where you get to see her tattoos, I would admit defeat and zero this one out. I don't know why the film is called Boarding Gate; the plot is thin and confusing; Michael Madsen can whisper and grunt all he wants and nobody is going to mistake it for good dramatic acting; the film seems to meander along in prologue mode for about forty-five minutes and then, BANG! somebody dies with great surprise; despite the fact that the location moves to a new country, the film doesn't seem to go anywhere; and not understanding the story won't prevent me from saying with confidence that the ending is lame.

    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.

    Boarding Gate 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 Boarding Gate. If you are looking for a good thriller, or a film with a little action and good production values, look somewhere else.
  • Warning: Spoilers
    This is a review of "Demonlover" and "Boarding Gate", two films by director Olivier Assayas.

    "Demonlover" focuses on the manoeuvres of various multinational corporations as they vie for the financial control of interactive 3-D anime pornography. The film sees the postmodern world as an all-pervasive pornographic video game, in which every level or space is housed (like the rabbit holes in Lynch's "Inland Empire") within a seemingly infinite series of overlapping boxes and containers. This schema is what philosopher Gilles Deleuze calls the control society, in which the world is comprised of "open boxes" which exist in both physical space and cyberspace. Between and within these boxes humans float, carrying packets of information in which the content, in true McLuhan fashion, is always the content of another medium. In a sense, humans are transmitters or facilitators of information between these surfaces. They are the bridge between content and container.

    The film takes a very dark view of capitalism. Finance is codified as rape, sodomy, sex games and murder, whilst boardrooms and corporate offices become "boarding gates" or "access points" to bondage parlours, fetish dungeons and torture chambers, their dark shows broadcast live on the Net like stock-market indices. In true Croenenberg (Existenz, History, Promises), Kubrick (Eyes) and Lynch (Inland) fashion, the film is too smart to separate the real from the virtual (Matrix, Truman Show, Dark City), but instead works to show their indiscernibility.

    As the film progresses, Assayas shows how our social sphere has become conflated with the logic of interactive gaming. The world is a game-space, everything evacuated, laid flat, everyone a participatory avatar, everything governed by source code and every action a mere means to an end. All that counts is the score, individuals exclusively defined by their points or place in the game, which is also their spot on a corporate ladder in which the competition is unremitting and ruthless.

    Everyone in the film is thoroughly desensitised to sex and violence, accepting it all as a normalized part of the game. Globalization has taken the game worldwide, corporations all jostling for domination. The survivors are multilingual, career consumed, chic, genderless, androgynous, always in a state of flux and thoroughly devoid of Self. They are flexible and fragmented to the point of nonexistence. Their masks mask the fact that there are no identities to hide. When they speak, every sentence is about business, stocks, shares, mergers and the joys or traumas of unfettered capitalism. Feelings are understood entirely in relation to "work" and "usefulness".

    Assayas conveys the schizophrenia of our age by sticking to sustained, super close ups. Establishing shots are rare, the camera is nervous, anxious, while the colour palette is ultra modern, all cool blues and whites, neon lights and corporate fluorescents. As the game world suffers extreme cultural overload, its inhabitants must rely on blinders. Those who aren't myopic, where myopia is form of niche specialization, must learn to quickly process, digest, dismiss, skim and filter masses of information, lest they overload. Adapt to this toxic future or die.

    China and Japan are the new markets, the cutting edge of capital. In this game, some winners take most, most winners take some, and the rest suffer enormously. The game stresses dominance and submission, the film ending on a shot as spiritually empty as the end of Romero's "Dairy of the Dead". In "Dairy" the lone survivors of humanity are locked in a room with a computer screen. Here, Assayas has his hero "sucked into a computer"; atomized.

    If "Miami Vice" stresses the seemingly infinite speed and reach of the market, the constant swirl of product and the inability of human connections to be forged in transit, never mind the formation of a stable Self in a world of undercover masks and collapsible identities, then Assayas takes things to their absurd conclusion. In "Demonlover", companies unknowingly employ their enemies and are entirely populated or infected by undercover agents. There are no values outside of individual success and dominance. And as this routinised violence becomes embraced by the global culture, repressed violence and taboo sexuality slips to the underside and right back round again. The cyber is no longer the shadow of a culture which glamorises all that is obscene, rather, the boundaries between the cyber and the real are no longer perceptible.

    "Boarding Gate" is also a film about boxes. Our protagonist, played by Asia Argento, moves between corporate offices, loading docks, airports, condominiums, sweatshops, shopping malls, nightclubs, toilets and abandoned workrooms. Like the hero of "Demonlover", she is part sex worker and part corporate lackey, bridging the worlds of the ultra rich and the hopelessly impoverished.

    Argento bounces from spaces packed with crowds of human beings to spaces which are completely empty. No space is her home. She belongs nowhere, the flux demanding that she become a creature of transience, rootless, a tool of functional anonymity. Quoting anthropologist Marc Auge, philosopher Steven Shaviro calls this a world of "non places" in which "transit points and temporary abodes proliferate under luxurious or inhuman conditions". Everywhere is a bus stop to somewhere else.

    The "Boarding Gate" of the film's title thus conjures up Deleuze's rhizomatic network, in which "any point can be connected to any other point, and must be". Argento travels from gate to gate, container to container, without ever arriving at a final destination. As Deleuze says, in the control society "you never finish anything", Argento subjected to a series of endless postponements, the same problems and conflicts simply deferred and relayed from one space to the next without ever being resolved. She moves from boarding gate to boarding gate, passed and traded around like virtual capital while other people prosper.

    The film ends with Argento contemplating killing her handlers. She decides against it. They all think she's dead. They have no use for her. Better to live this way, she thinks. She slips away. A ghost, but free.

  • A quick resumé: Almost nonexistent, badly chosen musical soundtrack, steady-cam filming done without the steady but with lots of coffee and a hyperactive cameraman, NO plot, and nothing ever really happens. The film goes from one dialog into another, sounding hollow, never achieving depth, never creating the illusion that you really are inside a cobweb of conspiracy, and the everybody-has-an-affair-with-everybody is just a boring excuse to show the main actress in nice underwear. (which, combined with her rusty voice certainly is nice, but nothing to base a movie on) The high point for me is the opening scene, and the film just degraded from there to a point where I just wanted to quit the film about 45 minutes into the story. I regret sitting it out.
  • Warning: Spoilers
    Michael Madsen is great in the part of Miles, a mover and shaker with a soft spot for hard-bodied beauties. Also, there's a Chinese guy (Carl Ng) who looks like an Asian edition of Edward Norton. Neither of which is the point. The point is the crazy Italian girl (Sandra, played by Asia Argento), and what she endures at the hands of the Golden Eagle corporation and its evil minions. Not that she's an angel herself. More than anything, she's a broken girl, not unlike Luc Besson's "Nikita". Sandra's half-hour kitchen scene is nothing short of a revelation. It starts with a shared cigarette and ends with a mess much bigger than dirty dishes and broken plates. It's the kind of mess that won't go away. So Sandra does. To Hong Kong, only to find Miles was the lesser evil after all. Asia Argento is obviously a serious person, not spoiled by random relativism like the rest of us. She throws herself into every scene, be it commonplace or spectacular, with the single-mindedness of a Zen master and the intensity of a maniac. Would I care though if she wasn't so hot? Not likely. I am what I am.
  • Warning: Spoilers
    In Paris, the businessman Miles Rennberg (Michael Madsen) is ruined after bad investments and tells his partner Andrew (Alex Descas) that he will sell his share to the company Golden Eagle. When Miles meets the former prostitute Sandra (Asia Argento), she recalls her love for him and their kinky sex. Miles used her services to entertain and get inside information from other entrepreneurs and used to feel excited with their dirty sex. Sandra is presently working with Sue (Kelly Lin) and her husband Lester Wong (Carl Ng) and dreams on having her night-club in Beijing; further, she is the lover of Lester. One night, Sandra visits Miles in his apartment and she handcuffs him in the preliminaries of their sex game; nevertheless, she unexpectedly shots him in the nape. Then she meets Lester, who had a contract to kill Miles, and he gives the tickets and directions to Sandra to travel to Hong Kong and meet his friend Mr. Ho (Boss Mok). Lester would meet her later and get their money. When Sandra discovers that she had been betrayed and Lester would not arrive in Hong Kong, she needs to fight to survive in a hostile environment.

    "Boarding Gate" is a film with a good story of betrayal but unfortunately with a terrible screenplay. The plot is a complete mess but Asia Argento saves the film, at least for fans of this actress like me. She is sexy performing her perverted but confused character that is capable of having kinky sex with strangers and fall in love for two scumbags. It is difficult to understand her contradictory character that was a prostitute but refuses the money she earned for killing Miles. The film also makes a confused tour and in the beginning is very difficult to understand that the story takes place in Paris. My vote is six.

    Title (Brazil): "Traição em Hong Kong" ("Betrayal in Hong Kong")
  • If you're an average guy like me and enjoy good acting, good plot, good scripts, novel ideas, or being entertained, you might want to skip this one. I was honestly bored from the opening credits to the very end, but tried to give the film a chance, and watched it all the way through -- only to be disappointed at every turn.

    The acting was unbelievably sub par, but I'm not sure if the actors themselves are to blame or if it was the ridiculously wooden and horrible dialog coupled with an even worse script. The plot is very vague and underdeveloped and I think the audience is supposed to derive some kind of deeper meaning from it, or be able to look past it in some way, but honestly to do so would be a waste of time.

    The film has a kind of crude sexuality to it which doesn't serve any purpose other than to show off some tattoos and lingerie. No one seems to have any motivation except making money off of some kind of "investment" deal that is never really explained. The connections between the characters aren't terribly clear, and there is little to no character development.

    This is either some kind of sub-culture film meant for a very specific audience to enjoy or absolute crap, but you can decide for yourselves.

    I gave it a 2 because it is definitely one of the worst films I've ever seen, but probably not THE worst.
  • bob408121 September 2008
    This is a good movie to watch if you like dark action dramas. The plot is twisted and shows the darker side of life and the black market. There are some hot sex related scenes, and pretty good acting throughout. The colors and effects used in production are characteristic of other contemporary works in this genre.

    I particularly like how the film shows a "real life" scenario where the ones involved in dirty deeds are powerful and vulnerable all at the same time. It also shows the women as being cunning and treacherous, rather than just pawns who stand behind the men. Mad props to the director/producer for going out on a limb and taking this approach. It adds another level of sexual something and uniqueness.

    Not a movie for those who like happy endings that give you all the answers. If you like movies like The Usual Suspects, Trainspotting, or Requiem for a Dream, should check this film out.
  • This film will not be to everyone's tastes. It is a tale of corporate intrigue and, frankly, even I was bored at time with the pace.

    But, I have to remember that I was here for Asia Argento. Yes, she has a body to die for, and she is definitely on my top ten list of babes with guns. She gets caught up in corporate shenanigans between two lovers (Michael Madsen and Carl Ng). One is trying to unload his shares, and the other is trying to make a lot of money.

    People die, there are some kinky sex scenes, and there is Asia doing an incredibly good job of trying to get through everything and stay alive.

    You never really know whether she will make it, and you are not sure why she does what she does at the end. Love is stringer than hate? Maybe.

    You just have to love that bod!
  • Asia Argento delivered such a powerful brave performance in "Boarding Gate". I had never heard of her before this film, and I am blown away her her beauty and talent! This was a very good film, great story line, great performances by the other actors and could've been very good with out Asia, but the two combined really makes something powerful and brilliant to watch.

    I HIGHLY recommend seeing this movie. It's kinda twisted, OK, more than kinda! And is one of those films that you can't stop thinking about days after seeing it.

    Not for kids, but men, women, young and old will enjoy
  • ...possibly due to a diet of putrefied garbage, - some of the criticisms of the film are precisely the things that make it so brilliant and engaging..particularly the soundtrack which is superbly understated, very cool in a minimalist electronic style and used only at very critical moments (something Hollywood, with its blustery,instructive , pompous and intrusive boring scores would do well to pay heed to.. it's time to revisit the way music was used minimally and more effectively in the 60's and 70's) Yes there is some silliness in the sexual relationship between Masden and Argento..but there's a realism in the surrounding silence and a sense of lost souls in a bleak and empty corporate world...something Syrianna also evoked quite well - a sense of the moral vacuum that business operates above.

    Be deeply suspicious of the intelligence and taste of reviewers who diss this film, it has a lot of original and interesting things to offer - Argento in particular is brilliant in the main role.
  • You have to start worrying when you see that Michael Madsen is leading the Cast of any movie. I wont go through the list of shame that is his movie career.

    I watched 45 minutes and still was not sure what really was going on. The movie consisted of a love hate relationship between Madsen and Argento, Which basically was Madsen insulting her, threatening violence and generally treating her like dirt. She on the other hand loves him, then shes doesn't, then she does, the she desires him, then she loves him again......whats wrong with you woman !!!!

    The Script is awful, lousy soundtrack and pointless aggressive and crude sexuality which i believe was added to entice some viewers as the movie has little else to offer. I would have given the movie a 1 but it just about managed a 2 with a little excitement in the last 20 minutes. It did actually answer one question in the final few minutes but i am not going to share that, i will make you suffer for the full movie like i did.
  • Warning: Spoilers
    Olivier Assayas' film stars Asia Argento as a woman who had a relationship with Michael Madsen. Madsen is a business man who's in financial trouble. In desperation he is going to sell his share of a business to a company called Golden Eagle, a company from the Far East. As Madsen begins his moves away from his company Asia Argento returns to his life. The pair had a torrid love affair that included her doing business favors for Madsen (with said Golden Eagle). Once Argento enters the film the film follows her as we see the tangled web she's woven and how the complications spin dangerously and violently out of control.

    I'm not a fan. Actually I was quite bored as the film seems to go from pillar to post for much of the first hour during which I kept wondering what the point was other than to provide a meaty role for Argento. Argento, daughter of director Dario Argento and a director in her own right, is a unique actress. At times stunningly good, she is more often then not going to give you a quirky off beat portrayal of a damaged human being. Sometimes it works and sometimes it doesn't. I don't think it completely works here mostly because the script is too "complicated" to support it. I didn't care what was going on so her wounded girl just rubbed me the wrong way(she seemed more nut job than anything else). I'm not blaming the actors but writer/director Assayas who has once again constructed a complicated tale with the sort of parts actors love to tackle, but which leave audiences scratching their heads because they they don't really work.

    If you must try it on cable
  • Warning: Spoilers
    Asia Argento has never done a film (so far as I know, and this includes ones directed by her own father, Dario) where she fails to show all of her anatomy at some point. Sure enough, in the most boring opening dialogue scene ever, poor Madsen has her coming into his office and right there, reminding us that even though her hair is up, she can still stick her fingers in her crotch at any given second (which she does but in such a random "what? am I really seeing that?" kind of way). The DVD box, packaging, makes this look like a femme fatale film so you keep waiting to see her turn into a sleek and minimalist killer.. no such luck. She's verbose, hung up on some aging has been and even worse, has no credible skills in physical agility other than (surprise!) taking off ALL the clothes when any scene allows it. Her accented English would be cool if only she didn't try to make it sound so affected and try to talk like a 12 year old. How about this plot? Weak-minded but simultaneously nymphomaniacal woman is suddenly driven to kill while she already has another affair on the go and is running some cheap drug deal ... huh? what? does anyone have motivation in this movie to do anything other than buy a hamster? The screenplay seems to be oriented by letting everyone talk a lot about the same things over and over (I was expecting to see the worst acting on this appear as a producer who dumped money in it just to have some screen time) - there is nothing going on sub the obvious flaws of Asia's character that at any point in the movie delivers what the DVD cover promises. She's weak... but she knows how to kill. she flails A LOT. She flails naked, she flails half dressed, she even flails in a dead woman's clothing.. she is very floppy and unmotivated. In fact "Floppy" would have been a great name for this movie.. and a shot of Asia passed out looking angry on the cover would have been a better representation ... there are actually shots of her eating airplane food!!! What's that about?

    THe ending makes 0 sense - everyone is just annoyingly wishy washy in their intent and their execution of all objectives. The wife of Lester doesn't deliver any REAL vengeance (taking someone to bad karoeke IS life threatening but not really valid).. and Lester just floats around without really making much proclaimation of anything. Totally misleading key art... yeah, we know Asia lost the baby fat of her first born but really, a whole movie trying to pretend like that's interesting enough to drive a film about a passive-aggressive chick is not worth your while. See Point of No Return instead.
  • I was impressed with this movie for many reasons: The talent was brilliant, taking this film from good to great. The story was unique and entertaining, while remaining unpredictable. The filming was very well done. I enjoyed traveling along with the characters and watching the scenery.

    The female lead plays a mistreated woman who's ready to take over the power in this twisted relationship. I think there is a lot of truth to her situation and most will find it very relatable. Thank you to the makers of this film, I really enjoyed watching it.

  • MstrMovie2323 May 2008
    Kudos to the makers and all involved in the making of this film. I enjoyed the atypical way the story was told.

    The leading lady, Asia Argento, has a few too many lovers and is tangled up in her own mess. All the while one of her lover's wives is playing the game behind the scenes making things very suspenseful and interesting. The film itself I could categorize as "artsy" even though it's a thriller.

    I don't recommend this film for the uptight viewer, but those with open minds will enjoy it. Through and through a good show! The DVD is out on June 10th I believe so those of you who missed it in the theaters can pick it up soon!
  • I knew nothing about this movie when I watched it. I had read some good reviews and thought -what the heck?-. The main character Asia Argenta was really captivating. She plays a woman who has basically lost it. She's in a really weird relationship that causes her to make a lot of really weird decisions. The characters travel a lot, bringing you to many of beautiful places while watching the movie. I also thought that the overall "look" of the movie. It just had really cool lighting or something and made it really interesting to simply look at. I recommend you see it, not only do I think you will really enjoy it, but it will give you tons to talk about afterwards.
  • hareyT12 May 2008
    This hypnotic, angular thriller about sex, murder, betrayal and money takes you on a feverish journey from nowhere to somewhere.

    The plot may lose you at first, but actress Asia Argento is a clear and commanding force throughout.

    This film plays with various genre codes and conventions very differently than most run-of-the-mill modern thrillers. Keeps things modern and original.

    Entertaining and chilling at the same time. Argento's character is relate-albe and hate-able at the same time.

    Good flick.
  • I found this movie to be quite refreshing. I am so sick of the ho-hum cookie cutter movies out there right now. This one breaks the mold and stands out as great! The lead character is nuts, but gorgeous and carries the film really well. Great casting decision with her. She brings energy and boldness to the screen, I was very impressed. This movie is one for everyone in my opinion, it appeals to all movie tastes with action, drama, romance and suspense. Also appealing to the travel enthusiast, as they take you to many beautiful places throughout the world. If you couldn't catch this one in the theater, I suggest you add it to your DVD shelf! Very cool film all around!
  • sim3otto21 September 2008
    Tired, garbled dreck. The chemistry between Argento and Madsen was as exciting as a wet doughnut. Their dialogue was dramatically uninteresting. The storyline was a mess. The acting forced. The cinematography lingered on the uninspired. Lazy and pointless. Kim Gordon and her character had no reason to be there. Nor did anyone else for that matter. I couldn't have given two farts for any of the 'characters'. Their emotions skipped and jumped like a junkie who hates his heroin. Empty and dull. Why do I have to write ten lines of text on here to make my point? I think I summed it up in the first three words. But, obviously it's not enough. I think this is the last time I'll bother to waste my time critiquing a film. Anyway, I saw 'Clean' and thought that was quite ineffectual as well. Again, I cared not for the characters, whether they lived or died.
  • PhilMcK62323 May 2008
    Well...! This movie sure did satisfy the sexual appetite! The leading lady is fearless on screen leaving nothing to the imagination. Well, that's not true, there is a little left to have fun with.

    I went into the theater knowing I would be happy with the movie, but I didn't realize I would like it as much as I did. The sexual content was unexpected (and much appreciated) but it didn't carry the whole movie. The movie would've been great with out it, it was just an added bonus. Although a nice touch, it was not needed, the story line was out of this world and the acting was top notch.

    I feel like I should mention the soundtrack as well, although I don't know any of the songs or artists by name, it was very well done and went well with the movie.
  • ....are some of the words I would use to describe "Boarding Gate". It's a mix of different genres (drama, action, travelogue), languages (English, Chinese, French), ethnic backgrounds (the three main leads are a European, an American and an Asian). It's not a "Girls-With-Guns" film or a study in madness, despite what the cover or the tagline ("She's losing control again") seem to indicate. Asia Argento is raw and uninhibited as usual, and, like her or not, you've gotta hand it to her: there aren't many actresses out there who would tackle on the role she has here. But while it is refreshing to see a movie where you don't know how everything will turn out within the first 10 minutes, there doesn't seem to be much of a point to this whole exercise, apart maybe from "becoming an amateur contract killer is not such a good idea". Is it worth watching? I can't quite make up my mind about that, so I'll give it ** out of 4 stars.
  • Warning: Spoilers
    The trailer is so deceiving... I thought this will be a good film... What was the point in bringing the women in Hong Kong for being killed? They could have done it in Paris. And the fist half hour:

    -You love me!

    -No I don't! -You love me!

    -No I don't! -You love me!

    -No I don't!Repeat for 100 times... then... Well I don't love you... So i shoot you! :D So here is the reason why movie piracy is a good thing! Imagine if I would have even give money for this torture! I'm sorry for the time I lost watching it... the film makers should pay me

    for the inconvenience... Worst film ever seen...
  • The credit for my enjoyment of this film could possibly be entirely due to the brilliant performance of the leading actress Asia Argento. She gave an honest, artistic and daring performance throughout and should be tremendously applauded. The supporting cast was also well chosen making "Boarding Gate" a well rounded very entertaining film.

    I found "Boarding Gate" to be a refreshing break from the mundane collection of modern films out there. This story of crazy love and relationships takes you to beautiful places and leaves you thinking. I recommend this film to any movie lover who is looking for a new favorite!
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