Afterwards, my sister said to me, "We're the best customers Denny’s has, I think it knows us." Yet another randomness thrown into the cold night air. Had I'd known the night would end like this, I would've prepared my cranium before leaving the house for the many mental incongruencies hurling toward me.
Having the movie, "Enemy at the Gates", leek into my eyes was a first step in a staircase of unorganized ideas leading to dinner at Denny’s. I had hoped for another episode of the "war movie" genre, but alas, much like a horny U.S. serviceman stationed in the Philippines, I received not only the aspired to, but a little "bonus gift" as well.
The blood, guts and violence were all well and good, but director Jean-Jacques Annaud, wanted a little more than just the visceral aforementioned. He wanted a movie with broad consumer appeal, a real movie for the masses. However, he didn’t want to flesh out his modular audience-appeal themes, he left them there unwove and dangling, hoping to be the golden braid of WWII topics they were intended to be. Here’s a quick dirty laundry list of some of the quasi-developed macramés encountered in “Enemy”.
If the storyline had just adhered to one or two abstract themes, the flick could’ve pulled off a 3.0 GPA. Unfortunately, thematic development was as strong as a week-old fart. At least the “All-American slam” was good at Denny’s.