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Reviews
The Beaver (2011)
'The Beaver' did not dig deep enough...
Despite being considered a 'high-concept' film, 'The Beaver' is a strangely safe and conventional family drama, void of genuine emotion and coated with a superficial veneer. Nothing resonates.
Something felt really off about the screenplay and direction. The most compelling aspect of the story was exactly how a person could develop an illness in which they choose to communicate through a puppet – but 'The Beaver' skims over this with an unexpected montage. The audience is given no sense of how Walter Black unravels. Actually, the audience is given no sense of Walter Black at all, so therefore the beaver puppet feels like nothing more than a gimmick. I'm truly surprised to read reviews that talk about a film that explores a 'broken man's attempt to rebuild his life'.
The performances weren't up to scratch either. Anton Yelchin and Jennifer Lawrence have both proved their acting chops in previous roles – but here they are inconsistent. Jodie Foster seemed slightly uncomfortable and self-conscious (a real surprise, as she is one of my all-time favourites), so perhaps taking on both directing and acting was unwise. Gibson's performance is difficult to comment on. Asthetically he looks the part of a shattered soul, but the writing provides very little insight into the man behind the puppet.
The music was intrusive, with one of the most distracting scores I've encountered in recent memory, and one of Radioheads most emotionally devastating songs was misused in an 'are you kidding me?' moment. To be positive, the cinematography is crisp and clear – and the film is clearly ambitious....but ambition does not equal a good film.
I was expecting 'The Beaver' to be a moving exploration of the human condition, with a focus on communication and mental illness. Instead, I got a superficial family drama that spreads itself too thin. The concept of 'The Beaver' had amazing potential, but unfortunately it did not dig deep enough.
Blessed (2009)
Gut-wrenching
Australian films are often criticised for their bleakness, too often exploring dark material – but when a bleak film is as moving and effective as 'Blessed' you have to question what people are complaining about.
Set in two parts, the film follows a group of displaced youth and then their mothers, who wait anxiously for their return. Confronting and powerful, this is a poignant examination of relationships - delving into communication, intimacy, sexuality, survival and maternal instincts.
Following a complex set of characters, the various narrative threads are interwoven with skill. What could have been disjointed flows and peaks perfectly. Performances are tops – although, as with a lot of Australian films, it is obvious that many of the actors are trained in theatre and over articulate their lines. Whilst this is distracting early on, it isn't a bad thing for the overall intensity of the piece. The camera is kept very close to the actors (unflattering so), capturing something human in each and every one of them. The visuals in the film are brash, but mesmerising – and combined with a memorable and subtly moving score 'Blessed' a resonant piece of art.
The final shot of the film was one of the most haunting I've ever seen, packing a huge emotional punch. I've always been a fan of Francis O'Connor (Artificial Intelligence, Mansfield Park), but her portrayal of a chain-smoking, seemingly cold mother was a breakthrough. Likewise, Miranda Otto (The Lord of the Rings, War of the Worlds) was completely believable and compelling.
'Blessed' tackles its themes with a real, unrelenting brutality, making it a jarring experience initially, but it soon evolves into a thoroughly gripping, gut-wrenching, tightly wound drama that captures genuine pain.
Sasha (2010)
Compassionate, fun, and with something to say.
Though the fresh and quirky coming of age dramedy of Sasha bites off a little more than it can chew, it swallows down the most part without indigestion.
Sasha follows the 19 year old title character, as his life in Cologne hits a critical intersection. Being the son of humble migrant Montenegrins, Sasha is regularly reminded of the sacrifices his parents made for his classical piano training, with a lot riding on an audition for a prestigious music academy. Meanwhile, he is madly in love with his piano teacher, but due to his father's bigoted attitude towards homosexuality, attempts to conceal his true sexual orientation from his family. Mixing teenage angst, hormonal lust and prejudice, things heat up in the pressure cooker of Sasha's life, and with subversive plotting, things boil in unexpected ways.
What makes Sasha such a charming film is the enigmatic lead performance from newcomer Sascha Kekez, who balances teenage awkwardness and charisma with ease. This could easily have been an irritatingly self- conscious performance, but Kekez grounds the film with his natural demeanour. Also worth a mention is the effective use of his malleable face. He moves effortlessly from imploding chin (not since Toby Maguire in Spiderman have I seen so many layers) to stud, with apparent ease. But performances are tops all round. Yvonne Yung Hee as his pseudo girlfriend, Jiao, is beautiful and strong, and though Sasha's father, played by Predrag Bjelac (Karkaroff in Goblet of Fire, to us Potter nerds) overdoes the comedic scenes, he handles the drama well. With the slightest eye movement, he is able to communicate pathos, and deliver the film's most powerful moments.
What I particularly responded to in Sasha was the compassion the filmmakers showed for all of the characters, embracing them warts and all. It would have been easy to demonise Sasha's father, but he is completely humanised as we understand his sacrifice. The film doesn't condone his prejudices either, showing that parental love can be a complex notion.
To be critical, Sasha does have a tendency to become farcical, throwing off the dramady balance, but manages to keep at least one foot grounded in reality. The visuals are clean and stylish, shot on location in Cologne, and though there are a few moments when yellows dominate the colour pallet (almost becoming monochromatic) this does not detract from the drama. There are also some brilliant visual gags, in particular Sasha's failed attempts at slamming doors.
Sasha is really a film about acceptance, sexual frustration, the generation gap, and the destructive nature of bigotry, and whilst it doesn't hit the emotional jugular it aims for, this is uplifting cinema with something worthwhile to say.
Bébé(s) (2010)
Nothing to go Ga-Ga over....
French film maker Thomas Balmès has crafted a sleeper hit in the observational doco Babies, and whilst it is destined to satisfy the clucky, it offers an amusing albeit forgettable 79 minutes for the rest of us.
Tracking the first year of life of four little tackers across the globe, we follow the all-smiles Hattie in San Francisco, placid Mari in Tokyo, inquisitive Ponijao in Namibia and adventurous Bayar in Mongolia. The four babies' lives are interwoven cleverly, linked by key experiences in their development.
The filmmakers take a fly-on-the-wall approach, with no voice-over and no interviews whatsoever. In some ways this is a bold decision that strengthens the film, forcing the audience to view the world through the eyes of the babies. On the other hand, with little insight into their backgrounds, emotional engagement is minimal.
What it does succeed in is providing an interesting juxtaposition of parenting approaches. Gasps and shocked giggles filled the audience as Ponijao plays freely with the open mouth of a dog, and Bayer bathes with a wild ram. Contrasted with Hattie's desperate escape attempt from New Age chanting in a parental clinic, the viewer can infer various meanings. The most potent idea I took from the film however, was that despite location, there is little difference between newborns from one side of the globe to the next.
Unlike most observational docos, Babies is handsomely shot, with the occasionally stunning use of natural lighting, and the soundtrack featuring Sufjan Stevens creates a fun and whimsical mood. There is also a particular resonance to images in the film; Bayar crawling along the barren plains in the Mongolian mountains, and Mari gazing out of a Tokyo apartment window into the expansive city beneath her. Such moments invite contemplation back on those mysterious years.
The film floats along peacefully, providing the audience with some genuinely insightful moments, yet artfully dodges the excessive nappy filling, crying, vomiting and disruptive sleep patterns of babies, opting for a more ebullient insight into early human life that leaves us cynics questioning the documentary's heavily constructed nature.
Despite moments of power and a humbling reflection of baby-hood, the film is almost too passive in its approach. It is buoyant and light for its duration, but for the 23 year old childless cynic, Babies was nothing to go gaga over.
La sconosciuta (2006)
Excellent but contrived....
Giuseppe Tornatore's Italian thriller has been directed with style and flare. The framing of each shot is meticulous. The cinematography is stunning. The music is beautiful. The tension and mystery is captivating. Yet the final third of the screenplay is a contrived and manipulative maneuverer that weakens what was otherwise a strong film.
Irena (Kseniya Rappoport) is an Ukrenian prostitute on the run, working in the North of Italy as a cleaner/maid. She kills, yet she is sensitive and fixated with her boss's young daughter, Thea (in what is a fantastic child performance - enigmatic and entirely believable). Knowing very little about Irena's background, her motives and plans, things unfold slowly for the audience. Her character is textured through flashbacks, and this is very effective. For the most part, Irena is an interesting creation in the same vein of The Bride in Kill Bill, but something felt a miss for me as I walked away from The Unknown Woman. There was something just bland and blank about Irena...despite her many complexities and contradictions.
As we enter the final third, and questions become answered, the tension and mystery drains heavily. The film also begins to feel artificial. The interrogation scenes are overly written, in a self-conscious manner that exist purely to educate the viewer. Questions could have been answered in a far less contrived setting. It also feels rushed, as we are treated to such a slow build up. There is also a manipulative scene with an ill child that just felt at odds with what was otherwise quite an unsentimental film. It irritated me more than engaged.
I usually don't mind films that mix genres, but I felt a lack of satisfaction due to the fact this doesn't satisfy as a thriller, but didn't have the emotional satisfaction that it could have had if the film was pure drama. Despite these misgivings, La Sconosciuta is exceptionally well crafted for the most part and well worth a watch.
Sucker Punch (2011)
Packs less of a punch, on more of a suck....but still B-Grade fun.
After the appallingly low approval rating on Rotten Tomatoes (currently sitting on just on 22%), I was apprehensive about spending $10.50 to watch Sucker Punch - and although this is far from the huge success it could have been (given director Zac Synder's potential), it is far from the enormous travesty many reviewers are making it out to be.
The outstanding opening sequence reminded me of Synder's gift for visual flare. It plays out almost like a silent film, to a pumping remix of Sweet Dreams, telling the story entirely through visuals. Pretty soon after Baby Doll (Emily Browning) is incarcerated, the screenplay enters b-grade territory...and the cast of beauties ham it up nicely (as does Jonathan Hamm, as the labotimist).The feisty Sweat Pea (Abbie Cornish) carries a strong physicality on screen, and possesses incredible beauty. I couldn't take my eyes off Cornish when was within a frame. It was like a vortex. Jenna Malone gives it her all, but Vanessa Hudgen's was weak, but it is Emily Browning who milks it for all its worth, with a bit of 'tongue-in-cheekness' poking through her performance.
And yes, the fantasy sequences are incredibly well staged and there are some stunning, eye-popping moments. Sucker Punch's weakness however is perhaps the connection between the fantasy sequences to the real world. There are no clever flourishes that link the two, and thus nothing feels at stake during the action. They remain pure fantasy within the film, and unlike, say Inception, the action feels gratuitous and self- conscious.
The screenplay flounders in the final third as it tries to ground itself in reality and create emotional resonance. The sacrificial ending is questionable too - something more empowering would have been wise given the subject matter.
Sucker Punch isn't intelligent - but it is thrilling. I would consider it far more of a b-movie than most critics are taking it for - and I am entertained by b-movies. Given the high quality of Watchmen, it is perhaps disappointing to see Synder revert back to his 300 days and it remains a shame that Sucker Punch doesn't strive for anything more, given its potential. Let's just hope Superman will give audiences a bit more to chew (or suck?) on.
To Die For (1995)
Kidman creates one of the most memorable sociopaths in the history of cinema in this richly textured satire
Gus Van Sant's richly textured satire of the media is an engaging and dynamic cinema experience. Even the Nicole Kidman skeptics (and I know there are many of you out there) should enjoy this star-making performance.
Kidman plays the ambitious Suzanne Stone. She has stars in her eyes with dreams of making it big as a TV journalist. She marries the well connected Larry Maretto (Matt Dillon) to keep her financially sound, but her marriage takes a sinister turn as her career becomes to 'blossom'. Suzanne Stone is a character with a few screws loose. She is not as intelligent as she thinks she is, but smart enough to fool the stupid. She will do anything to get anywhere. She is a ruthless go-getter who knows what she wants and knows exactly how to get it
.and the result is deadly.
This is a film that employs the use of various dynamic devices that give it a rare energy. Conventional film-making is inter-cut with fake- documentary interviews – and whilst this can be jarring in some circumstances (I'm thinking Infamous), it is seamless, and apt considering the themes of To Die For.
Nicole Kidman is absolutely fantastic in this, owning every scene. Suzanne Stone is a character any actor would kill to play, and she makes the most of it, eating it up with relish. I'm a sucker for characters with Antisocial Personality Disorder, and Kidman creates one of the most memorable sociopaths in the history of cinema. What a breakthrough. The hair and makeup for Suzanne's character also deserves special mention. There is this strange mixture of sexiness, and something so repulsive, with those excessive finger nails, hot pink lipstick and clownish blush
it's so over the top. There's something nonhuman about her look, and it is fantastic.
The writing is sharp, but this is not a realistic screenplay. There are some genuinely unsettling moments, creating a unique blend of black comedy/satire/thriller that flirts with the boundary of farce, but with enough depth to keep it grounded.
What really stood out when viewing To Die For in 2011, was the relevance of the satire in the new millennium. Being swept up by the self- indulgence and vanity inherent in Facebook and Twitter myself, I think there's a bit of Suzanne Stone in all of us
.and that makes To Die For all the more powerful.
Tomorrow, When the War Began (2010)
Swept me up and took me on an exhilarating ride!
Fans of the Tomorrow book series rejoiced at the news of a cinematic adaptation of John Mardson's iconic Australian teen epic, Tomorrow When the War Began. As an enthusiast of the first 3 books (in a series of 7), I was ecstatic that it would get big screen treatment and not some shitty b-grade telly movie as I had feared. I'm pleased to announce that I walked out of this energised, with a racing pulse and a smile on the face.
For those unfamiliar with the material, the concept of is pretty much identical to Red Dawn – a group of teens from a country town go camping for a weekend to find out their country has been invaded, and their family have been held captive. They hide out and guerrilla warfare ensues.
Thematically, the film captures the clichéd 'working together' virtues of friendship corn from the novel. It is definitely in the writing that the film falls down
well, more of a stumble than a fall. I found this particularly unusual given the writer/director is Stuart Beattie – a screenwriter with an exceptional resume. He handles action far better than he handles characters in his directorial debut. Despite the ham and cheese in the writing, the broader screenplay is emotionally satisfying.
Whilst the acting is not of the highest calibre, I would say it was on par with other large franchise films with a young, teen cast (specifically Harry Potter and Twi). The actor who plays Lee is the weakest link here. Although he has the visual presence for the role, his delivery is consistently wooden. Caitlyn Stacey was a standout for me. She displays genuine emotion, genuine intensity and fear. I would have preferred if she spoke like less of a 'toff', and ripped into that bogan Aussie accent, but she brings a solid and believable strength.
As well as capturing the essence of the novel, the action sequences have been stunningly realised. The visuals have a polished look and feel, on par with films with a much higher budget (this had only $20AUD million) thus I believe it would stand up well in an international market. By any standards, the action is exhilarating and has been directed with clarity. Although I wouldn't have minded a bit more grit to the imagery, the cinematography is exceptional and captures the Australian landscapes beautifully. The soundtrack and score was nicely chosen, and the balance of humour and darker tones was effective.
Whilst not being the major box office success some would have liked, The Dead of the Night has been green lit, so thankfully there is more to come in this promising franchise. Despite some awkwardness, there is an energy in the characters and action that permeates Tomorrow When the War Began, making it an entirely gripping experience. For me, this was resonant action that sweeps you up and takes you on an exhilarating and emotionally fulfilling ride.
Jackass 3D (2010)
Utterly Grotesque and Effectively So....
Let me preface this by admitting from the outset, I ain't a Jackass kind of guy. Whilst I enjoy crude humour that pushes boundaries, the entire Jackass concept and' imitation culture' just irritates me, and I had never given it the time of day before this viewing. I watched Jackass 3 perched upon a high horse
Lead by the charismatic Johnny Knoxville, the team engage in the typical risky, gross-out and painful stunts one would expect, given the reputation that precedes them. From a poo volcano, to fart bubbles
from a dildo bazooka to a tooth pulling Lamborghinis
the film contains a diverse cocktail of gross out filth and traditional slapstick 'ouch' moments.
**SPOILER ALERT** And speaking of cocktails, the 'Poo Cocktail Supreme' is perhaps one of the more memorable things I've seen caught on film recently. For those who haven't seen it, the skit involves rigging a port-a-loo to bungee cables, strapping Steve-O inside, and thrusting it into the air to send an explosive poo spray all over the poor fool inside. Such moments carry a certain power; one which manages to induce a gag reflex and a chuckle simultaneously.
I didn't watch the film in its 3D presentation, so the potency of the gross out may have been lost on the small screen. The added dimension would have provided a fun atmosphere to enjoy the shenanigans, and I can imagine watching the film in a packed cinema (of which I hear there were many throughout the $50 million opening weekend in the US) would be a unique and unforgettable experience.
One thing that really irritated me about the film was the excessive laughter by the Jackass team. I know laughter is infectious, but I found it forced, disproportionate to the events, and ultimately grating.
With no narrative, no point and no character, Jackass 3 is a curious film to give a rating to. It is just good ol' fashion grotesque. Whilst I can't claim to have been impressed with the standard of film making, I fell off my high horse, and if gross out slapstick is your cup of tea (or cup of urine?), then rent Jackass 3 for a heady swig.
Pandorum (2009)
I would rename this 'Panboredom'.
I was lured towards 'Pandorum' with the expectation of a good value science fiction/horror. But nay, was this poor-trite
Ben Foster plays astronaut Corporal Bower, who wakes up on a desolate spacecraft, all alone, with no memory of who he is and how he got there. Whilst exploring the forsaken ship, he comes across fellow survivors and an evil presence that slaughters them one by one.
The premise of 'Pandorum' is reminiscent of 'Event Horizon', 'Alien', 'The Descent', 'Sunshine' and numerous other sci-fi/horror affairs
and it has absolutely no new ideas. But a genre film is a genre film, and that's not what makes 'Pandorum' bad.
German director, Christian Alvart, creates a despairing and unsettling tone that is effective in the first 10 minutes of the film. It reminded me a lot of Alien 3 (which I consider a pretty awful film too). But Fincher, Alvart ain't. 'Pandorum' rapidly deteriorates into an awful mess. I knew this was going no-where fast, but alas, it went beyond nowhere into another stratosphere of shiite-ness. The action sequences were impossible to make sense of, the art design was tacky, the creatures looked SO nonthreatening and false, and the ending was a real fizzer. It has an awful visual style to boot, and character development = zill.
Being impressed with Ben Foster on 'Six Feet Under', this was such a disappointment for someone I always saw as an up-and-coming star. He is utterly forgettable. And god knows why Dennis Quaid signed onto this.
This is complete trash, but not of the enjoyable, tongue in cheek kind. It is very rare that I feel compelled to walk out of a film before it ends. I want to get my money's worth
but after 45 minutes, I was completely unengaged and there is absolutely nothing to reel you back in. 'Pandorum'? I would rename this 'Panboredom'. I hated it.
Across the Universe (2007)
A truly breathtaking experience...
Julie Taymor's psychedelic musical extravaganza didn't really do much to light up the box office, recouping only $29 million of its $45 million budget. Not many wanted to see this film. And it's a real shame, as I believe 'Across the Universe' to be a truly breathtaking experience on the big screen, and one of the most visually spectacular films ever made. But be warned, 'Across the Universe' works purely on an audio-visual level
The main gripe I have with the film is that it lacks a necessary 'edge' when it comes to character. They all feel generic and the love story that forms the basis of the plot is dull. Being a musical, finding a great screenplay is always a difficult thing, especially when the entire plot is based around the lyrics of pre-existing pop songs. 'Across the Universe' can't escape from leering contrivances. For me, the most interesting aspect of the story was when Maxwell's return from Vietman. His PTSD, with traumatic flashbacks, could have provided a more compelling and unique plot. The love story was 'nice' but not absorbing
but maybe I'm just not the romantic this was aimed at.
HOWEVER, and it's a big HOWEVER, if you can deal with the stale narrative
wow, is this a film to behold. The voices, the choreography, the use of colour, editing, lighting
all struck a real chord with me, and resonated far beyond that initial viewing. 'I Want You', depicting the subscription process, would have to be one of the most brilliantly choreographed and photographed movie musical moments of all time. It's a magnificent scene, exemplifying just how a big musical number should be shot and edited. The hallucinogenic 'Happiness Is a Warm Gun', featuring cloned Salma Hayek nurses and flipping priests, comes close.
The musical arrangements are respectful to the original Beatles songs, capturing the simplicity that made them so beautiful to begin with, but offering enough interpretation that they feel fresh. The vocal performances are consistently good throughout, and some are downright stunning ('I Want to Hold Your Hand' and 'While My Guitar Gently Weeps' in particular). Evan Rachel-Wood and Jim Sturgess both have excellent voices – a cut above the average leads in modern movie-musicals.
Even with my complaints, 'Across the Universe' is still so astonishing. Julie Taymor is a true visionary, and her boldness and determination can't be denied...but it's those contrivances that stop this from being a truly great film.
The Lovely Bones (2009)
How did this all go so wrong?
This is a heartbreaking film. Tragic in fact. Heartbreakingly tragic that a cast and crew, with such an excellent track record, could produce something so emotionally un-involving and unsatisfying. The prevailing sentiment as I walked out of 'The Lovely Bones' was disappointment.
Adapting Alice Sebold's beloved novel was always going to be a colossal task. But the main problem with 'The Lovely Bones' is centralisation and focus. The film struggles with point of view, which isn't a huge surprise given the unique storyline. But I never foresaw such a big mess. Suzie is in heaven – we cut to the family...we cut back to Suzie......we follow the man who killed her...we hear her narration...we follow her friends around
back to Suzie. It flips and changes, without ever settling to provide access into characters. Subsequently, there is nothing to grab onto and no emotional core.
The scene in which Mr Harvey's victims confront Suzie in Heaven exemplifies this lack of grounding. There was emotive music, powerful visual imagery. It was overwrought clawing for emotion from the audience...but the victims of a serial killer had such little dramatic relevance, considering what had been presented before hand. It was a forced, manipulative moment. Therefore, I believe many aspects in this film would appeal to a younger audience, who have not yet developed the intellectual capacity to recognise something that has genuine emotional resonance, and something that has a superficial coating. And the studio appeared to have recognised this, changing their marketing strategy to hook in the 'Twilight' crowd.
Additionally, what the film was trying to explore, remains elusive. At no point does the film confront grief, or attempt to deal with the complexities of grief...which isn't a problem in itself, but the final message of the film was how the process of dealing with death has strengthened bonds and created new ones. Whereas in the book this made sense, in the film, it is unjustifiable given the lack of exploration into character and relationships. I walked out of this confused as to what it was trying to achieve thematically.
Peter Jackson's visionary 'heaven' was disappointing too. Although I don't expect subtlety from Jackson, it felt completely over the top and disconnected. This type of visual imagery has been done far more effectively in films like 'The Fountain' and 'Across The Universe'.
The performances were a mixed bag. Saorsie Ronan's narration was poorly integrated. It was annoyingly over articulated, and provided more of a distraction than an enhancement (her actual acting scenes were outstanding though). And why bother hiring prolific actresses like Rachel Weisz and Susanne Sarandon, and then give them nothing to chew on? Sarandon's publicly expressed irritation in having her big scenes cut - completely understandable. Why focus on the characters of Ruth and Ray? That storyline went nowhere and the acting was awful. This belonged on the cutting room floor, not the intimate scenes between the Salmon Family. I just got the sense that the film was gutted in post-production.
What is especially disappointing about 'The Lovely Bones' is the fact that there are still moments of brilliance. The early scenes involving Suzie's murder were powerful. The cinematography was perfect, and the soundtrack (by Brian Eno and John Hopkins) was really beautiful. These glimpses show 'what could have been'.
As you can probably sense, I was not impressed with 'The Lovely Bones'. But I find it funny that Peter Jackson, and his team, made us care about a giant ape, Hobbits, and two murderess teenage girls
but when it comes to a supernatural drama about death, he left most of us unstirred. There were so many errors of judgement in this botch job. With all the talent involved, I'm just left with the question, "how did this all go so wrong"?
The Shining (1980)
A well deserved classic.
My first viewing of Stanley Kubrick's classic 'The Shining' left me somewhat...underwhelmed. As a 15 year old boy, my underdeveloped, action oriented brain, desired gore and cheap thrills...something that this film avoids. Viewing 'The Shining' as an adult however, was a truly unforgettable experience. So here are my two cents....
Hearing the term 'adaptation of a Stephen King novel' makes me want to vomit. With such duds as 'Storm of the Century', 'Rose Red' and 'Tommyknockers' falling within this category, I was sceptical. But thankfully, Kubrick diverts drastically from the source material, playing down the supernatural elements of horror. The fear of the characters' deteriorating mental health, and the potential of what they could do to one another, is far more terrifying than the threat of ghosts. This makes for a human, relatable, and intelligent horror; more frightening than the typical ghost story. Kudos to the screenwriters for taking a chance.
Like most Kubrick films, the performances are strangely enigmatic. Shelly Duvall's portrayal of the seemingly 'desperate to please' Wendy, was irritating in the initial stages of the film. There was a self-consciousness to the performance, that felt slightly superficial. HOWEVER, when the hysteria sets in, Duvall delivers the goods. She is chillingly authentic, and utterly electrifying. It actually heightens the experience in the final third of the film. Apparently Kubrick was a prick to her on set in order to 'push her' into that place...so thank you for that! It's magic. I find Jack Nicholson a difficult actor to really warm to, and his performance here is no exception to that. It's over the top, comical, frightening...and unpredictably mad. I think I would have preferred Jack Torrance to be a more likable character in the developing stages, but nonetheless, he is fascinating. And Danny Lloyd would have to go on the list of 'best child performances ever'. The facial expressions, body language, and the eyes, are completely believable and nuanced! They struck gold with him.
Typical of Kubrick, the film is a visual spectacle. Even by todays standards, the cinematography is mesmerising - a testament to Kubrick and John Alcott. Visually, the film is so absorbing. The camera rarely stops moving, in inventive (but non-distracting) ways. There is a sense that the characters are being watched by 'another presence' that is constantly tracking their movements. The camera work is subtly unsettling.
It is so refreshing for a modern audience to watch a film like this, that relies on a slow and contemplative build up, and resonating images for scares. There is a genuinely creepy tone throughout, and the climax absolutely soars with thrills. And, strangely enough for this genre, 'The Shining' gets better with every single viewing. A well deserved classic!
Harry Potter and the Half-Blood Prince (2009)
Satisfying...but several niggling aspects that drain the energy out of the film faster than a Dementor Kiss
Even before its release, Half Blood Prince had a dark mark against its name. I felt completely abused after Warner delayed the release. How could they do this to us fans? But when I gaze back into my Pensieve, I walked out of 'Half Blood Prince' satisfied...emotionally. BUT there is still plenty to go all 'Moaning Murtle' over....
I wasn't a massive fan of David Yates' direction in Order of the Pheonix, and was filled with disappointment that he would be at the helm yet again...(and again, for Deathly Hallows). But he does a competent job this time round, proving capable of directing thrilling action...as well as some more 'intimate' moments. The opening Death Eater attack was expertly handled, and set the tone for the rest of the film nicely. But unfortunately, it quickly lags, as pacing felt slightly off beat in the lead up to Hogwarts fun and festivities. But when things settle, the film gets off to a 'fire-bolting' start.
The biggest successes of Half Blood Prince are some of the soap opera elements, specifically, the Hermoine/Ron/Lavendar triangle. There is a great balance of romantic humour and drama, that works well in the franchise and will appease fans of these characters. Emma Watson gives her best performance yet. She's moved on from the 'huffy, breathy, p.m.essey school of acting', to display some genuine emotion. Once again, there is an awkward 'crazy hysterical laugh' at some completely unfunny dialogue (whoever decided to keep these moments in, is in need of firing). Rupert Grint is once again, the star of the show...and props to Jessie Cave as Lavendar Brown, who is hilarious.
But whilst this romantic plot development is engaging, fun, and decently acted....we have a flip side; the Harry/Ginny saga. Granted, the source material wasn't great here....but Bonnie Wright plays Ginny as the ultimate dullard. She's blander than a Rune, and more wooden than the Elder Wand. The delivery of the line "shoelace" was nauseating, and the 'feeding' Harry mince pies was woefully flat. Her performance went down worse than a bogey Bertie Bott's every-flavour bean. There was more sexual tension between Alan Rickman and....well, every other member of the cast that he interacted with. Its disappointing, as a lot could have been made of this feisty Ranga. Daniel Radcliff wasn't much better. I actually wanted Harry and Ginny to apparate right out of there and leave it to the other players.
But overall, I'm glad they spent time on the romance. This film acts as a bit of calm before the storm. However, the soap opera focus comes with the sacrifice of an adequate exploration of Horcruxes, and Tom Riddel's past. This is unsatisfactory, and is sure to confuse all those muggles out there that aren't familiar with the books. Surely, there was room to provide more fulfilling explorations? For example, the infamous Burrow scene: Whilst it was well done...it is given no context, explanation, or justification. It had no implications for any of the characters, and was merely pointless action. The Weasley kids could have at least made one reference, later on that their house had burnt down. But nay.
The most thrilling part of the film is the cave sequence -- its one of the best in the film franchise -- fabulously creepy, and shows exciting potential for what Yates could do with Deathly Hallows. The Inferi look slightly Gollum-esquire, but this is forgivable. Key changes are made to the conclusion of the book, all of which assist with a nicely flowing, slightly anti-climatic, finale. But there is genuine tension here. Its not bombastic action -- its thrilling and dramatic. I was slightly moved by the ending, but cutting a 'big' HP moment was a bad idea for us die-hards. I went all Shrieking-Shack I realised this.
The editing was problematic for me, with some extremely jarring transitions between scenes. Yes, I could fill in the gaps having read the books, but this choppiness effected the pacing and tone of the film. The cinematography was nominated for an Academy Award, and whilst it was stark, and at times striking, I found the colour pallet far too murky and obscuring. I felt distanced from action, and it got to a point where it just became dull. But the score is quite brilliant. Pulsating, evocative, but non-distracting, its one of the best from the series.
Overall, Half Blood Prince captures the essential feel of the novel, and lets the characters breathe for once, with some nice moments in the halls of Hogwarts. That said, I really think that there is little to offer those who have not read the books. Although the experience is overall satisfying, there are several niggling aspects that drain the energy out of the film faster than a Dementor Kiss. Still not good enough for this promising franchise!
Alice in Wonderland (2010)
A love letter to Helena and Tim....
Let me be clear. I am in love with Tim Burton and Helena Bonham Carter. I want to live in their house. Perhaps in the hallway that conjoins their bedrooms. I am probably writing this review through rose coloured glasses
. But I'm not a weird stalker, in case that is what you were thinking.
I don't really know what to say about plot of 'Alice in Wonderland'
I guess 'Return to Wonderland' sums it up. Alice (Mia Watachhowdospellitowski) is now a young adult in repressed Victorian England, under pressure to wed the wonderfully wet Lord Ascot
..But she escapes from an awkward encounter down the rabbit hole, where she reunites with old friends! But unfortunately she doesn't really remember much
and Wonderland is a bit screwed
.but Alice is 'THE ONE' who will bring peace! Rah rah rah.
So let me get the bad stuff out the way
the screenplay is not great. It does lack a certain 'something', and the script just doesn't sparkle the way it should. Lewis Carol's focus, and play, with words just isn't present in this, so enthusiasts of the source material may take offence
And Mia Watachowski did have some wooden delivery AT TIMES
but she is enigmatic, with a great presence on screen. I can picture her as an artist's muse. She was memorable, and I'm sure will go on to great things.
Johnny Depp's Mad Hatter was nicely Mad. I think there's a general 'getting over' of Depp happening at the moment, so people haven't been too kind in their reviews
but the Hatter was an interesting character, enhanced by brilliant design. And the interchanging accent was a nice touch. Bonham-Carter is so perfect as the Queen, but I wont begin ranting about her greatness...But the Cheshire Cat almost stole the entire film for me. It was so beautifully animated. I was mesmerised every time it appeared.
'Alice in Wonderland' is really all about the visuals
Burton's Wonderland is enchanting. It actually went above what I would expect from Burton, visually, which is saying a lot. And for me, it was enough to lift this film above its major flaws. There was such an energy to the imagery. I saw the film in 3D, but I think no matter what mode it is viewed, the Art Direction is some of the most impressive to behold of late.
But as much as it pains me to bring this up, I do have to draw attention to the 'Mad Hatter' funky dance. This was
perhaps
the low point in the careers of Burton, Depp and Danny Elfman. Cringe, cringe, McCringe cringe. If you have seen the film, and are over the age of 10, you will know what I mean.
Basically, re-working a cult favourite like Carol's Alice, is, and was always going to be, a difficult task. I wish perhaps more time had been spent on developing a strong, unique storyline. The film could have been a masterpiece. Although a straight adaptation would have been a sure thing, I like that they took a risk. I still went quite gaga over this
and I know kids will go nuts too.
And Helena and Tim, if you ever read this, please contact me. I'll be your butler or something. I'll do anything.
Nine (2009)
A far more worthwhile and intelligent film than many give it credit for....
Rob Marshall's diamond studded 'Nine' has been brutally beaten, stabbed and whipped by most critics (almost to the point of death, had it not been for those Oscar noms). But although the film is somewhat crippled at present, I believe that in time, 'Nine' will make a decent recovery and much will be forgotten about the viciousness of the attack. I want to act as a healer in this review....but may add a few justified beatings of my own.
Set in Roma, circa 1960, success film director, Guido Contini (Daniel Day Lewis) is suffering from a creative meltdown and personal crisis. Production is beginning for an untitled film helmed by his truly, with no script, no actors and well...no concept whatsoever. Amidst this, Guido is haunted by significant women from his past and present. His problems manifest themselves as elaborate musical numbers, imagined solely in that troubled mind of his.
There really is little more to discuss in terms of plot. The wife, Luisa, is estranged (Marion Cotillard), the mistress, Carla, goes crazy (Penelope Cruz), he exchanges banter with confidante, Lilli (the regal Dame Judi Dench), his superstar muse loses patience (Nicole Kidman), dead ma haunts around aimlessly (Sophia Loren), old mutton hooker sexes things up (Fergie) and new mutton Journo sexes things up (Kate Hudson) ...
Now, I must make it clear I have not seen the original source material, Fellini's '8 1/2', nor have I seen the Broadway stage version, so this review is through the eyes of a Guido Virgin...and I know some are precious about this beloved character. But as an ignorant outsider, I dug the film version of 'Nine'...
It is visually stunning. As with all of Dion Beebe's efforts, there are breathtaking moments. No matter how shoddy the material, Beebe always makes it worth while. 'Nine' is shot with innovation. It looks fresh without trying hard to be unique.
And the music is really strong. Yes, the songs aren't embedded in the memories of film goers, which put Nine at an instant disadvantage compared to other recent movie-musicals. But in terms of execution, most of the actors really pulled it off (with the exception of Loren, who merely whispered her dull, pointless song. I've experienced more tuneful flatulence, excuse the crudeness). As most reviewers note, Fergie's 'Be Italian' is the most memorable -- a fantastic movie-musical moment. Less well received by critics is Kate Hudson's 'Cinema Italiano'...BUT, I believe it was a stand-out. Pulsating and exciting...yes it felt slightly more like a Beyonce video clip, and out of sync with the residing dark tone of 'Nine', but it added another texture. Nicole was fine, but the low key she sang 'Unusual Way' in, lessened the impact of the song. And Dame Jude was good, but I have to say, I felt slightly uncomfortable/aroused watching her 'sex-it-up'.
Cruz and Cotillard are definitely the stand out 'acting' performances here. Cotillard broughted her 'heartbreaker' vibe so effectively, to what could otherwise have been a weak 'martyr' type of character. She was excellent. Penelope was vulnerable, and equally as heartbreaking as Carla.
But now time to rub a little salt in those heavy wounds embedded in Nine....
I am an avid Daniel Day Lewis, and always will be. And although you can't really fault his performance...and he can sing well....he was just miscast as Guido. I can't help but think how the original choice of Jarvier Bardem (who pulled out due to exhaustion) would have brought far more authentic Latin sensuality and spark. Perhaps its my own pre-conceptions of Daniel Day, but something just did not feel right...
But I did find Guido a fascinating, and engaging character. Like all interesting leads, he is filled with and contradictions. There's a constant push and pull with him -- both an inner turmoil, and from the environment that surrounds him. I engaged with it. But there is something essentially unsatisfying here. I wasn't clear what 'Nine' was trying to say about Guido and his actions. And I think part of this ambiguity is due to the unconventional character development (and just the musical genre can be harder to connect with).
Guido is developed through the female characters -- they add layers, and act as paint mixers. But the females, although mostly very complex also, are not provided with enough time to develop on screen either. Its strange, your made aware of depth within characters in 'Nine', but its not brought out and explored in a satisfactory way.
I actually think an extra 20 minutes could have added a lot to the experience, allowing time to breathe and provide more clarity with what the film was trying to say. I was pining for more exploration of religious guilt, and would have found that far more gripping than Loren warbling about in room full of candles.
I am aware this review is a bit of a fence sitter. Like Guido, I am filled with contradictory feelings. On one level, yes 'Nine' was a slightly wasted opportunity, and did sink under the weight of the cast. But on the other, I believe 'Nine' to be a far more worthwhile and intelligent film than many give it credit for. It acts as an entertaining variety show...but with deeper layers if you want to find them. And yeah, it isn't as good as Marshall's 'Chicago', but did any one ever think it would be? Nine's a nice cocktail, with diverse and robust flavours...that you enjoy whilst drinking...but it doesn't really get you blind drunk ...which is what I wanted.
P.S. I'm sure Rob Marshall and his cast needed a few stiff drinks after reading some of those early reviews....eeek.
An Education (2009)
When the final bell rang, I left school with little to think about....
So my fellow scholars, with awards season out of the way, let us study one of the surprise hits of 09, Lone Scherfig's 'An Education'
Its 1961 London, and Jenny Mellor (Carey Mulligan in her Oscar nominated performance) is in her final year of high school. A cunning linguist, cultured and clever, Jenny is seemingly mature for her age. She harps on about French Existentialism, and drops the odd French phrase into everyday conversation; a trait which is destined to irritate many viewers. Despite her pretensions, she's a nice person.
On a rainy ol' day in the London burbs, Jenny is picked up by a chivalrous older man, David (Peter Sarsgaard). After propositioning her with a date, he seeks parental approval, and then BLOWS HER MIND, introducing her to the sophisticated world of high brow entertainment. Fine art, music, booze and Paris await! Jenny slides into this scene effortlessly, and befriends David's mates; the seductive Danny (Domonic Cooper from my be-loathed Mamma Mia) and the brilliantly flaky Helen (Rosumund Pike). Jenny goes on a significant journey as she discovers more and more about this new world, and the people in it. Along the way she learns a few tough lessons, those taught in the school of hard knocks
.
I don't get the love for this film. I don't get how or why it was nominated for Best Picture. It is by no means the worst of the nommed films (cough *The Blind Side* cough *Are they effing serious *cough), but it is by no means 'Best Picture' material. Thematically, 'An Education' had potential. The willingness and desperation of youth, that endless yearning, identity, FREEDOM
all interesting stuff to be explored in the 'coming of age' genre. But when the final bell rang, I left school with little to think about. Despite being based on the memoirs of British journalist Lynn Barber, there's a prism of falseness leering over 'An Education'.
There is good in the film. Carey Mulligan is enigmatic, classy and has got that 'something' quality. The song 'She's Got It' plays through my head when I hear her name. The recreation of the 1960's seems authentic, and despite any clichés, the film does grab your interest for most of the duration.
BUT I have a big beef with Peter Sarsgaard. He lacks natural charisma
.thus it is unbelievable that such an intelligent person and her family would fall for his allure. Beef number two is that Jenny is almost too wise. Her intelligence prevents us from genuinely fearing for her emotional wellbeing, and also disguises the potential imbalance of power in her relationship with David. Just a tad more vulnerability wouldn't have gone astray. Admittedly, this is probably intentional, but pushing the film into a darker, edgier place would have made for a more powerful experience.
'An Education' isn't bad. It's just SO 'meh' for something SO critically applauded. This could have been a deep and fulfilling exploration of the hard lessons taught in the book of life. But nay, I'm afraid I've read far more thrilling chapters in what has been written before....nothing too fresh here.
Green Zone (2010)
Visceral film making at its best!
Oh Paul Greengrass. The director famous for vomit inducing, queasy cam style film making is back, this time with Iraqi war action/thriller Green Zone. I'll be frank here. I walked out of this film feeling as though I had been physically assaulted. The sting of a post-slap in the face lingered for several minutes as I crept away from the Palace/Nova. But being the sadistic adrenaline junkie I am, I dug it. This movie is totally visceral.
Set in Baghdad amongst the early stages of the invasion, Chief Officer Roy Miller (Matt Damon) is head of a squad in search of Weapons of Mass Destruction. Roy is getting irritated by intelligence's lack of intelligence. They just ain't finding' no Weapons. Roy meets Martin (Brendan Gleeson), an employee of the CIA, who suggests that the 'intelligence' they are being given is part of a US government cover up. What follows is basically a search for truth, as Roy begins to question the real motives for invading Iraq.
Yes, this film fictionalizes the endless blunders, poor decisions and screw ups in the initial stages of the war. But despite fictionalizing, this story is completely tangible knowing what we know. Consequently, Green Zone offers a gripping, intense and completely thrilling (some might say visceral?) account of the hunt for so called 'Weapons of Mass Destruction'.
Now, I've never been a fan of Paul Greengrass' visual techniques. I felt totally excluded from what the hell was going on in The Bourne Supremacy, and found it distracting in United 93. But here, it actually took me to this weird new level in cinema; a totally gripping and experiential place. Admittedly, it all appears shambolic, yet clarity emerges through the muck. There must be a method to this madness.
It's interesting to note that some reviewers in the US have taken offense to Green Zone, labeling it 'anti-American propaganda'. It's had modest box office takings thus far, already landing flop status. And it's probably bad timing for Aussie audiences too, with the recently released The Hurt Locker getting all the hype
so I'm not sure how much longer you will have to view this on the silver screen, but I'm guessing not long.
As I mentioned, this film is so visceral that it leaves you feeling abused
so it may not be everyone's cup of chai. However, a good thriller should shake and rattle
this, mixed with a strapping plot, makes for a strong, zesty cup of chai
thoroughly pleasing. Green Zone has been in cinemas from March 11 (2010), so get your buts down there before its theatrical run ends!! Did I say that this was visceral film making at its best?
Make It Happen (2008)
Does Not Make It Happen: The Story of a Wet Blanket ...
Following the success of dance spectacles such as 'Stomp The Yard', 'Save The Last Dance' and 'You Got Served', film goers now have 'Make It Happen'
but can it step up to its predecessors and dance up a box-office storm??? Like its forerunners, 'Make It Happen' follows a generic storyline. Country gal' Lauryn (Mary Elizabeth Winstead) leaves hicks ville to pursue dancing in the big smoke
only to be bitterly disappointed when her audition for the Chicago School of Music and Dance ends up a spectacular flop. Dreams shattered, Lauryn finds work at seedy burlesque club 'Ruby's'. Here she meets disc jockey Russ (Riley Smith), where an inevitable spark is lit between the two. Pretty soon her dance career heats up also; she takes center stage, performing burlesque/hip-hop fusions to a screaming audience each night. It is at 'Ruby's' where Lauryn is forced to reevaluate her dreams, her family, her life and love
taking her on the ultimate journey of self discovery
Lauryn's transformation from heavily made-up, sexy country hick to heavily made-up, sexy dancer
is nothing short of
well
nothing. Lauryn is a flat, uninspired, martyr who comes across as the ultimate drip
a wet blanket some might say. Winstead has a certain screen presence
yet the script dumbs down any moments of authenticity in her performance. The supporting cast is not worth mentioning; they play it by the numbers and it's all a very trite.
"But who gives a Shiite about the characters and story?" I hear you say
"We're all watching it for the dancing!" Surely a film with such a wafer thin plot and stale protagonists would compensate with breathtaking, sexy and exhilarating dance sequences
right? WRONG. When the dance sequences should be sizzling, they end up fizzling
when they are about to pack a punch, they give the audience a floppy and limp wrist. They are competently filmed, and edited with a sense of rhythm, yet memorable moments = ZILL. The film attempts to explore the somewhat risqué style of burlesque dance
but wants to keep a PG rating
so everything about 'Ruby's' feels completely toned down.
For a dance movie, there is very little dancing. Unfortunately this means the audience sits through excessive amounts of predictable dialog before anything remotely exciting happens. At times it almost reaches "it's so lame it's good!" status
but never quite gets there. 'Make It Happen' really doesn't make anything happen at all
save your money and watch highlights of So You Think You Can Dance on You Tube.
Kill Bill: Vol. 2 (2004)
A sensational film that lives up to all the hype!
After watching 'Kill Bill Volume 1', I was somewhat apprehensive about paying money to go see Volume 2. I'm only 16, and had never watched a Tarantino film before so Volume 1 seemed quite bizarre. With that in mind, I still enjoyed the film but volume 2 is a totally different experience. Tarantino focuses more on the characters and storyline more so than spectacle, but still provides the audience with tension packed fighting and toned down blood and guts. Uma Therman is absolutely terrific as 'The Bride', giving the character emotional depth, but still with the same brutality as Volume 1. Kill Bill Volume 2 is unique, different and amazing entertainment. A sensational film that lives up to all the hype!