tag:blogger.com,1999:blog-89050488336709152072024-03-04T23:36:34.427-08:00Wrapped in Brown PaperGinger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-8905048833670915207.post-41405502288015084612012-05-23T14:09:00.000-07:002012-05-23T15:58:51.542-07:00Upcoming Films 2012It's that time once again! I'm a little early, and wasn't even sure I'd do one of these posts, this year but here we are. 2012 has been, thus far, a pretty decent year with many films I'd highly recommend (Shame, The Descendents, Like Crazy, Chronicle, Martha Marcy May Marlene, Young Adult, The Avengers, The Raid, Beyond The Black Rainbow) and some I'm really looking forward to catching up on (Tatsumi, Coriolanus, The Muppets, Michael, Once Upon a Time in Anatolia, The Kid with a Bike, The Cabin in the Woods, Damsels in Distress, Goodbye First Love). But what does the rest of the year have in store for us? Here are twenty or so upcoming 2012 releases that I'm highly anticipating:<br />
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<u> Moonrise Kingdom </u>
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Director: Wes Anderson<br />
Release Date: 25/05/12<br />
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Story: A pair of young lovers flee their New England town, which causes a local search party to fan out and find them.<br />
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A new film from idiosyncratic director Wes Anderson is always a cause for celebration and reviewers seem to be falling over each other to praise his latest entry, a tale of young love set in the mid-60s (a notable inspiration for the director throughout his career).<br />
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<u> Prometheus </u><br />
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Director: Ridley Scott<br />
Release Date: 01/06/12<br />
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Story: A team of explorers discover a clue to the origins of mankind on Earth, leading them on a journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.<br />
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What is now quite clearly a prequel to Scott's 1979 'Alien', Prometheus looks to be a harsh, sharp hit of sci-fi storytelling. Scott has pulled together an extremely impressive ensemble cast and from the look and tone of the trailers released so far he may actually be able to live up to all the hype surrounding the film.<br />
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<u>Cosmopolis</u>
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Director: David Cronenberg<br />
Release Date: 15/06/12<br />
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Story: Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.<br />
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As much as I enjoyed Cronenberg's recent relatively commercial thrillers such as 'A History of Violence' and 'Eastern Promises' I avoided 'A Dangerous Method' entirely and was beginning to give up hope that he would ever make a film like 'Crash' or Videodrome' again. As soon as I saw the above teaser for his latest offering my fears were allayed. Let's hope the audiences at Cannes react as well to the actual film as I did to the trailer.<br />
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<u> Killer Joe </u>
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Director: William Friedkin<br />
Release Date: 29/06/12<br />
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Story: When a debt puts a young man's life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.<br />
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Friedkin, arguably, hasn't made a truly great film since his phenomenal 1973 feature, 'The Exorcist'. This looks set to change, however, as his latest effort seemingly nails the down-and-dirty pulp of Tarantino by way of trailer-trash stereotypes and a eerily off-kilter performance from Matthew McConaughey.<br />
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<u>Your Sister's Sister</u>
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Director: Lynn Shelton
Release Date: 29/06/12<br />
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Story: Iris invites her friend Jack to stay at her family's island getaway after the death of his brother. At their remote cabin, Jack's drunken encounter with Hannah, Iris' sister, kicks off a revealing stretch of days.<br />
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If you've not seen Shelton's brilliant film 'Humpday' do so asap as it's a hilarious yet seriously affecting character study. I'm excited to see if she can pull off the same trick twice, reuniting with Mark Duplass (always a great screen presence) in this upcoming indie dramedy.<br />
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<u>The Dark Knight Rises</u><br />
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Director: Christopher Nolan<br />
Release Date: 20/07/12<br />
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Story: Eight years after Batman took the fall for Two Face's crimes, a new terrorist leader, Bane, overwhelms Gotham's finest, and the Dark Knight resurfaces to protect a city that has branded him an enemy.<br />
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Nolan's third stab at the Batman franchise already seems poised to (comparatively) fail. The reaction to promo material has been tepid, Bane is no Joker (and there's no Ledger-like tragedy to fuel promotion and curiosity over the film) and 'The Avengers' has already set the superhero summer bar extremely high. Nevertheless I'll still be there on the day of release, ready to be proven wrong by a film that's unlikely to eclipse 'The Dark Knight' but will surely be a good, if not great, ending to the trilogy.<br />
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<u>The Forgiveness of Blood</u><br />
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Director: Joshua Marston<br />
Release Date: 10/08/12<br />
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Story: An Albanian family is torn apart by a murder, resulting in a blood feud that finds Nik becoming the prime target and his sister, Rudina, forced to leave school in order to take over the family business.<br />
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Anyone who's seen Marston's brilliant 'Maria Full of Grace' will know that he's more than capable of portraying the violent, criminal side of foreign culture in a strikingly eye-opening way and his new film looks no different. Coming off of high festival praise, 'The Forgiveness of Blood' is not to be missed.<br />
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<u>ParaNorman</u><br />
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Director: Chris Butler, Sam Fell<br />
Release Date: 14/09/12<br />
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Story: A misunderstood boy who can speak with the dead, takes on ghosts, zombies and grown-ups to save his town from a centuries-old curse.<br />
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Whilst not being written or directed by Henry Selick ('The Nightmare Before Christmas', 'Coraline) this new supernatural adventure animation is being made by the same company, Laika, and definitely displays his signature style and tone. ParaNorman is basically a children's zombie film, done in gorgeous looking stop-motion. Count me in.<br />
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<u>Killing Them Softly</u><br />
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Director: Andrew Dominik<br />
Release Date: 21/09/12<br />
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Story: Jackie Cogan is a professional enforcer who investigates a heist that went down during a mob-protected poker game.<br />
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What is surely to be dubbed this years 'Drive', director Andrew Dominik follows up his modern classic 'The Assassination of Jesse James by the Coward Robert Ford' with this gritty looking crime drama. Whilst some critics at Cannes have criticised the films heavy-handed political message its also been praised left and right, especially due to the performances by Brad Pitt and James Gandolfini.<br />
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<u>Looper</u><br />
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Director: Rian Johnson<br />
Release Date: 28/09/12<br />
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Story: In the year 2042, a mob hitman assassinates targets that arrive from the future of 2072. For him it's just a job... till he receives a new target: himself from the future.<br />
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Dodgy facial prosthetics aside, Looper looks to be the smoothest sci-fi thriller since 'Inception'. Directed by the brilliantly talented Johnson ('Brick', 'The Brothers Bloom') and fronted by Joseph Gordon-Levitt and Bruce Willis, the film should provide brains to go with your brawn in a slickly cinematic fashion.<br />
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<u>Silent Hill: Revelation</u><br />
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Director: Michael J. Bassett<br />
Release Date: 31/10/12<br />
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Story: Heather Mason and her father have been on the run, always one step ahead of dangerous forces that she doesn't fully understand, Now on the eve of her 18th birthday, plagued by horrific nightmares and the disappearance of her father, Heather discovers she's not who she thinks she is.<br />
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Admittedly I enjoyed 2006's 'Silent Hill' a lot more than most due to my obsessive passion for the computer game series on which it was based. And once again, I'm extremely hyped for a film which most will care little for and I, myself, will probably find disappointing. That said I know the creepy atmosphere, disturbing imagery and disquieting soundtrack to this horror film will be more than worth it.<br />
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<u>Amour (Love)</u><br />
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Director: Michael Haneke<br />
Release Date: 16/11/12<br />
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Story: Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested.<br />
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If you know anything about director Michael Haneke then you'll know not to expect a heart warming tale filled with whimsy and laughs from 'Amour'. Having built himself a reputation as a film-maker concerned with human suffering, social critique and - most of all - immense skill, Haneke's new film looks ready to take the Cannes jury by storm, and rightfully so. <br />
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<u>The Hobbit: An Unexpected Journey</u><br />
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Director: Peter Jackson<br />
Release Date: 14/12/12<br />
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Story: A curious Hobbit, Bilbo Baggins, journeys to the Lonely Mountain with a vigorous group of Dwarves to reclaim a treasure stolen from them by the dragon Smaug.<br />
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Peter Jackson's prequel to his acclaimed 'Lord of the Rings' trilogy has had a rough ride to screens (to say nothing of the recent negative reaction to the new frame-rate during test screenings) but production is now in full swing with a release date in sight. Based on the above trailer is looks as if Jackson will be continuing the high quality displayed in the previous films with a impressive mix of old and new cast members. Colour me excited.<br />
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And last, but most certainly not least...<br />
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<u>Django Unchained</u><br />
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Director: Quentin Tarantino<br />
Release Date: 18/01/13<br />
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Story: With the help of his mentor, a slave-turned-bounty hunter sets out to rescue his wife from a brutal Mississippi plantation owner.<br />
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Ok, ok, so <i>technically</i> it doesn't reach these shores until next year but I couldn't not include it in this list. Although I wasn't the biggest fan of 'Ingourous Basterds' I thoroughly enjoyed it and Christoph Waltz (working for the director once again) was one of the highlights. All that's known of the film thus far (I've never been one for leaked scripts) is a sizzle reel recently shown at Cannes which positioned it as controversial but brimming with Tarantino's typical sense of humour and a distinct 70s funk and soul feel. Whatever the film ends up like I'm sure to be delighted and disgusted in equal measure.<br />
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Also of note are the following films which have yet to secure a UK release date but are more than worth keeping an eye on: Beasts of the Southern Wild, The Master, Seven Psychopaths, Kill Bin Laden, The Hunt, Reality, Holy Motors and Sightseers.Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-52127852602346507412011-07-16T11:28:00.000-07:002011-07-18T15:38:18.436-07:00Upcoming Films 2011Wait, what? It's been over a year since my last post?! Yeah, and it's not as if I'm going to start boring myself and you, dear readers, by starting properly again either. Consider this a one off. Or something. It's come to my attention that so far 2011 has been a pretty poor year for cinema (I can think of only three proper 2011 releases that I've loved so far) so I've compiled a list of films due to be released later this year for your consideration (and so I have them written down somewhere as not to forget them).<br /><br /><u>The Future</u><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/N3CptIWoCik" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Miranda July<br />Release Date: 04/11/11<br /><br />Story: When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.<br /><br />Anyone who's seen Me, You and Everyone We Know will attest to the talent of July, who hasn't made a film since her début. Judging from this trailer (and the glowing reviews from festival screenings) it'll have been well worth the wait.<br /><br /><U>Kill List</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/Fa9uUEqHbm4" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Ben Wheatley<br />Release Date: 02/09/11<br /><br />Story: Eight months after a disastrous job in Kiev left him physically and mentally scarred, ex-soldier turned contract killer Jay, is pressured by his partner Gal, into taking a new assignment. The film follows as they descend into the dark, disturbing world of the contract, Jay begins to unravel once again -- his fear and paranoia sending him deep into the heart of darkness.<br /><br />Earning more than healthy buzz this festival season, Kill List is being touted as a highly psychological, violent, human and surprising film to keep an eye on.<br /><br /><U>Drive</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/wO1PCKcXfC0" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Nicolas Winding Refn<br />Release Date: 23/09/11<br /><br />Story: A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.<br /><br />None of Refn's previous films have managed to impress completely but his latest is getting fantastic reviews so far and feature both Ryan Gosling <span style="font-style:italic;">and</span> Carey Mulligan in a moody thriller about a get-away driver. What more do you want?<br /><br /><U>The Girl With the Dragon Tattoo</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/WVLvMg62RPA" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: David Fincher<br />Release Date: 26/12/11<br /><br />Story: Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.<br /><br />I'll admit I was initially sceptical about this film as I wasn't a big fan of the original film and a remake in general seemed pointless. Then I learnt that Fincher was directing (the man how made one of last year's best films about the beginnings of a social networking website). And then I saw the above trailer. 'Nuff said.<br /><br /><U>Beginners</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/DFM3AE64bgw" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Mike Mills<br />Release Date: 22/07/11<br /><br />Story: A young man is rocked by two announcements from his elderly father: that he has terminal cancer, and that he has a young male lover.<br /><br />Like July, Mills hasn't made a film since his brilliant 2005 début; Thumbsucker. Thanks to a unique story, a promising trailer and the ever beautiful Mélanie Laurent Beginners is shaping to be a highly enjoyable piece of indie film-making.<br /><br /><U>Super 8</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/tCRQQCKS7go" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: J.J. Abrams<br />Release Date: 05/08/11<br /><br />Story: After witnessing a mysterious train crash, a group of friends in the summer of 1979 begin noticing strange happenings going around in their small town, and begin to investigate into the creepy phenomenon.<br /><br />Since its release in the US some viewers have found Super 8s reverence to 1970s Spielberg a little overbearing but ever since I saw the initial teaser it's been clear that this is going to be a thoroughly exciting cinematic experience, no matter how much it owes to previous films.<br /><br /><U>The Troll Hunter</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/TLEo7H9tqSM" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: André Øvredal<br />Release Date: 09/09/11<br /><br />Story: A group of students investigate a series of mysterious bear killings, but learns that there are much more dangerous things going on. They start to follow a mysterious hunter, learning that he is actually a troll hunter.<br /><br />I've already had the pleasure of watching this film but anyone looking for a unique and fresh take on the faux-documentary/shaky cam formula could do far, far worse than this thrilling (and often hilarious) Norwegian film.<br /><br /><U>The Thing</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/Txjm94GnrPA" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Matthijs van Heijningen Jr.<br />Release Date: 02/12/11<br /><br />Story: At an Antarctica research site, the discovery of an alien craft leads to a confrontation between graduate student Kate Lloyd and scientist Dr. Sander Halvorson.<br /><br />As a massive fan of the original it'd be an understatement to suggest that I'm nervous about this prequel. However, the trailer above is in tune with the original's atmosphere (except for the jump scare ending), it's reported that minimal CGI is being used and <a href="http://moviesmedia.ign.com/movies/image/article/118/1182131/the-thing-2011-20110714012555084-000.jpg">this teaser poster</a> definitely gives off the right vibes. I'm getting a Dawn of the Dead remake/Let Me In feeling about this project so far and hopefully it won't disappoint.<br /><br /><U>50/50</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/jeh5YXotTTM" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Jonathan Levine<br />Release Date: 18/11/11<br /><br />Story: A comedic account of a 27-year-old guy's cancer diagnosis, and his subsequent struggle to beat the disease.<br /><br />A comedy about cancer? It's clearly not going to be an easy sell but based on this trailer 50/50 seems to strike the right balance between sensitivity and humour for the subject matter and has a killer duo of lead actors.<br /><br /><U>Red State</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/KOvbSKO6SMM" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Kevin Smith<br />Release Date: 30/09/11<br /><br />Story: Set in Middle America, a group of teens receive an online invitation for sex, though they soon encounter fundamentalists with a much more sinister agenda.<br /><br />Whilst American critics have praised Smith for working outside of his comfort zone (and it seems to be one hell of a directorial transformation) unfortunately it has also been critised for being uneven in tone and message. Even with this taken into account that's a extremely impressive trailer and there'll no doubt be at least be sections of the film which live up to it's unnerving cinematic approach.<br /><br /><U>The Guard</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/losc4-efxKA" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: John Michael McDonagh<br />Release Date: 19/08/11<br /><br />Story: An unorthodox Irish policeman with a confrontational personality is teamed up with an uptight FBI agent to investigate an international drug-smuggling ring.<br /><br />John Michael McDonagh, brother of Martin (director of the brilliant In Bruges), seems not only to have borrowed his brother's lead actor, but also his wit in this hilarious looking comedy.<br /><br /><U>30 Minutes or Less</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/8oLOLTc6Qzc" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Ruben Fleischer<br />Release Date: 07/10/11<br /><br />Story: Two fledgling criminals kidnap a pizza delivery guy, strap a bomb to his chest, and inform him that he has mere hours to rob a bank or else...<br /><br />After Fleischer's brilliant Zombieland he chose not to follow it up with a sequel (yet), but to focus on this heist-gone-wrong comedy. So what's all the fuss about? Two words: Aziz Ansari. This man is a comedic genius and from the looks of both trailers already released it looks as though he'll be bringing his a-game to this one.<br /><br /><U>Melancholia</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/wzD0U841LRM" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Lars von Trier<br />Release Date: 30/09/11<br /><br />Story: Two sisters find their relationship challenged as a nearby planet threatens to collide into the Earth.<br /><br />Although the festival response to von Trier's latest have suggested it to be little more than a therapy session for the director, Kirsten Dunst's performance has been hailed as exemplary. It'll also be worth watching just for von Treir's signature portrayal of extreme human emotion and breathtaking cinematography.<br /><br /><U>Tinker, Tailor, Soldier, Spy</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/Aco15ScXCwA" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Tomas Alfredson<br />Release Date: 16/09/11<br /><br />Story: In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet agent within MI6's echelons.<br /><br />Alfredson, director of the brilliant Let the Right One In, is back. For my shame I've not seen the original TTSS but this updated version looks to bring the directors eye for detail and cool restrained style to the screen once again, along with an extremely impressive roster of British actors.<br /><br /><U>We Need To Talk About Kevin</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/bcFCJnGPudg" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Lynne Ramsay<br />Release Date: 21/10/11<br /><br />Story: The mother of a teenage boy who went on a high-school killing spree tries to deal with her grief -- and feelings of responsibility for her child's actions -- by writing to her estranged husband.<br /><br />In what appears to be this year's theme, Ramsay also returns to our screens after a prolonged absence(her last film was the impressive 2002 film, Morvern Callar). Based on Lionel Shriver's much-praised novel (which I admittedly have not read) We Need To Talk About Kevin looks to be an extremely uncompromising and effecting film, especially based on the above clip.<br /><br /><U>Tyrannosaur</U><br /><br /><object width="650" height="434"><param name="movie" value="http://ictv-tf-ec.indieclicktv.com/player/embed/97b1fda2ca43d6c29eaf63ed1ec347c6/4d548ff71d1ac/31/0/defaultPlayer^player.swf"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://ictv-tf-ec.indieclicktv.com/player/embed/97b1fda2ca43d6c29eaf63ed1ec347c6/4d548ff71d1ac/31/0/defaultPlayer^player.swf" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="650" height="434"></embed></object><br /><br />Director: Paddy Considine<br />Release Date: 14/10/11<br /><br />Story: Joseph, a tormented, self-destructive man plagued by violence, finds hope of redemption in Hannah, a Christian charity-shop worker he meets one day while fleeing an altercation. Initially derisive of her faith and presumed idyllic existence, Joseph nonetheless returns to the shop and soon realizes that Hannah's life is anything but placid. As a relationship develops, they come to understand the deep pain in each other's lives.<br /><br />Phenomenal English actor Paddy Considine (Dead Man's Shoes, Hot Fuzz) steps behind the camera for the first time to expand upon his short film, Tyrannosaur. No, it's not about dinosaurs, but based upon the original short and the above clip it looks as though Considine may have a modern masterpiece of kitchen-sink drama on his hands.<br /><br /><U>Bellflower</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/Lu3v7iUaUaA" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Evan Glodell<br />Release Date: TBC<br /><br />Story: Two friends spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang "Mother Medusa".<br /><br />Bellflower is said to be a blend of indie drama, romance, film geekery and post-apocalyptic action. Not an easy mix to juggle but if the trailer and early festival reviews are to be believed it's sure to be a future cult classic. Gotta love that over-saturated cinematography too.<br /><br /><U>Take Shelter</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/pyCAzqb_260" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Jeff Nichols<br />Release Date: TBC<br /><br />Story: Plagued by a series of apocalyptic visions, a young husband and father questions whether to shelter his family from a coming storm, or from himself.<br /><br />Starring the brilliant Michael Shannon, Take Shelter gives off a heavy, intoxicating atmosphere of dread and psychosis which has me aching to see the final thing.<br /><br /><U>Immortals</U><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/sLWwdO1PjKs" frameborder="0" allowfullscreen=""></iframe><br /><br />Director: Tarsem Singh<br />Release Date: 11/11/11<br /><br />Story: Greek warrior Theseus battles against imprisoned titans.<br /><br />So yes, it basically looks like 300/Clash of the Titans directed by Tarsem but who wouldn't want to see that? Anyone who's not seen his previous films The Fall and, to a lesser extent, The Cell, that's who. The directors eye for stunning visuals are on full display here (especially the shot of the gravity-free sky battle) and it'll be really interesting to see what Mickey Rourke does with the villainous King Hyperion.<br /><br />And finally...<br /><br /><U>The Rum Diary</U><br /><br />Director: Bruce Robinson<br />Release Date: 04/11/11<br /><br />Story: Paul Kemp is a freelance journalist who finds himself at a critical turning point in his life while writing for a run-down newspaper in the Caribbean. Paul is challenged on many levels as he tries to carve out a more secure niche for himself amidst a group of lost souls all bent on self-destruction.<br /><br />A film that I'll believe is being released when I see it (and I do so want to see it). The Rum Diary is based upon the novel by Hunter S. Thompson, is directed by the man that brought you Withnail & I and once again stars Johnny Depp as the main protagonist who is (more or less) a representation of the author in question. Although US and UK release dates have been confirmed it's been a film plagued with delays and we've yet to see a single frame of footage. Like I say: I'll believe it when I see it.Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-10765506224220666652010-06-17T09:36:00.000-07:002010-06-17T15:27:18.218-07:00My Top Ten Films of the Previous Decade (2000-2009)So a) I don't usually do this kind of thing and, b) I've technically retired from film journalism but my good old buddy Robert Beames (read his version <a href="http://beamesonfilm.blogspot.com/2010/06/best-of-2000s.html">here</a>) has managed to convince me to write up a top ten list for the last decade. I decided to have no rules (I didn't choose one for each year or decide I had to cover each genre etc.), except one; these films had to really connect with me on a personal level. This was a really hard task, especially since I could only choose <span style="font-style:italic;">ten</span> films but I'm confident that it's reflective of my taste and, by extension, myself. Without further ado, the list (which is in no particular order) is as follows:<br /><br />1. <span style="font-style:italic;">Control</span> (2007, Anton Corbijn)<br />I'll admit it; before seeing this film I'd never given <span style="font-style:italic;">Joy Division</span> the attention they so fully deserved and I was unfamiliar with the full extent of front man Ian Curtis' life and history. Control is far more than just a film about an indie band though; it's funny, moving, exquisitely shot and amazingly acted modern masterpiece of British cinema. It's not surprising in the least to find that Corbijn was a world famous photographer before he began directing as his black and white photography in the film is among the best I have ever seen (and adds much to the tone of the film). It had such an enormous impact upon me that upon leaving the cinema I actually couldn't speak for five whole minutes. Can't fault that soundtrack either. ;)<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/xUz6y6ANIgE&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xUz6y6ANIgE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />2. <span style="font-style:italic;">Mulholland Drive</span> (2001, David Lynch)<br />Unfortunately I hadn't gotten into David Lynch when this was released in theatres but it's impact wasn't tainted in the least by catching up with it on home video. I'm a massive David Lynch fan in general (but was fairly disappointed with <span style="font-style:italic;">INLAND EMPIRE</span>) and I'd be hard pressed to decide between <span style="font-style:italic;">Eraserhead, Blue Velvet, The Elephant Man</span> or this as my favourite of his. <span style="font-style:italic;">Mulholland Drive</span> is, as with most Lynch, a wonderfully stylised head-fuck but it still elicits strong emotional responses from the audience (and a work-out-able narrative structure, so long as you're going along with the common consensus). Lynch's bitter sweet love letter to the movie industry is essential cinema and is up there with the likes of <span style="font-style:italic;">Sunset Blvd</span>. and <span style="font-style:italic;">Vertigo.</span><br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/VFtqxpL1sG8&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/VFtqxpL1sG8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />3. <span style="font-style:italic;">Hunger</span> (2008, Steve McQueen)<br /><span style="font-style:italic;">Hunger</span> is another one of those films where I knew next to nothing about the factual events it depicted but one which (just as in <span style="font-style:italic;">Control</span>) doesn't condemn or worship it's morally complex historical figures. Hunger is a <span style="font-style:italic;">harsh</span> film but the music, cinematography and mise-en-scene all combine to create a beautifully haunting atmosphere which had me completely entranced from start to finish. Michael Fassbender, playing the central role of Bobby Sands, is also sublime, especially in the ten minute one-shot heated debate between him and a Catholic priest. As with most films focusing on the IRA or 'troubles' in Ireland it's got a lot of negative things to say about the British but if this film is any indication then I'd don't blame them.<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/TVPl6Hx-pd8&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TVPl6Hx-pd8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />4. <span style="font-style:italic;">Eternal Sunshine of the Spotless Mind</span> (2004, Michel Gondry)<br />Gondry's second effort with screenwriter Charlie Kaufman (choosing one Kaufman film for this list was also an especially hard task) is one of the few romantic films that I can truly, and I mean <span style="font-style:italic;">truly</span> identify with. It's honest, unashamed and so full of heartfelt affection that it breaks (and mends) my heart each and every time I see it. The film also cleverly plays with ideas of memory and dream states both in it's style and narrative.The striking visual style and post-modern tone felt original and fresh (and still does, for that matter) and it's true brilliance is that in the hands of many other film-makers it could have easily overshadowed the emotional connection between the audience and it's characters. Who knew Jim Carrey could deliver such a devastatingly dramatic performance?<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/lnSgSe2GzDc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lnSgSe2GzDc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />5. <span style="font-style:italic;">Requiem for a Dream</span> (2000, Darren Aronofsky)<br />Yes I know it's only really saying one thing, that drugs can fuck you up, but since when has that been a bad thing? It's the way in which the film translates this message, and the different circumstances which in which it makes this point (do NOT trust your doctor if he prescribes you diet pills), which really make it stand out. <span style="font-style:italic;">Requiem</span> is a true force of cinematic nature; it starts fairly off-kilter and builds and builds until it violently rapes the majority of your senses during it's final moments (in the best way possible). This is another film which is heavy on style (utilising sound design and editing to create a distinctive atmosphere which is at times exhilarating and others extremely terrifying) but not at the expense of dramatic heft. It also features a score so good it was used in about a million different trailers after it's release and includes a master class in acting from Ellen Burstyn (who was completely and utterly robbed of her Oscar).<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/lgo3Hb5vWLE&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lgo3Hb5vWLE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />6. <span style="font-style:italic;">The Squid & the Whale</span> (2005, Noah Baumbach)<br />It's very rare that I watch a film and literally feel like someone has just taken my life and put it to celluloid but <span style="font-style:italic;">The Squid & the Whale</span> (along with <span style="font-style:italic;">Nil By Mouth</span>, which was unfortunately released in '97) is one of those films. It chronicles the breakup of husband and wife with the focus squarely on the children. Lies, emotional manipulation and continuous confusion are the order of the day and seldom have I seen these emotions so honestly put to screen. It's not an overly depressing film but neither does it sugar-coat events (don't let the tone of the trailer fool you) and there are also some hilarious moments throughout. Jeff Daniels puts in a career best and it also features Jesse Eisenberg before he got annoyingly typecast. <br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/UfdrJ0wHUGw&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/UfdrJ0wHUGw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />7. <span style="font-style:italic;">The Virgin Suicides</span> (2000, Sofia Coppola)<br />Sofia Coppola's debut (although her second film, <span style="font-style:italic;">Lost in Translation</span>, could have easily been on this list) is, put simply, serenely hypnotising. The superb soundtrack by French electro-pop duo <span style="font-style:italic;">Air</span>, narrative pace and stunning cinematography combine to create what I can only describe as the most beautiful yet tainted dream you'll ever not have. <span style="font-style:italic;">Suicides</span> details the suicide of four teenage girls who were living in 1970s suburbia. The film prefers to focus on the smaller details of the girls' coming of age (instead of delivering melodramatic moments at a fast pace) whilst their overprotective, overly religious and old fashioned mother tries to cocoon their innocence. The story is told from the perspective of a group of boys from the neighbourhood who become enamoured with the girls and the way the film conveys their fascination with, awe at, and lack of understanding of the girls is pitch perfect.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/uZ6cvgIGfH4&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uZ6cvgIGfH4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />8. <span style="font-style:italic;">Elephant</span> (2003, Gus Van Sant)<br />Again, it was hard to choose between this and Van Sant's later film, <span style="font-style:italic;">Paranoid Park</span>, but the fact that these events (<span style="font-style:italic;">Elephant</span> is essentially a fictional re-telling of the Columbine High School massacre) actually happened make it far more harrowing. Most of the film is spent following around several high school students in what seems to be the average day. Van Sant's depiction of this average high school day is <span style="font-style:italic;">the</span> most realistic and engaging one I have ever seen which makes the final thirty minutes all the more shocking and emotionally affecting. It also helps that, although all unknowns (and this was most definitely a wise casting decision), the actors playing these teenagers are extremely believable in their roles. It's hard to properly describe exactly why I love this film so much but, along with what I've already stated, it just gives off an amazing atmosphere that completely and utterly sucks you in.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/_Au7kRdYp7g&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/_Au7kRdYp7g&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />9. <span style="font-style:italic;">Donnie Darko</span> (2001, Richard Kelly)<br />There's so much bad air surrounding <span style="font-style:italic;">Donnie Darko</span> (the emo associations, the director's cut, the direct-to-DVD sequel and Kelly's subsequently terrible films for starters) that it's easy to forget how brilliant this film really is. Not only is <span style="font-style:italic;">Donnie Darko</span> a really interesting sci-fi mystery (I'll be the first to admit I still don't completely understand the film) but it's also one of the best coming of age films we've seen for a long time. The 80s setting is perfect for this (as is the accompanying soundtrack) as we see Donnie struggle with inner demons, family relations, difficulties at school and lest we forget, first love. It's also a film with a lot to say about suburbia and middle class lifestyles (the fact that he opening scene is highly reminiscent of <span style="font-style:italic;">Blue Velvet's</span> is no mistake) as Donnie encounters all manner of dark secrets hidden underneath the white picket fences which litter his neighbourhood. <br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/b6LkdL8THFo&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/b6LkdL8THFo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />10. <span style="font-style:italic;">Children of Men</span> (2006, Alfonso Cuarón)<br />From the very first scene of <span style="font-style:italic;">Children of Men</span>, you know it's going to pull no punches in it's depiction of a dystopian future in which women can no longer bear children. And and I'm a sucker for dystopian futures. The brilliance of the film is that the future portrayed is a tangible one. No one's running around in flying cars or shooting death rays out of their eyes. It's an ugly, violent, dirty and above all, <span style="font-style:italic;">real</span> world which the audience can relate to. The way the film uses this backdrop to bring up the issues of today (immigration, over population, police corruption and brutality) is scarily on the mark in that you can see it happening. The documentary style employed by Cuarón, in particular the breathtaking long shots, also help to convey this grim sense of what could be and the action sequences are second to none.<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/iUyLWwK9M3o&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/iUyLWwK9M3o&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />So in conclusion it seems I have a massive hard-on for American indie coming of age films set in the suburbs and depressing Brit flicks. Here are some films (not already mentioned) that just missed the cut:<br /><span style="font-style:italic;"><br />District 9, Memento, You, Me and Everyone We Know, Bloody Sunday, The Woodsman, The Three Burials of Melquiades Estrada, Half Nelson, The Royal Tenenbaums, Quiet City, Rachel Getting Married, Sympathy for Mr. Vengeance, Pan’s Labyrinth</span> and <span style="font-style:italic;">Junebug.</span>Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-5759823306944013182010-05-18T10:44:00.000-07:002010-05-18T10:50:20.214-07:00Four Lions (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=550w_movies_four_lions_quad.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/550w_movies_four_lions_quad.jpg" border="0" alt="Photobucket"></a><br /><br />Plot summary: centres on a group of frustrated Muslim men in Sheffield who're plotting a suicide bomb attack to coincide with the London Marathon.<br /><br />Chris Morris, writer and director of <span style="font-style:italic;">Four Lions</span>, is best known for his satirical comedy shows, such as <span style="font-style:italic;">The Day Today</span> and <span style="font-style:italic;">Brass Eye</span>, which deftly deconstructed news broadcasting, issues-based and general British televising to hilarious affect. They dealt with a number of controversial subjects ranging from drug use all the way through to paedophilia in such a way as to demonstrate how badly they’d be misrepresented and exaggerated by the media. With <span style="font-style:italic;">Four Lions</span>, a comedy about suicide bombers, Morris presents himself with his biggest challenge yet and I have to admit, I was unsure as to whether even he could pull the concept off in a tasteful and constructive manner. As such, I feel relieved to say that <span style="font-style:italic;">Four Lions</span> is a side-splittingly funny, surprisingly moving and above all, extremely important film.<br /><br />You may be asking yourself how anything about a group of British jihadists could be considered funny, and rightly so (provided you haven’t seen the film’s trailer of course). In making <span style="font-style:italic;">Four Lions</span>, Morris seems to have taken a leaf out of Charlie Chaplin’s book as he channels the spirit of <span style="font-style:italic;">The Great Dictator</span> thorough the film. He turns fear into laughter, to see these men as fools rather than people to be afraid of, and it works perfectly. There are far more failed attempts at suicide bombing, especially in Britain, than there are successes and Morris himself describes the film as portraying the, “<span style="font-style:italic;">Dad’s Army</span> side to terrorism". In <span style="font-style:italic;">Four Lions</span> our motley crew of would-be bombers are completely and utterly inept and although it doesn’t always feel right to do so their blundering ‘antics’ (planting bombs on crows, running through the streets whilst trying not to drop explosives) will have you laughing from start to finish.<br /><br />There’s a lot more to the film that just slapstick routines and laughing at buffoons though as it’s not just about what these characters are doing – but why. Barry is a white Muslim terrorist, a funny enough concept as it is, who wants to blow his own faith’s mosques up in order to, “stir shit up”. Waj, who is a little slow to say the least, is simply copying his brother’s behaviour as he shouts hilarious lines such as, “Fuck Mini Babybels!” to join in. Meanwhile Fessal is a part of the group because otherwise he’d be, “eating newspaper instead”. These men (save for the main character, Omar) have no real clue as to what they’re fighting for and why and provide the source of much of the film’s hilarity (not to mention social commentary). These characters would be nothing, however, if it were not for the brilliant cast Morris has assembled to play them. They excel as standalone actors but also share a collective comic timing and ability to play off of one another which becomes one of the films greatest pleasures.<br /><br />The films portray of various people connected to the bombers (police, politicians, bewildered co-workers and oblivious neighbours) is also one of its comedic strong points. Towards the end of the film this reaches jet-black levels of hilarity as a duo of police snipers argue over the difference between a Wookie and the Honey Monster whilst taking pot-shots at runners in the London Marathon. Thankfully Morris is also careful not to take aim at the underlying ideology or religious beliefs that drive these men (except for a rather funny swipe at their sexist attitudes) and knows exactly when to reign in the laughs to show the horrific consequences of their actions. <span style="font-style:italic;">Four Lions</span> is a surprising film, not just because it manages to make suicide bombers funny, but because it’s also genuinely moving. Morris’s script, and the actors themselves, really sell these characters to you as three-dimensional people, instead of the usual perceived stereotypes of suicide bombers. As a result, while you’re never meant to agree with what they’re doing, you really engage with them on an emotional level. <br /><br />You’ll care about what happens to these characters and some scenes may actually tug on your heart strings a little. The fact that Morris has shown little capability for human drama on this level in the past, and that he is able to balance it so well with the comedy, makes it all the more impressive. At other times <span style="font-style:italic;">Four Lions</span> is also a downright disturbing film. The scenes of Omar’s home life in particular are some of the weirdest and disturbing moments of cinema this writer has ever witnessed. Whether it be Omar’s son getting excited at the prospect of his father’s ‘martyrdom’ or Omar altering the plot of <span style="font-style:italic;">The Lion King</span> in order to brainwash his child, it’s truly chilling stuff. Omar’s discussions with his wife about his plans might as well be about a family holiday they’re that blasé. Many will undoubtedly misinterpret these scenes as Morris trying to make you feel sorry or side with Omar but it’s the other way around; these moments reveal him to be a thoroughly untrustworthy, manipulative and irresponsible human being.<br /><br />My only real criticism of the film is that there is slightly too much broad humour present. Whilst there’s nothing intrinsically wrong with slapstick and laughing at moronic characters, I would have liked to have seen a little less of this and slightly more of the intelligent and intellectually challenging comedy Morris is known for. Similarly, a lot of Morris’s humour often came from the visual style of his television work and, save for a few moments, <span style="font-style:italic;">Four Lions</span> is devoid of such techniques. That said, the film differs from his previous work in that focuses on human drama so perhaps a heavier visual style would have undercut this. Despite these minor grievances the film still stands as one of those rare beasts; an independent film with an important message that has mass appeal. <span style="font-style:italic;">Four Lions</span> is brave, entertaining and essential cinema at it's best.<br /><br />Final Verdict: 9/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-23219767837243544752010-05-15T16:27:00.000-07:002010-05-15T16:37:57.546-07:00A Nightmare on Elm Street (2010)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=A_Nightmare_on_Elm_Street_2010_post.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/A_Nightmare_on_Elm_Street_2010_post.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: A re-imagining of the horror icon Freddy Krueger, a serial-killer who wields a glove with four blades embedded in the fingers and kills people in their dreams, resulting in their real death in reality.<br /><br />Another month, another horror remake. This time it’s Wes Craven’s turn as his 1984 slasher film, <span style="font-style:italic;">A Nightmare on Elm Street</span> (<span style="font-style:italic;">NOES</span> for short), gets the remake treatment by director Samuel Bayer and Michael Bay’s infamous production company, Platinum Dunes. I have to admit, I’ve never been a massive fan of the <span style="font-style:italic;">NOES</span> franchise. The idea, that a serial killer could appear and kill you in your dreams, is a unique and frightening one but the series’ comedic tone always put me off. Bayer addresses this problem in the 2010 version of <span style="font-style:italic;">NOES</span>, but completely fails in almost every of other aspect of horror film-making. <span style="font-style:italic;">NOES</span> is a boring, over long mess of a film which seems to favour unnecessary gore and swearing over suspense or character development.<br /><br /><span style="font-style:italic;">NOES’s</span> biggest sin is by far lack of character development. After the initial kill sequence at the beginning of the film we’re introduced to a number of teenage characters during a in such quick succession that it’s almost as if we’re meant to have known them our entire lives. After this scene the film doesn’t properly slow down to flesh out these characters as real people with three-dimensional personalities and a consequence we don’t care whether they live or die. Instead, they’re reduced to stereotypes; the aggressive jock, preppy cheerleader, the arty loser etc. Horror films need to make a connection between the audience and the potential victims on screen because otherwise we can’t see ourselves in their shoes and in turn, feel fearful for them. <br /><br />This issue is not helped in the slightest by the fact that the script and acting is terrible throughout, sometimes laughably so. The dialogue uttered by the teenagers sounds as if it were written by someone who no longer has any grasp of what it was like being a teenager and instead is content to turn to clichés and an abundance of swearing for inspiration. In one of the more hilarious pieces of dialogue Nancy explains to Quentin why she never went out with him, “I was always so unpopular and you were, you know...” The acting is similarly melodramatic and unconvincing. This is especially true in the case of Kris’s mother, Nora, who’s delivery of lines such as, “It’s ok honey, it’s over” during a funeral is so unenthused you can almost see her reaching for the cheque.<br /><br />The pacing of <span style="font-style:italic;">NOES</span> is also less than impressive as there are several plot points that go on for far too long and that don’t go anywhere of any consequence. From the beginning of the film you’re meant to believe that Kris is the main character, only for her to be killed off at about forty minutes into the film. Bayer is clearly trying to pull a <span style="font-style:italic;">Psycho</span> on his audience here but it falls flat as Kris is so boring we don’t care what becomes of her. It’s a shameful waste of twenty minutes running time which could have been spent on some much needed character development. Later on there are a couple of scenes in which the two remaining leads decide that they made Freddy’s crimes up, and that they have inadvertently killed an innocent man. Fifteen minutes later they find the scene of Freddy’s crimes and swiftly change their minds. It’s a pointless twist in the story that does nothing but make the film unnecessarily long.<br /><br />In fact, the best way to utilise this wasted time would have to actually build up a semblance of atmosphere or suspense. <span style="font-style:italic;">NOES</span> runs at such a fast pace (in part due to the ‘micro-naps’ idea) that it doesn’t have time to set up a sense of unease or tension. This results in the film’s ‘horror’ consisting of two things. Firstly jump scares which, yes, do what they say on the tin but don’t provide any lasting impact and get old extremely quickly. Secondly, an over-use of gratuitous violent special effects. Don’t get me wrong, I love gore as much as the next twenty two year-old male, but it has to be built up to in order to be satisfying or even taken remotely seriously. In NOES you can tell this splatter hungry effects are being used as a shortcut to shock rather than horrify.<br /><br />There is a glimmer of hope, however, in the portrayal of Freddy. Purists may scoff at the idea of anyone other than Robert Englund playing Krueger but the fact is that Jackie Earle Haley makes for an inspired and menacing replacement. We’ve already seen Haley play deranged lunatics before in the likes of <span style="font-style:italic;">Shutter Island</span> and <span style="font-style:italic;">Watchmen</span> but with Krueger he becomes a truly malevolent force to be reckoned with. His voice is just the right side of Christian Bale’s <span style="font-style:italic;">Batman</span> growl and the way he twitches his knife fingers is truly creepy. <br /><br />The best part of Haley’s Freddy is that, as previously mentioned, he’s not played for laughs. Sure, he gets plenty of one liners but (for the most part) they’re not overtly comedic as to underplay the horrific tone of the film. Nevertheless there is one fairly troubling trait the screenwriters have brought to their new version of the character, and that’s the handling of his paedophilic tendencies. I’m not against the idea that Freddy was a paedophile instead of a child killer (personally I’d always read that into the character anyway) but it’s his quips towards the end of the film that I take particular issue with. Lines such as, “How's this for a wet dream?” and, “Your mouth says no but your body say yes” boarder on the distasteful. <br /><br />Some of the nightmare sequences are also well presented and fittingly surreal. The editing between worlds, snowing bedrooms and hallways full of tar all look the part and recall what made the original so brilliantly twisted. That said other scenes, such as when Freddy is coming out of wall or a classroom turning to ash, have been created with some frankly appalling CGI which looks embarrassingly bad. NOES is also a well shot film. Whilst it may not break from the stylistic rule book the film-makers have gone for a grimy, downtrodden look which complements the subject well. In the end though, neither Haley nor a handful of well executed scenes can save NOES from being exactly what it is; a truly sad excuse for a horror film.<br /><br />Final Verdict: 2/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-56656630322867611602010-05-04T10:07:00.000-07:002010-05-04T10:16:56.682-07:00Iron Man 2 (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Iron_Man_2_poster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Iron_Man_2_poster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: Billionaire Tony Stark must contend with deadly issues involving the government, his own friends, as well as new enemies due to his superhero alter ego Iron Man.<br /><br />Before 2008, who really knew about one of Marvel’s minor characters, ‘Iron Man’? Who even knew of the director, Jon Favreau? Very few, that’s who. Even Robert Downey Jr. hadn’t broken into the Hollywood big league yet. The release of <span style="font-style:italic;">Iron Man</span> changed all of this, earning almost $600 million at the international box office, as well as being critically lauded and making overnight stars of everyone involved. Although when the inevitable cries for a sequel were heard, things quickly became troubled. <br /><br />Favreau’s unlikely to return as director, oh no, he’s back. Terrence Howard has been fired; he’s to be replaced by Don Cheadle. Emily Blunt’s been cast, oh wait, she’s off the project. With all the issues over whom gets paid what, production schedules and casting, it’s a minor miracle that <span style="font-style:italic;">Iron Man 2</span> even saw the light of day at all. Thankfully, <span style="font-style:italic;">Iron Man 2</span> has come out at the other end of the tunnel retaining all the wit and exuberance of the original and is overall a worthy, if not spectacular, successor to <span style="font-style:italic;">Iron Man</span>. <br /><br />The film opens with, somewhat strangely, the worst scene in the entire film; the introduction of Vanko tending to his terminally ill father in Russia. This scene is filled with so much over-the-top Russian stereotyping (Vanko drinking vodka from the bottle in a snow drenched, crummy apartment building) and hammy acting (Mickey Rourke’s Darth Vader moment) that it’s embarrassingly bad. After this false start, however, the film picks up its feet and begins proper as we’re dropped headfirst into the Stark Expo along to the blisteringly energetic sounds of AC/DC. <br /><br />The original <span style="font-style:italic;">Iron Man</span> wouldn’t have been nearly as good if it were not for the characterisation of Stark as a man with an egotistical, eccentric yet brilliant mind and Robert Downey Jr. was the perfect fit to embody such a mind. The enthusiasm and maddening determination Downey brought to Tony Stark made the film and it’s no different this time around. Just as before his performance in <span style="font-style:italic;">Iron Man 2</span> is ridiculously enjoyable to watch, and this is not meant as a criticism, but so much so that he’s probably responsible for at least half of the films overall entertainment value. That said, the new additions to the cast are themselves particularly impressive. <br /><br />Don Cheadle, replacing Terrence Howard as Lt. Col. James Rhodes, outdoes his predecessor by miles. Not just because his character is given more narrative prominence but because Cheadle is the all-round better actor; bringing a greater sense of authority and, when needed, comedic charm to the character. Mickey Rourke (save for the aforementioned emotional outburst) brings just the right amount of weird to his villainous Vanko and manages to deliver some of the best lines in the film. Meanwhile Sam Rockwell excels as the tragically comic Hammer, a man desperate to outdo Stark but without the means necessary, and Scarlett Johansson delivers a surprisingly kick-ass (not to mention easy on the eyes) turn as Tony’s new assistant, Natalie Rushman. <br /><br />Favreau hasn’t lost his knack for fun, kinetic action sequences either. The director has always injected his fight scenes with a sense of humour and these moments elevate IRON MAN 2 from just being men in robot suits smacking one another. It’s the films first outburst of flames, during Stark’s eleventh hour decision to compete at Monaco, which really stands out though. Whiplash enters the course on foot, tearing up race cars left and right with a thoroughly frightening sense of determination, all shot in brilliantly realised slow-motion. It’s during this moment that we most fear for Stark and it’s a truly breathtaking piece of cinema. Scarlett Johansson also gets in on the action later on when she infiltrates Hammer’s facility. We watch as she effortlessly cuts through security guards one by one, like a hot knife through butter. It’s an impressively choreographed and memorable sequence which will surely leave audiences with their jaws resting firmly on the floor. <br /><br />The special effects are also well worth a mention. The CGI in <span style="font-style:italic;">Iron Man</span> was definitely up to the task but there were a few rough moments which unfortunately took you out of the moment. With <span style="font-style:italic;">Iron Man 2</span> this is not the case whatsoever. The technical and visual achievements in this sequel are some of best to date and make every scrape, blow and explosion that bit more believable. This is not to say that the film relies solely on its visuals as the script is as sharp as ever. Stark’s witty banter with his detractors continues to be a highlight of the <span style="font-style:italic;">Iron Man</span> franchise as Stark goes toe to toe against Senator Stern and Nick Fury (Sam Jackson gets a lot more screen time round and the film is all the better for it) in two particularly hilarious scenes.<br /><br />Pacing, on the other hand, is not the films strongest point. The narrative is propelled well to begin with but after Whiplash’s first attack on Stark the film becomes a little muddled, scattershot and dare I say it, boring. At the mid-point in the movie there are several plot points developing simultaneously, none of which are exceptionally interesting or well developed, and it almost feels as if you’re just waiting for the climactic battle sequence to begin. When it does arrive it’s highly enjoyable but, and just like the first film, is over far too quickly. <br /><br />This leads me to my next criticism; lack of threat. There is one point, and one point only, in which the audience are under any real doubts as to whether Stark will make it out alive and that’s near the beginning. After that the film becomes very predictable as you realise that none of Iron Man’s opponents are going to put him in any tangible danger whatsoever. However, both these issues are forgiveable in the face of the larger picture, that of a fun, amusing and exciting slice of blockbuster superhero cinema.<br /><br />Final Verdict 8/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com1tag:blogger.com,1999:blog-8905048833670915207.post-90954004320082367912010-04-26T08:25:00.000-07:002010-04-26T08:30:51.283-07:00Cemetery Junction (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Cemetery-junction-02.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Cemetery-junction-02.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: In 1970s England, the lives of three friends are forever changed when one of them bumps into his old school sweetheart.<br /><br />Ricky Gervais and Stephen Merchant first made names for themselves with TV shows <span style="font-style:italic;">The Office</span> and <span style="font-style:italic;">Extras</span>, and rightly so. Both were cringe-inducing but hilarious and heartbreaking pieces of television that deserved all the attention they garnered. Putting aside Gervais’s State-side directing gig, <span style="font-style:italic;">The Invention of Lying</span> (Merchant wasn’t creatively involved and it was a pretty poor film), <span style="font-style:italic;">Cemetery Junction</span> sees both making the big move onto cinema screens. <span style="font-style:italic;">Cemetery Junction</span> isn’t quite what you’d expect from the people that brought you characters like David Brent or Andy Millman, but instead sees Gervais and Merchant shifting gears somewhat and delivering a heart warming coming-of-age story set in the 70s. With <span style="font-style:italic;">Cemetery Junction</span> both directors have crafted an astute and beautifully presented début that, despite being slightly too melodramatic and predictable, is as funny as it is moving.<br /><br /><span style="font-style:italic;">Cemetery Junction</span> creates a believable 1970s without relying too heavily on stereotypes, name-dropping or cultural iconography. Instead the film services its period details on a subtler level; snippets of overheard news reports, trends in fashion and a brilliant soundtrack all give you a sense of the times without shoving it in your face. The film is also beautifully shot; Gervais and Merchant paint a picturesque vision of the British summertime that creates an uplifting tone rarely seen in domestic films dealing with suburban life. Not content in just bringing a beautiful vision of Reading to the screen, the film-makers also leave room for some astute experimentalism with sound and image. A scene later on in the film in which a night out on the town goes horribly wrong features a nicely stylised piece of slow motion as images distort and sound deteriorates piece by piece.<br /><br />Gervais and Merchant show no signs of losing their eye for character based comedy either. The inter-play between Freddie’s father and grandmother is priceless and the railway cafe owner is hilariously crude in a way only the British can truly appreciate. The laughs on offer here come thick and fast and come in a variety of forms (ranging from broad to contextual humour), but never threaten to overcome the dramatic tone of the film. The central plot of the film, Freddie’s attempt to find meaning in life and escape from his home town, is thoroughly moving and delivers an important, positive and up-lifting message. It’s when <span style="font-style:italic;">Cemetery Junction</span> spends more time on its other characters, however, that it really carries some dramatic weight. Sub-plots focusing on Freddie’s best friend Bruce or his boss’s loveless marriage are handled with grace and are truly heartbreaking. It’s in these moments that the film transcends its funny coming-of-age genre template and becomes something far more emotionally rewarding. <br /><br />All of this would of course mean nothing if it were not backed up with credible performances. Thankfully both Gervais and Merchant have assembled a brilliant cast which utilises a great combination of both new and old talent alike. Out of the three younger leads it’s Tom Hughes’s Bruce that stands out; his simmering rage and cocky stride hide a wealth of demons which are perfectly portrayed by the young actor. Elsewhere Gervais does well to cast himself in a small, comedic supporting role (not to mention Merchant’s brief but brilliant cameo) and veteran actor Ralph Fiennes does a terrific job with his self-centred and ruthless corporate boss, Mr. Kendrick. The true stand out performance here though is Emily Watson, playing Mrs. Kendrick. She has few scenes and says and does very little in them but Watson manages to provide the strongest emotional punch just by using her body language to convey a tragic world of isolation and regret. <br /><br />Even though <span style="font-style:italic;">Cemetery Junction</span> is an assured début, it’s by no means a perfect film. Gervais and Merchant do the best they can to prevent the film from being overly sentimental but a few cheesy moments still slip through. No matter how Felicity Jones delivers lines like, “Throw your heart out in front of you and run ahead to catch it” or “I think I might be in love with you too” (and Freddie’s annoying habit of repeating everything she has to say) they’re still going to sound melodramatic. <span style="font-style:italic;">Cemetery Junction</span> is also extremely predictable as many moments in the film (including the films conclusion) will come as no surprise to anyone watching. All the loose narratives threads are tied up and everyone lives happily ever after. This, of course, comes with the territory but a couple of surprises along the way wouldn’t have hurt. Nevertheless, <span style="font-style:italic;">Cemetery Junction</span> is a fine film from Gervais and Merchant and I wholeheartedly look forward to seeing what they come up with next.<br /><br />Final Verdict: 8/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-32442039738228089452010-04-20T05:05:00.000-07:002010-04-20T05:10:17.049-07:00Cop Out (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Copoutposter.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Copoutposter.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: A comedy about a veteran NYPD cop whose rare baseball card is stolen. Since it's his only hope to pay for his daughter's upcoming wedding, he recruits his partner to track down the thief, a memorabilia-obsessed gangster.<br /><br />Let me start my explaining that I’m fully aware <span style="font-style:italic;">Cop Out</span> isn’t released in the UK for another month but I’ve had the pleasure (and I use that term loosely) of catching it early, so consider this an advance review (read: warning). Director of <span style="font-style:italic;">Cop Out</span>, Kevin Smith, has made his name and career by combining crude comedy with heart-felt relationship drama and has had a run of two particularly good films of late (<span style="font-style:italic;">Clerks II</span> and <span style="font-style:italic;">Zack and Miri Make a Porno</span>). When Zack and Miri made far less money than expected, however, Smith opted to shoot someone else’s script for the first time and hopefully regain his loses. The resulting film is <span style="font-style:italic;">Cop Out</span>, an almost unforgivably bad comedy/action hybrid starring Tracey Morgan and Bruce Willis.<br /><br />What is most frustrating about <span style="font-style:italic;">Cop Out</span> is that in parts, it’s actually hilarious. The opening scene in which Morgan’s character interrogates a petty drug dealer only using film quotes is brilliant stuff. Later moments including a ten year-old car thief and banter with another pair of police detectives had me laughing out loud. Both Willis and Morgan are capable comedians and they work well here but it’s Seann William Scott who steals the show. His ecstasy addled, parkour loving house thief only appears in a handful of scenes but Scott brings more enthusiasm to his role than Smith probably did to directing the entire film. The use of licensed tracks from artists such as <span style="font-style:italic;">The Beastie Boys, Run DMC</span> and <span style="font-style:italic;">Cypress Hill</span> in the soundtrack also demonstrates a great taste in rap music which fits the tone of the film well. <br /><br />The main problem with <span style="font-style:italic;">Cop Out</span> is that the laughs are extremely inconsistent. As stated, there are some standout comedic moments but overall the jokes are usually embarrassingly bad. They either feel stale and outdated or just fall flat on their face and it’s largely down the script. This is, put simply, a badly written film and why Smith didn’t at least rewrite some of it is anyone’s guess. Not only are most of the jokes terrible but there are even characters who are clearly <span style="font-style:italic;">meant</span> to be funny (such as the opposing pair of detectives or the stereotypical Mexican drug dealer) but in reality just aren’t in the slightest. <span style="font-style:italic;">Cop Out</span> is also meant to be an action film but even fails in that department. Smith hasn’t dealt with action scenes on this scale before and it shows like a skid-mark on a pair of bright white undies. The action scenes in <span style="font-style:italic;">Cop Out</span> are so terribly edited together, boring and uninspired that by the final scene I switched off entirely until people started talking to each other again. <br /><br />Another issue with the film is with the central casting. Morgan and Willis can do comedy but together are an unconvincing pair of lifelong police partners. They don’t have the chemistry of so many great odd-matched actors in the past and it shows. Every time <span style="font-style:italic;">Cop Out</span> gets ‘serious’ and wants us to feel sorry for Willis as he struggles to pay for his daughter’s wedding or Morgan and his marital doubts we don’t care. The casting and writing prevents us from having any sort of empathy for these two men as they’re not convincing enough and the drama isn’t meshed well with the rest of the film. The awkward original soundtrack and the predictable and meandering plot also work against <span style="font-style:italic;">Cop Out</span>. <br /><br />Apparently, Smith sought to make a film in the 80’s ‘buddy cop’ tradition which is why the plot seems so utterly pointless and the original soundtrack so horribly outdated. The more likely scenario is that Smith was asked to direct a modern comedy/action and then tried to crow-bar in the aforementioned homage and it fails spectacularly. Consequently, and as a lifelong fan of Kevin Smith, it’s sad to say that perhaps he really can only pull off the indie dramedies he’s best known for as <span style="font-style:italic;">Cop Out</span> is all too fitting a title.<br /><br />Final Verdict: 3/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-31075900098743817162010-04-13T06:19:00.000-07:002010-04-13T06:24:17.569-07:00Whip It (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Whip_it.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Whip_it.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: In Bodeen, Texas, an indie-rock loving misfit finds a way of dealing with her small-town misery after she discovers a roller derby league in nearby Austin.<br /><br />You may be asking yourself why a twenty two year-old male would be interested in a film like <span style="font-style:italic;">Whip It</span>, a coming-of-age story for teenage girls, but I’ve been looking forward to seeing this film for months. Three things in particular stood out for me, first of all being that it stars Ellen Page (who is clearly one of the most attractive actresses around at the moment). It’s also directed by veteran actress Drew Barrymore getting behind the lens for the first time and the trailer and subject matter gave off a really interesting alternative, punk vibe. Both Page and Barrymore are impressive here, and it’s certainly a good film, but what Whip It lacks is anything to <span style="font-style:italic;">truly</span> set it apart from the millions of other coming-of-age films available.<br /><br />One thing that <span style="font-style:italic;">Whip It</span> cannot be faulted for is its soundtrack which is pitch-perfect from start to finish. Barrymore has chosen an eclectic selection of rock, punk and indie songs from artists such as <span style="font-style:italic;">The Strokes, Radiohead, Peaches</span> and <span style="font-style:italic;">The Ramones</span> which all compliment the ‘alternative’ and energetic atmosphere of the film well. In addition to these licensed tracks <span style="font-style:italic;">The Section Quartet</span> (best known for doing orchestral versions of popular rock songs) provides a fitting original soundtrack which never overdramatizes what’s on screen. The film is also very funny in parts. Whether it be Ellen Page’s Bliss turning up to a beauty pageant with blue hair, or the roller derby celebrating their reputation as losers with the utmost passion, there are some really good lines and comedic moments throughout. The narrative set-up and basic storyline are also fairly unique, I couldn’t name you another film about a teenage girl who joins a roller derby team, and is well portrayed for audiences unfamiliar with the sport. <br /><br />Scenes of the roller derby matches are exciting , well shot and depicted with a real sense of enthusiasm. In fact Barrymore does a very good job at her first directing gig and rarely makes any of the usual amateur mistakes or awkward directorial missteps. It seems as if all her time around film-makers has paid off because, other than the small scale of the film, nothing about <span style="font-style:italic;">Whip It</span> would lead you to believe that this was someone’s first film. She’s also managed to assemble a highly credible cast for her cinematic début. Ellen Page isn’t exactly stretching herself here but she doesn’t phone it in either and Juliette Lewis looks as if she’s as happy to be acting again as we are to see her doing so. It’s Marcia Gay Harden who gets the stand out role though, her performance as the controlling mum whom slowly grows to understand Bliss’s adolescent angst is portrayed with the perfect combination of wisdom and anxiety.<br /><br />Where <span style="font-style:italic;">Whip It</span> fails, however, is in terms of the core storytelling. Strip away the ‘alternative’ focus and the roller derby theme and it’s pretty much your cardboard cut-out coming of age story. Bliss is forced into an activity she hates by her mother, rebels and finds a somewhat dangerous new hobby (not to mention boys and alcohol etc.) and grows as person because of it. Shauna Cross, writer of the source novel and screenplay, doesn’t really try and break new ground with the genre and you’re left feeling a little short changed at the end of the day. Additionally, Barrymore and Cross don’t attempt to experiment with form in any context whatsoever which leaves the film feeling a little pedestrian. I’m not asking for Lynchian levels of experimentation here but a little use of style would have gone a long way. Nevertheless, <span style="font-style:italic;">Whip It</span> is a decent rights-of-passage film with an indie twist that will please likeminded audiences who are going through, or have already gone through, this particular moment in their lives.<br /><br />Final Verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-20373656974839774802010-04-04T06:37:00.000-07:002010-04-20T05:12:07.459-07:00The Blind Side (2010)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Blind_side_poster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Blind_side_poster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: The story of Michael Oher, a homeless and traumatized boy who became an All American football player and first round NFL draft pick with the help of a caring woman and her family.<br /><br />Anyone that regularly reads this blog will probably be aware that I’m not a huge fan of feel good movies. Neither am I particularly interested in sports, or sport movies. Then why did I choose to review <span style="font-style:italic;">The Blind Side</span>, a feel good movie about American football? The truth is I love a feel good film as much as the next person; I just hate the extremely cheesy and formulaic ones. As for sport films, as long as the sport in question doesn’t completely dominate the narrative then I’m fine with it. For example I love films such as <span style="font-style:italic;">My Neighbor Totoro, Raging Bull, Amélie</span> and <span style="font-style:italic;">The Wrestler</span>. <span style="font-style:italic;">The Blind Side</span>, directed by John Lee Hancock, was a massive success in the US and Sandra Bullock even managed to bag an Oscar for best actress from it so I decided to give it a try. Unfortunately, after having seen the film, almost all my suspicions about the film were proven right; it’s a boring, sugar coated and thoroughly predicable cinematic affair.<br /><br />However, <span style="font-style:italic;">The Blind Side</span> is by no means a terrible film and it’d be an unfair statement to suggest so. The acting is good, if not quite Oscar worthy, throughout. Sandra Bullock (playing Leigh Anne Tuohy) does a really good job at portraying a headstrong, wealthy Southern woman who has managed to find a healthy balance between work and family. Likewise Quinton Aaron delivers a solid performance as the introverted and troubled Michael and Tim McGraw (playing Leigh’s husband) plays his part with truth and honesty. The aforementioned balance between sport and drama is also handled really well. <br /><br />The perfect amount of screen time is spent watching the football training and matches while the majority of the film focuses on the main characters’ lives. The story itself, which is based on true events, is also rather uplifting and positive; we want to see Michael succeed and when he does it’s undeniably satisfying. The look of the film may be rather bland but <span style="font-style:italic;">The Blind Side</span> has clearly been shot by people who know what they’re doing and there a couple of standout moments to relish (the opening scene which utilises still images is well put together and later a muted, slow motion calm-before-the-storm moment is also quite effective).<br /><br />This is all and well but <span style="font-style:italic;">The Blind Side</span> is ultimately let-down by its refusal to challenge the audience; it’s altogether far too safe. For a film dealing with such heavy issues (homeless teenagers, drug addicted parents etc.) it shies away from the heavy stuff far too much. Instead it’s content to spend most of the film showing how great Michael’s new white, wealthy life is and lacks the courage of its convictions. There are flashbacks to Michael’s unsettling past but they’re extremely short and rare and whenever he or Leigh visits his old neighbourhood it’s portrayed with a lack of menace typical of a <span style="font-style:italic;">Disney</span> movie. There’s also a severe lack of dramatic threat or tension within the film. There a couple of difficulties for characters to face, Michael’s past life and a law suit suggesting that Leigh’s family have groomed Michael to join a particular college, but they never really pose any real danger as they’re dealt with easily and soon resolved. <br /><br />The film is also rather cheesy and predictable. Michael of course goes from strength to strength throughout the film and achieves everything he sets out to do, no matter how difficult or unlikely these ambitions may be. We’re treated to training montages, over-the-top displays of family affection and the triumph against all odds conclusion; there’s no narrative surprises in store for audiences whatsoever and it’s all been done countless times before. <span style="font-style:italic;">The Blind Side</span> is also extremely formulaic in how it’s shot and presented, there are almost no interesting visual choices made whatever. The two tackiest moments in the film have to be when the family pose for a Christmas card and when Michael takes a picture of himself for a driver’s license; they both magically transform into the actual photos, while exhibiting the amount of finesse you’d expect from a children’s program. <br /><br />Additionally, Sandra Bullock’s character Leigh is annoying perfect (not to mention her son, SJ, who is just plain annoying). She’s so confident, so controlling, that you want to see her slip up at least once and hopefully learn from it. Aside from a brief moment of reflection following the law suit she never does and it’s rather infuriating. However, this is not what the majority of people care about. Most people just want to be entertained and leave the cinema in a good mood. <span style="font-style:italic;">The Blind Side</span> will most likely provide this experience for many but it’s not a film for anyone who has a low tolerance for sentimentality and is looking for originality, depth or realism.<br /><br />Final Verdict: 5/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-59069049726666928352010-03-28T07:50:00.000-07:002010-03-28T07:59:30.762-07:00Kick-Ass (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=f.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/f.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: Dave Lizewski is an unnoticed high school student and comic book fan who one day decides to become a super-hero, even though he has no powers, training or meaningful reason to do so.<br /><br />Over the last decade it has become an industry standard for studios to release at least one superhero film as a tent-pole release for their summer schedule. More recently, starting with <span style="font-style:italic;">Sin City</span>, a new trend in releasing smaller budgeted, more violent comic book adaptations in March has surfaced. Films such as <span style="font-style:italic;">300 </span>and <span style="font-style:italic;">Watchmen</span> aren’t particularly suitable for summertime, in which cinemas are dominated by mass-appeal blockbusters, and stand more of a chance in an earlier part of the year. New entry in this strategic release model, <span style="font-style:italic;">Kick-Ass</span>, is based upon Mark Miller’s extremely violent comic book of the same name and is directed by Matthew Vaughn (<span style="font-style:italic;">Layer Cake, Stardust</span>). <span style="font-style:italic;">Kick-Ass</span> does exactly what it says on the tin and, although it’s let down by a few tonal missteps, is best summed up as a wildly entertaining synthesis of <span style="font-style:italic;">Spider-Man</span> and <span style="font-style:italic;">Kill Bill</span>. <br /><br />Make no mistake, <span style="font-style:italic;">Kick-Ass</span> is tremendously violent and it doesn’t give a damn if it offends you. Bullets fly, legs are severed and, in one of the film’s most splatter-hungry moments, a man is blown up in an industrial microwave. To make matters worse (read: better) a lot of the time the pain is being dealt out by a twelve year-old girl, uttering profanity ridden punch lines such as, “OK you c*nts, let's see what you can do now”. The film then, is clearly not one to take grandma to see on the Sunday matinee. The ensuing fight scenes are some of the best I’ve seen in years; inventive, cool and funnier than a Bugs Bunny Saturday morning cartoon. The two stand-out scenes would have to be the first involving ‘Hit-Girl’ (the previously mentioned twelve year old, played by Chloe Moretz) which is hilariously abrupt and highly visceral and the slick and satisfying one-take attack by ‘Big Daddy’ (Hit-Girl’s father and partner in crime, played by Nicolas Cage) upon a warehouse full of gangsters. <br /><br />The film is more than a collection of Tarantino worthy action set-pieces however, as most of the story focuses on Dave’s (Aaron Johnson) adolescent trials and tribulations. They aren’t, as you might expect, riddled with Peter Parkeresque clichés and outdated morality struggles as the story attempts to take a more modern and humorous look at today’s teenagers. Dave isn’t a loner or a complete loser but isn’t exactly one of the popular kids either, marking a refreshing twist in genre conventions. The insertion of pop-culture references such as YouTube and MySpace, as well as a sub-plot which sees Dave pretend to be gay in order to get close to the girl of his dreams, also make the film much more culturally relevant. <span style="font-style:italic;">Kick-Ass</span> also works very well as an amusing parody of superhero films, beginning as it means to go on with a false-start involving an Armenian teenager testing out his Icarus-inspired costume whom plunges head first into a taxi rather than soaring into the skies. <br /><br />In fact Vaughn has so much to pack into <span style="font-style:italic;">Kick-Ass</span> that it could have easily become an overly long mess of ideas. The director pulls it off though, employing a swift and energetic pace that manages to keep almost the entire narrative intact in less than two hours; an achievement in of itself. The soundtrack is similarly energetic and fun, comprising of a selection of modern licensed tracks which give the film an extra sheen of cool. The film is also impressive from a technical standpoint, taking most of its stylistic cues from the medium it’s adapting. Caption cards reading “Meanwhile” and “Six months later” laid over the screen, a bright and bold colour pallet, as well as a gorgeously animated flashback, all aid in creating the look of a comic book come to life. The acting on display is first class and you can tell everyone involved had a blast making the thing. Aaron Johnson does a good job of making Dave’s somewhat senseless actions seem empathetic and Chloe Moretz seems an actress wise beyond her years; she makes you truly believe a twelve year-old girl could kick that much ass. Nicolas Cage is also on rare comedic top form here with a perfect deadpan delivery and brilliant parody of Adam West’s Batman. <br /><br />For the most part, <span style="font-style:italic;">Kick-Ass</span> is a very faithful adaptation of the comic book and for that alone it should be praised. Most of the films pitfalls, however, occur when it chooses to stray too far from the source material. Notable changes to the relationship between Dave and his love interest, Big Daddy’s back story and the ending of the story only make the film cheesier and more fantastical than it needed be. For a film seemingly so intent on creating a semi-realistic world in which real people try to be superheroes, additions such as a jet-pack with mini-guns attached just seem unnecessary (even if they are fun in their own way). Additionally, the conclusion of the Dave’s romantic aspirations clashed with the overall tone of the film and here is also a slight awkwardness to some moments in which tragedy and comedy are blended together. Nevertheless, <span style="font-style:italic;">Kick-Ass</span> is the most invigorating and exciting comic book adaptation to come along for a long time and is certainly not to be missed. <br /><br />Final Verdict: 8/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-31243034091472806622010-03-23T07:49:00.000-07:002010-03-23T07:55:56.030-07:00The Girl with the Dragon Tattoo (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=The-Girl-with-the-Dragon-tattoo.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/The-Girl-with-the-Dragon-tattoo.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: Swedish thriller based on Stieg Larsson's novel about a journalist and a young female hacker.<br /><br />As a disclaimer to this review I’d like to outwardly admit that I don’t particularly like detective/crime mystery films (for the most part). As a consequence I’m obviously going to have enjoyed <span style="font-style:italic;">The Girl with the Dragon Tattoo</span> far less than someone who does; so feel free to add an extra mark onto my final verdict if you’re one of these people. <span style="font-style:italic;">Dragon Tattoo</span> is a Swedish film which adapts the first in a series of bestsellers called ‘<span style="font-style:italic;">The Millennium Trilogy</span>’. After the release in its native country last year it was box office smash and it’s now being released widely throughout Europe. The film itself is somewhat of a contemporary or ‘alternative’ take on the murder mystery genre due its depiction of sexual violence, the striking female lead and her reliance on computers and the internet. It’s a well made thriller which makes some interesting choices but overall feels like it’s missing something.<br /><br />As mentioned, the main selling point of <span style="font-style:italic;">Dragon Tattoo</span> is the two main characters who both band together (professionally and later, sexually) in order to solve a forty year-old murder case. Mikael (played by Michael Nyqvist) is a writer for a communist magazine, disgraced and heading to prison since losing a libel case against corrupt businessman. He’s not exactly Dick Van Dyke. It’s really Lisbeth (Noomi Rapace), though, who stands out here for several reasons. First of all, her goth/alternative look is extremely striking; piercings, tattoos and of course, primarily black clothing dominate. Her feminist attitude and resolve is demonstrated in a variety of different scenes throughout the film, combined with her troubled past and general mystique, make her a thoroughly compelling character. Both roles are very well written and acted and as a result it wouldn’t be unfair to suggest that they make the film. <br /><br /><span style="font-style:italic;">Dragon Tattoo</span> is also well, if not particularly interestingly, shot from start to finish and does a good job of creating a dramatic and mysterious set-up for the murder case. The film is also rather uncompromising in its depiction and critique of the general male population. Not all men are portrayed as evil or perverted and it’s not quite a true ‘feminist film’ but as the original Swedish title, <span style="font-style:italic;">Men Who Hate Women</span>, suggests the film-makers clearly have things to say about the male dominated society we all live in. This appears in the film in truly harsh and gritty scenes in which Lisbeth is assaulted in full view of the public by a group of drunk men at a train station, sexual assaulted by her probation officer and finally in the murderous exploits of the Vanger clan. Not that Lisbeth takes it lying down, she fights back at her male oppressors with full force; in one particularly hard to watch scene she even drugs, ties up and rapes a man with a dildo. <br /><br />The violent direction taken by the film-makers is an interesting, if not exactly enjoyable, decision which adds some much needed dramatic weight and realism to events. Even with these unique elements present in the film, <span style="font-style:italic;">Dragon Tattoo</span> still ends up feeling fairly formulaic. The identity of the killer and the whereabouts of the victim will be obvious to most keen-eyed viewers and nothing in particular really stands out and grabs the audience. <span style="font-style:italic;">Dragon Tattoo</span> also has a rather long running time which some may find trying. The first hour of the film takes far too long establishing the characters and plot and there appears to be about four endings. The main ending itself also felt uncharacteristically upbeat and felt off with the rest of the film. However, <span style="font-style:italic;">The Girl with the Dragon Tattoo</span> is a well made film and is a fairly different take on the murder mystery film which fans of the genre are bound to enjoy.<br /><br />Final Verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-65643280277766700272010-03-18T11:11:00.000-07:002010-03-18T11:17:07.800-07:00Shutter Island (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=shutter-island-poster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/shutter-island-poster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: Drama is set in 1954, U.S. Marshal Teddy Daniels is investigating the disappearance of a murderess that escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island.<br /><br />A new film release from legendary film director Martin Scorsese (director of such classics as <span style="font-style:italic;">Raging Bull, Taxi Driver</span> and <span style="font-style:italic;">Goodfellas</span>) is always going to be a big deal and <span style="font-style:italic;">Shutter Island</span> is no exception. His follow up to 2006’s <span style="font-style:italic;">The Departed</span> has been a long time coming, not least because it was delayed for four months, but it’s now gracing screens across the country. Based upon Dennis Lehane’s novel of the same name <span style="font-style:italic;">Shutter Island</span> is an interesting mystery come thriller which borrows heavily from the likes of Val Lewton and Alfred Hitchcock throughout. It feels almost needless to say, this is Scorsese we’re dealing with here, but the film really is expertly put together. Considering this and the potential of the set-up of the story, <span style="font-style:italic;">Shutter Island</span> could have been one of the director’s best but it is unfortunately held back by its misguided pacing and a somewhat weak conclusion.<br /><br />As mentioned, and from the very first shot of a ferryboat emerging from ominous misty seas, the film-making pedigree on display here is as spellbinding as you’d expect. Scorsese and his crew really push themselves and the result is a joy to witness. Shutter Island is beautifully photographed and the imagery captured in decaying ruins, gothic architecture and surreal dream sequences could easily stand alone outside of the film. The sound design and editing also deserve a mention here as both are used in unconventional and surprising ways to further bring the audience into Teddy’s emotionally complex mindset. Jump cuts, would-be continuity errors, mismatched lip synch and layers of sound all work together to express the fractured state of our central character’s mind. <br /><br />The acting, ranging from relative newcomers to experienced veterans of the screen, is thoroughly convincing and is typical of the calibre of film-making on display. Scorsese does a brilliant job of setting up the secretive and questionable nature of the titular Shutter Island; creating a truly living environment and a very involving and mysterious tone. The story that unravels on the island is a compelling throwback detective thriller and will keep you guessing as to what is going on in the institution and indeed, Teddy’s mind. <span style="font-style:italic;">Shutter Island</span> isn’t a horror film (the closest it comes is during the scenes in the illusive ‘Ward C’) but certainly draws upon the genre and produces a strangely compelling eerie atmosphere. This is aided by the selection of modern classical pieces supervised by Robbie Robertson which really convey the haunted feel of the film.<br /><br />Not all, however, is well on Shutter Island. The film makes many twists and turns and many possible outcomes are hinted at but the final reveal is a very disappointing one. You know when you guess an ending early on and think, “No, it can’t be that easy to figure out”. Well guess what? With <span style="font-style:italic;">Shutter Island</span>, it really is. This is a shame as the film is better than that and could have done something much more interesting with the story. This is, on the other hand, saved slightly by a very powerful final line which poses many more questions than it answers. There is also a slight pacing issue present as the third act struggles to keep up the momentum it has so carefully built up and it becomes a bit dull until the aforementioned reveal. <span style="font-style:italic;">Shutter Island</span> is very well made film from a man who clearly knows what he’s doing and is certainly an enjoyable experience overall, but it could have done with a much more intellectually rewarding ending and a shorter running time.<br /><br />Final Verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-77122513515763438612010-03-11T12:57:00.000-08:002010-03-11T16:35:00.591-08:00Exit through the Gift Shop (2010)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=exit-through-the-gift-shop.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/exit-through-the-gift-shop.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: The story of how an eccentric French shop keeper and amateur film maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner with spectacular results.<br /><br />Graffiti artist Banksy is most certainly a divisive pop-culture phenomenon; some see him as a counter-culture legend, others see him as a sell-out who uses style over substance and others would just rather see him in jail. Personally I try not to get too caught up in any supposed meaning or political motives behind his works and simply enjoy them for their amusing, and sometimes beautiful, imagery. In an interesting move he has now turned his attention to film-making with his pseudo-documentary, <span style="font-style:italic;">Exit through the Gift Shop</span>, having first premièred at the Sundance Film Festival last year. The resulting film is not merely a film about Banksy but is also a documentation of the general graffiti community, a unique character study and an interesting critique of the art world. <br /><br /><span style="font-style:italic;">Exit</span> first starts as a documentary about graffiti artists from around the world but mostly focusing on LA. It’s highly interesting to watch as it’s a subject not often tackled in film and is also an important one as graffiti art is, by nature, only temporary. Watching these artists go out at midnight, scale all manner of buildings (all the while trying to do it undetected by the authorities) and create their pieces is exciting and fascinating to watch. The work on show here ranges from the amusing to the spectacular but is never less than inspiring. Their slip-ups and encounters with the police are also very funny while simultaneously reminding us that they too are human; ensuring they are not raised to superhuman levels of admiration. These moments are filmed by Thierry Guetta a French immigrant living in LA who, in an interesting twist, becomes the focus of the story. <br /><br />This is where the film gets really complex as Thierry is a weird, interesting and above all, hilarious character that's legitimacy is dubious. Is he such a large personality, such a blundering buffoon, that it’s hard to believe he’s a real person and not an actor playing a role in a mockumentary. The uncertain intent of the film-makers is undoubtedly going to divide audiences but, whether or not Thierry is a real personality or a character made up by Banksy, the artistic questions and issues his character raises are still valid. After Thierry has a chance meeting with Banksy and befriends him, Banksy tells him that he should do some of his own work and put on a show. This is where <span style="font-style:italic;">Exit</span> gets really interesting and something more than an amusing look at the graffiti art world. Thierry (now operating under his new moniker, ‘Mr Brainwash’) does as he is instructed and begins to make extremely derivative and unoriginal artwork and plans an over-the-top, extravagant art show to garner as much publicity as humanly possible.<br /><br />I say ‘make’ in the loosest sense of the word as his work process boils down to finding popular images in books and commanding a team of paid artists to do the hard work for him. He uses his famous friends within the graffiti community to promote his show and during its production he is more likely to be seen taking interviews than hanging up paintings. To the audiences’ surprise, his show is a massive hit and he makes more than a million dollars from it. This is where a lot of <span style="font-style:italic;">Exit's</span> best laughs come from as so-called art critics walk around his exhibition stating how great his work is, when it is clear that his work is artistically worthless. This sudden rise to undeserved fame brings up many criticisms of the art world and asks; what does it take to be considered an artist? These art critics seem more interested in not looking stupid than in actually stating how they feel about Thierry’s work and are more than eager to spend amazing amounts of money on it just because it’s fashionable. <br /><br />This is most probably not just about Thierry’s work, but also seems to be an examination of how Banksy’s own work has been commodified and had external interpretations thrust upon it. Banksy does, in fact, appear during the film in person (albeit with his face covered and his voice altered) and when he does he comes across as a very down to earth, humorous and level-headed individual. Likewise Rhys Ifans, who often seems like a rather annoying personality, provides a particularly restrained and low key narration for the events unfolding. The soundtrack, supervised by <span style="font-style:italic;">Portishead’s</span> Geoff Barrow, also does a good job of accompanying the images with a variety of good quality hip-hop tracks. There are, however, a couple of ill-conceived moments during the film. The scene giving some exposition on Banksy verges slightly too close to hero worshipping and a back story about Thierry’s lose of his mother is completely unnecessary. Nevertheless <span style="font-style:italic;">Exit through the Gift Shop</span> is an exciting, unique and highly amusing tale that has some very important things to say about art and art culture.<br /><br />Final Verdict: 9/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-55355607754967715672010-03-08T16:06:00.000-08:002010-03-08T16:15:07.867-08:00The Crazies (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=CraziesPoster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/CraziesPoster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: About the inhabitants of a small Iowa town suddenly plagued by insanity and then death after a mysterious toxin contaminates their water supply.<br /><br />The horror genre has been plagued by a trend in remakes for the last ten years, some of which have been good, many of which have been terrible. This time it’s zombie film-making legend George A. Romero’s turn as his 1973 film, also entitled <span style="font-style:italic;">The Crazies</span>, has been given the remake treatment. The common consensus is that remakes usually work best when the original film had a good concept but was let down by its delivery. If this is true then The Crazies is a perfect candidate for a remake as Romero’s film had an original and politically edgy set-up but was given a minuscule budget and was, quite frankly, rather poorly directed. Thankfully Breck Eisner’s update was given a much higher budget and ends up being better than its predecessor in almost every way, providing a solid, if not outstanding, horror experience. <br /><br />The film begins, rather bravely, on an image of the town in ruin. This bleak opener lets the audience know what they’re in for as the film slowly builds up the tension until all hell breaks loose. This is one thing that<span style="font-style:italic;"> The Crazies</span> does very well in much of its later scenes (especially in comparison with the original); building up tension and then providing an unflinching and gory finish. Eisner knows just how long to hold back the action, creating a creepy and tense atmosphere, and when he lets rip the resulting carnage is never less than satisfying. The cinematography, along with a suitably eerie score, compliments these scenes well, tingeing the images with a dark and gritty spectrum of greens. The Crazies also does a good job of making its audience respect its two core characters, a job too often neglected by similar genre offerings. <br /><br />Married couple David and Judy are not idiots, they’re trained professionals (a police officer and doctor, respectfully) who won’t have you shouting at the screen in disbelief. It helps then, that both Timothy Olyphant and Radha Mitchell also deliver solid performances which do their roles justice throughout. The main appeal of <span style="font-style:italic;">The Crazies</span> is of course, the core concept. There is a virus loose in your hometown and it’s turning everyone you know into the murderous ‘crazies’ of the title. Not only this, but the government, aided by the military, must contain the virus by any means necessary before it goes global. The scenes of containment, its failure and the attempted clean-up involving the military are indeed genuinely shocking as families are separated without explanation, shot down in cold blood and eventually victims of mass burnings in an attempt to contain the biological hazard (provoking comparisons in one’s mind to many a historical incident).<br /><br />This is, however, also where the film falls short. Since the release of Romero’s original in 1973 countless horror films have depicted ruthless states of martial law (<span style="font-style:italic;">28 Weeks Later</span> standing as one of the better recent examples) which leaves <span style="font-style:italic;">The Crazies</span> with little new to say. Additionally, even though this is the superior version, the original dealt with this subject matter with much more depth. Other, unrelated, problems also pervade the film. For all its tension building <span style="font-style:italic;">The Crazies</span> is often host to many obvious jump scares, and also a number of false scares that at times it verges on the ridiculous. These techniques are overused in the genre and are rather tired. There are a number of glaring plot holes throughout the film (how did David get back to the police station? Do you die that quickly from being hung?) and the ending is also particularly underwhelming. Nevertheless, <span style="font-style:italic;">The Crazies</span> is a surprisingly good remake and one of the more enjoyable horror films to grace the screen in recent months.<br /><br />Final Verdict: 6/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-23383749977348997462010-03-08T12:20:00.000-08:002010-03-08T17:07:56.082-08:00Micmacs (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=micmacs-poster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/micmacs-poster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: A man and his friends come up with an intricate and original plan to destroy two big weapons manufacturers.<br /><br />Director Jean-Pierre Jeunet makes films of the Marmite variety; you’ll either love them or hate them (and I’ll admit outright - I fall into the former category). His quirky French tales continue to divide audiences due to his preoccupation with oddball characters, distinctive sense of humour and unconventional cinematic style. However, as opposed to someone such as Tim Burton, Jeunet has not yet become a caricature of himself due to his somewhat meagre output over the last eighteen years. <span style="font-style:italic;">Micmacs</span>, his first film in five, is being billed as somewhat of a comeback and has been described as a synthesis of his first film,<span style="font-style:italic;"> Delicatessen</span>, and his breakout hit; <span style="font-style:italic;">Amélie</span>. Herein lies the problem with the film; while it’s certainly solid filmmaking and highly enjoyable, Micmacs feels a little like Jeunet’s very own <span style="font-style:italic;">Sleepy Hollow</span>. <br /><br /><span style="font-style:italic;">Micmacs</span> feels as if it’s missing something, that original spark which made his earlier films such a joy to watch. The previously mentioned comparison is very telling for the film is neither as darkly twisted as <span style="font-style:italic;">Delicatessen</span>, nor nearly as touching as <span style="font-style:italic;">Amélie</span>. <span style="font-style:italic;">Micmacs</span> once again tackles the old theme of outsiders fighting for justice, scenes detailing the minute details of individuals’ habits; even the end credit sequence is lifted straight from <span style="font-style:italic;">Delicatessen</span>. There is, however, much to love about the film. <span style="font-style:italic;">Micmacs</span> is beautifully shot in Jeunet’s signature gold hue throughout which really brings the screen to life and aptly conveys the fantastical world of the narrative. The weird and wonderful characters all have their own, distinctive qualities and are all likeable to the extent that you wish you knew them in real life. Their schemes and inventions are all highly creative, making a lot of the scenes feel like watching something in between a circus show and an art exhibition. All the while a playful, typically French sounding orchestral soundtrack perfectly complements these eccentric characters and their exploits.<br /><br />The actors themselves do a wonderful job, with Danny Boon (playing the main character, Bazil) giving the standout performance. Boon is apparently a major comedic actor in France but has not since found fame outside of the country which is a shame. His mannerisms, miming and general screen presence provides a lot of the film's laughs and as such Boon becomes of the best things about the film. <span style="font-style:italic;">Micmacs</span> is also very clever in its delivery and comedic tone; more than several scenes had me laughing out loud. The story of corrupt weapons dealers, however unconventionally portrayed, is an important one which has many parallels to contemporary French (and worldwide, for that matter) politics even if it is rather predictable in its conclusion. All in all <span style="font-style:italic;">Micmacs</span> is a very amusing and heart warming film but, in drawing a little too much from his previous work, Jeunet falls just short of brilliance.<br /><br />Final Verdict: 7/10.Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-72609358862922726982010-02-24T08:40:00.000-08:002010-02-24T08:47:03.280-08:00The Lovely Bones (2010)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=The_Lovely_Bones_movie_poster.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/The_Lovely_Bones_movie_poster.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: The film centres on a young girl who has been murdered and watches over her family - and her killer - from heaven. She must weigh her desire for vengeance against her desire for her family to heal.<br /><br />At this stage in the game, with eleven days until the Oscar winners are announced, it’s hard to believe that <span style="font-style:italic;">The Lovely Bones</span> was ever mooted as a heavyweight contender for the awards season. Alice Sebold’s novel was always going to be a tough piece to adapt but many believed, based on his work on the <span style="font-style:italic;">Lord of the Rings</span> trilogy, that Peter Jackson was up to it. However, since its release State-side the film has been savagely ripped to pieces by film critics and the general public alike and barely features among the final list of Oscar nominees. While <span style="font-style:italic;">The Lovely Bones</span> does indulge Jackson’s weaknesses as a storyteller it is not the spectacular cinematic failure many will have you believe.<br /><br />The film is set in the set in the early 70’s and the period details give a good sense of the times. Technology, clothes, hair and even colour scheme all combine to create a believable 1970’s for the events to unfold in. Jackson does not jump straight into the action either; an adequate amount of film is spent at the beginning of the film establishing Susie Salmon as a real person with whom the audience can identify with. These achievements would mean nothing, of course, if the acting were not up to scratch but thankfully each cast member brings to the table a credible performance. Relative unknown Saoirse Ronan does a good job (if at times a little overplayed) with a difficult role at such an early age and Susan Sarandon is a joy to watch, bringing some much-needed comedic relief to proceedings. Even Mark Wahlberg (who too often fails to convince) is decent as the obsessed father, unable to let go and grieve his loss. <br /><br />It is, however, Stanley Tucci, as the calm and collected yet highly dangerous paedophile George Harvey, who ultimately steals the show. The afterlife sections, while sometimes slightly too obvious in their symbolism, are brilliantly rendered and really make the film look unique. When Susie is indulging her fantasies the images are shot in a spectrum of beautifully bright colours and are full of wonder. Two of the films best scenes, though, occur when Susie’s purgatory turns darker; a shocking revelation in a bloodied bathroom and later, a Gondryesque walk through the crime scenes of Harvey’s previous victims display touches of brilliance. At times, <span style="font-style:italic;">The Lovely Bones</span> is also highly suspenseful. The scene in which Susie is captured by Harvey and when Susie’s sister sneaks into his home are both hair raisingly tense, and show a masterful command of the screen by Jackson (the former would most definitely not be improved, as many have suggested, by a more explicit depiction of her demise).<br /><br />Nonetheless, <span style="font-style:italic;">The Lovely Bones</span> does have its fair share of flaws. Probably the most apparent problem is that there is simply too much going on in the film that it never really does any of the plot strands justice. The movie is a cocktail of suspense thriller, fantasy, police procedural, family drama and serial killer film and while each of the different ingredients are dealt with well, they’re poorly edited together and never fleshed out enough. This problem goes hand in hand with Jackson’s previously mentioned directorial weakness; lack of control in terms of sentimentality and running time. These two issues threatened to ruin both <span style="font-style:italic;">Lord of the Rings: Return of the King</span> and <span style="font-style:italic;">King Kong</span> but with <span style="font-style:italic;">The Lovely Bones</span> he has finally gone overboard and the film suffers for it. The ending to the film is highly drawn out, with an excruciatingly cheesy moment in which Susie is allowed back to Earth so she can finally receive her first kiss and a completely unnecessary epilogue in which Harvey meets his fate in the form of a falling icicle. <br /><br />Other, unrelated failings are also present in <span style="font-style:italic;">The Lovely Bones</span>. The film spends a good amount of time setting up the Salmon family unit that once Susie is dead its depiction of their grief is sorely lacking in comparison. Sure, the audience are giving a few fleeting moments in which we see family members crying and holding each other but we never really get a full sense of the emotional trauma that the loss of a family member can inflict. This is not helped by the sudden introduction of Grandma Lynn which, while still entertaining in itself, infringes on our emotional response to Susie’s death and seems totally off with the tone of the film up to that point. Despite these problems <span style="font-style:italic;">The Lovely Bones</span> is still a solid and enjoyable experience; it’s just a shame Jackson couldn’t have reigned it in a little as the film we’re left with is somewhat of a missed opportunity rather than the Oscar worthy achievement it had the potential to be.<br /><br />Final Verdict: 6/10.Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-46860822133033233312010-02-18T09:48:00.000-08:002010-02-18T10:04:56.171-08:00Tony (2010)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=tonyquad.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/tonyquad.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: A thriller centred on a serial killer in a rundown London suburb.<br /><br />A great film can be many things but, for me at least, the <span style="font-style:italic;">best</span> films display either; a masterful level of artistry on a grand scale (<span style="font-style:italic;">Goodfellas, Seven Samurai</span>) or an ability to get under my skin and truly move me (<span style="font-style:italic;">Control, The Haunting</span>). <span style="font-style:italic;">Tony</span> falls squarely into the latter category and has to be the best film I’ve seen so far this year. Unfortunately, it’s unlikely that most people have even heard of the film at all. It’s a low-budget British film that had a very limited release earlier in the month and, in what is becoming somewhat of a trend amongst similar films, went onto be released on DVD a mere three days later. This is a crying shame because <span style="font-style:italic;">Tony</span> is a highly affecting film on the subject, the likes of which have not been seen since indie classics such as <span style="font-style:italic;">Deranged</span> or <span style="font-style:italic;">Henry: Portrait of a Serial Killer</span>.<br /><br /><span style="font-style:italic;">Tony</span> perfectly subverts the standard serial killer clichés in a number of ways. The audience are given no ‘normal man goes crazy’ first act, there are no police hot on Tony’s tracks and in a final stroke of brilliance he is not arrested or killed, but merely seen wandering the streets of London in solitude as the credits roll over the screen. The film is closer in tone to a kitchen-sink drama than <span style="font-style:italic;">Silence of the Lambs</span>; a lot of the time we simply follow Tony walking around a drab looking Hackney or sitting around in his squalid flat in a council estate. The murders, and subsequent attempts to conceal the evidence, are shot in a documentary style while Tony goes through the motions in a calm and methodical manner. You’ll find no over-stylisation here; instead of glamorising these acts the film-makers have taken a more sobering, realistic approach which gives the film a highly disturbing feel. The film never becomes tedious however, as the tension is always taut and several red-herrings keep you guessing.<br /><br />The central performance by relative newcomer Peter Ferdinando is outstanding and it would come as no surprise to me if we begin to see more of him in future productions. Ferdinando brings to Tony a fragile, lonely side which by no means makes the audience feel sorry for him but adds depth to a character that could easily have been one-dimensional and derivative. As the film progresses one begins to get a sense of his mental state, without it edging into pop-psychology territory. Tony wanders the streets of London talking openly to strangers, hanging out with drug addicts and going to a prostitute for company. Tony doesn’t kill because his Daddy sexually abused him; he’s a social outcast in a highly hostile and alienating environment who doesn’t know how to deal with it. Similarities to real-life murderer Dennis Nilsen are apparent but never overplayed and bring to the film a further sense of horrifying realism. <span style="font-style:italic;">Tony</span> is most definitely not a sunny character-study but black humour runs throughout the film and keeps it from taking itself too seriously. <br /><br />The camerawork and cinematography are particularly affecting and add much to the almost sickening atmosphere prevalent throughout the film. As mentioned, the film mostly employs modern documentary camerawork, but moments such as a long take of Tony’s ‘waste’ sinking to the bottom of a pitch-black canal or Tony’s figure shrouded in darkness waiting for the lift doors to close really enhance the feeling of his warped world. One extremely clever piece of camerawork starts as what simply appears to be a shot from behind a partially closed door, but quickly it becomes apparent, when a hand reaches out, that it’s actually a trapped victim’s point-of-view. Additionally, the soundtrack provided by British band ‘The The’ is aptly sinister, dark and moving. <br /><br />Complaints could be levelled at <span style="font-style:italic;">Tony’s</span> reliance on cultural stereotyping within the working classes but these characters (aggressive chavs, heartless dole officers and strung-out druggies) are extremely convincing and add to the general feel of moral depravity underlining the film. Others would protest that the film adds very little to the genre, especially since it bares many similarities to the previously mentioned <span style="font-style:italic;">Henry</span>, but those films are now dreadfully dated and few are set in inner-city London or told in such a direct manner. My only grievance is that the film is too short; coming in at just under an hour and twenty minutes long. I could have happily watched a three hour version of <span style="font-style:italic;">Tony</span> and did, admittedly, feel a little short-changed. Nevertheless, and while clearly not for everyone, Tony is a highly gripping and uncompromisingly bleak film and one that will stay with you for days, if not weeks, after it has finished.<br /><br />Final Verdict: 9/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-9847849282368498872010-02-16T06:28:00.000-08:002010-02-18T10:05:30.491-08:00Ponyo on the Cliff (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=PonyoPosterBig.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/PonyoPosterBig.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: An animated adventure centred on a 5-year-old boy and his relationship with a goldfish princess who longs to become human.<br /><br />Since the terrible miss-fire that was <span style="font-style:italic;">Tales from Earthsea</span> (directed by Hayao Miyazaki’s son, Goro) Studio Ghibli has had a lot to answer for. Thankfully <span style="font-style:italic;">Ponyo</span>, which was released way back in 2008 in Japan, is a strong return to form and is a timely reminder of the magical animation the studio is capable of. Many critics would have you believe that this is a merely ‘kid’s film’, but that is to miss the point entirely. Hayao Miyazaki has oft been quoted as stating that his films are not exclusively for children, but also for the child inside of adults. Taken on these terms <span style="font-style:italic;">Ponyo</span> reveals itself to audiences, child and adult alike, as a beautiful display of the human capability for creativity and imagination.<br /><br />Story-wise, <span style="font-style:italic;">Ponyo</span> is essentially <span style="font-style:italic;">The Little Mermaid</span> by way of Miyazaki. Unlike the Disney version however, and as standard for the director, there is little threat from an antagonist and the film moves at a much slower, relaxed pace. This slow pace allows the audience to really connect with the two main characters. For example one prolonged scene (which also happens to be one of the films finest) simply depicts a meal on a rainy evening but helps to create real, rounded representations of children and their interaction with each other. The film is highly entertaining from start to finish due to its lovable characters, uniquely enjoyable moments and striking visuals. In terms of themes, the familiar Miyazaki trademarks centred on the environment and the nature of family unites are present and correct but never threaten to overthrow the concise but thoroughly touching narrative. <br /><br />What really makes <span style="font-style:italic;">Ponyo</span> stand out is its breathtaking animation. In designing the look of the film Miyazaki seemingly took inspiration from another Studio Ghibli film, <span style="font-style:italic;">My Neighbors the Yamadas</span>, in terms of its pastel colours and sketch-like character design. This results in a visual style which fits the aquatic theme and the more playful and relaxed tone of the film. Technically, the animation is outstanding. Two scenes spring to mind which actually shocked me in terms of their attention to detail (an early underwater scene in which literally hundreds of individually animated species of fish roam the ocean) and sense of movement and fluidity (a later scene in which Ponyo runs in and out of a raging sea storm of giant fish). <br /><br />The images on display here really help to capture a true sense of childlike wonder and innocence rarely seen in contemporary animation. If I have any gripe about <span style="font-style:italic;">Ponyo</span>, it would be that although I enjoyed the tone of the film, it still feels a little too lightweight. Even <span style="font-style:italic;">My Neighbor Totoro</span>, which most closely resembles <span style="font-style:italic;">Ponyo</span> in terms of its childlike outlook and atmosphere, dealt with a difficult subject underneath the surface (a father that works away from home hardly compares to dealing with the loss of your mother). Additionally, even though Ghibli films are notorious for having unconventional narrative structures, the ending to <span style="font-style:italic;">Ponyo</span> felt a little melodramatic and awkward in comparison to the rest of the film. Nevertheless, <span style="font-style:italic;">Ponyo</span> is a great addition to the Ghibli cannon and is highly recommended to anyone who is willing to tap into their childhood imagination and relish a time before taxes and housework.<br /><br />Final Verdict: 8/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-32454856817481994342010-02-08T13:56:00.000-08:002010-02-18T10:05:47.420-08:00Precious: Based on the Novel Push by Sapphire (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Untitled-27.png" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Untitled-27.png" border="0" alt="Photobucket"></a><br /><br />Plot Summary: In Harlem, an overweight, illiterate teen who is pregnant with her second child is invited to enrol in an alternative school in hopes that her life can head in a new direction.<br /><br />I’ll be honest; I usually find it very hard to invest in films such as <span style="font-style:italic;">Precious</span>. Films that try so very obviously to throw as many shocking and horrible scenarios at the audience turn me off and I find their attempt so see-through and laboured that I cannot connect with the characters on any level. However, due to the level of praise Lee Daniels’s new film has garnered I found it hard to ignore and I’m glad I gave it a chance. Precious, despite some glaring technical missteps is in fact a thoroughly moving and engaging film about an important topic not often given appropriate attention.<br /><br />The Precious of the title, played by Gabourey Sidibe, is the heart and soul of the movie. She carries the film, and it is on her merits that the film depends. Thankfully, Sidibe plunges face-first into the (emotionally dense and highly self-deprecating) role, not merely acting as Precious, but becoming her. In fact, Sidibe’s performance is so believable that it’s hard to believe this was, at the time, her first acting gig. Precious, despite her background, is not the most likeable of characters but Sidibe brings a tenderness and optimism to the role which (along with a surprisingly bearable narration) helps keep audiences on her side. The acting on display in <span style="font-style:italic;">Precious</span> is sublime from start to finish with inspired casting of supporting characters from Mo'Nique, Paula Patton, Mariah Carey and yes, even Lenny Kravitz. <br /><br />Indeed, without such an astonishingly strong cast of actors the film wouldn’t carry half the emotional punch it delivers. The film’s plot delves into some very dark places and deals with issues revolving around broken families (unconventional doesn’t even begin to cover it), the state benefit system and African-American working class life in an insightful and affecting manner without ever becoming too preachy. While the film deals with issues that many would rather ignore it never feels like a lecture and acts as a powerful reminder of how wrong things can when people are pushed to the edges of society. Consequently, and particularly towards the end of the film, things get extremely heavy, providing some of the most emotionally difficult and moving cinema I have experienced for a long while.<br /><br />Nevertheless, there are numerous technical misgivings which undercut much of the drama on display and, to an extent, ruin what could have been one of the year’s finest films. Formally, the film plays with a lot of different styles which sometimes pay off, but mostly fall flat. For instance, the use of Precious’s fantasy scenes were an understandable decision but were often cut into the action rather abruptly. The editing of these scenes felt awkward and misplaced, continually taking us out of the moment at all the wrong times. Some of these stylistic choices, such as when Precious looks into the mirror and sees a skinny white girl, are artfully implemented but most seem overwhelming and tacked-on. <br /><br />Additionally, a cheap use of slow motion occurs whenever Precious is physically abused by others, removing the impact of the violence and ultimately coming off as cheesy when the film should be at its most traumatic. The placing and choice of music is also often bizarre and off-putting. It rarely seems to adequately match the atmosphere of the scene it accompanies. Regardless, <span style="font-style:italic;">Precious</span> still manages comes off as a highly engaging experience, and one which I would highly recommend to anyone who is even remotely interested in the social issues it raises.<br /><br />Final Verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com1tag:blogger.com,1999:blog-8905048833670915207.post-70408094452375725382010-02-04T13:35:00.000-08:002010-02-18T10:06:04.748-08:00The Road (2010)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Untitled-25.png" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Untitled-25.png" border="0" alt="Photobucket"></a><br /><br />Plot Summary: A post-apocalyptic tale of a man and his son trying to survive by any means possible.<br /><br />The new Cormac McCarthy adaptation, after <span style="font-style:italic;">No Country For Old Men</span> (great) and <span style="font-style:italic;">All The Pretty Horses</span> (not so great), has had a bumpy road to cinema screens. <span style="font-style:italic;">The Road</span> was originally meant to be released towards the end of 2008 but, as is becoming all too common for The Weinstein Company, it didn’t see the light of day until November 2009. During this period of time the usual delayed-film-fears began to settle in as seen with many similar releases before it. Thankfully, as the final film illustrates, these fears were proven to be entirely weightless. <span style="font-style:italic;">The Road</span>, although not for everyone, is an extremely realistic and dark portrayal of a bleak post-apocalyptic world and the lengths a man will go to in order to protect his son.<br /><br />The post-apocalyptic world that ‘Father’ and ‘Boy’ (neither are named throughout, a perfect illustration of their disenchanted existence and depiction of a society in which names are no longer needed) inhabit is beautifully captured visually throughout the film. The CGI assisted sets look more than convincing, as breathtakingly dilapidated and desolate urban images dominate <span style="font-style:italic;">The Road</span>. The cinematography follows suit, drenching the screen in an oppressive grey spectrum of hopelessness. Likewise the make-up and costume department do a fantastic job of making the characters look like they’re living everyday as their last with a near-unrecognisable appearance by Robert Duvall and Viggo Mortensen literally looking as if he’s about to starve to death throughout. All these elements, along with Nick Cave and Warren Ellis’s suitable dark and eerie soundtrack, create a grimly realistic atmosphere which may turn some viewers off, but will press all the right buttons for others.<br /><br />Accordingly the film moves at a slow pace, any ‘action’ scenes are far and few between and often scenes depict nothing more than father and son looking for food or shelter and walking down motorways in silence. This is not to say that the film is devoid of any narrative substance as several suspenseful and harsh scenes (such as the horrifying discovery of malnourished people being stored in a basement by a group of cannibals) most certainly make their mark. Contrasting these scenes are flashbacks to the time before things changed (the film doesn’t explain what caused the apocalypse, leaving the audience to decide) which add real emotional depth to the proceedings and shed light on our main characters plight. <br /><br />Furthermore, not a single actor turns in a bad performance. Mortensen brilliantly portrays a broken, obsessively protective father who is not always likeable but whose actions are thoroughly understandable. Charlize Theron is pitch-perfect as the mother who has lost all hope and even Kodi Smit-McPhee is believable (if not a little trying at times) as their fragile son. If <span style="font-style:italic;">The Road</span> has one drawback, it is that the film may be too restrained for its own good. For all its atmospheric achievements perhaps the film could have benefited from a stronger narrative thread or threat as I felt slightly unsatisfied with the amount of drama present. Regardless, <span style="font-style:italic;">The Road</span> is highly recommended to anyone who appreciates a slower film and can stomach an examination into the darker side of humanity and its potential for cruelty. <br /><br />Final Verdict: 8/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-19604064660578676382010-02-01T06:47:00.000-08:002010-02-18T10:06:22.272-08:00Sherlock Holmes (2009)<a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Untitled-23.png" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Untitled-23.png" border="0" alt="Photobucket"></a><br /><br />Plot Summary: Detective Sherlock Holmes and his stalwart partner Watson engage in a battle of wits and brawn with a nemesis whose plot is a threat to all of England.<br /><br />It’s been a long while since Sherlock Holmes has graced our screens and the nature of his return (or ‘reboot’ to use the popular term) seemed at first determined to shake as many apple carts as possible. Casting an American as the long-beloved English lead? Choosing Guy Richie, famous for depicting hyper-fast gangster violence and foul-mouthery, as director? Turning Holmes into a ‘kick-ass, ask questions later’ action hero? These risks, however, pay off in spades as the new <span style="font-style:italic;">Sherlock Holmes</span> film manages to find the perfect balance between the traditional mystery investigations and Victorian London locales of old while injecting a new sense of humour and action into the mix.<br /><br />The key to <span style="font-style:italic;">Sherlock Holmes's</span> success lies in the depiction of, and chemistry between, Robert Downey Jr. as Sherlock Holmes and Jude Law as John Watson. Both actors do their roles more than justice, with Downey Jr. in particular bringing to the role a slacker playfulness, not seen before in previous Holmes incarnations, while still managing to convince the audience of his brilliance as a detective (and of his English accent). The banter between the two actors is witty and thoroughly enjoyable; it’s enough to make you believe the two have known each other as long as their fictional counter-parts. Meanwhile Guy Richie manages to rein in his usual kinetic style of film-making just enough as to not disrupt the tone of the film and still keep it visually interesting enough. <br /><br />The action is exciting and shot well without going too overboard, while the slow-motion breakdowns of Holmes’s fight moves are especially impressive. Additional, as with <span style="font-style:italic;">Lock, Stock</span> and <span style="font-style:italic;">RockNRolla</span> before it, <span style="font-style:italic;">Sherlock Holmes</span> continues Richie’s love-affair with his hometown by depicting a truly alive Victorian London via an authentic combination of period sets and striking CGI backgrounds. The only elements that let the film down are drawn-out pacing and a less-than threatening villain. The film has so much to set up and takes so long doing so that towards the end the pace starts to lag and you may find yourself wondering which scene will be the last, especially as the ending is more than predictable. Mark Strong, meanwhile, does a competent job as the evil Lord Blackwood but isn’t particularly memorable and never poses much of a threat to Holmes. Ultimately, however, <span style="font-style:italic;">Sherlock Holmes</span> feels like a breath of fresh air for a somewhat dated franchise and provides a highly entertaining cinema-going experience.<br /><br />Final Verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-9891963310669091162010-01-17T17:15:00.000-08:002010-02-18T10:06:42.702-08:00Avatar (2009)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=Untitled-20.png" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/Untitled-20.png" border="0" alt="Photobucket"></a><br /><br />Plot Summary: When his brother is killed in battle, paraplegic Marine Jake Sully decides to take his place in a mission on the distant world of Pandora. There he learns of greedy corporate figurehead Parker Selfridge's intentions of driving off the native humanoid ‘Na'vi’ in order to mine for the precious material scattered throughout their rich woodland.<br /><br />After making the biggest grossing film of all time, <span style="font-style:italic;">Titanic</span>, and crowning himself “King of the World” James Cameron took a break from film-making for over ten years. He spent the time dabbling in the odd documentary and developing the camera technology necessary for his mysterious next project, <span style="font-style:italic;">Avatar</span>. Audiences waited with baited breath to witness what Cameron would unleash while information about the film slowly but surely trickled out and hype began to snowball to epic proportions. Since its release <span style="font-style:italic;">Avatar</span> has become the second highest grossing film ever and the visual experience it provides is being lauded as the best of its kind since cinema began. The effects and scope of the film certainly deliver, but a truly great film cannot rely on visuals alone. <br /><br />Unfortunately, where <span style="font-style:italic;">Avatar</span> falls short is in the story and script department. Make no mistake, the comparison to films such as <span style="font-style:italic;">Pocahontas</span>, <span style="font-style:italic;">Dances with Wolves</span> and <span style="font-style:italic;">FurnGully</span> is not merely childish fanboyism, but in fact an accurate description of the unoriginality and tone on display throughout the film. <span style="font-style:italic;">Avatar</span> is highly predictable, even to those who have no seen the aforementioned films. Jake of course sides with the Na’vi and helps them drive away the ruthless colonizers, and he and Neytiri are destined to fall in love. The plot is also ridden with clichés. We’ve got a man torn between his duty and his heart, a character that initially finds a person annoying and then falls for them against their better judgment, wise old sages, greedy corporations, liberals fighting for diplomacy and a ruthless, unstoppable army sergeant. You name ‘em, they’re in this film. <br /><br />The dialogue is also poorly conceived with the script often coming across as false and, at times, even laughter-inducing. That said the actors do a good job with what they’re given and it’s not hard to see why Sam Worthington is Hollywood’s new go-to action hero. However, the main problem with the films story is just how melodramatic and cheesy it gets in parts. The manner in which the Na’vi and their culture is handled gets to <span style="font-style:italic;">Matrix Reloaded</span> rave-scene levels of ridiculous at points, while in others it’s just plain over-the-top in its depiction of good vs. evil. The environmental message of the film, while topical and important, wasn’t handled with any grace whatsoever and as such ultimately felt rather juvenile in its delivery.<br /><br />Whatever is said about <span style="font-style:italic;">Avatar’s</span> narrative failures, its astounding visuals cannot be faulted. The motion capture technology and subsequent CGI effects in the film are indeed the best I have ever seen. During several moments in the film the Na’vi actually looked so real I had trouble pulling my jaw up from the floor. The smoke, light, flame and shadow effects also blend in amazingly well with the characters that I’ll be highly surprised if the film doesn’t pick up the Oscar for Best Visual Effects. The world of Pandora is also beautifully rendered and realized. It entrances the viewer with exotic images of floating mountains, giant, alien vegetation and creatures. The only thing that breaks the spell of Pandora is the somewhat uninspired art design of the non-Na’vi creatures (alien horse, alien rhino, alien monkey, alien dog etc.). Cameron also does well when handling the cinematography of the human spaces, framing the action from a dark, gritty and realistic looking world-view.<br /><br />The action scenes littered throughout the film are highly satisfying, all frantic and fast paced without glossing over any of the nasty realities of warfare (at times even revelling in them). The final twenty minute battle scene is justifiably epic with air-craft and flying creatures alike littering the screen while the final showdown between Jake and Parker is what audience members have been waiting for since the latter’s introduction. The film also deals with a number of interesting themes and issues, such as with mankind’s misuse of technology (a Cameron trademark). However, many of these ideas feel underdeveloped. Jake’s use of the avatar body, for example, has him confusing the days and musing on which body now feels more real to him. Had this and similar ideas been further explored <span style="font-style:italic;">Avatar</span> would have been a far more rewards experience. As it is, and rather ironically, Cameron has failed to heed his own warning and depended on technology far too much, neglecting the basics of an interesting and believable story.<br /><br />Final Verdict: 6/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0tag:blogger.com,1999:blog-8905048833670915207.post-80207783660145582852009-10-10T09:10:00.000-07:002010-02-18T10:07:03.847-08:00Inglourious Basterds (2009)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=untitled5.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/untitled5.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: In Nazi-occupied France during World War II, a group of Jewish-American soldiers known as ‘The Basterds’ are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis. The Basterds soon cross paths with a French-Jewish teenage girl who runs a movie theatre in Paris which is targeted by the soldiers.<br /><br />The story goes that Quentin Tarantino has been working on the script for his new film, Inglourious Basterds, for over ten years. He was originally meant to shoot it in 2004 but <span style="font-style:italic;">Kill Bill</span> got in the way, Michael Madsen was meant to star at one point and he even toyed with the idea of making a TV series out of the material. As such, anticipation for the film rose and rose until earlier this year the film was finally released to an eager fan-base. The question is, was it all worth the wait? As unsatisfying as it sounds, the resounding answer is merely sort-of. With his sixth film as director Tarantino has managed to make two wildly different, but both extremely captivating films. However, by condensing them both into one feature his synthesis yields a regretfully average film.<br /><br />The film is essentially split into two storylines; one about a group of American soldiers dropped behind enemy lines and another about a cinema owner who plans to kill most of the Nazi elite at a movie premier. The former is a gloriously over-the-top Jewish revenge fantasy that recalls the directors previously forays into exploitation cinema such as <span style="font-style:italic;">Grindhouse</span>, <span style="font-style:italic;">Jackie Brown</span> and <span style="font-style:italic;">Kill Bill</span> while the latter is a suspenseful, dialogue intense and thoughtful exploration into the power of cinema. The acting throughout both plotlines is almost faultless with almost every character giving a performance typical of Tarantino’s gift for characterisation. Christoph Waltz as Hans Landa is the obvious standout as the equally charming and terrifying ‘Jew Hunter’ and it comes as no surprise that he won the best actor award at this year’s Cannes Film Festival. Waltz takes over every scene he appears in and makes for some of the films funniest yet tense moments. Brad Pitt also makes a very entertaining Southern hick and even Eli Roth is convincing as the hugely overdramatic ‘Bear Jew’.<br /><br />The Basterds section of the film is fun from start to finish, dripping with Tarantino cool, excessive violence and unforgettable characters. The finest scene has to be the basement bar rendezvous with Bridget von Hammersmark and the ensuing shoot-out and eventual Mexican stand-off. This part of the Basterds’s journey really is Tarantino at his finest; lengthy but captivating dialogue, extremely tense atmosphere and of course, more-than satisfying bloodshed. The scene is so well paced and choreographed that it more than stands up to the briefcase scene in <span style="font-style:italic;">Pulp Fiction</span> and the final scene from <span style="font-style:italic;">Reservoir Dogs</span>. However, it is really Shosanna’s half of the film that triumphs as it contains far more substance and intrigue for the audience to chew on long after the credits have rolled. <br /><br />Mélanie Laurent’s character is a vulnerable yet fierce personality that is far more relatable and sympathetic than all of the Basterds put together. Her final plan to destroy the Nazi elite, combined with inclusion of the fictional Nazi propaganda film ‘<span style="font-style:italic;">Nation’s Pride</span>’, is a brilliant literal and metaphorical portrayal of the power of cinema to influence popular opinion, settle personal vendettas and ultimately; to change history itself (be it an alternative end to World War II or simply Tarantino’s hard and fast approach to historical accuracy). The first scene, in which Shosanna’s entire family are slain at the hands of Landa, is one of the most suspenseful I’ve seen in a long time while the montage of Shosanna getting ready for the film premier set to David Bowie’s ‘<span style="font-style:italic;">Cat People (Putting Out Fire)</span>’ is simply superb.<br /><br />Regardless of the narrative oversight previously mentioned <span style="font-style:italic;">Inglourious Basterds</span> is also host to a number of other drawbacks. Violence is a Tarantino trademark, granted, but it was always most effective when <span style="font-style:italic;">suggested</span>, rather than explicitly <span style="font-style:italic;">shown</span> to the audience. With his latest film this technique seems to have been thrown out of the window in favour of an in-your-face approach which adds very little to the film. Another element Tarantino is praised for is his soundtracking ability, which, while not entirely absent from the film, most definitely lacks in comparison to his earlier work. The soundtrack is compiled mostly of original pieces of music taken from old Westerns and war films of the 60s and 70s which work sometimes but are often jarring and deinterpolating. Drawing again from the exploitation films of old the director also uses on-screen titles to introduce certain characters (Hugo Stiglitz and most of the Nazi elite later in the film) which worked well in his previous films but seemed out-of-place in the wider context of the film. These problems, combined with the decision to combine two stories which could both have easily been their own films, make for an enjoyable yet frustrating outing.<br /><br />Final verdict: 7/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com2tag:blogger.com,1999:blog-8905048833670915207.post-80885499568314226042009-10-08T12:31:00.000-07:002010-02-18T10:08:02.120-08:00Watchmen (2009)WARNING: THIS REVIEW MAY CONTAIN SPOILERS.<br /><br /><a href="http://s4.photobucket.com/albums/y128/NumbBody/?action=view¤t=untitled4.jpg" target="_blank"><img src="http://i4.photobucket.com/albums/y128/NumbBody/untitled4.jpg" border="0" alt="Photobucket"></a><br /><br />Plot Summary: In an alternate 1985 where former superheroes exist, the murder of a colleague sends active vigilante Rorschach into his own sprawling investigation, uncovering something that could completely change the course of history as we know it.<br /><br />The great ‘un-filmable’ graphic novel has now finally been released in 2009, twenty three years after it was initially optioned to film studios. Writers, stars and directors have come and gone in that time and the film has ultimately been handed over to new kid on the block; Zack Snyder. Wait, what? Zack Snyder, the guy that directed the half-decent remake of <span style="font-style:italic;">Dawn of the Dead</span> and the visually arresting but utterly shallow <span style="font-style:italic;">300</span>? Sure, he’s the man to adapt a four hundred plus page, multi-themed, adult comic book with a multitude of complex characters and plot-strands to the screen. Not that the film is an utter disaster, in fact it’s a minor miracle that it turned out as half-decent as it has done, but Snyder was a poor choice for director and is most-likely behind most of the films continuous pitfalls. <br /><br />The first two scenes of the film stand out as the films finest as one showcases a taut action sequence so beautifully shot that you feel every blow and the other illuminating the alternative 1985 of the ‘Watchmen’ in a montage fittingly set to Bob Dylan’s ‘<span style="font-style:italic;">The Times They are a-Changin</span>’’. These two scenes really capture the atmosphere and tone of the comic and if this level of craftsmanship had been kept up the film could have even given <span style="font-style:italic;">The Dark Knight</span> a run for its money. Nevertheless the film does stick very closely to the comic throughout with a high attention to detail with many frames matching their comic counterparts. The cinematography in Watchmen also matches the intensity of the source material’s visual style well, combining bright costumes and iconography with a dark and dank landscape which immerses the audience into the world of the comic further still. The special effects used throughout are a marvel to look at and really bring the screen to life while rarely distracting the viewer from the story or characters. Visual touches such as Rorschach’s shape-shifting mask or the incredible motion capture work utilised for Dr Manhattan’s otherworldly image are a testament to modern technique and remind the audience why a film adaptation was worth doing in the first place.<br /><br />For a superhero film the acting is mostly top-notch; the actors take their roles as disillusioned crime fighters seriously and it shows. Jackie Earle Haley’s Rorschach stands out as the films most accomplished character, seemingly channelling Travis Bickle by way of Batman in a ruthless yet emotionally layered performance. Patrick Wilson does a surprisingly good Daniel Dreiberg, it’s hard to imagine anyone other than Jeffrey Dean Morgan playing The Comedian and Billy Crudup also shines as the cold hearted Dr Manhattan. The cast is, however, let down by thoroughly unconvincing and cheesy turns by both Matthew Goode and Malin Åkerman (playing Adrian Veidt and Laurie Juspeczyk respectively). <br /><br />The screenwriters have also, amazingly, managed to trim down the weighty graphic novel into a convincingly digestible two hours and a half with most of the main themes intact. The film is edited well enough via multiple flashbacks so that almost all of the main narrative from the source material is present with few notable exceptions (The Black Freighter and newsstand sections are regrettably neglected). Yes, the ending has been changed, but perhaps for the better. A sub-plot about a giant squid wouldn’t have fit the films tone, or been so readily accepted by audiences for that matter. The thematic concerns about 1980s Cold-war politics, the questionable stance of the vigilante in modern society and the deconstruction of the superhero are all well dealt with, and help elevate the film to something more than a bunch of middle aged costumed heroes punching each other to death.<br /><br />However, the aforementioned faithful nature of Snyder’s adaptation is also one of the films biggest failings. The simple fact is that some things work in comics but don’t work in cinema. In attempting to stay loyal to the fans, Snyder ends up deconstructing the serious tone which he has worked so hard to maintain throughout the film. Several key scenes spring to mind such as Laurie walking in on Daniel standing naked, staring at his costume or the inclusion of Adrian’s frankly ridiculous looking mutated pet tiger. These and other moments such as the apartment block fire rescue simply do not ring true when placed in a film and if anything were simply laughable. Conversely some moments (Nite Owl II’s <span style="font-style:italic;">Revenge of the Sith</span> Darth Vader impression) or interpretations of sequences (that sex scene) that were not present in the original comic were so cringe-worthy I felt embarrassed for even recommending the film to people. <br /><br />Other, unrelated, problems are also present in the film. Snyder’s over-reliance on ‘racking’ is often distracting, repetitive and in some cases, downright inappropriate (the attempted rape scene). The film-makers also seem so keen to remind you that it’s the 1980s that several pieces of popular music from the era are implemented at often odd or jarring times throughout the film when it’s already abundantly clear to any cinemagoer which decade it’s set in. These faults and others previously mentioned severely hurt the film as a whole. In the end, watching <span style="font-style:italic;">Watchmen</span> ultimately becomes a frustrating experience as these faults prevent it from obtaining the level of artistry it comes so close to achieving.<br /><br />Final Verdict: 6/10Ginger Rangerhttp://www.blogger.com/profile/13962379145716779850noreply@blogger.com0