As the Harry Potter franchise nears its end, the penultimate film is the darkest, and most enjoyable film so far.
The film sees the famous trio, Harry Ron and Hermione, battle against Voldemort's underlings after the death of Professor Dumbledor in the previous film. This time, the action takes place away from Hogwarts, the magical school, and in the real world of modern Britain.
A stunning production, with many scenes utilizing the horror that occurs in the book to full effect. The characters are developed well, and there is a sense of clarity that a couple of the other films seemed to lack. Performance wise, Daniel Radcliff as Harry Potter gives his most impressive yet, and Emma Watson is worthy of mention, as the film offers more of her story this time, allowing for a deeper portrayal.
As with any story split into two parts, the Deathly Hallows part one, will make audiences yearn for the next installment, and if this film is anything to measure by, I cannot wait for the final adventure!
In association with UK FILM REVIEW
Wednesday 22 December 2010
Sunday 5 December 2010
300 (2006)
Epic graphic novel translation, with cinematic beauty.
Director Zach Snyder must have spent months slowing footage down to make this film, most of the action shots are gory, slow-paced comic-book visuals of spears piercing skin and swords decapitating heads. The story of the 300 Spartans who faced the Persian army is deeply rooted in ancient Greek mythology, and the original graphic novel by Frank Miller uses the story to create a vibrant, violent tale that appeals to a modern audience. The film does not disappoint.
With a gutsy production of imaginative fight sequences, amazing characters, and inspiring storyline, the film should be revered as one of the most impressive films of the 21st Century. High praise, I know, but few films affect me the way this one has. It is a film that takes heroism, pride, bravery, loyalty, and faith and pits it them against tyranny, brutality, slavery, and greed. The epic battle is given a cinematic beauty that seems years ahead of its time, and the punchlines, which on paper would seem silly, work well to enthuse these ideas of patriotism and heroism.
Director Zach Snyder must have spent months slowing footage down to make this film, most of the action shots are gory, slow-paced comic-book visuals of spears piercing skin and swords decapitating heads. The story of the 300 Spartans who faced the Persian army is deeply rooted in ancient Greek mythology, and the original graphic novel by Frank Miller uses the story to create a vibrant, violent tale that appeals to a modern audience. The film does not disappoint.
With a gutsy production of imaginative fight sequences, amazing characters, and inspiring storyline, the film should be revered as one of the most impressive films of the 21st Century. High praise, I know, but few films affect me the way this one has. It is a film that takes heroism, pride, bravery, loyalty, and faith and pits it them against tyranny, brutality, slavery, and greed. The epic battle is given a cinematic beauty that seems years ahead of its time, and the punchlines, which on paper would seem silly, work well to enthuse these ideas of patriotism and heroism.
Four Christmases (2008)
It is the holiday season, so Christmas films are filling our televisions with joy and cheer!
Any movie with a Christmas storyline automatically faces many limitations. The setting has to be around December, usually with winter weather, and there has to be an element of overcoming adversity in order to enjoy the most magical day of the year. Seth Gordon's Four Christmases starring Reese Witherspoon and Vince Vaughn definitely succumbs to the boundaries of the genre, but manages to create a film which delves into the pressure that relationships suffer from during Christmas.
Brad (Vaughn) and Kate (Witherspoon) are a couple who do everything together! They go on holidays, couples massages, dancing lessons...they even skip Christmas with each other. Every year they concoct a plan to avoid dealing with their complicated families, and fly off to some tropical island to wait out the season. However, their plans go awry when their flight is cancelled and their families see them on the news still in the country, now Brad and Kate are forced to spend Christmas visiting all four of their divorced parents.
Initially emerging as a comedy, the film develops into a more intricate exploration of the family unit. Kate struggles with her issues over parenthood, while Brad has to face the prospect of finally growing up emotionally.
A half-decent Christmas film that avoids the typical clichés, and there are some slapstick moments which are hilarious. Worth a watch on a lazy Sunday!
Any movie with a Christmas storyline automatically faces many limitations. The setting has to be around December, usually with winter weather, and there has to be an element of overcoming adversity in order to enjoy the most magical day of the year. Seth Gordon's Four Christmases starring Reese Witherspoon and Vince Vaughn definitely succumbs to the boundaries of the genre, but manages to create a film which delves into the pressure that relationships suffer from during Christmas.
Brad (Vaughn) and Kate (Witherspoon) are a couple who do everything together! They go on holidays, couples massages, dancing lessons...they even skip Christmas with each other. Every year they concoct a plan to avoid dealing with their complicated families, and fly off to some tropical island to wait out the season. However, their plans go awry when their flight is cancelled and their families see them on the news still in the country, now Brad and Kate are forced to spend Christmas visiting all four of their divorced parents.
Initially emerging as a comedy, the film develops into a more intricate exploration of the family unit. Kate struggles with her issues over parenthood, while Brad has to face the prospect of finally growing up emotionally.
A half-decent Christmas film that avoids the typical clichés, and there are some slapstick moments which are hilarious. Worth a watch on a lazy Sunday!
Sunday 28 November 2010
Toy Story 3 (2010)
Woody and Buzz are back for the third installment of animated greatness!
Toy Story (1995) was an immense achievement for cinema, not just animation. It was the first film made entirely from animation, and is one of the most successful movies of all time. The story of toys who come to life whenever humans are not around, struck a chord with almost everyone, and characters like Sheriff Woody, Buzz Lightyear, and Mr Potato Head have become synonymous with childhood innocence. The franchise appeals to viewers of all ages, and this newest addition is outstanding.
In the third film, the owner of the toys Andy is now grown up, and about to leave for college. Woody and the gang worry about their fate, hoping for a comfy stay in the attic together, and preying they do not end up being donated, or worse, thrown away! A mix up with the packing sees the group being sent to a day care centre, and now Woody must attempt to save his buddies, whilst convincing them of Andy's intentions.
A disillusioned bear, called Lotso, appears initially to be a welcoming new leader of the day care, who will make sure the new group of toys are happy in their new life. However, it becomes clear that this day care centre, is more like a prison, and Lotso is actually a heartless warden. Woody must come up with a plan to escape the day care, and also get back to Andy before he leaves.
The film surpasses its own reputation with graphics, with a cinematography that encompasses vibrant colours, lively suburbia, and a variety of interesting characters. The voices are crisp and clear, with such a great cast that viewers are not distracted by celebrity, and more entranced by performance. The coming of age of Andy makes for a poignant story, along with the entertaining peril and action sequences.
A heart-warming, rich film that embodies all that is great about family films, animation, and cinema.
Toy Story (1995) was an immense achievement for cinema, not just animation. It was the first film made entirely from animation, and is one of the most successful movies of all time. The story of toys who come to life whenever humans are not around, struck a chord with almost everyone, and characters like Sheriff Woody, Buzz Lightyear, and Mr Potato Head have become synonymous with childhood innocence. The franchise appeals to viewers of all ages, and this newest addition is outstanding.
In the third film, the owner of the toys Andy is now grown up, and about to leave for college. Woody and the gang worry about their fate, hoping for a comfy stay in the attic together, and preying they do not end up being donated, or worse, thrown away! A mix up with the packing sees the group being sent to a day care centre, and now Woody must attempt to save his buddies, whilst convincing them of Andy's intentions.
A disillusioned bear, called Lotso, appears initially to be a welcoming new leader of the day care, who will make sure the new group of toys are happy in their new life. However, it becomes clear that this day care centre, is more like a prison, and Lotso is actually a heartless warden. Woody must come up with a plan to escape the day care, and also get back to Andy before he leaves.
The film surpasses its own reputation with graphics, with a cinematography that encompasses vibrant colours, lively suburbia, and a variety of interesting characters. The voices are crisp and clear, with such a great cast that viewers are not distracted by celebrity, and more entranced by performance. The coming of age of Andy makes for a poignant story, along with the entertaining peril and action sequences.
A heart-warming, rich film that embodies all that is great about family films, animation, and cinema.
Wednesday 24 November 2010
9 (2009)
Directed by Shane Acker, this animated dystopia follows the struggle of nine rag dolls, who have survived a war that destroyed the world, leaving only murderous machines to prey upon the wreckage.
Each rag doll has a number, rather than a name, and each has their own particular personality trait, such as 2, a wise, old handy-man, or 7, a rough rebel. The main character, predictably, is 9 (voiced by Elijah Wood), who is in search of answers, as well as being determined to save his fellow rag dolls. As the journey leads the rag dolls deeper into this apocalyptic landfill, larger questions regarding humanity, and its mistakes, emerge.
This animated film tries very hard to be different from other such films, like Pixar. It is dark, edgy, and painfully poignant, with Tim Burton attached as a producer...would you expect anything different? The film started as a college project for Acker, and was a 6 minute short film, and once it gained notoriety, a feature length was developed, the fear was that it would not work as a film that long. Ironically, my opinion is that it needed to be longer! Characters go undeveloped, the plot seems overshadowed by action scenes, and the ending seems contrived, which is such a shame, as the premise is awesome.
On the plus side, there is a sentiment to the film which appeals, and the danger which the rag dolls face is ever-present, making for a gripping view. It is absolutely stunning to look at, however Burton's opinion that a silent movie would have been more effective seems correct, the dialogue seems to render the film neutral, rather than a punch in the stomach.
Each rag doll has a number, rather than a name, and each has their own particular personality trait, such as 2, a wise, old handy-man, or 7, a rough rebel. The main character, predictably, is 9 (voiced by Elijah Wood), who is in search of answers, as well as being determined to save his fellow rag dolls. As the journey leads the rag dolls deeper into this apocalyptic landfill, larger questions regarding humanity, and its mistakes, emerge.
This animated film tries very hard to be different from other such films, like Pixar. It is dark, edgy, and painfully poignant, with Tim Burton attached as a producer...would you expect anything different? The film started as a college project for Acker, and was a 6 minute short film, and once it gained notoriety, a feature length was developed, the fear was that it would not work as a film that long. Ironically, my opinion is that it needed to be longer! Characters go undeveloped, the plot seems overshadowed by action scenes, and the ending seems contrived, which is such a shame, as the premise is awesome.
On the plus side, there is a sentiment to the film which appeals, and the danger which the rag dolls face is ever-present, making for a gripping view. It is absolutely stunning to look at, however Burton's opinion that a silent movie would have been more effective seems correct, the dialogue seems to render the film neutral, rather than a punch in the stomach.
Monday 22 November 2010
I Love You, Man (2009)
A truly Bro-Mantic tale, that is hilarious and poignant.
When Paul Rudd gets engaged to his beautiful fiancé, it occurs to him that he has no one to be his best man, so he goes in search of some male friends. When he meets painfully honest, and slightly crazy, Sydney (Jason Segel), Peter (Rudd) enters a dangerous relationship that will test boundaries of acceptable social behaviour.
Director John Hamburg has avoided the clichés and pitfalls that so many new comedies hit face on, and created a superb movie that is funny, original, and relevant. Rudd is brilliant as the awkward groom-to-be, whose try-hard attributes make him a likeable and entertaining character. Segel is excellent as the off-beat antagonist, whose zany perception on life makes for great viewing.
With some many films looking at the complexities of female lives, it is refreshing to see a film which looks at male relationships in the modern world. A great film that deserves appreciation.
When Paul Rudd gets engaged to his beautiful fiancé, it occurs to him that he has no one to be his best man, so he goes in search of some male friends. When he meets painfully honest, and slightly crazy, Sydney (Jason Segel), Peter (Rudd) enters a dangerous relationship that will test boundaries of acceptable social behaviour.
Director John Hamburg has avoided the clichés and pitfalls that so many new comedies hit face on, and created a superb movie that is funny, original, and relevant. Rudd is brilliant as the awkward groom-to-be, whose try-hard attributes make him a likeable and entertaining character. Segel is excellent as the off-beat antagonist, whose zany perception on life makes for great viewing.
With some many films looking at the complexities of female lives, it is refreshing to see a film which looks at male relationships in the modern world. A great film that deserves appreciation.
Coming To America (1988)
Eddie Murphy...an African prince?
This classic comedy from the eighties, sees Eddie Murphy as the heir to the throne in Zamunda, who goes to Queens in New York City in search of a wife who will offer him intelligence and integrity deserving of a Queen. Going undercover as a poor African student, his search sees him enter the world of working class life in Black America.
What is brilliant about this film, is the discourse that it opens about modern America, where issues of race and class are always open. Murphy encounters a wide variety of prejudice, and his comedic take on this is hugely entertaining.
A devilishly funny film, where the laughs are clever and outrageous at the same time.
This classic comedy from the eighties, sees Eddie Murphy as the heir to the throne in Zamunda, who goes to Queens in New York City in search of a wife who will offer him intelligence and integrity deserving of a Queen. Going undercover as a poor African student, his search sees him enter the world of working class life in Black America.
What is brilliant about this film, is the discourse that it opens about modern America, where issues of race and class are always open. Murphy encounters a wide variety of prejudice, and his comedic take on this is hugely entertaining.
A devilishly funny film, where the laughs are clever and outrageous at the same time.
Let The Right One In (2008)
Cult vampire film set in the chilling suburbia of Sweden.
Remade recently by Matt Reeves, and called Let Me In, the original film was directed by Thomas Alfredson and based on a novel. The film is about a young boy struggling at school with bullies, and an isolated home life, who befriends a very old vampire, who looks like a young girl. While the boy attempts to summon the courage to deal with his enemies, the girl has her guardian roam the streets looking for people to kill, and then drain the blood to survive. A slow, rich film that focuses on the isolation and loneliness of youth, rather than the sex appeal of blood lust.
The film is unfaltering in its dedication to authenticity, and uses the landscape and culture of Sweden to its benefit. Avoiding being gory and explicit, the movie does not fit the guidelines of the horror genre, and is more a dramatic tale of two children caught up in a dark world.
If you like vampire films, it is an original take on the genre, but do not expect the populism of Twilight, or the flashiness of TV programs like True Blood. Also, be prepared for some reading, subtitles galore, although this enhanced the film for me.
A very interesting film, which is original, authentic, and engaging....Let Me In is more impressive though!
Remade recently by Matt Reeves, and called Let Me In, the original film was directed by Thomas Alfredson and based on a novel. The film is about a young boy struggling at school with bullies, and an isolated home life, who befriends a very old vampire, who looks like a young girl. While the boy attempts to summon the courage to deal with his enemies, the girl has her guardian roam the streets looking for people to kill, and then drain the blood to survive. A slow, rich film that focuses on the isolation and loneliness of youth, rather than the sex appeal of blood lust.
The film is unfaltering in its dedication to authenticity, and uses the landscape and culture of Sweden to its benefit. Avoiding being gory and explicit, the movie does not fit the guidelines of the horror genre, and is more a dramatic tale of two children caught up in a dark world.
If you like vampire films, it is an original take on the genre, but do not expect the populism of Twilight, or the flashiness of TV programs like True Blood. Also, be prepared for some reading, subtitles galore, although this enhanced the film for me.
A very interesting film, which is original, authentic, and engaging....Let Me In is more impressive though!
Juno (2007)
A brilliant, quirky comedy.
Set in small town America, Juno is the story of a quirky teenager (Juno - played by Ellen Page), who becomes pregnant after sleeping with her awkward friend Paulie Bleeker (Michael Cera). Juno decides to explore the option of donating her child to a couple looking to adopt, and finds a promising pair in the local paper. As the nine months elapse, the story becomes even more complicated and emotional.
Made with a superb Indie influence, director Jason Reitman has created an understated masterpiece. The cast are truly impressive, especially Ellen Page, who has continued to stand out in her career. The witty script is brought to life with Page's outstanding penchant for delivery and timing, as well as the supporting cast. Music is an important aspect of this film, and the acoustic tracks create an atmosphere which reflect the story brilliantly, with off-beat tunes and zany lyrics. Most importantly, this film discusses one of the most important issues facing modern American society, teenage pregnancy, but does it in a way that is compassionate and entertaining and funny.
I struggle to find anything bad about this film, and I refuse to pick things for the sake of it. It is a wonderful movie about the boredom of youth, the emotion of childbirth, and the pain of relationships. Excellent viewing.
Set in small town America, Juno is the story of a quirky teenager (Juno - played by Ellen Page), who becomes pregnant after sleeping with her awkward friend Paulie Bleeker (Michael Cera). Juno decides to explore the option of donating her child to a couple looking to adopt, and finds a promising pair in the local paper. As the nine months elapse, the story becomes even more complicated and emotional.
Made with a superb Indie influence, director Jason Reitman has created an understated masterpiece. The cast are truly impressive, especially Ellen Page, who has continued to stand out in her career. The witty script is brought to life with Page's outstanding penchant for delivery and timing, as well as the supporting cast. Music is an important aspect of this film, and the acoustic tracks create an atmosphere which reflect the story brilliantly, with off-beat tunes and zany lyrics. Most importantly, this film discusses one of the most important issues facing modern American society, teenage pregnancy, but does it in a way that is compassionate and entertaining and funny.
I struggle to find anything bad about this film, and I refuse to pick things for the sake of it. It is a wonderful movie about the boredom of youth, the emotion of childbirth, and the pain of relationships. Excellent viewing.
Monday 15 November 2010
Harry Potter and the Half-Blood Prince (2009)
With the upcoming cinematic release of Harry Potter and the Deathly Hallows Part One, I take a look at the 6th installment of the magical franchise.
I am a fan of the books, and a fan of the films. I realise many Rowling-lovers are outraged by the films, due to the changing and deletion of events, but I think it is important to see the two mediums separately.
Harry Potter and the Half-Blood Prince is the best film of the series, it has a sinister style which gives the film credibility, and the infamous trio (Daniel Radcliff, Emma Watson, and Rupert Grint) pull of their most impressive performances. Harry (Radcliff), in his sixth year at Hogwarts (the magical school), continues his battle against the dark force of the Death Eaters, led by Voldemort, in which he attempts to learn more about his nemesis as well as cope with the trials of his famous life.
The film is excellent in terms of looks, style, cast, and music. Everything has an original appearance which make the Potter films instantly recognisable, and have given them an enduring existence. I still have problems with the script, but that seems to be a problem relating to the translation between page to screen.
Overall, a film that surpasses expectations, and makes it the most darkly exciting installment so far...
I am a fan of the books, and a fan of the films. I realise many Rowling-lovers are outraged by the films, due to the changing and deletion of events, but I think it is important to see the two mediums separately.
Harry Potter and the Half-Blood Prince is the best film of the series, it has a sinister style which gives the film credibility, and the infamous trio (Daniel Radcliff, Emma Watson, and Rupert Grint) pull of their most impressive performances. Harry (Radcliff), in his sixth year at Hogwarts (the magical school), continues his battle against the dark force of the Death Eaters, led by Voldemort, in which he attempts to learn more about his nemesis as well as cope with the trials of his famous life.
The film is excellent in terms of looks, style, cast, and music. Everything has an original appearance which make the Potter films instantly recognisable, and have given them an enduring existence. I still have problems with the script, but that seems to be a problem relating to the translation between page to screen.
Overall, a film that surpasses expectations, and makes it the most darkly exciting installment so far...
Saturday 13 November 2010
Mercury Rising (1998)
Action thriller about a young autistic boy who cracks a secret government code, and then becomes hunted by dangerous agents. His only hope is a disillusioned, reckless FBI agent, with more than his share of issues.
The film opens with an intense stand off between police and a group of bank robbers who are holed up inside a bank with a selection of hostages. Amongst the thieves, is undercover FBI agent Art Jeffries (Bruce Willis), who attempts to convince the robbers to end their siege peacefully and avoid bloodshed, to no avail. After a bloody shootout mainly from the police force, Jeffries is left with anger and guilt following the killing of two of the younger bank robbers, who he hoped to save. Meanwhile, an autistic student child Simon Lynch (Miko Hughes) stumbles upon a puzzle, which he solves, bringing him to the attention of the secret government agency, the NSA, headed by Nick Kudrow (Alec Baldwin). The puzzle turned out to be a secret code used to relay messages between undercover agents across the globe, whose identities must be kept secret. The film then develops in to a cat-and-mouse chase between the government and the boy, with Jeffries acting as guardian for Simon, after his parents are eliminated.
A slightly lukewarm action thriller, that seemed to have too many warm, fuzzy moments. Willis plays his typical action hero, which I am a big fan of, but does not offer anything original in this film. There are some good chase scenes and stunts, but nothing in the league of better action thrillers of the time, like Enemy of the State.
The most impressive element of this film, is the depiction of the autistic boy Simon. Director Harold Becker has managed to convey the sensitivity and emotion that the character deserves very well, and it is the most engaging aspect of the film.
Not one to remember, but worth a watch for the issues about autism in modern America.
The film opens with an intense stand off between police and a group of bank robbers who are holed up inside a bank with a selection of hostages. Amongst the thieves, is undercover FBI agent Art Jeffries (Bruce Willis), who attempts to convince the robbers to end their siege peacefully and avoid bloodshed, to no avail. After a bloody shootout mainly from the police force, Jeffries is left with anger and guilt following the killing of two of the younger bank robbers, who he hoped to save. Meanwhile, an autistic student child Simon Lynch (Miko Hughes) stumbles upon a puzzle, which he solves, bringing him to the attention of the secret government agency, the NSA, headed by Nick Kudrow (Alec Baldwin). The puzzle turned out to be a secret code used to relay messages between undercover agents across the globe, whose identities must be kept secret. The film then develops in to a cat-and-mouse chase between the government and the boy, with Jeffries acting as guardian for Simon, after his parents are eliminated.
A slightly lukewarm action thriller, that seemed to have too many warm, fuzzy moments. Willis plays his typical action hero, which I am a big fan of, but does not offer anything original in this film. There are some good chase scenes and stunts, but nothing in the league of better action thrillers of the time, like Enemy of the State.
The most impressive element of this film, is the depiction of the autistic boy Simon. Director Harold Becker has managed to convey the sensitivity and emotion that the character deserves very well, and it is the most engaging aspect of the film.
Not one to remember, but worth a watch for the issues about autism in modern America.
Friday 12 November 2010
12 Angry Men (1957)
Based on the teleplay by Reginald Rose from 1954, this epic courtroom drama from director Sidney Lumet is an insightful exploration of the American people and their justice system.
Set entirely within a courthouse, the story is of twelve jurors deliberating a capital murder case. Henry Fonda plays the only juror who is unconvinced of the accused's guilt, and as he attempts to open discussion on the case, emotions run high and true characters are unearthed. Issues of class, race, culture and American heritage reveal themselves, and the twelve jurors enter into a series of heated debates, some related to the case, and some not. Aspects of the case which seemed unbreakable are shown in a new light by Fonda, and the jurors must face the possibility of a different perspective, which has serious implications.
A demon of a script pushes this film into the iconic list of great movies. The intelligence of the words, and the pace given to them by an awesome cast, gives the impression of a great play, but with the added benefits of movie production. Fonda is unforgettable as juror number eight, a truly remarkable performance. All of the cast deserve applause and praise for their devotion to a great script, giving the characters a stark realism which makes the film so intense.
Some elements of the film date it, such as the old fashioned music score, and the use of fades between scenes, but this seems to give it an historic value, rather than diminishing its quality. The camera work is superb, flitting between several different conversations with smooth ease, and the stifling atmosphere in the room is conveyed expertly with great set pieces by the director, who has created a masterpiece.
Without question, one of the best films of the 20th century.
Set entirely within a courthouse, the story is of twelve jurors deliberating a capital murder case. Henry Fonda plays the only juror who is unconvinced of the accused's guilt, and as he attempts to open discussion on the case, emotions run high and true characters are unearthed. Issues of class, race, culture and American heritage reveal themselves, and the twelve jurors enter into a series of heated debates, some related to the case, and some not. Aspects of the case which seemed unbreakable are shown in a new light by Fonda, and the jurors must face the possibility of a different perspective, which has serious implications.
A demon of a script pushes this film into the iconic list of great movies. The intelligence of the words, and the pace given to them by an awesome cast, gives the impression of a great play, but with the added benefits of movie production. Fonda is unforgettable as juror number eight, a truly remarkable performance. All of the cast deserve applause and praise for their devotion to a great script, giving the characters a stark realism which makes the film so intense.
Some elements of the film date it, such as the old fashioned music score, and the use of fades between scenes, but this seems to give it an historic value, rather than diminishing its quality. The camera work is superb, flitting between several different conversations with smooth ease, and the stifling atmosphere in the room is conveyed expertly with great set pieces by the director, who has created a masterpiece.
Without question, one of the best films of the 20th century.
Thursday 11 November 2010
Kick Ass (2010)
As the comic-book film genre continues to dominate cinemas, can another hero enter the arena and kick some ass?
An emphatic yes! This film is superb.
Directed by Matthew Vaugn, and based on the original comics by Mark Millar, the movie asks the question: can any regular person become a superhero? And, if so, why has no one done it? Average teenager Dave decides to take on this challenge, buying himself a costume over the Internet, and roaming the streets looking to save those in trouble, giving himself the title Kick Ass. After being stabbed, ran over, and left for dead, Dave's antics reveal the absurdity of his mission, however, these injuries only make his determination stronger, as well as his body, which has to be reinforced with metal plates giving him a higher threshold for pain.
Kick Ass finds himself in a battle against an organised drug cartel. During Kick Ass' first encounter with the cartel, father-daughter superhero team, Big Daddy and Hit Girl, reveal themselves. A once legendary cop, Big Daddy now avenges the cartel who were responsible for sending him to prison and the death of his wife.
An action packed storyline with great characters makes this film exciting and credible. It is the stylistic elements to the film which elevate it above the average comic flick. The film seems to mix a Tarantino-style gore, with Frank Miller comic-realism, and a kind of Andy Warhol vibrance of colour, which creates an aesthetic that is hugely impressive. Several scenes stand out as being genuine works of art, and the graphic drawings mixed with the real life shots works well.
Great performances from a great cast, Nicholas Cage is surprisingly funny as Big Daddy, and rising star Chloe Moretz is fantastic as the dirty-mouthed Hit Girl.
Some may find the film goes too deep into the world of comics, but rest assured this is not a geeky film. It is a genuinely brilliant movie that caters for a wide variety of tastes. The film is artistic, enjoyable, and extremely current.
An emphatic yes! This film is superb.
Directed by Matthew Vaugn, and based on the original comics by Mark Millar, the movie asks the question: can any regular person become a superhero? And, if so, why has no one done it? Average teenager Dave decides to take on this challenge, buying himself a costume over the Internet, and roaming the streets looking to save those in trouble, giving himself the title Kick Ass. After being stabbed, ran over, and left for dead, Dave's antics reveal the absurdity of his mission, however, these injuries only make his determination stronger, as well as his body, which has to be reinforced with metal plates giving him a higher threshold for pain.
Kick Ass finds himself in a battle against an organised drug cartel. During Kick Ass' first encounter with the cartel, father-daughter superhero team, Big Daddy and Hit Girl, reveal themselves. A once legendary cop, Big Daddy now avenges the cartel who were responsible for sending him to prison and the death of his wife.
An action packed storyline with great characters makes this film exciting and credible. It is the stylistic elements to the film which elevate it above the average comic flick. The film seems to mix a Tarantino-style gore, with Frank Miller comic-realism, and a kind of Andy Warhol vibrance of colour, which creates an aesthetic that is hugely impressive. Several scenes stand out as being genuine works of art, and the graphic drawings mixed with the real life shots works well.
Great performances from a great cast, Nicholas Cage is surprisingly funny as Big Daddy, and rising star Chloe Moretz is fantastic as the dirty-mouthed Hit Girl.
Some may find the film goes too deep into the world of comics, but rest assured this is not a geeky film. It is a genuinely brilliant movie that caters for a wide variety of tastes. The film is artistic, enjoyable, and extremely current.
27 Dresses (2008)
Romance, weddings, fashion, and good looking movie stars are plentiful in this Rom-Com from director Anne Fletcher. Set in Manhattan, viewers glimpse in to the world of Jane (Katherine Heigl), a pro-active wedding planner whose selfless hard work sees her bridesmaid at 27 different weddings (hence the 27 dresses). Trouble hits though, when her baby sister comes to town and wins the affections of Jane's boss, who is also the unrequited love of Jane's life. As the love triangle is turned into a love parallelogram with the introduction of wedding columnist Kevin, you can imagine the drama and confusion which follow.
As a film with a specific target audience, it hits the mark. Connoisseurs of the genre may feel a little let down with the predictable structure, and lack of twists and turns, but for the most part it offers an eclectic mix of humour, romance, and big-city living. What makes the film, is an impressive performance by Heigl, as the awkward loner looking for the love of her life whilst dealing with everyone else's special day. The script is witty in places, and there are some slapstick moments which amuse.
One point worth mentioning is the discussion which the film creates about opinions on weddings and marriage. Jane absolutely loves them and pours her heart and soul into every detail that she plans, whilst Kevin is far more cynical about them, being a divorcee. Questions of materialism and pointlessness will keep couples arguing for hours.
A little more than your average Rom-Com, but mostly due to the casting of Heigl. Otherwise a forgettable film about forgettable people.
As a film with a specific target audience, it hits the mark. Connoisseurs of the genre may feel a little let down with the predictable structure, and lack of twists and turns, but for the most part it offers an eclectic mix of humour, romance, and big-city living. What makes the film, is an impressive performance by Heigl, as the awkward loner looking for the love of her life whilst dealing with everyone else's special day. The script is witty in places, and there are some slapstick moments which amuse.
One point worth mentioning is the discussion which the film creates about opinions on weddings and marriage. Jane absolutely loves them and pours her heart and soul into every detail that she plans, whilst Kevin is far more cynical about them, being a divorcee. Questions of materialism and pointlessness will keep couples arguing for hours.
A little more than your average Rom-Com, but mostly due to the casting of Heigl. Otherwise a forgettable film about forgettable people.
Monday 8 November 2010
The Road (2009)
A tale of humanity at its best and worst.
Viggo Mortensen and Kodi Smit-McPhee play the man and son in Cormac McCarthy's devastating The Road, directed by John Hillcoat. A post-apocalyptic story of father and son battling with a world that is dying all around them, whilst trying to maintain some semblance of humanity. The nameless duo must overcome danger and enemies throughout their journey south to the coast, from treacherous landscapes and severe weather conditions, to crippling hunger and roving gangs of cannibals. During the course of their struggle, The Road will test their morality, punish their weaknesses, and attempt to destroy them.
The very nature of McCarthy's genius story may seem depressing, (the death of the world often is), however, Hillcoat has managed to find the heart of the story, and keep it pumping throughout even though it is encased with misery and agony. A loving warmth is generated between Mortensen and Smit-McPhee which transcends the horrific setting of the film, and "carries a fire" for the viewer in their dark days. Thus, the film becomes less about the awful conditions generated by the destruction of the earth, and more about the struggle between good and evil, about holding on to compassion and love whilst everyone around you loses theirs.
A masterful production, with breathtaking cinematography. The barren landscapes covered in ash are somehow beautiful, and the locations are outstanding. Hillcoat juxtaposes colours with brilliance, using sepia, greys and darkness for the dying new world, whilst applying vivid and vibrant colours to happy memories of the man. The film also employs a piano riff which Mortensen and his wife (Charlize Theron) play during cheerier times, which comes to symbolize the last thread of happiness which the man clings to with ferocity.
As the father must "pass the torch" on to his son, viewers are left with a profound dilemma: should they be hopeful for the son's future? Or succumb to the despair of the boy's inevitable struggle? This, in essence, is the foundation of the story, how would you react in this situation? Would you have the strength and morality to remain humane in an inhuman world?
A truly remarkable film, worthy of praise and acclaim of the highest notion.
Viggo Mortensen and Kodi Smit-McPhee play the man and son in Cormac McCarthy's devastating The Road, directed by John Hillcoat. A post-apocalyptic story of father and son battling with a world that is dying all around them, whilst trying to maintain some semblance of humanity. The nameless duo must overcome danger and enemies throughout their journey south to the coast, from treacherous landscapes and severe weather conditions, to crippling hunger and roving gangs of cannibals. During the course of their struggle, The Road will test their morality, punish their weaknesses, and attempt to destroy them.
The very nature of McCarthy's genius story may seem depressing, (the death of the world often is), however, Hillcoat has managed to find the heart of the story, and keep it pumping throughout even though it is encased with misery and agony. A loving warmth is generated between Mortensen and Smit-McPhee which transcends the horrific setting of the film, and "carries a fire" for the viewer in their dark days. Thus, the film becomes less about the awful conditions generated by the destruction of the earth, and more about the struggle between good and evil, about holding on to compassion and love whilst everyone around you loses theirs.
A masterful production, with breathtaking cinematography. The barren landscapes covered in ash are somehow beautiful, and the locations are outstanding. Hillcoat juxtaposes colours with brilliance, using sepia, greys and darkness for the dying new world, whilst applying vivid and vibrant colours to happy memories of the man. The film also employs a piano riff which Mortensen and his wife (Charlize Theron) play during cheerier times, which comes to symbolize the last thread of happiness which the man clings to with ferocity.
As the father must "pass the torch" on to his son, viewers are left with a profound dilemma: should they be hopeful for the son's future? Or succumb to the despair of the boy's inevitable struggle? This, in essence, is the foundation of the story, how would you react in this situation? Would you have the strength and morality to remain humane in an inhuman world?
A truly remarkable film, worthy of praise and acclaim of the highest notion.
Sunday 7 November 2010
Jeepers Creepers (2001)
During a long road trip home from college, siblings Patricia and Darry stumble upon a horrifying creature who hunts for body parts, and stores the remaining corpses stacked inside a church basement. As the creature turns his attention to the brother and sister, the long journey home becomes a terrifying adventure of flesh-eating chaos.
Centred around an urban myth of a demon who rises ever 23 years for 23 days, during which time "it gets to eat", the film is set in the lonely countryside of America, where houses are sparse, and help is distant. Director Victor Salva has managed to cast two excellent actors to play the two lead roles. Justin Long (Dodgeball and Die Hard 4.0) is superb as Darry, the reckless youth who is thrown literally face first into the creature's world. Gina Philips (Jennifer's Shadow) adds a great dimension to the pairing, as the sensitive worrier, whose character develops considerably over the course of the film.
There are moments during the film which pander to the typical conventions of horror blockbusters, such as questionable motives behind the siblings' behaviour...why do these people feel the need to turn back and find out what lurks beneath?! But for the most part, Salva has created a decent horror film, which maintains a high level of scariness and mystery to keep the viewer entertained without bordering the ridiculous.
Centred around an urban myth of a demon who rises ever 23 years for 23 days, during which time "it gets to eat", the film is set in the lonely countryside of America, where houses are sparse, and help is distant. Director Victor Salva has managed to cast two excellent actors to play the two lead roles. Justin Long (Dodgeball and Die Hard 4.0) is superb as Darry, the reckless youth who is thrown literally face first into the creature's world. Gina Philips (Jennifer's Shadow) adds a great dimension to the pairing, as the sensitive worrier, whose character develops considerably over the course of the film.
There are moments during the film which pander to the typical conventions of horror blockbusters, such as questionable motives behind the siblings' behaviour...why do these people feel the need to turn back and find out what lurks beneath?! But for the most part, Salva has created a decent horror film, which maintains a high level of scariness and mystery to keep the viewer entertained without bordering the ridiculous.
Jeepers Creepers II (2003)
Horror sequels have a reputation for failure. They are often half-hearted and lack any of the spark that the original contained, and this is definitely the case for Victor Salva's Jeepers Creepers II.
The film is about a winged-creature who eats the body parts of those he likes during his 23 day reign of terror, which comes every 23 years. Set just days after the original film, the second installment follows a bus-load of high school basketball players, as well as their cheerleaders and team staff, who are pursued by the creature, and try to survive until morning when the creature's time is up. With a frenetic pace and stylish horror, the film does appeal to the average slasher fan, but the film offers nothing in the way of originality or substance. There are script problems from the outset, and the director offers very little in the way of character backgrounds, which leaves the viewer unconcerned about their fates.
By setting the film in the course of one night, it does add a sense of urgency which improves the film's effect. However, the creature is often displayed in full focus which removes the mystery surrounding his presence, and, in places, seems comical. The entourage of teenagers fail to distinguish themselves as individuals, and the more interesting characters seem to get picked off too early.
A poor follow-up to what could have been a fantastic movie franchise.
The film is about a winged-creature who eats the body parts of those he likes during his 23 day reign of terror, which comes every 23 years. Set just days after the original film, the second installment follows a bus-load of high school basketball players, as well as their cheerleaders and team staff, who are pursued by the creature, and try to survive until morning when the creature's time is up. With a frenetic pace and stylish horror, the film does appeal to the average slasher fan, but the film offers nothing in the way of originality or substance. There are script problems from the outset, and the director offers very little in the way of character backgrounds, which leaves the viewer unconcerned about their fates.
By setting the film in the course of one night, it does add a sense of urgency which improves the film's effect. However, the creature is often displayed in full focus which removes the mystery surrounding his presence, and, in places, seems comical. The entourage of teenagers fail to distinguish themselves as individuals, and the more interesting characters seem to get picked off too early.
A poor follow-up to what could have been a fantastic movie franchise.
Tuesday 2 November 2010
Dracula: Dead and Loving It (1995)
Mel Brooks is a comedy hero of mine, his work has been influential on the movie industry for decades, and his penchant for spoof is unmatched. His take on the Dracula story, however, is less than impressive.
As part of my spooky season viewing, I decided to lighten the mood with Brooks' Dracula: Dead and Loving It starring Leslie Nielsen as the infamous Count Dracula. Far from the comic genius of Spaceballs and Blazing Saddles, Brooks has opted for cheaper laughs and poor quality production. The story is barely held together, with elements of slapstick thrown in wherever possible, and the characters seem like simply impressions rather than realistic inventions. There are a couple of very funny moments, and I did enjoy Peter MacNicol as R. M. Renfield who was hilarious for a lot of the film. However, I was severely let down by lack of effort to make a thoughtful spoof of a legendary story.
As part of my spooky season viewing, I decided to lighten the mood with Brooks' Dracula: Dead and Loving It starring Leslie Nielsen as the infamous Count Dracula. Far from the comic genius of Spaceballs and Blazing Saddles, Brooks has opted for cheaper laughs and poor quality production. The story is barely held together, with elements of slapstick thrown in wherever possible, and the characters seem like simply impressions rather than realistic inventions. There are a couple of very funny moments, and I did enjoy Peter MacNicol as R. M. Renfield who was hilarious for a lot of the film. However, I was severely let down by lack of effort to make a thoughtful spoof of a legendary story.
The Others (2001)
As part of the spooky season, a spooky film seemed in order.
The Others is a virile haunted-house movie, offering an array of tension, mystery, and drama. Nicole Kidman plays devoted Christian and mother Grace Stewart, whose life has landed her in a cold, lonely mansion in Jersey with her two children and a few servants. As Grace awaits the return of her husband from the Second World War, life in her isolation becomes terrifyingly interesting when the children begin seeing ghosts, and strange occurrences begin appearing around the house. As the film develops, Grace must confront the unknown whilst protecting her children and keeping her faith.
A film of two halves, viewers may find the first hour a little tedious, with little more than odd noises around the mansion to arouse interest. However, the second half more than makes up for this, the twists and turns will haunt you and get you checking all the rooms in your house before bed!
The Others is a virile haunted-house movie, offering an array of tension, mystery, and drama. Nicole Kidman plays devoted Christian and mother Grace Stewart, whose life has landed her in a cold, lonely mansion in Jersey with her two children and a few servants. As Grace awaits the return of her husband from the Second World War, life in her isolation becomes terrifyingly interesting when the children begin seeing ghosts, and strange occurrences begin appearing around the house. As the film develops, Grace must confront the unknown whilst protecting her children and keeping her faith.
A film of two halves, viewers may find the first hour a little tedious, with little more than odd noises around the mansion to arouse interest. However, the second half more than makes up for this, the twists and turns will haunt you and get you checking all the rooms in your house before bed!
Sunday 31 October 2010
Star Trek (2009)
I am not a Trekkie. I do not like Star Trek...But this is an excellent film. Directed by the brilliant J. J. Abrams, this latest installment of the Star Trek franchise is, excuse the terminology, light years away from its predecessors.
Avoiding the usually limited appeal of the Star Trek audience, Abrams had made a film which is relevant to a much wider audience, utilising action, science-fiction, and thriller techniques to create an awesome viewing experience. The script is intelligent and witty, creating many moments of comedy which does not venture into the cheesy. A great cast, including several impressive performances, including Chris Pine as "Kirk", Zachary Quinto as "Spock", and Zoe Saldana as "Uhura". For true Trekkies, there is also an appearance of the legendary Leonard Nemoy.
The film follows the early days of the main characters of Star Trek, most importantly "Kirk" and "Spock". Following an attack from a rebel called Nero (Eric Bana), the Federation must fight back whilst enduring a loss of vital crew members, as well as the complications of time-space travel and past vendettas. The result is an action packed adventure across space, which is exciting and dangerous.
Abrams uses some amazing special effects, and creates an edgy sci-fi world which is violent and mysterious. Some of the storyline does get a bit confusing in places, as issues of time travel makes the plot hard to follow, but this only makes you want to watch it again...which I would definitely recommend.
Without losing any of the essential, original elements to the Star Trek story, this film transcends the constraints of science fiction, and appeals to wider, modern audience.
Avoiding the usually limited appeal of the Star Trek audience, Abrams had made a film which is relevant to a much wider audience, utilising action, science-fiction, and thriller techniques to create an awesome viewing experience. The script is intelligent and witty, creating many moments of comedy which does not venture into the cheesy. A great cast, including several impressive performances, including Chris Pine as "Kirk", Zachary Quinto as "Spock", and Zoe Saldana as "Uhura". For true Trekkies, there is also an appearance of the legendary Leonard Nemoy.
The film follows the early days of the main characters of Star Trek, most importantly "Kirk" and "Spock". Following an attack from a rebel called Nero (Eric Bana), the Federation must fight back whilst enduring a loss of vital crew members, as well as the complications of time-space travel and past vendettas. The result is an action packed adventure across space, which is exciting and dangerous.
Abrams uses some amazing special effects, and creates an edgy sci-fi world which is violent and mysterious. Some of the storyline does get a bit confusing in places, as issues of time travel makes the plot hard to follow, but this only makes you want to watch it again...which I would definitely recommend.
Without losing any of the essential, original elements to the Star Trek story, this film transcends the constraints of science fiction, and appeals to wider, modern audience.
Citizen Kane (1941)
As one of the most revered films in the history of cinema, Orson Welles' Citizen Kane is an important cinematic landmark. The story of infamous newspaper tycoon Charles Foster Kane is well imprinted on the cultural history of the 20th Century, and the achievements of the film are still present in today's films.
When Kane dies at the beginning of the film, he utters the word "Rosebud", and the rest of the movie follows the journey of a reporter's exploration into the meaning behind the word. Interviewing all of those 'close' to Kane, the reporter unearths the secrets behind one of the most charismatic businessmen in the U.S. Kane's triumphs as well as his despair come to light, and we see how one man's desire for people to love him, results ultimately in loneliness and misery.
The structure of the film, moving backwards and forwards in time, paved the way for so many films which adopted the style, and gives the film such a rich tapestry. Welles directs the film in a way which highlights the emotions that surround Kane's character, such as great moments of joy and humour, as well as his isolation. Loud, busy scenes where Kane and his entourage are celebrating their success, are juxtaposed with long range shots of his mansion and the quiet, sad atmosphere of his life at home. Welles as Kane is absolutely unfaltering, with a performance so memorable it stands the test of time.
Welles embodies everything that is exciting about movies. His penchant for drama and dialogue have left an unforgettable legacy upon the world. Citizen Kane will remain as an icon of the previous century, and will continue to be celebrated for its genius, its intelligence, and its groundbreaking achievements.
When Kane dies at the beginning of the film, he utters the word "Rosebud", and the rest of the movie follows the journey of a reporter's exploration into the meaning behind the word. Interviewing all of those 'close' to Kane, the reporter unearths the secrets behind one of the most charismatic businessmen in the U.S. Kane's triumphs as well as his despair come to light, and we see how one man's desire for people to love him, results ultimately in loneliness and misery.
The structure of the film, moving backwards and forwards in time, paved the way for so many films which adopted the style, and gives the film such a rich tapestry. Welles directs the film in a way which highlights the emotions that surround Kane's character, such as great moments of joy and humour, as well as his isolation. Loud, busy scenes where Kane and his entourage are celebrating their success, are juxtaposed with long range shots of his mansion and the quiet, sad atmosphere of his life at home. Welles as Kane is absolutely unfaltering, with a performance so memorable it stands the test of time.
Welles embodies everything that is exciting about movies. His penchant for drama and dialogue have left an unforgettable legacy upon the world. Citizen Kane will remain as an icon of the previous century, and will continue to be celebrated for its genius, its intelligence, and its groundbreaking achievements.
Friday 29 October 2010
Kiss Kiss Bang Bang (2005)
Set in the exciting and perilous world of L.A., Kiss Kiss Bang Bang starring Robert Downey Jr. and Val Kilmer is an epic mystery thriller which endeavours to break movie conventions. The film was directed by Shane Black (Lethal Weapon, The Long Kiss Goodnight), and has an eclectic mix of characters, from Hollywood starlets and directors, to detectives, criminals, and murderers.
Downer Jr's character, Harry Lockhart, finds himself mixed up in this volatile world, whilst also finding his childhood crush Harmony Faith Lane (Michelle Monaghan). Lockhart is whisked to L.A. after he impresses the panel for an audition he did not even mean to enter, and is sent to shadow detective Gay Perry (Kilmer) as research for an movie role. During his time with Perry, Lockhart becomes tangled within a web of murder and deceit.
The film is narrated by Downey Jr., and his commentary is both funny and entertaining, often speaking about the viewer as some voyeuristic enemy. There are great stylistic moments within the film, which give it a surreal modernism against what is essentially a traditional murder mystery plot. Black has utilised some excellent performances, in particular Val Kilmer, who is superb as the quick-tongued strong man with homosexual tendencies.
A fast paced, sharp Black comedy with danger and deceit at every turn.
Downer Jr's character, Harry Lockhart, finds himself mixed up in this volatile world, whilst also finding his childhood crush Harmony Faith Lane (Michelle Monaghan). Lockhart is whisked to L.A. after he impresses the panel for an audition he did not even mean to enter, and is sent to shadow detective Gay Perry (Kilmer) as research for an movie role. During his time with Perry, Lockhart becomes tangled within a web of murder and deceit.
The film is narrated by Downey Jr., and his commentary is both funny and entertaining, often speaking about the viewer as some voyeuristic enemy. There are great stylistic moments within the film, which give it a surreal modernism against what is essentially a traditional murder mystery plot. Black has utilised some excellent performances, in particular Val Kilmer, who is superb as the quick-tongued strong man with homosexual tendencies.
A fast paced, sharp Black comedy with danger and deceit at every turn.
Thursday 28 October 2010
The First Grader (2010)
Recently released at the Toronto Film Festival, and now at the London Film Festival, Justin Chadwick's film The First Grader is an inspirational achievement. Set in the troubled country of Kenya, The First Grader is based on the real-life story of Kimani N'gan'ga Maruge, who wants to go to school after the Kenyan government declare free education for all, even though he is in his eighties!
As Maruge battles with the school authorities, as well as the government, to win his place at his local school, he also struggles with his horrific past as one of the Mau Mau fighters. During the British colonial rule of Kenya, a group of freedom fighters emerged called the Mau Mau, who swore an oath to rid its nation of the British and give it back to the African people. The conflict between the loyalists and the freedom fighters was intense, and some Mau Mau, such as Maruge, were subjected to torture.
Unlike many films which are set in the continent of Africa, Chadwick has taken a more positive and uplifting route for his film. Yes, there are moments of violence and unspeakable cruelty, but these are needed to embolden the film's message, which is about the power of education. The journey that Maruge goes on, and the effect this has on his local town as well as the country, is inspirational and emotional, with many moments of humour and joy. A great lesson for the world's youth and adults.
There are aspects of the film which are less than perfect, Chadwick used actual people from the area, and kids who were not actors, but this does not stand out too much in the movie. British actor Naomie Harris is excellent as the ferocious school teacher Jane, and the cast as a whole perform with a stark realism that is fundamental to the film's success.
Africa represents an unexplored gold mine for Hollywood stories. The vast amount of drama and conflict within the continent would provide 50 years of films. But Chadwick, as a British director, has created a film which is sensitive to the issues of Kenya, and given the people something to be proud of after such a tumultuous history.
As Maruge battles with the school authorities, as well as the government, to win his place at his local school, he also struggles with his horrific past as one of the Mau Mau fighters. During the British colonial rule of Kenya, a group of freedom fighters emerged called the Mau Mau, who swore an oath to rid its nation of the British and give it back to the African people. The conflict between the loyalists and the freedom fighters was intense, and some Mau Mau, such as Maruge, were subjected to torture.
Unlike many films which are set in the continent of Africa, Chadwick has taken a more positive and uplifting route for his film. Yes, there are moments of violence and unspeakable cruelty, but these are needed to embolden the film's message, which is about the power of education. The journey that Maruge goes on, and the effect this has on his local town as well as the country, is inspirational and emotional, with many moments of humour and joy. A great lesson for the world's youth and adults.
There are aspects of the film which are less than perfect, Chadwick used actual people from the area, and kids who were not actors, but this does not stand out too much in the movie. British actor Naomie Harris is excellent as the ferocious school teacher Jane, and the cast as a whole perform with a stark realism that is fundamental to the film's success.
Africa represents an unexplored gold mine for Hollywood stories. The vast amount of drama and conflict within the continent would provide 50 years of films. But Chadwick, as a British director, has created a film which is sensitive to the issues of Kenya, and given the people something to be proud of after such a tumultuous history.
Thursday 21 October 2010
The Great White Silence (1924)
Last night I had the honour and privilege of viewing Herbert Ponting's infamous adventure documentary The Great White Silence. Held in a gala at the West End Odeon cinema in Leicester Square, the British Film Institute unveiled the result of a restoration project which began in 1993. The documentary/film has been restored to its former glory, and kept in line with Ponting's wishes, and the result is phenomenal.
Herbert Ponting was a legendary photographer and cinematographer of his time, and was asked by Captain Robert Falcon Scott to join his merry band of sailors and explorers on what was hoped to be the first successful mission to the South Pole. During the movie, we see Scott's team board the Terra Nova which leaves New Zealand and head towards the Antarctic, along the way Ponting captures some astounding footage of ice-capped waters, huge icebergs, and fascinating wildlife. Once at their base camp, Ponting shoots much of the local scenery, such as a group of penguins, a family of seals, beautiful ice formations, and killer whales. These breathtaking images are also coupled with shots of the team and their work: building camps, training the dogs and ponies for the arduous journey ahead, and all the tiresome labour which the explorers undertook with a strong enthusiasm. The rest of the journey to the South Pole is made up of footage taken at the base camp and extracts from Captain Scott's journal, as it was too perilous for Ponting and all of the crew to embark on the journey together.
The documentary is an astounding piece of work. Images from another world were captured in such a hands-on manner, that the viewer cannot escape the danger that these adventurers faced. The use of tinting frames makes for a far more enjoyable viewing experience, and the frames with captions are often humorous, poignant and emotional. We were lucky enough, last night, to have the film accompanied by composer Simon Fisher Turner and a group of musicians who played a mix of live and recorded music over the documentary, which created an intense and effective atmosphere in the theatre.
As a silent movie/documentary, this is a national treasure. The history involved is exciting and perilous, the characters are interesting, and the locations are sensational. For those looking to be part of cinematic history, I implore you to view this film. If you are looking for your average film and have a low attention span it may not be for you, but for those willing to embark on a journey that is exciting, dangerous, and unique, The Great White Silence will offer you an unforgettable adventure.
Herbert Ponting was a legendary photographer and cinematographer of his time, and was asked by Captain Robert Falcon Scott to join his merry band of sailors and explorers on what was hoped to be the first successful mission to the South Pole. During the movie, we see Scott's team board the Terra Nova which leaves New Zealand and head towards the Antarctic, along the way Ponting captures some astounding footage of ice-capped waters, huge icebergs, and fascinating wildlife. Once at their base camp, Ponting shoots much of the local scenery, such as a group of penguins, a family of seals, beautiful ice formations, and killer whales. These breathtaking images are also coupled with shots of the team and their work: building camps, training the dogs and ponies for the arduous journey ahead, and all the tiresome labour which the explorers undertook with a strong enthusiasm. The rest of the journey to the South Pole is made up of footage taken at the base camp and extracts from Captain Scott's journal, as it was too perilous for Ponting and all of the crew to embark on the journey together.
The documentary is an astounding piece of work. Images from another world were captured in such a hands-on manner, that the viewer cannot escape the danger that these adventurers faced. The use of tinting frames makes for a far more enjoyable viewing experience, and the frames with captions are often humorous, poignant and emotional. We were lucky enough, last night, to have the film accompanied by composer Simon Fisher Turner and a group of musicians who played a mix of live and recorded music over the documentary, which created an intense and effective atmosphere in the theatre.
As a silent movie/documentary, this is a national treasure. The history involved is exciting and perilous, the characters are interesting, and the locations are sensational. For those looking to be part of cinematic history, I implore you to view this film. If you are looking for your average film and have a low attention span it may not be for you, but for those willing to embark on a journey that is exciting, dangerous, and unique, The Great White Silence will offer you an unforgettable adventure.
Wednesday 20 October 2010
Gran Torino (2008)
Clint Eastwood as a director is superb. His eye for drama and detail, have made some of his films epic, such as Changeling (2008) and Unforgiven (1992) which are two of my favourites. Eastwood as an actor is also great. His performances are loaded with gristly testosterone, and the characters he most often portrays are tough, disagreeable and angry. Having seen Eastwood's Gran Torino I was pleased to see that his style was very much alive, and that the film was current and realistic.
The story is of a volatile neighborhood in the U.S., where racial tensions are boiling. Eastwood plays Walt Kowalski, a veteran of the Korean War, who finds himself living amongst a largely Hmong population. After his wife passes away, Walt struggles to find peace in his own house. His family are leeching gold diggers, and his local priest is nothing but a pest. When the Hmong family next door come under attack, Walt must deal with an internal struggle between his racist attitudes, and his moral conscience. The film is a great segment of modern American life, where the 'boiling pot' legacy is anything but a paradise.
While Eastwood's gruff performance is nothing new for cinema-goers, the compassion and ideals his character goes through and explores are very much worth watching. The methods used during the film make it seem intense, such as very little music, and dull looking scenery. This film has a brutal realism about it that seemed to engage me from start to finish, and the little moments of dark comedy make the film even more appealing.
The story is of a volatile neighborhood in the U.S., where racial tensions are boiling. Eastwood plays Walt Kowalski, a veteran of the Korean War, who finds himself living amongst a largely Hmong population. After his wife passes away, Walt struggles to find peace in his own house. His family are leeching gold diggers, and his local priest is nothing but a pest. When the Hmong family next door come under attack, Walt must deal with an internal struggle between his racist attitudes, and his moral conscience. The film is a great segment of modern American life, where the 'boiling pot' legacy is anything but a paradise.
While Eastwood's gruff performance is nothing new for cinema-goers, the compassion and ideals his character goes through and explores are very much worth watching. The methods used during the film make it seem intense, such as very little music, and dull looking scenery. This film has a brutal realism about it that seemed to engage me from start to finish, and the little moments of dark comedy make the film even more appealing.
Tuesday 19 October 2010
Love Happens (2009)
With self-assurance, Hollywood puts out numerous romantic dramas throughout the year, safe in the knowledge that a considerable proportion of the general viewing public will go and see them. I have no problem with romantic films. The themes which are often connected with romance I find entertaining, and, I must admit, the soundtracks are usually my favourite of all film genres. My hesitation with romance films, lies in their structure...predictability.
Having seen Brandon Camp's Love Happens starring Aaron Eckhart and Jennifer Aniston, it seems that Hollywood are not even trying any more. All the clichés were there, a brooding lead (Eckhart) stumbles upon a quirky-yet-confident hottie (Aniston), the romantically awkward dates, the realisation of past regrets, the will-they-wont-they build up, and the final eye-watering euphoria of hurdles jumped. Sorry if this ruins the film for anyone who has not seen it, but trust me, if you have seen one you have seen them all.
The story was never going to be laden with twists, turns, and pitfalls, but it would be nice to have some conflict which does not involve high school relationship tension. Set in the beautiful city of Seattle, the film does have some aesthetic pleasures, scenery and music being the main two. The acting is fine as well, nothing to sing about, but decent.
Romantic films will always find it hard to be original, as the themes have been stretched out so far they cover all bases, but directors and film companies should be able to insert some semblance of reality which will make the film relate to its audience. Love Happens like many others, is just pretty people with problems.
Having seen Brandon Camp's Love Happens starring Aaron Eckhart and Jennifer Aniston, it seems that Hollywood are not even trying any more. All the clichés were there, a brooding lead (Eckhart) stumbles upon a quirky-yet-confident hottie (Aniston), the romantically awkward dates, the realisation of past regrets, the will-they-wont-they build up, and the final eye-watering euphoria of hurdles jumped. Sorry if this ruins the film for anyone who has not seen it, but trust me, if you have seen one you have seen them all.
The story was never going to be laden with twists, turns, and pitfalls, but it would be nice to have some conflict which does not involve high school relationship tension. Set in the beautiful city of Seattle, the film does have some aesthetic pleasures, scenery and music being the main two. The acting is fine as well, nothing to sing about, but decent.
Romantic films will always find it hard to be original, as the themes have been stretched out so far they cover all bases, but directors and film companies should be able to insert some semblance of reality which will make the film relate to its audience. Love Happens like many others, is just pretty people with problems.
Sunday 17 October 2010
The Rainmaker (1997)
Being a Grisham fan, I am always sceptical of films made from his books. As with any translation of literature to the silver screen, there is always a danger of losing the essence of the story. The Rainmaker has managed to avoid this danger, and captured the drama which Grisham is so famous for. Director Francis Ford Coppola carries much weight with his past projects, such as The Godfather trilogy (1972-1990) and Apocalypse Now (1979), but his intimate portrayal of this underdog-courtroom story is worthy of praise.
Plot-wise, anyone who has read a Grisham book will not be surprised. Matt Damon plays young lawyer Rudy Baylor, whose inexperience and incorruptible morals land him in the trial of his life. Baylor is the prosecution lawyer for the Black family, whose son Donny Ray is dying of cancer. When Donny Ray was diagnosed with his condition, the Black's medical insurance company refused to pay out, hence the court case. So now, Baylor must transcend his inexperience and take on the corporate giants and their team of expensive lawyers, headed by Leo F. Drummond (Jon Voight). What ensues is a courtroom drama filled with secrets, despair and heroism, as well as the personal journey of Rudy Baylor.
As a fan of courtroom films, The Rainmaker would fail to make my top 5, simply for not having much of a social commentary attached to it. It is, however, and excellent film with great performances, and a solid plot. Coppola evokes the nature of the Memphis setting, as well as the harsh reality of modern legal warfare.
Plot-wise, anyone who has read a Grisham book will not be surprised. Matt Damon plays young lawyer Rudy Baylor, whose inexperience and incorruptible morals land him in the trial of his life. Baylor is the prosecution lawyer for the Black family, whose son Donny Ray is dying of cancer. When Donny Ray was diagnosed with his condition, the Black's medical insurance company refused to pay out, hence the court case. So now, Baylor must transcend his inexperience and take on the corporate giants and their team of expensive lawyers, headed by Leo F. Drummond (Jon Voight). What ensues is a courtroom drama filled with secrets, despair and heroism, as well as the personal journey of Rudy Baylor.
As a fan of courtroom films, The Rainmaker would fail to make my top 5, simply for not having much of a social commentary attached to it. It is, however, and excellent film with great performances, and a solid plot. Coppola evokes the nature of the Memphis setting, as well as the harsh reality of modern legal warfare.
Friday 15 October 2010
Let Me In (2010)
Having been to the opening night of Matt Reeves' vampire film Let Me In last night, I thought it wise to write a review. While the vampire genre seems to expanding, with more and more films and TV shows focusing on the blood-sucking ghouls of the night, it can often be hard to find the true gems amongst the trash. Let Me In is most certainly a gem. The film is stylish, authentic, and original, and has two of the best child actors in the business, Kodi Smit-McPhee (The Road) and Chloe Moretz (Kick-Ass).
The film is set in a small town called Los Alamos in New Mexico during the 1980s, and follows the story of a bullied young boy Owen (Smit-McPhee) who befriends new neighbour, and vampire, Abby (Moretz). While Owen struggles with his violent peers, as well as his divorcing parents, Abby must fight to stay alive by finding the blood of humans, which she does with the aid of her guardian (Richard Jenkins).
Reeves, who directed Cloverfield, manages to capture a truly engaging vampire film, with a coming-of-age subplot. There are some amazing set pieces during the film (be on the lookout for a great car crash), and the whole aesthetic of the movie is so distant from these modern, glossy vampire flicks which seem to be more about sex than horror. As a remake of the 2008 Swedish version, and being based on the book Let The Right One In by a Swedish author, Reeves has taken this Scandinavian element and placed it into small town USA, which works excellently.
This is a great movie for its look, style, and edge, as well as its refusal to be like so many of the other types of vampire films around at the moment.
The film is set in a small town called Los Alamos in New Mexico during the 1980s, and follows the story of a bullied young boy Owen (Smit-McPhee) who befriends new neighbour, and vampire, Abby (Moretz). While Owen struggles with his violent peers, as well as his divorcing parents, Abby must fight to stay alive by finding the blood of humans, which she does with the aid of her guardian (Richard Jenkins).
Reeves, who directed Cloverfield, manages to capture a truly engaging vampire film, with a coming-of-age subplot. There are some amazing set pieces during the film (be on the lookout for a great car crash), and the whole aesthetic of the movie is so distant from these modern, glossy vampire flicks which seem to be more about sex than horror. As a remake of the 2008 Swedish version, and being based on the book Let The Right One In by a Swedish author, Reeves has taken this Scandinavian element and placed it into small town USA, which works excellently.
This is a great movie for its look, style, and edge, as well as its refusal to be like so many of the other types of vampire films around at the moment.
Thursday 14 October 2010
Moon (2009)
Psychological Thriller Moon, is the story of astronaut Sam Bell (played by Sam Rockwell), whose job it is to collect and send new energy taken from the Sun whilst in a power station on the Moon, and send it back to Earth, thus solving the energy crisis. His loneliness is broken only by a talking computer called GERTY (voiced by Kevin Spacey), whose mission it is to protect and support Sam in his work. The plot develops into a mysterious tale of discoveries and drama, as the complexities of his mission reveal themselves, and his future becomes uncertain.
Director Duncan Jones has managed to make what is essentially a one-man show, into a biting and cerebral adventure film. The tense and uninviting atmosphere will unnerve the viewer, and sci-fi elements to the film are comparable to some of the greatest movies such as 2001: A Space Odyssey (1968). The film refuses to bow to conventional methods and techniques, and uses isolation and the unknown to drive the story, which is a remarkable feat.
Not a film for people who like action-sci-fi, as the movie does not resort to big, flashy scenes, but the special effects are impressive, and the environment of the moon seems realistic. It is a challenging, engaging and impressive film.
Director Duncan Jones has managed to make what is essentially a one-man show, into a biting and cerebral adventure film. The tense and uninviting atmosphere will unnerve the viewer, and sci-fi elements to the film are comparable to some of the greatest movies such as 2001: A Space Odyssey (1968). The film refuses to bow to conventional methods and techniques, and uses isolation and the unknown to drive the story, which is a remarkable feat.
Not a film for people who like action-sci-fi, as the movie does not resort to big, flashy scenes, but the special effects are impressive, and the environment of the moon seems realistic. It is a challenging, engaging and impressive film.
Wednesday 13 October 2010
The Strangers (2008)
Horror films are not my usual genre to dip in to. I find the category consumed with cheap thrills and unrealistic characters doing unrealistic things. Very few horror films make it into my top 50 films of all time...and The Strangers is definately not an exception. From the outset I found the film failed to engage me, which left me cold to the plight of the characters, and the lack of dialogue seemed more of a lack of effort than a stylistic choice.
The plot is of two lovers, James Hoyt and Kristen McKay, staying in a remote, isolated vacation home owned by the Hoyt family. When the pair return home from a night out, they are disturbed by a knock at the door by a girl looking for someone. After they send her off, the couple are terrorized by several masked unknowns, whose efforts to scare increase as the film develops. The motivation behind this attack is never explained, and the people behind it are never revealed, making the film completely random and somewhat pointless.
While I appreciate the techniques which have been employed, such as leaving aspects unexplained and not providing too much dialogue, these methods seem to be through a lack of trying. The set pieces are amatuerish, and the use of loud noises to frighten the audience seems lazy. You would think that having such a small cast, low number of locations, and few props that the producers would at least spend some money on some great stunts or effects, but they do not. There is one great scene where a record is skipping and things seem to get tense, but after that I kept looking at my watch.
The beginning of the film says that the story is inspired by real events, but that is just a ploy to make it seem scarier. Films about actual serial killers are often misleading, and the sensationalized plots end up detracting from the gritty realism which would have made a far superior story on screen.
The plot is of two lovers, James Hoyt and Kristen McKay, staying in a remote, isolated vacation home owned by the Hoyt family. When the pair return home from a night out, they are disturbed by a knock at the door by a girl looking for someone. After they send her off, the couple are terrorized by several masked unknowns, whose efforts to scare increase as the film develops. The motivation behind this attack is never explained, and the people behind it are never revealed, making the film completely random and somewhat pointless.
While I appreciate the techniques which have been employed, such as leaving aspects unexplained and not providing too much dialogue, these methods seem to be through a lack of trying. The set pieces are amatuerish, and the use of loud noises to frighten the audience seems lazy. You would think that having such a small cast, low number of locations, and few props that the producers would at least spend some money on some great stunts or effects, but they do not. There is one great scene where a record is skipping and things seem to get tense, but after that I kept looking at my watch.
The beginning of the film says that the story is inspired by real events, but that is just a ploy to make it seem scarier. Films about actual serial killers are often misleading, and the sensationalized plots end up detracting from the gritty realism which would have made a far superior story on screen.
Tuesday 12 October 2010
Lakeview Terrace (2008)
Somewhere between Paul Haggis' Crash (2004) and Antoine Fuqua's Training Day (2001) you will find Lakeview Terrace, which is Neil LaBute's action thriller starring Samuel L. Jackson and Patrick Wilson. Set in Los Angeles, Jackson plays bitter cop Abel Turner, whose racist animosity towards new neighbours Chris (Wilson) and Lisa Mattson (Kerry Washington) turns into a fiery feud amidst peaceful suburbia.
The film does a respectful job of discussing the issues surrounding mixed-race relationships, and comes at it from the black perspective which is interesting to see. Jackson is excellent as the angry-yet-cool single father, whose hypocritical attitudes towards his working and home life give an excellent insight into the feelings of many Americans, and how racial equality in the U.S. is still far from view.
L.A. is often the setting for drama about racial tensions, and reflects the tense relationship that the city's inhabitants seem to have. The co-existence of so many ethnic groups appears to make a great film. LaBute has tried to tackle the issue of mixed-race relationships whilst highlighting other issues, such as discrimination in the work place, as we see the female black character struggling to find paid employment whilst the white man has a white collar job and the black man has a civil service job.
There are aspects of the film which seem to relegate it from the ranks of films like Crash and Training Day, such as the all-too-neat ending and the underdeveloped background of Abel Turner, but Lakeview Terrace deserves some appreciation. LaBute has faced some difficult problems in American society head on, and made a film which is both enlightening and entertaining.
The film does a respectful job of discussing the issues surrounding mixed-race relationships, and comes at it from the black perspective which is interesting to see. Jackson is excellent as the angry-yet-cool single father, whose hypocritical attitudes towards his working and home life give an excellent insight into the feelings of many Americans, and how racial equality in the U.S. is still far from view.
L.A. is often the setting for drama about racial tensions, and reflects the tense relationship that the city's inhabitants seem to have. The co-existence of so many ethnic groups appears to make a great film. LaBute has tried to tackle the issue of mixed-race relationships whilst highlighting other issues, such as discrimination in the work place, as we see the female black character struggling to find paid employment whilst the white man has a white collar job and the black man has a civil service job.
There are aspects of the film which seem to relegate it from the ranks of films like Crash and Training Day, such as the all-too-neat ending and the underdeveloped background of Abel Turner, but Lakeview Terrace deserves some appreciation. LaBute has faced some difficult problems in American society head on, and made a film which is both enlightening and entertaining.
Monday 11 October 2010
The Crucible (1996)
American witch-hunts, be they literal or metaphorical, are always full of excellent drama. Arthur Miller's play The Crucible was made into film by director Nicholas Hytner, who has managed to capture the intensity and pace of the play. Miller wrote the screen play for the film, which works excellently and is evidence of his genius.
The story of The Crucible is about the Salem witch-hunts which took place in the 17th Century. After a group of girls, led by Abigail Williams (Winona Ryder), are discovered dancing in the forest by their puritan leader, the town descends into chaos, with the girls accusing certain townsfolk of bewitching them. What ensues is a dramatic quest for truth amongst vendettas, paranoia, and lies.
Within the film there are some heavyweight performances, most notable is Daniel Day-Lewis, who plays the flawed hero John Proctor, trying to free his accused wife whilst struggling with his own guilt about his private life. Ryder is excellent as the antagonist, and Rob Campbell displays a multitude of abilities as the Reverend Hale.
Plays often work well as movies, as the foundation is already well developed: the script. However, the limited scene locations and duration can often be aspects of a film which do not translate well onto screen. However, Hytner has captured the essence of the story, and made the themes which made Miller's play relevant in the 1950s (during the Red Scare) relevant to a modern audience. The lessons of the Salem witch trials will always be valuable, and cultural productions which evaluate them, such as Miller's play of Hytner's film, are important artifacts for the modern world.
The story of The Crucible is about the Salem witch-hunts which took place in the 17th Century. After a group of girls, led by Abigail Williams (Winona Ryder), are discovered dancing in the forest by their puritan leader, the town descends into chaos, with the girls accusing certain townsfolk of bewitching them. What ensues is a dramatic quest for truth amongst vendettas, paranoia, and lies.
Within the film there are some heavyweight performances, most notable is Daniel Day-Lewis, who plays the flawed hero John Proctor, trying to free his accused wife whilst struggling with his own guilt about his private life. Ryder is excellent as the antagonist, and Rob Campbell displays a multitude of abilities as the Reverend Hale.
Plays often work well as movies, as the foundation is already well developed: the script. However, the limited scene locations and duration can often be aspects of a film which do not translate well onto screen. However, Hytner has captured the essence of the story, and made the themes which made Miller's play relevant in the 1950s (during the Red Scare) relevant to a modern audience. The lessons of the Salem witch trials will always be valuable, and cultural productions which evaluate them, such as Miller's play of Hytner's film, are important artifacts for the modern world.
Sunday 10 October 2010
The Warriors (1979)
Walter Hill's The Warriors (1979) is based on a book of the same name, and follows the events of one night in gangland New York, after a meeting of all the gangs in the city ends in the shooting of the most powerful leader. Coney Island gang The Warriors end up being accused of taking the shot, ironically by the actual shooter, and the film follows The Warriors as they attempt to find their way home amidst rival gangs and the police.
The film if full of action packed fighting scenes, chases, and tense moments of wandering the spooky streets at night. While The Warriors works as an action film, it fails to deliver a realistic account of gangland New York, with cleaned up vernacular and outrageously inept rival gangs and cops. Once you see Swan (Michael Beck) lead his group past the first couple of gangs with relative ease, the viewer knows they will be fine getting past the rest.
The structure of the film works well, and the fact that the story takes place over just one night gives a pace and adrenaline rush which will keep the viewer hooked. Also, there are a few snippets of a lady DJ who acts as a public service announcer for the enemy gangs, and keeps them updated on the Warriors progress, which gave a heightened sense of danger within the story. Hill utilizes a comic strip template for the movie, which at first seems like a really interesting way of linking scenes, however, some of the tag lines become ridiculous and it ends up feeling a little silly.
As a gang film is does not deliver the gritty realism which some might expect, but as an action thriller attempting to entertain it succeeds. Just try not to laugh too much.
The film if full of action packed fighting scenes, chases, and tense moments of wandering the spooky streets at night. While The Warriors works as an action film, it fails to deliver a realistic account of gangland New York, with cleaned up vernacular and outrageously inept rival gangs and cops. Once you see Swan (Michael Beck) lead his group past the first couple of gangs with relative ease, the viewer knows they will be fine getting past the rest.
The structure of the film works well, and the fact that the story takes place over just one night gives a pace and adrenaline rush which will keep the viewer hooked. Also, there are a few snippets of a lady DJ who acts as a public service announcer for the enemy gangs, and keeps them updated on the Warriors progress, which gave a heightened sense of danger within the story. Hill utilizes a comic strip template for the movie, which at first seems like a really interesting way of linking scenes, however, some of the tag lines become ridiculous and it ends up feeling a little silly.
As a gang film is does not deliver the gritty realism which some might expect, but as an action thriller attempting to entertain it succeeds. Just try not to laugh too much.
Friday 8 October 2010
Funny People (2009)
First of all, this film is not what you think. If you are expecting Adam Sandler and Seth Rogen to have you rolling around on the carpet for two hours think again. Funny People is a dark comedy about two comedians who are both unsuccessful in their own way. Sandler plays George Simmons, who is a famous comedy actor with a string of outrageous, yet popular, films on his belt (no points for making the connection there). Simmons learns that he is dying, and thus descends into a pit of despair and self-pity. One night, during an open mic comedy show, Simmons sees comic Ira Wright (Rogen) and decides that he will employ this young up-and-coming funny man to write some material for him.
The two comedians become close, and we learn all about Simmons' problems, not only medically, but also personally. Ira, at first drawn to the money and fame which will undoubtedly come with being associated with George, gets deeply involved with the suffering of his new employer, and endeavors to help him, even though Simmons subjects him to what can only be described as mental cruelty. The relationship is tumultuous and we see cracks in both personalities.
As a dark comedy, the film is excellent. It worked well for me as I was expecting something completely different, and was pleasantly surprised by the emotion of the story. Sandler gives an excellent performance which is a million miles away from his comedy characters of the past (don't get me wrong, I am a big fan of Little Nicky and Happy Gilmore). Rogen plays the counterpart well, however his character seems a little unbelievable and too saint-like in places. The love story which emerges between Simmons and his ex Laura (Leslie Mann) at first seems like a gripping storyline, however, it soon descends into chaos and lacks any sense.
Directed by Judd Apatow (who has made a whole host of comedy films such as Superbad and Anchorman), the film plays a dirty trick on the viewers who will be expecting a comedy knockout, and will only receive watery eyes and a few laughs. But for those who watch it and also love a bit of depth to their movies, they will be pleasantly surprised. After seeing Sandler's abilities in this film, I will never be able to watch The Waterboy again...That's a lie, I love that film.
The two comedians become close, and we learn all about Simmons' problems, not only medically, but also personally. Ira, at first drawn to the money and fame which will undoubtedly come with being associated with George, gets deeply involved with the suffering of his new employer, and endeavors to help him, even though Simmons subjects him to what can only be described as mental cruelty. The relationship is tumultuous and we see cracks in both personalities.
As a dark comedy, the film is excellent. It worked well for me as I was expecting something completely different, and was pleasantly surprised by the emotion of the story. Sandler gives an excellent performance which is a million miles away from his comedy characters of the past (don't get me wrong, I am a big fan of Little Nicky and Happy Gilmore). Rogen plays the counterpart well, however his character seems a little unbelievable and too saint-like in places. The love story which emerges between Simmons and his ex Laura (Leslie Mann) at first seems like a gripping storyline, however, it soon descends into chaos and lacks any sense.
Directed by Judd Apatow (who has made a whole host of comedy films such as Superbad and Anchorman), the film plays a dirty trick on the viewers who will be expecting a comedy knockout, and will only receive watery eyes and a few laughs. But for those who watch it and also love a bit of depth to their movies, they will be pleasantly surprised. After seeing Sandler's abilities in this film, I will never be able to watch The Waterboy again...That's a lie, I love that film.
Wednesday 29 September 2010
The Hurt Locker (2008)
When it comes to films depicting aspects of the War on Terror, the market is busy. Since 2003 a score of movies have been released which tackle the sensitive issues of the wars in Afghanistan and Iraq, with many failing to hit the mark. The Hurt Locker, however, manages to capture an intensity which surrounds the nature of the conflict, and focuses on one of the most terrifying aspects of the war, which is I.E.D's (Improvised Explosive Devices). The film follows a team of bomb disposal soldiers in Iraq, and their experiences with the Afghan people, as well as the relationship between the members of the team.
Kathryn Bigelow, director of Point Break (1991) and K-19 The Widowmaker (2002), directs a brilliant insight into the experience of soldiers in Iraq, and does not allow the audience a chance to catch their breath for most of the film. The movie moves around several different sights of bomb threats, and we see the choices that need to be made and the impact of those choices on the people involved. Aside from a distracting side plot of locating an Afghan boy's family, the film is spectacular, and I would recommend it as an excellent War on Terror film.
Other films in the War on Terror genre which are worthy of mention include: Lions For Lambs (2007), Rendition (2007), and Home of the Brave (2006), which all tackle aspects of the War in an intelligent manner. However, many of the War on Terror movies fail to reach a status of Greats. Unlike Vietnam, which has many excellent films depicting it's events, the War on Terror is yet to have an outstanding movie. This may be due to the fact that the War is still occurring, or that the events of more troubling to depict, however, I eagerly await a film which measures up to the likes of Platoon (1986) or Apocalypse Now (1979).
Kathryn Bigelow, director of Point Break (1991) and K-19 The Widowmaker (2002), directs a brilliant insight into the experience of soldiers in Iraq, and does not allow the audience a chance to catch their breath for most of the film. The movie moves around several different sights of bomb threats, and we see the choices that need to be made and the impact of those choices on the people involved. Aside from a distracting side plot of locating an Afghan boy's family, the film is spectacular, and I would recommend it as an excellent War on Terror film.
Other films in the War on Terror genre which are worthy of mention include: Lions For Lambs (2007), Rendition (2007), and Home of the Brave (2006), which all tackle aspects of the War in an intelligent manner. However, many of the War on Terror movies fail to reach a status of Greats. Unlike Vietnam, which has many excellent films depicting it's events, the War on Terror is yet to have an outstanding movie. This may be due to the fact that the War is still occurring, or that the events of more troubling to depict, however, I eagerly await a film which measures up to the likes of Platoon (1986) or Apocalypse Now (1979).
Sunday 26 September 2010
Tears of the Sun (2003)
Antoine Fuqua's devastating film, Tears of the Sun (2003), focuses on a civil war raging through Nigeria, in which a U.S. Navy team have been sent to rescue American national Dr. Kendricks. As the team, led by Lieutenant A. K. Waters (Bruce Willis), attempt to move Dr. Kendrick and her Nigerian patients to the Cameroon boder, they are pursued by the Rebel who are killing their way through the African land. The film balances a sensitive, emotional story with tense action that keeps you stuck to your chair.
The plight of Africa is a recurring theme for many filmmakers, and Fuqua has managed to create a movie that discussed many aspects of the continent's troubles. Issues such as child soldiers, tribal conflict, and the rules of war are brought to the surface, which can often be over-sentimentalized. However, Tears of the Sun manages to avoid an overly moralistic approach, and just displays the story with an almost cold detachment, which allows the audience to interact with the themes far more effectively. An example of this is Willis' character, whose determination to "get the job done" allows him to avoid getting attached to the suffering of those around him.
While the film focuses mainly on Africa's woes, it also makes insightful comments on the West, in particular America's intervention into international crises which, during the 1990s, was ineffective in comparison to the resources they held.
The film has several cheese moments (which seem inescapable in an American war film), but these are only few and far between. Fuqua has created a poignant and gutsy movie, which does not linger on the pointless details, but fires the issues straight into the audience's face.
The plight of Africa is a recurring theme for many filmmakers, and Fuqua has managed to create a movie that discussed many aspects of the continent's troubles. Issues such as child soldiers, tribal conflict, and the rules of war are brought to the surface, which can often be over-sentimentalized. However, Tears of the Sun manages to avoid an overly moralistic approach, and just displays the story with an almost cold detachment, which allows the audience to interact with the themes far more effectively. An example of this is Willis' character, whose determination to "get the job done" allows him to avoid getting attached to the suffering of those around him.
While the film focuses mainly on Africa's woes, it also makes insightful comments on the West, in particular America's intervention into international crises which, during the 1990s, was ineffective in comparison to the resources they held.
The film has several cheese moments (which seem inescapable in an American war film), but these are only few and far between. Fuqua has created a poignant and gutsy movie, which does not linger on the pointless details, but fires the issues straight into the audience's face.
Thursday 23 September 2010
The Men Who Stare At Goats (2009)
With an all-star cast, The Men Who Stare At Goats (2009) was full of promise to deliver an epic comedy with one of the wackiest plots. The story is of a journalist, played by Ewan McGreggor, in Iraq stumbling upon members of a secret division of the U.S. Army, known as the New Earth Army, who were handpicked for their psychic abilities. Unfortunately, director Grant Heslov fails to put together a coherent movie, and the twists and turns seem irrelevant and boring.
There are some very funny moments which make the film passable, however, these appear to rarely. George Clooney, who plays Lyn Cassady, one of the most skilled members of the New Earth Army, displays the best comedic performance, and is the most engaging character within the film.
The Men Who Stare At Goats is based on a book by Jon Ronson, released in 2004 with the same title, which describes the real-life research which the U.S. Army undertook to test New Age ideas on the battlefield. Techniques such as trying to run through walls or stare out the enemy were attempted, and this is where the comedy of the story lies.
While the quirky premise of the film appealed to me greatly, I was disappointed in the end with a mediocre production and a few less-than-average performances from seasoned actors who should deliver more. No wonder the New Earth Army never caught on.
There are some very funny moments which make the film passable, however, these appear to rarely. George Clooney, who plays Lyn Cassady, one of the most skilled members of the New Earth Army, displays the best comedic performance, and is the most engaging character within the film.
The Men Who Stare At Goats is based on a book by Jon Ronson, released in 2004 with the same title, which describes the real-life research which the U.S. Army undertook to test New Age ideas on the battlefield. Techniques such as trying to run through walls or stare out the enemy were attempted, and this is where the comedy of the story lies.
While the quirky premise of the film appealed to me greatly, I was disappointed in the end with a mediocre production and a few less-than-average performances from seasoned actors who should deliver more. No wonder the New Earth Army never caught on.
Wednesday 22 September 2010
Inception (2010)
Adding to his already impressive repertoire of recent films, Christopher Nolan has written and directed one of the most notable films of the year. Inception (2010) concerns itself with dreams, and the possibility of using someone's subconscious to alter their fate. The film is a visual feast of rich settings, striking action sequences, and some remarkable filming techniques, and the acting is pretty good too.
Leonardo Di Caprio is excellent as the lead role of Cobb, who is an expert dream invader, on one last mission. Of the performances within the film, the most notable is Ellen Page, who plays Ariadne, a talented, yet naive, dream architect. Her career to date has been impressive, and Inception promises to be a sign of extraordinary things to come.
Movie viewers should note that this is not a film to relax with, it is intelligent, deep, and lenghty. The storyline demands attention, and I feel at least a two-watch minimum. However, for those looking for a film worthy of a modern Cinema ticket price, Nolan has given you a film you can definitely sink your teeth into. The complexities, layers, and intrigue make this a lasting movie, and a summer Must See.
Leonardo Di Caprio is excellent as the lead role of Cobb, who is an expert dream invader, on one last mission. Of the performances within the film, the most notable is Ellen Page, who plays Ariadne, a talented, yet naive, dream architect. Her career to date has been impressive, and Inception promises to be a sign of extraordinary things to come.
Movie viewers should note that this is not a film to relax with, it is intelligent, deep, and lenghty. The storyline demands attention, and I feel at least a two-watch minimum. However, for those looking for a film worthy of a modern Cinema ticket price, Nolan has given you a film you can definitely sink your teeth into. The complexities, layers, and intrigue make this a lasting movie, and a summer Must See.
Avatar (2009)
With the re-release of James Cameron's Avatar (2009), cinema goers are being offered another chance to experience the enchanting world of Pandora. This begs the question: why again? An easy answer would be money, with Avatar becoming the highest grossing film ever (overtaking Cameron's 1997 blockbuster Titanic), however, the answer can more likely be found within the changes Cameron has made to the cinema experience.
With the plentiful supply of 3D films emerging in cinemas this year, such as The Hole 3D, Pirana 3D, and Clash of the Titans, the trail can easily be linked to Avatar's release, and massive success, earlier this year. The added dimension to the cinematic experience has created a new wave of excitement within the industry, and has ushered in a new age of film production. Three dimensional films are not new, and have existed within theme parks and other movie outlets for years, however, Cameron's exceptional artistry has been able to provide more than just the odd jump-out-of-your-seat scare. Avatar uses 3D to subtley enhance the visual experience of viewers, whilts maintaing a credible and authentic production.
The movie itself is excellent on a number of levels, including outstanding effects, brilliant directing, and imagery that will stay with you long after you leave the cinema. Critics have highlighted a few flaws within the film, such as a more than simplistic plot, and several shaky performances, however, the numbers speak for themselves.
The history books will remember Cameron's influence on the movie industry with Avatar, and it is clear why it should be re-released at cinemas. The year 2010 is undoubtedly Cameron's.
With the plentiful supply of 3D films emerging in cinemas this year, such as The Hole 3D, Pirana 3D, and Clash of the Titans, the trail can easily be linked to Avatar's release, and massive success, earlier this year. The added dimension to the cinematic experience has created a new wave of excitement within the industry, and has ushered in a new age of film production. Three dimensional films are not new, and have existed within theme parks and other movie outlets for years, however, Cameron's exceptional artistry has been able to provide more than just the odd jump-out-of-your-seat scare. Avatar uses 3D to subtley enhance the visual experience of viewers, whilts maintaing a credible and authentic production.
The movie itself is excellent on a number of levels, including outstanding effects, brilliant directing, and imagery that will stay with you long after you leave the cinema. Critics have highlighted a few flaws within the film, such as a more than simplistic plot, and several shaky performances, however, the numbers speak for themselves.
The history books will remember Cameron's influence on the movie industry with Avatar, and it is clear why it should be re-released at cinemas. The year 2010 is undoubtedly Cameron's.
Tuesday 6 July 2010
50 Films You Must See exercise
During my days as a student, I watched a lot of films. One day I set myself a challenge, and I urge people to try it. I sat down and wrote a list of 50 films which I wanted to see. This list included anything, from classics I heard at so many parties and had not seen, to movies just being released.
It took quite a while to compose a comprehensive collection, but once I had finished I was eager to begin. Some of the films on my list were: Schindler's List, Chinatown, Unforgiven, and even Young Frankenstein, among 46 others.
It took several months to find the time to watch all these films, as well as locating copies, but once I had finished I found that it had enriched my experience with movies. Having been so focused on watching so many movies in a short space of time, I began to see things about the medium which I would otherwise have never possessed.
So I urge all passionate movie watchers to make their list. Write down all those films you promised yourself that you would find the time to watch, and force yourself to watch them. I promise you, it will be the best thing you do all year!
It took quite a while to compose a comprehensive collection, but once I had finished I was eager to begin. Some of the films on my list were: Schindler's List, Chinatown, Unforgiven, and even Young Frankenstein, among 46 others.
It took several months to find the time to watch all these films, as well as locating copies, but once I had finished I found that it had enriched my experience with movies. Having been so focused on watching so many movies in a short space of time, I began to see things about the medium which I would otherwise have never possessed.
So I urge all passionate movie watchers to make their list. Write down all those films you promised yourself that you would find the time to watch, and force yourself to watch them. I promise you, it will be the best thing you do all year!
Introductions
Dear movie fans,
My name is Chris Olson and I am a UK resident who loves movies. This page will be dedicated to writing about films, ones I have seen, hope to see, or hope to discuss.
I am a graduate of the University of Plymouth, where I studied American Studies with Popular Culture (an "interesting" choice to say the least), which is where I found my passion for movies. Studying the great directors such as Stanley Kubrick, David Fincher, Oliver Stone, and a whole host of other amazing artists.
I hope I can bring something interesting to the ongoing film debates which are ever present online, and that my audience enjoy what they see here.
Much love and peace.
My name is Chris Olson and I am a UK resident who loves movies. This page will be dedicated to writing about films, ones I have seen, hope to see, or hope to discuss.
I am a graduate of the University of Plymouth, where I studied American Studies with Popular Culture (an "interesting" choice to say the least), which is where I found my passion for movies. Studying the great directors such as Stanley Kubrick, David Fincher, Oliver Stone, and a whole host of other amazing artists.
I hope I can bring something interesting to the ongoing film debates which are ever present online, and that my audience enjoy what they see here.
Much love and peace.
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