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.
In association with UK FILM REVIEW
Sunday 31 October 2010
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.
Subscribe to:
Posts (Atom)