A monastery located in the heart of London's Notting Hill, Michael Whyte's documentary reveals the passionate dedication of those still willing to give their lives to God.
The subject matter for documentaries is often peculiar, strange, something alien to the modern audience. Whyte's No Greater Love examines something which has been rooted in Western culture for centuries, and yet, the finished article has become something extraordinary. His rare opportunity to catch of glimpse inside a working nunnery is truly, excuse the pun, blessed, and the images that he captures, the insular habitat of God's faithful, seems like a far a documentary about a distant tribe, something completely out of sync with today's Britain.
Remarkably, Whyte manages to film most of the documentary in silence, in keeping with the silence that the nuns uphold throughout all of the day, apart from two periods of recreation. Furthermore, the film contains no presenter or narration to guide the viewer, with only several interviews with selected nuns to break the void. It is a truly astonishing method to undertake, and for those willing to undergo the 105 minutes of peace and contemplation, you may find a sense of contentment comes over you.
The structure of the film follows a day in the life of the nuns, as well as a year in the life, which works well to impress upon the viewer the strict vocation that life as a nun involves.
If your favourite film is Bad Boys, and your second favourite film is Bad Boys II, this may not be for you. The enjoyment comes from within.
In association with UK FILM REVIEW
Monday, 31 January 2011
Invictus (2009)
Celebrating the coming to power of the great Nelson Mandela in South Africa, and the upcoming rugby World Cup that symbolised the potential of this great nation.
Director Clint Eastwood had his hands full with this picture. Representing the iconic legend that is Mandela, whilst delivering a film about rugby! Luckily he got two of the most influential actors of our age on board. Matt Damon plays the inspirational, if slightly awkward, Captain of the South African rugby team, Francois Pienaar, whilst Morgan Freeman steps up to play the role of Nelson. Both provide excellent performances, although the accents are peculiar to say the least at first.
While the film utilizes a typical Hollywood structure, following the underdogs as they approach the big game, and the character development we see in them is reflected in their performance on the field, Eastwood also manages to insert a very touching political heart, that continuously beats throughout. The issues of race, apartheid, and hatred are seen within the divided population of South Africa, but not in a way that is too direct it becomes comical. The film is sentimental, but remains respectful of the history involved, without devaluing it.
Expect a lot of rugby, filmed in a way that represents the brutality effectively, and expect a great deal of philosophical one-liners from the great man himself.
Director Clint Eastwood had his hands full with this picture. Representing the iconic legend that is Mandela, whilst delivering a film about rugby! Luckily he got two of the most influential actors of our age on board. Matt Damon plays the inspirational, if slightly awkward, Captain of the South African rugby team, Francois Pienaar, whilst Morgan Freeman steps up to play the role of Nelson. Both provide excellent performances, although the accents are peculiar to say the least at first.
While the film utilizes a typical Hollywood structure, following the underdogs as they approach the big game, and the character development we see in them is reflected in their performance on the field, Eastwood also manages to insert a very touching political heart, that continuously beats throughout. The issues of race, apartheid, and hatred are seen within the divided population of South Africa, but not in a way that is too direct it becomes comical. The film is sentimental, but remains respectful of the history involved, without devaluing it.
Expect a lot of rugby, filmed in a way that represents the brutality effectively, and expect a great deal of philosophical one-liners from the great man himself.
The Matrix Revolutions (2003)
The final chapter in the epic cyber war that has ravaged mankind, as Neo takes on the machines and the enigmatic Agent Smith.
Following on from the previous film, the human rebel camp at Zion face machines drilling down into their core for a final battle. As the population prepares for an all-out machine beating, Neo and his crew seek to perform the impossible, destroy the machines from the inside, and end the cycle once and for all.
In a continuing slide, the Wachowski brothers offer up more of the same, but with an overly complicated storyline that seems to be confusing itself. The film seems a mesh of sci-fi traditions, with some Star Trek similarities, as well as action techniques that border on Lord of the Rings. It was always going to be difficult providing a suitable ending for such a hit classic, but this seems well off the mark.
Reeves is still excellent as the stony Neo, and his crew do well to inject some passion into the cringe worthy script, but for the most part, viewers should set their minds to blur, because there is no point trying to follow the story...it is just not worth it.
Following on from the previous film, the human rebel camp at Zion face machines drilling down into their core for a final battle. As the population prepares for an all-out machine beating, Neo and his crew seek to perform the impossible, destroy the machines from the inside, and end the cycle once and for all.
In a continuing slide, the Wachowski brothers offer up more of the same, but with an overly complicated storyline that seems to be confusing itself. The film seems a mesh of sci-fi traditions, with some Star Trek similarities, as well as action techniques that border on Lord of the Rings. It was always going to be difficult providing a suitable ending for such a hit classic, but this seems well off the mark.
Reeves is still excellent as the stony Neo, and his crew do well to inject some passion into the cringe worthy script, but for the most part, viewers should set their minds to blur, because there is no point trying to follow the story...it is just not worth it.
Life Stinks (1991)
Trading Places with Mel Brooks humour...a combination that should have worked.
Continuing with my Mel Brooks film season, I recently viewed his 1991 movie Life Stinks. A film that involves corporate wealth, outright poverty, crime, greed, and redemption, all within a ten square mile radius.
When two financial giants meet to discuss buying the others land around the slums of L.A., a wager is proposed, whereby, if Goddard Bolt (Mel Brooks), one of the most wealthiest men in America, can survive for thirty days as an anonymous, broke homeless man on the very streets he seeks to buy, then his rival, Vance Crasswell (Jeffrey Tambor) will give his half for free. Should he fail, then Bolt must relinquish his half.
Bolt is confident that his success in the business world will translate well into the gutter of American society, and his ignorance is soon punished. He is chased, beaten, robbed, and demoralised in a number of ways, all humorous. It is only when he teams up with slightly crazy Molly (Lesley Ann Warren), and a couple of other homeless guys, that he manages to endure the difficulties of the street. However, as he comes to grips with his challenge, Craswell is plotting behind Bolt's back, and the struggle between good and evil, and rich and poor become entwined.
A funny film, but one that promised more. I was expecting more laugh out loud moments, and a more coherent storyline. The plot is well devised, but its execution seems mediocre. An average Brooks film, but failing to deliver a script worthy of a comedy classic, and characters that are instantly forgettable.
Continuing with my Mel Brooks film season, I recently viewed his 1991 movie Life Stinks. A film that involves corporate wealth, outright poverty, crime, greed, and redemption, all within a ten square mile radius.
When two financial giants meet to discuss buying the others land around the slums of L.A., a wager is proposed, whereby, if Goddard Bolt (Mel Brooks), one of the most wealthiest men in America, can survive for thirty days as an anonymous, broke homeless man on the very streets he seeks to buy, then his rival, Vance Crasswell (Jeffrey Tambor) will give his half for free. Should he fail, then Bolt must relinquish his half.
Bolt is confident that his success in the business world will translate well into the gutter of American society, and his ignorance is soon punished. He is chased, beaten, robbed, and demoralised in a number of ways, all humorous. It is only when he teams up with slightly crazy Molly (Lesley Ann Warren), and a couple of other homeless guys, that he manages to endure the difficulties of the street. However, as he comes to grips with his challenge, Craswell is plotting behind Bolt's back, and the struggle between good and evil, and rich and poor become entwined.
A funny film, but one that promised more. I was expecting more laugh out loud moments, and a more coherent storyline. The plot is well devised, but its execution seems mediocre. An average Brooks film, but failing to deliver a script worthy of a comedy classic, and characters that are instantly forgettable.
Thursday, 27 January 2011
3:10 To Yuma (2007)
A modern Western remake that is authentic, modest, and gritty.
Having not seen the original of this film, I had no expectations going into this. That's not true, I had low expectations, given that two of my least rated Hollywood stars (Russel Crowe and Christian Bale), were playing the two leads. However, this attitude served me well, and I was pleasantly surprised by director James Mangold's superb touch on this excellent story.
After cow rancher Dan Evans (Bale) hits rock bottom, with debt collectors setting fire to his barn and his family failing to believe he can return them to greener pastures, he stumbles upon an opportunity to regain some dignity, and some cash. Notorious bandit Ben Wade (Crowe) falls into a set up, and is taken prisoner by local law enforcement. Evans agrees to assist the authorities in getting Wade onto a train, the 3:10 to Yuma, where he will be put in prison. This, inevitably, requires a journey across the wild west, and the group are hounded by Wade's gang, a bloodthirsty pack of animals gunning for their hero's captors. During the adventure, Wade and Evans develop a tense relationship of sharp comments, and violent encounters. As their presents become entwined, their pasts are laid bare, with a few surprises.
An excellent example of how a modern western should look, it has amazing scenery, great costumers, and characters that are vivid and interesting. Mangold has been clever in making Crowe the baddie, as this adds an excellent dimension to the action, and Bale serves well as the brooding rancher in need of a win. The action is intense, moving from town to town, as the outlaws and the authorities attempt to outmanoeuvre each other.
A great film for those who love westerns and modern cinematography.
Having not seen the original of this film, I had no expectations going into this. That's not true, I had low expectations, given that two of my least rated Hollywood stars (Russel Crowe and Christian Bale), were playing the two leads. However, this attitude served me well, and I was pleasantly surprised by director James Mangold's superb touch on this excellent story.
After cow rancher Dan Evans (Bale) hits rock bottom, with debt collectors setting fire to his barn and his family failing to believe he can return them to greener pastures, he stumbles upon an opportunity to regain some dignity, and some cash. Notorious bandit Ben Wade (Crowe) falls into a set up, and is taken prisoner by local law enforcement. Evans agrees to assist the authorities in getting Wade onto a train, the 3:10 to Yuma, where he will be put in prison. This, inevitably, requires a journey across the wild west, and the group are hounded by Wade's gang, a bloodthirsty pack of animals gunning for their hero's captors. During the adventure, Wade and Evans develop a tense relationship of sharp comments, and violent encounters. As their presents become entwined, their pasts are laid bare, with a few surprises.
An excellent example of how a modern western should look, it has amazing scenery, great costumers, and characters that are vivid and interesting. Mangold has been clever in making Crowe the baddie, as this adds an excellent dimension to the action, and Bale serves well as the brooding rancher in need of a win. The action is intense, moving from town to town, as the outlaws and the authorities attempt to outmanoeuvre each other.
A great film for those who love westerns and modern cinematography.
Wednesday, 19 January 2011
The Twelve Chairs (1970)
Comedic-adventure treasure hunt, set in the Soviet Union in 1927.
When Ippolit's mother-in-law declares on her death bed that she has ensconced a bevvy of treasures within one of twelve chairs lost after the revolution, Ippolit (Ron Moody) despairs for his bleak future without that fortune. Opportunist Ostap Bender (Frank Langella) teams up with the broken aristocrat, and together they go off in search of the loot. Unfortunately for the unlucky duo, Ippolit's mother also informed the crooked town priest Father Fyodor (Dom DeLuise) of the secret gems and jewels buried in one of the chairs. Now, the race is on to see who will find the treasure first, and who will be left buried in the gloom of poverty in the U.S.S.R.
The story was written by Ilya Ilf and Yevgenni Petrov, two soviet journalists in the 1920s, and the humour and class politics made it ideal for comedy director Mel Brooks. From the outset, fans of Brook's films will notice a significant difference in the look and style of the film. While the set pieces and humorous gags remain, there is also a dedication to Russian culture and landscapes that runs parallel. Authenticity is not an issue, with music and costumes representing the era succinctly, and the pace of the film follows the tradition of treasure hunts perfectly. Langella gives an impressive performance, with charisma and power that drive the film on. DeLuise is his usual, oafish self.
With a banal script, and exhaustive Russian trivialities, this film does border on the tedious. Failing to deliver the spark that other Brook's films have. But worth a watch for the adventure, the history, and the laughs.
When Ippolit's mother-in-law declares on her death bed that she has ensconced a bevvy of treasures within one of twelve chairs lost after the revolution, Ippolit (Ron Moody) despairs for his bleak future without that fortune. Opportunist Ostap Bender (Frank Langella) teams up with the broken aristocrat, and together they go off in search of the loot. Unfortunately for the unlucky duo, Ippolit's mother also informed the crooked town priest Father Fyodor (Dom DeLuise) of the secret gems and jewels buried in one of the chairs. Now, the race is on to see who will find the treasure first, and who will be left buried in the gloom of poverty in the U.S.S.R.
The story was written by Ilya Ilf and Yevgenni Petrov, two soviet journalists in the 1920s, and the humour and class politics made it ideal for comedy director Mel Brooks. From the outset, fans of Brook's films will notice a significant difference in the look and style of the film. While the set pieces and humorous gags remain, there is also a dedication to Russian culture and landscapes that runs parallel. Authenticity is not an issue, with music and costumes representing the era succinctly, and the pace of the film follows the tradition of treasure hunts perfectly. Langella gives an impressive performance, with charisma and power that drive the film on. DeLuise is his usual, oafish self.
With a banal script, and exhaustive Russian trivialities, this film does border on the tedious. Failing to deliver the spark that other Brook's films have. But worth a watch for the adventure, the history, and the laughs.
Monday, 17 January 2011
The Spirit (2008)
Frank Miller, in his first film as the solo director, delivers a comic book film that is artistic, funny, violent and worthy.
Based around a dead cop, called Denny Colt (Gabriel Macht), who is given a formula that allows him to heal quickly, thereby allowing him to safeguard the city he stands watch over day and night. His nemesis, The Octopus (Samuel L. Jackson), is a powerful yet comedic drug Barron in search of immortality. The Spirit roams the streets wearing a mask and a bright red tie in search of answers, as well as protecting the innocent civilians from the hoodlums. With a whole host of colourful characters, baddies, and women, The Spirit must discover his identity and stop The Octopus before it is too late.
Miller's visionary depiction of this dark city is mesmerising. The vibrancy of colours, contrasted with the silhouettes and shadows makes for a visual feast. With obvious similarity, viewers will recall Sin City, but this film delivers a very different punch. It is funny for a start. Characters make actual jokes, and Jackson delivers some egg-related puns that truly comical. The use of limited colour, such as The Spirit's bright red tie, works well capture the essence of the film, good versus bad, with a lot of grey in between. Miller offers up some brilliant action sequences, that range from slow-motion, emotional scenes, to complete slapstick moments, and the comic-book legend stays true to his roots, making this a must-see for any comic-book fan.
Based around a dead cop, called Denny Colt (Gabriel Macht), who is given a formula that allows him to heal quickly, thereby allowing him to safeguard the city he stands watch over day and night. His nemesis, The Octopus (Samuel L. Jackson), is a powerful yet comedic drug Barron in search of immortality. The Spirit roams the streets wearing a mask and a bright red tie in search of answers, as well as protecting the innocent civilians from the hoodlums. With a whole host of colourful characters, baddies, and women, The Spirit must discover his identity and stop The Octopus before it is too late.
Miller's visionary depiction of this dark city is mesmerising. The vibrancy of colours, contrasted with the silhouettes and shadows makes for a visual feast. With obvious similarity, viewers will recall Sin City, but this film delivers a very different punch. It is funny for a start. Characters make actual jokes, and Jackson delivers some egg-related puns that truly comical. The use of limited colour, such as The Spirit's bright red tie, works well capture the essence of the film, good versus bad, with a lot of grey in between. Miller offers up some brilliant action sequences, that range from slow-motion, emotional scenes, to complete slapstick moments, and the comic-book legend stays true to his roots, making this a must-see for any comic-book fan.
The Matrix: Reloaded (2003)
The cyber war continues as Neo and his comrades must defend Zion, the home of the rebels, from the murderous machines.
After the huge success of The Matrix a second film was inevitable, after Neo flies off into the sky with Rage Against The Machine playing in the background, viewers knew that this journey was not finished...there was too much money to be made. The Wachowski boys threw themselves back into the world of the machines, and pieced together a new adventure for the rebel crew of the Nebuchadnezzar. This time, the machines are on the offensive, and Neo, Morpheus, Trinity and the gang have a matter of days to find a solution, before their entire race is destroyed.
The film does not carry the cult-greatness that its predecessor had, a degree of humanity amongst dystopian misery. The Matrix: Reloaded is more a full-throttle action film for computer boffins. Characters become shadows of their former selves, failing to build upon the advances of the first film, and instead just pushing through with the overly-complicated plot.
Stylistically, the film is a great achievement, with action sequences that stand the test of time, and fight scenes that rival any kung fu classic. The sets and locations are impressive, although still heavily reliant on green screen.
For lovers of the Matrix, it is an important film to see. The storyline, once understood, is still cleverly entertaining. However, it is almost unanimous, that no sequel has matched the original.
After the huge success of The Matrix a second film was inevitable, after Neo flies off into the sky with Rage Against The Machine playing in the background, viewers knew that this journey was not finished...there was too much money to be made. The Wachowski boys threw themselves back into the world of the machines, and pieced together a new adventure for the rebel crew of the Nebuchadnezzar. This time, the machines are on the offensive, and Neo, Morpheus, Trinity and the gang have a matter of days to find a solution, before their entire race is destroyed.
The film does not carry the cult-greatness that its predecessor had, a degree of humanity amongst dystopian misery. The Matrix: Reloaded is more a full-throttle action film for computer boffins. Characters become shadows of their former selves, failing to build upon the advances of the first film, and instead just pushing through with the overly-complicated plot.
Stylistically, the film is a great achievement, with action sequences that stand the test of time, and fight scenes that rival any kung fu classic. The sets and locations are impressive, although still heavily reliant on green screen.
For lovers of the Matrix, it is an important film to see. The storyline, once understood, is still cleverly entertaining. However, it is almost unanimous, that no sequel has matched the original.
Tuesday, 11 January 2011
Tron: Legacy (2010)
Virtual action film that pushes the boundaries of cinematic graphics.
As a sequel to the original Tron movie, this newest installment focuses on Sam Flynn (Garrett Hedlund) who journeys into "The Grid" in search of his father Kevin (Jeff Bridges). Entering into a cyber war ground, Sam must find his father, and try and escape the grid before Clu (also Jeff Bridges) finds them, or worse, escapes himself.
The look of the film is ultra-modern, with fluorescent blues and oranges filling the screen, whilst the majority of the sets, landscapes and people are in black. It is a thrilling film, with some explosive action sequences, including an impressive motorcycle scene based on the original tron game, that had me on the edge of my seat. Daft Punk offer most of the soundtrack which goes superbly with the electronic buzz of the film.
Viewed in 3D, this film delivers a cinematic punch that has made an exciting start to the new year.
As a sequel to the original Tron movie, this newest installment focuses on Sam Flynn (Garrett Hedlund) who journeys into "The Grid" in search of his father Kevin (Jeff Bridges). Entering into a cyber war ground, Sam must find his father, and try and escape the grid before Clu (also Jeff Bridges) finds them, or worse, escapes himself.
The look of the film is ultra-modern, with fluorescent blues and oranges filling the screen, whilst the majority of the sets, landscapes and people are in black. It is a thrilling film, with some explosive action sequences, including an impressive motorcycle scene based on the original tron game, that had me on the edge of my seat. Daft Punk offer most of the soundtrack which goes superbly with the electronic buzz of the film.
Viewed in 3D, this film delivers a cinematic punch that has made an exciting start to the new year.
The Book of Eli (2010)
Denzel Washington in an post-apocalyptic tale of violence, religion, and adventure.
As far as dystopian movies go, I am a huge fan. Having recently seen The Road and re-watched The Matrix I was not expecting much from this blockbuster. However, I was very surprised, and delighted, to see a movie that was intelligent, entertaining, stylish, and thought-provoking.
Eli (Washington) is sent on a journey west with a book that may hold the salvation of the people who are "lucky" enough to have survived a major catastrophe. During his trip he will encounter bandits, thieves, murderers and worse, whilst coming across a few likeable characters as well.
The film is a superb example of what a post-apocalypse film can be. Directed by the Hughes brothers, the movie is full of brilliant action sequences, stylish fight scenes, intimate personal journeys, and a tight script that avoids preaching. I would say, this film is not The Road and will not deliver the intensity or gut-wrenching emotion of that film, but this is worthy.
As far as dystopian movies go, I am a huge fan. Having recently seen The Road and re-watched The Matrix I was not expecting much from this blockbuster. However, I was very surprised, and delighted, to see a movie that was intelligent, entertaining, stylish, and thought-provoking.
Eli (Washington) is sent on a journey west with a book that may hold the salvation of the people who are "lucky" enough to have survived a major catastrophe. During his trip he will encounter bandits, thieves, murderers and worse, whilst coming across a few likeable characters as well.
The film is a superb example of what a post-apocalypse film can be. Directed by the Hughes brothers, the movie is full of brilliant action sequences, stylish fight scenes, intimate personal journeys, and a tight script that avoids preaching. I would say, this film is not The Road and will not deliver the intensity or gut-wrenching emotion of that film, but this is worthy.
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