Sunday, 8 May 2011
Sunday, 17 April 2011
Sucker Punch ~
Dear Lord...
'Sucker Punch' is a very boring, baggy, lazy costume pop video. No more than that.
Despite having some great elements, such as the usually amazing actress Abbie Cornish (Somersault and Hardy Candy, cases in point) and the potential of being an edgy, feminist action-flick, this mental institution set fantasy pretty much debases women, sensationalises abuse and revels in mediocrity.
Zack Snyder - after the visually interesting, but ultimately boring ‘300’ and the semi-brilliant ‘Watchmen’ - you really are going to have to try harder! SP stank.
Viewed 14th April 2011
'Sucker Punch' is a very boring, baggy, lazy costume pop video. No more than that.
Despite having some great elements, such as the usually amazing actress Abbie Cornish (Somersault and Hardy Candy, cases in point) and the potential of being an edgy, feminist action-flick, this mental institution set fantasy pretty much debases women, sensationalises abuse and revels in mediocrity.
Zack Snyder - after the visually interesting, but ultimately boring ‘300’ and the semi-brilliant ‘Watchmen’ - you really are going to have to try harder! SP stank.
Viewed 14th April 2011
Monday, 11 April 2011
Source Code ~~~
Captain Colter Stevens is going to have a bad day…
Following on from the rather amazing sci-fi thriller ‘Moon’, Duncan Jones directs a rather intriguing sci-fi mystery thriller. I sense someone having a bit of an auteur moment.
Jake Gyllenhaal stars as the initially perplexed Captain, woken from a seemingly deep sleep into a train carriage opposite the spirited and ever watchable Michelle Monaghan. He knows nothing – why he’s there, who he is, where he’s going until, wait for it, the train explodes. Screen turns black.
Well, whadda ya know. He’s magically transported into a military-style capsule and the adventure begins.
Without giving away the entire film, Colter Stevens finds himself involved in some deep undercover special ops programme in which he is the hero who has to save the day. His only real contact in the outside world is the ever strong Vera Farmiga, a military operative who has to keep him on mission without giving away too much information which would undoubtedly freak him out.
The tension throughout the film is pretty good and this keeps the audience guessing as to how the Captain is going to overcome the problems he faces, not least in his repeated given 8 minutes. Over and over and over again, he must complete his mission before impending doom hits. The fun part is watching how he does things differently each time and how he gradually pieces together the plot which he must foil. On top of this, the audience is gradually exposed to the back-room military plans and ultimate mission and one slowly senses a pretty terrible feeling of doom and secrecy behind the Captain’s back, until the very end when both Colter and we understand how this has all come about and what it means for him.
Ultimately, this is a pretty clever and interesting film. Not too noggin-noodling (e.g. not as twisted as the brilliant ‘Inception’) but still one which tests you to keep up with what’s going on.
A million times better than a number of other time-shift films, such as the rather disappointing ‘Vantage Point’, and my only criticism would be that Jake Gyllenhaal wasn’t really given a chance/couldn’t be bothered to shine. For me, his main draw as an actor, is that he has a cheeky grin, which he is able to employ on suitable occasions and is very good at looking like he’s thinking very deeply. In this film he’s on the go, a lot, and I’m not sure it was the best role for him. Nevertheless, the film kept me guessing throughout and was enjoyable for at least 90% of the time.
And the ending – that will really chill you. And then you’ll start to wonder whether that kind of shit, somewhere in the world, is really happening!
Viewed: 7th April 2011
Following on from the rather amazing sci-fi thriller ‘Moon’, Duncan Jones directs a rather intriguing sci-fi mystery thriller. I sense someone having a bit of an auteur moment.
Jake Gyllenhaal stars as the initially perplexed Captain, woken from a seemingly deep sleep into a train carriage opposite the spirited and ever watchable Michelle Monaghan. He knows nothing – why he’s there, who he is, where he’s going until, wait for it, the train explodes. Screen turns black.
Well, whadda ya know. He’s magically transported into a military-style capsule and the adventure begins.
Without giving away the entire film, Colter Stevens finds himself involved in some deep undercover special ops programme in which he is the hero who has to save the day. His only real contact in the outside world is the ever strong Vera Farmiga, a military operative who has to keep him on mission without giving away too much information which would undoubtedly freak him out.
The tension throughout the film is pretty good and this keeps the audience guessing as to how the Captain is going to overcome the problems he faces, not least in his repeated given 8 minutes. Over and over and over again, he must complete his mission before impending doom hits. The fun part is watching how he does things differently each time and how he gradually pieces together the plot which he must foil. On top of this, the audience is gradually exposed to the back-room military plans and ultimate mission and one slowly senses a pretty terrible feeling of doom and secrecy behind the Captain’s back, until the very end when both Colter and we understand how this has all come about and what it means for him.
Ultimately, this is a pretty clever and interesting film. Not too noggin-noodling (e.g. not as twisted as the brilliant ‘Inception’) but still one which tests you to keep up with what’s going on.
A million times better than a number of other time-shift films, such as the rather disappointing ‘Vantage Point’, and my only criticism would be that Jake Gyllenhaal wasn’t really given a chance/couldn’t be bothered to shine. For me, his main draw as an actor, is that he has a cheeky grin, which he is able to employ on suitable occasions and is very good at looking like he’s thinking very deeply. In this film he’s on the go, a lot, and I’m not sure it was the best role for him. Nevertheless, the film kept me guessing throughout and was enjoyable for at least 90% of the time.
And the ending – that will really chill you. And then you’ll start to wonder whether that kind of shit, somewhere in the world, is really happening!
Viewed: 7th April 2011
Limitless ~~1/2
After seeing the trailer for this film at least 5 times, I thought I’d give it a go. Bradley Cooper was pretty much unknown to me other than having to sit through one of his previous films, the terrible ‘A-Team’, on a plane journey. So I thought I’d see what all the fuss was about this new wannabe A-lister.
The story is pretty simple. Down at luck New Yorker Eddie Morra is loosing everything. His girlfriend, apartment, his drive to start/finish his novel and his mind. Up steps a fella who can help at just the right time. His ex-brother-in-law is a dealer, and a special one at that giving Eddie a dose of the new and highly prized NZT-48 (or some such invention) which allows the user to access 100% of his or her brain power.
And pretty much overnight Eddie becomes the best version of himself ever possible. He finishes his book, gets his girlfriend back (the wonderful Abbie Cornish making the most of a pretty dull roll) and decides to make some money in the finance world. But, as with any good morality tale, having upset that fickle beast karma, the darker side of life comes to get him in the guise of drug dealers and other shady characters.
At this point you would expect things to step up a notch but unfortunately, the pace and general lack of menace in the latter part of the film just didn’t do it for me. The build up to this had been pretty great and perhaps would have worked better had the chase and ‘fight’ scenes been less cheesy and more frightening.
There is a reasonably memorable scene in which the blade of an ice skate is used as a weapon but in the scheme of things, and by this point, the makers seemed to be grasping at straws.
Robert DeNiro and Anna Friel also star but to what end? It made no difference either to me or the film really but I suppose for some audiences, these actors would have been an added draw.
‘Limitless’ was billed as a ‘techno-thriller’ but, although I found the techno bit present and correct, I did not really find the thrill. Mr Cooper did a sterling job and I’d probably see his next flick (unless it’s ‘The Hangover 2’ which, having only just seen the first one, I will definitely give it a miss.) He certainly has something. Can’t quite put my finger on it and because of this, I am certain he will become a big Hollywood player in the very near future. Let’s hope he uses his charms and abilities for something better than this.
Viewed: 2nd April 2011
The story is pretty simple. Down at luck New Yorker Eddie Morra is loosing everything. His girlfriend, apartment, his drive to start/finish his novel and his mind. Up steps a fella who can help at just the right time. His ex-brother-in-law is a dealer, and a special one at that giving Eddie a dose of the new and highly prized NZT-48 (or some such invention) which allows the user to access 100% of his or her brain power.
And pretty much overnight Eddie becomes the best version of himself ever possible. He finishes his book, gets his girlfriend back (the wonderful Abbie Cornish making the most of a pretty dull roll) and decides to make some money in the finance world. But, as with any good morality tale, having upset that fickle beast karma, the darker side of life comes to get him in the guise of drug dealers and other shady characters.
At this point you would expect things to step up a notch but unfortunately, the pace and general lack of menace in the latter part of the film just didn’t do it for me. The build up to this had been pretty great and perhaps would have worked better had the chase and ‘fight’ scenes been less cheesy and more frightening.
There is a reasonably memorable scene in which the blade of an ice skate is used as a weapon but in the scheme of things, and by this point, the makers seemed to be grasping at straws.
Robert DeNiro and Anna Friel also star but to what end? It made no difference either to me or the film really but I suppose for some audiences, these actors would have been an added draw.
‘Limitless’ was billed as a ‘techno-thriller’ but, although I found the techno bit present and correct, I did not really find the thrill. Mr Cooper did a sterling job and I’d probably see his next flick (unless it’s ‘The Hangover 2’ which, having only just seen the first one, I will definitely give it a miss.) He certainly has something. Can’t quite put my finger on it and because of this, I am certain he will become a big Hollywood player in the very near future. Let’s hope he uses his charms and abilities for something better than this.
Viewed: 2nd April 2011
Tuesday, 15 March 2011
The Adjustment Bureau ~~~
I think I was expecting an expanded episode of the rather great American sci-fi series ‘Fringe’, where mysterious ‘watchers’ pop up and keep tabs on humans making sure they stick to ‘the plan’. In one sense I got that but in another I got an altogether lighter and more accessible rom-com-ish adventure.
Weird.
First point up. I heart Matt Damon. Now I do. Years ago I really didn’t and yes, I was heavily influenced by the terribly vulgar but amusing ‘Team America’ gang. “Matt Damonnnnnnnn”. Then came Bourne. Then came all the other good stuff he keeps delivering. He’s very believable and unlike other great actors, Big Russ Crowe, George Clooney and Brad of the Pitt to name but a few, I always forget it’s him. In a good way. What I mean is, for such a big star, Damon manages to ‘be’ his characters. I see them, not him. Which is a good thing.
Secondly, as much as I love Emily Blunt I wish her lovely plumy English accent wasn’t now parked quite as centrally as it is in the mid-Atlantic. Bit annoying but presumably a result of living in the US for the work. Correct me if I’m wrong. She is a great actress though and when she smiles, her whole face changes and sucks you in to her. Quite charming really.
Thirdly, although very sweet and quite unique, the whole film was a bit too ‘lite’ for me.
Story goes a bit like this… boy meets girl, they fall in love, stars and love hearts twinkle and bubble all over the place but the powers that be, namely the ‘Adjustment Bureau’, soon find out and try to put a stop to them being together. Are they angels, demons, aliens or God? Whatever. They don’t like it and it isn’t in the plan. Everyone’s got a day job to do so they do all they can to break them up and when they finally lose control of the situation, the couple try to beat them at their own spooky, space shifting games. Ugh? Essentially Damon is destined for greatness in politics and Blunt is set to be the greatest dancer in the USA so you see, you can’t have it all, can you?
There’s lots of humour in this film, more than I had expected, and it lent itself pretty nicely to keeping everything quite buoyant and pacey. The whole cast is pretty spot on with the exception of one of the Bureau members being a fella from the TV series ‘Mad Men’. Not that he was bad, far from it, but it was incredibly distracting to have him in the flick dressed exactly as he is in the series – trilby and mac, anyone?
The one major issue I had with the film, and it lingered long after having seen it, was that there was absolutely no menace. No frights. No real tension throughout, and for a wannabe ‘thriller’, that was a bit of a problem. Everything was lovely and ‘nice’. I could have done with a lot more thrill and happily traded it for a lot less lovey-dovey stuff. Hard women, or what?!?
‘The Adjustment Bureau’ could easily have planted its feet a little more firmly in the rom-com arena or the sci-fi camp but ultimately seemed to fudged it by trying to straddle both genres. Unique but ultimately a little bit of a bore. Perversely, I would recommend this film as I think there may be more to it than one first viewing. It looked good, sounded good, felt good. Just could have been a bit rougher.
A star spot I have to mention was that Jennifer Ehle pops up as a barmaid. How odd.
Anyway, what did I learn from this little tale? Well, Emily’s a much better dancer than me, Matt should probably run for President and there is no God. Only destiny. Lovely.
Viewed: 9th March 2011
Weird.
First point up. I heart Matt Damon. Now I do. Years ago I really didn’t and yes, I was heavily influenced by the terribly vulgar but amusing ‘Team America’ gang. “Matt Damonnnnnnnn”. Then came Bourne. Then came all the other good stuff he keeps delivering. He’s very believable and unlike other great actors, Big Russ Crowe, George Clooney and Brad of the Pitt to name but a few, I always forget it’s him. In a good way. What I mean is, for such a big star, Damon manages to ‘be’ his characters. I see them, not him. Which is a good thing.
Secondly, as much as I love Emily Blunt I wish her lovely plumy English accent wasn’t now parked quite as centrally as it is in the mid-Atlantic. Bit annoying but presumably a result of living in the US for the work. Correct me if I’m wrong. She is a great actress though and when she smiles, her whole face changes and sucks you in to her. Quite charming really.
Thirdly, although very sweet and quite unique, the whole film was a bit too ‘lite’ for me.
Story goes a bit like this… boy meets girl, they fall in love, stars and love hearts twinkle and bubble all over the place but the powers that be, namely the ‘Adjustment Bureau’, soon find out and try to put a stop to them being together. Are they angels, demons, aliens or God? Whatever. They don’t like it and it isn’t in the plan. Everyone’s got a day job to do so they do all they can to break them up and when they finally lose control of the situation, the couple try to beat them at their own spooky, space shifting games. Ugh? Essentially Damon is destined for greatness in politics and Blunt is set to be the greatest dancer in the USA so you see, you can’t have it all, can you?
There’s lots of humour in this film, more than I had expected, and it lent itself pretty nicely to keeping everything quite buoyant and pacey. The whole cast is pretty spot on with the exception of one of the Bureau members being a fella from the TV series ‘Mad Men’. Not that he was bad, far from it, but it was incredibly distracting to have him in the flick dressed exactly as he is in the series – trilby and mac, anyone?
The one major issue I had with the film, and it lingered long after having seen it, was that there was absolutely no menace. No frights. No real tension throughout, and for a wannabe ‘thriller’, that was a bit of a problem. Everything was lovely and ‘nice’. I could have done with a lot more thrill and happily traded it for a lot less lovey-dovey stuff. Hard women, or what?!?
‘The Adjustment Bureau’ could easily have planted its feet a little more firmly in the rom-com arena or the sci-fi camp but ultimately seemed to fudged it by trying to straddle both genres. Unique but ultimately a little bit of a bore. Perversely, I would recommend this film as I think there may be more to it than one first viewing. It looked good, sounded good, felt good. Just could have been a bit rougher.
A star spot I have to mention was that Jennifer Ehle pops up as a barmaid. How odd.
Anyway, what did I learn from this little tale? Well, Emily’s a much better dancer than me, Matt should probably run for President and there is no God. Only destiny. Lovely.
Viewed: 9th March 2011
Paul ~~~
Loving crafted and well scripted Alien-buddy movie starring Britain’s best exports Simon Frost and Nick Pegg, those loveable fella’s that brought us the very funny and totally unique ‘Hot Fuzz’ and ‘Shaun of the Dead’.
Let’s get it out of the way… Paul is indeed an alien. I think the trailers for this film kinda ruined what could have been a great surprise gag but nevertheless, Paul, voiced rather nicely by Seth Rogen, pops up pretty soon in the film so no real spoiler alert needed.
So, Graeme and Clive, two geeky bezzy mates hire an RV and hit the American road in search of UFOs, sci-fi conventions and a bit of adventure. And naturally, they meet Paul, the alien. After a rocky start, the Brits accept Paul’s presence and do all they can to protect him against prying eyes and the law… yes, Paul is being chased by the boys in blue as well as some red-necks and eventually Bible-bashers. Oh, what larks!
I decided pretty soon on to throw myself into the very silly but smartly funny story and let it all wash over me. Highlights included the brilliantly comic actress Kristen Wiig, as a creationist trailer park owner, and the lovely Jason Bateman as yet another guy on the trio’s trail.
The eye for detail was really lovely – the CGI animated Paul looked great, the script was intelligent and the attempt at bringing in a discussion concerning creationism and evolution was pretty good. Can aliens exist if there is a god? Discuss.
I understand that a lot of money was thrown at this film and on the one hand this verion of ‘Paul’ may never have been made without it. On the other, having such finances and expectation attached to ‘Paul’, and it being an ‘American’ flick, definitely led to the watering down of the usually more ‘British’, and focused, sense of humour Pegg, Frost et al deliver.
Overall, I really quite enjoyed ‘Paul’. It was funny, endearing, knowing, exciting and well paced. It’s not often an intelligent and accessible comedy comes along that will appeal to most people but I think on this occasion the ‘Spaced’ gang did good. And on that note, if you haven’t already done so, I advise you to watch ‘Spaced’ – both series with lots of tea and biscuits to hand. Fancy a bourbon?
One thing I have to get off my chest though, why was Pegg wearing a wig? Bizarre and very distracting. Why do it?
I look forward to the next Frost/Pegg presentation. Thanks lads, it’s nice to have a laugh one in a while…
Viewed: 2nd March 2011
Let’s get it out of the way… Paul is indeed an alien. I think the trailers for this film kinda ruined what could have been a great surprise gag but nevertheless, Paul, voiced rather nicely by Seth Rogen, pops up pretty soon in the film so no real spoiler alert needed.
So, Graeme and Clive, two geeky bezzy mates hire an RV and hit the American road in search of UFOs, sci-fi conventions and a bit of adventure. And naturally, they meet Paul, the alien. After a rocky start, the Brits accept Paul’s presence and do all they can to protect him against prying eyes and the law… yes, Paul is being chased by the boys in blue as well as some red-necks and eventually Bible-bashers. Oh, what larks!
I decided pretty soon on to throw myself into the very silly but smartly funny story and let it all wash over me. Highlights included the brilliantly comic actress Kristen Wiig, as a creationist trailer park owner, and the lovely Jason Bateman as yet another guy on the trio’s trail.
The eye for detail was really lovely – the CGI animated Paul looked great, the script was intelligent and the attempt at bringing in a discussion concerning creationism and evolution was pretty good. Can aliens exist if there is a god? Discuss.
I understand that a lot of money was thrown at this film and on the one hand this verion of ‘Paul’ may never have been made without it. On the other, having such finances and expectation attached to ‘Paul’, and it being an ‘American’ flick, definitely led to the watering down of the usually more ‘British’, and focused, sense of humour Pegg, Frost et al deliver.
Overall, I really quite enjoyed ‘Paul’. It was funny, endearing, knowing, exciting and well paced. It’s not often an intelligent and accessible comedy comes along that will appeal to most people but I think on this occasion the ‘Spaced’ gang did good. And on that note, if you haven’t already done so, I advise you to watch ‘Spaced’ – both series with lots of tea and biscuits to hand. Fancy a bourbon?
One thing I have to get off my chest though, why was Pegg wearing a wig? Bizarre and very distracting. Why do it?
I look forward to the next Frost/Pegg presentation. Thanks lads, it’s nice to have a laugh one in a while…
Viewed: 2nd March 2011
Tuesday, 1 March 2011
True Grit ~~~ 1/2
I’m a part-time Coen brothers film fan. Some I like (No County for Old Men), some I don’t (Burn After Reading) but either way, I seem to be able to see what they were trying to get at.
With ‘True Grit’, and bearing in mind I haven’t seen the original 1969 John Wayne version, I think I know what they wanted to do. I saw their vision in my mind’s eye but not through my actual eyes. I hope that makes some sense?
At the outset, it’s a great story. 14 year old Mattie Ross wants to avenge her father’s murder by the alcohol fuelled, no-gooder Tom Chaney. She sets out to exact justice on him but needs help. Travelling to the town in which all the action has taken place, and without her widowed, and possibly ineffectual, mother, Mattie hunts down the best man for the job. Given the choice between the Texas Ranger LaBoeuf, played wonderfully by Matt Damon as a curmudgeonly but experienced outlaw hunter and the infamous lawman Rooster Cogburn played very ably by Jeff Bridges on best mumbling and grizzled form, she chooses the latter and goes about getting him prepared for a journey into ‘Injun’ territory.
Mattie herself is quite a character. Exact, clipped and decisive she’s a girl with a mission and nothing, bar actual kidnap or snakes, is going to stop her. Whether I actually liked the character or not, is a tricky thing. She is the heart of the story, both literally and actually, and compared to the dusty, drunk but experienced men, she is light relief however, the very nature of her bossy, bible-quoting and hard-edged character does little to make the viewer warm to her. Hailee Steinfeld is very watchable and sure to be star of the future but in this role, quite difficult to love. Respect, yes, love? No. Nevertheless, the trio end up on the baddies trail and cause havoc as they ride.
It’s all pretty exciting and bloody but something seemed to be missing. There’s plenty of trueness going on but not as much ‘grit’ as I’d hoped. Damon’s LaBoeuf is played a tad too buffoony at times, but I actually liked that. Bridges’ Cogburn is barely comprehensible throughout – the more sozzled he is the better his slur! Ra, rar, arar, rarar... that's part of the script as delivered by Bridges' wonderfully pissed Rooster Cogburn. Again, perhaps a little too much effort went into this aspect of the character, but I enjoyed it.
The scenery of the Wild West goes rather unnoticed, which is a real shame. Whilst the towns and building scenery are replicated pretty realistically for the period, the focus remains on the characters which makes sense but it would have been nice to have had the ‘fourth character’, of the great outdoors, more at the forefront.
What I always love about Coen brothers’ films is their sense of humour. Throughout ‘True Grit’ the audience does get a good dollop of laughs. I think what may have been missing was the true ‘grit’ to balance it all out.
The story was slightly ruined by an opening which included the older Mattie narrating the story. Not only did this skew my expectation of her character’s future throughout the film but also impacted on my overall feelings towards her. It would have been better not to have included these scenes and to have allowed the audience to develop their own theory as to what the ending might be.
Overall, True Grit is a very enjoyable but slightly flawed coming of age / end of an era tale of altruism and human bonding. More often than not, people need each other. Not only to help them through difficult times but for the sake of their own sanity and spirit. ‘True Grit’ made it clear to me that both reasons are true but proved equally as much that one cannot be sentimental, one must go on alone.
I look forward to seeing this understated but essentially successful dusty gem again in the near future. I love westerns!
23rd February 2011
With ‘True Grit’, and bearing in mind I haven’t seen the original 1969 John Wayne version, I think I know what they wanted to do. I saw their vision in my mind’s eye but not through my actual eyes. I hope that makes some sense?
At the outset, it’s a great story. 14 year old Mattie Ross wants to avenge her father’s murder by the alcohol fuelled, no-gooder Tom Chaney. She sets out to exact justice on him but needs help. Travelling to the town in which all the action has taken place, and without her widowed, and possibly ineffectual, mother, Mattie hunts down the best man for the job. Given the choice between the Texas Ranger LaBoeuf, played wonderfully by Matt Damon as a curmudgeonly but experienced outlaw hunter and the infamous lawman Rooster Cogburn played very ably by Jeff Bridges on best mumbling and grizzled form, she chooses the latter and goes about getting him prepared for a journey into ‘Injun’ territory.
Mattie herself is quite a character. Exact, clipped and decisive she’s a girl with a mission and nothing, bar actual kidnap or snakes, is going to stop her. Whether I actually liked the character or not, is a tricky thing. She is the heart of the story, both literally and actually, and compared to the dusty, drunk but experienced men, she is light relief however, the very nature of her bossy, bible-quoting and hard-edged character does little to make the viewer warm to her. Hailee Steinfeld is very watchable and sure to be star of the future but in this role, quite difficult to love. Respect, yes, love? No. Nevertheless, the trio end up on the baddies trail and cause havoc as they ride.
It’s all pretty exciting and bloody but something seemed to be missing. There’s plenty of trueness going on but not as much ‘grit’ as I’d hoped. Damon’s LaBoeuf is played a tad too buffoony at times, but I actually liked that. Bridges’ Cogburn is barely comprehensible throughout – the more sozzled he is the better his slur! Ra, rar, arar, rarar... that's part of the script as delivered by Bridges' wonderfully pissed Rooster Cogburn. Again, perhaps a little too much effort went into this aspect of the character, but I enjoyed it.
The scenery of the Wild West goes rather unnoticed, which is a real shame. Whilst the towns and building scenery are replicated pretty realistically for the period, the focus remains on the characters which makes sense but it would have been nice to have had the ‘fourth character’, of the great outdoors, more at the forefront.
What I always love about Coen brothers’ films is their sense of humour. Throughout ‘True Grit’ the audience does get a good dollop of laughs. I think what may have been missing was the true ‘grit’ to balance it all out.
The story was slightly ruined by an opening which included the older Mattie narrating the story. Not only did this skew my expectation of her character’s future throughout the film but also impacted on my overall feelings towards her. It would have been better not to have included these scenes and to have allowed the audience to develop their own theory as to what the ending might be.
Overall, True Grit is a very enjoyable but slightly flawed coming of age / end of an era tale of altruism and human bonding. More often than not, people need each other. Not only to help them through difficult times but for the sake of their own sanity and spirit. ‘True Grit’ made it clear to me that both reasons are true but proved equally as much that one cannot be sentimental, one must go on alone.
I look forward to seeing this understated but essentially successful dusty gem again in the near future. I love westerns!
23rd February 2011
Never Let Me Go ~~1/2
Ultimately disappointing quasi-sci-fi imagining of the lives and loves of three school friends who grow up in an alternate world in which society expects the ultimate sacrifice from a chosen few. Too vague? Well, I can’t be expected to ruin the story for you but I will say this…
Carey Mulligan (Kathy), Keira Knightly (Ruth) and Andrew Garfield (Tommy), as the grown up versions of their characters, are brilliant, but I expected no less, whilst the younger actors portraying the friends were pretty brilliant, too. Especially the young Kathy - watch out for Izzy Meikle-Small in the future…
This is a weird little story which draws on the multiple themes of love, loss, fate, expectation, duty and the idea of selflessly giving away parts of yourself to others, including your heart.
Growing up together in a seemingly ‘normal’ boarding school during the 1980’s, the three young characters are presented through both the eyes and narration of Kathy, a rather pragmatic but inquisitive loner. Her story-telling throughout is depressingly astute and accepting, no matter what is happening to her, and in this alternative universe, I suppose one should expect no less. However, once I truly picked up on what lay ahead for the students of the school, her narration jarred significantly with my own experiences and expectations. I found it very difficult to accept Kathy’s acquiescence towards her future fate. And I think, for me, therein lies the problem regarding general ‘enjoyment’ of the whole film.
Although I had really been looking forward to this film for what seemed an eternity, from initial trailer way back when to actually sitting in the cinema experiencing it, I was totally confounded by the way in which the writer delivered the story to us. Whilst I accept that, at its heart, the story is a simple one about love, destiny and friendship, which is fine and dandy, I just could not suspend my disbelief for long enough to really enjoy the film properly.
What I did find heart-breaking, and what really annoyed me, was that between the grown up trio, and their very evident love-triangle, not one of the two really in love did a bloody thing about it! It became quite apparent in the early stages of two of the characters relationship that the third party was indeed acting selfishly. Ultimately though, this act is punishable by something quite gruesome and I found this to be quite satisfying! Bitch! But do not fear, true love is always rewarded.
I’m not sure if I was meant to pick up on it or not, but everything about the film seemed to be very ‘brown’. The costumes, landscape and even the interiors were very gloomy and dull. I was expecting throughout that this tonal adoption would change with the passing of the 1970’s and 80’s, but I was wrong. Perhaps the production team were going for ‘natural’ but, to me, it just felt rather drab and desolate. Maybe this is was the aim?
Part of me thinks I should see this film again. Keira does a great job of being haughty and ill. Andrew really will be a big star and is quite spellbinding in a rather peculiarly stutteringly and ‘deep’ way whilst Carey is steady and warm. I can’t wait to see her in something else where she gets to let her hair down a bit. On the other hand, I might just be depressed and irritated all over again…
The more I think about this film, the angrier I get. I really can’t place the source of my irritation. If anything, it might be my interpretation of the sheer lack of control and free will the characters possess which makes me fume or maybe my heart has been sucked out by errant ballerinas or cowboys or superheros from all the other films I’ve been enjoying recently? I just really didn’t care - I must truly be a husk of a human being otherwise I might actually have given a damn about the characters? Answers on a postcard to…
16th February 2011
Carey Mulligan (Kathy), Keira Knightly (Ruth) and Andrew Garfield (Tommy), as the grown up versions of their characters, are brilliant, but I expected no less, whilst the younger actors portraying the friends were pretty brilliant, too. Especially the young Kathy - watch out for Izzy Meikle-Small in the future…
This is a weird little story which draws on the multiple themes of love, loss, fate, expectation, duty and the idea of selflessly giving away parts of yourself to others, including your heart.
Growing up together in a seemingly ‘normal’ boarding school during the 1980’s, the three young characters are presented through both the eyes and narration of Kathy, a rather pragmatic but inquisitive loner. Her story-telling throughout is depressingly astute and accepting, no matter what is happening to her, and in this alternative universe, I suppose one should expect no less. However, once I truly picked up on what lay ahead for the students of the school, her narration jarred significantly with my own experiences and expectations. I found it very difficult to accept Kathy’s acquiescence towards her future fate. And I think, for me, therein lies the problem regarding general ‘enjoyment’ of the whole film.
Although I had really been looking forward to this film for what seemed an eternity, from initial trailer way back when to actually sitting in the cinema experiencing it, I was totally confounded by the way in which the writer delivered the story to us. Whilst I accept that, at its heart, the story is a simple one about love, destiny and friendship, which is fine and dandy, I just could not suspend my disbelief for long enough to really enjoy the film properly.
What I did find heart-breaking, and what really annoyed me, was that between the grown up trio, and their very evident love-triangle, not one of the two really in love did a bloody thing about it! It became quite apparent in the early stages of two of the characters relationship that the third party was indeed acting selfishly. Ultimately though, this act is punishable by something quite gruesome and I found this to be quite satisfying! Bitch! But do not fear, true love is always rewarded.
I’m not sure if I was meant to pick up on it or not, but everything about the film seemed to be very ‘brown’. The costumes, landscape and even the interiors were very gloomy and dull. I was expecting throughout that this tonal adoption would change with the passing of the 1970’s and 80’s, but I was wrong. Perhaps the production team were going for ‘natural’ but, to me, it just felt rather drab and desolate. Maybe this is was the aim?
Part of me thinks I should see this film again. Keira does a great job of being haughty and ill. Andrew really will be a big star and is quite spellbinding in a rather peculiarly stutteringly and ‘deep’ way whilst Carey is steady and warm. I can’t wait to see her in something else where she gets to let her hair down a bit. On the other hand, I might just be depressed and irritated all over again…
The more I think about this film, the angrier I get. I really can’t place the source of my irritation. If anything, it might be my interpretation of the sheer lack of control and free will the characters possess which makes me fume or maybe my heart has been sucked out by errant ballerinas or cowboys or superheros from all the other films I’ve been enjoying recently? I just really didn’t care - I must truly be a husk of a human being otherwise I might actually have given a damn about the characters? Answers on a postcard to…
16th February 2011
Tuesday, 15 February 2011
The Fighter ~~~~1/2
Ok, so some people like ‘sports’ films and some don’t. Luckily, with David O Russell’s ‘The Fighter’, this isn’t really an issue. Like the recent, and very brilliant, ballet orientated ‘Black Swan’, this film smashed any preconceptions that I might have had before going to view it. All I knew was that Mark Wahlberg and Christian Bale starred and that some boxing would be involved somewhere along the line. This turned out to be ok too, as I like all three, including the boxing!
So, to start at the very beginning… First up, Mark Wahlberg. Hasn’t he come a long way? I haven’t really been able to shake my very first images of him as Marky Mark, with his bloody ‘Funky Bunch’… what a wally, but over the last decade, he’s really grown on me. I was reminded that his first, or at least one of his earliest, features was as Dirk Diggler in ‘Boogie Nights’. What a stand up role that was and now here he is in ‘The Fighter’ putting on a rather sterling performance as a work-a-day scrapper in the ring, come back kid. Wahlberg probably does one of the best ‘everyman’ turns in cinema at the moment and it’s difficult not to afford him quite a lot of sympathy in his role as the hen-pecked and somewhat overlooked brother/son/boxer ‘Irish’ Micky Ward.
Set in the 1980’s, and with really great (and I mean appropriate and evocative rather than ‘good’) contemporary music, costume design and period props, the story follows the formally quiet and unobtrusive life of Micky who, with the help of his pretty dysfunctional half-brother, mother/manager, father and clutch of half-sisters, trains up to take a shot at the world light welterweight boxing title.
The key here is that his half-brother, Dicky, played quite amazingly by Bale, now a drug addict, general layabout and wannabe trainer was once a celebrated pro-fighter with a certain legacy keeping him going. Although, after a Rocky start (some pun intended!) some questions remain as to whether Micky’s really good enough and has a future in the ring, the real focus is on the brothers’ relationship. Micky just wants to get on and knows in his heart that his brother isn’t always the best or most reliable person to train him – there are a few incidents when Dicky is out for the count in his drug den or trying to avoid being found out for being late etc, that are both touching and funny. As the film progresses, we follow the brothers’ and their respective ups and downs both as individuals and as a fighting, team.
Seconds out, round two!
Although Wahlberg is great in his part as the unassuming but focused Micky, it’s really an ensemble cast. Amy Adams plays the girlfriend who acts as the catalyst for Micky’s ambition and drive to go for the title, and in this role which could have been a little bit ‘tart with a heart’ of sorts, she manages the part extremely well. An educated girl with a little drink issue, Adams’ character has to stand up to the ‘family’ in order to be both with the man she loves and accepted into the close-knit world of Micky and his boxing-ties. And stand up she does, to the benefit of both their relationship and his boxing future.
I also have to point out that the actors playing Micky’s family are rather special. I have no idea whether his numerous sisters are played by professional actresses or local people but Christ, they were great, as were the actors who played his parents as well as all the other ‘local’ people in the film. Really great casting. These people are either unknowns or underused. Wake up casting directors – this approach is so fresh! Top marks. Everyone was great.
It can’t be denied that Christian Bale continues to be brilliant. Just when I think he might be going off the boil, he hits back with something even more gut-wrenching, funny, wicked or marvellous. Not only does Bale truly seem to inhabit his characters, which here is pretty much on the money as he’s playing a real life person, but his physical appearance changes wildly with each character transformation. Not only has he, once again, lost a tonne of weight, but with Dicky, he’s lost a shit load of hair, too. I could barely watch him when he first came on the screen. I wanted to feed him up and look after him but then I was gently reminded that by the time the next Batman film crops up, he’ll be looking buff and fit with a full head of hair.
Seconds out, round three!
Director Russell has a very neat touch. The whole film could easily have slipped into cheesy, smultzy Rocky territory but instead lies in that very happy, and quite rare, place of ‘just right’. Although based a true story, with an ending that even a five year old could guess correctly, I didn’t care a jot. The pace of the film is spot on, allowing the story to unfold at a natural rate. The characters are so well observed (I have to guess as they are based on real people) that I really bought into the whole world in which they lived. So much so, I would like to have visited!
Having directed a variety of films in the past, ‘I Heart Huckabees’ and ‘Three Kings’, in particular of note, David O Russell has done rather a great job. The direction is dynamic but also, where appropriate, intimate. The cinematography was also great. Evocative and realistic. Great lighting, too.
Seconds out, last round!
The film is exciting, heart-warming, very funny and surprisingly touching without the usually offensive ‘Hollywood’ feel good factor glitz. If you do go and see this little gem, promise you’ll stay through the credits. You’ll be introduced to the real Micky and Dicky and then you’ll understand why, primarily, Christian Bale as well as Wahlberg, should be so highly praised for their performances.
I highly recommend this film and can’t wait to see it again as soon as it’s out on DVD.
I can’t believe how great the last month of cinema viewing has been. Not since 2008 have things been so great at the local picture-houses’. And we haven’t even seen ‘True Grit’ or ‘Paul’…
Bring it on! Ding-ding.
Viewed: 2nd February 2011
So, to start at the very beginning… First up, Mark Wahlberg. Hasn’t he come a long way? I haven’t really been able to shake my very first images of him as Marky Mark, with his bloody ‘Funky Bunch’… what a wally, but over the last decade, he’s really grown on me. I was reminded that his first, or at least one of his earliest, features was as Dirk Diggler in ‘Boogie Nights’. What a stand up role that was and now here he is in ‘The Fighter’ putting on a rather sterling performance as a work-a-day scrapper in the ring, come back kid. Wahlberg probably does one of the best ‘everyman’ turns in cinema at the moment and it’s difficult not to afford him quite a lot of sympathy in his role as the hen-pecked and somewhat overlooked brother/son/boxer ‘Irish’ Micky Ward.
Set in the 1980’s, and with really great (and I mean appropriate and evocative rather than ‘good’) contemporary music, costume design and period props, the story follows the formally quiet and unobtrusive life of Micky who, with the help of his pretty dysfunctional half-brother, mother/manager, father and clutch of half-sisters, trains up to take a shot at the world light welterweight boxing title.
The key here is that his half-brother, Dicky, played quite amazingly by Bale, now a drug addict, general layabout and wannabe trainer was once a celebrated pro-fighter with a certain legacy keeping him going. Although, after a Rocky start (some pun intended!) some questions remain as to whether Micky’s really good enough and has a future in the ring, the real focus is on the brothers’ relationship. Micky just wants to get on and knows in his heart that his brother isn’t always the best or most reliable person to train him – there are a few incidents when Dicky is out for the count in his drug den or trying to avoid being found out for being late etc, that are both touching and funny. As the film progresses, we follow the brothers’ and their respective ups and downs both as individuals and as a fighting, team.
Seconds out, round two!
Although Wahlberg is great in his part as the unassuming but focused Micky, it’s really an ensemble cast. Amy Adams plays the girlfriend who acts as the catalyst for Micky’s ambition and drive to go for the title, and in this role which could have been a little bit ‘tart with a heart’ of sorts, she manages the part extremely well. An educated girl with a little drink issue, Adams’ character has to stand up to the ‘family’ in order to be both with the man she loves and accepted into the close-knit world of Micky and his boxing-ties. And stand up she does, to the benefit of both their relationship and his boxing future.
I also have to point out that the actors playing Micky’s family are rather special. I have no idea whether his numerous sisters are played by professional actresses or local people but Christ, they were great, as were the actors who played his parents as well as all the other ‘local’ people in the film. Really great casting. These people are either unknowns or underused. Wake up casting directors – this approach is so fresh! Top marks. Everyone was great.
It can’t be denied that Christian Bale continues to be brilliant. Just when I think he might be going off the boil, he hits back with something even more gut-wrenching, funny, wicked or marvellous. Not only does Bale truly seem to inhabit his characters, which here is pretty much on the money as he’s playing a real life person, but his physical appearance changes wildly with each character transformation. Not only has he, once again, lost a tonne of weight, but with Dicky, he’s lost a shit load of hair, too. I could barely watch him when he first came on the screen. I wanted to feed him up and look after him but then I was gently reminded that by the time the next Batman film crops up, he’ll be looking buff and fit with a full head of hair.
Seconds out, round three!
Director Russell has a very neat touch. The whole film could easily have slipped into cheesy, smultzy Rocky territory but instead lies in that very happy, and quite rare, place of ‘just right’. Although based a true story, with an ending that even a five year old could guess correctly, I didn’t care a jot. The pace of the film is spot on, allowing the story to unfold at a natural rate. The characters are so well observed (I have to guess as they are based on real people) that I really bought into the whole world in which they lived. So much so, I would like to have visited!
Having directed a variety of films in the past, ‘I Heart Huckabees’ and ‘Three Kings’, in particular of note, David O Russell has done rather a great job. The direction is dynamic but also, where appropriate, intimate. The cinematography was also great. Evocative and realistic. Great lighting, too.
Seconds out, last round!
The film is exciting, heart-warming, very funny and surprisingly touching without the usually offensive ‘Hollywood’ feel good factor glitz. If you do go and see this little gem, promise you’ll stay through the credits. You’ll be introduced to the real Micky and Dicky and then you’ll understand why, primarily, Christian Bale as well as Wahlberg, should be so highly praised for their performances.
I highly recommend this film and can’t wait to see it again as soon as it’s out on DVD.
I can’t believe how great the last month of cinema viewing has been. Not since 2008 have things been so great at the local picture-houses’. And we haven’t even seen ‘True Grit’ or ‘Paul’…
Bring it on! Ding-ding.
Viewed: 2nd February 2011
Tuesday, 8 February 2011
Black Swan ~~~~1/2
I had a sneaky suspicion that ‘Black Swan’ would be a little heavy on the ‘ballet’ element of things but far from it. Since hanging up my ballet slippers nearly thirty years ago and having no interest in a behind the scenes film based in the world of bitchy dancers and sensitive artsy types, this didn’t seem, on the face of it, my ideal type of film. However, I knew that both director Darren Aronofsky and lead actress Natalie Portman wouldn’t, in a million years, dare deliver this to me. And I wasn’t wrong…
The world of ballet is a great backdrop to the story, no more really. It could have been the world of fashion, football or even banking but it is the sensuality, passion and skin on skin action that really makes this tale come alive.
While Portman is a successful, but junior, ballerina, pushing herself to train hard, living a disciplined life, consumed in the world of dance, she aspires to be the new lead in the ballet company’s ‘Swan Lake’ production. Her chance comes soon enough when the lead ballerina ‘retires’, played wonderfully, and quite hammily, by Winona Ryder, allowing the rest of the company to audition, not only for the lead White Swan role but also the dark, brooding Black Swan. Will all her hard work and sacrifices pay off? Of course. But as Nina progresses in her training for the big ‘curtains up’, she discovers that being prima ballerina requires more than just hard, physical work. It requires nerves of steel, a little give and take in the bedroom and an element of ruthlessness. Can she keep it together? Can she keep herself together? I cannot say any more…
Portman is most excellent in the role of Nina, the ballet-obsessed, neurotic, lonely girl destined for greatness, as is the rest of the cast including Mila Kunis as Lily, the mysterious dancer who pushes Nina’s buttons and makes her strive even harder to prove herself. The relationship between these characters is fascinating; do they represent the yin and yang of woman, the two extremes of work ethic and attitude, the complexity of sexuality or something far darker? The latter, I think. As the characters interact with each other more and more throughout the story, it is easy to be left with the distinct impression that Aronofsky wants you to think about who these women are and what they represent. I can say no more for fear of influencing your viewing suffice to say, as with most Aronofsky’s past films, you can go as dark and as deep as you like!
Nina’s home life is equally strange. Her ex-ballerina mother is both pushy and overbearing. Their apartment feels incredibly claustrophobic with more than a hint of secrets and lies hidden within each room. Creepy.
Already touted as the perfect White Swan by the artistic director, played very sensually by Vincent Cassel, Nina continues to work hard, pushing herself to accept that she must get in touch with her darker side if she wants to succeed with the Black Swan role, but there seems to be a price; her sanity. As with all good drama-thrillers, ‘Black Swan’ keeps you guessing; not only about Nina’s sanity and motives but also as to the influence Lily has on her and how the other characters interact with, and seemingly suffocate, her. As the plot unfolds, and as Nina readies herself to take centre stage, everything else seems to begin to fall apart. Is it possible that the violence happening around her is coincidence or is she more responsible for events than even she can contemplate? Nina literally itches and scratches her way to the finale; is she destroying herself?
This film is terrorising, uncomfortable, sexy and moving. It’s truly Aronofsky’s best yet and possibly Portman’s, too. The cinematography is quite amazing as are the visual tricks (which have featured so heavily in the trailers) and music, brought to us by Stourbridge’s finest export, and ex-PWEI front man, Clint Mansell. The costumes are also quite brilliant; from work-a-day ballet gear (which I am sure will be making a huge impact on the fashionistas this spring) to the ‘Swan Lake’ stage costumes.
Throughout both Nina’s journey to stardom and her transformation into the Black Swan character on stage, the costumes gradually move from white to black. The changes are reasonably subtle but are great visual pointers and clues for the audience as to character evolution and change. The climax of the film is truly remarkable with Nina inevitably metamorphosising into the Black Swan on stage. Magic.
This is a film with layer upon layer of emotion. It’s a stunning, haunting exploration of the world in which a woman who, having been so focused on attaining her goal, loses grip on reality.
For me, this is a film about so many things:
Obsession
Power
Sexuality
Perfection
Rivalry
Ritual
Lust
Adulation
Awakening
Paranoia
Loss of innocence
Sexual abuse
Loneliness
Passion
Compulsion
If you feel like challenging your brain and subjecting yourself to something really worth the effort, you have to see this film. It’s beautiful, unexpected, raw and scary. It’s already a definite contender for best film of 2011.
Encore!
Viewed: 26th January 2011
The world of ballet is a great backdrop to the story, no more really. It could have been the world of fashion, football or even banking but it is the sensuality, passion and skin on skin action that really makes this tale come alive.
While Portman is a successful, but junior, ballerina, pushing herself to train hard, living a disciplined life, consumed in the world of dance, she aspires to be the new lead in the ballet company’s ‘Swan Lake’ production. Her chance comes soon enough when the lead ballerina ‘retires’, played wonderfully, and quite hammily, by Winona Ryder, allowing the rest of the company to audition, not only for the lead White Swan role but also the dark, brooding Black Swan. Will all her hard work and sacrifices pay off? Of course. But as Nina progresses in her training for the big ‘curtains up’, she discovers that being prima ballerina requires more than just hard, physical work. It requires nerves of steel, a little give and take in the bedroom and an element of ruthlessness. Can she keep it together? Can she keep herself together? I cannot say any more…
Portman is most excellent in the role of Nina, the ballet-obsessed, neurotic, lonely girl destined for greatness, as is the rest of the cast including Mila Kunis as Lily, the mysterious dancer who pushes Nina’s buttons and makes her strive even harder to prove herself. The relationship between these characters is fascinating; do they represent the yin and yang of woman, the two extremes of work ethic and attitude, the complexity of sexuality or something far darker? The latter, I think. As the characters interact with each other more and more throughout the story, it is easy to be left with the distinct impression that Aronofsky wants you to think about who these women are and what they represent. I can say no more for fear of influencing your viewing suffice to say, as with most Aronofsky’s past films, you can go as dark and as deep as you like!
Nina’s home life is equally strange. Her ex-ballerina mother is both pushy and overbearing. Their apartment feels incredibly claustrophobic with more than a hint of secrets and lies hidden within each room. Creepy.
Already touted as the perfect White Swan by the artistic director, played very sensually by Vincent Cassel, Nina continues to work hard, pushing herself to accept that she must get in touch with her darker side if she wants to succeed with the Black Swan role, but there seems to be a price; her sanity. As with all good drama-thrillers, ‘Black Swan’ keeps you guessing; not only about Nina’s sanity and motives but also as to the influence Lily has on her and how the other characters interact with, and seemingly suffocate, her. As the plot unfolds, and as Nina readies herself to take centre stage, everything else seems to begin to fall apart. Is it possible that the violence happening around her is coincidence or is she more responsible for events than even she can contemplate? Nina literally itches and scratches her way to the finale; is she destroying herself?
This film is terrorising, uncomfortable, sexy and moving. It’s truly Aronofsky’s best yet and possibly Portman’s, too. The cinematography is quite amazing as are the visual tricks (which have featured so heavily in the trailers) and music, brought to us by Stourbridge’s finest export, and ex-PWEI front man, Clint Mansell. The costumes are also quite brilliant; from work-a-day ballet gear (which I am sure will be making a huge impact on the fashionistas this spring) to the ‘Swan Lake’ stage costumes.
Throughout both Nina’s journey to stardom and her transformation into the Black Swan character on stage, the costumes gradually move from white to black. The changes are reasonably subtle but are great visual pointers and clues for the audience as to character evolution and change. The climax of the film is truly remarkable with Nina inevitably metamorphosising into the Black Swan on stage. Magic.
This is a film with layer upon layer of emotion. It’s a stunning, haunting exploration of the world in which a woman who, having been so focused on attaining her goal, loses grip on reality.
For me, this is a film about so many things:
Obsession
Power
Sexuality
Perfection
Rivalry
Ritual
Lust
Adulation
Awakening
Paranoia
Loss of innocence
Sexual abuse
Loneliness
Passion
Compulsion
If you feel like challenging your brain and subjecting yourself to something really worth the effort, you have to see this film. It’s beautiful, unexpected, raw and scary. It’s already a definite contender for best film of 2011.
Encore!
Viewed: 26th January 2011
Tuesday, 25 January 2011
127 hours ~~~1/2
Arrrrrrrrrhhhhhhhhhhhhhh – I’m cycling down a hill in the middle of the outback in America. Yeaaaaaaaaahhhh - I’m hiking up hills and jumping over rocks and skidding down mountains… Whoooooooooooaaaaaaaaa – this is so FUN!!! Wake up, wake up…. Oh, I’m actually sitting in a cinema watching a guy doing all this. What fun!
James Franco is Aron Ralston, a real go get ‘em type of guy. You know, the kind of fella who, at the drop of a hat, is out and about in the wilds, having adventures, biking up mountains and generally being at one with the outdoors.
On this occasion, in the wilds of Utah, back in 2003, Aron has an accident. He takes a fall and gets supremely, unequivocally, horribly trapped to a rock wall by a huge, immoveable bolder. Bugger. And this is a true story…
Director and co-writer Danny Boyle does a magnificent job of portraying both the lead up to, and actual, accident and the ensuing problems Aron faces. As you can imagine, being stuck in the middle of nowhere, with little water, no food and no one except a transient crow to keep you company, Aron seems to be well and truly f***ed.
The filmic version of what actually happened is pretty amazing really, considering Franco spends 90% of his time on screen alone. It’s exhilarating, sad, lonely, human and pretty humbling to see how Aron dealt with the situation and Boyle does a great job of keeping the viewer interested in the character and situation.
The cinematography is great – there are some stunning visual effects throughout which are put to good use to enliven what otherwise might have been a rather staid film. Since one can only assume that the real Aron also had a video camera, the use of this throughout the film is put to good purpose. It’s his link to the ‘outside’ world and to those he loves. We see and hear his thoughts and feelings through the video and because of this, the audience is sometimes tricked into thinking hallucinations or flashbacks are actual recordings. It’s a neat trick to keep us guessing what’s going on in his mind.
The scenery really speaks for itself – the beautiful sandstone rocks and sheer vastness of the countryside are amazing.
Franco is great. He has enormous potential to be a real class act. I know he may have been seen as a bit of a pretty boy – so was Paul Newman – and he does kind of remind me of a mash up of both Heath Ledger and River Phoenix (weird!), but I think he’ll really become a big star and even better actor. Best actor nod from the Oscars – his time? Not yet. But it will some day, in something even better than this.
I’m really rather pleased to have seen this film. Boyle and the team did good. I now really want to go off into the wilds again for another adventure. Perhaps not to a lonely canyon though. I’ll leave that to the experts… although, saying that, nature does have a habit of getting even those who know what they’re doing into trouble! And another thing, always tell someone where you’re off to. You never know when you might need to be found.
Rock on! (Not the most appropriate thing to say, I know, but a great film, nevertheless.)
Viewed: 19th January 2011
James Franco is Aron Ralston, a real go get ‘em type of guy. You know, the kind of fella who, at the drop of a hat, is out and about in the wilds, having adventures, biking up mountains and generally being at one with the outdoors.
On this occasion, in the wilds of Utah, back in 2003, Aron has an accident. He takes a fall and gets supremely, unequivocally, horribly trapped to a rock wall by a huge, immoveable bolder. Bugger. And this is a true story…
Director and co-writer Danny Boyle does a magnificent job of portraying both the lead up to, and actual, accident and the ensuing problems Aron faces. As you can imagine, being stuck in the middle of nowhere, with little water, no food and no one except a transient crow to keep you company, Aron seems to be well and truly f***ed.
The filmic version of what actually happened is pretty amazing really, considering Franco spends 90% of his time on screen alone. It’s exhilarating, sad, lonely, human and pretty humbling to see how Aron dealt with the situation and Boyle does a great job of keeping the viewer interested in the character and situation.
The cinematography is great – there are some stunning visual effects throughout which are put to good use to enliven what otherwise might have been a rather staid film. Since one can only assume that the real Aron also had a video camera, the use of this throughout the film is put to good purpose. It’s his link to the ‘outside’ world and to those he loves. We see and hear his thoughts and feelings through the video and because of this, the audience is sometimes tricked into thinking hallucinations or flashbacks are actual recordings. It’s a neat trick to keep us guessing what’s going on in his mind.
The scenery really speaks for itself – the beautiful sandstone rocks and sheer vastness of the countryside are amazing.
Franco is great. He has enormous potential to be a real class act. I know he may have been seen as a bit of a pretty boy – so was Paul Newman – and he does kind of remind me of a mash up of both Heath Ledger and River Phoenix (weird!), but I think he’ll really become a big star and even better actor. Best actor nod from the Oscars – his time? Not yet. But it will some day, in something even better than this.
I’m really rather pleased to have seen this film. Boyle and the team did good. I now really want to go off into the wilds again for another adventure. Perhaps not to a lonely canyon though. I’ll leave that to the experts… although, saying that, nature does have a habit of getting even those who know what they’re doing into trouble! And another thing, always tell someone where you’re off to. You never know when you might need to be found.
Rock on! (Not the most appropriate thing to say, I know, but a great film, nevertheless.)
Viewed: 19th January 2011
The King's Speech ~~~1/2
Entering the cinema without any expectations, other than to catch the excellent Colin Firth, Helena Bonham Carter and Geoffrey Rush turn in some solid acting, I am most happy to report that I believe I viewed what has to be the most wonderful and engaging TV movie of the decade. This feeling should in no way be taken as a denigration of the film itself but merely a nod towards its gentle and somewhat unassuming nature.
Set during the period of time following old king George V’s reign, via Nazi sympathising, American (Mrs Simpson) divorcee-marrying, abdicating Edward VIII, to unassuming, shy, stammering and therefore ridiculed, Bertie a.k.a. George VI. Bertie had been, in so many ways, overlooked and misjudged by both his family and the public, as so often is the case with those not destined for the throne, but what is revealed to us the audience, is that in their underestimation of him, he was to become a most beloved monarch at a time when millions of his subjects were living through some of the most turbulent of modern times.
Backed by the historically bullish Elizabeth (the ex-Queen Mother), Bertie is seen to be regularly bullied by his father, teased by his brother and pitied by the general public. His stammer prevents him from making the usual placating speeches to the general masses – roll out the royals when times get tough! We see, through his eyes, his embarrassment and awkwardness but also his stubbornness to try all the sometimes crazy ‘cures’ for his ‘affliction’.
Luckily, for both Bertie and the viewer, Elizabeth discovers a rather unconventional ‘doctor’ in the form of Rush, as Logue, an Antipodean speech therapist and ex-thespian prone to unusual treatment methods and intimate questioning.
The best scenes in the film really revolve around the relationship these two very different men slowly develop. Although there are a few unsurprising bumps along the way, and one can only imagine how a mere citizen was even able to develop such a close working relationship, let alone friendship, with such a private figure, in the 1930’s, we witness how honesty and perseverance can win the day.
As his brother’s private intentions threaten the public face of the monarchy, Bertie soon realises that he must step up to the mark to become the new king. Step forward Logue with his quirky, but ultimately successful, methods.
The film climaxes in seeing Bertie’s coronation and his famous and, many would argue, rousing radio speech to the nation during the onset of the Second World War. I say ‘seeing’ his speech because I don’t think I was able to take in his actual words due to the over-emphasis of Bertie’s physical frustrations and sheer battle to get his words out without stuttering. Both Firth and Rush’s facial actions, physical movements and the camera direction overshadow the actual words of the speech. The music was so rousing that I forgot to hear his famous words. Which was a shame. I’ll have to catch up with that famous speech elsewhere. Apparently it had a massive impact on the people at that time – unfortunately not for me. Although, I did feel that many in the audience were able to appreciate it a little more.
Talking about the audience, the average age was possibly hovering at about the 70 mark, which is no negative comment at all other than to ponder whether it was good old Colin bringing them out or the idea of a King on screen? Since I am rather younger than the majority of movie-goers in the cinema that day, I can only imagine that, having had no personal experience of those turbulent and frightening times during the war, I missed out somewhat on the impact Bertie’s speech and development towards magnificent monarch, had at the time. I can only imagine what life must have been like for those alive during the war, let alone having to comprehend the unprecedented abdication of a monarch.
There are some lovely scenes throughout the film which are full of humour, especially where Rush and Firth are seen to be bouncing and swearing about in the ‘treatment’ room. The relationship we see between Bertie and his wife, away from the prying eyes of the public, is really quite sweet. One can only imagine the stresses and strains such high profile people have to deal with. It’s bad enough sometimes, being a regular citizen!
I did feel that I learnt a little bit about the frustrations of living with a stammer, especially difficult for someone constantly in the spotlight with an expectation to deliver authoritative speeches to the nation and beyond. I also got a good sense of how the ‘other half’ lived – champagne parties and cavernous palaces…
Guy Pearce puts in a good turn as the rather demanding and spoilt Edward whilst the little girl from the TV series ‘Outnumbered’ shines away, as usual, in her role as the future, and now current, Queen Elizabeth II. Helena BC is brilliant, as usual. I love her very much. Quite weirdly, Jennifer Ehle turns up as Rush’s wife – possibly best remembered by many as Elizabeth Bennet (alongside Colin Firth) in the excellent TV version of ‘Pride and Prejudice’ back in 1995. Nice to see you again on the big screen, Jennifer!
The soundtrack was really exceptional with some utterly beautiful classical music included. I actually left the cinema wanting to listen to the film score immediately again.
Ultimately, this is a good quality, but slightly ‘light’, feel-good film. It is great to have a British film delivering this feeling rather than an over-schmaltzy American flick and sure the costumes, cinematography and sets are great but ultimately, I felt a little underwhelmed afterwards. Still not sure why.
We now know that there have been Oscar nods all round. Will Colin and Helena win best actor and actress? Will the film get best picture? Probably. But there are so many other films which could pip it to the post… I definitely recommend giving this film a go. I love Colin, no matter what he’s up to and hope that this film does well at the Oscars next month. Happy viewing!
Viewed: 12th Jan 2011
Set during the period of time following old king George V’s reign, via Nazi sympathising, American (Mrs Simpson) divorcee-marrying, abdicating Edward VIII, to unassuming, shy, stammering and therefore ridiculed, Bertie a.k.a. George VI. Bertie had been, in so many ways, overlooked and misjudged by both his family and the public, as so often is the case with those not destined for the throne, but what is revealed to us the audience, is that in their underestimation of him, he was to become a most beloved monarch at a time when millions of his subjects were living through some of the most turbulent of modern times.
Backed by the historically bullish Elizabeth (the ex-Queen Mother), Bertie is seen to be regularly bullied by his father, teased by his brother and pitied by the general public. His stammer prevents him from making the usual placating speeches to the general masses – roll out the royals when times get tough! We see, through his eyes, his embarrassment and awkwardness but also his stubbornness to try all the sometimes crazy ‘cures’ for his ‘affliction’.
Luckily, for both Bertie and the viewer, Elizabeth discovers a rather unconventional ‘doctor’ in the form of Rush, as Logue, an Antipodean speech therapist and ex-thespian prone to unusual treatment methods and intimate questioning.
The best scenes in the film really revolve around the relationship these two very different men slowly develop. Although there are a few unsurprising bumps along the way, and one can only imagine how a mere citizen was even able to develop such a close working relationship, let alone friendship, with such a private figure, in the 1930’s, we witness how honesty and perseverance can win the day.
As his brother’s private intentions threaten the public face of the monarchy, Bertie soon realises that he must step up to the mark to become the new king. Step forward Logue with his quirky, but ultimately successful, methods.
The film climaxes in seeing Bertie’s coronation and his famous and, many would argue, rousing radio speech to the nation during the onset of the Second World War. I say ‘seeing’ his speech because I don’t think I was able to take in his actual words due to the over-emphasis of Bertie’s physical frustrations and sheer battle to get his words out without stuttering. Both Firth and Rush’s facial actions, physical movements and the camera direction overshadow the actual words of the speech. The music was so rousing that I forgot to hear his famous words. Which was a shame. I’ll have to catch up with that famous speech elsewhere. Apparently it had a massive impact on the people at that time – unfortunately not for me. Although, I did feel that many in the audience were able to appreciate it a little more.
Talking about the audience, the average age was possibly hovering at about the 70 mark, which is no negative comment at all other than to ponder whether it was good old Colin bringing them out or the idea of a King on screen? Since I am rather younger than the majority of movie-goers in the cinema that day, I can only imagine that, having had no personal experience of those turbulent and frightening times during the war, I missed out somewhat on the impact Bertie’s speech and development towards magnificent monarch, had at the time. I can only imagine what life must have been like for those alive during the war, let alone having to comprehend the unprecedented abdication of a monarch.
There are some lovely scenes throughout the film which are full of humour, especially where Rush and Firth are seen to be bouncing and swearing about in the ‘treatment’ room. The relationship we see between Bertie and his wife, away from the prying eyes of the public, is really quite sweet. One can only imagine the stresses and strains such high profile people have to deal with. It’s bad enough sometimes, being a regular citizen!
I did feel that I learnt a little bit about the frustrations of living with a stammer, especially difficult for someone constantly in the spotlight with an expectation to deliver authoritative speeches to the nation and beyond. I also got a good sense of how the ‘other half’ lived – champagne parties and cavernous palaces…
Guy Pearce puts in a good turn as the rather demanding and spoilt Edward whilst the little girl from the TV series ‘Outnumbered’ shines away, as usual, in her role as the future, and now current, Queen Elizabeth II. Helena BC is brilliant, as usual. I love her very much. Quite weirdly, Jennifer Ehle turns up as Rush’s wife – possibly best remembered by many as Elizabeth Bennet (alongside Colin Firth) in the excellent TV version of ‘Pride and Prejudice’ back in 1995. Nice to see you again on the big screen, Jennifer!
The soundtrack was really exceptional with some utterly beautiful classical music included. I actually left the cinema wanting to listen to the film score immediately again.
Ultimately, this is a good quality, but slightly ‘light’, feel-good film. It is great to have a British film delivering this feeling rather than an over-schmaltzy American flick and sure the costumes, cinematography and sets are great but ultimately, I felt a little underwhelmed afterwards. Still not sure why.
We now know that there have been Oscar nods all round. Will Colin and Helena win best actor and actress? Will the film get best picture? Probably. But there are so many other films which could pip it to the post… I definitely recommend giving this film a go. I love Colin, no matter what he’s up to and hope that this film does well at the Oscars next month. Happy viewing!
Viewed: 12th Jan 2011
Thursday, 6 January 2011
The Next Three Days ~~~
Big Russ Crowe scores again with this slightly baggy but well paced and intricate adult thriller/drama. Ably directed by Paul Haggis and co-starring Elizabeth Banks (very watchable) with teeny appearances by Liam Neeson, Brian Dennehy, Trudie Styler and the well under-rated and little known James Ransone. What would you do to save your family? Possibly not go to quite the same extreme ends that the Russell-meister does, but none the less... it's worth a thought! Enjoyable to watch on many levels... full review coming soon.
Monday, 3 January 2011
Tron: Legacy ~~
2nd January 2011
3D'd and IMAXED up I was expecting a visual delight. What was presented was stunning but ultimately hollow. What a shame! I should have guessed that as a PG film I mightn't have been satisfied fully - not because it was a kids or 'family' film but because someone had forgotten to write a decent script or plot. Even the kids in the showing were bored - the chatty little girl behind me was actually asking quite astute questions - who was so and so, what was that etc. She didn't know and I didn't care. Whilst the lead was good and Jeff Bridges is always wonderful, neither were given enough to play with. What a bore. I'm sure there will be a sequel but I won't be attending.
3D'd and IMAXED up I was expecting a visual delight. What was presented was stunning but ultimately hollow. What a shame! I should have guessed that as a PG film I mightn't have been satisfied fully - not because it was a kids or 'family' film but because someone had forgotten to write a decent script or plot. Even the kids in the showing were bored - the chatty little girl behind me was actually asking quite astute questions - who was so and so, what was that etc. She didn't know and I didn't care. Whilst the lead was good and Jeff Bridges is always wonderful, neither were given enough to play with. What a bore. I'm sure there will be a sequel but I won't be attending.
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