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Reviews by Alexander
Role Playing with Comedy.
Posted : 9 months, 1 week ago on 18 February 2009 04:55
(A review of Role Models)Danny: Pick us up in two hours. Ronnie: Fuck you, Miss Daisy. Wild behavior forces a pair of energy drink reps to enroll in a Big Brother program. Seann William Scott: Wheeler In Hollywood, there is no denying that most releases of the year follow certain formulas or structures plot-wise. When it comes to comedy, there's usually the family-pushed sugar-fest and the profane, adult-orientated kind; it seems kind of perplexing, but the two very rarely meet in the middle. Enter Role Models, which for all intents and purposes does nothing remotely new in terms of storytelling. This is straight forward, buddy movie material with little to no divergence from the typical standard expected from sappy morally toned family comedy that is given to us near enough every month in some form. Yet, working in its corner, and it's something which I'm conflicted about as to whether it truly works or not, is its adult themed characters and humour. There's no doubt about it, David Wain's movie is a lot more amusing than your average farcical comedy fare, and it has an amusing soft center story too, but it too often falls on its face because of a sense of ill-focused material; Role Models is entertaining stuff sure, but an incoherency in tone prevents the film from ever taking off and connecting with its audience. The script here follows a rather standard three act curve. We begin the story with goof-ball Wheeler(Seann William Scott) and Danny Donahue(Paul Rudd), two spokespeople for an energy drinks company that speaks to schools about doing their drink in place of drugs. After a really bad (but hilarious) day however, the two end up with 150 hours of community service, having to look after kids from the Little Wing Foundation. What ensues from here is nothing out of the ordinary; it's material we've all seen before so many times, from putting perspective into life, cherishing friends and being an individual in the face of conforming to society. Yes, it's been done to death, yet there remains a certain sweet, well constructed charm to the way in which Role Models plays it out. Some of it has something to do with the movie's adult sense of humour, but much of it really lies in its adult sense of direction. ''Me and the judge have a special relationship... I don't wanna get too graphic but I sucked his dick for cocaine.'' Going against the grain, Role Models blends farce and caricature with modestly rounded characters and adult situations. The person who sticks out most is Rudd's character, who is given a healthy dose of development from beginning to end, fleshing him out as a compelling character that isn't afraid to get his ego diminished. Sure, it isn't anything remotely revolutionary in terms of character design, but Rudd does well with what he is given and gives the story a human quality. His on-screen buddy Wheeler, played by William Scott is less of a character and more of a walking vehicle for laughs, it's something Scott has gotten used to over the years and he does what is asked of him, bringing in the movie's biggest laughs with ease. Christopher Mintz-Plasse, who shot to stardom with his debut in Superbad here shows he's no one hit wonder either, playing a similar albeit just as amusing persona. His opposite of sorts comes in the form of Bobb'e J. Thompson as a foul mouthed delinquent with a tough shell covering a big heart. Thompson, much like his direct co-star is used mainly for comical purposes, but his performance is always laughter-inducing. As much as I enjoyed Role Models however, there were moments in between all this great adult storytelling where I felt like I was relapsing into Daddy Day Care. This sometimes contradictory tone that Wain adopts seems out of place; with a script such as Role Models', you would think that the direction and focus would simply be on delivering an adult story, yet it seems that the movie tries to accommodate younger audiences (that won't be there of course, unless they sneak in). Nevertheless, with such a tone, the movie does achieve a sense of whimsical charm that a lack of such sometimes brings the average raunchy, profane comedy down. The problem here isn't that Wain tries to lighten things up every now and again, but that he does so far too often. Despite this, Role Models remains a testament as to how standard Hollywood structures can be adapted to fit new breeds of storytelling. Sure, this has been done before, sure it's usually a clone of previous attempts, but it's a surprise in alot of regards. And yes, there was promise here for something quite a bit better which leaves a sour taste, but with some great laughs and heart-warming story chock full of moral, it's hard to be overly cynical; a light, fun, sporadically refreshing and well constructed adult-family hybrid comedy with decent characters and drama. ''I'm not here to service you, I'm here to service these young boys.''  0 comments, Reply to this entry
The Loss of Innocence.
Posted : 9 months, 2 weeks ago on 17 February 2009 10:17
(A review of Gone Baby Gone)''I couldn't stop running it over and over and over in my mind. The vague and distant suspicion that we never understood what happened that night; what our role was. Or maybe it was just like the hundreds of other children who disappear each year and never return. Amanda was even more haunting for never being found.'' Two Boston area detectives investigate a little girl's kidnapping, which ultimately turns into a crisis both professionally and personally. Based on the Dennis Lehane novel. Casey Affleck: Patrick Kenzie In his directorial debut, Ben Affleck has completely morphed himself into an emerging artist and even more talented director. Gone Baby Gone might be the most innovative and moral challenging film of recent years. This is the story of young Amanda, a little girl who mysteriously disappears from her home and the activity and dangers that befall upon the people involved in her rescue. The film stars Affleck's brother Casey as Patrick, in his most challenging and engrossing performance to date. Not since Sean Penn in Mystic River has a role been so subdued yet immensely victorious and depth defying in choice of delivery and spot on emotions. Casey Affleck has paved the way for himself in roles that demonstrate the actor's showcase and give the performer range. It's a bit odd what to make of the younger Affleck in the upcoming awards season. He fairs a better shot for his earlier raved performance in The Assassination of Jesse James by the Coward Robert Ford for a nomination, but his performance in Gone Baby Gone is just as important. Ed Harris, who's been long overdue for Oscar recognition is purely haunting in his role as Remy, a hard-nosed cop looking for young Amanda. In one scene in particular, Harris shines and gives his best portrayal since The Hours. Although his character is a bit one-dimensional, Harris elevates the material and turns it into his show and steals frame after frame in a role easily submerged in a picture like this. Morgan Freeman, in a role we have not seen him in before, plays Captain Jack Doyle, the head of the missing persons unit with personal experience in the loss of a child. Freeman, although absent for most of the narrative, sugar coats the top acting talent in the picture. Freeman's agenda into more range projects in his older career is reaffirming his Oscar win in 2003 for Million Dollar Baby, but now with the more rewarding films worthy of consideration. Michelle Monaghan plays Angie, Patrick's significant other who's personal fears interfere with her involvement in the case. To be honest, Monaghan gets lost in the shuffle and while the audience empathizes with her throughout the latter of the film, she's placed into a role easily overshadowed by stronger supporting casting. Perhaps being the only strong woman role would have gave us something to awe at, but not with the guns at full blaze at the hands of Amy Ryan. Ryan plays Amanda's mother Helene, definitely not the most likable of characters but tragic in character arc. It's like a full on tennis match going back and forth with Ryan and audience; the viewer is hating her one moment and then needing to hold her the next. Helene is multi-layered and grasps her own importance of parenting and the whole film it becomes a fallen angel lost in the crossfire of conception. That is the tragedy of the film, a film not only about the loss of a little girl, but the loss of innocence and the torment that betrayal brings, guilt and corruption can weigh heavily upon our very soul. Ben Affleck is completely in control of proceedings, which he has lacked in his acting. He knows what the mission is of this picture and would gladly take a spot amongst some bigger, older talents among Oscar prospects this year. Along with Co-adapting the film with Aaron Stockard, if Oscar is feeling like inviting Affleck to the Kodak, the screenplay category seems like a better fit, especially with an already win for Good Will Hunting. Other possibilities for consideration is wonderful cinematography by John Toll and a great musical score by Harry Gregson-Williams. Comparisons to Mystic River are all about, being done by the same author how could we expect no less. Mystic River had more of the message of the domino effect of one's actions on others, Gone Baby Gone brings it to a whole new level and scope. This film is about a society, a society who has lost the importance of innocence and the beauty of life. It focuses on the beauty of children and rest assure, when the film is over, if you're not yearning to be a better parent of embrace a child as a blessing, there is probably emptiness in your chest. This film is altogether realistic, truthful, beautiful and spectacular. A must-see film of the year and a pleasant surprise coming from Ben Affleck. 0 comments, Reply to this entry
This is Control.
Posted : 9 months, 2 weeks ago on 15 February 2009 01:57
(A review of Control)''When you look at your life, in a strange new room, maybe drowning soon, is this the start of it all?'' A profile of Ian Curtis, the enigmatic singer of Joy Division whose personal, professional, and romantic troubles led him to commit suicide at the age of 23. Sam Riley: Ian Curtis Director of Control Anton Corbijn has finally joined the ranks of his contemporaries Spike Jonze, Michel Gondry, and Mark Romanek in directing his first full-length feature. No one could have been a better choice than this still photographer and music video director of cutting edge bands like Depeche Mode, Echo and the Bunnyman, and, of course, Joy Division themselves with the video for Atmosphere albeit eight years after the death of frontman Ian Curtis. Corbijn has the sensibilities to craft a gorgeous biographical study of a man on the verge of newly found greatness and the humanity of his soul, which keeps him from taking that next evolution beyond. The cinematography is glorious in its stark, high contrast, black and white, the performance scenes feel realistic and genuine, and he captures divine performances from every cast member. Joy Division's lead singer, as portrayed here: I will admit to knowing next to nothing about the band before viewing, possibly enhancing my pleasure as there were no trace of annoyance when something didn't mesh to reality—was not your run-of-the-mill rockstar. Ian Curtis was an everyman like you and me, a fallible creature, both confused and naive in his young age. Marrying so early in life, Curtis had a child, a day job, and a gig fronting one of the hottest bands of the time. What started as a way for expression, however, soon becomes another slice of trouble in his already crumbling life. When diagnosed with epilepsy, a condition for which he once tried to help afflicted gain employment, he begins a regiment of medication concoctions, hoping to find a combination to alleviate the suffering. Mixed with his late night shows and high alcohol consumption, both frowned upon by his doctor, Curtis maybe the only star I know to have fallen into his psychological descent from prescribed drug use. Ever more depressed as his love blossomed between his wife, child, and mistress, Curtis could never find the balance to deal with the fame and the fans. After all he gave in life and on-stage, they just had one answer for him…We want more. ''I wish I were a Warhol silk screen hanging on the wall. Or little Joe or maybe Lou. I'd love to be them all. All New York's broken hearts and secrets would be mine. I'd put you on a movie reel, and that would be just fine.'' Truthfully, Sam Riley is quite a find. Whether his talent is real or just catered perfectly to this role—I'd like to believe the former—he is amazing. Totally embodying Curtis, Riley's face is never shown with a shred of "acting" noticeable. His blank stares, the weak smiles, the crying, and the pain of his seizures all come across as though we are viewing a documentary. Complete with Curtis' unique dance style, it is like watching history as it happens. Credit the rest of his bandmates for adding to the realism in each performance sequence, as well as the supporting cast. I was a bit unimpressed at first with Samantha Morton as his wife Debbie, but that feeling quickly went away. What appeared juvenile and trying too hard to play 20 years old eventually came together as a pretty solid piece of work. Always great, Morton shines when the world begins dissolving around her, but her love for her husband never wavers behind the tears and anger. Besides her, mention also needs to be made for Toby Kebbell as manager Rob Gretton. Starting as comic relief, his character plays a tremendous role in Curtis' life. While the band seemed to be unable to deal with their singer's affliction, Kebbell stays by his side throughout, doing what he can to try and keep him together. The greatest praise I can give additionally to this film, above even the great performances from the cast, is that it feels like it was really made in the early 80s. It has a BBC2 clunky-kitchen-sink quality ('Come to bed Ian'), that I think may be accidental, but to someone like me who lived in the UK at the time, is more redolent of the era than the twin-tub, pay-phones, and Andrew's Liver Salts in the medicine cupboard combined. It took me to another era of film-going altogether. More plaudits for letting the actors perform the music themselves, adding authenticity to their roles and an evenness to the musical performances. Even more plaudits for having 'Love Will Tear Us Apart' as the only exception to this. Listening to Ian Curtis sing the words he wrote about the situation unfolding on screen before us in the sharpest of focus brings the pain he felt cutting clearly and directly into the hearts of everyone who watches this perfectly melancholy film. Control is a remarkable achievement that succeeds by adhering to the one aspect I like in biopics, keeping it simple. We are only shown a few years in his life, the meeting of his wife and bandmates and the short-lived tenure of what was Joy Division. This capsule in time is allowed to evolve and flesh out all the emotions and turmoil that went on. From the highs to the lows, the comradery to the adultery, Curtis is always portrayed as the tragic hero he was. Everything his music did for its listeners, all the power and hope it instilled in the fans, came at a steep price. Draining himself of life and confidence and love, Curtis was never going to be able to keep the ride going into the US. Corbijn gets every moment correct, straight through to the inevitable conclusion. Never trying to shock us, he treats the ending with immense compassion and love. Subdued and heart-breaking, Curtis' demise is allowed to be as beautifully touching as the rest of his shortly spanning time among us, a candle blown out too early, too soon. ''So this is permanence; love-shattered pride. What once was innocence, has turned on its side.'' 0 comments, Reply to this entry
A detailed analysis of the early life of Khan.
Posted : 9 months, 2 weeks ago on 15 February 2009 01:34
(A review of Mongol)''All Mongols fear the thunder.'' The story recounts the early life of Genghis Khan who was a slave before going on to conquer half the world including Russia in 1206. Tadanobu Asano: Temudjin ''Be strong... and ask our Lord of the blue sky, great Tengri... to help you.'' The film and story of Mongol gives us the early beginnings of Khan's life, his name Temudjin and his humble origins and beginnings. It depicts the struggles and harsh times he experiences even at a young age of nine. Mongol is an offering from Russian film-maker Sergei Bodrov known for his Academy Award nominated work Prisoners of the Mountains, nominated for the Best Foreign Film category. That perhaps is the only similarity between these two films of his. Mongol was nominated in the same category in 2007. Being the first of three instalments based on and around the life of Temudjin (1162 - 1227), this first feature, Mongol, is the build up from his unfortunate childhood and youth to the first phase of his adult life as leader of the Mongol Empire. With its, sadly, limited cinema release, this tiny budgeted film, an estimated £14,000,000($20,000,000) has been beautifully shot, with its stunning panoramic views of the barren Asian landscapes to its costumes and tone that sets the films pace and direction. While, possibly, not the most historically correct of stories, what we do see here is an interesting overview of the plight of a young Genghis Khan and his survival as a young son, prisoner, slave, husband, father and warrior. The major part of the story is a telling of his early childhood and his growing up by Temudjin himself, now in captivity. Being a story of his growing up, most of the emphasis lies in lessons, learning the ways of life. To fear, to be brave, to defy, to make friends, and so on and so forth. The film shows us Temudjin's slow transformation from being the oppressed son of a Khan, awaiting death once he is found by his foes who want the title of Khan, to his becoming the great Khan himself. The film's lead Tadanobu Asano, playing the role of Temudjin is considerably accurate in all regards. But the one deserving more credit is Sun Honglei, whom I've seen in Seven Swords I believe, who plays Jamukha, Temudjin's blood-brother who later becomes his enemy. Sun Honglei is a humourous, emotional wrought character. He commands attention with his screen presence, his role is a lesson in how to keep the viewer mesmerised. Apart from some solid acting, Mongol has a brilliant background score, often haunting and spellbinding and some top notch cinematography every moment. The fight sequences are exceptionally well-made, and some of the landscape shots are beautiful. The camera tracking in the war sequences toward the end of the film deserve your attention and repeat viewings. Jamukha: You're letting an enemy go free. Temudjin: I'm letting a brother go free. At it's heart Mongol is as historical inaccurate as any other Hollywood flick and in addition it lacks consistency: in this movie things just happen without any explanation. An example: the opening scene shows us Temudjin as prisoner in a Chinese town. He looks to be in his late thirties. Wait a moment, I thought, wasn't he by then khan of all Mongols? Yes, but not according to the movie. Another example: at the end of the movie his wife liberates Temudjin from the Chinese by bribing the guards and posing as a rich woman. But when she travels to the city, she has no money and she pays a merchant for the trip with sex. The merchant then disappears. Did she kill him and take his money? We are not told. More: Temudjin travels back and he is able to raise a big army out of the blue in no time. How? Where? What? Who? And more: Temudjin becomes the blood brother of Jamukha, one sons of the most powerful of khans. Why? It just happens. It can be forgiven for it's faults in accuracy and moments considering the beautiful scenery, costumes and characters on display. Not to mention battles and fights that have a gritty realism residing at the edged of it's many swords. Mongol simply put, has stunning cinematography, a sumptuous score by Tuomas Kantelinen, and battle scenes that are thrilling though not stomach turning. While there are the expected swinging swords and pools of blood, the killing is mostly impressionistic and the visuals never overwhelm us. Mongol has been called hagiography, but it is grand storytelling with a humanistic bent in which personal relationships overwhelm bloody conflict. Asano's craft is such that we identify with the Mongol leader who, after being forced into slavery, emerges as a unifying and compelling figure who earns our respect. Though the film does not strive for innovation, when Temudgin calls on the Mongol God Tegri for assistance and receives it, we know that we are in an otherworldly place. Bordering on 300's artistic range of originality and artistic license, we are given sequences where Mongols are scared to fight in a battle due to lightening and storms. Suggesting perhaps a factor of luck was perhaps in Temudgin's favour, yet there has plenty of trials to suggest he is a powerful and resourceful leader and fighter. So Mongol gives us a range of mixed messages, ones of superstition yet strategy, love yet tradition, and it also gives us a beginning to a very complex character and formidable leader of the past. ''Mongols need laws. I will make them obey... ...even if I have to kill half of them. Our laws will be simple. Don't kill women or children. Don't forget your debts. Fight enemies to the end. And never betray your khan.'' 0 comments, Reply to this entry
In this case backwards is forwards..time=illusion.
Posted : 9 months, 2 weeks ago on 12 February 2009 07:31
(A review of The Curious Case of Benjamin Button)''Your life is defined by its opportunities... even the ones you miss.'' Tells the story of Benjamin Button, a man who starts aging backwards with bizarre consequences. Brad Pitt: Benjamin Button The Curious Case of Benjamin Button is nothing short of genius. A genius to be expected of a seasoned visionary director such as David Fincher. In the past Fincher has given us the greatest stories and films that have ever graced the screen. Whether it be Fight Club, Se7en, Zodiac, under-rated Panic Room, or even the drab Alien3,(which still had glorious potential) all of his work are ones that make you think, ones that capture your attention and make you work them out, a puzzle of the greatest magnitude which involves you using the old grey matter. It comes as no surprise that Fincher's latest is perhaps the most romanticized, most glorious attempt at Fincher explaining life in a curious fable about a fictionalized character, from a short story. The Curious Case of Benjamin Button is a story of imagination, yet it's also a story of the raw unrelenting harshness that is nature, life and the confines of time itself. The premise being that a clock is made by a father whom loses his son during WW1, which ticks backwards, to grant the power to bring back all the ones who died, like his son, to counteract the harsh unrelenting merciless time which is forever pushing forward. Button asks us what if time went backwards for a person? As events occur, Benjamin Button is shown to us, abandoned by a grieving father, whom loses his wife during the birth, we find he's different. Benjamin is born old. Ironically he is given to a family whom reside in an old peoples home, Benjamin is ultimately different in the sense he starts his journey as an Old wrinkled scrap of a human being. Subject to all the ravishes of time. The Curious Case of Benjamin Button greatest achievements not only lie with the main story but within it's sub plots, it's whimsical sequences such as a man getting hit by lightening various times to symbolize life throwing unpredictable obstacles at us, in showing that life and random occurrences, are ones of unfathomable, unstoppable power. The characters and locations also make life what it is. The same can be said of The Curious Case of Benjamin Button, it's a journey of the most imaginative kind, of originality and flair which breathes tragedy and loss into a truthful resolution of realistic yet fantastical happenings. ''My name is Benjamin Button, and I was born under unusual circumstances. While everyone else was agin', I was gettin' younger... all alone.'' Performance wise, the whole cast add pure professionalism to every frame on display within The Curious Case of Benjamin Button. Brad Pitt shines as Benjamin Button, although his performance is blurred by some dazzling effects of aging and even smoothing out to appear younger later on, he excels in showing us a very complex character. He's a man who's alone in the world, alone in the sense he's aging backwards unlike anyone else. We the audience oblige him by relating to his situation, I know I did. Who can say they don't feel alone in the unforgiving pacing of our lives. Not alot I would conclude, Brad Pitt makes us believe and feel for Benjamin, he makes us take the road and journey ultimately with him every step of the way. Cate Blanchett as Daisy, is simply another effortless masterpiece of acting from a dizzying queen of the screen. I've lost count of the number of masterpieces Blanchett has graced the screen for, her talent unrivaled and dizzyingly effective, she is beautiful in youth, beautiful in her aged appearances effectively making us feel for her as much as we feel for Benjamin. This isn't just a story of his but a story of Daisy, whom we feel for, we experience with and our hearts float toward. This is their story, a duo tale of two souls, both beginning from different parts of life. Benjamin starting off old, Daisy young, when they meet in the middle it's wonderfully romantic yet short lived, a frozen moment of happiness for the two, Pitt & Blanchett make us believe this is a surreal yet real occurrence of love, tested by a sick joke of nature, of time. Other fine supporting roles definitely deserving a mention would be Tilda Swinton, Jared Harris, and Elle Fanning. They all simply add wonder to the imaginative array of assortment. Overall, The Curious Case of Benjamin Button has 13 Oscar Nominations and a further 47 Award Nominations in general, and it's not hard to see why. This sort of rareness only comes about in a blue moon. This is Fincher's perspective and strike upon what the purpose of life is, and it's delicately dressed up as a fantasy bi-opic of mythical proportions. Fincher cleverly uses a reversed idea of time, a symbolic usage of Buttons connecting life together, reflecting people gluing events and one man together, memories and chain reactions all eclipsing regret yet warming it with their embrace. Nearly everything The Curious Case of Benjamin Button gives us is a metaphors or symbols for deeper ideologies. Ideologies that transcend simple explanation, that require re-thinking, pondering, discussion and time to reflect upon, reflect on all angles available. David Fincher has buttoned together a masterpiece and a story that is unlike anything ever seen on the Big Screen. This is the cleverest fantastical way of showing life for what it truly is, too capture on screen the struggle of keeping love, of sacrificing it, and of losing a loved one, and ultimately accepting it, like in turn we must accept our own fate. Time being a perception and illusion, an invention of ourselves to label our own existence. ''Benjamin, we're meant to lose the people we love. How else would we know how important they are to us?'' 1 comments, Reply to this entry
A successful historical adapt of sorts.
Posted : 9 months, 2 weeks ago on 11 February 2009 01:06
(A review of The Reader)''I'm not frightened. I'm not frightened of anything. The more I suffer, the more I love. Danger will only increase my love. It will sharpen it, forgive its vice. I will be the only angel you need. You will leave life even more beautiful than you ended it. Heaven will take you back and look at you and say: Only one thing can make a soul complete and that thing is love.'' Post-WWII Germany: Nearly a decade after his affair with an older woman came to a mysterious end, law student Michael Berg re-encounters his former lover as she defends herself in a war-crime trial. Ralph Fiennes: Michael Berg The Reader is one of those diverse films and stories that has the eccentric audacity to be both moving, emotional, historical yet also focusing on aspects such as relationships, justice and forms of love. With an astounding cast of formidable weight, a script that echoes measures and doses of genius, and locations fitting of a Post-War Germany, The Reader succeeds in being a successful insight into a faceted range of characters. Especially the main two, Hannah Schmitz and Michael Berg, both with completely different personas and a bonding unseen by many, but coming across as rare and tranquil. We have the unlikely bond that presents itself between them in an unusual series of events which brings the pair together, we have the age gap the two have arise, and a love sparked about by a chance encounter. From here The Reader begins in giving us an unusual romance yet proceeds in giving us a story which is in fact deeper and tragic all at the same time. The story cleverly switches between past and present, in carefully stitched sequences which ultimately tell the tale of the two characters. Hannah is the lonely woman who takes into her affection and confidence the innocent and clever Michael, yet shows a hidden past and secrets which are present, the more you scratch past the surface. We have an evolution of a relationship, and The Reader contains a series of sexual scenes and naked displays. In spite of any prudish audiences whom may have the pleasure of viewing this, the scenes are modest, beautiful and soaked with the joys of blossoming love. Kate Winslet as Hannah, gives us an Oscar worthy performance, which now it becomes clear why such a versatile Actress is beginning to get recognition for her abilities. In The Reader Kate not only gives a perfectly delivered accent and speaks with energetic strides of submerging talent, it's her acting with her eyes, her motions and her flawless expressions of awe inspiring deliverance which comes off effortlessly. I still need to see the totally different Revolutionary Road, but The Reader has assured me Winslet is finally going to maintain some of the recognition she deserves. Her chemistry with David Kross playing the Young Michael Berg, is successfully believable. David Kross appears in his best role and film yet, giving us a Law Student with emotional strains of empathy yet effortlessly telepathically even, manages to make us feel like he feels, he manages to capture the anguish present in the character of Michael. As he begins to read to Hannah stories of intrigue and imagination, we find this relationship isn't just restricted to mindless sex but a deeper constrained bond of love and companionship. This is all heavenly and bold, but obviously we also begin to realise good things don't usually last. as the film progresses loss and tragedy present and rear their heads. Ralph Fiennes as Michael Berg, shows my favourite Actor in action, and he doesn't disappoint. Ralph excels and soars with the portrayal of a grown up Micheal, whom we also see a performance that exceeds mere words, and emotional expressions which impact the hurt and journey of one man's burden and struggle with his souls secrets and unresolved meanderings. When Ralph begins to become teary eyed we are too, because we've felt the journey with him, we've been every step of the way with this deep individual, we've seen the loss and love he's been endowed with. Other appearances I feel obligated to mention would be the exceptional Bruno Ganz as a lecturer and an upcoming new actress Karoline Herfurth whom I've seen before in a smaller role of Perfume. The Reader is one of those films which has the unfortunate premise of being underrated and undervalued by many viewers, due to the fact it's not necessarily mainstream fodder. I'd highly recommend this film, The Reader is a vision of the past and yet a timeless account of a relationship, a bond, and a tragic trial of a woman whom made up for her mistakes. When we find she was previously a Nazi, an SS member, it's not the plain truth being found out, it's the reasons and redeeming qualities that make up for her misdeeds in the past. Ultimately what happens is tragic, it is a cruelly life portrayed, yet it's suffering and beauty echoes far into boundless leaps of eternities embrace. Michael recording tapes and reading for her, while she is in prison seems to give her a glimmer of hope and something to live for. The Reader should definitely be watched by everyone who appreciates a powerful albeit saddening story of two soul-mates. The fact is The Reader has it's moments of humour and happiness, and like life it's the journey and experience which indeed counts. 1 comments, Reply to this entry
A tale of Revenge,yet flawed plot holes.
Posted : 9 months, 4 weeks ago on 3 February 2009 02:41
(A review of Sweeney Todd: The Demon Barber of Fleet Street)''There was a barber and his wife... And she was beautiful...A foolish barber and his wife...She was his reason and his life... And she was beautiful... And she was virtuous... And he was... naive.'' The infamous story of Benjamin Barker, a.k.a Sweeney Todd, who sets up a barber shop down in London which is the basis for a sinister partnership with his fellow tenant, Mrs. Lovett. Based on the hit Broadway musical. Johnny Depp: Sweeney Todd Stephen Sondheim's stage work has not, with one significant exception, fared well when transfered to the joys of cinema. The exception is, of course, energetic West Side Story, for which he is credited solely as lyricist. Gypsy, his other significant lyrics-only credit, is a magnificent show which became a mystifyingly mediocre transfer piece. Whatever cinematic virtues Richard Lester's version of A Funny Thing Happened On The Way To The Forum may have, it wasn't well received. And the movie of A Little Night Music vanished, almost without a flicker ofit's existence present, in spite of the appearance, in the cast of Elizabeth Taylor and Diana Rigg. As a composer-lyricist, Sondheim's most successful Hollywood outing has not occurred in an adaptation of a stage work, but as the songwriter for Warren Beatty's movie Dick Tracy, his contributions to which won him a bemusing Oscar. Given the above, Tim Burton's Sweeney Todd is probably going to be the movie-going publics abiding view of Sondheim's peak of fame. In this respect, even with substantial cuts to the stage show's score, it serves the songs well. The original orchestrator and musical director were on hand to provide their considerable combined expertise, and in a big cinema with a state-of-the-art sound system, it's a terrific aural experience. At least as far as the instruments are concerned... Vocally, it's another matter. I've heard people sneer at Johnny Depp's sound, but personally I think he's pretty good. For what Alan Rickman and Timothy Spall have to do, they get away with it, whereas Sacha Baron Cohen can'tdo wrong with Italian Operatic imitation, as are Jayne Wisener, Jamie Campbell Bower, wonderfully bouncy Ed Sanders, and, in a sadly reduced role, Laura Michelle Kelly. Helena Bonham Carter is, unfortunately, little short of a disaster on this front, although she sings in time and mostly in tune, the sound is dreary and lacking energy. In fact, the main weakness in the movie for me is that Mrs Lovett is played so listlessly and paradoxically. I can kind of see where this might have come from: the woman is worn out keeping her business going etc. But her songs are full of life,full of hope and love. Tim Burton can evidently feel the exuberance in the greatest of them, The Worst Pies In London. The camera-work and the film editing are very sprightly during it. But Bonham Carter's wispy tone undermines the comedy. Bonham Carter is not by any means a bad actress: her scenes with Ed Sanders are grounded and real, and she successfully conveys, in the midst of all the gore, Mrs Lovett's adoration of Sweeney Todd. But she is, essentially, and unfortunately, miscast. On the other hand, the romantic couple, on stage generally too old (and mostly deadly dull), benefit here from appropriate casting, generous close-ups, and the tightening up of their story (at one point inexplicably: when Anthony Hope comes bounding in to tell Mr Todd of his discovery of Joanna, we have no sense of how Anthony knows where to find Todd, since we haven't seen them re-bond since they went their ways at the start of the movie, Todd giving Anthony only the vaguest idea of his future whereabouts). Todd himself is the real center of the movie that bears his name, which is also a welcome shift from what happens in the theatre. On stage, the sheer energy of Mrs Lovett's material works to favour her. It is no accident that while she has been successfully portrayed by a number of first-rate actresses, only journeyman George Hearn came near to making Todd his own. Johnny Depp has now stamped his indelible mark on the role. He is, as we all know, a fine actor. Although here he doesn't actually appear to have to stretch his acting muscles unduly, he is such a star presence that any film he's in will revolve effortlessly around him. The Burton/Depp partnership has given us at least two dazzlers - Edward Scissorhands and Ed Wood. Sweeney Todd is in the same boat. In my view, the stage show is simply a piece of fun with Grand Guignol conventions. It's apparent dourness may stem from the political gloss on the Todd story in the play version by Chris Bond, which Sondheim took as his source material. Although Bond's play is anything but solemn, the somberness of Sondheim's music undoubtedly darkened its tone, which has made mining the rich humour in it rather more difficult. The fact is that Sweeney Todd is not a work that requires much dwelling upon, in fact there are countless loop holes of unexplained happenings, such as Turpin unable to recognize the Barber's residence. Attempts to burden it with significance merely serve to show up its simple basis as an entertainment. It has been taken up by opera houses, where the fun has been duly taken out of it, and its musical limitations mercilessly exposed. Tim Burton goes some way to reinstating the dark humour of the piece with his nimble camera. I can certainly see why the material would appeal to him. It's the Burton Empire of Nightmare Before Christmas, The Corpse Bride, and even Mars Attacks. Whether Sondheim aficionados will be delighted, I somehow doubt. Never mind: they can always go back to the video of the stage show, which features the great Angela Lansbury in one of her showpiece roles, giving some insight into what is missing here. ''They all deserve to die.'' 0 comments, Reply to this entry
The Downfall of National Socialism.
Posted : 9 months, 4 weeks ago on 3 February 2009 12:13
(A review of Downfall)''If the war is lost, then it is of no concern to me if the people perish in it I still would not shed a single tear for them; because they did not deserve any better.'' - Adolf Hitler- Historical, controversial and powerful insight.The last ten days of Adolf Hitler and his Nazi regime are seen through the eyes of a young woman in his employ in this historical drama from Germany. Bruno Ganz plays Adolf Hitler who shows us a man who is plummeting into madness and despair. For Hitler was a man with a vision of world domination and racial superiority. Any mistakes would instantly send him into a violent outburst, and Ganz plays this beautifully. His mannerisms, his deluded ideas and he grasps at false hopes. ''The war is lost... But if you think that I'll leave Berlin for that, you are sadly mistaken. I'd prefer to put a bullet in my head.'' Granted Downfall is a long film which could of been edited slightly, but makes up for with great fashions of the times, set pieces and a reasonable score. Also this is history being told honestly and in a truthful non-glorifying manner,yet in an also non-demeaning way either too.
Having studied in History classes, the 2nd World War and Adolf Hitler, I find it fascinating and disturbing all at the same time. A whole nation dragged to its knees by a ruthless tyrannical uncaring remorseful selfish man, who unfortunately is human not some mythical monster. He shows empathy for people, shows a love and affection for his partner and his loyal dog, yet in other parts shows us an angry, rage filled monster, full of hate and power drunk consequences. Humanity's inhumanity to man. Good to see Germany's view-point, and an honest telling from Directing team Duke White, Garrett White, Oliver Hirschbiegel. ''Many mistakes have been made. Be ruthless. Life doesn't forgive weakness. This so-called humanity is religious drivel. Compassion is an eternal sin. To feel compassion for the weak is a betrayal of nature. The strong can only triumph if the weak are exterminated. Being loyal to this law, I've never had compassion. I've always been ruthless when faced with internal opposition from other races. That's the only way to deal with it.'' The film is also based on the memoirs of Traudl Junge (Alexandra Maria Lara), who was Hitler's appointed secretary. The plot also uses Inside Hitler's Bunker by Joachim Fest in order to keep the plot as historically accurate as possible. Hitler is obviously always the main focus of the movie, and even when he is not on camera his shadow on the events that happen on screen is always present. Minor grave endeavors are shown throughout the movie and director Oliver Hirschbiegel does a good job of connecting them to the main problem: the Nazi Party. These happenings range from instances of violence on the streets, to suicides. The most intriguing part of the film is not the realistic reproduction of a bombed city, or the amazing acting by all involved, although these things are startling and deserve awards. No, the best part is definitely the way Hitler is illustrated. During his last ten days, he didn't have control over anything, not the country, not the army, and not even the Nazi party itself. While the movie depicts those things really well, it goes even deeper and acknowledges that the Fuhrer couldn't even control himself. It was something not even he realized until those final moments in that dark bunker, where he shot himself. The movie looks great thanks to the cinematography of Rainer Klausmann, with battle scenes and aftermaths coloured in strikingly cheerless tones. Credit also has to go to director Hirschbiegel for the choices he made as far as what to film and where in the movie to put it. It is also to his credit, the way he directs the actors. Bruno Ganz practically embodies Hitler, portraying both his flaws, and positive traits. All the actors around him, while turning in great performances are simply puppets for him to interact with, remarkably mirroring the roles their characters played in Hitler's real life. So in this film you get not only an enormously accurate picture of World War II itself, but also an accurate portrait of the life of the most important and flawed man in arguably all of human history. Downfall is an endlessly rewarding motion picture and one of the best of the year. So if you don't mind the German language and having to read subtitles, you will be able to acknowledge the importance of Oliver Hirschbiegel's Downfall. ''You must be on stage when the curtain falls.'' 0 comments, Reply to this entry
A moving portrait of Nixons humanity.
Posted : 10 months ago on 1 February 2009 03:11
(A review of Frost/Nixon)''I'm saying that when the President does it, that means it's not illegal!'' A dramatic retelling of the post-Watergate television interviews between British talk-show host David Frost and former president Richard Nixon. Frank Langella: Richard Nixon Ron Howard and everyone responsible for the creation of Frost/Nixon have selected an historic event, so wonderfully captivating and awe inspiring, that a subtle, restrained documentary styled drama approach works with dazzling results. I haven't seen the original stage play on which the film is centred on, but I can firmly assume that it emphasises alot more focus, on the stage-friendly interviews sequence and less on the depiction of the whirlwind events leading up to the interviews, which occur over extended periods of time and in many locations which the film jumps from very rapidly. In order to bring order to the chaos, screenwriter Peter Morgan, also the playwright of the original stage version, employs a very effective technique of splicing within the film interviews with the characters in the film, taking place some time after the Frost/Nixon interviews but, unlike those ones, are not based on real interviews which occurred in real life but rather are the fruit of Morgan's imaginative world, his mind. It's certainly far more original and interesting a way to portray characters' inner thoughts, to deliver important information quickly and to arrange all the events in the audience members' heads than to use voice-over narration, for example. The film's structure altogether allows for a divulging and highly entertaining drama, the second half focuses on the actual interviews, which are of course naturally dramatic, but the first half depicts the equally interesting behind-the-scenes events, providing us with fantastic character development of both David Frost and Richard Nixon and also with the inherent dramas of Frost's being ridiculed, claims he wouldn't be up to the challenge, his difficulty in securing funds and his descent into an obsession with the interviews while still managing to keep his cool and never lose his focus or stability. Howard and Brian Grazer's production value is through the roof in terms of quality and execution, all the elements in this film come together magnificently, including excellent cinematography from Howard(Similar to the story telling of Cinderella Man) Salvatore Totino and an extremely effective, emotional musical score by Hans Zimmer. But it's undeniable, perhaps because of its roots on the stage, that the centerpiece of the film is the acting. Aided by a stellar supporting cast including familiar faces such as Oliver Platt, Sam Rockwell, Kevin Bacon, Toby Jones and Rebecca Hall, the two pillars of acting, the tent poles of the film, are Michael Sheen and Frank Langella, each of whom delivers an outstanding, truly striking performance, with one ever-so-slightly overshadowing the other. Frank Langella absolutely dominates the role as Richard Nixon. I haven't seen many other films depicting the former president, the most famous of which is probably Oliver Stone's Nixon which features Anthony Hopkins in an interesting, heart-felt and yet slightly off performance, and yet I say with confidence that Langella's performance is the greatest and most convincing cinematic depiction of "Tricky Dick" ever done. Langella nails two very important aspects of depicting a real-life, public individual: the first is perfecting his mannerisms, physical look and voice, which he does outstandingly well. But what differentiates between an imitation and a performance is when you take those mannerisms and that accent and apply them to any dramatic setting. Langella does this so expertly that it's simply a treat just to watch him getting angry and emotional as Nixon. And yet, Langella, Morgan and Howard take special care not to portray Nixon as a total monster; they manage, very carefully, to craft a very full-bodied, rounded character with immense depth and personal drama; the storm brewing behind Langella's eyes, the inner turmoil of Nixon, is utterly spellbinding. Richard Nixon: That's our tragedy, you and I Mr. Frost. No matter how high we get, they still look down at us. David Frost: I really don't know what you're talking about. Richard Nixon: Yes you do. Now come on. No matter how many awards or column inches are written about you, or how high the elected office is, it's still not enough. We still feel like the little man. The loser. They told us we were a hundred times, the smart asses in college, the high ups. The well-born. The people who's respect we really wanted. Really craved. And isn't that why we work so hard now, why we fight for every inch? Scrambling our way up in undignified fashion. If we're honest for a minute, if we reflect privately, just for a moment, if we allow ourselves a glimpse into that shadowy place we call our soul, isn't that why we're here? Now? The two of us. Looking for a way back into the sun. Into the limelight. Back onto the winner's podium. Because we can feel it slipping away. We were headed, both of us, for the dirt. The place the snobs always told us that we'd end up. Face in the dust, humiliated all the more for having tried. So pitifully hard. Well, to *hell with that*! We're not going to let that happen, either of us. We're going to show those bums, we're going to make 'em choke on our continued success. Our continued headlines! Our continued awards! And power! And glory! We are gonna make those mother fuckers choke!'' Delivering an equally solid performance but perhaps overshadowed by Langella's towering turn is Michael Sheen as David Frost. Like Langella, Sheen is in the position of portraying a real-life public figure, speaking with an accent, perfecting mannerisms and applying the imitation to drama, but perhaps because Nixon is such a more instantly recognizable and even legendary figure to audiences than David Frost is, Langella seems to be taking all the critics' attention away from the equally deserving Sheen. This is the second time in as many years that Sheen has delivered an excellent performance portraying a real-life figure in a film only to be overshadowed by the other lead role: In 2006's The Queen, incidentally also written by Peter Morgan, Sheen played an expertly rounded, deep, fascinating version of Tony Blair only to be completely overshadowed by Helen Mirren's towering performance as Queen Elizabeth II come awards season. Even though it may not win any Oscars or even be nominated for one, I only hope that Sheen will take solace in knowing that his work is appreciated by many, and his performance in Frost/Nixon in particular is a great achievement. Frost/Nixon is an excellent, entertaining, engrossing film/story/historical account that works on so many levels and features so many facets that all come together in an excellent example of film-making. Howard, Morgan and crew managed to take a subject that many would consider heavy-handed or irrelevant, and still make it irresistibly entertaining and fascinating to watch. The dramas of the behind-the-scenes antics and character interactions to the interviews is as dramatic and as captivating as the interviews themselves, and Howard manages to avoid his previous pitfall off an overly melodramatic finale by ending the film on a subtler, more realistic but still powerful conclusion. Morgan and actors Langella and Sheen manage to take two very public figures and craft multi-faceted, deep, three-dimensional characters with very well developed personalities and qualities, with Sheen and especially Langella delivering absolutely riveting performances. And throughout it all is director Ron Howard, conducting the orchestra, stepping back and letting every element of the film, the talented technical crew, absorbing story and interesting characters, speak for themselves. This isn't just a film about the interviews, this a telling of a relationship and bond of the two men, hence the title, cleverly a phone call sums up the mindset of Frost and Nixon, it shows that both have redeeming qualities that make them great men. Richard Nixon will always be remembered for his Watergate scandal yet if you look deeper, you find Nixon's humanity, a humanity that is fragile, caring, and like many politicians open to error, yet Nixon has the greatness to admit a mistake, and that took real courage and real honour. ''I let them down. I let down my friends, I let down my country, and worst of all I let down our system of government, and the dreams of all those young people that ought to get into government but now they think; 'Oh it's all too corrupt and the rest'. Yeah... I let the American people down. And I'm gonna have to carry that burden with me for the rest of my life. My political life is over.'' 1 comments, Reply to this entry
A story that needed to be told, Singer hits home.
Posted : 10 months ago on 1 February 2009 09:39
(A review of Valkyrie)''I'm a soldier, but in serving my country, I have betrayed my conscience.'' Based on actual events, a plot to assassinate Hitler is unfurled during the height of WWII. Tom Cruise: Colonel Claus von Stauffenberg The story of Valkyrie starts by giving us a haunting memoir of the Nazi oath of allegiance to Hitler, a token of total obedience to the Fuhrer, to Hitler. We are given the title transitioning from German to English. Valkyrie opens with a Colonel Stauffenberg in a Nazi campaign of Africa, penning in a personal journal his thoughts about World War II, and how he feels Hitler is destroying Germany. Stauffenberg states he took an oath to swear allegiance to Hitler, an oath we were given in the beginning of the film layed on the Nazi flag, but our Colonel feels he owes more to Germany, the Fatherland, Sacred Germany. Shortly after, he enlists the help of a general played by Bernard Hill, in a relatively small part, he agrees, yet tragically the camp in Africa is attacked, the general killed, and Stauffenberg is badly hurt, losing his eye, his right hand, and two fingers from his left hand. Then moving on, we are shown Hitler visiting a base camp in Germany, and a nervous General Trescow(Kenneth Branagh) onlooking. As Hitler prepares to depart, Trescow and an associate hide a bomb in a gift case of drink, and give to a man on Hitler's plane, but it fails to detonate in flight, and Trescow must return to headquarters to retrieve it. Once he arrives, he meets up with who is revealed as a fellow conspirator, a General Olbricht(twitchy Bill Nighy). Trescow safely retrieves the wine case and he and Olbrict discuss a member of their secret committee who was recently arrested. Trescow recommends Olbricht contact Colonel Stauffenberg as a replacement, which Olbricht does, and introduces Stauffenberg to one of the clandestine meetings. ''To understand National Socialism, you must understand Wagner.'' In the meeting, Stauffenberg meets three of the most important figures in the resistance. A Dr. Goerdeler, who will become Chancellor of Germany should the plot succeed, a General Beck, who will lead the Armed Forces, and a man named Witzleben. After tempers flare, Stauffenberg agrees to help. At a later meeting, Stauffenberg suggests they utilize Operation Valkyrie, which is a plan that uses the Reserve Army to keep amongst the Germany country should anything disrupt communications from Hitler, or should Hitler be killed. Stauffenberg rewrites the order to exclude the SS from taking control, which would leave the head of the Reserve Army, General Fromm, in charge of Germany. Reaching out to General Fromm, Stauffenberg and Olbricht are surprised at his rejection, but Fromm keeps quiet, choosing to neither support the dissenters nor reports them to the authorities. Meanwhile, General Trescow is sent to the front lines. Stauffenberg is promoted to head of the plan, and he, along with his assistant Lieutenant Haeften, take the order to the Berghof to be signed off by Hitler himself. Hitler, with his inner circle present, praises Stauffenberg's loss of appendages as the attitude necessary for his military, and states Stauffenberg is the ideal German. He then signs off on the bill, saying he's sure the changes are adequate. The Operation Valkyrie of the title, was a plan developed for the Reserve portion of the German Army and approved by Hitler himself. It was intended to be used in the event of a breakdown in law and order within Germany or the countries it occupied, a breakdown caused by Hitler's death or civil unrest. A group of officers who were a part of the German Resistance to Hitler, could see the way the war was heading, that Europe was being laid waste and Germany was losing, and they were also disturbed at aspects of Nazi rule - the Death Camps for instance and the killing of civilians – so they plotted to kill Hitler and utilize an amended Operation Valkyrie for their own ends to take control of the nation after Hitler's death and to negotiate a truce with the Allies. If it had worked, they would have used Hitler's own plan against him. But crucial to the plan was Hitler's death. The plot was aborted once, and when finally carried out in 1944, failed to kill its target. Poor communication, indecision on the part of some of the plotters and a late start in implementing Valkyrie led to complete failure and within hours all the plotters had been rounded up and executed. ''You can serve Germany, or the Fuhrer. Not both!'' The plot was lead by Colonel Stauffenberg (Tom Cruise) who was put in charge of Valkyrie and made Chief of Staff to General Fromm, after being badly injured fighting in N. Africa. He had access to Hitler but was also to be vital in the follow up to the assassination, which – according to a source I read online – ruled out a suicide attack. Which was a pity, because as I watched this, I couldn't help pondering how much the course of history might have been changed had Stauffenberg chosen the current favored method of assassins, the suicide bomb. Had he got closer to Hitler at that fateful meeting and sacrificed himself, instead of leaving the bomb under a solidly built wooden table which helped shield the Fuehrer from the blast, the whole course of history since 1944 might have been different. Still, it wasn't to be. Hitler was dead anyway nine months later, committing suicide in his Berlin bunker as the Allies approached. Berlin was carved up amongst the Allies, the Death Camps were finally liberated and the Cold War began. Tom Wilkinson plays General Fromm, who was commander of the Reserve Army, and the only person apart from Hitler who could put Operation Valkyrie into effect. He ordered the execution of Stauffenberg and the other plotters but was himself executed in 1945. Other plotters included Colonel von Quirnheim (Christian Berkel), Lieutenant von Haeften (Jamie Parker), General Beck (Terence Stamp making a rare appearance as a good guy) and Fellgiebel (comedian Eddie Izzard – who is the most miscast Nazi I've ever seen) They all excel with their roles and scripting, apart from under-used Branagh and weird Izzard. The location shooting is perfect, often using the real life settings in Germany (for instance the plotters are executed by firing squad in the courtyard of the real Bendlerstrasse.) The lack of German accents (widely commented on) is quite appropriate. Given that everyone in the movie would have been speaking German, there is no need to give them distracting accents at all. The use of accents is really only necessary when the audience is expected to distinguish between several different nationalities in a movie, this to me felt like a Boy in the striped pyjamas or Schindler's List manner of usage language wise, in the sense it works because of the audience and Western world it is aimed at. Overall, Valkyrie is a historical, accurate portrayal of a group willing to stand up against corruption and decadence, a man whom sacrifices so much for his Country and one whom is willing to stand up to a sadistic mass murdering proclaimed dictator. This film Bryan Singer has given us, works, it clicks and it also gives us a tense thriller laced with intrigue and a story that needs telling, needs emphasis and passion in it's passionate attempts to take us back to a time of great suffering and injustice. With most films with this type of plot and story telling we know the end, but that's not what's compelling, it's the journey. 0 comments, Reply to this entry
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