Reviews by Lexi

''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.''

''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.''

''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?''

''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.
Based upon the electrically charged book by Bernhard Schlink and combined with the deliciously crafted screenplay from David Hare and then Director Stephen Daldry combines all the perfect material to give us a wonderful, tragic glimpse of a complex story 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.

''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.''

Traudl Junge, the final secretary for Adolf Hitler, tells of the Nazi dictator's final days in his Berlin bunker at the end of WWII.

Bruno Ganz: Adolf Hitler

Der Untergang(2004) has historical valour, a controversial rendition and a powerful insight into the High Command of the National Socialist party during 1945.
The story of the last ten days of Adolf Hitler and his Nazi regime are seen through the eyes of a young woman and other close personnel in his employ; this is historical drama and reference from Germany.
Based on the books Der Untergang (meaning Downfall) by historian Joachim Fest and Bis zur letzten Stunde by Traudl Junge, Hitler's last private secretary from 1942 to 1945.



“When people attempt to rebel against the iron logic of Nature, they come into conflict with the very same principles to which they owe their existence as human beings. Their actions against Nature must lead to their own downfall.”

Bruno Ganz portrays Adolf Hitler truthfully: He doesn't show him as a stereotypical monster but as an intelligent, at times caring, human being.
Hitler was a man with a vision intent on world domination and racial superiority; A vision which would revive and take Germania to new dizzying heights in the World.
He loves children, nature and animals... We see his different personality in personal moments while when he is the fuhrer there is no compromise. He is the fuhrer. He is Deutschland! A singular personification of his country. His will and voice is absolute gospel.
Any mistakes by his cohorts or personnel would instantly send him into a violent outburst of anger; Ganz shows this beautifully. His mannerisms, gestures and accent are all given precedented depth by the talented Bruno Ganz.
Bruno Ganz practised Hitler's unusual accent with the help of a young actor from Hitler's area. Also Ganz studied Parkinson's patients in a Swiss hospital to prepare for his role as Hitler.
The portrait Hitler is staring at in one scene is that of Frederick the Great. A very mysterious moment when Junge sees him alone just looking at the painting.

Alexandra Maria Lara whom plays Trundl Junge a secretary to Hitler (The actress has brown eyes while the real Junge had blue eyes: Brown eyes induce more sympathy than cold blue); the story is conveyed from her perspective. Although the story is told expertly through other witness accounts at times.
Thomas Kretshmann as SS-Gruppenführer Hermann Fegelein; one of my favoured German actors for me was in the film.
Ulrich Matthes as Joseph Goebbels is a portrayal of significance; His devotion and loyalty to the Party unwavering throughout the entire film.
Heino Ferch as Albert Speer; The architect and artist of Third Reich projects is also another cleverly portrayed character. He begins to see the War will be lost and the fruitlessness of continuing. The suffering of the People being one sacrifice of persisting. His changes in stance and thinking show a very deep man. One of the few whom survived the War and continued with life after this cataclysmic event. He says ''You must be on stage when the curtain falls.'' This man is an artist... Deep and able to adjust his thought and mindset to the reality of the situation.

Granted Downfall is a long film at times; but it is necessary to convey the great fashions of the times, set pieces and an outstanding score bring proceedings to life. We actually feel part of this 1940s World we are seeing, we are pulled into events becoming more than merely a spectating bystander.
This is history being told honestly and in a truthful non-glorifying manner; yet in an also non-demeaning way at the same time. Featuring graphic, violent and horrific scenes like any films which drive and propel the realism to great lengths.
One scene that was especially effective was in the bunker where Magda Goebbels (played wonderfully by Corinna Harfouch), places cyanide pills into her children's mouths; Why? Because she simply does not want her children to grow up in a world without National Socialism.

This film shows a whole nation obedient to Der Fuhrer; Loyalty, obedience and total control belongs to Hitler and his High Command.
He shows at times empathy for his people; When they fail he shows them no remorse. Downfall shows Hitler as a Caring and affectionate man; he loves Eva Braun, (played by Juliane Köhler) and his loyal dog Blondi; yet when he is the Fuhrer he is angry, powerful and abandons emotional weakness. In essence he is at times a completely different person.
This is pure, honest, historical storytelling from Directing team Duke White, Garrett White, and Oliver Hirschbiegel.

Hitler is obviously always the main focus of the story; even when he is not on-screen his looming shadow on proceedings is always omni-present.
Minor grave endeavors are shown throughout the movie and director Oliver Hirschbiegel does a good job of connecting the dots: the National Socialist Party and it's high ranking members are given detail and the attention required.
Happenings in Der Untergang range from instances showing violence on the streets of Berlin to honourable patriotic suicides. The most intriguing part of the film is not only the realistic reproduction of a bombed city, or the amazing acting by all involved; although these mentioned are startling and deserve awards. No, the best part is definitely the way Hitler and his closest aides are illustrated. During his last ten days Hitler didn't have control over anything; not the country, not the army, and not even the Nazi party itself. While the film 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 desperate moments in that isolated dark bunker; where he shot himself.

The film looks great thanks to the cinematography of Rainer Klausmann; with battle scenes and aftermaths coloured in strikingly cheerless tones of grey. Credit also has to go to director Hirschbiegel for the choices he made as far as casting and cinematography are concerned. It is also to his credit, the way he directs and commands his 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 regarding the most important figure 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.

''My political statement. Since 1914, when I invested my modest strength in the First World War, which was forced upon the Reich, over 30 years have passed. In those 3 decades, all my thoughts, actions and my life were dictated by my love for and loyalty to the German people. Centuries will pass, but from the ruins of our cities and cultural monuments our hatred will be renewed for those who are responsible, the people to whom we owe all this: The international Jewry and its supporters.''

''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 centered on, but I can firmly assume that it emphasizes 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.''

''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(2008) 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.



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 the casualty of War and Germany after success in the beginning begins a spiraling descent into defeat, 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.

The plot was lead by Colonel Stauffenberg (Tom Cruise) whom was put in charge of Valkyrie and made Chief of Staff to General Fromm, after being badly injured fighting in N. Africa.
Tom Cruise manages to play a very typical Tom Cruise part; In which he is the main hero and the story indeed revolves around his character. Yet he manages to portray a certain passion and vibrancy in his efforts to bring to life a man from the pages of history.
Tom Wilkinson plays General Fromm, whom was commander of the Reserve Army, and the only person apart from Hitler who could put Operation Valkyrie into effect. Tom Wilkinson can play a tough talking, no nonsense character and with his General Fromm role he manages to sway with whoever holds the power. In this case Hitler surviving the attempt on his life shows that he remains loyal whereas if he hadn't he probably would of gone along with the plotters attempts of running the Country.
He ordered the execution of Stauffenberg and the other plotters but ironically was later 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.) Bill Nighy as General Friedrich Olbricht; I mean Bill Nighy playing a Nazi? Bryan Singer indeed does like a laugh in his casting decisions.
They all relatively excel with their roles and scripting, apart from under-used Branagh and camp 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 confusing sometimes and yet sometimes you forget this is supposedly happening in Germany.
In some ways the film also seems somewhat English at times with so many veteran Actors from the United Kingdom taking part which also may confuse depending on how you interpret the story and film's execution.
Thomas Kretschmann, Christian Berkel, and Carice van Houten at least give the film more of a European German feel aside from the other cast members.
As for David Bamber as Hitler; This is certainly a rather quiet version of the infamous leader of The Third Reich in comparison and relation to the masterful performance Bruno Ganz gave us in Downfall.

Overall, Valkyrie is a historical, accurate portrayal of a group willing to stand up against what they find to be corruption and decadence; a man whom sacrifices so much for his Country and one whom is willing to stand up to one he has sworn an oath to like many others. This film Bryan Singer has given us, works in ways historically bereft of storytelling, it clicks and it also gives us a tense thriller laced with intrigue and entertainment.
Great costumes, great locations, and great cinematography all give the project elevation in the cinematic stakes.
With Valkyrie we all know how it is going to end, but it's the journey up until that conclusion which makes the whole project so compelling.

''Long live sacred Germany!''

''For six centuries I was a loyal soldier to the vampire clan. But I was betrayed. The war was not as it had seemed. In one night, the lies that had united our kind had been exposed.''

The adventure continues, the saga of war between vampires and werewolves.

Kate Beckinsale: Selene

The original Underworld was not as cool as it clearly thought it resulted as, but it's an entertaining bit of entertainment - and in my view at least, good enough for a sequel. Titled Evolution,, this second installment builds on the original story before it, while still finding the time for enough action to please it's targets criteria. Surprisingly for a boisterous action-horror flick, Len Wiseman's dessert is more restrained than predicted. Although there are plenty of action sequences, the focus is put more firmly on the plot; and this ensures that the film isn't merely a dull collection of stunts. The film begins with a great sequence, which goes back to the beginning of the war between the Lycans and the Vampires. We then follow Selene (Beckinsale) and Michael (Speedman), both now on the run after dispatching vampire elder Viktor (Nighy). We follow the pair as they trace their origins and try to ensure that the first ever vampire, Marcus, isn't able to free his brother William; the first of the werewolves.
Kate Beckinsale gives a outstanding performance as Selene. She is captivating, completely watchable and I just wish she'd do more Underworld/Vampire films! I'll admit that I was pretty gutted to hear in the new underworld her character wouldn't be included, but good news, they are going to make a fourth movie with Kate and Scott in it!
I do think that Kate and Scott really were one of the key elements that made these films really great. Having said that, I have watched the first two, both fun and entertaining! The acting all around is amazing, first-rate stuff. Secondly, the music is just epic, amazingly epic! I will say, as much as I love this movie and do have a strong stomach when it comes to violence but I do think that some of the violence in this movie could of have been toned down a bit in some places, for example: when Marcus stabs Michael through the heart with a piece of broken wood.

''I knew Viktor made a mistake by keeping you as a pet. He should have killed you with the rest of your family.''

One of the major reasons I enjoyed the first film was due to its leather-clad female lead. The sexy Kate Beckinsale reprises her role under the direction of her husband, and is every bit the sassy heroine that a film like this needs. Underworld: Evolution, like the original film, makes best use of this asset! The acting here is more than a little corny overall but on the other hand Beckinsale and the rest of the cast do their jobs well enough to ensure that the film doesn't completely fall down on the acting side. The special effects are good, with the werewolves being particularly of note for being impressive. Werewolves don't often translate to the screen well; but they look just fine in this film! The visuals are dark and Gothic, and look absolutely stunning. As with the first film, the glossy style bodes well with the action scenes and ensures that the film is pleasing to the eye. The best thing about the film for me, however, was the mythology surrounding the war between werewolves and vampires. It's portrayed well, and Wiseman leaves enough gaps to keep the interest, while ensuring that the plot builds to a complete whole by the time the credits role.

On the whole, Evolution is a fun sequel which elaborates on untold truths. It builds on the first films helping, and delivers enough new elements to make it interesting to anyone who liked the original. This is the sort of film that wont be remembered long after it's over, for originality, but it makes for a great time viewing, and comes highly recommended to fans.

''There's never been a hybrid before. However ambivalent you might feel about it, the truth is, your powers could be limitless. You depend on blood.''

''I am a Death Dealer, sworn to destroy those known as the Lycans. Our war has waged for centuries, unseen by human eyes. But all that is about to change.''

Selene (Beckinsale), a beautiful vampire warrior, is entrenched in a war between the vampire and werewolf races. Although she is aligned with the vampires, she falls in love with Michael (Speedman), a werewolf who longs for the war to end.

Kate Beckinsale: Selene

Underworld pits two races from mythology, vampire and lycan, and has them together in an on-going war. While the two are stereotypes of the horror genre, this doesn't play out like a traditional horror story. This action packed story will please horror fans and convert new ones due to the melding of movie types to create a fresh interpretation to a century old genre.

A male nurse,(Scott Speedman) unwittingly becomes involved in an on going battle between the two immortal species. When a female vamp Selene(Kate Beckinsale) notices the werewolves following this individual, she becomes suspicious and begins to investigate why he is so important, even if it changes everything she has ever known about her life and vampire history.
This monster movie follows the age-old traditions established in the early novels (Bram Stoker) and movies (Werewolf Of London) featuring vampires and misanthropes. Of late, there's been some modernized horror franchises that have thrown the standards out the window. Those standards are comforting and we, the audience, expect to see them. Vampires deteriorate in sunlight leading to instant death, Werewolves can only be killed by a silver projectile. Underworld takes these formulas, builds on there strengths and makes them their original own.
While it reads as a horror, it plays more like a gangster/fantasy piece. Both races participate in gun-play with specially modified bullets to instantly kill their opponents. The werewolves are animalistic warriors, wanna-be heavy weight mafia, with more brawn than brains. On the flip side, the vampires are like a communal family with hierarchy, ancient customs and they're legitimate business owners which funds their criminal endeavors.
Due to the aforementioned gun-play, this is more violent than gory. It's still bloody but there are no scenes that'll make you queasy or nauseous. The violence is another reason why it has an action vibe to it.
There's a class system subtext that runs through this movie. The lower class werewolves battling the upper class vampires. Working class is possibly a better adjective for the werewolves. They are masculine, unkempt and unsophisticated. On the other hand, the gothic vampires are immaculately dressed with a expensive sense of style. They lounge around looking glamourous as if they're supermodels at a cocktail party. Opulence and high class is the style the production and costume designer has given these blood suckers.

''Whether you like it or not, you're in the middle of a war that has been raging for the better part of a thousand years. A blood feud between vampires and lycans. Werewolves.''

Beckinsale's quite fetching in her erotic, PVC, full body costume. Her bondage like outfit's more interesting than her intentionally emotionless performance. One wonders why she didn't keep her British accent as the cast is made up of international actors with a pot-pourri of different brogues? It's good to see her in a lead role, above the title credit, where she holds her own portraying a strong, forceful character. Of late, she's played the glorified girlfriend part (eg. Michael Bay's "Pearl Harbor"). Here, she's independent, without a partner to justify her significance. While this is the kind of role a man would normally play, she's still feminine and sexy without having to show any flesh.
Bill Nighy has a supporting role as an elder vampire who's resurrected before his time in order to help Beckinsale. Nighy's rightfully become popular in the last few years. He's class in any part he plays, even a centuries-old vampire with superhuman strength. His climatic fight scene never draws unintentional laughs which shows what a convincing actor he is.

The colour film stock has been manipulated intentionally to give a blue hue to it. This reinforces the Gothic style of the flick. Blue isn't just a colour, it's also an emotion, reminiscent of a Mann blue scene. It's constantly raining which adds to the cold feel, the cinematographer and production designer have created. These races are unemotional beings which also strengthens the blue tone.
Computer generated visual effects were used for the movie which is far removed from John Landis' "An American Werewolf In London". While the special effects are impressive, there is no mystery into how they were achieved. Special effects and make up were a real art form before the days of CGI. These technicians are a dying breed due to computer infuences. It's a shame that moviemakers rely heavily on CGI as it's slowly becoming standard fare.

Overall, Underworld is a good action/horror/gangster movie with a strong female lead. This hybrid is filled with polished set pieces and seamless CGI. There's talk that this is the first of a proposed trilogy and I hope the next two will be as strong as this.

''Though I cannot predict the future, the consequences of this night will reverberate through the halls of both great covens for many years to come. Two vampire elders have been slain, one by my own hand. Soon, Marcus will take the throne, and a tide of anger and retribution will spill out into the night. Differences will be set aside. Allegiances will be made. And soon, I will become the hunted.''

''I listen to my heart.''

An east European girl goes to America with her young son, expecting it to be like a Hollywood film.

Björk: Selma Jezkova

I don't even know where to start or where to begin with Dancer in the Dark. If movies, stories or songs are meant to depict the struggle and coldness of life, yet provide a backbone and glimmer of love, hope and sacrifice, then Dancer in the Dark succeeds. This is one of the hardest films to watch and one of the most soul shredding realistic experiences of hopelessness and of pain.
This really isn't something to watch alone or if you're in the wrong mind set, this is powerful material of inconsequential proportions. Cleverly, Dancer in the Dark combines hopeful musical segments with the cold, harsh reality of its real dramatic happenings and scenes of regret and remorse.



Björk as Selma Jezkova, gives the performance of her life, in one of the most heartbreakingly unfair parts of selfless endearment, to ever be committed to celluloid. A mother whom loves her son, to the point she will do anything for him, and won't let anyone come between what little hope she has for them. Her singing segments really show off her vibrancy and energy, and as a counter part to her musical enactments we have her acting, which is unrivaled. Playing a blind mother isn't an easy feat, and no one to my knowledge has succeeded as well as Björk has in this Dancer in the Dark.
Catherine Deneuve as Kathy her friend also proves charismatic and friendly with her good friend. She has an edge of seriousness, combined with helpful and willing intentions for her companion.
David Morse as Bill Houston, proves he can be a villain once again. But in my eyes I find him not so much an evil man, but a desperate one. A selfish man, using a scapegoat as a lowly alternative to finding money to pay of debts.
Peter Stormare as Jeff,once again also proves his affection for these diverse roles he chooses. Providing a love interest for the heroine of extraordinary heights. A moving encounter sees them, showing a love for each other that will always be. A sadness, revolves around proceedings when this love strain is cruelly taken away.

''In a musical, nothing dreadful ever happens.''

Musically this film is an artful diversion and combination of real-time and surreal dream sequence singing. The way Dancer in the Dark is filmed is done in a series of gritty, home camera styled shots which convey an awesome sense of realism and cold reality.
Some parts were a little shakey for my liking, and some close ups didn't help me focus on the whole picture properly but other than these technicalities I find myself mesmerized by the sheer power of realistically portrayed characters and sets us the audience are bombarded with.
Dancer in the Dark will change your perception of life and conveys a heart crushingly real uncompromising journey of a woman's struggle against outside forces of unfairness and unjust happenings.

Overall, Dancer in the Dark is a movie which is about miraculous performances, especially in Björk's case, and I find myself wondering why she didn't garner an Oscar for this powerful display of raw kinetic, selfless power she generates in her magnificence. Not only does she act, she performs, sings and dances, thus giving a performance in body not just in words and emotion. We really believe her unrelenting struggle to save her son, we believe her dramatic,sad situation of her eye sight failing and we believe her selfish way is divine, not just human. In giving her story, a story like this into a film like this, we take the road with her in a sense, we see what others in the film don't see and the wondrous pain she has to face as a consequence of her actions.
The clever thing about Dancer in the Dark is that it makes us want to attempt to help her but we are restricted to merely watching in vain, we want something to intervene, we want to step in, we want a Saviour, and that's the grueling task we are faced with, like Selma Jezkova, we are powerless to do anything, when all these awful things transpire.
Dancer in the Dark is an evolution of tragedy, one of selfless hope and a mothers love for her child above all else. My heart still aches from the journey and story, and I guarantee yours will too.

''They say it's the last song. They don't know us, you see. It's only the last song if we let it be.''