Anzwers movies

Then She Found Me

5 May 2008 01:43:39 GMT

Then She Found Me

Director: Helen Hunt
Cast: Helen Hunt, Matthew Broderick, Colin Firth, Bette Midler
Releasing: 15 May 2008
Rated M

Helen Hunt’s directing debut is commendably confident, with the spectre of Woody Allen in the wings. She brings together a group of rather oddball uptight characters in an quirky romantic comedy that fetches quite a few subtle laughs as well as having a dramatic emotional impact. You’ll probably find the characters appealing – because aren’t we all a little odd and uptight at times? The unexpected ending leaves you in good spirits as the curtain falls.

Setting is New York. April Epner (Helen Hunt) is in her late thirties, a schoolteacher desperately wanting to have a child. Ben (Matthew Broderick) is her immature and dithering husband. After a few months of matrimonial bliss, he wants to call it a day. Her ailing adoptive mother whom April has nursed for some time finally dies. On top of all this, over-the-top talk show host Bernice Graves (Bette Midler) – a sort of poor man’s Oprah – appears on the scene claiming to be April’s real mother.

Bernice says she had a one night stand with Steve McQueen – of all people – nearly forty years ago and April is the result. But April is attracted to Frank (Colin Firth), recently divorced and who happens to be the father of one of her pupils. In her state of confusion, April finds consolation with Frank; but things get dramatically complicated when she discovers she’s pregnant with, it seems, Ben’s child.

An underlying theme in the movie is adoption: April is uncertain whether to adopt a baby before she discoverers she is pregnant. She herself is adopted which leads to the appearance of her biological mother.

Helen Hunt (Bobby) is obviously a gifted director of actors. She manages excellent performances from her sterling cast including herself. She excels in her realistic performance, looking at times quite worn and anxious. Bette Midler (The Stepford Wives) for once in restrained mode, manages to instill a motherly if self-interested aspect to her flamboyant Bernice, while Colin Firth (St. Trinian’s) the flawed and temperamental book jacket writer has the necessary angst. Matthew Broderick (The Producers) easily provides an appropriate childish husband, and the cameo part of Salman Rushdie (author of The Satanic Verses) as a bemused doctor is a quaint bit of casting that works.

Based on the novel by Elinor Lipman, Hunt worked for eight years to get it to the silver screen. “Took me a long time to get it made” is something of an understatement. It's no mean feat when she acts, directs and co-writes the piece. She’s managed clever dialogue with a dollop of Jewish humour. Those amusing scenes at the doctors office, where in one take the exasperated Ruskie asks “Is there anyone else coming?”

For once the music track here is appropriate to the film, and actually works exceedingly well in maintaining the right atmosphere. Camerawork and production values are acceptably high in standard, and overall this is a polished effort for a debut director. It should have considerable appeal to the adult audiences its likely to attract.

John Bale

Iron Man

5 May 2008 01:41:35 GMT

Iron Man

Director: Jon Favreau
Cast: Robert Downey Jr, Jeff Bridges and Gwyneth Paltrow
Releasing: 1 May 2008
Rated M

Cynics might say Marvel Comics have a lot to answer for, half the clones of Superman now saving the planet in Tinsel Town are from their stable; X-Men, Spider-Man and The Hulk among them. Their latest super hero to hit the big screen is a man made creation, initially from a pile of old junk and the brain power of Tony Stark, a sort of modern day Howard Hughes crossed with Thomas Edison. In Iron Man, Ned Kelly meets Superman, an invincible man in steel armour developed using advanced scientific techniques that boggle the mind of mere mortals.

Tony Stark (Robert Downey Jr) CEO of a huge weapons manufacturer started by his father, is kidnapped by insurgents in Afghanistan. While imprisoned the resourceful Tony manages to create from the junk remains of a bomb, a suit of steel which he can animate from within. Just right under the very eyes of his captors who are as thick as two posts. He could have assembled a jet liner and they’d not know the difference. It’s all the logic of a comic (i.e. a novel on speed). But we accept this and Stark after demolishing the insurgents is finally restored to his company in USA.

Realising American soldiers are being killed by his own products, he wants out of the armaments business. For some undefined reason (presumably to save the world if needed) Stark sets about improving on the rough prototype to become - hurrah - IRON MAN ! Stark’s aided in his new mission by his PA the lovely Pepper Potts (Gwyneth Paltrow). Some entertaining scenes verge on slapstick as Stark attempts to fly his new prototype suit with unexpected results.

However lurking around is Obadiah Stane (Jeff Bridges) the nefarious partner who takes control the firm and has been flogging bombs to the baddies on the quiet. Obadiah (what a great name) sets out to make an even bigger version of the humongous flying man. Naturally a battle of the Titans is coming up in act three.

The film has been cast with inspiration. Worldly worn mid life crisis Robert Downey Jr. (Zodiac) turns out to be an ideal choice as the beleaguered hero, with lissome Gwyneth Paltrow (Infamous) looking her best tripping through the adventure in Versace and high heels. Jeff Bridges (A Dog Year) also suitably devious as the villain of the piece, you’ll check twice to spot him with his new bald head.

Slick dialogue tailored well to the characters helps the plot and the action move along a neat pace. There’s a reasonable amount of phony sci-fi explanation of all the technical stuff, well done in its way but perhaps less inspiring to very young in the audience. Ofcourse as you may expect there are rather gaping holes in the plot, but in the world of super heroes we don’t examine them too closely.

Helmed by Jon Favreau (Zathura) with the pizzaz needed to bring a comic strip to life, aided considerably with excellent special effects and vivid cinematography. Favreau’s a long term fan of Marvel comics himself and it shows in the visual style. It’s a good looking package. Some stylish sets with all the necessary sci-fi trappings. The writers are Mark Fergus, Hawk Otsby, Art Marcam and Matt Holloway. Produced and financed by Marvel Entertainment whose various activities include feature films, video games, toys and ofcourse publishing comics for over sixty years.

So on balance this is a fun family night at the movies, top comic action adventure with a believable hero. There won’t be many disappointed fans so we should expect a sequel very soon.

John Bale

Cactus

5 May 2008 01:40:14 GMT

Cactus

Director: Jasmine Yuen-Currucan
Cast: Travis McMahon, David Lyons and Bryan Brown
Releasing: 1 May 2008
Rated M

Now here’s a home-grown movie packing a decent punch about a kidnapping that goes horribly wrong. Many films have dark deeds happening in lonely stretches of road, for example The Hitcher. In Cactus, the desolation of western New South Wales becomes the setting for a series of events that contain more than an element of suspense. An air of mystery is cleverly built up in the early part of the film.

John Kelly (Travis McMahon) an ordinary type of guy who desperately needs money to assist his seriously ill wife. With some qualms, he takes on a job for the underworld. To kidnap professional gambler Eli Jones (David Lyons) who’s fallen out with some heavies, and deliver him to those grim gentleman in some remote part of the bush.

While the actual kidnapping goes as planned, events start to wobble as surly outback cop (Bryan Brown) takes an interest in John’s erratic driving of his decaying red 1972 Ford Fairmont. Escaping the unpleasant cop, kidnapper and his victim travel further on towards an undisclosed destination. All really goes down when they’re intercepted by the driver of a road transport. Unfortunate truckie Thommo (Shane Jacobson) comes across the Fairmont with the captive in the back on a lonely stretch of road. John’s careful plan falters badly and panic ensues. Both victim and captor from the big city are out of their element in this bleached lonely land broken only by the strip of bitumen road. The kilometers roll on and their endurance is pushed to the limit, with tragic consequences.

The film certainly opens well with some vivid action shots before the main title. Sparse dialogue for the first reel works in its favour, giving proceedings an air of intrigue. John Kelly finds himself confronting rather hostile locals in this lonely part of the bush, especially the strangely malignant vigilante cop played effectively by veteran Bryan Brown (Dirty Deeds). As the lumbering truckie Shane Jacobson (Kenny) is convincing, showing he’s quite comfortable in dramatic roles as well as comedy. His appearance gives the film a lift and draws us away from the tight confrontation of the two protagonists.

Travis McMahan (Kokoda) provides remarkable insight as a pretty average bloke driven to desperate measures. He reflects the two sides of his character bringing it off effectively. David Lyons (Storm Warning) also excellent as the dodgy gambler, nervously uncertain of his final destination and fate. He’s more resourceful than we expect, while his cynical attitude changes as his situation becomes dire. The oddfellow strained relationship between McMahan and Lyons becomes the glue for the film. They hold the screen much of the running time. It succeeds due to sharp pithy dialogue and their chemistry together.

“Bonnie” the dilapidated Fairmont is another important element being the catalyst for Holden versus Ford gags lightening the dark events. Florian Emmerich’s camerawork alternating big closeups with very wide shots visually jolt just enough to create tension. Regrettably a few of those wide shots appeared to lack sharp focus. The overexposed parched landscapes with burnt out highlights may be deliberate but at times look a technical error. However production values are quite acceptable for a modest budget.

P Plate director Jasmine Yuen-Currucan making her debut feature steers the story along confidently until about the half way mark where it loses some steam. Fortunately it soon recovers for a potent ending. With considerable experience as a camera assistant on a number of films, Yuen-Currucan worked with Tarantino as editing PA on Kill Bill 2. She also penned the script for Cactus. Her efforts are rewarding. All in all, an engrossing road thriller which delivers the goods.

John Bale

Made of Honour

5 May 2008 01:36:06 GMT

Made of Honour

Director: Paul Weiland
Cast: Patrick Dempsey, Michelle Monaghan, Kevin McKidd
Releasing: 1 May 2008
Rated M

Made of Honour is a lightweight romantic comedy with a curious plot twist. Rather a vehicle for pleasant guy Patrick Dempsey who reminds a little of one of the romantic heroes from the golden age of cinema with his infectious relaxed charm. Although the film opens without much promise things do improve, but not a great deal. It gets more interesting when it romps into land of the Scots.

Tom (Patrick Dempsey) a New York yuppie with cheerful sex appeal which keeps him busy dating a steady stream of one nights stands. Not into commitment, Tom enjoys the relaxed company of Hannah (Michelle Monaghan) a close platonic friend from his college days who manages to put up with his philandering ways.

Things go awry when Hannah takes a trip to Scotland for six weeks and comes back in the arms of a formidable Scottish Duke (Kevin McKidd). She’s already engaged to this wealthy Colin of the Highlands, just as Tom discovers he’s really truly deeply in love with Hannah. “There’s more to life than just sleeping around.” But is it too late ?

The weird twist comes when Hannah asked Tom to be her “Maid” of Honour, and attend the big Scottish wedding. Tom reckons in this quirky role he may be able to wreck the wedding and thus win Hannah back off Scottish Royalty. Well it’s not as easy as he might think, and there are a lot of hurdles to be jumped (literally) before he can claim his love.

While the romantic leads have chemistry together the comedy is routine. Thankfully the splendid Scottish landscapes lift your spirits when the action shifts to that scenic country, though the gag writers are seemingly impressed with old Monarch of the Glen scripts. Much of this highland humour is forced upon us with the subtlety of a small atomic weapon. Taking pot shots at haggis, kilts, bagpipes, and local dialects. Nevertheless it has amusing moments as the pace picks up a notch or two.

The highland games, the bride's unfortunate wedding attire, and a formal dinner in the Scottish Castle enable Tom to intercede and throw a small spanner into the works. A typical running gag - Scottish guests think as the Maid of Honour urbane Tom must be gay. Earlier in the film there’s a neat slapstick routine with a waiter in a high class restaurant.

A cameo role for Sydney Pollack (Michael Clayton) playing Tom’s much married Dad has its moments, and the antics of Tom’s basketball friends work well. The assembly of quaint Scottish characters also look relics from Monarch of The Glen. Michelle Monaghan (Gone Baby Gone) with a sweet girl next door manner on the screen, meshes effectively with the sophisticated charm of Patrick Dempsey (Enchanted). They’re a pleasant enough team. Kevin McKidd (Hannibal Rising) turns in a reasonable performance as a Scottish Lord with muscles. Standard direction by Paul Wieland who has helmed Mr. Bean adventures in earlier times.

I’d have liked a little more meat in the sandwich and believable characters, however overall there are enough funny lines scattered about to make it moderately entertaining, though not in the top bracket of comedy. As it features latest heart throb Patrick Dempsey, there’s little doubt it will have special appeal to his gathering number of female admirers.

John Bale

To the Limit

5 May 2008 01:33:50 GMT

To the Limit

Director: Pepe Danquart
This film is a part of the Festival of German Films, currently touring nationally

The sport of rock climbing is obviously dangerous, imagine how much more so when done at high speed. The Huber brothers are either a crumpet short of afternoon tea, or exceptionally brave and foolhardy as they cheerfully indulge in the precarious occupation of fast climbs at ridiculous risk. This vividly filmed German documentary covers their speed climbing adventures in the Yosemite National Park and Patagonia.

The dangerous climb they undertake in Yosemite is El Capitan, the 1000 meter outcrop made popular by the impressive photographs of Ansel Adams. To scale the sheer rock face takes three days for most climbers, these guys want to do it in two and a half hours ! Not for the feint hearted. Only men of steel can tackle anything this demanding of strength and nerve.

The dizzying shots of the death defying climbs are awe inspiring - the camera crew deserve bravery awards. They get right in there with the action at great risk one suspects. A minor problem, numerous interviews with Thomas and Alexander Huber in Germanic thoroughness are rather extended and slow the action down a notch. The brothers have lengthy discussions on the philosophy of speed climbing.

How they conquer their fears - “finding out what you’re made of.” We discover as brothers they have different outlooks and go separate ways in their private life sometimes with conflict. Yet their madcap mountaineering bonds them together as they implicitly trust their lives to each other. Risking life and limb gives them a special purpose.

From the fiercely rugged Yosemite to the bleak wind swept icy peaks of Patagonia there are many breath catching moments. While technicalities of speed climbing aren’t fully explained to this layman at least, no doubt they will be perfectly clear to rock climbers in the audience.

As mentioned the cinematography under direction of award winning Pepe Danquart (Hell on Wheels) is excellent, some of the climbing shots truly remarkable. You don’t want to suffer from vertigo watching this one. The scenic splendour of the mountains is beautifully captured. You might even sense the ghost of pioneer German film director Leni Riefenstahl (The White Hell of Pitz Palu) hovering in the Patagonia sequences What a real thrill it would be in IMAX 3D Yet one suspects the film was shot with TV in mind, it suffers a little from talking head syndrome and you wish for more of the nail biting action shots.

In many ways similar to Touching the Void, though not as engrossing in terms of plot. However this doco will prove a winner with lovers of extreme sports and those brave souls who enjoy taking their lives on a rope and dropping over voids at weekends. Whether it will encourage them to more rapidly scoot up rock faces is another matter.

John Bale

The Painted Veil

5 May 2008 01:32:32 GMT

The Painted Veil

Director: John Curran
Cast: Naomi Watts, Edward Norton, Liev Schrieber and Toby Jones
Releasing: 24 Apr 2008
Rated M

Of all the noted writers of the 20th Century, has any suffered more at the hands of filmmakers – at least in recent times – than W. Somerset Maugham? Contemporary audiences were most likely introduced to his work by the misguided 1983 film The Razor's Edge with Bill Murray, based on one of Maugham's short stories. Then came the largely-ignored Up at the Villa (2000) and Being Julia (2004). And now we have American (and sometime Australian) director John Curran's version of The Painted Veil.

Perhaps a little surprisingly, Maugham's work was the subject of many more films while he was alive, with his plays The Letter and The Constant Wife; and his story 'Miss Thompson' proving fruitful fodder for filmmakers. The Painted Veil itself was previously made into a film – in 1934 with Greta Garbo in the lead role. Curran's version is probably closer to the original text; although still not a precise re-telling of the story.

Curran worked with Naomi Watts previously on his excellent drama We Don't Live Here Anymore. That obviously made an impression, as Watts and co-star Edward Norton have producer credits on this film. And while this tale of love and betrayal in an exotic land might seem a world away from the contemporary melting-pot of his earlier film, thematically, they're not all that different.

Watts plays Kitty, a young English woman pressured by her family into marrying the earnest but rather dull Dr Walter Fane (Edward Norton). Walter is a microbiologist working at the government medical laboratory in Shanghai. He takes his new bride back with him to the East. In Shanghai, the heat and Walter's long hours at the lab soon see Kitty looking farther afield; specifically at the haughty British consul in Shanghai, Charlie Townsend (Liev Schreiber). When Walter finds out about the affair, he gives Kitty a stark choice – divorce him and marry Charlie, or come with him to combat a cholera epidemic in the interior. When Kitty presents the option to Charlie he, in Kitty's words, let's her down. So she decides to join Walter on the arduous trek to the heart of the outbreak. Once there, Kitty finds things are very different from Shanghai – including the armed guard who watches her every move. But with the help of the local British representative, Waddington (Toby Jones) and some rather determined nuns, she comes to see a different side of Walter.

If you know your Somerset Maugham, you'll know there's a tragedy in the offing (albeit not exactly the one described in the book). If not, I'm certainly not going to say who the tragedy befalls; but it certainly makes for some poignant moments towards the end. Most won't need a box of tissues, but a couple is probably advisable.

Curran showed with We Don't Live Here Anymore that he certainly knows his craft; and The Painted Veil only reinforces that. Working from Ron Nyswaner's script, he constructs a film as delicate and beautiful as its title suggests. His efforts are aided by some stunning cinematography from Stuart Dryburgh – shooting on location in China which adds to the authenticity of the piece - and by Alexandre Desplat's haunting score.

Despite not gaining the accolades of some other Aussie acting exports, I personally think Naomi Watts is up there with our finest. She brings so much to the role of Kitty, it's difficult to even describe in words. It's something you have to see to appreciate. Edward Norton seems made a bit of a speciality of period films recently (although he'll break with that and be seen as Bruce Banner in the new version of The Incredible Hulk later this year). Here, he gives Walter the kind of scientific detachment that's just right for the role. Liev Schreiber (Watts' other half in real life) is suitably dapper yet caddish as Charlie; while Toby Jones is once more excellent as Waddington. Look out for one-time Avenger Diana Rigg, who's basically unrecognisable as the Mother Superior at the convent.

Although The Painted Veil won't be to all tastes (there are no explosions, monsters or car chases), it's a superior work from Curran who's growing into a consummate film professional. Sadly, it's taken nearly 2 years for the film to reach these shores, but for those who appreciate quality cinema, it should prove worth the wait.

David Edwards

Forgetting Sarah Marshall

5 May 2008 01:39:01 GMT

Forgetting Sarah Marshall

Director: Nick Stroller
Cast: Jason Segal, Kristen Bell, Russell Brand, Mila Kunis and Paul Rudd
Releasing: 17 Apr 2008
Rated M

Now here’s one for the books - a romantic comedy that features more male nudity than femal, complete with flashes of Jason Segal’s least photographed parts. In fact a lot of gags in the amusing farce Forgetting Sarah Marshall are based on penis humour, along with a fair share of verbal jokes. This is yet another movie from the Judd Apatow team, their string of box office successes fuelling enthusiasm to make more pop comedies of the Knocked Up and The 40-Year-Old Virgin calibre. Also doing the rounds at the moment is Drillbit Taylor also made under Apatow’s influence.

Peter Bretter (Jason Segel) surely is having a rotten time. Not doing especially well, this struggling composer of music for his girlfriend’s TV show, would rather be working on his pet hobby, “Dracula The Musical”. Even worse, his lovely celebrity star girlfriend Sarah Marshall (Kristen Bell) becomes smitten by sex-radiating dimwit British rock star Aldous Snow (Russell Brand). Pretty cut up at losing his idolised lady, Peter (after a couple of depressing one night stands and a nervous breakdown) takes an impulsive holiday to an upmarket beach resort in Oahu, Hawaii, encouraged by his interfering brother (Bill Hader). He’s dismayed to find his ex and the rocker boyfriend are staying at the same five-star hotel. The hotel receptionist, stunner Racheal (Mila Kunis), takes pity on him and tries to bring him out of his funk. In doing so, they become close and complications arise when Peter and Racheal are invited to have dinner with Sarah and Aldous. All roads seem to lead to disaster.

This generally amusing look at relationships certainly has its funny moments, and some heartfelt ones as the couples head into romantic confusion.

Jason Segal (Knocked Up) who also penned the script is one of those likable faces on the screen, a typical nice-guy of the Steve Carell variety. It’s hard for him to place a foot wrong, even if he does have a couple of full frontal nude shots. Segal manages the sad sack role well enough and milks it for as much emotion as he can.

But the laurels go to Russell Brand (St. Trinians) his take on the rock star is so good as to be real, and carrying off the best scenes in the film with his charismatic portrayal. Kristen Bell (Veronica Mars - TV) is acceptable as the self-interested failing TV star, while Mila Kunis (Boot Camp - TV) has looks which will appeal to males in the audience and brings the required sizzle to her role.

Cameos by Jonah Hill as an over-enthusiastic waiter aspiring to be a singer forever hounding the rock star, and Paul Rudd as a groggy surf instructor are neat side bars - plus a snippet by William Baldwin as Sarah’s co-star in the satire rip-off of a TV crime show. The ending featuring “Dracula The Musical” turns out to be an ingenious and funny highlight, so you leave the cinema on a high note.

Nick Stroller’s competent direction generally keeps the pace rolling along with just a couple of slack patches, and manages more appeal from the characters than one might expect. You could think the whole excursion is a bit of a contra junket for the cast and crew, staying at the luxury hotel in such pleasant surroundings would not be too hard to take. Certainly the camera makes the most of the idyllic location.

The result is typical of Apatow’s influence on the script and production; cheerfully bawdy with a sugary romantic underbelly, a dash of slapstick and risky verbal gags that often hit the mark. In a word, what the box office demands and gets. Billy Wilder it’s not, but those out there who liked Knocked Up won’t be disappointed .

John Bale

The Dinner Guest

5 May 2008 01:29:06 GMT

The Dinner Guest (L'invité)

Director: Laurent Bouhnik
Cast: Daniel Auteuil, Valérie Lemercier and Thierry Lhermitte
Releasing: 17 Apr 2008
Rated PG

The French film industry isn’t exactly internationally renowned for its comedies; at least not since Jacques Tati stopped making films. They seem to be far more at home making sophisticated relationship films and costume dramas the draw raptures from francophiles around the globe. So in a modest way, Laurent Bouhnik’s new comedy of errors, The Dinner Guest, seeks to redress the imbalance.

This is the kind of film that could have sprung from a Noel Coward play (indeed, it started life as a play by French novelist David Pharao). It features only four main characters, is largely set in a small apartment and relies heavily on dialogue for its funnies. But, like a Coward play, there’s actually more going on here than meets the eye. Under the frothy banter and the plot improbabilities, there’s a ripple of social commentary and astute observation.

Our hero – of sorts – is Gérard (Daniel Auteuil). He’s been unemployed for 3 years; but scores a break of sorts when he’s offered a job with a manufacturing company. There’s a catch though, the job involves him going to Indonesia. When he returns home to tell his wife Colette (Valérie Lemercier), he finds new neighbour Alexandre (Thierry Lhermitte) trying to fix a leaking pipe. With Alexandre in earshot, Gérard explains the new position; but to seal the deal, he’s expected to have his new boss Pontignac (Hippolyte Girardot) over for dinner. Their apartment however is a bit daggy, the couple’s taste in music is dubious and neither of them can cook. Alexandre reveals that he’s an image consultant, and willing to help out so that Gérard can get the job. His advice however leads to chaos – before Pontignac has even arrived.

This is a light comedy by any stretch of the imagination; so light in fact it nearly floats off the screen. The action is mainly verbal, involving a series of misunderstandings and mix-ups. In the end though, Bouhnik makes a couple of astute points about French society and its place in the world. These however don't elevate the film above its modest ambitions.

Featuring three of France's more experienced thespians, the cast does a good job of keeping everything afloat. Daniel Auteuil, one of the more versatile actors of any nationality, is excellent as the often-bewildered Gérard. His foil is Thierry Lhermitte as the exasperated yet exasperating Alexandre. Valérie Lemercier seems to have a great time as the rather ditzy Collette; and her interaction with the two male leads sparks much of the action.

The Dinner Guest is an amiable if unremarkable French comedy of social standing and modern manners. While it doesn't offer any great insights, it's an enjoyable 86 minutes, and doesn't overstay its welcome (unlike Alexandre). While this film has its moments, they're not consistent enough to make it a must-see; unless of course you're a French cinema buff, in which case, you won't want to miss it.

David Edwards

In the Shadow of the Moon

3 Mar 2008 10:31:37 GMT

We've seen their exploits in quite a few fictional movies, but this documentary showcases those few who really did have the "right stuff".

Director: David Sington
Releasing: 6 March 2008
Rated G

The simplicity of structure belies the emotional impact of the inspiring documentary, In the Shadow of the Moon. It's your basic talking heads stuff intercut with NASA footage of the flights to the moon, yet here so cleverly done. What breathtaking images are these and what fascinating talking heads. Between 1968 and 1972, the Americans sent nine spacecraft to the moon, and twelve men walked on its surface. They are the only twelve to ever have done so. Now - possibly for the last time - they talk in depth about their experiences in what was an era of triumph and disaster in the Apollo space program.

David Singleton’s documentary captures the spirit of the 60's when a young John Kennedy had the vision of men walking on the Moon, and Richard Nixon saw it happen. Many may remember the excitement of the broadcasts of that day, when shaky images of the Apollo 11 moon landing were flashed around the world’s TV screens. This is the stuff of which dreams and this documentary are made.

The interviews with Buzz Aldrin, Michael Collins, Jim Lovell and Gene Cerman are shot in extreme close-ups; their craggy faces rivaling the moon’s surface. But what inspired human beings. The degree of humility, humour, and spiritual warmth must be the result of their death defying adventure. They had “the right stuff”.

Just listening to them now is an experience. All have similar tanned fit expressions as if they’re still part of an aging team. Michael Collins rather steals the show with his dry humour. One memorable comment “The Earth looked so fragile, you could cover it with your thumb”. Neil Armstrong (apparently shy) hasn’t joined the interviews regrettably.

A jarring note is the prerecorded sad statement by Richard Nixon which was to be used on air should the Apollo 11 mission fail. The images of the flights and landings taken by the astronauts themselves have powerful beauty, many not seen before. Carefully assembled in a really credible editing job by David Fairhead it holds your interest to the very last frame. Anchoring the period in history are clips of the Vietnam War and lifestyle of the American people at the time.

The presenter is Ron Howard, whose interest is apparent since he directed the feature film Apollo 13. It’s not often I recommend a documentary as a must see. But the incredible images, excitement and sheer inspiration of this uplifting experience makes it essential viewing. At the very least this should totally debunk those nutbag conspiracy theories the moon landing was shot in a dust bowl by Stanley Kubrick on his weekend off.

John Bale

Paranoid Park

3 Mar 2008 10:33:49 GMT

Has Gus Van Sant's obsession with youth and youth culture gone too far? We find out as we roll down to Paranoid Park.

Director: Gus Van Sant
Cast: Gabe Nevins, Taylor Momsen, Lauren McKinney and Daniel Liu
Releasing: 6 March 2008
Rated M

A new Gus Van Sant film is always an event. The director has always been a bit of a maverick, forging his own particular style – and indeed going further to create his own filmic grammar. The apotheosis of that progression can be seen in his poetic yet profound Elephant. Now he tries to take that to another level again with Paranoid Park.

While you have to give Van Sant full marks for his brave approach to his craft, sadly Paranoid Park misses the mark. The crucial difference between Elephant and this film is that while the former was a perfect synthesis of narrative and stylistic elements, in the latter, the narrative is missing in action.

Ostensibly, the plot involves the death of a security guard in a railway yard near a skate park known locally as Paranoid Park. A young skateboarder named Alex (Gabe Nevins) is among several questioned about the incident, but is seemingly discarded as a suspect. Things however may not be all they seem; and Alex has some things he wants to get off his chest. So he starts to write down his experiences – experiences that involve not just the incident in the railway yard, but his parents’ impending divorce, his high-maintenance girlfriend Jennifer (Taylor Momsen) and his relationship with Macy (Lauren McKinney).

I say ostensibly, because the film isn’t really about any of those things. It’s about youth culture (skate culture in particular), alienation, detachment and a desperate need for connection. Van Sant explores these themes in a lyrical and often quite beautiful way. He uses a fragmented time frame, voiceovers, stunning cinematography, abstract scenes and a haunting score to do so. At times, the film is simply breathtaking (and in one particular scene, shockingly so).

The problem is that this portrait of a young man in crisis goes precisely nowhere in a narrative sense. I’m not a particular fan of structured storytelling in the vein of Robert McKee’s theories (I can imagine McKee watching this film and literally pulling his hair out); but there has to be an emotional pay-off for the audience’s investment in Van Sant’s cinematic exercises.

That much-anticipated pay-off however never arrives – at least, it didn’t for me. The film essentially peters out at the end, leaving a hollow feeling. After the emotional knockout punch of Elephant, I felt rather cheated by Paranoid Park.

As the young man at the centre of the drama, Gabe Nevins does a reasonable job without being particularly memorable. Since he appears in basically every scene, he needs to have a solid grasp on the material, and he certainly does that. He effectively conveys the ennui and internal conflicts of the character; although at times he plays Alex in such an understated way, he’s in danger of disappearing off the screen. Given Nevins’s dominance of the film, the supporting players get limited opportunities. One who does is Taylor Momsen as the vapid Jennifer; while Daniel Liu as a detective and Lauren McKinney as Macy make their marks on the film.

I was really looking forward to Paranoid Park, and I don’t know if it was the weight of expectation, but I was disappointed. For all its beauty and lyricism, it’s a triumph for style over substance. We know Van Sant can do it, but this isn’t the best example of his talent.

David Edwards

Closing the Ring

3 Mar 2008 10:26:23 GMT

The director of Gandhi likes a big canvas, and Richard Attenborough delivers just that with this sweeping tale of love and fate.

Director: Richard Attenborough
Cast: Mischa Barton, Pete Postlethwaite, Stephen Arnell, Neve Campbell, Christopher Plummer and Shirley MacLaine
Releasing: 6 March 2008
Rated M

Not often a Lord of the Realm in his mid-eighties gets round to directing a film, but here we have the example of Lord Richard Attenborough. No mean feat especially with such a complex and multilayered story as Closing the Ring. In the past he’s directed some notable pictures - Gandhi, Cry Freedom and Shadowlands among them - as well as appearing on the screen in a numerous films (once even as the infamous murderer John Reginald Christie). Attenborough proves he still has a command of cinema technique, albeit never a command of brevity.

The story begins in 1991 at a funeral in Branagan, Michigan, the small town mourning the loss of Chuck Harris, U.S. Air Force veteran of the Second World War and husband to Ethel (Shirley MacLaine) who sits outside the church seemingly detached from the proceedings. Ethel tends to hit the bottle and enjoys the company of another war veteran Jack (Christopher Plummer). In flashback to the 1940's, a vivacious young Ethel (Mischa Barton) captures the hearts of three close friends: Teddy, Jack, and Chuck. Ethel is wildly in love with Teddy (Stephen Amell) before he enlists in the U.S. Air Force. They’re secretly married, but not long afterwards in 1944, Teddy’s killed when his B-17 bomber crashes near Belfast. Although devastated, later Ethel marries his close friend Chuck who has made a pact with Teddy to take care of Ethel in the event of his death.

Meanwhile back to 1991, in Belfast sour-tempered Michael Quinlan (Pete Postlethwaite) and enthusiastic young helper Jimmy (Martin McCann) scrounge round Black Mountain recovering pieces of the old crashed B-17 bomber. Then Ethel’s daughter Marie (Neve Campbell) receives a phone call from Jimmy in Northern Ireland saying he has found a ring belonging to Ethel at the site where the U.S. bomber crashed. This starts an explosive chain of events - quite literally since the IRA are peripherally involved.

The film commences with a touch of confusion. You try to sort out the various characters as they jump around in time as well as country. But this is soon overcome and we are immersed in the sad history of lost love and wartime loyalty. You sense a mature hand behind the film with its somewhat old fashioned style. Attenborough is a stickler for accurate detail and the scenes in Ireland during the war are exceptionally realistic; for example, the air raid shelter sequence.

The performances of Shirley Maclane (Terms of Endearment) and Christopher Plummer (A Beautiful Mind) may prove profoundly moving especially to older audiences. MacLaine gives a more controlled reading than usual, while Plummer has just the right balance of charm and dry wit. In fact the oldies rather show up the younger cast, except for Martin McCann who makes the most of his role and is a talent to watch. While Brenda Fricker (The Field) enjoys being Jimmy’s protective grandmother and Pete Postlethwaite (The Constant Gardener) has no trouble whatever as a grumpy old man.

Scriptwriter Peter Woodward, son of actor Edward Woodward, was inspired by the recent finding of a wedding ring at the actual crash site of a wartime B-17 on Cave Hill near Belfast. Ten airmen died in that crash. This incident becomes the lynchpin for the fictional story.

Attenborough again directs with a competence remarkable considering his age. Although the pacing is moderate he effectively builds tension towards the film’s powerful conclusion. Perhaps not up there with Attenborough’s best work, it’s still more interesting than many contemporary efforts by younger directors. It looks a epic film that could have been made thirty years ago, but no less enjoyable for its traditional quality.

John Bale

Run, Fat Boy, Run

3 Mar 2008 10:23:43 GMT

Marathon running as a device to win back a lost love? OK... sounds a little crazy but we'll go with it as former Friend David Schwimmer directs British funnyman Simon Pegg in Run, Fat Boy, Run.

Director: David Schwimmer
Cast: Simon Pegg, Thandie Newton, Dylan Moran and Hank Azaria
Releasing: 6 March 2008
Rated M

This is one movie that hasn’t got the most appealing title. Run, Fat Boy, Run sounds like an episode of The Biggest Loser. However, once in a while an unpretentious title pops up at a preview without a fanfare of publicity and manages to brighten your evening. This film is one such. It’s typical light British comedy, spawned by their better TV shows as some members of the cast can testify.

There’s Dylan Moran from Black Books extending the characterization of the likable drunk Irish whack job as if the part was made for him as it may well have been. Also given a cameo role David Walliams of Little Britain appears in a recognizable routine. As the lead, Simon Pegg provides a good balance of physical and verbal humour with a more sympathetic persona than some of his past work in Hot Fuzz and Shaun of the Dead. Pegg has those rubber features of Rowan Atkinson, distorting his face into comic proportions at a moment’s notice, which he does to advantage.

Dennis (Simon Pegg), a typically lazy slob, is dead frightened of going to the altar. As the film opens we see him literally run off leaving his pregnant bride to be Libby (Thandie Newton) at the church door. Six years later, employed as a security guard in a lingerie shop, he now finds he truly loves Libby, but she has taken up with wealthy and super healthy Whit (Hank Azaria), an American who runs marathons in his spare time.

In a vain attempt to win back Libby and his 5 year old son’s affection, the seriously unfit Dennis foolhardily enters the London Marathon in order to compete with his rival. Battling all kinds of adversity - including a blister the size of Big Ben in a particularly gross scene - and accepting dubious aid from his friend Gordon (Dylan Moran) who’s naturally no use whatever.

The results are predictable but there’s some fun getting there. Amusing sideline sequences are provided by Harish Patel as the lugubrious Mr. Ghoshdashtidar, and Ameet Chana as a taxi driver. Plus there is memorable sequence in the lingerie shop window with Dennis and mannequin. Dennis has an endearing side and you feel for him as he struggles to finish his footslogging race to redemption.

David Schwimmer, better known as Dr. Ross Geller in Friends, makes this his feature film directing debut. One senses a certain TV style about the production, as you might expect. Michael Ian Black co-wrote the script with Simon Pegg, and they certainly try to make the most of their material. Fortunately Schwimmer maintains a balance of poignancy against the facetious humour and sometimes crude gags. Laurels go to Simon Pegg whose excellent timing and natural style give a surprising depth to his character.

While the supporting cast do their stuff, without Pegg the rather thin story could collapse on itself. I’m not claiming Run, Fat Boy, Run to be the comedy of the year, but if you like the kind of TV farce that originates in the British Isles, you’ll find it entertaining. Those who laughed at Death at a Funeral should get plenty of fun out of Dennis on his ill-advised run to glory.

John Bale

The Black Balloon

3 Mar 2008 10:21:24 GMT

Having a disabled child doesn't exactly sound like light movie fare; but director Elissa Down and a talented cast (including supermodel Gemma Ward) find the funny - and warm - side of life in The Black Balloon.

Director: Elissa Down
Cast: Rhys Wakefield, Luke Ford, Gemma Ward, Erik Thomson and Toni Collette
Releasing: 6 March 2008
Rated M

Now here’s a local film that packs a real emotional wallop. In the footsteps of Dustin Hoffman’s Rainman, The Black Balloon is a sympathetic if more confronting view of autism. This film is much closer to home set in recognizable Sydney outer suburbia complete with brick veneers, cranky neighbours, and Hills hoists. In fact DOP Denson Baker has selected long lenses to flatten the perspectives and give an even more dispiriting picture of the ‘burbs.

Co-writer and director Elissa Down has come up with the goods in this study of the Mollison family, Simon (Erik Thomson) is an army man trying to keep the peace in a wacky household in which Charlie (Luke Ford) is autistic and often more than a handful. They’ve recently arrived in Sydney after a stint in the Northern Territory. We have heavily pregnant mum Maggie (Toni Collette) about to give birth, and the other son sixteen year old Thomas (Rhys Wakefield) trying to care for his brother when mum has to rest, while at the same time fit into a new school.

Thomas is getting weary of his brother’s tantrums. He’s attracted to lovely Jackie (Gemma Ward) despite a couple of very embarrassing incidents with her and Charlie. While courting Thomas has not only to content with Charlie misbehaving badly, but also harassment by his thoughtlessly cruel class mates when they discover his brother is different. With all the frustrations of his life piling up, Thomas finally gives way to a pent up resentment of his brother. We feel for this offbeat family in crisis, where finally acceptance and love saves the day.

The film brings home dramatically the problems of raising an autistic child, and community attitudes to the mentally challenged. The director pulls no punches with scenes like the devastating birthday party, the confrontation at the school gate, and the vicious family fight. A great credit to young Luke Ford (Kokoda) who manages a difficult balancing act between being lovable or a nightmare. Rhys Wakefield (Home and Away - TV) also gives a strong performance as he tries to help Charlie at every turn but silently wishes his brother were normal. Toni Collette (Little Miss Sunshine) excels here as the sympathetic mother bringing unique compassion to the part, ex model Gemma Ward (Pink Pyjamas) is convincing as the bewildered but finally supportive Jackie looking stunning in her close ups. Erik Thompson (We’re Here To Help) is solid in his role at the soldier father.

First time director Elissa Down makes an impressive debut, having experience with autistic children she conjures up an extremely realistic film. The picture was awarded the Crystal Bear for Best Feature within the Generation 14 program at the 58th Berlin Film Festival. Though there are disturbing moments, they’re offset by heartwarming often amusing sequences, and the genuineness of the acting. It’s watching real people in real situations not always achieved in Aussie films. Much can be attributed to the excellent script that is a basis for the natural performances with the director’s firm hand and dramatic sense bringing it to fruition.

Despite subject matter which may have limited appeal, one can only hope that many cinema goers will take the opportunity to see this little gem. It may well be one of the best Australian films this year.

John Bale

Feast of Love

3 Mar 2008 10:28:11 GMT

That old smoothie Morgan Freeman is at the heart of a lot of sweet - and occasionally pretty spicy - action in Feast of Love.

Director: Robert Benton
Cast: Morgan Freeman, Greg Kinnear, Jane Alexander, Billy Burke, Selma Blair and Radha Mitchell
Releasing: 28 Feb 2008
Rated MA 15+

Treading steadily in the well-proven footsteps of La Ronde, Love Actually, and Coeurs, Feast of Love again follows the amorous adventures of a group of people who are interlinked by fate. Before you say ho hum and look for another review - hold on - this film has the benefit of Morgan Freeman in a major role. His contribution is enough to lift the material to the level of pleasing entertainment. Fortunately he’s supported by Greg Kinnear and a good cast. The movie’s not ashamed of wearing its heart on its sleeve; especially in the final touching scene which is definitely a two tissue job.

Freeman narrates the film with his usual dulcet tones and precise diction always good value, playing a typical Freeman part as the lovable “grandfather” figure with warmth and wisdom. His role is to hand out philosophical advise to the young lovelorn, which he does with coffee and sympathy. Freeman is one of the good guys of the screen, everyone wants him for a father.

In a Portland coffee shop, professor Harry Stevenson (Morgan Freeman) watches over the romantic attraction of the locals, giving advice to those not so fortunate in love. Despite his own tragic loss of a son to drugs, Harry has been happily married for years to Esther (Jane Alexander). Harry’s a close friend of slightly dippy Bradley Thomas (Greg Kinnear) the proprietor of the coffee shop, a romantic soul who seems especially unlucky in the choice of his beloved. While he thinks he’s found the perfect woman in his wife Kathryn (Selma Blair), after being married only a short time, she leaves him for another woman.

So Bradley is left only with the dog, a very misjudged gift to Kathryn. Yet undaunted and thinking he’ll find true love next time, Bradley becomes entranced with Diana (Radha Mitchell) a real estate agent. While she and Bradley engage in a passionate affair, Diana is also having a fling with highflyer David (Billy Burke) who can’t understand what she sees in dim Bradley.

Also in the melting pot are Oscar (Toby Hemingway) and Chloe (Alexa Davalos), who both work for Bradley at the coffee shop. They also fall madly in love. Gradually the light mood changes to dark. Other plot elements include a fortune teller who gives refunds when the news isn’t good, a house with a curse, and nude love making at night on the local football ground. In fact nudity is a feature of the film, just about all the cast get their gear off - except fortuitously Freeman and Jane Alexander. You’ll be pleased to know that the cast are good looking without their clothes and while there more sex scenes than SBS on a Saturday night, none seem gratuitous. Some might say it’s a feast for the eyes.

The outstanding performances are from Morgan Freeman (The Bucket List) and Greg Kinnear (Little Miss Sunshine) who adds some depth to his role, and their scenes together are enjoyable. The film is directed by veteran film maker Robert Benton who wrote Bonnie and Clyde in 1967, and subsequently directed Kramer vs. Kramer and more recently The Human Stain. While this is not up with his best work, it’s a pleasant excursion into well traversed country thanks to Freeman and Kinnear giving of their best.

Based on the novel by Charles Baxter with screenplay by Allison Burnett, the film was shot in Portland, Oregon which gives a nice sense of realism to many scenes. But there are occasional touches of brilliance; as when the high angle camera shows a wide shot of the ambulance stalled by flag waving crowds. Feast of Love is a feel-good movie with poignant moments yet a sense of optimism in a world that needs it.

John Bale

In the Valley of Elah

1 Mar 2008 10:07:06 GMT

The Valley of Elah was where David fought Goliath; but Tommy Lee Jones has his own battle to fight in Paul Haggis's new movie.

Director: Paul Haggis
Cast: Tommy Lee Jones, Charlize Theron, Jason Patric, Josh Brolin and Susan Sarandon
Releasing: 28 Feb 2008
Rated MA 15+

After the unexpected success of Crash, which dealt with racism in America, Paul Haggis turns his sights squarely on another hot-button issue with In the Valley of Elah. This time, the topic is America’s ill-fated adventure in Iraq; and more particularly, its effect on those called on to fight in that conflict.

Haggis is of course better known as a writer than as a director, and it shines through in his script. There’s a lot going on here, with layers building on layers as the story unfolds. Haggis also demonstrates why he’s in such demand as a writer, as he propels the film along and conveys meaning with few words.

Tommy Lee Jones is Hank Deerfield, a retired military policeman now living a quiet life in rural Tennessee. His son Mike (Jonathan Tucker) has been on a tour of duty in Iraq. His unit has returned home, but Mike is reported missing. Knowing what that could mean for Mike’s career, Hank drives to his base in New Mexico in an effort to find him, leaving his wife Joan (Susan Sarandon) to wait by the phone. In New Mexico, Hank soon runs into a series of dead-ends, as the military authorities seem reluctant to become involved. He tries to find a sympathetic ear with the civilian police, and thinks he may have found one in the form of Det. Emily Sanders (Charlize Theron); but she too doesn’t seem all that enthused. But the discovery of human remains in a desolate field changes everything.

The title, which is explained in the movie, comes from the Biblical story of David and Goliath; the valley of Elah being the place where their decisive battle takes place. It’s a rather frank metaphor for Hank’s battle with military officialdom to find out what has happened to his son. That however is about the only straightforward thing about the film, as Haggis takes us on a reflective and compelling journey through the heart of America’s current darkness.

The interplay between military and civilian authority has been done before (think The Presidio for example), and the military are predictably again the bad guys of the piece; but here Haggis transcends the obvious to produce a film that’s a complex interplay of politics, mystery and raw emotion. He uses the structure of a murder-mystery to explore his themes, but this is far more than a police procedural.

There’s an elegiac tone to the film that suits not just the subject-matter, but also the array of deep passions on display. That tone is not only reflected in the visual and sonic landscape that Haggis has created; but also – and perhaps most tellingly - in the craggy features and bleary eyes of Hank as he searches for his answers.

Like the Coen brothers’ No Country for Old Men, it’s set in the bleak southern border area of the US. The coincidence doesn’t end there however, as the stark beauty of the place is once more captured by Roger Deakins. Unlike the Coens however, Haggis tends to concentrate more on the decaying urban environment than on the countryside. The story takes place mostly in run-down motels, squalid bars and greasy diners than in the haunting landscape itself. Haggis seems to be using these images as a way of reflecting a moral or perhaps even spiritual decline in his characters.

The film unfolds at what might be described as a leisurely pace. The running time is close to 2 hours, but on reflection, it’s had to pinpoint any scene that could be regarded as superfluous or redundant. Despite taking a while to get going, once it does, Haggis certainly ramps up the tension as the events unfold. It’s also a film that makes demands on the audience, and not just because it doesn’t allow its characters to explain everything for you. Many scenes that might appear unimportant turn out to be very important later in the film, so it requires that you pay close attention from the outset.

Haggis clearly has considerable pull in Hollywood these days, as the star-studded (with no less than three Oscar winners) cast attests. Charlize Theron again undergoes a chameleon-like transformation to play the dowdy Sanders. That she gets to play both hard-nosed cop and doting mother only serves to highlight her range. Susan Sarandon is achingly effective as the heart-broken and world-weary Joan. Even if her involvement is limited to a few scenes, those scenes are some of the most important in the film.

In the Valley of Elah however belongs to Tommy Lee Jones, justly rewarded with an Oscar nomination for this performance. In his leathery face and melodious voice, the pain of a father robbed of his child well up with an intensity that’s palpable. While his performance here isn’t all that different from his supporting turn in No Country for Old Men, this carries far more gravitas and engagement with the audience. This is just the kind of performance that should be recognised with an Oscar nod.

There will be many films this year dealing with the US involvement in Iraq. Few however are likely to deal with that issue in such a sensitive and rewarding way as In the Valley of Elah. It’s another fine film from Haggis, whose stock seems to rise with each passing day. This is certainly one film not to be missed.

David Edwards

We Own the Night

1 Mar 2008 10:04:02 GMT

The Russian mafia seems to be the flavour of the month for crime dramas. Mark Wahlberg and Joaquin Phoenix get mixed up with these bad guys in James Gray's We Own the Night.

Director: James Gray
Cast: Mark Wahlberg, Joaquin Phoenix, Eva Mendes and Robert Duvall
Releasing: 28 Feb 2008
Rated MA 15+

Lately the Russian Mafia are getting some bad press out of Hollywood. We Own the Night is another competent cops v. Mafia drama which achieves very suspenseful moments; while at the same time creating an immediate need for actors with Russian features to play the heavies in these new excursions into Mafia territory. Are Italian godfathers are old hat now?

Recently we had the excellent thriller Eastern Promises and now this lighter weight follow up. Both suggest the Russian mafia make the Sopranos positively look like altar boys. What is commendable is the good cast and tricky script, which translates to a snappy suspenseful movie - including one of the best car chase scenes to hit screens for a long time. The movie takes its title from the motto of the NYPD street crimes unit back in the 80's.

It's New York City, 1988. Bobby Green (Joaquin Phoenix) manages a swinging Russian Nightclub in Brighton Beach, owned by Marat Buzheyev (Moni Moshonov) training Bobby to a bigger future. The club has regular guests who are seriously bad news like Buzheyev’s nephew the malevolent gangster drug dealer Vadim Nezhinski (Alex Veadov). A new form of narcotics is sweeping the city, in the crime wave the police are being gunned down by the Russian mafia who simply laugh at law enforcers. Bobby has a secret, his brother is Police Captain Joseph Grusinski (Mark Wahlberg) and his father the legendary Deputy Police Chief Bert Grusinski (Robert Duvall). All Bobby wants to do is progress in the club business, snort coke and enjoy the charms of girlfriend Amada (Eva Mendes). His relationship with his father and brother are strained when they tell him in the battle of the drugs he’s finally going to have to choose a side. When his brother is seriously wounded in a mafia execution style shooting, and his father also on the hit list he agrees to help them get Vadim Nezhinski.

The script's got the lot: corrupt cops, brave cops, super nasty Russian mafia types, and a hero who doesn’t know which side he’s on. He’s living the good life at the club while his brother and dad in the force are risking their lives in a thankless job with little reward. Writer/director James Gray (The Yards) manages to squeeze suspense out of scenes as when Bobby wearing a wire is lead into a dark corridor in the mafia drug factory. He is swallowed up in blackness as we expect the worst. Equally the pursuit in the cornfields is choreographed for maximum suspense. While the dramatic car chase in the rain is one of the most effective recently seen. There’s just the feeling better things could have happened here. While well paced and some clever plot developments, for the most part it doesn’t rise too far above similar films and TV shows.

Robert Duvall (Lucky You) plays the tough police chief easily enough its his type of role, although he looks rather aged to be in active service. But Duvall’s good at this, as is Mark Wahlberg (The Departed) as the equally hard nosed captain. Joaquin Pheonix (Walk the Line) convinces as the son torn between different loyalties and lifestyles. Some may find his changing sides and subsequent actions stretch credibility in the real world. But that’s the script not the actors fault. While Alex Veadov makes a suitably sinister gangster even his face would frighten cattle. Eva Mendes (Ghost Rider) looks the goods and improves as the film progresses.

Cinematography by Joaquin Baca-Asay suits the mood and style of the film. The opening sequence with montage monochrome stills of police at work sets the scene with a sense of realism.

While We Own the Night isn't altogether in the league of Eastern Promises but there’s enough going for it and certainly worth a look.

John Bale

The Bucket List

23 Feb 2008 22:46:35 GMT

Terminal illness usually isn't a cause for celebration, but seasoned veterans Jack Nicholson and Morgan Freeman have the adventure of their long lives in The Bucket List.

Director: Rob Reiner
Cast: Jack Nicholson, Morgan Freeman, Beverly Todd and Sean Hayes
Releasing: 21 Feb 2008
Rated M

Take a sentimental journey with two elderly men who’ve been told their life expectancy is about six months. They make out a bucket list; a wish list of things one would like to do before kicking the bucket. That’s the premise of the script by Justin Zackham in Rob Reiner’s latest film, The Bucket List. Reiner directed those noteworthy flicks Stand By Me, When Harry Met Sally, and This Is Spinal Tap back in the eighties with a long list of credits as an actor as well as a director.

Edward Cole (Jack Nicholson), billionaire and hospital owner, is struck down with cancer and ends up sharing a ward with Carter Chambers (Morgan Freeman) also a cancer sufferer. Because of Cole’s much advertised policy of two beds in every ward he’s stuck with sharing. Despite totally different backgrounds and temperaments they hit it off well after a very touchy beginning. Their abrasive interaction in the early part of the film produces the best scenes, with a touch of gallows humour.

Cole and Carter both get reports they have only a few months left. They hatch a plan to run off together and do all the things they’ve wished they’d done in life; including sky jumping and car racing. Cole, a super wealthy old guy, makes this all possible. The pair are soon setting off on their round the world tour of adventure to the apparent dismay of Carter’s wife (Beverly Todd) and his family. It turns out to be an uplifting journey towards a kind of salvation, learning more about themselves and a deeper understanding of family relationships.

Nicholson (The Departed) and Freeman (Feast of Love) are cast to type so they don’t have to extend themselves to any degree. Nicholson is his usual noisy sardonic persona with eyes that suggest mad Jack isn’t too far beneath the surface. He sports the worst haircuts since One Flew Over the Cuckoo's Nest; while Freeman remains the fatherly, good-natured self we’ve seen in so many movies, with quiet control over his emotions.

They’re both 71, with birthdays just a few weeks apart; and they work together with the precision of true professionals, beautifully milking the script for gentle laughter and a few tears. While Zackham’s screenplay verges on schmaltz the actors' delivery make it appear sincere and affecting. Nicholson’s unsentimental grumpy old man is always sounding off, while Freeman plays it straight with his marshmallow comforting tones. Who can do a better voice over than Freeman anyway? That voice is used to advantage at the beginning and end of the movie. Luckily Reiner’s saved by his charismatic leads from the perils of the sudsy script. There are no great surprises in the story, yet it takes some odd curves to keep you interested. Support comes in the form of co-players like Cole’s assistant (Sean Hayes), providing the droll but sympathetic foil for his boss.

Mildly distressing clinical scenes dealing with chemotherapy appear in the early parts of the film. In fact, this section is strong on hospital realism. While the travelogue bits are delightfully photographed in places we’d all want on our own bucket lists, these scenes rather outstay their welcome, not reaching the emotional highs of earlier in the movie. Aimed towards a mature audience, in keeping with a number of films recently it should bring out the fans of the two stars.

I was mildly surprised as a ripple of applause ran through the audience after the final damp hankie act. I’ve not heard clapping at a film for a quite a while. Maybe that’s telling you something.

John Bale

Rambo

23 Feb 2008 22:42:50 GMT

He may not have the profile of Daniel Day-Lewis, but when Sylvester Stallone's alter ego John Rambo is around, you know there will be blood - and lots of it.

Director: Sylvester Stallone
Cast: Sylvester Stallone, Julie Benz and Graham McTavish
Releasing: 21 Feb 2008
Rated R 18+

John Rambo’s back! Despite aging a few years, he’s in good shape even with hair extensions, and ready right a few wrongs in the Burma jungles in the simply titled Rambo. Bearing the granite expression of an Easter Island statue, Rambo’s still a man of few words - at least simplifying the scriptwriters’ work. It’s all-action blood and guts, exactly what Rambo fans want. No doubt they’re aging with the years too. Perhaps a younger audience into computer war games might also be impressed with Rambo’s unique skill at despatching his enemies.

It’s near twenty years since John Rambo (Sylvester Stallone) went into retirement. Now he’s catching cobras in Thailand for some small change. Pity the snakes. Along come a parcel of misguided missionaries who seek out Rambo to arrange a surreptitious boat trip across the border into Burma. Fortunately one is a pleasant blonde (Julie Benz) managing almost to get a smile out of ‘stone face’ and his reluctant agreement to take them into dangerous territory where the oppressed Karen population are brutally treated. The Burmese soldiers behave badly under their sadistic leader, a cross between Pol Pot and Hitler. Scenes remind of the enemy bayoneting babies in those 1940's war time propaganda movies. Christian Bale in his Rescue Dawn misadventures with the Pathet Lao soldiers had a picnic compared to these unlucky missionaries who are soon captured.

A ragtag bunch of tough mercenaries are paid to go into Burma and rescue the missionaries. Rambo is required again as boatman to take them up river. Soon he joins in the fray as the mercenaries are hard-pressed by the Burmese troops, and Rambo sorts things out using his winning ways with bow and arrow. In fact, the mercenaries are really superfluous to requirements. Rambo - that highly trained weapon of mass destruction - can write off a battalion or two on his own.

The scenes of carnage are well staged with CGI hyper-realism to the point you quickly lose count of dozens being decapitated, shot or blown to bits right in front of the cameraman. Stallone is in his element here. The action never stops during the rescue operation, and the blood flows freely. It’s actually a re-run of previous Rambo adventures with a change of nationality for the enemy; which should please those who like bloodthirsty war sports, and especially Rambo fans. It may also have a social conscience, although possibly by accident. One suspects it’s simply a stratagem to portray violent excesses on the screen.

The cinematography of the jungle and river is better than you might expect. Although the Burma Tourist Bureau may not give a seal of approval to the storyline, the scenery looks pretty good. Actually it was largely filmed in Thailand, with Thai extras being demolished in quantity. The script drops a few pearls of wisdom such as “Killing is as easy as breathing”; “Live for nothing or die for something”. Stallone directs his battle scenes effectively even if they are over the top. You’ll seldom see such a horrific view of warfare. It’s Stallone’s Apocalypse Now. But the performances and dialogue are so perfunctory and secondary to the action, we’ll not bother to go there.

At 61, Stallone’s looking a little tired and older in closeups yet surprisingly he (or a stand-in) manages his high powered action with as much energy as the earlier films. It keeps the Rambo legend alive if that’s at all desirable. Consider too Harrison Ford is on his way back shortly to revive Indiana Jones and he’s no spring chicken.

Hopefully these aging actors won’t continue making sequels until they’re doing their fight scenes in walking frames.

John Bale

Talk to Me

18 Feb 2008 09:44:14 GMT

Don Cheadle proves to be electrifying in this film about a pioneer in the crazy world of mass media.

Director: Kasi Lemmons
Cast: Don Cheadle, Chiwetel Ejiofor, Taraji P Henson and Martin Sheen
Releasing: 21 Feb 2008
Rated M

Not since Good Morning Vietnam have we had such an lively DJ lighting up the screen. In Talk to Me, a biopic about Ralph Waldo “Petey” Green Jnr., the scene is Washington DC in the 1960's, where soul music and exploding social consciousness are combining to powerful effect.

At the start of the film, we meet Petey (Don Cheadle), recently released from prison and a madly enthusiastic amateur DJ, and his ‘wild thing’ girlfriend Vernell (Taraji P. Henson). Through the efforts of Milo (Mike Epps), another prison inmate, Petey is teamed up with a reluctant Dewey Hughs (Chiwetel Ejiofor), an executive with a local R&B radio station WOL-AM.

Despite protests from the station’s conservative owner (Martin Sheen) Dewey takes a risk giving Petey a try-out, installing him in the studio for a morning talk-back program. Petey, with his cool chatter and often outrageous comments, tells it like it is; combining humour with biting social commentary and becoming one of the first "shock jocks". This totally different style of morning show becomes an instant winner. Dewey appoints himself Petey’s manager and inspired by the DJ’s success, applies increasing pressure to make him a major star.

Martin Luther King’s assassination brings the city to the boil. Petey, as the voice of the people, exerts a calming influence in a time of severe racial tension. His rise to fame and fortune has started. Dewey even books him on The Tonight Show with Johnny Carson; considered the way to the stars for comedians. Actually it’s Dewey’s dream to be on The Tonight Show, rather than Petey's - he would rather just stick to his old radio show. With his easy going lifestyle, various addictions, and perhaps a nervous streak, Petey is not so enthused about being a megastar.

The second part of the film shifts the emphasis to Dewey and his ambitions which cause a rift in the partnership. The picture loses focus and the latter section doesn’t really come up to the early promise.

Notwithstanding that, the performance of Don Cheadle (Ocean’s Twelve) is electric. He captures the essence of that style of talk-back radio while his determined efforts to get on board at the station abetted by his wacky girlfriend are hilarious. Equally Chiwetel Ejiofor (American Gangster) in fine form as the ambitious driving force, the two actors giving of their best in an early scene in a pool hall. In supporting roles Martin Sheen (The Departed) comfortable as the station manager, Taraji P. Henson (Smokin’ Aces) does a great turn as the exuberant Vernell, with Cedric The Entertainer filling in smoothly as the cool late night radio host.

Director Kasi Lemmons (The Caveman’s Valentine) helms with a confident hand until the later scenes, when some fizz goes out of the story. But she does well by her actors. The leads play off each other effectively. There’s plenty of astute humour with insights into the problems facing African-Americans in the white dominated business world of that era. The Tonight Show sequence provides a nice touch of suspense. Slick dialogue has a ring of truth which counts for extra points.

I’m not sure how accurate is this portrayal of Petey Green, knowing very little about the man, but as an amusing and intelligent film it ranks well enough.

John Bale

Jumper

13 Feb 2008 11:36:56 GMT

Hayden Christensen goes travelling without a plane in Doug Liman's kinetic thriller.

Director: Doug Liman
Cast: Hayden Christensen, Rachel Bilson, Jamie Bell and Samuel L Jackson
Releasing: 14 Feb 2008
Rated M

Anyone who’s been on a long-haul flight will surely relate to Doug Liman’s new action-thriller, Jumper. Who among us hasn’t, during those seemingly interminable hours trapped in a plane, wished we could just teleport ourselves to our destination? Just imagine – no jet lag, no lost luggage, no customs clearance… bliss.

But I digress. Yes, Jumper is a movie about teleporting, the idea that someone can instantaneously “jump” from one spot on the Earth to another. As you can imagine, the film requires considerable suspension of disbelief; but in Liman’s assured hands, it becomes an exciting, if not always very logical, thrill ride.

Liman started his career as an indie filmmaker, making “little” films like Swingers (the movie that brought Vince Vaughn to Hollywood’s attention) and Go. Since then, he’s graduated to big-budget studio films, notably The Bourne Identity and Mr & Mrs Smith. And while Jumper is clearly a “smaller” film than those, his penchant for action movies seems to continue unabated.

As noted, a “jumper” is someone with the ability to teleport. The particular jumper in question is David Rice (Hayden Christensen). David is an awkward kid at school when he discovers his power in the middle of a traumatic incident. Faced with a no-good father (Michael Rooker), David decided to use his gift to escape from life in Ann Arbor, Michigan. Flash forward a few years and David is living the life of luxury in New York. Of course, being able to just appear in spots proves very handy financially – especially when those spots are bank vaults. But his idyllic lifestyle is shattered by the appearance of Roland Cox (Samuel L Jackson). Turns out Roland is a paladin; a member of a secret society sworn to eliminate jumpers from the world. David escapes Roland’s clutches and makes a jump back home to Ann Arbor and hooks up with his high-school sweetheart Millie (Rachel Bilson). When the prospect of romance blossoms, he whisks her off to Rome (on an aircraft); but it could end up being a fatal error.

You can see the influence of The Bourne Identity in this film. The picturesque locales (Rome, Tokyo and Egypt to name a few), the virtually non-stop action, the spectacular stunts and the shadowy world the characters inhabit all echo Liman’s earlier film. He works however from a screenplay based on Steven Gould’s book, so it's sufficiently removed that the two films feel markedly different.

There’s a lot of CGI in the film as you might expect, but Liman makes good use of it; particularly in depicting the “jumps”. It tends to get a little much towards the end, but even then, Liman doesn’t lose control of his story.

What is annoying about the film is that the script runs out of ideas at times. It seems that in order to provide more time for the action, the plot simply marches on the spot for long stretches. Nowhere is that more apparent than in the Rome sequences, where I lost count of how many times Millie asks David the same question, simply to get no answer.

It also particularly irks me that Liman very deliberately sets things up for a sequel, starring noted actors who make brief appearances in this film.

Hayden Chrstensen does a reasonable job as the action hero, but I think his forte remains smaller films. He doesn't really get to act that much here, as his character is pretty much constantly on the run. Rachel Bilson adds a decent spalsh of glamour, although I found her damsel-in-distress routine a bit tiresome at times. Jamie Bell is a world away from Billy Elliot as a jumper with a chip on his shoulder; and Samuel L Jackson sports yet another outrageous hairstyle and a ton of attitude as Roland.

Jumper isn't a hugely deep or insightful film; but it's a lot of fun. It certainly doesn't make a lot of demands on its audience. It's a popcorn movie – but it's still a pretty good one.

David Edwards

Fool's Gold

13 Feb 2008 11:34:24 GMT

Attractive Queensland scenery competes for attention with Kate Hudson and Matthew McConaughey in this tale of lost treasure.

Director: Andy Tennant
Cast: Matthew McConaughey, Kate Hudson, Ray Winstone and Donald Sutherland
Releasing: 7 Feb 2008
Rated M

If you thought National Treasure was silly then wait till you see this lot. At least National Treasure was entertaining and amusing. Fool’s Gold is just an insult to the audience, unless you’re 8 years old you’ll wonder why they bothered to make it. It would seem Hollywood is bitten with the treasure bug, but this entry is not going to encourage many followers. We have the original treasure hunt for air heads.

In Key West, Florida, Tess (Kate Hudson) is busy trying to divorce her husband Ben “Finn” Finnegan (Matthew McConaughey) who arrives late at the proceedings in time to hear he’s divorced and the estate (consisting of a boat that’s he just sunk) awarded to Tess. However he’s hot on the trail of a great sunken Spanish treasure which in a convoluted history seems to be not far off the Florida coast and in his grasp. Unsurprising Tess and Finn later team up again to try recover the wealth beneath the seas. He enlists the aid of millionaire Nigel Honeycutt (Donald Sutherland) aboard his luxury yacht with bimbo daughter Gemma (Alexis Dziena). To please his spoilt brainless daughter Nigel agrees to finance them in the mission to find the loot.

However the irresponsible Finn is also in debt to hip hop shyster Bigg Bunney (Kevin Hart). As well rival treasure hunter Moe Fitch (Ray Winstone) keeps a close eye on Finn’s activities hoping he’ll lead to the resting place of the gold. All three teams are seeking the treasure and watching each other. But the first half of the movie is so sluggish and frankly stupid you’ve lost any semblance of interest by the time the action actually heats up. To add to insult the best gags (which are not sidesplitting anyway) you’ve seen in the trailer to the movie. The running joke of Finn being whacked over the head with a blunt instrument at regular intervals loses steam very quickly. And Alexis Dziena’s bubbly “I’m so silly” act will have bimbos cringing. As a romantic adventure/comedy its dead in the water. The only redeeming feature is the pleasant photography of Queensland passed off as the Florida coast.

Really Donald Sutherland, much in demand in TV (Commander in Chief), and Ray Winstone (Beowulf) should know better. And why are both of them saddled with whacky accents Sutherland doing a plummy Anthony Hopkins with his mouth full, while Ray Winstone tries an impression of Colonel Sanders on the turps. Poor Sutherland looks totally bemused in his close-ups, as if he can’t believe he’s end up with a script this bad. It’s sad to see an actor of his talent wasted. There’s even a Don Knotts-style character dredged up in the persona of Ewan Bremner (Trainspotting) who’s not used to advantage.

Earlier McConaughey and Hudson enjoyed some chemistry in How to Lose a Guy in 10 Days; but it's largely missing this time. Not that the pair don’t look good together comparing suntans. Sadly their acting ability if any is hardly called upon by director Andy Tennant. In the past he managed the fate of other modest offerings like Fools Rush In and Sweet Home Alabama. Here he’s at an all time low.

John Bale

The Mist

13 Feb 2008 11:31:45 GMT

Shawshank Redemption director Frank Darabont tackles yet another Stephen King novel in The Mist.

Director: Frank Darabont
Cast: Thomas Jane, Marcia Gay Harden, Lauren Holden and Toby Jones
Releasing: 7 Feb 2008
Rated MA 15+

Yes it's another Stephen King movie - you can’t keep a good man down. What makes The Mist different to many other S.K. movies is that it's written and directed by Frank Darabont who helmed a couple of outstanding adaptions in the past in The Green Mile and The Shawshank Redemption. He does well again here with the more conventional monster/horror theme.

Stephen King is at his best when his story is character-driven. Bring together a group of ordinary people we can relate to easily and then throw a nasty spook in their midst and watch the fireworks. It’s the characters that are the focus rather than the monsters. And because we care for people, that works a treat. He often devises a conflict between two factions - usually because of a religious zealot - to add more bang for your buck.

The location is a small town in Maine. The films starts innocuously enough with David Drayton (Thomas Jane) painting a film poster. We are only a couple of minutes into the movie before a storm hits with vicious intent, and the aftermath includes a steadily approaching thick mist. David leaves his wife and takes young son Billy (Natham Gamble) shopping to the local supermarket along with neighbour Brent Norton (Andre Braugher). The ominous mist suddenly engulfs the area trapping everyone inside the supermarket building, as they discover to their cost very unpleasant things hidden in the swirling white stuff. Tension builds. It slowly becomes apparent that something has gone seriously amiss at a nearby secret military establishment (a theme dear to King’s heart) where certain unspeakable experiments have taken place.

Mrs. Carmody (Marcia Gay Harden) a religious nut case doing an ‘apocalypse now’ routine, gathers some of the trapped locals on her side, while the smaller band of logical thinkers are lead by David and Ollie Weeks (Toby Jones), the supermarket assistant manager. Mrs. Carmody wants a sacrifice to placate her avenging God while David’s team just want to try and escape. Outside in the studio fog lurk a menagerie of horrors that could be from Stephen Spielberg’s nightmare tank. Mostly large bugs and spidery things but a couple of huge whatevers and an alien octopus or two. Carmody sees some link to Revelations in the Bible. Actually the scenes with the alien critters are wrought very well by the SF department and provide a good splash of horror which is what it’s all about. Gradually the film builds to a devastating conclusion not at all the usual Hollywood sweetener.

Some have compared this to Cloverfield as both have apocalyptic monsters and mass panic. But while Cloverfield uses a gimmicky visual presentation, The Mist depends more on the human relationships.

It also sports a good cast of stock players. Particularly surprising is Toby Jones (Infamous) who gave a noted portrayal of Truman Capote. Of course Marcia Gay Harden (The Dead Girl) is much at home in her crazier than thou role, she plays fanatic religious characters extremely well and she looks the part. Thomas Jane (Dream Catcher) is adequate in the lead without ringing any award bells while Laurie Holden (Silent Hill) provides a splash of glamour. Seasoned actors like Jeffrey DeMunn and Francis Strenhagen add the necessary gravitas.

Seems curious that King’s novellas translate to the screen more effectively than many of his long stories. There a lesson in that perhaps. Having not read The Mist I can’t say how much has been embellished by the rewrite, but the end result is certainly capable of giving the audience plenty of scares with a big dollop of suspense. Not all movies in the genre manage that so well. Frank Darabont, a friend of Stephen King, directs with assurance and makes the most of the special effects department.

The Mist is certainly one of the better Stephen King adaptions; without reaching the heights of the more sophisticated The Green Mile or Shawshank.

Footnote : Darabont’s now working on a script for the remake of Ray Bradbury’s Fahrenheit 451, which prove interesting.

John Bale

The Diving Bell and the Butterfly

10 Feb 2008 05:47:11 GMT

Oscar-nominated director Julian Schnabel brings a remarkable story of courage to the big screen.

Director: Julian Schnabel
Cast: Mathieu Amalric, Marie-Josee Croze, Anne Consigny and Emmanuelle Seigner
Releasing: 14 Feb 2008
Rated M

“Do you have to be sick for angels to appear...?” (Bauby)

You’re going to hear a lot about The Diving Bell and the Butterfly. People will talk of its emotional power, its brilliant imagery, its ability to take you inside the head of its hero.

Julian Schnabel, an American painter turned film director with a couple of art house features in Basquiat and Before Night Falls, comes of age with this major achievement. Ronald Harwood (screenwriter of Polanski’s The Pianist) and Schnabel adapted the best-selling 1997 memoire by Jean-Dominique Bauby; managing the almost impossible in bringing it to the screen. This remarkably moving story about the triumph of a man’s spirit will have special resonance for stroke sufferers.

Jean-Dominique Bauby (Mathieu Amalric) at the age of 43 is suave man about town and chief editor of Elle in Paris. He’s been involved in numerous affairs, yet possibly never found love. He’s passionate about his work as a journalist but overlooks the most important elements in life - children and family. Then suddenly Bauby suffers a stroke leaving him unable to move any part of his body except his left eyelid, in a condition known as “locked in syndrome”. With the aid of a speech therapist he learns to blink as a means of selecting letters read out to him - and by this arduous means finally manages to dictate the text of his memoire. Letter by letter you can imagine how slow and stressful the process must have been. Indeed, he dies shortly after completing the book.

Before his stroke Bauby signed a contract to write a modern feminine version of The Count of Monte Cristo now he thinks such sacrilege may explain his present illness, explaining “You don’t mess round with a masterpiece”. Oddly one of the characters in the Dumas novel, Noirtier de Villefort, is also paralyzed only able to move his eyes. Bauby makes his escape from the “Diving Bell” (locked in syndrome) through dream and imagination - the “Butterfly” - which opens an incredible new world to him. This world is depicted in fantasy sequences including a magic corridor in the hospital with Nijinsky doing ballet leaps through the patients.

The innocuous 'La Mer' sung by Charles Trenet over the credits hardly prepares us for the opening scene with flashes of light. This first part is filmed in subjective camera, and shows the action from Bauby’s viewpoint as he wakes from a coma seeing his doctors crowding over him through blurred vision. Horror mounts we watch (as he does) his other eye sewn shut. Bauby cries out. His cries go unheard. But because we’re inside his head we hear them. The eclectic subjective cinematography makes use of a jittery camera, tricky focus shots and clever surround sound contrasting with striking baroque images later in the dream sequences. There is a clinical attention to detail in the therapy, especially the laborious communication by letters.

The performance of Mathieu Amalric (Munich) appearing in many scenes wearing grotesque makeup allowing the movement of only one enlarged bloodshot eye is nothing short of awe-inspiring. While ironically the director has cast beautiful sensual women to surround him: Marie-Josee Croze as his ever-patient therapist, Anne Consigny as his scribe, and Emmanuelle Seigner as the ex-wife. Veteran Max von Sydow (Minority Report) at his impressive best as his father in a most emotional sequence. The late Ingmar Bergman would approve.

Its hard to recall any film quite like The Diving Bell and the Butterfly, the nearest would be Dalton Trumbo’s 1971 anti war vehicle Johnny Got His Gun with similarities of structure and storyline. Those prone to weeping be warned - this is not a one tissue movie; you may need a box full. A small quibble concerns the subtitles, which are hard to read at times against light backgrounds, demonstrating the need for a drop shadow.

Summing up though - just go see it. You won’t forget this inspiring study of defiant spirit locked in an ineffectual body. “Hang on to the human inside you”.

John Bale

Dan in Real Life

10 Feb 2008 05:45:35 GMT

Turns out there is a gentle side to Steve Carell, and director Peter Hedges finds it in Dan in Real Life.

Director: Peter Hedges
Cast: Steve Carell, Juliette Binoche, Dane Cook and Dianne Wiest
Releasing: 14 Feb 2008
Rated PG

Steve Carell makes another foray into independent cinema with Dan in Real Life. Playing Dan, a newspaper columnist and widowed dad with three daughters, Carell imbues the film with his usual goofball humour, blended with a good tug at your heartstrings.

Dan and his three girls, Jane, Cara and Lily (played by Allison Pill, Brittany Robertson and Marlene Lawston respectively), jump in the station wagon for an annual trip to the family summer home, to close up for the season. It's a huge family gathering, with Dan's two brothers and sister bringing their partners and children along too, for what seems an endless weekend of organised sporting activities and parlour games where everyone gets along and generally behave in a nauseatingly supportive fashion.

Struggling to strike the balance between father and dad, Dan and the girls are in tumultuous teen territory, and relish the opportunity to be in the company of other people. During a rare moment of peace and quiet, Dan meets Maria (Juliette Binoche) in the local bookstore, where they instantly share a bond over blueberry muffins and coffee, only to discover that Maria is actually the new girlfriend of Mitch (Dane Cook), Dan's youngest brother.

Shocked, embarrassed and confused, Dan and Maria keep their chance meeting a secret from the family, while trying to contain their obvious attraction for one another and go with the day to day antics of the family. Needless to say it's not long before cracks, indeed hilarious chasms, begin to show.

Carell has quickly become a hot commodity in Hollywood, leaping from bit parts in gross-out comedies to leading man in gross-out comedies, kid-friendly franchises and the odd dramatic role.

Dan in Real Life is, at it's heart a romance-family drama, but Carell, and to a lesser degree, Cook, bring much welcome light-heartedness to the film, with several laugh out loud sequences and countless cringing giggles at the awkwardness of the situation they're in.

The female characters are well represented, with much of the drama carried by the three girls, while an off-centre kooky Binoche provides some sparkle to an otherwise 'normal' family. Dianne Wiest and Amy Ryan have small but influential roles as the family matriarch and sister respectively.

Set primarily in and around the family home, the film has a lovely low-budget, intimate feel to it, without the pitfalls of cheap cast and corner-cutting on the script. Indeed, director Peter Hedges' script (co-written with Pierce Gardner) is witty, personal and just a little bit weird, characteristic of a highly observational story no doubt based on more than a few 'real lives'. As director, Hedges does a great job at just letting everyone do their own thing - none of the performances feel forced, with the exception of Brittany Robertson's Cara, who is clearly supposed to be experiencing an overly dramatic teenage phase anyway.

Dan in Real Life follows in the footsteps of many successful independent films from previous years - Garden State, Juno and The Good Girl are all worthy comparisons. With it's mix of laugh out loud zaniness and sober love story, Dan in Real Life is sure to create echoes of past trials and tribulations for us all.

Belinda Yench

Rendition

10 Feb 2008 05:43:15 GMT

An all-star cast tackle a thorny subject from the war on terror - and it's not for the fainthearted.

Director: Gavin Hood
Cast: Jake Gyllenhaal, Reese Witherspoon, Omar Metwally, Peter Sarsgaard, Alan Arkin and Meryl Streep
Releasing: 14 Feb 2008
Rated MA 15+

One of the more problematic elements of the current “war on terror” is the United States' use of what is euphemistically called extraordinary rendition. Basically, it involves the extra-judicial movement of suspects from one country to another. What makes it problematic, apart from by-passing normal extradition processes, is that the countries to which these suspects are “rendered” are often ones that either explicitly or tacitly condone the use of torture as an interrogation method.

Well-travelled director Gavin Hood, who made the acclaimed Tsotsi, takes an interesting, if not altogether entirely compelling, look at the moral and human costs of the practice with Rendition. In doing so, it should be noted, Hood graphically depicts some of the more extreme methods used by some governments, including electric shocks and the controversial “water-boarding” technique. So this certainly is not a film for the fainthearted.

The film is a multi-stranded one, following several characters' stories as it progresses. It begins with the arrest of an Egyptian citizen, Anwar El-Ibrahimi (Omar Metwally). Anwar has been living in the US for 20 years, has a green card and is married to a US citizen, Isabella (Reese Witherspoon). He's taken following a terrorist attack in an unnamed North African country that kills a CIA agent. That killing leaves Douglas Freeman (Jake Gyllenhaal) as the ranking CIA officer in the country. When Anwar is “rendered” to North Africa, Freeman must oversee the interrogation by local tough guy Abasi Fawal (Yigal Noar). The rules are simple – Fawal conducts the interrogation, Freeman simply observes and reports back to Washington; where the powerful Corrine Whitman (Meryl Streep) is awaiting news. But Freeman begins to have doubts about the process. Fawal himself is involved in a personal battle involving his daughter Fatima (Zineb Oukach), who is missing.

Hood works off Kelley Sane's script, and there are times when the film is gripping, particularly in the early stages. The pace however slackens off in the middle section; and it has to be said the interrogation scenes do become a little repetitive after a while, so that their shock value diminishes. Personally I didn't think the Washington sequences added all that much to the drama, and they could have been trimmed down and still had the desired effect. The other key flaw in the plot is that Freeman must essentially remain passive in the whole exercise. As a result, we get little insight into what he's thinking or planning, so his actions towards the end of the film come a little out of the blue.

Having said all of that, the film certainly makes a strong statement about the use of torture and the seemingly duplicitous position adopted by successive US administrations on the issue. As such, it makes far more powerful observations about the war on terror than say Robert Redford's overly talky Lions for Lambs.

Although I won't say too much about it, Rendition does contain a very well-worked twist toward the end that I frankly didn't see coming. It's a testament to Hood's skills (and those of his film editor) that he manages to pull this off so seamlessly. And unlike some recent examples, it's not a twist for the sake of having a twist, it actually adds tremendously to the story.

The big-name cast is excellent in the main. Jake Gyllenhaal does a great job of restrained acting as Freeman; ably assisted by Yigal Noar as his foil in Fawal. Omar Metwally is excellent as the bewildered El-Ibrahimi; although Reese Witherspoon is largely sidelined as Isabella, her role reduced to simple pleading. The Washington sequences rely heavily on the skills of Peter Sarsgaard, Alan Arkin and Meryl Streep as the key players, and none of them miss a beat.

In the burgeoning sub-genre of films about the war on terror, and its companion conflicts in Afghanistan and Iraq, Rendition is a reasonable enough example. The film has a few too many flaws to be considered truly successful; but at least it raises some important issues for its audience. And for that alone, it's a worthy addition to the canon.

David Edwards

There Will Be Blood

7 Feb 2008 06:37:41 GMT

Daniel Day-Lewis doesn't do a lot of films these days, but when he does - look out.
Director: Paul Thomas Anderson
Cast: Daniel Day-Lews, Paul Dano, Dillon Freasier and Ciarán Hinds
Releasing: 9 Feb 2008
Rated M

David Lean comes to mind when we speak of epics and one rather thinks he would tip a nod to Paul Thomas Anderson’s sprawling saga of oil, dysfunctional families, misplaced religious fervor, greedy megalomanic power and the wrath of God, There Will Be Blood. This lengthy excursion into the turbulent days of the pioneer petroleum exploration and exploitation in California has the feeling of a classic. that feeling starts right from the first reel, filmed without dialogue in masterly style telling us much about the central character’s beginnings as a tough miner. When the film cuts to him actually speaking as an oil man at a town meeting, the dialogue is almost a shock. With his confident precise tones he could be a leader of men or a snake oil salesman.

The story concerns the rise and fall of Daniel Plainview (Daniel Day-Lewis). Starting out a tough-as-nails silver miner, he takes his small son H.W (Dillon Freasier) with him on his exploits. He becomes a leading figure in the new oil business. Plainview pays for information about oil under a remote town called Little Boston. With charm overlaid by obsession, he soon controls much of the land and the ocean of oil beneath. Things change dramatically in the sleepy backwater under his fanatic guidance and money.

He comes up against Eli Sunday (Paul Dano) the charismatic zealous young preacher of the local Church of the Third Revelation, from whose father Plainview has obtained drilling rights. There is a severe falling out between Eli and Plainview when Eli isn’t given his chance to bless the drilling rig. While oil gushes forth Plainville’s fortune is made but tragedy strikes H.W. deaf. Add to the mix Plainview’s long lost half brother (Kevin O’Connor) turns up; but is he the real deal or an adventurer seeking the family fortune. So the years pass as millionaire Plainview declines, drinking to excess and estranged from his son, he becomes a fierce enemy of Eli, and harbours deep concerns about his “brother”. Greed has blackened his soul and he descends into a lonely madness.

The driving force of director Paul Thomas Anderson (Magnolia) coupled with the breathtaking performance of Daniel Day-Lewis (Gangs of New York) makes this a pretty unstoppable blockbuster, despite running two and half hours. Day-Lewis makes few recent movies and selects larger-than-life parts when he does. They’re usually memorable roles; and this is certainly one of his most impressive.

Plainview’s given to homicidal rages, and has an intimidating disposition; yet he exudes great charm when necessary. He can turn from good-natured to vicious hatred in a twitch. “I look at people and see nothing worth liking,” he says at one point. Day-Lewis's superb delivery of lines has the echo of John Huston. As Eli Sunday, the young actor Paul Dano (who appeared in Little Miss Sunshine), plays a complex exuberant role which he manages with surprising aplomb. The often humiliating struggle between these two flawed men is fascinating, rarely are both leading characters so clearly unlovable.

Other features of the movie are the superb recreation of the period from the 1890s to the 1930s; especially the realistic harshness of conditions in the drilling rig and the slap up towns around the oil field. With panoramic barren landscapes, Robert Elwit’s cinematography never misses a beat, coupled with powerful incidental music propelling the action. Technically it's a finely made film, proving the ability of the director beyond doubt. While having this small rave, I must add there are some flaws. The major character of Eli Sunday surely found the fountain of youth as he, unlike the rest of the cast, doesn’t appear to age in the couple of decades of the story. Also a lull towards the middle of the film in scenes between Daniel and his half brother could have been tightened to advantage.

But these are minor gripes. There Will Be Blood has the power to sweep you along with it right from the opening shots. As the dramatic last scene goes to black and the credits roll to the rousing Brahm’s violin concerto, you feel like applauding Day-Lewis’ riveting performance. I’m sure the more uninhibited audiences in America will be on their feet clapping.

John Bale

Sweeney Todd: The Demon Barber of Fleet Street

3 Feb 2008 09:45:26 GMT

There's an extremely close shave in store for Tim Burton and his cast as they take on this dark but compelling musical

Director: Tim Burton
Cast: Johnny Depp, Helen Bonham Carter, Sasha Baron Cohen, Timothy Spall and Alan Rickman
Releasing: 24 Jan 2008
Rated MA

No doubt Tim Burton’s hard bitten by German Expressionism if Sweeney Todd is anything to go by. Burton’s gothic London is a chilling blend of Charles Dickens and Jack the Ripper seen through a glass darkly by Dr. Caligari. In fact the opening shot could well be from Nosferatu, the German silent horror classic. We’re treated to a grisly blood splattered version of the 1979 Broadway musical by Stephen Sondheim in turn based on a play by Christopher Bond. The actual Sweeney Todd seems an urban legend of the 19th century, appearing originally in a penny dreadful of 1846.

Returning to London illegally from transportation in Australia for a crime he didn’t commit, Benjamin Barker (Johny Depp) one time popular barber takes the name of Sweeney Todd. He’s a full-out nutcase seeking revenge on evil Judge Turpin (Alan Rickman) who sentenced him in order to seduce Barker’s lovely wife. Todd teams up with seedy Mrs. Lovett (Helena Bonham Carter) a pie maker of lowly circumstances in Fleet Street. He sets up his barber shop again over her premises. They make a ghastly team as lunatic Todd cuts the throats of his customers while he shaves them. Not good for business, one might think. However there is profit in using the bodies in the basement to make Mrs. Lovett’s now famous tasty pies. Things get complicated when Anthony Hope (Jamie Campbell Bower), an acquaintance of Barker/Todd, takes a shine to Barker’s daughter Joanna (Jayne Wisener) keep isolated in his house by the Judge and smarmy cohort Beadle Bamford (Timothy Spall). Making Jack the Ripper look a wimp, Sweeney Todd embarks on a serial killing spree second to none, developing a mechanical masterpiece barber chair that dumps his victims down to the cellar in one quick movement. Todd is now hoping against hope that the Judge will fall into his grasp.

These nefarious goings-on are fully depicted on the screen with relish by Burton. Like his previous essay into the gothic Sleepy Hollow with Johnny Depp he makes the most of dark fantasy sets, deep shadows, ridiculous black eye makeup and hairstyles inspired by Elsa Lanchester (Bride of Frankenstein). The debt to the German silent Cinema is obvious. Some might be confronted by copious blood letting to impassioned music and lyrics of Sondheim, but frankly because it’s all so over the top it’s less disturbing than you imagine. Although not for the feint hearted, Burton plays this one with tongue in cheek. The opening credits appear over closeups of the mechanics of the infamous barber’s chair. Blood slowly flows down the cogs, but Burton clearly lets us see it’s red paint.

The lighting, cinematography and sets impeccably keep the nightmarish moo. The music starts right off with some deep organ notes that would wake the Phantom of the Opera. Overall the music isn’t the sort that you start whistling on the way home, but its very much Sondheim and with his lyrics it all comes together in classic Grand Guignol. Johnny Depp (Pirates of the Carribean) is startling as the demonic barber mostly featuring a brooding “Beethoven” look but bursting into wild manic rages with eye bulging enthusiasm. Helena Bonham Carter (Big Fish) as Mrs. Lovett is no less fearsome, for better or worse reminiscent of The Bride of Frankenstein. Both Depp and Carter are in good voice here in what is a demanding score.

Alan Rickman (Harry Potter) is at his malevolent best as the devious Judge manages a delivery full of menace; while as Beadle, Timothy Spall (Enchanted) in a wheedling yet brutal role seems to have modeled his act on David Lean's Oliver Twist in which Francis L. Sullivan played the unpleasant Beadle. Chewing the scenery in a show stopper is Sacha Baron Cohen (Borat) popular with the audience as soon as he makes an appearance as the ludicrous rival barber Signor Adolfo Pirelli. While Jamie Campbell Bower and Edward Sanders do good service in supporting roles.

Finally however Sweeney Todd belongs to Tim Burton, his extraordinary vision remains indelible on this adaptation of the demon barber in his house of horrors. Images and direction really can’t be faulted. It’s a brilliant film by a man who knows what he’s about - only Tim Burton could have made this picture. Full marks then to an adult horror movie for the musically inclined. It's a rare thing indeed, possibly the most extraordinary film you’ll see this year.

Footnote:

While Sweeney Todd is likely an imaginary character, there was a truly unpleasant “pieman” by the name of Alexander Pearce in Tasmanian history. He was a convict who escaped Macquarie Island and in the wilderness, unable to find food, ate his companions. He was indeed a pie seller convicted in Hobart of unwholesome meat.

John Bale