| Movie | Rating | Review | Date | Your Rating | Match | |
|---|---|---|---|---|---|---|
| Narayama bushiko (Ballad of Narayama) - Unrated | November 10, 2009 | N/A | ||||
| Harakiri - Unrated | November 10, 2009 | N/A | ||||
| Hiroshima Mon Amour (Hiroshima, My Love) - Unrated | November 10, 2009 | N/A | ||||
| Y Tu Mama Tambien - R |
''Truth is cool but unattainable... the truth is totally amazing, but you can't ever reach it.'' In Mexico, two teenage boys and an attractive older woman embark on a road trip and learn a thing or two about life, friendship, sex, and each other. Maribel Verdu: Luisa A Mexican rite of passage story framed as a road movie, Y tu mama tambien is funny, rude and eventually quite touching. The road in question leads to an imagined beach named Heaven's Mouth, the spontaneously created fantasy of two horny sex mad seventeen year-olds, Julio (Gael Garcia Bernal) and Tenoch (Diego Luna). Cheekily flirting with Luisa, a 28 year-old from Madrid, the lads unwisely invite her to join them on an unplanned trip to their mythical beach, not for one moment expecting her to say 'yes'. She does, after having her own personal problems. The motivations of the hormonally-charged Julio and Tenoch are not hard to fathom. They want to get laid, and Luisa duly obliges by seducing each of them in turn. But the seductions prove to be a catalyst for some painful self-discovery as the young men come to realize that they know rather less about women, about each other, and about themselves, than they presume they do. Luisa's motivations remain enigmatic, until a dramatic revelation at the film's climax. ''Who cares who you two fucked when you come that fast!'' Writer-director Alfonso Cuaron is here heavily indebted to Francois Truffaut, whose Jules et Jim this movie strongly resembles in two particular ways. It's not simply in the time-honoured theme of two close male friends besotted by the same alluring and slightly mysterious woman. It's also in the use of the distancing device of a narrator who serves to provide a degree of hindsight to an extremely up-close-and-personal story, locating it in a wider social context. In this latter regard, where Truffaut used newsreel footage, Cuaron cleverly incorporates fleeting glimpses of events taking place along the road as the journey unfolds: fatalities, drug busts, folk festivals. These brief sightings reveal almost subliminally an alternative Mexico of political corruption and economic poverty, but also of the endurance of the human spirit. It's a world that the over-privileged but under-nurtured Julio and Tenoch have scarcely begun to connect with. Cuaron's knack for displaying social injustice is as acute as his ear for raucous teenage banter and it gives his film a resonance beyond the reach of the average teen comedy. There's a raw, improvised feel to the script that is entirely successful in conveying the fluctuating moods and energy levels of its testosterone-fueled protagonists. Bernal and Luna fling themselves into their roles with engaging enthusiasm and humour. Verdu is pleasingly understated in a role that seems a little under-developed. Perhaps deliberately, Cuaron never allows us to get too close to the heroine. Y tu mama tambien is an entertaining and perceptive snapshot of a very distinct moment in its characters' lives. Julio and Tenoch are captured on the verge of adulthood, and Luisa on the threshold of a mental and physical journey concluding. ''Life is like the surf, so give yourself away like the sea.'' |
November 10, 2009 | N/A | |||
| Immortal Beloved - R |
''It is the power of music to carry one directly into the mental state of the composer.'' The life and death of the legendary Ludwig van Beethoven. Gary Oldman: Ludwig van Beethoven Firstly, everyone knows Beethoven in his childhood was forced live up to the child prodigy Mozart. A nice analogy can be made with this film, this adaptation, this conjuring of his life. Because of the semi-biographical, semi-fictional nature of the story it is impossible not to compare it to Milos Forman's Amadeus. And where Beethoven (in my opinion) surpassed Mozart later in his career, Immortal Beloved does not. I'm not saying that Immortal Beloved attempts to mimic Amadeus, but the comparison is certainly unavoidable. If, however, we judge Immortal Beloved in it's own right, it comes out quite well. Gary Oldman's performance is spectacular to say the least and carries the story into the heavens. The story is very well constructed, although it is sometimes buried under by psychological complexity of its character. It seems to want to focus on to many aspects of Beethoven's personality, life, and surroundings all at once. A little more simplicity might have served the story more believability. The plot, though historically inaccurate in places, has enough impact to satisfy all the mystery and questions that arise in the web of storytelling. And though it very probably didn't happen that way, it serves very well to explain Beethoven's psychological problem, and, in all fairness cast this into legend rather than mythical proportions. ''You think that because I do not stop you, that I am not listening.'' So if all this is so right, what's wrong with it? The flaws of Immortal Beloved, I feel, stem mostly in the often unjustly ignored facets of mixed cinematography. The composition though never irritating, also never over come our senses. The same goes for the colours, they are always good, but are never a reflection of the emotions in the powerful extreme sense. This applies to the editing and use of music as well. And it is in these respects especially that Immortal Beloved does not reach the greatness of the emotion grabbing Amadeus. All in all a powerhouse of a story with amazing potential. Tons of praise to Gary Oldman in one of the best performances of his career. The movie is very well researched in places and epic in it's own ambition. That these ambitions aren't completely fulfilled is an immortal tragedy. For those who are interested what parts of the movie are historically correct (which one tends to wonder when watching a biopic like this), all major characters are correct, as are the basic relations between them. the letter around which the story revolves actually exists, and most anecdotes truly happened in some shape or form. Historians and music scholars alike are still baffled about the identity of the immortal beloved...thus mirroring the mixed opinions of this adaptation, but certainly there is no doubt in my mind, Gary Oldman gives a performance worthy of repeated viewing alone, saving Immortal Beloved from disaster. ''The comedy is over.'' |
November 10, 2009 | N/A | |||
| The Shining - R |
''Darling. Light, of my life. I'm not gonna hurt ya. You didn't let me finish my sentence. I said, I'm not gonna hurt ya. I'm just gonna bash your brains in. I'm gonna bash 'em right the fuck in. Ha, ha.'' A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future. Jack Nicholson: Jack Torrance Shelley Duvall: Wendy Torrance The Shining as soon as it begins, as soon as the music eerily plays and the landscape zooms in and past, you instantly know this is a piece by Kubrick. I mean it's so blindingly obvious. The film is based on Stephen King's novel and the combination of Stanley Kubrick bringing it to life on the big screen, we have before us gold. We get a boy who right from the off is made apparent he has a psychic gift and visions of things best not seen. Danny Lloyd plays Danny Torrance with remarkable skill for a boy so young which is a wonder to behold. Shelley Duvall who portrays Wendy really annoyed the hell out of me. I mean here we have this strange looking woman who delivers her lines in such a flimsy fashion, and I mean some of the clothes she wears are so distasteful it makes The Shining in areas a horror movie for all the wrong reasons. Her scared disposition is believable in parts though and she doesn't do a totally bad job. Moving on to the main attraction of Shining and yes you have guessed it, it's Jack Nicholson as Jack Torrance who steals the limelight and ultimately the show. He's so insanely nuts and off the chain, my humour called for me to laugh every single time he went psychopathic. I mean he totally captures and freezes onto frame the sheer madness of Jack's character. Whether it be visions from his mind perhaps of figures from the past or real supernatural influences from the Hotel, we are treated to his mind and left to make up our own conclusions. Are the figures real or merely part of his sub conscious being drawn out? It's definitely an excuse for discussion and Jack going completely ape is an excuse to re-watch this horror masterpiece. ''Little pigs, little pigs, let me come in. Not by the hair of your chiny-chin-chin? Well then I'll huff and I'll puff, and I'll blow your house in.'' The Shining features some of the most warped music which reminded me of the other greats of Kubrick like 2001 and Orange. The Cinematography especially the last scene in the dizzying maze and the start with the countryside being shown is virtually faultless. Be it the creepy visions the boy has of past occurrences, rooms splashing with blood, or a pair of twins who were blatantly murdered by a previous caretaker. Be it Jack's spiraling maddened journey into the dark side, or his conversations with a surreal bar man who appears to be from the past and part of Jack's weathered conscience. Shining really shines as a masterful piece in the horror stakes and will remain a shining performance for Jack Nicholson and a directorial achievement for the late Kubrick. The REDRUM and ''HERE'S JOHNNY!'' has become iconic and it's not hard to see why. Overall I felt Shining is a work of genius that obviously will be replicated and copied by many more horror films trying to achieve the same shocking outcome but alas they all pale in comparison. The ending wasn't as bloodthirsty as I would of hoped, and the closing part with him in the picture wasn't totally understood by me. But the more I think about it, the cleverer it appears to be, like The Shining is telling me Jack has been consumed and become one with a Hotel and place that has buried an ancient angry foreboding embodiment of anger. The shining grand achievement of Kubrick. ''Heeere's Johnny!'' |
November 10, 2009 | N/A | |||
| Bright Star - PG | November 6, 2009 | N/A | ||||
| Braveheart - R |
''It's all for nothing if you don't have freedom.'' William Wallace, a commoner, unites the 13th Century Scots in their battle to overthrow English rule. Mel Gibson: William Wallace Braveheart is a story blessed with many endearing nobilities and notions, but more than anything a dual sense of honour and liberty: on the one side William Wallace, a legendary figure who accomplished the impossible by leading the Scots when no one else would; and on the other hand Mel Gibson, who demonstrated with this movie a directorial talent that many of us doubted. Previously, I had Mel labeled as a likable albeit type-cast action hero from series such as Mad Max or Lethal Weapon. His dual personality never indicated a passion for directing, an intensely romantic and dramatic epic. The Man Without a Face proved that Gibson could direct a good film, Braveheart proved that he could direct a great one. Gibson's greatest achievement in Braveheart (besides the mesmerising battle sequences) is that he envoked excellent performances from the entire cast: every actor and actress (even those who appear for only a few moments) hits exactly the right mark. In fact, I'm outraged that Braveheart received no Oscar nominations for its acting: Why honour Gibson as Best Director of 1995, yet ignore the performances which are the fruits of his labours? I'm not saying that any particular person in Braveheart (Mel Gibson, Patrick McGoohan, Angus McFadyen) should have won an acting Oscar, it's the fact that nobody was even nominated that bothers me. I am aware that this film is at times historically inaccurate: Even in 1995, when I first saw Braveheart, I knew enough military history to know that the battles of Sterling and Falkirk were not being accurately presented. But this awareness did not and does not interfere with my enjoyment of the movie, because Braveheart exists outside the borders of history: mirroring the same artistic license as Dances With Wolves, Robin Hood, The Last of the Mohicans, Gladiator and The Three Musketeers, it is an emotionally rich epic inspired by history yet not confined to it's chains, less concerned with accuracy to every detail than with the eternal struggles of good and evil, love and hatred, freedom and oppression. And isn't that enough? Braveheart is one of the most stirring films of storytelling: If you can't reconcile yourself to its inaccuracies and simply enjoy it on its own terms, then maybe you are missing the point. Patrick McGoohan's performance as Longshanks has, in my opinion, not received nearly enough praise: He masterfully plays the king as a man who embodies the phrase 'absolute power corrupts absolutely'; he commands an entire nation, yet covets what he does not or cannot have. He answers to no one, and can barely restrain himself: he does not even try to conceal his contempt for his homosexual son, his lust for his daughter-in-law, his rage against any obstacle to his will. The performance is also physically impressive. We see the king gradually consumed by tuberculosis through the movie, and McGoohan makes the ordeal so believable that, though Longshanks is unrepentant to the end, we are moved to feel remorse for him in spite of everything. Besides McGoohan, Angus McFadyen (as Robert the Bruce) gives the most impressive performance in Braveheart. When I first saw the movie, I identified with William Wallace; but now I identify with Robert the Bruce, who is in fact the key figure of the story. He is not a great man like Wallace, but he wants to be great, and he idolizes Wallace so much that he is almost overwhelmed to hear Wallace tell him "If you would lead us, I would follow you." But the Bruce is warned by his sly, leperous father (played unforgettably by the late Ian Bannen beneath Oscar-winning makeup) to not live a life of action, but rather a life of calculation. As he wrestles with the dual influences of Wallace and his father, he embodies a theme at the movie's heart: the eternal conflict between youth and age, idealism and cynicism, uncompromising heroism and craven opportunistic nature. When I first saw Braveheart, I was most impressed by the power of its battle sequences; after seven years, I am most impressed by the enduring power of its story. It is a great movie because it seriously argues that one man's lifelong personal experiences and struggle can make a difference, if not in the world then at least in the lives of others, it is a great movie because it is ultimately an inspiring story of perseverance in the face of considerable brutality and heartbreak, greatness because a thousand words are not adequate to express all of its emotional power and impact. I do not have the heart to give Braveheart less than a perfect score, even if I wished, because it is much more to me than mere entertainment...It is a constant reminder to me that I must never lose heart, to stand up for what one believes in, to be true to ones self. "You have bled with Wallace...now bleed with me!" |
November 6, 2009 | N/A | |||
| The Usual Suspects - R |
''The greatest trick the devil ever pulled was convincing the world he did not exist. And like that... he is gone.'' A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup. Gabriel Byrne:Dean Keaton The Usual Suspects is simply a fascinating piece of film-making and story telling from director Bryan Singer. Because of the trick ending conclusion, it is debatable as to what is truth and what is fiction. If you watch it objectively, it is just a damn entertaining, complex, a well structured film noir piece with a breath taking climax. If you take the subjective route, then what you've got is perhaps the most puzzling film ever made, one that even with multiple repeated viewings will make you doubt your own conclusions. The Usual Suspects begins with the supposed protagonist, Dean Keaton (superbly played by Gabriel Byrne), being assassinated by a mysterious unknown figure, named Keyser. I think it's safe to say that this opening scene is objectively told, it really happened. Then Keyser burns the ship that Keaton and a bunch of other men (who we find out about later) are on. In the immediate aftermath of the incident, the cops and FBI question the sole survivor of this massacre, Verbal Kint (played by Best Supporting Actor Oscar winner Kevin Spacey). Verbal is the only one who can tell what happened. He is our link to the flashbacks and story of The Usual Suspects. ''One cannot be betrayed if one has no people.'' Leading the investigation is US Customs Agent Dave Kujon (effectively played by Chazz Palmentieri). Kujon grills Kint relentlessly in order to piece together all the events that led up to the massacre. Kint begins with the events weeks before when Kujon and his fellow agents had arrested Keaton and the other 'usual' suspects Kint, Michael McManus (Stephen Baldwin), Fred Fenster (Benicio del Toro), and Todd Hockney (Kevin Pollak). These 5 men were suspected of a hijacking and were brought in for questioning. As Kint continues and the film progresses, we find that the 5 criminals were manipulated into the situation by Keyser Soze, a Turkish uber-gangster/drug dealer who they all think is really a myth until his #1 lackey Kobyashi (played with cold efficiency by Pete Posthlewaite) pays them a visit and tells them that indeed Soze is behind all this. Soze wants them to to do job for him by killing his Hungarian competitors, who are making a huge drug deal with some Argentinians on a ship docked in LA. This leads us to the climax and back to the events that started the film. The Usual Suspects, whatever ones feelings about the surprise at the end, is one brilliant example of modern day film noir. Nobody is innocent, yet every major character is multi-dimensional and draws you into the conflict. There is quite a bit of action and violence, but it is tight, well-placed, and crisply realistic. The beauty of the film is that you can watch it in at least two different ventures, objectively to be entertained and secondly to subjectively attempt to complete the puzzle and solve the goings on! The acting is uniformly superb, the Oscar-winning screenplay crackles, and never becomes tedious or boring. The Usual Suspects is simply Bryan Singers best film to date and among the best films of the decade! ''What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody.'' |
November 6, 2009 | N/A | |||
| The Fourth Kind - PG-13 | November 5, 2009 | N/A | ||||
| The Box - PG-13 | November 5, 2009 | N/A | ||||
| The Men Who Stare at Goats - R | November 5, 2009 | N/A | ||||
| W. - PG-13 | November 4, 2009 | N/A | ||||
| The Passion of the Christ - R |
''You are My friends. There is no greater love than for a man to lay down his life for his friends. I cannot be with you much longer, My friends. You cannot go where I am going. My commandment to you after I am gone is this: Love one another. As I have loved you, so love one another.'' A film detailing the final hours and crucifixion of Jesus Christ. James Caviezel: Jesus From the enigmatic beginning to the climactic credits, Passion of the Christ demands full control of ones body, mind and emotion. So visually spectacular and physically effecting, Passion had me literally convulsing and writhing in uncomfort. Mel Gibson's The Passion of the Christ, starring Jim Caviezel, is a retelling of the last hours of Jesus Christ. Believe me when I say that this production is more than a story, more than a movie, this film can only be described as an ethereal spiritual experience. This Passion of the Christ is fantastically brutal, gory and sadistically torturous. From beginning to end, blood drenched flesh is smeared across the screen in a ghastly fashion, putting even SAW or Hostel films to shame. Gibson defends his incredibly graphic depiction by noting that the bible states Jesus was beaten beyond recognition. I assure you, beaten beyond recognition hardly describes soft tissue being torn to the bone as blood drips into puddles on the ground. The violence shown in this film is unlike other Hollywood violence - it's uncomfortably personal, it's in effect unforgiving. The scenes are moving, the violence perhaps repetitive, that the chapters appear to take place in your very mind; imagine before you a man being torn to bloody shreds; you're powerless to intervene, you're reduced to a spectator. ''You have heard it said you shall love your neighbor and hate your enemy. But I say to you, love your enemies and pray for those who persecute you. For if you love only those who love you, what reward is there in that?'' As any appreciator of the finer things in film might see, The Passion of the Christ is artistic genius. Mel Gibson stated that his film follows the last 12 hours of Christ in accordance to the Gospel, and although biblical scholars have confirmed this to be true, it is also true that a certain artistic license was taken to particular moments in the story. Nothing anti-biblical was added, but inside a sense deep meaning was inserted through symbols and actions not actually recorded in the gospels. This artistry serves to aid the story and engage the audience - artistically and culturally, expect nothing less that a film superbly crafted. Set your expectations high, this one can handle them. Addressing accusations of anti-Semitism against this movie: its going to rekindle a hate for Jews, its depicting the Jewish leaders of the day as monsters, and its showing that the Jews were solely responsible for the death of Jesus. I trust that once the movie is seen by the general public all of these statements will fade into memory; this Passion's greatest defense will be itself. It is true that the Jews were involved in the crucifixion of Christ, just as it's said in the bible for nearly two thousand years. Hearing this story doesn't swell up a hatred for the Jewish race, no more than watching Schindlers List makes one hate current day Germans. This film is going to be many things to many people - anti-Semitic is not one of them. No matter your personal background, no matter your skin colour or race, no matter your beliefs on the afterlife or views on heaven, this Passion needs to be seen. The art, the culture, and the magnificence - see The Passion of the Christ and you will have seen a glimpse of history spanning over a thousand years ago. ''Forgive them, Father. They know not what they do.'' |
November 4, 2009 | N/A | |||
| The Patriot - R |
''I have long feared that my sins would return to visit me, and the cost is more than I can bear.'' Peaceful farmer Benjamin Martin is driven to lead the Colonial Militia during the American Revolution when a sadistic British officer murders his son. Mel Gibson: Benjamin Martin Films exist for lots of reasons but especially - to entertain as well as educate. In this regard, The Patriot does a fine job in thrilling us. The acting is excellent, and all the characters were well cast in their respective roles. The pacing was generally good, and I was never tired due to the unrelenting drama and action which unfolded. The battle scenes were exceptionally brutal, which must be typical of combat situations throughout history. Most war films depicting the American Revolution are fairly sanitized or rely upon drama and acting to carry the story. Not so with Patriot - I'm surprised they didn't try to depict the carnage that undoubtedly resulted from firing grapeshot or cannister shots. Although realism is not typically a word I would choose for any film, I felt that the depiction of combat here was probably much more realistic. Many history books will try to teach us that warfare in the 18th century was a bit of a gentleman competition of sorts, where quarter was given if asked, and honour was observed in such matters as the beginning and end of conflict, prisoner exchanges, and the like. This may have sometimes been the case between fully professional forces like those of England and France, but such countries seem to have held a different opinion entirely of rebel forces. These were apparently regarded not only with disdain, but outright contempt. Afterall, those guilty of treason have traditionally been treated much more harshly than other enemies. ''You know, it's an ugly business doing one's duty... but just occasionally it's a real pleasure.'' With Patriot it seems to take this probability and run with it. The colonists who fought against England in the American Revolution were regarded as traitors, and were likely treated very harshly if captured or engaged in battle. The British in general were portrayed as pompous and at times villainous, but this is certainly not out of line for the way they undoubtedly felt about the rebels. Concurrently, I'm certain that the colonists who took part in the rebellion had a great deal of contempt for the British as well, but particularly for the Loyalists, or those colonists who remained loyal to and fought for Great Britain. My criticisms revolve around the flow of the movie. There are many, many tragic scenes that were obviously a plot device to hammer home the horrors of war. I felt that one or two would have sufficed to make such a point, but instead we receive multiple such scenes. Some chopping would have definitely been appreciated. Jason Isaacs makes for a wonderfully sadistic, villain whom loves being unmerciful and brutal, and the late Heath Ledger excels as Benjamins son. Mel Gibson replicates his hero role from Braveheart, and he really plays reluctant father turned war hero very well. Overall, Patriot is an intense, interesting take on a theater of the American Revolution that is not often depicted in film. I would recommend it to those who appreciate the genre of historical drama, perfect costumes and for bloody climactic battles. ''Before this war is over, I'm going to kill you.'' |
November 4, 2009 | N/A | |||
| Antichrist - Unrated |
''What do you think is supposed to happen in the woods?'' A grieving couple retreats to their cabin in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse. Willem Dafoe: He Charlotte Gainsbourg: She Well, well, well...Where to begin with Antichrist? I went into the cinema expecting something totally bizarre, and what I viewed certainly didn't disappoint in the slightest. Antichrist focuses on a couple, whom suffer a terrible tragedy. We experience sequences which lead up to their son dying, and then the husband being a doctor, tries to console his wife out of her grieving state of mind. Sometimes black and white is cleverly used throughout the film which intensifies the mood and feel of the story. Quite intelligently, Antichrist divides itself into chapters, each chapter representing an emotional reference of pain or sadness linked with the couple, and of the inevitable evil emerging forth from the truth coming out into the open gradually. I find it fascinating that the film has a minimal cast, I mean Willem Dafoe and Charlotte Gainsbourg are the only two main roles in the entire film, and their acting and performances really are seriously incredible and beyond words. The second half of Antichrist really descends into shock and disbelief and will have you on the edge of your seat. ''A crying woman is a scheming woman.'' The director and writer of Antichrist, really expresses himself here, his emotions and mind come forth into a glorious palette of film. He really succeeds in getting into the dark recesses of where humanity can go, the sexual desire of man and woman, the lustful and destructive nature of our blackest natures. Antichrist also uses many slow sequences, so artistically and meaningful its actually sometimes like watching a piece of moving art. Scenes in which a deer, a fox and a bird at different times provide symbolic references to religious pagan significance, dating back to the middle ages. The more we discover in Antichrist, the more we find out about the psyche of the man and more importantly the woman too. The forest Eden a playground for evil, the devil and Satan supposedly being in nature. Her research into the history of the woods proves grim, as her deranged thinking of evil in women emerges. Overall, Antichrist is a shocking psychological journey evolving into one of insanity, evil and chaos. I mean, a talking fox, the stabbing of a leg with a lethal weight, and the awkward scene of scissors and blood is sometimes so hard to watch, you cannot find yourself looking away. The revelations and answers Antichrist produces satisfy and the ending will provide debate and discussion for years to come. Pleasingly this is a story that requires deep thought, deep patience and an open mind. I love the fact Antichrist will definitely split people and critics down the middle, and when a film can make you either love or hate it, then it definitely should be considered and unprecedented triumph. ''A crying woman is a scheming woman.'' |
October 23, 2009 | N/A | |||
| Up - PG |
''I don't want your help, I want you safe.'' By tying thousands of balloon to his home, 78-year-old Carl Fredricksen sets out to fulfill his lifelong dream to see the wilds of South America. Right after lifting off, however, he learns he isn't alone on his journey, since Russell, a wilderness explorer 70 years his junior, has inadvertently become a stowaway on the trip. Edward Asner: Carl Fredricksen Certainly it is rather obvious that Pixar has become the most dependable studio out there for producing reliable films that don't simply continue to raise the standards in animation but also at the same time set a level of excellence in story, plot and raising spirits. Up represents another change in style, as significant as Wall-E's shift to photorealism, intricate camera effects and darker themes. Up effectively blends moments of tragedy with almost at times, jolly humour, while showing that their understanding of story structure and pacing becomes more enlightened upon every new project. Up is about a 70-something ex-balloon salesman who fulfills a lifelong dream of adventure by tying thousands of balloons to his house and flying away to South America. This trip, inspired by his adventure- loving wife who dies before their dream is realized, is forced when property developers attempt a compulsory purchase on his house and try to move him to a retirement home (Up in a way has similarities with Gran Torino, addressing age and retirement homes). The problem arises in the form of a rather talkative 8 year old Wildness Explorer stowed away on the property when it begins it's ascent. Their adventure focuses on the characters they meet along the way, while our hero Carl is still trying to drag his house to the dream destination upon the top of a waterfall paradise. The opening shows the life of Carl, growing from an young boy, meeting his adventuring-loving girlfriend, their marriage and her death just before their adventure starts - it's an incredibly emotional 5-minute intro that is light on dialogue yet heavy on visuals, and caused a great stir in emotion for me. This sequence in particular was certainly reminiscent of voice free parts of Wall-E which deliver their plot punches without exposition or the need for endless sequences that would take twice as long in live action. But this approach doesn't leave the younger audience behind either, and for such a dark start, all I could see in the audience were kids and adults alike glued to the screen. I won't give away any more plot details since the film doesn't open for another three weeks, but every scene and character trait is meticulously plotted so that nothing seems too ridiculous or contrived, even for such a fantastic journey. The graphic stylization is also fresh, in the same way that The Incredibles had a very distinct and authentic look. All of this serves to elevate the humour and there are some particularly funny scenes, helped by the way the characters are quickly and believably established. This is the second time I've been to Pixar to see a pre-release of a movie and I felt a little scared before seeing this one, wondering if their run of first-class work may have grinded to a halt. On the surface, I didn't really think a story about an elderly chap in a flying house could live up to my favourite film classic Wall-E, yet although the films are as different as they can be, Up is as gripping and entertaining as any Pixar film before it. Overall, Up and the little short film included with it, about clouds, are certainly brush strokes of genius. A must see not just for children but for adults too, Up is an exceptional story of life, friendship and the unimportance of materialism. Whether it be a house or a helmet, you can't take them with you, when your time is up. ''Thanks for the adventure. Now go have one of your own.'' |
October 18, 2009 | N/A | |||
| The Imaginarium of Doctor Parnassus - PG-13 |
''Can you put a price on your dreams?'' A traveling theater company gives its audience much more than they were expecting. Heath Ledger: Tony It's a shame many people will go and see The Imaginarium of Doctor Parnassus for all the wrong reasons, mainly involving seeing Heath Ledger or the tantilising prospect of seeing Johnny Depp or Jude Law. Many people will expect it to be a performance rivaling his other works. Well I say this now, these silly people will be disappointed. My ears prick up upon leaving the cinema tonight, hearing the audience comment on the film made me scoff with disgust...comments of how it was a weird film, a confusing story, and a mixture of madness. Are these individuals oblivious to the fact that this is a Terry Gilliam film, the man whom brought us surreal, warped treats like Time Bandits, the masterful 12 Monkeys, the colourful Brothers Grimm, dystopia cult classic Brazil, Fear and loathing in Las Vegas...To conclude my rant, if these so called people are unaware of this, why in heavens name are they wasting their tiny minds on Dr Parnassus? The answer is ignorance and the former attraction of the late Heath Ledger. So onto the film itself, The Imaginarium of Doctor Parnassus is Terry Gilliam addressing immortality, moralistic natures, and the black and whiteness of good and evil. Much like any of his other work we are treated to bold colours, fantasy worlds, Monty Python styled sequences which always provide quirky smiles of pleasure to those inclined, and to contrast all of this he gives us the contrast of reality, the gritty, rubbish infested, drunken rabbles of yobs and the harsh temperament of the outside world. It's interesting to be hurled into this strange life, this life of Parnassus and his unfortunate encounters with the devil whom always cheats, always makes bets, and always loses or wins for a reason. ''Are you a betting man?'' Performance wise, Heath Ledger as Tony is a mysterious outsider, he is found disturbingly hanging from under a bridge in what appears to be a noose. This for me was slightly ironic considering in real life he isn't alive anymore. His accent is still a mixture of mumbles and uncanny gruff charisma, and in some scenes he even looks like Johnny Depp, mainly the eyes. His transformations in the dream world, Johnny Depp, one glorious scene where Depp melts the screen with his defined charisma, Jude Law on a very tall ladder running from some Russian heavies, and a hilarious Colin Farrel trying to muster an accent similar to Ledger, but still sounding Irish. His fighting with a little man turned child, had me in hysterics, not to mention his conversation and expressions in the boat part. Christopher Plummer as the clever yet tragically fated Dr. Parnassus, excels as the main character of the adventure, somehow mirroring Terry Gilliam himself, showing his own unfortunate ups and downs of his own life, not just of his creation. Lily Cole was simply beautiful as the loveliest damsel, Valentina. Something very unique about her dazzling features, and scrumptious figure. Tom Waits as Mr. Nick AKA the Devil, really excels as the main villain of the piece. Tom Waits is a wonderful actor, and I haven't seen him in such a memorable role since the disgustingly squirm inducing R.M. Renfield in Bram Stoker's Dracula. He truly is a mesmerizing character here, the always smoking benevolent, woman loving demon of the piece, a wagering clever nemesis for the Doctor. Verne Troyer as Percy, was also a lovable rogue. A truthful little bit of fun whom not afraid to speak his mind, excels in being a big character despite the height restrictions. Overall, The Imaginarium of Doctor Parnassus is a clever story on redemption and sacrifice, the flip side of physical immortality and the importance of always following your imagination. It teaches us to always ask questions...to question why strange characters lurk outside HomeBase, why they tempt us with money, why drunks are always on the street, and why violence should only be acceptable if you are the police and it's legal. Terry Gilliam really hits home with his subliminal messages and doesn't give a fuck as usual what audiences want, he does what he wants. Parnassus has style, it has depth, and it truly is a piece of dreamy, imaginative art. ''Nothing is permanent, not even death.'' |
October 16, 2009 | N/A | |||
| Fame - PG |
''You have talent. Now let's see what we can do with it.'' An updated version of the 1980 musical, which centered on the students of the New York Academy of Performing Arts. Kay Panabaker: Jenny Garrison Lets get this straight, did this remake want to be a remake? Fame is trying to attain a modern vantage point on students aspiring to acting or music. The characters are different but some of their stories were mirrored, the fantastic musical score of the original film was largely ignored, and the film seemed to go out of its way to hide the fact that Performing Arts is a New York City institution. None of the students have New York accents, the girl who played Jenny was so miscast as the Doris Vinsecker mimic she should have sprouted pigtails and been telephoned to central America where she obviously originated, and the street scenes pinpointing New York as the locale for this movie were minimal. Character layering? There was minimal effort. Did you care when the girl who gets the gig with the modern dance company dumps her brokenhearted fellow PA student boyfriend? Why should you? They only appear together in 2 scenes prior to their breakup: when he is admiring her from afar as she dances a solo and when she invites him to a dinner with her parents to annoy them. When the dark girl (loosely modeled after the Coco character in the original) breaks into "Out Here on My Own," you want to laugh because she's a polar opposite: the product of a domineering father and passive mother who forbid her to do anything but continue on the classical pianist career path they launched her on. She's not out there on her own, she's being double-teamed by her stuffy parents and left to suffocate in an oppressive home environment. Ditto for other characters as well. We are left to wonder about many characters' emotional states because we haven't been made privy to what led up to them. Embracing the original score (with added genres to be true to present day) might have saved this flick. Including "Out Here On My Own," erroneously crooned in the middle of the movie, and the feeble salute to its namesake at the end when Fame plays over the credits, didn't do it for me. in fact it seemed to drone on prolonging the agony. The new music introduced in this film isn't remarkable or memorable, although obviously great dancing and singing doesn't always equal a great film. Kelsey Grammar, Debbie Allen, Bebe Neuwirth, and Megan Mullally give Fame a much needed boost in many scenes, but frequently diluted by the newbies. And maybe they didn't, because their portrayals of the four key administrators at this school were half-hearted and lifeless. For a school overflowing with creativity, the faculty had limited personas. And speaking of creativity, the original film was dead on depicting the students as lovable narcissistic ego maniacs passionate about the craft they hoped to perfect. There was none of that here. The film passes through these students' four years at PA without even a hint that they've mastered their craft or grown in any way. In short, the writing was bad, the acting mediocre, the direction was missing it's rightful flow, the editing was in sleep mode, and the score was a snore. Go watch and view the original. It might be a little dated but it's one fantastic thrill ride. |
October 16, 2009 | N/A | |||
| The Limits of Control - R | October 16, 2009 | N/A | ||||
| Coraline - PG |
Coraline: Back home, cats don't talk. So how are you able to... Cat: I just can. An adventurous girl finds another world that is a strangely idealized version of her frustrating home, but it has sinister secrets. Dakota Fanning: Coraline Jones Coraline is a surreal merging of new and old techniques. Utilizing beautiful stop motion animation and presented in luscious 3D, the film offers a time-honoured message in a state of the art package. 3D has advanced to the point where it actually serves the story as opposed to being an end unto itself. In the opening credit sequence, we see long, spindly iron fingers above the screen as they construct a button-eyed doll. There is menace in these metallic hands and the three dimensional effect adds to the sense of dread. The hands seem close and capable of reaching out to ensnare our vulnerable selfs. When the characters on screen stand outside a doorway, the viewers are tempted to lean forward in order to peak into the room on display. The 3D is effective and enriching, Coraline pleasingly is the first film I have watched in 3D, making it even more of a pleasure to behold. Coraline (Dakota Fanning), the pre-teen heroine of the film, is moving into an apartment complex in the filled with eccentric neighbors. Her parents both write and leave Coraline feeling alone and neglected. She hates her dad's cooking and misses her old friends. And then she finds a mysterious door in the wall and while playing one evening chases a little mouse through the door and into a mirror universe that looks similar to her own, but seems better. The food is better, the world never boring, and her button-eyed Other Mother and Father give her everything she wants. ''You know, you could stay forever, if you want to. There's one tiny thing we have to do first...'' The film, based on an excellent novel for children by Neil Gaiman, has a strong message at its heart. Coraline posits that hedonism is both empty and dangerous. Also, in order to fully indulge you must become blind to the suffering your pursuits will result in. It's slightly surprising that in a package as aesthetic and mesmerizing as Coraline that we are essentially being presented with a traditional moral warning of wishing for more than we have. The film is not pummeling us into submission with learning this however, and possibly younger viewers will not quickly pick up on the deeper aspects on offer. In the context of the film, the message is completely viable. The animation on display is excellent and smooth, but as the movie showcases its character design and animation set pieces the story sometimes loses some momentum and it's pace halted. Once Coraline discovers her quest, however, the movie becomes engrossing, tense and something of a horror/thriller. In fact, the film's extended climax will likely be too intense for the very young or squeamish. The voice work is delightful with Terri Hatcher surprising in two vibrant roles as Coraline's mother and the film's spidery villain. She is obviously enjoying the layers of her characters and it enriches the experience as a whole. The artistry on display is delightful and the film offers a unique animated experience. Go see this one soon, Coraline is up there with favourites, Monster House, Nightmare before Christmas, Corpse Bride...Coraline is unique enough to be an entirely new story, a thrilling twisting ride, and yet another fulfilling success to its genre and medium. ''You probably think this world is a dream come true... but you're wrong.'' |
October 15, 2009 | N/A | |||
| Zombieland - R |
''Rule #2: Double Tap!'' In the horror comedy Zombieland focuses on two men who have found a way to survive a world overrun by zombies... Jesse Eisenberg: Columbus Zombieland - The world is once again ravaged by a deadly virus that turns the world's population into hordes of fast running undead cannibals. The main character is Columbus (Jesse Eisenberg), a squeamish nerd who has survived so long because of strict adherence to a rulebook that neatly skips over most of the mistakes horror film characters fall prey to. He soon meets Tallahassee (played with masculinity, toughness and a crazy sense of humour, by legend Woody Harrelson), a man with a savage talent for killing armies of zombies. They meet two untrustworthy young women (Emma Stone and Abigail Bresnin) and the four slug it out joyfully in an apocalypse of enormous proportions. The film marvelously captures most of the love most teenage men have for the zombie scenario. In a word or two: legitimized anarchy. If the story lacks direction for any reason it's this. One of the best sequences (of which there are several) shows the foursome breaking everything in a shop just because they can. The jokes come often and are amusing, with pop culture references aplenty. One cameo made me fall in love with the film. There really is nothing like the comedy greats of the 80s and 90s, is there? The opening credits sequence was awesome really letting us inside this zombie infested world, the slow motion and chaos plain to see. The film only sparingly adheres to reality so as not to detract from the fantasy. Running out of ammunition never seems to happen. It's hard to imagine three out of four of the crew, capable as they are at times, faring any better than millions of other people, much less the US Army. But speculation about that hardly seems the point of the film. The final quarter is nothing if not constant visceral fun. This is Xbox 360 game Dead Rising come to life, which I found myself reminded of, a banjo, garden sheers, baseball bats, chainsaws...What better weapons for Zombies. ''The first girl I let into my life and she tries to eat me.'' If I have some minor issues, apart from the infinite ammo, it's this: The casting of the film seems extremely calculated. We have a kid that looks and acts like Michael Cera, the hot girl from Superbad, the cute kid from Little Miss Sunshine, and Woody Harrelson to lead the bunch of newbies. If there weren't zombie nudity, blood, and cussing here I'd say it's practically a family friendly comedy caper. I've become a little less of a fan of comedy relying on pop culture over the years because it relies on an audience's knowledge of other films, not the film standing on it's own feet. But I don't want to flog an undead horse too harshly, especially such an entertaining one. I'd gladly watch Zombieland many times, and it remains one of the best zombie comedies out there, which doesn't rely on originality but on successful formulas done by predecessors. I mean if it's not broken why change it? We even have Bill Murray and a Ghostbuster reference thrown into the mix. ZombieLand is a fine tribute to horror and comedy combined. We even have a list of rules to survive from the main guy, now that is clever, not to mention fun. ''I'm not great at farewells, so uh... that'll do, pig.'' |
October 15, 2009 | N/A | |||
| Scent of a Woman - R |
''Out of order? Who the hell do you think you're talkin' to? I've been around, you know? There was a time I could see. And I have seen. Boys like these, younger than these, their arms torn out, their legs ripped off. But there isn't nothin' like the sight of an amputated spirit. There is no prosthetic for that. You think you're merely sending this splendid foot soldier back home to Oregon with his tail between his legs, but I say you are... executin' his soul!'' A prep school student needing money agrees to "babysit" a blind man, but the job is not at all what he anticipated. Al Pacino: Lieutenant Colonel Frank Slade Scent of a woman is a masterpiece. First of all because Al Pacino creates a character he is in no way close to being in real life. He plays a retired lieutenant-colonel which is nothing, but a blind one. His blindness is the symbol, and result, of both a heroic career and a sad end because he was passed over for general. This mixture of so many emotions and feelings and frustrations is marvelously conveyed by the actor. His tone, his behavior, his general stand, his unpredictable reactions, his decision to leave this world and his second decision to stay can be read in the way he speaks, the words he uses, the expressions his blind face carries, his attitudes toward other people, etc. He is a millionaire in layered emotions. But it is a masterpiece for so many other reasons that I am only going to quote a few. First it is a journey, the journey of a prep school teenager, a student on a scholarship mind you, from Oregon to Cambridge, Massachusetts, then to New York, a round trip with the colonel he is taking care of for the Thanksgiving long week end. This journey, and particularly the lap to New York and the subsequent events, are an initiation. The young chap is to learn what principles are in life and that you have to stand by them, especially if you are poor and fragile in body and social status: then be strong in soul, mind and spirit. Your ethics are your only asset and power in life. He also has to learn how to understand his colonel companion and feel when he has decided to send him buy cigars while he is putting an end to his life and the gun loaded with his bullets are an impressive key to the solitary tower of growing up with death all around you. ''I'm in the dark, here!'' He saves that man with a crazy idea of a ride, for a blind man, to drive a Ferrari in the Bronx or somewhere under the Brooklyn Bridge, and with all the frills of such a ride including the cop who catches him speeding but does not realize he is talking to a blind man. But this film is also a story about the elite education these Ivy League prep schools provide the young men of today with to prepare them to be the leaders of tomorrow. There I will not hint too much at that side of the story. Let's say an act of vandalism which is a student prank and nothing more, leads the headmaster into menacing the two student witnesses, with the worst punishment going as far as trying to buy the cooperation of the poor student. The final disciplinary hearing is absurd in its logic. The three culprits go through because there is no clear cut witness, the rich one, with his father, pretends he did not have his contacts on but gives the three names with a maybe, and the poor one, Charlie by the way, refuses point blank to be a fink, a stool pigeon. And there the intervention of his suicidal colonel saves the day. That you will have to find out by yourself. In many ways it is a lot stronger than Dead Poets Society and the drama is avoided. It is better because it is the vision of a poor scholarship student and not the vision of one rich kid, in recent society and not in the 1920s or so. The point of view makes it a lot more powerful about society and courage, even if less dramatic,this is a story about hope, the merging of young and old minds coming together. Scent of a woman is about living, the beauty of life and at times, when you believe you have nothing to live for, are the times when you have so many aspects and joys to carry life on. This is a story of hope and friendship. ''Well, gentlemen, when the shit hits the fan, some guys run and some guys stay.'' |
October 15, 2009 | N/A | |||
| Scarface - R |
''I'm Tony Montana! You fuck with me, you fuckin' with the best!'' In 1980 Miami, a determined Cuban immigrant takes over a drug empire while succumbing to greed. Al Pacino: Tony Montana ''In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.'' Brian De Palma did a very good job directing Scarface. Whenever an actor is able to become larger than life with his performance some credit should be given to the director and I will certainly give De Palma that. Brian De Palma, though not given the respect at times, is a very versatile director by my reckoning and assessing. He knows how to direct movies according to their genres, but that at times has let some of his works down. In Scarface, this is by all counts a gangster movie but few are much better than this one because of De Palma's skills and talents. The script was great, pure Oliver Stone. When I saw the credits at the end of this movie and realized Oliver Stone had written this I was pleasantly surprised. That is a testament to him though. I have always thought of him as a great writer and to me he proves this once again with Scarface. Nobody knows how to write a surreal reality for a movie better. The music was great. It is certainly a diverse score with feeling and emotion from Giorgio Moroder. Maybe very 80s-ish at times but stylish and fitting with the times. The cinematography was good, not perfect but who really who cares when you have an action packed storyline. ''Me, I always tell the truth. Even when I lie. So say good night to the bad guy!'' Alot of people divudge in saying the acting was over-the-top, but who better to do an over-the-top character than legendary Al Pacino. To say that Pacino went overboard in here would be an understatement. Yet he does it so well, he just brings the inner devil out of the viewer too. His character Tony Montana was not such a great guy to begin with but his thirst for power just brings his lust and lust for greed to another level, an inhumane level. Sure at times Pacino seems to be a bit cartoonish and surreal but that does not at all to me seem to be a loss or liability. The supporting cast served its job very well supporting Pacino. Michelle Pfeiffer was not really at her best but she certainly fits the role she played. On the other hand Steven Bauer was at his best, still he is Steven Bauer. Mary Elizabeth Mastrantonio was good and like Michelle Pfeiffer fits her respective role very well. Robert Loggia I have always enjoyed watching in 80s films. Other than Pacino they were not really any standout or memorable performances. Everybody just seemed to fit their roles by being there. ''You think you can take me? You need a fucking army if you gonna take me!'' De Palma's Scarface has probably been one of the most influential movies in the past 25 years. People should realize that the character of Tony Montana is no hero, he is a monster. He is not inspiring in bringing out that evil obssession to excel even by wrong means. He is greedy, bloodthirsty, uneducated and self consumed. Yet he is a role model to many people because he is in some way or another a rebel but probably most of all because he is a deluded gangster. A vigilante would be like Mother Tereasa next to Montana. The good thing about Scarface though is that it shows that the Tony Montana is not the real problem. If we or the people of authority would want to stop people like him, we could do it but we don't. In a freaky twisted way he is a necessity of our society. He is somebody you could blame everything on and feel better about yourself for doing it. The Tony Montanas' of this world are the scapegoats of our society. This in no way excuses people like him, instead it is more of a reminder that we shouldn't excuse or allow ourselves to do bad things just because it will further our personal wealth unjustly. I love Scarface because it is more than merely a corruption story of an individual, it is a story that in a strange way makes you self reflect your own soul. At times you know Tony is doing bad things, but that doesn't stop you enjoying proceedings does it? ''You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little friend!'' |
October 15, 2009 | N/A | |||
| Kabadayi - Unrated | October 13, 2009 | N/A |
5991 ratings
5681 reviews
