Amateur Critic Reviews

Is The Children's Hour Revolutionary, or a Reactionary Reflection of the Time?

2010-05-03T02:09:00.004+01:00

Beware, this contains spoilers

The Children's Hour is a 1961 film based upon the play of the same title by Lillian Hellman. Hellman's play about two headmistress who are accused of having a lesbian affair was based on the true story of the female heads of a Scottish private school in 19th Century Edinburgh. It is the final the black and white film directed by William Wyler before his final four films created in Technicolor. It stars Audrey Hepburn, also in her final black and white film, and Shirley MacLaine in a performance for which she received her third Academy Award nomination.

Karen Wright (Hepburn) and Martha Dobie (MacLaine) run a private boarding school for young girls which they set up themselves. Among their students is the conniving Mary Tilford. Mary is the granddaughter of the wealthy Amelia Tilford and cousin to Karen's partner Dr. Joe Cardin. Upon being caught in a lie, Mary feigns illness culminating in a dramatic collapse on the floor. As Joe "treats" Mary, Martha and her aunt, Lily Mortar, an elocution teacher at the school, have an argument and Martha tells her to move out. During their argument, Ms. Mortar suggests that Martha is always angry when Joe is present and that her feelings towards Karen are "unnatural". Their argument is interrupted by Mary's room-mates eavesdropping outside the room. Martha and Karen decide to separate Mary from her friends as she is seen to be a bad influence. Angered by this Mary runs away to her grandmother and aggregates, using word of Martha and Lily's argument and her having seen Karen in Martha's room, a story about Martha and Karen being lovers.

Upon hearing Mary's story, Mrs. Tilford tells the news to all the other parents and within a day, every child is withdrawn from the school. Karen and Martha go to Mrs. Tilford's house to confront her and Mary, when her lie is called into question, blackmails another child into supporting this deception. From this point on, the lives of our protagonists change. Karen and Martha try to sue Mrs. Tilford for slander but in doing so, publicise themselves and eventually lose the case.

Before delving further into the film at hand, I believe some exploration of the context at the time is necessary. Early cinema was not devoid of homosexual content or allusions to it. There were no strict restrictions on such content until the 1930s. In 1927, Will H. Hays, head of the Motion Pictures Producers and Distributors Association (later the Motion Picture Association of America) created a list of subject that should no be explored on screen. However, this was largely ignored by film-makers. It was not until 1930 that a strict Hays Code, created by Martin Quigley and a Jesuit preist was adopted formally and enforced by the Motion Pictures Producers and Distributors Association and the Roman Catholic Church. The Hays Code consisted of three primary principles:

No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

The code also contained specific restrictions such as those on nakedness and suggestive dancing, this essay shall focus of one part in particular; sex perversion (including homosexuality) or any inference to it is forbidden. By the early 1960s, the Motion Pictures Producers and Distributors Association had been replaced by the MPAA. More explicit films like Suddenly Last Summer (1959), which alluded to pederasty, had begun to appear in the late 1950s paving the way for such films as The Children's Hour. However, this doesn't mean that Hollywood and the movie going public were flying the LGBT flag just yet. Homosexuality was still be classified as a mental illness for another 10 years and was illegal in some states.

Lillian Hellman's play was first adapted into a film by William Wyler in 1936. Due to the Hays Code, a film relating to lesbianism could not be created in 1936. Instead, the film, These Three, was centred around an alleged affair between Martha and Joe. The eventual accurate translation of The Children's Hour shows the advances made in cinema in the years between the two adaptations.

The words homosexual or lesbian are never mentioned during the course of the film. Much of Mary's lie and Lily Mortar's insinuations about Martha's feelings for Karen are merely implied through, albeit overt, suggestion. As in society, such things were not mentioned, and homosexuality was not something people wanted in their presence. This is evidence by one of Mrs. Tilford's lines where she says, "This thing is your own. Go away with it, I don't understand it, I don't want any part of it. Take it out of here" as Karen and Martha confront her. The idea of individuals wanting to distance themselves from homosexual issues appears later in the film. Martha Aunt Lily doesn't appear to testify for the two in court. When she emerges later, she states that she had a moral obligation to the theatre and goes on to say, "It wouldn't have done any good for us all to get caught up in this unpleasant notoriety". Even in the making of the film, this overt theme was not discussed, in the documentary, The Celluloid Closet, Shirley MacLaine states, "We were in the mindset of not understanding what we were basically doing[...] And when you look at it, to have Martha play that scene - and no one questioned it - what that meant, or what the alternatives could have been underneath the dialog, it's mind boggling. The profundity of this subject was not in the lexicon of our rehearsal period. Audrey and I never talked about this. Isn't that amazing. Truly amazing"

Throughout the film, there are subtle suggestions that Martha may have affections for Karen that go beyond friendship. There is clear tension between her and Joe, not mutual tension, but tension none the less. Martha eventually proclaims her love for Karen, her resentment for Joe, and her disgust with and hatred for the feelings she has. Martha breaks down, exclaiming, "I can't stand to have you touch me! I can't stand to have you look at me! Oh, it's all my fault. I have ruined your life and I have ruined my own. I swear I didn't know it! I didn't mean it! Oh, I feel so damn sick and dirty I can't stand it anymore!"

Despite Martha's feelings for Karen, the lie is still just that, a lie. Martha and Karen were never lovers, none of the children saw them do anything that could be deemed inappropriate. Following Martha's confession, Mrs. Tilford arrives at the house saying that the children admitted that they were lying and that she would like reverse the court decision and repay any damages. Of course, this is too late. Their lives and friendship have been irreversibly changed.

On could argue that the film is a change from other films at the time in its depiction of homosexuality. Karen Dobie is portrayed solely as a victim of a child's lie, not her sexuality. The lie could have been any lie, and it could have affected any teacher in Mary's path. Upon speaking to Mrs Tilford, Karen decided that she can make a fresh start, and she invited Martha to join her. Sexuality is not an issue to her and has no bearing on their friendship, the only adversary was wider society. This is where change in necessary, not in Martha, suggesting that The Children's Hour may be revolutionary.

However, the ending does reflect views of homosexuality in society and film. In films of the period, the consensus seemed to be that it's well and good being gay, but if you are, you'll die in the final act. This evidenced by films such as Suddenly, Last Summer (1959), Rebecca (1940) and Walk on the Wild Side (1962). Not only does Martha die, but hatred for herself leads her to commit suicide fulfilling the final requirement of a gay character. Karen survives and lives to see other days as she was the real victim on this scenario. Or so a reactionary reading leads us to believe.

Thank you for reading.

The Children's Hour on IMDB

William Wyler on IMDB

Audrey Hepburn in IMDB

Shirley MacLaine on IMDB

The True Story Behind The Children's Hour

The Hays Code

An Exploration: Last Life in the Universe

2010-05-02T17:55:00.002+01:00

Beware, this contains spoilers.

Last Life in the Universe is the fourth, and most critically successful film from Thai director Pen-Ek Ratanaruang. The film's title itself is subject to interpretation, as mentioned, the English title is Last Life in the Universe. The Thai title is, Ruang rak noi nid mahasan, which literally translated into English is, "Love Story, a Little, a Lot", this can also be read as, "A Little Love Story that is a Lot". The Words Noi and Nia appear in the Thai title, these are also the names of two sisters within the film paving the way for yet another interpretation, "Love Story of Noi and Nid, a Lot". Every one of these readings can be applied, accurately, to the film, as further analysis shall reveal. However, I do believe that the words Noi and Nid, within the film title are not references to the characters' names. but instead, the characters names are allusions to the terms "few" and "small".

The film opens with a series of images depicting the apartment of one the protagonists, Kenji. His apartment is meticulous, with every item in its place; his shoes are in neat rows, his clothes categorised by item and colour with an equal space between every piece of clothing, his books are packed in perfect piles so categorised that one can identify the month and year in which he read them. Some books, however, are out of place. The camera in one swift movement focuses on a collapsed pile of books and pans up to reveal Kenji hanging from a rope with a note saying, "This is bliss" in his hand. Surely this is not the main character? He's dead. Or is it an American Beauty or Sunset Boulevard approach that Ratanaruang is taking? The reasons behind this man's suicide are to be revealed during the course of the film, one might assume. Such a notion is quashed as Kenji's voice is heard, "This could be me three hours from now".

Kenji is a quiet and stoic librarian for the Japan Foundation in Thailand. He holds a somewhat unique and fantastical view of suicide. He states, "Why do I want to kill myself? I don't know... I wouldn't kill myself for the same reasons as other suicidal people. Money problems... Broken heart... Hopelessness... No, not me. Many books say "Death is relaxing." Did you know that? No need to follow the latest trends... No need to keep pace with the rest of the world... No more e-mail... No more telephone... It'll be like taking a nap... Before waking up refreshed and ready to begin your next life. That's what they say". Not only is Kenji's view of suicide fantastical, but his suicide itself is a mere fantasy. During the actual attempt he is disturbed by the unexpected arrival of his brother. Kenji's brother Yukio is on the run from his Yakuza boss upon having slept with his daughter. Yukio is assassinated in Kenji's house and as the assassin turns his gun on Kenji, Kenji kills him with his brothers gun.

It is through Kenji that we are introduced, by proxy, to the second protagonist, Noi. Kenji steals glances of Noi's sister Nid in the library before Noi angrily confronts her sister at work. During an argument as they are driving home, Noi kicks Nid out of her car but has a change of heart as her sister is walking on the busy road. Meanwhile, Kenji is crouched in the edge of the same bridge contemplating jumping off. Kenji and Nid make eye contact, which is extinguished by a car crashing into Nid ending her life. Noi and Kenji are brought to together by their shared presence during this event, mutual loss and Kenji's desire to escape his home where two dead bodies lay.

Despite the deaths and suicide attempts, Last Life in the Universe is not a morbid or depressing film. Rather, the suicide attempts and related deaths add humour to the film. Kenji's attempt to hang himself is interrupted by the most annoying of doorbell buzzing which persists until Kenji has to halt his plans and answer the door. With such an irritating noise, he suicide would be anything but bliss, and not a particularly pleasant nap. As his brother enters, he says nonchalantly, "suicide again?", this is something he is accustomed to. In one scene, Kenji lays down in front of Noi's car, she sees him and apologises. Even the moment of Nid's death has some comic irony; Kenji plans to end his life jumping off a bridge, and Noi, who has no desire to die, and partially as a result of seeing Kenji, loses her's. Dark comedy is present in the arrival of the Yakuza Boss (played by Thai director Takashi Miike) who upon being quizzed about having only one bag at the airport responds, "We only go there to kill someone. Then come right back". The woman then jokingly asks if he is going to hijack the plane, to which he answers, "Don't worry, we're not Arabs", all of which is said with incredible deadpan. Despite the deadpan associated with the Yakuza, a classic slapstick-style sidekick is one of it's members.

Noi and Kenji, superficially appear highly dissimilar. Unlike Kenji's, Noi's apartment is in complete disarray with an unbelievable amount of dirty dishes overflowing the sink and almost no visible floor. Noi smokes marijuana, is expressive and seems to be very comfortable with herself. Noi is Thai, whereas Kenji is Japanese (this is something I shall return to). However, one of their central similarities is integral to the film. Both have lost their siblings and been present during their siblings' deaths. Additionally, it is made apparent early in the film the Nid and Yukio may have met each other. When in the library, in a sense stalking Nid, Kenji comes across a children's book titled, The Last Lizard, which tells the story of a lizard who wakes up to find it is the last lizard in existence. In the meantime, a lizard resides in Noi's house and appears during important occasions during the film.

Last Life in the Universe is notable for the number of languages used within the film. Kenji speaks Japanese, some English and very little Thai. Noi speaks Thai, Japanese somewhat well and some English. Reading what is actually a speaker speaking a language they are unfamiliar with can give the impression that the subtitles were written poorly. As someone with no grasp at all or Thai or Japanese, I can't help but wonder if some aspects of the film are lost by viewer such as myself.

Stylistically, Last Life in the Universe is an intriguing film. The films title does not appear until 34 minutes into to film. It follows many of the key moments in the film including Nid and Yukio's deaths. It appears after Kenji and Noi have dinner and briefly converse. It is possible that this title delay may represent a division in the film in relation to Kenji's self-imposed life as one such, Last life in the Universe. I quote The Last Lizard, which Kenji reads,

"The lizard wakes up and finds he's the last lizard alive. His family and friends are all gone. Those he didn't like, those who picked on him in school, are also gone. The lizard is all alone. He misses his family and friends. Even his enemies. It's better being with your enemies than being alone. That's what he thought. Staring at the sunset, he thinks. "What is the point in living... If I don't have anyone to talk to?" But even that thought doesn't mean anything... when you're the last lizard."

Kenji is not the last lizard, but there is reason to believe that the life of the last lizard is one that he wants. He separates him self from others, be it his work colleague who is clearly interested in him, a man in the bus who is desperate to his his limited Japanese to talk to him or even his own brother whom he barely speaks to. The title sequence doesn't appear until Kenji voluntarily connects with another person, Noi. The title can be seen as the title of the story that preceded it. Visually, Last Life in the Universe is a joy. With cinematography from renound cinematographer of Asian cinema and long time Wong-Kar Wei collaborator, Christopher Doyle, the film is stunning.

Fantasy plays an important role within the film and is central to its interpretations. Fantasies from both Kenji and Noi are seen. As mentioned, Kenji fantasises about his own death. In a wonderful sequence, Noi is high and all her books and papers pick themselves up off the floor and put themselves in the correct place. Noi dances as everything circles around her culminating in a picture of her sister floating into her hand. At one point, Noi and Kenji share a fantasy. Noi lays down with her head on Kenji's lap and transforms from herself, to her sister, and back again. Whether this represents a desire on Kenji's part to be with Nid, a desire on Noi's part to be Nid or both is unclear.

The very presence of fantasies paves the way for the possibility that components of the main narrative may fantastical. The film ends with Kenji being arrested for some crime and at some point being reunited with Noi. One could argue that Noi and Kenji are not reunited, that their being reunited is Kenji's fantasy. Perhaps, the majority of the narrative is a fantasy of Kenji's. As his brother's assassin turns his gun on Kenji, what Kenji wants his life to be life flashes before him. He imagines his relationship with Noi and the fantasies of Noi becoming Nid are natural excursions within his imagination. The title sequence may well represent what Kenji wants of his life. This fantasy may precede his death or, it may be a period during his life that Kenji conjures to escape the reality of his brother's death and subsequent murder his brothers assassin. The scene of his arrest may be his arrest for the murder of the assassin and his being reunited with Noi, a continuation of the previous fantasy.

Thank you for reading.

Last Life in the Universe on IMDB

Pen-Ek Ratanaruang on IMDB

On the 82nd Academy Awards

2010-03-09T17:16:00.001Z

The biggest night in films has come and gone, not without a few surprises. Sci-Fi epic Avatar and the suspense filled Iraq film, The Hurt locker fought it out with The Hurt Locker being the eventual winner on the night. It was a good year for independent film, Lee Daniels’ tale of domestic abuse, Precious: Based on the Novel Push by Sapphire and Crazy Heart, the story of a down and out country and western singer. Taking home some gold. For the first time since 1987, the Oscars were hosted by more than one host. Comedy veteran, Steve Martin, and currently beloved funny man, Alec Baldwin took the helm for this prestigious ceremony. Both actors were wonderful presenters, hilarious, with great comedy, they played upon their fictional rivalry with onstage banter and “behind the scenes” sketches. It does sound like a perfect combination does it not? The combination was great, but I feel the ceremony did not utilise it’s host as mush as it could have, or as much as they have in recent years. It has led some to say, “Why have the ceremony hosted by such greats as Steve Martin and Alec Baldwin if you’re barely going to see them?”

The ceremony was opened by Neil Patrick Harris by a top notch musical number, clearly his hosting the Emmys did well for him on the awards hosting circuit. With a team of amazing dancers, he sings and dances about sharing fame introducing the hosts for the evening who descend from the ceiling from the ceiling in a fashion that could never be taken seriously with these two doing it. There open featured such great lines as, “Meryl Streep holds the record for most nominations as an actress, or as I like to think of it, most losses” and “I know you loved Invictus, because it combined two of your favourite passions; rugby and tension between blacks and whites.”

Beginning the awards segment was Penelope Cruz. With much grace, she presented the award for best supporting actor. This was one of the awards that was seen to have a definite winner. The predictions were not incorrect with Cristoph Waltz winning the award for his role as “Jew hunter” Hans Landa in Inglourious Basterds. All the awards during the season gave him a great deal of practice resulting in in a wonderful speech.

A slight change to the award format, each nominee for best picture was presented by and actor followed by a montage of the great scenes the film had to offer. Ryan Reynold began the procedure presenting The Blind Side starring Sandra Bullock, the story of a woman who takes in a homeless and traumatised Michael Oher, who eventually became a member of the NFL.

Steve Carrell and Cameron Diaz, with faux vanity presented the award for best animated feature. Steve Carrell began with, “When you’re as beautiful as Cameron and I. It is somewhere between irony and tragedy to appear in a film when people cannot see our faces” Diaz Followed this with, “and bodies” - rightfully so. Strangely, it began with “interviews” with the animated stars of the films. Another one of the expected wins, the award went to Pixar’s latest outing, Up.

Our host return briefly to announce presenters of best original song category, Miley Cyrus and Amanda Seyfreid. The category was featured two films from the Princess and the Frog, and one each from Crazy Heart, Paris 36, and Nine. The award went to Ryan Bingham and T-Bone Burnett for “Weary Kind” from Crazy Heart. This was the sweetest moment this far, Ryan Bingham thanked his wife who he said he “loved like rainbows”.

Chris Pine took to the stage to present the second nomination for best picture, the alien apartheid story, District 9. It is evident that the expansion of the best picture category was to facilitate the nomination of films such as District 9, which ordinarily would not have been included. However, we are aware that such a film would not actually win the award. By looking at list of nominees, it is evident which films actually stand a chance of winning.

Tina Fey and Robert Downey Jr. presented the award for best original screenplay. In a wonderful spot of banter, they commented on the “war” between actors and screen writers. Former journalist Mark Boal won his first Oscar for his screenplay for The Hurt Locker.

Out emerged Molly Ringward and Matthew Broderick, a John Hughes Tribute? Indeed. With a montage and appearances by actors’ Anthony Michael Hall, Ally Sheedy, John Cryer, Macauley Culkin, Judd Nelson, the director who truly understood the process of growing up as a teenager was honoured.

Time for the third instalment in the best picture mentions. Presented by Samuel L. Jackson was the latest Pixar film, the second film in history to be nominated for both best picture and best animated film.

“Right now I would like to introduce two beautify actresses. Because frankly, we’re tired of bringing out all these ugly actresses”, stated one of our hosts, Steve Martin. Presenting the short feature awards were Carey mulligan and Zoë Saldana. A video introduction illustrated the significance of short film-making and the development of the careers of the directors who have won best short film in the past. For best animated short, the logo lauded Logorama by Nicolas Schmerkin took home the gold. The best short documentary award went to Roger Ross Williams and Elinor Burkett for Music for Prudence. Rounding up the short category, was a win by The New Tenants by Joachim Back and Tivi Magnusson for best live action short.

In true Ben Stiller fashion, he appeared in an ensemble unlike anyone else in the auditorium. Dressed as a Na’vi, attempting to speak the language, He presented to award for best make up. Unlike recently years where the award has gone to more humane stories (those shoe and aging process), the sci-fi film won with Star Trek’s Barney Burman, Mindy Hall and Joel Harlow taking the golden statues.

The stunning Rachel McAdams and Jake Gyllenhaal present the award for best adapted screenplay. Personally, I assumed the frontrunners in this category to be Up in the Air and An education. I was quite surprised what Geoffrey Fletcher’s name was announced for the screenplay for Precious: Based on a Novel By Sapphire. Fletcher too, appeared to be very surprised and lost for words.

A rare appearance from robin William’s reminds us how humorous this man can be. This was another one of the rather predictable categories with Mo’Nique winning the aware for her role as the abusive Mary ones on Precious: Based on the Novel Push by Sapphire. Mo’Nique’s acceptance speech was an interesting one opening with a rather questionable line, “First, I would like to thank the academy for showing that it can be about the performance and not the politics”. What did she mean by that? Is she saying that her performance was in a sense, the superior performance, and that choosing any other would have been to fit a political agenda? I’m not sure, I’m not Mo’Nique, but I’ll be sure to keep an ear out for any clarification of that statement.

Sigourney Weaver steps forward to present the award for art direction, a category in which long time collaborator, James Cameron was nominated and complimented in her opening of the category itself. Hmm, interesting choice. And interesting that Avatar should win in this department.

Here we have the second appearance of the youngsters who her brought in to won two attract the tween audience. Kristen Stewart and Taylor Lauter present a tribute to horror. They open by saying that horror doesn’t seem to have a place in the Academy awards and that horror hasn’t been honoured for 37 years, when the Exorcist won two awards. At this point I thought, “what about Silence of the Lamb” and subsequently assumed they categorised it as a thriller. This was followed by a montage of horror movies over time. But wait! What was that in the montage? Jodie Foster as Clarice Starling and Anthony Hopkins as Hannibal Lecter? Didn’t they play those roles in Silence of the Lambs? Sloppy work academy, sloppy work.

Presenting the award for achievement in cinematography was best actress nominee, Sandra Bullock. And the award goes to, Mauro Fiore, for Avatar.

A familiar tune begins to play. Demi Moore strolls in with Unchained Melody playing in the back ground. Time for the tribute for those we’ve lost over the past year, some or of which were icons, some simply familiar, and some relatively unheard of. It’s a shame that it’s so easy to categorise people to these categories simply by the enthusiasm of the audience’s applause.

Interpretive street dance accompanies the scores nominated for best original score. Indeed, you read that correctly. This could have easily gone so very badly, but it didn’t, the dancing was amazing and surprisingly well fitted to the music. The segment for Up, was unbelievable, with an update on the classic “robot” dance move. Fittingly so, the award went to Michael Giacchino for Up.

Oscar winning writer Matt Damon steps forth to present the award for best documentary feature with the award going to The Cove, documenting a hidden cove where dolphins are killed every year.

Another best picture montage, Keanu Reeves presents the

Pedro Almodovar and Quentin Tarantino come onstage to present the award for best foreign film. Last year the frontrunners were Waltz with Bashir and The Class, but the eventual winner was the relatively unheard of Japanese film, Departures. The foreign film category can be a rather unpredictable on. This year the award appears to be going the either The White Ribbon or A Prophet. Like last year, winner comes out of left field with the Argentinean The Secret in Her Eyes taking the award.

Michelle Pfeiffer, Vera Farmiga, Julianne Moore, Tim Robbins and Colin Farrell take to the stage, why them of all people? This is not apparent until Michelle Pfieffer begins to speak of how she adores Jeff Bridges, Vera Farmiga speaks of her experience of working with George Cooney, Julianne Moore compliments Colin Firth, Tim Robbins talks about Morgan Freeman and Colin Firth about Jeremy Renner - The best actor nominees. Kate Winslet steps forward to announce the winner, Jeff Bridges. This is his first win after 5 nominations, it is perhaps because of this the academy appeared to very lenient with the amount of time given for his acceptance speech.

Another five stars appear before us. Forrest Whitaker speaks of Sandra Bullock, Michael Sheen get some laughs when speaking of Helen Mirren, Peter Saarsgard compliments Carey mulligan, Oprah Winfrey lauds Gabourey Sidibe and Stanley Tucci does the same for Meryl Streep. Alas, my hopeful surprise of Carey Mulligan winning did not occur, instead the predicted did. Sandra Bullock won for her role in The Blind Side.

And now, the moment we’ve all been waiting for, “Ladies and gentleman please welcome two time academy award winner, Barbra Streisand” I don’t refer the appearance Ms Streisand herself, by the envelope she carries in her hand. She opens by saying that for the first time in history the winner of the best director award could be a woman or an African-American. She congratulates all the nominees before announcing the winner. “well, the time has come,” she says. Of course it would have been nice for Lee Daniels to win for Precious, but this battle was between two directors only. The award went to a very honoured Kathryn Bigelow. After a very humble speech, Bigelow leaves the stage to make way for Tom Hanks announcing best picture. Kathryn Bigelow returns to the stage with every other producer of The Hurt Locker as it takes the award.

There's Something About Bianca

2010-03-09T15:10:00.007Z

Lars is a sweet but socially reclusive gentleman. The opening scene depicts Lars standing by the window of his house (the converted garage of his childhood home) until his sister-in-law walk from the main house to his front door and invites him over for breakfast. Initially Lars moves behind the curtain in retreat. The hesitation is brief, the change in expression subtle, but the intention and action are apparent. In this moment, Lars receives all the introduction needed. He doesn’t go to breakfast, despite promising to do so; not out of malice or indifference, but because social interaction is not something Lars id good with. This evident from his interactions with his family, co-workers and everyone else surrounding him.

It is not until 6 weeks later that Lars volunteers to join his brother Gus and sister-in-law Karin for a meal, the catalyst for this is his new friend, Bianca. Bianca is a life-sized, anatomically correct, ‘real-girl’ doll. Screenwriter Nancy Oliver and director Craig Gillespie walk the fine line between comedy and drama carefully. Upon looking at the DVD cover and hearing the high concept, “Guy starts dating sex doll”, one might expect a potentially vulgar all out comedy, something we have come to expect from Judd Apatow. What we receive instead is a beautiful story about a reclusive and somewhat socially inept man and possibly the most caring community ever.

When Lars brings Bianca to meet Gus and Karin, like any sensible human beings, they know that something must me wrong. Upon taking Lars to see a psychologist, under the pretence of taking Bianca to see a physician, Karin and Gus are told that the best thing to do the help Lars with his delusion, is to go along with it.

The story itself is genius. Nancy Oliver, who previously wrote and co-produced Six Feet Under, drew her inspiration from her experience of working on a website with loads of lonely guy. Like Six Feet Under, Lars and the Real Girl has a wonderful balance of drama and comedy. Lars and the Real Girl is an exploration ones mental condition, a family drama, the story of a community, a romance, and in the words of Nancy Oliver, a contemporary fairytale. Oliver achieves all of this and she does it well. Such a feat would not have been possible without Craig Gillespie’s masterful direction. Everything about the film is subtle and understated despite the subject matter.

Every performance in the film is marvellous. Without the wonderful and sincere performances across the board, the film would be nothing of what it is . Ryan Gosling delivers yet another stellar performance illustrating the range and talent of this young director. It is impossible to imagine another person in the role. Another performance that deserves a special mention is that of Patricia Clarkson and physician, Dagmar. She doesn’t have that much screen time, but in her motherly and professional role, she is a joy to watch. Through her portrayal of Dagmar, she teaches us much about our main protagonist and provides a psychological interpretation of Lars’ behaviour.

A combination of superb performances, intelligent writing and skilful direction result in a beautiful and understated independent film.

Obligatory Oscar Predictions (2010)

2010-03-07T15:23:00.000Z

This is definitely the latest I have ever waited to cast my Oscar predictions. One of the primary reasons for this tardiness was due to my having only seen Avatar approximately one hour ago. There’s been quite a lot of squeezing in last minute films this week, I finally watched Precious: Based on the Novel Push by Sapphire and An Education, one of which left me quite troubled, I let you decide which. This year, like every year, a small number of films have been nominated for a hefty chunk of the awards and have a string chance of winning them. This year the battle is between the box office giant, Avatar, and the critically acclaimed, The Hurt Locker. There have been many an article or blog post on this rivalry, so I shan’t bore you with anything that’s been mentioned a number if times before. Instead, I’ll begin with my predictions.

Best Performance by an Actor in a Leading Role

Last year I made the mistake of choosing the actor playing the role of someone living a life that was once filled with success and was mistaken with the classic biopic taking the gold. This year, I shall do the exact same thing, only the end result shan’t be the same (hopefully). In Crazy Heart, Jeff Bridges plays Bad Blake, a previously successful country and western singer who’s fallen on hard times. Bridges performance has certainly been the most critically popular performance in the category. Additionally, he’s one a fair few of the pre-Oscar awards including the Golden Globes, the Independent Spirit awards and the SAG awards. A performance that deserves a mention is that of Colin Firth in A Single Man. Firth delivers what has unanimously been referred to as his greatest performance. He is breathtaking, if he, as opposed to Bridges was the win the award, I would not be surprised.

A pleasant alternative: Colin Firth in A Single Man

Best Performance by an Actress in a Leading Role

This year has been a wonderful year for performances by younger actresses. Gabourey Sidibe is breathtaking in Precious: Based on the Novel Push by Sapphire. She is completely believable as the teenager who appears to be for the most part of the film, for lack of a better word, broken. Carey Mulligan plays the precocious and intelligent Jenny in An Education. After much thought, I’ve decided to describe her as charming, in her role. Mulligan carries the film, it would have suffered greatly without a lead as strong as her. Unfortunately, these newcomers have some acting giants to compete against. Meryl Streep and Helen Mirren have been nominated, once again, for their roles in Julia & Julia and The Last Station respectively. However, I don’t believe they shall be the winners. Instead, I think the gold will go to Sandra Bullock, for her role in The Blind Side.

A pleasant surprise: Carey Mulligan in An Education

Best Performance by an Actor in a Supporting Role

The supporting categories are the two that the majority seem to be certain about. I class my self, in this sense, as part of this majority. Christophe Waltz has won pretty much every award under the sun for his role as Hans Landa, the “Jew Hunter” in Quentin Tarantino’s Inglourious Basterds. I honestly cannot think of any other actor in the category who will succeed over Mr Waltz.

A surprise: Anyone else

Best Performance by an Actress in a Supporting Role

Like the previous category, I believe this one to have one clear winner. I cannot think of any other times when anyone would have commented on any performance delivered by Mo'Nique. Many may struggle to think of any other roles played by the comedienne. This is one of the many things that make her performance in the Lee Daniels independent film, Precious: Based on the Novel Push by Sapphire, even more outstanding. One of many things Mo'Nique, as the abusive Mary Jones, make us do is feel. These feelings may be positive, they can explicitly negative feelings, but the ability to do such a thing is the mark of a great performer.

A surprise: Anyone else

Best Animated Film of the Year

Up. No beating around the bush, Up will win.

An interesting surprise: Fantastic Mr Fox

Best Foreign Language film of the Year

Michael Haneke has, over the year, established himself the be a very talented and provocative filmmaker. The former is evident in his latest work, the latter, not so much, but not to its detriment. The visually Bergmanesque The White Ribbon is centred around a village, strange things begin to happen which appear to be causes by the Children. This category does not have the certainty of the previous three. Jacques Audiard’s prison features has been praised very highly by an overwhelming majority. Despite this, I believe the award will go to The White Ribbon.

The alternative winner: A Prophet

Best Writing, Screenplay Written directly for the Screen

This category features a large number of strong screenplays. Inglourious Basterds has been seen as a return to form, Up is a wonderful example of Pixar’s continuing progression, The Hurt Locker has been praised in every area including it’s writing and A Single Man is among the Coen Brothers greatest screenplays. My eventual prediction, with little certainty, is The Hurt Locker.

A pleasant surprise: A Single Man

Best Writing, Screenplay Based on Material Previously Produced or Published

I believe there to be two very strong screenplays in this category; An Education and Up In the Air. Both are wonderful in every sense of the word. As much as I love An Education, methinks the award will go to Jason Rietman for the humorous Up In The Air,

A nice change: An Education

Achievement in Direction and Best Motion Picture of the Year

Finally we come to the big ones, best director and best film. There is no question that the battle is between Avatar and The Hurt Locker. Both films are excellent in their own right, both features great performances, excellent direction, strong storylines. One of the large changes to the Academy Awards has been the expansion of the best picture category to 10 film. However, the extent to which this increases inclusion is questionable, will District 9, Up, the Blind Side or An Education really stand a chance of winning? The consensus appears to be the that there are still only two likely winners. Avatar is a strong picture and a land mark in picture, however, believe the drama, realism and suspense of The Hurt Locker will prevail. Therefore, I think Kathryn Bigelow will win best director and The Hurt Locker, best picture.

Let The Wild Rumpus Start

2009-12-14T14:19:00.003Z

Upon entering the theatre to view Where the Wild Things Are, one thing was so glaringly obvious, so blatantly apparent, so gosh darn clear; despite the rating of PG and the film having been based on a childrens' book, the number of children could be counted on one hand. From it's Arcade fire track in the trailer to it's general feeling of melancholy-nostalgia, we knew from it's advertising genesis that Where the Wild Things was no Golden Compass; it had the aesthetics of a children's film with the content of light-hearted film for adults.

That's not to say Where the Wild Things Are isn't suitable for children, it still a wonderful adventure featiuring a child protagonist that many young people can relate to. But Spike Jonze still manages to explore some of the most prominent features of the human experience; lonliness, betrayal, emptiness, unadulterated joy and largely above all, love and accepting it.

The original Where the Wild Things are isn't the most complex of stories; Young boy named Max sporting a wolf outfit get up to three kinds of mischief and is sent to bed without supper. His room grows into another lands and he sails to land of Wild Things. Naturally, Max becomes king of the Wild things but eventually wants to go back home where he finds his supper waiting for him...and it was still hot. Of course, it were directly translated into a film, it would probably be less than five minutes long. Jonze makes Max (Max Records) the child of a workaholic mother and a departed father and the sibling of sister who is edging closer to adulthood. Max is not extraordinary, he is just a child at the cusp of adolescence not wanting to take that final jump.

Our story opens with our protagonist Max having a snow fight with his sister and her friends culminating in Max's igloo being destroyed. The moment is apsolutely crushing, Max is destraught and furious. In revenge Max ransacks his sister's bedroom before guilt begins to trickle in. In these moments, any reservations about our leading actor's acting ability are put to rest. In these moments, we become fully aware of who we are in this tale as we see a moment from our childhood on screen.

Enter Katherine Keener. Katherine Keener plays Max's mother; a stabilising influence and source of comfort and love. For the moment I'll refrain from gushing Katherine Keener love over this keypad. Like most other aspects of the story, Spike Jonze adds an addiditional dimension to the reasoning behind Max's mischeif. Unlike the book, where no explanation is really given, Max's mischief is the result of seeing him mother with a male friend, someone attempting to take the place of his father. After standing in a table and biting his mother, Max is told that he shan't be having any supper resulting in him sailing off to the land of the Wild Things and made king.Max is appointed to do one thing in particular; keep lonliness at bay, as Wild Things too can get lonely.

Maurice Sandak's 1963 story, in all it's nine sentences, naturally doesn't feature a great deal of character exploration, particulary in the Wild Things. Jonze makes what were previously nameless colour pictures into 3 dimensional characters (literally and figuratively). There's Carroll the emotional and creative one, caring and empathetic K.W., the logical Douglass, negative "downer" Judith, pushover Ira and the quite Bull, each depicting a different facet of of our protagonist and like Max facing the problems that define adolescence; friends making new friends, wanting the make everyone happy, wanting to be heard, wanting to try new things and accidentally pushing the people who love you away. Yes, this is a film for those who are going through these problems or who have gone through them already, 'tis not for young children, they aren't yet prepared for it.

Despite the names voicing characters (James Gandolfini, Lauren Ambrose, Forrest Whitaker, Paul Dano, Catherine O'Hara, Chris Cooper), at no point do they distract the viewer, each actors voice adds a great deal to the characters they play.

One of the central themes of Where the Wild Things Are is parental love. This is epitomised by Katherine Keener's performance as Max's mother. As mentioned previously, Max Records is splendid, the fact that this is his first performance is not apparent.

This, to me was a wonderful film. The performances were superb as was the casting, the combination of CGI and live action was perfect, the soundtrack was absolutely fantastic and fitting. All in all, I believe it to be a great adaptation of a childhood favourite.

On the 81st Academy Awards

2009-02-23T05:16:00.001Z

The awards season has come to a close with the biggest award ceremony of the year. Many of us wondered why Jon Stewart didn’t return to reprise his wonderful role as the host this year as he certainly was exceptional at the previous ceremony, but we shan’t dwell. A surprising choice was that of Hugh Jackman as the host. Clearly, the organisers of the ceremony saw something in Hugh Jackman that we didn’t as he certainly was wonderful. From the obligatory comments on the actors’ performances to comparing Robert Downey Jr’s being an American playing an Australian playing an African-American to his being an Australian playing an Australian in a film called Australia, Jackman oozed with charisma and showmanship. Hugh Jackman even performed his own musical number (with a little help from Anne Hathaway) about every film nominated in a hilarious commentary on the recession.

Best Performance by an Actress in a Supporting Role

Presented by five previous winners of this coveted award; Whoopi Goldberg, Anjelica Huston, Tilda Swinton and Goldie Hawn, each giving a beautiful piece on the performances of the five nominees. The nominees were Viola Davis and Amy Adams of Doubt, Penelope Cruz for Vicky Christina Barcelona, Melissa Tomei for The Wrestler and Taraji P. Henson for The Curious Case of Benjamin Button. The award went to Penelope Cruz who pulled a Javier Bardem delivering part of her speech in her native tongue.

Best Writing, Screenplay Written Directly for the Screen

In a tribute to screen writing, Steve Martin and Tina Fey presented the award following a phantom screenplay voiced by themselves. Both read extracts from the screenplays from each film nominated; Frozen River by Courtney Hunt, Happy-Go-Lucky by Mike Leigh, In Bruges by Martin McDonagh, Milk by Dustin Lance Black and Wall-E by Andrew Stanton and Pete Docter. The award went to Dustin Lance Black for Milk who took the opportunity to say a few words for gay and lesbian teens who didn’t feel accepted.

Best Writing, Screenplay Based on Material Previously Produced or Published

Also presented by Steve Martin and Tina Fey. The nominees were Doubt by John Patrick Shaney, Frost/Nixon by Peter Morgan, The Reader by David Hare and Slumdog Millionaire by Simon Beaufoy. The Oscar went to Simon Beaufoy for Slumdog Millionaire based on the novel Q&A by Vikas Swarup.

Best Animated Feature Film of the Year

Presented by Jennifer Anniston and Jack Black commenting on how animation “is making actors obsolete” was the 2008 yearbook; a new feature for the Academy Awards. As suggested by their opening, their focal point was the animated features this year has brought us. The nominees for Best Animate Feature Film were Bolt, Fung-Fu Panda and Wall-E. As expected, Andrew Stanton collected the award for Wall-E.

Best Short Film, Animated

Also presented by Jack Black and Jennifer Aniston (who were unaware that they were to do so). The nominees were La Maison en Petit Cubes, Lavatory - Lovestory, Presto, Okatpodi and This Way Up. The Oscar went to Kunio Kato for La Maison en Petit Cubes.

Best Achievements in Art Direction

Daniel Craig and Sarah Jessica Parker announced the nominees; Donald Graham Burt and Victor J. Zolfo for The Curious Case of Benjamin Button, Michael Carlin and Rebecca Alleway forThe Duchess, Nathan Crowley and Peter Lando for The Dark Knight, James J. Murakami and Gary Fettis for Changeling and Revolutionary Road. The Oscar went to Donald Graham Burt for The Curious Case of Benjamin Button.

Best Achievements in Costume Design

Once again presented by Sarah Jessica Parker and Daniel Craig. The nominees for Best Achievement in Costume Design were Albert Wolsky For Revolutionary Road, Michael O'Connor forThe Duchess, Danny Glicker for Milk, Jacqueline West for The Curious Case of Benjamin Button, and Catherine Martin for Australia. The Oscar went to Michael O’Connor for the Duchess.

Best Achievements in Make-Up

Yet another presented by Sarah Jessica Parker and Daniel Craig. The nominees for best achievement in make-up were Greg Cannom for The Curious Case of Benjamin Button, John Caglione, Jr. and Conor O'Sullivan for The Dark Knight and Mike Elizalde and Thom Floutz for Hellboy II: The Golden Army. He Oscar went to Greg Cannom for The Curious Case of Benjamin Button.

Robert Pattinson and Amanda Seyfried presented the second instalment of the 2008 yearbook focusing on romance in films throughout the year.

Best Achievement in Cinematography

Natalie Portman and a poorly disguised Ben Stiller presented the award for cinematography. Stiller humorously did many faux-pas, expressed insecurity and wandered aimlessly before announcing the nominees, Claudio Miranda for The Curious Case of Benjamin Button, Anthony Dod Mantle for Slumdog Millionaire, Wally Pfister forThe Dark Knight, Tom Stern for Chanegeling and the Chris Menges and Roger Deakins duo for The Reader. The award went to Anthony Dod Mantle for Slumdog Millionaire.

Best Short Film, Live Action

James Franco and Seth Rogen reprised their roles in Pineapple Express for a brief but funny skit on films that came out during the course of year. This was followed by Seth Rogen, James Fronco and Janusz Kaminski presenting the award for Best short film. The nominees were On the Line, Manon of Asphalt, New Boy, The Pig and Toyland. The award went to Jochen Alexander Freydank for Toyland.

Out host returns to comment on the come-back of the musical following the success of Mamma Mia. This was followed by another musical performance by Hugh Jackman with surprise appearances from Beyonce, Zach Efron, Vanessa Hudgens, Amada Seyfried and Dominic Cooper, where they performed brief parts from a plethora of musicals including Grease, Chicago, West Side Story, High School Musical and of course Mamma Mia.

Best Actor in a Supporting Role

Alan Arkin, Cuba Gooding Junior, Kevin Klein, Christopher Walken and Joel Grey, five previous winner, presented the award for Best Supporting Actor. Before announcing the winner, each commented on the performances of the nominees; Phillip Seymour Hoffman, Josh Brolin, Robert Downey Jr, Michael Shannon and Health Ledger. As predicted, Heath Ledger won the award for his performance in The Dark Knight. The award was collected by his mother, sister and father.

Best Documentary Feature

Opening slightly differently from the previous awards was that for Best Documentary Feature. The director of each film nominated spoke briefly about documentary film-making. The award was presented by Bill Maher. The nominee were The Garden, Man on Wire, Trouble the Water, Encounters at the End of the World . The award went to James Marsh and Simon Chin for Man on Wire.

Best Documentary, Short Subject

The nominees were The Conscience of Nhem En, The Final Inch, Smile Pinki and The Witness - From the Balcony of Room 306. The award went to Megan Mylan for Smile Pinki.

Another yearbook feature. This time, a tribute to action sequences throughout the year.

Best Achievement in Visual Effects

Will Smith emerges from beneath the stage in classic Will Smith fashion. The Curious Case, Nick Davis, Chris Corbould, Tim Webber and Paul Franklin for The Dark Knight and John Nelson, Ben Snow, Dan Sudick and Shane Mahan for Iron Man. The award went to Eric Barba, Steve Preeg, Burt Dalton and Craig Barron for The Curious Case of Benjamin Button.

Best Achievement in Sound Editing

The nominees were The Dark Knight, Iron Man, Slumdog Millionaire, Wall-E and Wanted. Richard King took the award for the Dark Knight.

Best Achievement in Sound Mixing

The nominees were The Curious Case of Benjamin, The Dark Knight, Slumdog Millionaire, Wall-E and Wanted. The award went to Slumdog Millionaire

Best Achievement in Editing

Covering the final base in the post production area was still Will Smith. The nominees for Best Editing were Frost/Nixon, The Dark Knight, Milk, Slumdog Millionaire and The Curious Case of Benjamin Button. The award went to Chris Dickens for Slumdog Millionaire.

Jean Hershot Award

Eddie Murphy presented the humanity award to Jerry Lee Lewis.

Best Achievement in Music Written for Motion Pictures, Original Score

Each score nominated was wonderfully performed by the orchestra reminding us of the greatness of these pieces. Presented by Alicia Keys and Zach Efron, the award went to A.R. Rahman for Slumdog Millionaire.

Best Achievement in Music Written for Motion Pictures, Original Song

Once again presented by Alicia Keys and Zach Efron was the award for best song. As usual, the songs were performed for the audience. A.R. Rahman performed O Saya and Jai Ho from Slumdog Millionaire and surprisingly, John Legend performed Down to Earth from Wall-E. The award went to A.R. Rahman for Jai Ho.

Best Foreign Language Film

Liam Neeson and Freida Pinto presented to award for best foreign film. The nominees were Waltz With Bashir, The Baader Meinhof Complex, The Class and Ravanche. Surprisingly, the award went to the Japanese feature, Departures.

Queen Latifah took the stage for what has become an integral part of the Oscars ceremony; the tribute to those we have lost. Images of the lost ones graced our scenes to the sound of I’ll be Seeing You.

Best Achievement in Direction

Reese Witherspoon sauntered onto the stage commenting on the directing process. Danny Boyle for Slumdog Millionaire, Ron Howard for Frost/Nixon, David Fincher for The Curios Case of Benjamin Button, Stephen Daudry for The Reader and Gus Van Sant of Milk. Giving the greatest number of thank yous for his win, Danny Boyle collected the award for Slumdog Millionaire.

Best Actress in a Leading Role

Following the them set during the course of the show, five previous winner, Sophia Loren, Shirley McLain, Halle Berry, Marion Cotillard and Nicole Kidman presented the award for Best Leading Actress. The odds-makers predicated that Kate Winslet would win. The indie crowd held out for Anne Hathaway. The more obscure indie crowd prayed for Melissa Leo. The odds makers were correct on this one and Kate Winslet continued her almost perfect award run with an Oscar win. Kate Winslet accepted her award gracefully, modestly and beautifully not forgetting a single person.

Best Actor in Leading Role

Five film greats, all winners of this coveted award presented the award for Best Actor in a Leading Role. Together Robert DeNiro, Michael Douglass, Adrien Brody, Anthony Hopkins and Sir Ben Kingsley passed the torch on to the next winner. The nominees were Richard Jenkin, Sean Penn, Brad Pitt, Frank Langella and Mickey Rourke. For weeks many argued that the competition was between Mickey Rourke and Sean Penn with Mickey Rourke in a slightly better position. Despite many of our predictions, Sean Penn won the award thanking the “Commie, homo-loving, sons of guns”.

Best Motion Picture of the Year

The Curious Case of Benjamin Button, Milk, Frost/Nixon, The Reader, Slumdog Millionaire; the names of the nominees for best picture. Like every year, we all stated that there were but two contenders to win the award for best motion picture. Slumdog Millionaire and Milk have won the hearts and minds of critics and cinephiles alike and have been hailed by many as the greatest films of the year. And the award goes to…Slumdog Millionaire. Slumdog Millionaire truly is the tale of the little film that could. It started out as a relatively small film starring unknown actors and the main name attached to it was Danny Boyle. Over the past few months Slumdog Millionaire has become known as an excellent film and deservedly so.

Obligatory Oscar Predications

2009-02-22T21:16:00.000Z

There has been much hubbub surrounding the 81stAcademyy awards. For months we pondered whether Heath Ledger would receive a post-humous Oscar, whether Robert Downey Jr’s hilarious performance in Tropic Thunder would warrant a nomination and whether the adorable animated Wall-E would be considered for the coveted best picture. Our pondering paid off on two counts, the last, unsurprisingly is nominated for best animated picture. This year, like every other year, the nominations have been dominated by a small number of critically acclaimed films with The Curious Case of Benjamin Button nominated for 13 awards and Slumdog Millionaire nominated for 10. Slumdog Millionaire has been greatly successful in the awards thus far, whether this success will continue is something we’ll have to wait for.

Best Performance by an Actor in a Leading Role

Mickey Rourke’s performance as Randy “the Ram” Robinson has to be one of the big surprises of the last year. For years Rourke was almost unseen appearing in critically panned films such as Domino and Stormbreaker. However, in 2008 Rourke re-appeared in Darren Aronofsky’s The Wrestler reminding us what a capable actor he is. Despite Rourke’s award success thus far; winning at the BAFTAs and Golden Globes, we cannot mark him as a clear cut winner. Sean Penn’s performance as Harvey Milk (winning him a Screen Actors Guild Award) in Gus Van Sant’s Milk has blown more than a few away. However, I believe the odds are tipped in Mickey Rourke’s favour.

A pleasant surprise: Richard Jenkins in The Visitor

Best Performance by an Actor in a Supporting Role

As mentioned previously, one of the main subjects of the Oscar hubbub was Heath Ledger’s performance in The Dark Knight. Winning almost every coveted award in the supporting actor category this award season, one can’t help but assume Ledger winning the Academy Award goes without saying. Then again, these are the Oscars; will the academy give out an award for a performance in a comic book adaption? Was he lucky to even be nominated? The pondering continues. My prediction is still that of Heath Ledger in The Dark Knight despite the nature of the academy.

A pleasant surprise: Robert Downey Jr. in Tropic Thunder

Best Performance by an Actress in a Leading Role

This certainly has been Kate Winslet’s year winning awards (often on the same night) for The Reader and Revolutionary Road. Some are happy that she getting such great attention, some can’t help but be annoyed every time she cries. I fall into the former category. This is Winslet’s 6th Oscar nomination (previously nominated for Little Children, Eternal Sunshine of the Spotless Mind, Iris, Titanic and Sense and Sensibility) and she is yet to win one. Many have been asking whether her performance in The Reader was better than her previous performances. This, is the wrong question to ask, what should be asked instead is whether her performance is better that those of her competitors. It is my opinion that Kate Winslet will win the Oscar for Best Actress in a Leading Role.

A pleasant surprise: Anne Hathaway in Rachel Getting Married

Best Performance by an Actress in a Supporting Role

The Best Supporting Actress category is one where almost anyone could win. Kate Winslet won the Best Supporting Actress at the Golden Globes and the Screen Actors Guild awards, if she were nominated for Best Supporting Actress at the Academy Awards, the scales would probably be tipped in her favour. Penelope Cruz won a BAFTA for her performance in Vicky, Christina Barcelona but we cannot take this as an indication of her winning the Oscar. Despite my saying this, I believe that Penelope Cruz’s performance is the most likely to win the Oscar out of those nominated.

A pleasant surprise: Amy Adams in Doubt

Best Animated Feature Film of the Year

This award is certainly one where there is clear cut winner. As mentioned previously, there was much speculation about whether Wall-E was to be nominated for Best Picture let alone Beast Animated Feature Film of the Year. The winner goes without saying: Wall-E.

A surprise, but not necessarily a pleasant one: Any other film

Best Achievement in Cinematography

When it comes to the award for cinematography, one cant’t help but wonder whether the award will go to one of the Academy’s veterans of the art or one of the “New Kids on the Block”. Roger Deakins and Chris Menges have been nominated for their work on The Reader; between them they have 8 nominations and 2 wins. Wally Pfister, previously nominated for 3 Oscars, has been nominated for his work on The Dark knight. This is the first nomination for Tom Stern (Changeling), Claudio Miranda (The Curious Case of Benjamin Buttion) and Anthony Dod Mantle (Slumdog Millionaire). On this occasion I believe the veterans will be at a loss with Anthony Dod Mantle winning the award for Slumdog Millionaire.

A surprise: Wally Pfister of The Dark Knight

Best Documentary Feature

Where last years category was dominated by Iraq war film, this years category features a great deal of variety. There is the Vietnam quest-The Betrayal, Werner Herzog’s Antarctic epic-Encounters at the End of the World, The Garden-about a garden, the tale of “the artistic crime of the century”-Man on Wire and the New Orleans documentary-Trouble the Water. The frontrunner appears to be the interesting and well-made Man on Wire.

An interesting surprise: The Garden

Best Foreign Language Film of the Year

The Foreign Language film category has two frontrunners; The Baader Meinhof and Waltz With Bashir. Waltz with Bashir appears to have the advantage.

A surprise: The Class

Best Achievement in Music Written for Motion Pictures, Original Score

Every score nominate has an element of greatness to it. However, I believe it is the score for Wall-E created by Thomas Newman that has that additional touch of something more.

A pleasant surprise: A.R. Rahman for Slumdog Millionaire

Best Achievement in Music Written for Motion Pictures, Original Song

The choice for best song has to be between “Jai Ho” from Slumdog Millionaire and “Down to Earth” from Wall-E. Upon listening to all the songs nominated, I predict “Jai Ho” by A.R. Rahman and Sampooran Singh Gulzar with win the Oscar.

A surprise: “O Saya” from Slumdog Millionaire

Best Writing, Screenplay Written Directly for the Screen

One excellently executed but unconventional screenplay is that of Wall-E. Despite the minimal dialogue, Wall-E manages to have an excellent story and screen play. No dialogue does not mean a bad screenplay. As a result of this, I believe Wall-E to be the frontrunner for the best original screenplay Oscar.

A pleasant surprise: Happy-Go-Lucky

Best Writing, Screenplay Based on Material Previously Produced or Published

Best adapted screenplay is what I believe to be part of the streak for Slumdog Millionaire. The screenplay, based on the novel Q&A by Vikas Swarup and adapted by Simon Beaufoy has already been the recipient of the BAFTA, Golden Globe and Writer’s Guild award for best screenplay.

A surprise: Frost/Nixon

Best Achievement in Direction

As mentioned previously, there is a collection of awards that will be a streak for Slumdog Millionaire, this included Best Achievement in Direction. However, some will argue that the award go the Gus Van Sant for Milk. I make no such argument.

A surprise: Stephen Daldry for The Reader

Best Motion Picture of the Year

Two words: Slumdog Millionaire. Slumdog Millionaire really is the story of the “little film that could” reaching critical and box office success than no-one could have imagined.

Best Achievement in Art Direction: Donald Graham Burt and Victor J. Zolfo for “The Curious Case of Benjamin Button”
Best Achievement in Costume Design: Jacqueline for “The Curious Case of Benjamin Button”
Best Achievement in Make-Up: Grag Cannom for “The Curious Case of Benjamin Button
Best Documentary, Short Subject: Smile Pinki
Best Achievement in Editing: Lee Smith for “The Dark Knight”
Best Achievement in Sound Editing: Ben Burtt and Matthew Wood for “Wall-E”
Best Achievement in Sound Mixing: Tom Myers, Michael Semanick and Ben Burtt for “Wall-E”
Best Achievement in Visual Effects: Eric Barba, Steve Preeg, Burt Dalton, Craig Barron for “The Curious Case of Benjamin Button”

LoveFilm

2009-02-08T14:53:00.000Z

As a person who loves films and has a large amount of films they would like to get around to watching, LoveFilm was something that seemed perfect for me. I was offered a 30 day trial and free cinema tickets for subscribing from my local Picturehouse so I saw no reason but to sign up. Upon signing up I discovered a fantastic movie rental world, the shame is, I never got my cinema tickets. I don't know who to blame for that.

What's it all about?
The premise of LoveFilm is very simple, as they say: You choose, we send, you watch. All you do is sign up and create a rental list containing at least 20 titles, LoveFilm then send these titles to you. There are a variety of packages available.

Light Use Packages:
-1 DVD at a time with a limit of 2 DVDs per month - 3.99 per month
-1 DVD at a time with a limit of 3 DVDs per month - 5.99 per month
-2 DVDs at a time with a limit of 4 DVDs per month - 7.99 per month

Unlimited Packages:
-1 DVD at a time with no limit - 9.99 per month
-2 DVDs at a time with no limit- 12.99 per month
-3 DVDs at a time with no limit - 15.99 per month

Combo Packages (DVDs and games):
-1 disc at a time with a limit of 4 discs per month - 9.99
-1 disc at a time with no limit - 10.99
-2 discs at a time with no limit - 14.99
-3 discs at a time with no limit - 18.99

The package I initially selected during my trial was the 5.99 light-use package, upon realizing how promptly the DVDs were dispatched and how quickly I was sent new DVDs, I decided to change my membership type to the 9.99 unlimited package. LoveFilm makes it very easy to change packages with just the click of a button and the difference between the tariffs is automatically removed. I can highly recommend the 9.99 unlimited tariff.

How are the films chosen?
All the films to send are assembled in a list by the user. One simply searches the site by the name of a film, game, director or actor and this search should result in a list if DVDs/games that fit the chosen criteria. These films can then be added to ones LoveFilm list. The items on the list can be labeled as either high priority, medium priority or low priority. I have only ever been sent high priority films. As soon as an item has been dispatched, LoveFilm sends an email stating which films has been sent, the name of the film dispatched will also appear at the top of ones LoveFilm list.

How do I pay for this?
The cost of membership is automatically deducted from ones credit/debit card as most subscription packages work.

What is available for rental?
For film rental service, the most important feature is obviously the range of films available. LoveFilm boast to have a selection of 65000 films available, this, I don't think I can dispute. Even some of the most obscure titles can be rental from LoveFilm's library. Of course there are some films that I have been unable to find, but out of the 300 or so that I have searched for, 3 or 4 is not a large amount.

In addition to films, LoveFilm also has a large television section, though not as extensive as the film library. LoveFilm makes it possible to rent an entire television series. All the discs as sent consecutively in the correct order. Unfortunately, it is possible to get a bit tired of watching nothing but one television show. I'm yet to use the game rental service so I cannot comment on it as yet.

How fast are the deliveries?
Deliveries from LoveFilm tend to be vary fast, on most occasions; I receive a new DVD 2 days after I send one back. Many have stated that LoveFilm tries to send fewer DVDs to customers over time. I have not yet come across this problem.

Can I buy films?
In addition to renting items, it is also possible to buy DVDs and games from the LoveFilm store. All the DVDs are relatively well priced and there are often promotions on the things in the store, for instance, when a particular amount of money is spent in the LoveFilm store (10 of more), it can be possible to receive extra rentals. If you don't feel like waiting for a film to be delivered, most films in the store can also be downloaded. The only software needed for this is the latest version of windows media player.

What if I go on holiday?
If for some reason or another, you do not wish to receive any films for a while, you do not have to just continue paying for rentals as though you were watching films. LoveFilm allows you to take an account holiday ranging from 1 week to 13 weeks meaning that you don't have to pay a penny for films you aren't watching or games you aren't playing.

Any additional rewards?
For recommending a friend to LoveFilm, when the friend becomes a subscriber, you receive 30 days free. In addition to this, it is not uncommon to receive vouchers of some sort.

Problems?
I haven't encountered much in the problem department. On one occasion I was sent disk 5 or a television series instead of disk 4 but other than that, nothing has gone wrong for me, deliveries are prompt, DVDs are of good condition, I haven't a bad word to say. I strongly recommend checking LoveFilm out.

www.lovefilm.com

On the Movie Adaptation of the Hobbit

2009-02-07T19:23:00.000Z

For a while, there have been whispers of adapting J.R.R Tolkien's The Hobbit (or There and Back Again), into a motion picture. This even dates back to before Peter Jackson adapted Lord of the Rings, the sequels to The Hobbit, in 2001. The Hobbit explores the life of Bilbo Baggins as he attempts to win treasure protected by the dragon, Smaug.

As a result of the success of the Lord of the Rings trilogy, it was often assumed that Peter Jackson would create The Hobbit. Following lengthy legal battles with Jackson and New Line in relation to unpaid royalties, it was finally decided that The Hobbit would indeed be adapted into a films and that Peter Jackson would be involved in the creation of it. New Line are said to be in a rush to make the Hobbit as they only hold the rights for it for a particular period of time. It was rumoured in late 2007 that two Hobbit films, in 3D and directed by Peter Jackson would come out in 2010 and 2011, this was later quashed by New Line. Some stated later that Peter Jackson would still make two movies, one based on The Hobbit and the other based on The Silmarillion and the Unfinished Tales this was partially influenced by a comment from Elijah Wood who stated in January 2008, "as far as I know the two film that they're doing, one will be The Hobbit and another will take place between The Hobbit and Lord of the Rings". This was neither confirmed nor dismissed.

Despite the belief of many that Peter Jackson would direct The Hobbit as he did Lord of the Rings, it was eventually decided that Peter Jackson would produce the films alongside Fran Walsh who produced and wrote the screenplay for The Lord of the Rings trilogy. Like The Lord of the Rings, The Hobbit will be shot simultaneously with the production beginning in 2009. The films are said to be completed in 2010 and 2011.

Since concluding that Peter Jackson would not be directing The Hobbit, the question of who would direct J.R.R Tolkien's Hobbit was on the minds of many. Contenders included Guillermo Del Toro (Pan's Labyrinth) , Sam Raimi (Spiderman), Alfonso Cuaron (Children of Men) and even David Lynch (Mulholland Drive). However, it has been confirmed that the Lord of the Rings prequels will be directed by Guillermo del Toro who showed his command of the fantasy genre with Pan's Labyrinth and Hellboy.

In an interview with Empire magazine, Guillermo Del Toro stated that he, Phillipa Boyens, Fran Walsh and Peter Jackson were working on writing the films.

One of the most important aspects of the film is the cast and of course, Bilbo. Del Toro states that the character of young Bilbo will be based on the way in Bilbo was played by Ian Holm, he also mentioned that there seemed to be a consensus on who would play Bilbo but this has not yet been disclosed. Rumours circulated that James McAvoy would play Bilbo but McAvoy himself said that he wouldn't. Two roles that have been confirmed however, are that of Ian McKellen and Andy Serkis as Gandalf (the grey again) and Gollum respectively. There have also been rumours of Liv Tyler and Viggo Mortensen reprising their roles.

It has recently been stated by Ian McKellen that the films are being pushed back a year to 2011 and 2012. Much of the details about the films are yet to be disclosed, but Intel then, we'll simply await the news.

Qi

2009-02-07T15:37:00.000Z

I very rarely watch television shows on television anymore. Part of my reasoning for this is that there is so little that I wish to watch nowadays. Few of the shows that are generally topics of conversation interest me; I have very little interest in what Lauren is up to in The Hills, I am even less interested in the spin-off shows, I haven't the slightest idea about what is going on in Lost and I haven't ever voluntarily followed a soap opera.

My distaste for these shows does not mean that there is absolutely nothing that I consider to be good on television. There are few gems that are still in production but it can take a while to sift through the sea of drivel. One such television show is the BBC's Qi.

One the greatest elements of Qi is Stephen Fry as the host. For those of you who may not know who this outstanding gentleman is, Stephen Fry is a British comedian, author, writer, blogger and podcaster. I strongly recommend reading Stephen Fry’s blog; The New Adventures of Mr Stephen Fry, his podcast titled Stephen Fry’s Podgrams and generally everything else on StephenFry.com. Much of Fry’s early success was shared with Footlights friend and common collaborator, Hugh Laurie. Their most successful project were the BBC Sketch Show A Bit of Fry and Laurie and Jeeves and Wooster. Fry later went on to star in Blackadder II.

Stephen Fry has also become quite the success in the film world appearing in such films as The Good Father, A Fish Called Wanda, V For Vendetta and The Hitchhiker’s Guide to the Galaxy. In 2003 he made his directorial debut with Bright Young Things and in 2007 he wrote the screenplay for a remake of The Dam Busters for Peter Jackson. Most recently, Stephen fry travelled across all 50 (technically 46 and 4 commonwealths) American States for a 6 episode series for the BBC titled, Stephen Fry in America.

Now, enough about our Qi Master, Mr Fry and onto what Qi actually is. Qi (standing for Quite Interesting) is a British panel and quiz show that differs from you average quiz show in the way points are distributed. Points are not awarded for correct answers but for interesting answers. The most points are deducted for obvious but incorrect answers. In the words of Mr Fry:

"Now, the rules are simple. Scoring is my business. Points are given and points are taken away. They are taken away for answers which are both obvious and wrong, and they're given not so much for being correct, as for being interesting. Their level of interestingness is impartially determined by a demographically-selected customer service focus consultancy, broken down by age and sex - i.e. me. Because there is no-one more broken down by age and sex than me."

Each episode features four panellists, two to each side of Stephen Fry. There is one permanent panellist and that is Alan Davies who is always given the silliest buzzer and probably has the worst win:lose ratio out of all the contestants. Each season is allocated a letter (Season 1 was A and so on) and the theme of each episode begins with the letter for that season. The panel usually consists of comedians; regulars include Jo Brand, Phil Jupitus and Bill Bailey.

As I mentioned previously, the most points are deducted for obvious but incorrect answers. The majority of this occurs during the final round suitably named General Ignorance. In this round questions that appear simple are asked and obvious but incorrect answers are usually given. I have with me the Qi Book of General Ignorance and can confidently say that strawberries are not berries, Bangkok is not the capital of Thailand, Henry VIII only had 2 wives and there are only 46 states in America (which I’m sure Stephen Fry touched upon at some point during Stephen Fry in America). When an incorrect but obvious answer is given during the course of the show loud klaxons go off and the answer given is flashed on the two screens behind the panellists showing the obviousness of the answer.

Qi is one of the most interesting (haha, a play on the name of the show) television shows on at present. It is highly informative and gives great material for quizzes. In addition to this, the show is absolutely hilarious, partly because the panel is primarily made up of comedians.

Similar Shows: Never Mind the Buzzcocks, 8 out of 10 Cats, Mock the Week, Have I got News for You

The New (and possibly improved ) Amateru Critic Reviews

2009-02-07T15:21:00.001Z

Amateur Critics Review has undertaken a bit of a re-vamp. I decided to widen the scope of what is included in this here blog. No longer will it be restricted to just the reviews of films and so very rarely, music. No longer will you have to wait months for Amateur Critic Reviews to be updated. And no longer will [insert relevant statement here]. Amateur Critic Reviews shall also include commentary on film, music, television and other forms of entertainment. Don't worry, this is still an entertainment blog, my talking drivel and general ranting is still confined to This Blog Has No Title.

So, here's to the new, and hopefully improved, Amateur Critic Reviews.

Coming Soon...

2009-02-05T23:59:00.001Z

My apologies for the extreme lack of reviews of the past few...months? More are to come, unfortunately, everything I have written recently I so awful it should not be read by anyone. Milk should be ready withing the next 7 days

“Go see Tropic Thunder, with the, Panda, and don’t forget the Iron Man!”

2008-09-29T15:51:00.000+01:00

2008 has been the year of unbelievable feats on the behalf of PR companies. The first trailer for Tropic Thunder emerged several months ago followed by performances by the main cast on American Idol, skits at the MTV movie awards (one of which I have quoted above), websites for the “actors” within the film and now, a mocumentary about the making of the film within the film. Yes, the PR guys have certainly kept Tropic Thunder within our minds during the course of the year resulting in great anticipation for what appeared to be the funniest film of the year.

We open, as is the case with most film screenings, with a collection of film trailers but we soon begin to see that these are no ordinary trailers. Ahhhh, we realise, these are the faux trailers we heard about. Tugg Speedman (Stiller) returns as ex-navy seal Jag Laugerman in not the first, nor the second, third, or fourth, but the 5th sequel in the dying Scorcher series. Jeff Portnoy (Black) appears in the Nutty Professoresque flatulent comedy, The Fatties: Fart 2. Kirk Lazarus (Downey Jr.) stars alongside Tobey McGuire in Satan’s Alley, a tale of love and religion (rosary fondling and all). Tropic Thunder quickly eases us into the satirical nature of the film but then throws us into an, at first glance “serious” war film.

Of course, those of us who had seen the trailers or generally knew anything about the film knew that a serious Vietnam epic was not what we were going to get. Tropic Thunder is a brilliant satirical comedy pointing fun at the acting process, the film making process and Hollywood as a whole. Unlike many parodies we has seen over the years (the majority of which featuring the word “movie” in the title), Tropic Thunder does not aim to acquire laugher solely through direct copies of genre films with a comedic twist. Surprisingly, there are some areas of the film where the term, subtle, can be applied. These however, are not the moments you find in imdb’s memorable quotes section, or the trailers. Tropic Thunder may have possibly made the mistake of being marketed as a film filled with belly-laughs throughout and this may result in disappointment on the part of some viewers as these moments are mainly in the first 10 minutes of the film.

And now onto the story. Annoyed with the behaviour of his cast, director Damien Cockburn decides on a plan hatched by Four-Leaf, a Vietnam veteran. They drop the actors in the middle of the jungle where the film is shot “guerrilla style” using hidden cameras and the cast are bombarded by explosions set by the film's pyrotechnics expert, Cody (Danny R. McBride). The cast attempts to stick to the film’s script without realising that they are under attack by the Flaming Dragon gang. It happens to the best of us.

In addition to memorable acts on the part of the PR company, the debates on many internet chat rooms have also kept Tropic Thunder in the minds of many. I refer to the disagreements regarding Robert Downey Jr’s “Blackface”. Racist? I think not. Hilarious? Indeed. Downey Jr, plays Kirk Lazarus, and multi-award winning method actor who has gone through the extreme of dying his skin to play African-American character, Sgt. Osiris. Refusing to break character, Lazarus is one the main sources of humour making a complete mockery of method acting. Ben Stiller plays wavering actor Tugg Speedman, an action star trying hard to be taken seriously within the acting world but less than wise film choices have made this difficult. Jack Black plays comedy actor, Jeff Portnoy, who is forced to curb his drug habit cold turkey after being left in the jungle.

Great performances stem from not only the main cast but from an excellent supporting cast and cameo. Jay Baruchel and Brand T. Jackson are equally commendably as soldiers amongst that main cast, each hilarious for their own reason. Extremely out-of-character cameos from Tom Cruise and Matthew McConaughey come close to stealing the show, Cruise come close to being cringe-worthy during the closing titles. The film could easily be seen as a game of “Who’s that celebrity” with cameos from Bill Hader, Lance Bass, Tyra Banks and many more.

Tropic Thunder comes close to being one of the best comedies of the year but slightly predictable jokes and twists in the story line make it less impressive than the buzz made it appear to be.

There Are No Clean Getaways

2008-07-14T19:37:00.000+01:00

Over the years the Coen Brother’s have established themselves to be some of the most talented film-makers of their time. Their debut, Blood Simple, told a sinister tale of revenge and deception. From this point they depicted their ability to master suspense and this was further shown in Miller’s Crossing, Fargo and The Man Who Wasn’t There. The Coens have manage to dabble in almost every genre possible; comedy with The Hudsucker Proxy, romance with Intolerable Cruelty, film-noir with The Mane Who Wasn’t there and much more. The Coen’s two previous outing were widely regarded was disappointments, The Ladykillers was an unnecessary remake to a classic and Intolerable Cruelty was essentially a romantic comedy without any Coen snappiness or originality. The main question is, Have the Coen’s recovered from their previous set-backs and returned to their original greatness?

In one word, yes. The Coen’s latest work is arguably their best film to date. No Country For Old Men is based on the Cormack McCarthy novel of the same name. It tells the tale of three men: Llewellyn Moss; a hunter who stumbles upon a drug deal gone wrong and two million dollars in the process, Anton Chigurh; a psychopathic killer hired to hunt down Llewellyn and Sheriff Ed Tom Bell; a small town sheriff simply trying to solve the case in front of him. The Coen Brothers have successfully brought McCarthy’s work to life. When a screenplay is based on a novel it, at times, can be hard to work out the extent to which one can comment the ability of the writers of the screenplay. This is not necessarily the case for No Country for Old Men, the Coen’s have managed to remain true to the original medium, whilst at the same time giving McCarthy’s work a touch of Coen greatness creating a masterful suspense thriller.

A large amount of credit must be given to Roger Deakins for his cinematography. The lighting is ingenious and adds greatly to the suspense within the film. There is one scene in particular where two of our main protagonists are divided only by a door and Deakins provides just enough light to see the protagonists and their weapons of choice. In addition to adding to the films’ suspense, Deakins somehow manages to make empty Texan landscape look beautiful. These scene reflect the emptiness of the area surround our main characters as well as telling the story of the land at the same time. It’s quite surprising that Roger Deakins didn’t manage to win an academy award for his work on No Country for Old Men.

As the film opens we hear Sheriff Bell (Tommy Lee Jones) speaking about the changing nature of crime. He argues that crimes used to make sense but crime now is impossible to measure. This is one of the recurring themes in the film. Has crime changed? Are we now in in a world, as the title suggests, so different and violent that older generations are not suitable for it? The new face of crime is that of Anton Chigurh (Javier Bardem), who appears the be the embodiment of evil. He is heartless and cold, he feels nothing for the people he slaughters. Chigurh is essentially one of the most terrifying villains we have come across in recent years; he doesn’t need to skin his victims or torture them to invoke fear in the viewer, fear of Chigurh largely stems from the plausibility of his character, such a person could, and may, exist in modern day society. It is this that makes one wonder whether law enforcers from “the old days” are prepared for the world we now live in.

The character of Anton Chigurh could have easily become a representation of how “others” are changing society thus blaming other countries for problems in the United States. Fortunately, this is not the case. Javier Bardem’s performance as Chigurh give the impression that Chigurh is a universal symbol of evil through his physical appearance and vocal performance. Despite having one of the most unflattering haircuts in cinema history, Bardem manages to be absolutely terrifying. The role of Chigurh is unlike most of the roles he has played in recent years, it cannot be compared to the quadriplegic he played in The Sea Inside or the daring writer he played in Before Night Falls (earning him his first Oscar nomination). Javier Bardem is certainly a true talent and luckily, No Country for Old Men is earning him the attention he deserves.

Who would have thought, when watching The Goonies that Brand, played by Josh Brolin would turn out to be one of the most capable actors. 2007 was most certainly Josh Brolin’s year; he landed roles in Ridley Scott’s American Gangster, Robert Rodriguez’s Planet Terror and of course, No County for Old Men. Josh Brolin’s finest performance was definite that of Llewellyn Moss in No Country for Old Men. This particular role required much more than the others and Brolin delivered. Llewellyn is not the most up-front character, his thoughts and feelings are rarely spoken particularly as he spends much of the film alone. In addition to being able to portray a complex quiet character, Brolin is superb at convincingly pulling off the action-packed parts of the film. It is a shame that Brolin too, was not nominated for an Oscar.

Tommy Lee Jones is wonderful; as Sheriff Bell. We get an impression that Bell is character who is wise beyond his years. Tommy Lee Jones is perfect, he is very subtle in his expressions and movements and this is all that the film required. Jones has over the years proved himself to be a more then capable actor, No Country for Old Men is a further example of this. It is when we are with Bell that we feel the safest, much of the humour comes from Bell and another officer that he works with.

Like many Coen Brother’s films, the supporting characters are highly developed. One of these such characters is Carla Jean Moss, Llewelyn’s wife. She isn’t the standard miserable housewife who doesn’t know what her husband is up to; she somewhat assertive and her love for Llewelyn is clear. The rare interactions between them are a joy to watch. Carla Jean is played by Kelly Macdonald most notably known for her role in Trainspotting. The choice of Macdonald was an odd one but she carries her own and produces a wonderful performance. Garret Dillahunt plays the at first glance foolish Deputy Wendell. Dillahunt wonderfully illustrates the complexity of his character; Wendell is not as foolish as he seems.

Throughout the film there is always some level of tension. One way in which this is accomplished is through the very scarce use of non-digetic sound. A common replacement for music within the film is the use of the sound of metal grinding, for instance trains passing or the barrel of a gun. Relief from this tension is usually when we follow Sheriff Bell, it is there that we have to opportunity to laugh, albeit nervously, relieving the tons of built up tension.

To conclude No Country of Old Men is a modern classic. Excellent cinematography, well developed characters, stylistic shooting and marvellous performance make No Country for Old Men and admirable cinematic piece.

You’ll Belive a Robot Can Fall in Love

2008-07-14T15:50:00.000+01:00

Wall-E is the latest outing from children’s’ film favourite, Pixar. Since their debut in 1995, Pixar have been anything but disappointing touching on the lives of toys, bugs, monsters, fish, superheroes, and now, a lovable robot. Clearly, Pixar have never made the same film twice and unlike many other studios they have never made a less than three star film. The question is, have Pixar managed to uphold this exemplary film-making record with their most recent work? In the opinion of this reviewer, they have surpassed all of their previous triumphs.

It is 700 years into the future and the population of Earth consists mainly of mountains of garbage (very neatly packed mountains of garbage I might add). Earth was abandoned centuries previously as due to excessive waste it became uninhabitable. To clean up our planet hundreds of Wall-E (Waste Allocation Load Lifter - E Class) robots were sent to Earth to, essentially, clear up the mess we left. Unfortunately, after such a long period of time all of the robots have been destroyed; all of the robots but one, our protagonist, Wall-E. Wall-E rolls around the Earth picking up piles of trash, compacting them into small cubes and heaping these into mountains. He contently does this picking up ’interesting’ human objects with only the company of a cockroach and the musical sounds of Barbra Streisand recorded from a VHS of Hello, Dolly!

The premise of the film doesn’t appear to be one that would work on a feature length level. For much of the film there is no dialogue except Wall-E’s beeps and pronunciation of his own name with a robotic speech impediment (voiced by Ben Burtt of Star wars fame). Despite this, Pixar make Wall-E an engaging character showcasing their ability to make any creature sentient and lovable, I personally await what Pixar would do with stationary rocks.

It is not until the arrival of Eve (Extraterrestrial Vegetation Evaluator), a new mac-like robot when compared to our PC Wall-E, that there is any change in Wall-E’s life. Instead of spending time watching Hello, Dolly! Wall-E instead follows Eve attempting to woo her with bizarre shows of affection for instance, building a model of her out of pieces of waste. This is unsuccessful causing Wall-E to try even harder showing her his never-ending collection of ’impressive’ waste such as a rubix cube, a tape and of course, Hello, Dolly! The dynamic between these two mechanized beings is beautiful and surprisingly relatable to human interactions; the not so well-off, inept male attempting to impress the sophisticated female is indeed a tale we have seen before but the story of Wall-E adds a delightful spin to it.

Throughout the film there is a underlying current of darkness that would probably not be detected by most children. The Wall-E universe is essentially the worst result of media concentration, mass consumption and later, dependency. Something that is apparent is that the state of Earth as depicted by the film is plausible, the corporation Buy n’ Large appears to own everything which, looking at the state of companies such as supermarkets today, could quite easily happen. When we are first introduced to humans the first thing that may strike the viewer is how huge they are, this sounds more than familiar. Life is made ridiculously simple to the point where legs aren’t necessarily as floating chairs do all the work and cutlery isn‘t necessary as a whole meal comes in a cup. Wall-E even touches on a lack of contact due to the ease of communication; humans don’t speak face-to-face even when they are next to each other. The lack of awareness of their surroundings is clear amongst the humans and in this internet and television centred age, it is clear that the messages in the film have more than a bit of relevance. The presence of this undercurrent of darkness makes Wall-E an even better film. Like most great children’ films it works on two levels entertaining people of all ages. Wall-E paints a dreary picture of the future concealing this from some viewers by painting with bright colours.

Something that is less obvious about the film is it’s genre. It has the classic makings of a romance story with a touch of mystery and large slabs of Sci-Fi. It is the sci-fi aspect of the film that is most evident. The score has the grand and majestic feel of a science fiction epic which suit’s the story perfectly. Wall-E even features a wonderful reference to 2001: A Space Odyssey in terms of score and something else that I shan’t disclose for spoiler reasons.

To conclude, Wall-E is a magical adventure with some of the most likable characters of the year. It is breathtaking and most certainly worth watching.

Africa? That ain't gonna fly!

2008-06-02T20:56:00.000+01:00

Madagascar is the latest adventure to some our way from DreamWorks Animation; a studio that has created such works as Shrek and Shark Tale. DreamWorks’ latest outing did not fail to disappoint but didn‘t quite manage to be great. Madagascar tells the tale of Marty the Zebra, Alex the lion, Gloria the hippo and Melman the giraffe, inhabitants of New York's Central Park Zoo. The story is set in motion when Marty decides to go on a trip to Connecticut, what he believes to be the wild. The others go on a quest to find him which results in a media frenzy and the animals of the zoo being shipped far away, to Africa.

After the ship is hijacked by penguins (crazy, I know, but remember, everything‘s possible in animation), our main characters end up stranded on the island of, guess where…Madagascar. This is where the humour really begins. We are introduced to King Julian, voiced by the hilarious Sacha Baron Cohen, and his band of Lemurs. Our first glimpse of the lemurs is one of the most memorable moments in the film; the entire jungle comes to life for an ensemble performance of “I like to move it” lead by King Julian. Sacha Baron Cohen is very impressive in the role of King Julian; he somehow manages to concoct a voice he hasn’t that is in many ways perfect for the big-headed, delusional, King Julian.

Madagascar presents a relatively uncommon argument in relation to what animals want. The last thing the zoo animals (particularly Alex) want, is to be in the wild. Fresh air? Living off the land? Why would they want that? Especially when they have steaks and medical care at the zoo. Madagascar is most certainly an original story; it’s a splash of “the grass is always greener” a dash of “be careful what you wish for” and smidge of anthropomorphism. How original can you get?

The characters that deserve an honourable mention are definitely the penguin. They’re shifty fellows with delusions of 007hood and they are, essentially, the catalysts for the majority of the events in the film.

The casting for the film couldn’t have been better. Ben Stiller voices Alex the lion, it’s interesting to see, or should I say, hear, Stiller in one of the more masculine roles. He’s the king of the jungle, and he pulls it off very well. Marty, the exitable zebra, is voiced by Chris Rock. Naturally, Rock manages to bring that Chris Rock craziness to the role. Arguably the best vocal work comes from David Schwimmer as the hypochondriac giraffe, Melman. He brings Melman’s whininess to life and manages to personalise the role at the same time. A role that didn’t get as much time to develop is that of Gloria, voiced by Jada Pinkett-Smith. She does as much as she could with the role and for that she cannot be faulted, unfortunately , her role simply did not require much.

Madagascar is far from perfect. It is, essentially a very simple storyline that requires little to no thought to process. It is because of the this that I class Madagascar as a children’s film that was not necessarily designed two work on two levels for children and adults. It is humorous and entertaining, but repeat viewing (for those aged 13 or above) is not particularly beneficial.

Madagascar is a film is strongly recommend, but it fails to live up to the level DreamWorks established with Shrek.

You can’t make everyone ’appy all the time,”-“Yeah, but there’s no ’arm in tryin’.”

2008-04-19T18:22:00.000+01:00

Happy-Go-Lucky introduces us to Poppy, who regardless of what happens does not cease smiling. Her bike is stolen, her driving instructor is a lunatic, a child in her class is troubled, but does that smile waver? No.

Mike Leigh’s latest work is noticeably more cheerful than his previous film, Vera Drake, but we must be careful not to mark him as a bringer of misery. Leigh dabbled in the comedy genre with Topsy-Turvy, the short film A Sense of History as well as Life is Sweet. However, it can be argued that Mike Leigh’s command of the comedy genre is most apparent in Happy-Go-Lucky, the script is absolutely wonderful and combined with the greatly impressive performances given, Leigh may have produced his greatest film to date.

Poppy can at first appear to be rather annoying character. She’s more happy than your average person, she wears some of most the colourful, kooky outfits you’ve ever been privy to , she speaks a lot, at times in a rather crazy vernacular but, despite this, you can’t help but love her. Where could we find such a person you ask? In one of London’s primary schools of course. Poppy is clearly a great teacher of a class of content children and the scenes in the classroom are a joy to watch. One of Poppy’s driving forces appears to be a desire to make other people happy, be it her friends, her pupils or her driving instructor. There are some points within the film where we wonder whether Poppy’s desire to help others is a negative trait. To an extent, it blinds her to some of the dangers she faces, this is obvious in a scene where Poppy, alone, speaks to homeless man in what could be described as industrial wasteland. Does this compromise the realism of the film? Does it make us question the extent to which we respect Poppy as a character? Or does it is simply add to the many layers of our protagonist? Mike Leigh, does not give us the two-dimensional character we see in the adverts. Poppy is complex, self-aware, compassionate and wiser than we know.

Sally Hawkins (winner of the Silver Bear at the Berlin film festival) is mesmerising in her role as Poppy. We give immense amount of credit to actors hen they pull of that strong, powerful, emotional scene often characterised by sorrow or anger. What we seem to forget is how hard it can be to smile for long periods of time. Hawkins smiles in nearly every moment she spends on screen and she clearly gives it her all. She’s really smiling. Hawkins certainly bring Mike Leigh’s script to life and she is completely believable as Poppy.

A core element of the film is not just Poppy as a character but Poppy’s interactions between the people she comes across. The relationship between Poppy and her roommate, Zoë (Alexis Zegerman) is adorable. Their voices complement each other and there is an ongoing feeling that their conversations are going no-where, despite this, you can’t help but enjoy listening to them. Eddie Marsan plays the somewhat psychotic driving instructor, Scott. Scott is Poppy’s complete opposite; miserable, rigid, prejudiced and lets just throw male into it. We slowly become aware that Poppy is not the best person to be around Scott. She appears to be against every he stands for and his agitation around her becomes palpable.

Where the film leaves the audience greatly depends on the viewer. Mike Leigh definitely makes a statement, but it’s up to you decide what you think it is. Happy-Go-Lucky is guaranteed to have you in laughs for the most of the film, it is certainly worth watching, never has it been easier to remain entertained for 118 minutes

Seven Total Strangers Team Up For The Perfect Crime. They Don't Know Each Other's Name. But They've Got Each Other's Color

2008-03-21T19:06:00.000Z

Quentin Tarantino’s debut is undoubtedly a highly original, quirky and well made film. The film opens with not music, but screaming. We cut to two characters in black suits one of whom is screaming in pain after being shot. Reservoir Dogs describes the events that unfold after a botched attempt to rob a jewellery store. There’s a snitch, the question is: Who is it?

Reservoir Dogs most certainly deserves the credit that it is given. It challenges the common representations of “bad guys”; bad people who talk about what bad people do. One of the first conversations depicted is not about some crime committed but about the songs of Madonna. Tarantino’s greatest strength is in his use of dialogue. It is snappy, original and it is not just there to move the story along.

One cannot speak about Tarantino films without mentioning to violence. Some have complained about the violence in Quentin Tarantino’s films, Michael Haneke stated, “Admittedly Tarantino films are brilliantly made, but he depicts violence in a way that makes it look harmless and I find that irresponsible.” This, most certainly not the case for Reservoir Dogs. Mr Orange gets shot and his pain is clear. There is a rather infamous scene (there’s an ear involved) and I must say, it is rather painful to watch. To say that that particular scene looks harmless is insane.

The performances within the film are brilliant. Tim Roth plays Mr Orange, as mentioned previously, Mr Orange in in agony. Tim Roth convincingly portrays this pain. In terms in bringing Tarantino’s dialogue to life, Roth cannot be faulted. Harvey Keitel plays Mr White and he definitely delivers. His character is, at times, the voice of reason and it becomes a bit hard to remember that Mr White is only a character. Steve Buscemi is fantastic as Mr Pink. The paranoia shown by his character is almost palpable. Michael Madsen, plays the questionable Mr Blonde. You can’t help but like him even though he made be a psychotic killer.

The soundtrack for Reservoir Dogs set the pace for the Quentin Tarantino soundtracks to come. Strangely consisting of music from the 1970s, the soundtracks adds a retro feel to the tone of the film. Tarantino cleverly combines classic sounds of the 70s with the deadpan jokes of Stephen Wright.

All in all, Reservoir Dogs is a fantastic film. For the dialogue, stylistic shooting and great storyline Reservoir Dogs is definitely worth watching.

Noir to its Very Bones

2008-03-21T16:18:00.000Z

This modern film-noir opens with the sound of its lightly chiming score slowly revealing our protagonist and a body in a pool of water. Brick tells the tale of Brendan (Joseph Gordon-Levitt), our enigmatic protagonist as he investigates the death of his ex-girlfriend Emily. With the help of several supporting characters, Brendan is quickly taken into the underground network surrounding him.

Roger Ebert describes it “as noir to it’s very bones“, truer words have never been spoken. Brick has the core elements of classic film noir with elements making this great genre applicable to a present day story. Brendan is a troubled character and to an extent he is a tragic hero; neither good nor bad and punished a force beyond his control-Emily. The death of Emily is not the only mystery, as mentioned previously, Brendan is an enigma. He is a puzzle that slowly begins to unfold as the film progresses. One of the of the essential parts of American film-noir in the 1940s and 1950s was the snappy dialogue. The dialogue in Brick embraces a form of slang known only to the characters within the film. This dialogue is so impressive that I would go so far as to compare Rian Johnson with classic noir writers such as Raymond Chandler.

Joseph Gordon Levitt (3rd Rock From the Sun) is unrecognisable in his role as Brendan. His performance is like a more serious version of Humphrey Bogart in The Big Sleep. Much of what Brendan feels and thinks is not present in his words of overly emotive scenes but in very subtle changes in expression. Levitt’s portrayal of Brendan illustrates the talent of this young, underrated actor.

The film owes as much credit to the supporting cast as to the main character. Matt O’Leary (Spy Kids 2) is highly impressive in his role as The Brain. He convincingly portrays the intellectual outsider his great conviction. Noah Segan, as the at times whining Pot Head, Dode gives a powerful and believable performance. Megan Good plays the seductive drama queen, Kara. She embraces the role at hand and her performance shows that she is most certainly a rising talent. A performance that cannot be defined simply as good or bad it that of Noah Fleiss as Tug. His anger is almost tangible but it is questionable as to whether his anger borders over-acting.

The music within the film could simply be described as delicate. It is not an overly dramatic score but some subtle music from Nathan Johnson. It is in perfect sync with the events of the film and captures the mood of the whole film.

Rian Johnson combines classic film-noir with teen drama producing a modern masterpiece. A great screenplay, stylistic shots and an overall great film define Rian Johnson as a filmmaker we must all look out for.

Commentary on the 80th Academy Awards

2008-02-25T21:22:00.000Z

The carpet's out, the stars made up and the winners pre-decided. That's right, the 80th Academy awards have finally come our way. We were unsure as to whether there would even be a ceremony; there was, and it was splendid. Each year, the ceremony gets bigger and this year was not exception.

Naturally, we open with a few jokes with our host, John Stewart. No topic was ignored he touched on the writer's strike, the election and the increasing darkness of the academy.

Achievement In Costume Design
Presented by Jennifer Garner the award had many impressive designers, the classic French work for Vie En La Rose, the period piece, Atonement. Alexandra Byrne won her first Oscar for Elizabeth: The Golden Age. Previously, Byrne had been nominated for Hamlet.

George Clooney gives us a short intro about notable moments in Oscar history showcasing a plethora of key moments. This is the first of many montages featured throughout the ceremony including a tribute to bad dreams (included solely as a joke of course).

Best Animated Feature
Anne Hathaway and Stave Carrel, naturally entertaining presented the award. It was the film everyone expected to win, Ratatouille by Brad Bird.

Achievement in Make-Up
And the award goes toNorbit, only joking. The Oscar was won for the amazing work put into La Vie En La Rose by Didier Lavergne and Jan Archibald. It took great effort to convincing turn Marion Cotillard into Edith Piaf.

Achievement of Visual Effects
The award went to Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood for the Golden Compass.

Achievement in Art Direction
Many impressive works were in the category, the grim and fantastical Sweeny Todd, the classic, Atonement and the magical Golden Compass. The Oscar went to Dante Ferretti (Art Direction); Francesca Lo Schiavo (Set Decoration) for Sweeny Todd

Best Performance by an Actor in a Supporting Role
The first acting award of the ceremony this was one of the awards everyone thought they knew the winner would be. The predictions were correct and Javier Bardem won his Oscar for his role as the psychopathic and terrifying Anton Chigurh. Included in his speech were a few phrases in Spanish for his mother.

Best Live Action Short Film
Presented by Owen Wilson was one of the lesser awards. The Oscar goes to Le Mozart Des Pickpockets (The Mozart of Pickpockets) a tale about two crooks who take a young mute boy into their care.

Best Animated Short Film
The Oscar went to Peter and the Wolf by Suzie Templeton and Hugh Welchman.

Best Performance by an Actress in a Supporting Role
This is most certainly one of the more unsure awards. Many had their eye on Cat Blanchette for I'm Not There. As predicted by the BAFTAs Tilda Swinton won the ward for her role in George Clooney's Michael Clayton.

Best Writing, Screenplay Based on Material Previously Produced or Published
On of the awards that we weren't sure about the winner, the nominees all seemed to have an equal chance. The Coen Brothers took their first award for No Country For Old Men based on the novel by Cormac McCarthy.

Best Sound Editing
Karen Baker Landers and Per Hallberg took the award for best sound edition for the swift and cool, The Bourne Ultimatum

Achievement in Sound Mixing
Another sound award for the Bourne Ultimatum taken by Scott Millan, David Parker and Kirk Francis.

Best Actress in a Leading Role
This award was bit of a wildcard; the winner became less and less clear as time passed. Although the BAFTAs were right again, surprisingly, the award went to Marion Cotillard for her unrecognisable performance as Edith Piaf in La Vie En La Rose.

Achievement in Film Editing
Yet another award for the Bourne Ultimatum. Christopher Rouse won the award for achievement in film editing.

Best Foreign Language Film
The films within the foreign language category were more certainly not the most well-known foreign language films of the year. The award went to the Austrian film, The Counterfeiters set during World War Two.

Best Original Song
Although nominated for three of the five films with the best song category fail to win any awards for enchanted. The winners were for the song "Falling Slowly" in Once.

Achievement in Cinematography
There was a strong consensus that Roger Deakins would win the best cinematography for either The Assassination of Jesse James by the Coward Robert Ford or No Country for Old Men. As they say, the best things come to those who wait and after 7 nominations Roger Deakins finally won the Oscar for No Country For Old Men.

Best Documentary Feature
For the dark documentary centred around an Afghan taxi driver beaten to death in U.S. military the award went to Alex Gibney and Eva Orner for Taxi to the Dark Side.

Best Performance by an Actor in a Leading Role
Guess. The award everyone was 99.99% sure about the winner. Shock, horror (!) Daniel Day Lewis wins his second Oscar for is powerful role as Daniel Plainview in There Will Be Blood.

Best Writing, Screenplay Written Directly for the Screen
As time went on, people gained more and more faith in Juno, an arguably small film. Like Sidney Lumet said about actors there are also no small films and the award deserving went to Diablo Cody, writer of Juno.

Achievement in music written for motion pictures (Original Score)
The second academy award nomination for Dario Marianelli who won it for the grand score for Atonement.

Achievement in directing
The first directing team to win this coveted Oscar since 1961; the crowd goes wild as Joel and Ethan Coen received the award for No Country for Old Men.

Best motion picture of the year
The big one. A reward received by such films as In the Heat of the Night and The Godfather, the ultimate reward for any filmmaker. This was the fourth award of the evening for No Country For Old Men.

It was clearly No Country for Old Men's Night it received some of the most prestigious awards in the film industry. Not so lucky films were Atonement nominated for seven award and There Will Be Blood, nominated for eight awards. Each received one award.

Coming Soon...

2008-02-20T16:41:00.000Z

No Country For Old Men

Due to greatness that was No Country For Old Men, it will take me a long time to write the review, I just thought I'd tell my lovely readers in advance. There is so much to comment on. Watch this space.

Everyone and their mums is packin' round here!

2008-02-18T14:07:00.000Z

Nicholas Angel (Simon Pegg); he’s smart, great at his job and in the last twelve months, he has received nine special commendations and achieved highest arrest record for any officer in the Met so naturally, his superiors want to get rid of him. The price he pays for making everyone look bad? Transferred to the Sanford, one of the sleepiest towns in Britain, not the most exciting place for such a capable officer (or is it). A brief while after he arrives a series of “accidents” begin to occur and Angel puts this down to a word no-one in Sanford want to hear: murder.

Hot Fuzz is the ultimate comedy buddy-cop film that clearly reflects the team behind Sean of the Dead’s love of film. Hot Fuzz could be seen as an homage and a parody of some of the biggest (mainly American) action cop films of the last few decades. Those familiar with Sean of the Dead will remember a similar parallel in relation to zombie films. Hot Fuzz, seems to have more recognisable film references to the point where scenes from films are shown before being spoofed. Hot Fuzz is clearly a film made by film-lovers.

Providing a frame of reference for many of the film references is PC Danny Butter man (Nick Frost), the classic bumbling side-kick. Danny is a lover of action cop films and appears to have the biggest DVD collection in the world. Upon watching Hot Fuzz it is apparent that Pegg and Frost know each other. The chemistry between their characters is amazing. Despite being opposites they find likeable characteristics in each other. Simon Pegg’s performance is greatly impressive. His character, Nicholas Angel, is not like the character we had previously seen in Shaun of the Dead. The seriousness of his character makes any viewer forget that they are watching Simon Pegg-the funny guy. Nick Frost is one those actors that pulls off humour like they made up their lines as they went along. Frost is hilarious and even manages to pull off some serious moment later in the film.

Hot Fuzz features some the best actors and writers in British comedy at the moment. These include Bill Nighy (Love Actually, The Hitchhiker's Guide to the Galaxy ), Bill Bailey (The Hitchhiker's Guide to the Galaxy), Adam Buxton (The IT Crowd), Olivia Colman (Peep Show) and as the shifty Simon Skinner is none other than 007 Timothy Dalton. The cast also features Paddy Considine in role very dissimilar to the serious roles he played in Dead Man’s Shoes and In America. The casting director must be commended as the cast and performances are flawless.

It is evident that Hot Fuzz essentially what would happen if the big Hollywood action films were made in Britain’s villages. With Hot Fuzz being a clearly British film it is possible that it may not be humorous to some viewers across the pond. British comedy, to some, is quite subjective.

As mentioned previously Hot Fuzz features some the best people in British comedy and it shows. It is the opinion of this reviewer that Hot Fuzz surpasses Shaun of the Dead in Every way (excluding gore). If Hot Fuzz marks the evolution of this team I cannot wait to see what their next film has to offer.

The Other Film About Truman Capote

2008-01-31T20:04:00.000Z

As someone who greatly enjoyed Phillip Seymour Hoffman’s portrayal of Truman Capote in 2005 I must say I had reservations about seeing Infamous. Naturally I feared it could be a direct plagiarism reminiscent of Gus Van Sant’s Psycho-the same film with a different cast. Luckily, Infamous, although telling the same story as Capote as Capote (2006) took a completely different approach.

Infamous is nowhere near as dark a film as Capote. Instead of opening with a scene depict the murders of the Clutters, Infamous opens with a dinner party reflecting Truman’s socialite status. This is an aspect of Truman that the film draws heavily on often as a comedic device.

Infamous depicts the life of Truman Capote as he investigates the events of the murder of a family in Holcomb, Kansas; the research that would become his most heralded work-In Cold Blood. The focal point of Truman’s work is the murderers mainly Perry Smith (Daniel Craig).

Our main protagonist is not necessarily a character that we like, Truman is a bitchy unpleasant character who you can’t help but spend most of the film looking foe redeeming characters in. His disregard for the emotions of others including his so-called friends is callous. Truman is the embodiment of the 1950s socialite-uncaring, flamboyant, and bitchy. You can’t help but breath a sigh of relief when finally, one hour into the film we finally feel for Truman and remember that he is human.

Toby Jones’ portray of Truman Capote is breathtaking. He powerfully illustrates the variety of dimensions of his character. He is colourful and ostentatious yet still emotive. He completely takes on the role at hand and runs with it. Portraying the plain and natural Nelle Harper lee, Truman’s best friend, is Sandra Bullock. The role did not require an overly emotive performance and this is not what Sandra Bullock does. What she does do is subtlety convey the complex emotions her character holds, emotions that the audience sees but her superficial best friend does not. One word: amazing. Daniel Craig plays Perry Smith, a enigma we can never truly solve. He convincingly illustrates the rage his character often feels. However, it is the lesser emotions that are less believable.

One of the aspect of the film that stands out to anyone walking past a poster for it is the impressive cast; Sigourney Weaver, Isabella Rossellini, Gwyneth Paltrow, names we’d all recognise. However, if you watch the film for some of the these names (Isabella Rossellini and Gwyneth Paltrow in particular) you would be rather disappointed. Rossellini and Paltrow have one scene each so it is really misleading to put their names on the film advertising.

The acting (mainly), cinematography and direction of the film are highly impressive but the film falters greatly in one area, realism. Most aspects of the film are in the opinion of this reviewer, too dramatised and exaggerated to be consider believable. This is of course a huge area to fail in when attempting to tell a true story. Other than this, Infamous is largely notable and I would recommend it even to the Capote fans.

Coming Soon...

2008-01-30T18:59:00.000Z

Infamous

The other film about Truman Capote

This is Shane Meadows

2008-01-16T18:17:00.000Z

This is England opens with a series of images that represent the 1980s, Thatcher, Top of the Topsall working together with 54/46 Was My Number by Toots & The Maytals to set the scene for the film the audience is about to see; the not so glamorous 1983 England.

This is England, Shane Meadows' autobiographical follow-up to Dead Man's Shoes, did not fail to disappoint. The story revolves around the character of 12-year-old Shaun, one of the many victims of the Falklands war, who after being bullied at school, is inducted into the skinhead lifestyle by the older character of Woody.

Meadows presents a balanced representation of the Skinhead movement of the 1980s. He challenges the notions that all skinheads were Racist Neo-Nazis and depicts how some, partially due the economic deprivation, were vulnerable to parties such as the National Front. A character is the film that greatly challenges the notion that all skinhead were racist is that if Milky, a member of Woody's gang whose family comes from the Caribbean. The beginning of Shaun's life with the skinheads illustrates the less violent aspects of skin head culture, young, working class people united by their differences, this image however is contested by the arrival of Combo, a friend of Woody's with questionable views.

From this point on Shaun is taken into a world of crime, racism and violence. Meadow's does not sugar-coat the issues raised in the film and some viewers could argue that it is simply too real. The images of working class squalor are reminiscent of the films of Ken Loach but Meadows makes every aspect of this film his own.

The performances in the film cannot be faulted. First time actor Thomas Turgoose is highly impressive in the role of Shaun. He acts with a naturalism that many actors fail to achieve; he is someone we all must look out for. Stephen Graham's performance as Combo is at times terrifying but despite this, Graham's representation of the character can make one pity him and hate him at the same time. Despite illustrating the stereotypical racist side of skinhead culture, Combo also delivers a moving speech about the integrated side of the skinhead. This act from Stephan Graham leaves a greater impression than any of the violence.

The soundtrack is a device used to the same extent as any other visual aid. The Ska tracks help to establish both time and place and Fuori dal Mondo compliments the emotional tone at the right times without going over the top.

All in all This is England is a film that is certainly worth seeing and remembering, I strongly recommend it.

There is no Justice Without Sin

2008-01-16T17:56:00.000Z

The film opens with a short scene starring Josh Hartnett and Marley Shelton based on the Sin City short story, The Customer is Always Right. The soft wind instruments and dark setting establish the tone for the rest of the film. The audience hears beautiful dialogue brought to a close by a gunshot. This close relationship between beauty and death reflects the world in which the film takes place, a world where violence and socially unacceptable behaviour is the norm.

Sin City, with its film noir style is unlike most of the comic book adaptations that have come out in recent years. This may be because Sin City is unlike most well known comics. The main protagonists do not take on the role of traditional heroes, it can be argued that no character is particularly good but this does not stop them from being liked by the audience. One could argue that they fit Aristotle's criteria of a tragic hero', people not necessarily good, nor necessarily bad. Sin City is truer to its original medium the most adaptations to the point where the shots were planned using the panels from the novels as storyboards, this is apparent if you look at the graphic novels.

The opening scene is not necessarily an integral part of any story in the film (except a short scene towards the end) so it can be said that, "The Customer is Always Right" is not the first story of the film. The opening scene was the bargaining chip that director Robert Rodriguez used to convince the creator Frank Miller, to allow the film to be made. Sin City consists of three stories beginning with "That Yellow Bastard" stars Bruce Willis as John Hartigan, a police officer attempting to solve his last case and save a little girl before retiring. With a town filled with crocked cops, a rapist with a father in high position and a bum ticker', Hartgan's chances of success are slim. It could be argued that "That Yellow Bastard" is not the first story either, at least, not the first full length story. Hartigan is revisited later.

The first full length story is entitled, "The Hard Goodbye", which tells us of Marv, a less than attractive and dangerous ex-con who set out find to find the people behind the murder of Goldie, a goddess' willing to show Marv a good time. Marv is tragic character, he murders, yet one cannot help but pity him. As the audience is constantly reminded, he gets confused sometimes suggesting that Marv has some form of mental illness. Marv's story, takes the audience all around (Ba)Sin City and unravels the corruption within it.

Mickey Rourke is almost unrecognisable in this role not just due to the make-up used to make him look more like his comic book counterpart. Rourke convincingly portrays Marv's unstoppable violent side as well as that of a confused man questioning his actions. Rourke's performance as Marv makes one forget that Marv is a fictional character. Jaime King glows in her role as Goldie, Marv calls her a goddess and she most certainly has the aura of one. King also plays another contrasting role fantastically but any further information would be too much.
"The Hard Goodbye" is followed by "The Big Fat Kill" featuring Barmaid Shellie and boyfriend Dwight, a criminal with a new face whose one fingerprint check away from being set to the gas chamber. The story is set into motion when Dwight sets off to stop Jackie Boy, Shellie's angry ex from causing any trouble. Dwight's intentions are hindered when her realises that Jackie Boy is heading for Old Town, a place where the ladies are the law and Dwight's ex, Gail (Rosario Dawson) dwells.

Clive Owen convincingly pulls off the role of the dark and brooding Dwight. The aspect of his performance that can be faulted is his accent which makes it unclear as the where he, or the character is from. Rosario Dawson manages to embrace the vicious aspects of Gail's character but at the same time is able to play someone in admiration with an ex-lover.

We are then taken back to, "That Yellow Bastard" which shows Hartigan again attempting the save Nancy, now 19, from the same rapist. Hartigan is not the action hero role we are accustomed to in the traditional sense, he's is a less than healthy old man, doing his best to finally close his case.

Like Rourke, Willis portrays a tragic hero who compellingly portrays the violent aspects of his character as well as man with the flaws of any other human. Jessica Alba plays 19 year old Nancy. Alba presents us with a girl as fearful as the 11 year old Nancy seen earlier in the film. However, she is also able to contrast this, at times with short scenes, with the sexually assertive side of Nancy.

One cannot speak of Sin City without mentioning the aesthetics of it. Like most film noirs, Sin City is in black and white, providing an homage to classic film noirs as well as adding an element of greater sharpness to the film. Some objects, such as Goldie are colorized, this is partially taken from the graphic novels but some objects colorized in the film were not colorized in the novels. Sin City was shot on a digital backlot meaning that the it was all shot on a green screen. Some locations were built such as Kadie's Bar.

Sin City also has an amazing soundtrack that greatly supports the film. The tracks do not necessarily need to be heard with the film to sound good. The track that plays during the title menu is one that you may find yourself listening to on a loop before you begin watching the film.

It Had the Opportunity to be Great

2008-01-16T17:48:00.000Z

The Golden Compass is the latest fantasy adventure to come our way. Like many of the fantasy films that have come out in recent years (Lord of the Rings, The Chronicles of Narnia), The Golden Compass was originally a book. The Golden Compass (Northern Lights to many including myself) was the first book in Phillip Pullman's Dark Materials Trilogy. However, I believe it can be said that The Golden Compass did not do justice to its original medium. The film at time felt rushed (although this is understandable due to time restraints) meaning that some of the less superficial aspects of the story may have been over looked.

The setting for The Golden Compass is an alternate world from our own, Jordan in Oxford. It is a world where people have daemons in the form of animals that are similar to our own conscience and soul. The story revolves around a young girl named Lyra (Dakota Blue Richards) who lives in Jordan College and is niece of Lord Asriel (Daniel Craig). The story is set in motion early on in the film when Lyra witnesses the Masters of the College attempt to poison Lord Asriel, a plan which Lyra foils. Whilst Lord Asriel goes in the North in investigation of the mysterious particles named "dust", Lyra is invited on a journey with the mesmerising Mrs. Coulter (Nicole Kidman). Before going, Lyra is give an alethiometer which is essentially a measurer of truth. Lyra's excitement about being with Mrs. Coulter is shatter when Lyra realises that she is head of an organisation run by the Magisterium responsible for the disappearances of many children including some of Lyra's friends. Lyra eventually ends up in the hands of the Gyptians and one their travels she meets a witch, Serafina Pekkala (Eva Green), the aeronaut Lee Scoresby (Sam Elliott), and the armoured bear (voiced by Ian McEllen). (Dakota Blue Richards)

There was great controversy surrounding the making of the Golden Compass due to the religious aspects of the story. It can be argued that Lyra's world is much like an Orwellian dystopian future due the an organisation known as the Magisterium which has many parallels with the Catholic Church. However, The Golden Compass is not the first film that has controversy surrounding it an in most case, even possibly this one, it can actually benefit the film.

The Golden Compass has one of the marks of a good children's film, it has facets for more mature audiences. The storyline regarding the Magisterium and the Orwellian world are concepts that would go over the heads of most children. Therefore , these aspects give the adults something to ponder as the children accept the film at face value.

The performances in the film are not performances that could be considered spectacular meaning that the acting is not the film saving grace. Naturally, The Golden Compass had its good moments, the arrival of Sam Elliott with his strong Texan accent reminds the viewer that they are watching an all star cast perform.

I must sat that the Golden Compass is aesthetically pleasing; the visual effects within the film are highly impressive. Then again, they can be rather distracting at times.

To conclude, The Golden Compass had the potential to be much better than it was but that is not to say that it was completely awful. There aspects of the storyline that are highly interesting and the visual effects are stunning. It's not the greatest fantasy film of the past few years but it is at least worth a watch.

100% Reason to Remember the Name

2007-08-10T13:34:00.000+01:00

Lyrics: Sublime

Quality and consistency of tracks: A couple of weak links

Value for Money: Good

Fort Minor is the group formed by Linkin Park member Mike Shinoda (he was the MC/rapper). Despite this, The Rising Tied is not specifically for fans of Linkin Park (although fans of Linkin Park may enjoy this especially). Mike Shinoda creates a fresh new sound using a combination of instruments and technology (no samples) making The Rising Tied a fantastic album.

There are few limits to the subjects mentioned on the album, the topics range from Mike Shinoda's experiences at the start-up of Linkin Park (Get Me Gone), the game that is rap (Cigarettes), to the everyday experiences of people (Right Now). Fort Minor also describes the experiences that the Japanese people in America were subjected to during World War II (Kenji).

In addition to fantastic lyrics, The Rising Tied features a range of other artists that add to the greatness of the songs they appear on such as John Legend (High Road), Styles of Beyond (Remember the Name), Mr Hahn (Slip out the back) and many more.

The Rising Tied is 16 tracks of greatness.

I strongly recommend this to any fans of Linkin Park, Rock and rap music.

Wake Up Mr West

2007-08-10T13:31:00.000+01:00

Originality: Groundbreaking

Lyrics: Sublime

Quality and consistency of tracks: Flawless

Value for Money: Excellent

It is not often that you come across an album with so many enjoyable songs. There are very few (if any) songs that could be seen as weak links. After his fantastic debut, The College Dropout, expectations for Late Registration were high. Kanye West did not fail to please. Late Registration shows more maturity than The College Dropout showing Mr West's evolution. Unlike many Hip-Hop albums, Late Registration does not focus on guns and hoes (a downside if this is what you were looking for), this marks a new breed of Hip-Hop.

The subjects of the tracks differ greatly. The album features the hit Diamonds From Sierra Leone and well as the remix featuring Jay Z. As well as featuring general Hip-Hop songs such as Touch the Sky (fantastically using a Curtis Mayfield sample), Kanye speaks of drugs and music in a way that is almost shocking (Crack Music), in addition Kanye shows heart in the songs Hey Mama and Roses. The album shows greatness throughout (as well as humour in the hilarious skits) and in no way does it fail to disappoint.

I strongly recommend this to anyone that enjoys music particularly rap and hip-hop.

Miss Nina Simone at her Finest

2007-08-10T13:27:00.000+01:00

Originality: Groundbreaking

Lyrics: Sublime

Quality and consistency of tracks: Flawless

Value for Money: Excellent

This is almost the perfect Nina Simone album. It's perfection is tarnished by the fact that it doesn't include the song "Mr Bojangles. Luckily, the plethora of other songs can nearly make up for this. The album features the well known songs such as Felling Good, My Baby Just Cares for Me and I put a spell on you. The Album incorporates the pleasing vocals as well as many of the instrumental sections of her songs. Not only does Nina Simone Gold feature Miss Nina's songs as we are accustomed to them, it also provides some at first surprising but interesting remixes of Feeling Good and See Line Woman. In addition Nina Simone Gold feature some of the less common songs such as Tell Me More And More And Then Some, One September Day and I'm Going Back Home.

Nina Simone Gold is not just for fans, it's for anyone that likes good music, particularly vocal jazz. This is a fantastic introduction to Nina Simone and even for non-listeners the songs may sound familiar. All in all this is a fantastic album.

I strongly recommend this album to Nina Simone fans and any fans of vocal jazz.

Sincerely yours, The Breakfast Club

2007-08-10T13:08:00.000+01:00

We accept the fact that we had to sacrifice a whole Saturday in detention for what ever it was we did wrong. But we think you're crazy to make us write an essay telling you who we think we are. You see us as you want to see us, in the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal. Does that answer your question?

A quote that sums up the film greatly. The Breakfast Club is one of the most well known teen films of the 80s. It tells the tale of five teens each from different social cliques enduring a Saturday detention. During the course of the day they slowly begin to understand each other and embark upon a journey of self-knowledge, self-worth and understanding.

The Breakfast Club would easily be described as a character driven film. John Hughes manages to create characters that everyone, in some way can relate to. It would be unfair to compare The Breakfast Club to many of the teen films that have come out id recent years as it is much more than a teen film. All of the characters are complex and conflicted in some way, much like most humans. It is because of this that The Breakfast Club is as relevant today as it was in 1985. As it is so character driven, the film should be nothing without the superb performances from the main cast.

Judd Nelson plays the semi-bad boy John Bender. During the course of the film it is Bender that appears to be the greatest catalyst for change amongst the members of the group. He slowly reveals his vulnerability, compassion and compassion. It is a shame that we see so little of Judd Nelson nowadays as is certainly a talent. The role of Bender could easily have tuned into an unnecessarily comedic role or that of a 2dimensional character filled with anger but Nelson managed to show the range of emotions present in Bender.

John Hughes regular, Molly Ringwald plays the character of Claire. Claire is the embodiment stereotypical popular, prom-queen character present in many American high school films. Ones first impression of Claire is that she is a rather unloadable character but as the film progresses we feel a sense of sympathy for her. This performance reminds us why Hughes loves Ringwald She takes the role at hand and runs with it. Claire is unlike the characters Ringwald played in films such as Sixteen Candles and Pretty in Pink and it is because of this that she must be commended on so great a performance.

Emilio Estevez plays Andy, the jock. Andy's status is established from his opening scene. The leather 'jock' jacket and the motivating parent say it all. Emilio Estevez definitely gives a powerful performance in film. Andy is essentially someone, like many of us, who feels the pressure placed on him by his parents. Estevez convincingly depicts the transformation of Andy character showcasing his talent as actor.

Allison Reynolds, the basket case, is played by Ally Sheedy. Definitely the strangest of the characters. Allison's oddness is immediately apparent. She storms into the library (taking what could be described as the scenic route) and doesn't speak (only squeaks) for a large amount of the film. Allison emerges to be a kleptomaniac and a chronic liar. Due to this chronic lying the audience is always unsure as to which elements of her life are actually the truth. Ally Sheedy's performance is possibly the most moving performances within the film. Her character is definitely the one we ponder about most and Sheedy's slow unfolding of who Allison is and why she is the way she is is remarkable.

Anthony Michael Hall plays Brian, the geek. Brian is the stereotypical perfect academic, he is described by Bender as "Every parents' wet dream". Brian appears to be the person most concerned with getting in trouble and is the only person the completes, let alone starts their assignment. Brian's complexity increases as the film progresses. He at first appears to be someone greatly concerned with academia, which is true, but we slowly unearth the pressure placed on his by his parents that be successful. His desire for success may not be his own. His is definitely the type of role Anthony Michael Hall is associated with. It can be argued that his performance as Brian is the best one this role he has done. Hall's performance is highly natural and it is one that much he highly commended.

The Breakfast Club definitely deserves its status as one of the great films of the 80s. Every aspect of the film makes the viewer aware of the era in which it was made; the clothes and most definitely, the soundtrack. "Don't You Forget About Me" in being known as the soundtrack to The Breakfast Club has, in essence, become the soundtrack to the 80s.

John Hughes has the ability to create films that resonate on everyone's emotional level. Everyone can identify with at least one character in The Breakfast Club and it is because of this that it appeals to so many.

All in all, The Breakfast Club is an amazing film. It is one of those films that has the ability to cheer up the viewer on whilst still being good enough to be perfect for any occasion.

My conclusion is: Hate is baggage. Life's too short to be pissed off all the time

2007-08-10T12:50:00.000+01:00

This is a film that I would not have personally gone out to watch had it not been recommended for me. American History X is a film centred around the White power movement and the consequences of extremism. It is also a convincing depiction of the human abitlity to change, often for the better.

The film's main protagonist is the intelligent Derek Vinyard. Following the murder of his father; a fireman who was shot whilst putting out a fire in a crack house, Derek becomes filled with racial hatred and eventually becomes the second in command of the Venice Beach neo-Nazi gang, The Disciples of Christ. Under the guidance of Cameron Alexander (the leader of the D.O.C), Derek recruits others, mainly those who were victimised by people of ethnic minorities, to join their fellowship. Following the murder of a black character (a particularly horrific scene in the film), Derek is sentenced to three years in prison for voluntary manslaughter.

Three years later Derek's White Supremacist ideology is present in his brother. As the film begins, we see Danny's Principal telling Danny to write a report due the next day about his brother. The film is narrated by Danny as he writes his report. It consists mainly of many flashbacks of Derek when he was second in command of the D.O.C and Danny's commentary on what he thought of his brother. Derek is no longer the White Supremacist he used to be, Derek instead tries to teach Danny that what he believes is wrong, attempting to undo the damage he had done to his brother previously.

The main themes highlighted in the film are affirmative action and racism. The them of affirmative action is mainly explored through the character of Derek's father. The argument against affirmative action is highlighted in a conversation that the whole family has at the dinner table. It raises the question, "If someone is less suited for a job, do they deserve to have it because the company needs to fill a racial equality quota". The theme of racism, as you may guess, is present throughout the film. It is present in the actions of the D.O.C and how their actions are "justified". Another conversation at the table also explores this theme. Derek attempts to justify the Rodney King incident in the presence of a date of his mothers. This eventually results in a argument and later violence.

An element of the film that is an integral part of the storyline in the dialogue. The development of all of the characters is more present in the words of the characters than their actions. Derek's prejudice is present in his speeches as is his justification for everything he does.

The performances of the actors in this film are absolutely amazing. Edward Norton plays Derek Vineyard. Norton shows the ability to depict the hatred and development of his character very convincingly, the mark of a great actor. Edward Furlong, mainly known for his role in Terminator 2, plays our narrator and the character, Danny. Vocally, Furlong does well, he delivers the narration of this lines in the intended form of a report and also carried the emotional undercurrents of a brother analysing the actions of his brother. In addition of to being a good narrator, as a physical character, Furlong's performance is outstanding. He also convincingly shows the development of his character. The film also stars Avery Brooks, notably known for his role on Star Trek: Deep Space Nine. Brooks was an actor is was weary of because he is always in my head as Commander Sisko. I was able to forget this role and I soon became absorbed and entranced by his performance as the Principal Dr. Sweeney.

American History X is amazing film that I would recommend almost anyone. The acting is great, as is the direction, and storyline. An aspect of the film that I particularly enjoyed was the change from black and white to colour. For each flashback, the film became black and white. There may be some reason for this that the director intended but I always assumed it was to highlight the difference between the races. I thought that they were, in essence, pretending that the issues were as simple as black and white.

American History X outlines the evolution of one man and I can't think of a better way in which this story could be told. The film also has a message for us all, as Danny (Furlong) says at the end hate is baggage.

Perhaps it is good to have a beautiful mind, but an even greater gift is to discover a beautiful heart.

2007-08-10T12:25:00.000+01:00

A Beautiful Mind is film that can be described, simply, as beautiful. A beautiful Mind is based on the novel by Sylvia Nasar of the same title. Both mediums tell us about the life (mainly college onwards) of the great mathematician, John Nash. We are firs introduced to Nash on his first day of Princeton University. From this moment on, the audience sees the majority of the film through John's eyes. He isn't the most social character but gosh, he is brilliant. John doesn't attend classes as he says, "Classes will dull your mind, destroy the potential for authentic creativity", instead he works outside or in his room on his original idea. The only human initially manage to form a rapport with is his roommate Charles, who is the opposite of John; loud, humorous, outgoing. Following the outline of a plan to impress some ladies, John established a concept that would later be known as his Equilibrium theory. As a result of this outline, John is given the opportunity to work for Wheeler labs as a code breaker. Due to John's talent, he is approached by a more secretive individual to find codes hidden by spies in magazines.

I like to say, as does Ron Howard in his commentary, that this film is divided into two sections. There is the section in which I have just outlined where the audience believes that all of John's delusions are as real as John believes they are. The second section is the turning point, where we find out that what we believed to be true was not. It becomes apparent that John suffers from schizophrenia and elements of his life are fictitious.

Russell Crowe's performance as John Nash is brilliant. It's easy to see actors as the characters you've previously seen them play, I my case I saw Crowe as a Gladiator. However, from the opening shot of Crowe seated at the back a classroom I saw noting but John Nash. Crowe subtly masters the social awkwardness an other minute features of his character as well as some of the large performances of a man confronting his demons. Crowe convincingly portrays a man suffering from schizophrenia with loosing sight of the fact that this is still a man. Amazing. Jennifer Connelly plays John's wife Alicia. Alicia as a character says little about how she feels or what John's illness has done to her. Despite this, Connelly manages to depict a woman who is hurting but it trying to keep-face. As result of this I rate Connelly's performance as no less than superb. Another character we are introduced to is Charles, one of John;s delusions who is played by Paul Bettany. Bettany embraces Charles' character and runs with it. He pulls the crazy drunken college roommate as well as quiet, sinister delusion trying to get John's attention. Another delusion is that of Ed Harris as Parcher. Parcher is the character that best portrays how John's delusions went from being his friend to his enemy. This is something that Ed Harris masters, he is able to turn the audience in the exact way the writers must have wanted him to.

A Beautiful Mind is directed by Ron Howard and I must say that he did a great job. Ron Howard manages to take the audience on the exact same journey as the protagonist. He prevents it from being a tale about people watching some crazy guy on the street corner taking to himself. What Ron Howard does is make the audience believe what John believes and take their reality away from them. This approach is amazing and it is something I commend his for. All in all Ron Howard Direction is great.

A Beautiful Mind isn't the first film that would come to mind when talking about special effects. This is mainly because of how subtle the special effects are. The first scene of the outside of Princeton University shows us a beautiful university on a warm day. In actuality, it was winter when these scenes were filmed but this was concealed. The special effects artists managed to turn bare tree trees into images of life. Another notable area where special effects are key is when John's working out an equation or coming to a conclusion. Ron Howard asked many mathematicians what they saw when the finally worked some thing out and many said they saw a flash of light. This flash of light is present when John works anything out. This ranges from looking for codes to establishing a suitable way of impressing women.

The film is in essence a film base in the life of John Nash. However, we must be careful not to take all events of the film as fact and use them the outline John Nash's life.

A Beautiful Mind is also a film where we can throw around that word, symbolism. Many of John's delusions can be seen as symbols of problems he faces, or characteristics he doesn't possess. The first example is Charles. Charles appears at a moment in which John feels particularly isolated. Charles may be a representation of John's desire to have a close personal friend. Another example is Parcher. Parcher appears a time where John does not feel his work is greatly important. Parcher tells John that John is exactly what he needs and the no other person can do what John does. Parcher may represent John's desire to be needed.

To conclude, A Beautiful Mind is one of the greatest films I have ever seen, most film pale in comparison. It has all the ingredients of a great film; a great story, great direction, great acting and a certain Je ne sais pas. I strongly recommend this film.

It's only in the mysterious equation of love that any logical reasons can
be found.