This film is not for the faint hearted.
Adapted from the book of the same name, this film does not hold back on the violence. although i don't think that hurts the film in any way. Battle Royale comes over as a very adult film with teenagers in (not the other way around; don't show this to your kids!) and i think that it succeeds in gripping the audience from beginning to end. Would definitely recommend Battle Royale if only for the reason that it makes you wonder- what would you do if you jad to kill your classmates for survival?
The Help has been superbly adapted for the screen. All the main characters are well cast with Skeeter, Celia and Minny being exceptional. Skeeter is searching for understanding of how her mother was content to allow her own maid, Constantine, to bring her up through childhood, but appeared remote and unconcerned when Constantine mysteriously leaves the household during Skeeters time at University. Skeeter questions her childhood friendships through the eyes of an educated woman who is in persuit of more than a marriage of financial convenience and discovers a world of hypocrisy and indifference to the circumstances of others living within thier own households.
Aibeline and Minny are old friends, who have quite different ways of dealing with the challenges of servitude, with the former being more quietly hostile and the latter being unable to hide her resentment. Minny does give as good as she gets through the use of her infamous chocolate pie but it is her steadfast loyality and ability to understand the motives of others that is brought perfectly into focus by the performance of Octavia Spencer who is well deserved of the nominations she has recieved for best supporting actress. This is especially so when she works as the maid to the unsophisticated Celia Foote played by Jessica Chastaine, and is endeered to her vulnerability regardless of her previous experiences at the hands of former white mistresses.
Without giving away too much of the plot, though the courage of Aibileen, the maids do become empowered by Skeeters determined ambition to tell their story. The Help is a feel good film with some delicious moments of humour and poignancy in equal measure. It does justice to the excellent novel by Kate Stockett and I recommend it to anyone who really enjoys a riveting story.
This film was about as close to the book as it could possibly be. A story of Skeeter a young graduate Journalist in America's deep south community of Jacksonville just at the outset of the Black civil rights movement. Skeeter witnesses how her contempories treat thier household maids and determines to give a voice to these hard working women who give up looking after thier own families in order to care for the children of white middle class families whilst enduring predudice, racism and humiliation.
2009's "Crazy Heart", which saw The Dude himself scoop a long overdue "Best Actor" Oscar is a truly lovely film. Jeff Bridges brings his usual supply of easy charm and comic timing and tops it off with a surprisingly pleasant singing voice to create country music star "Bad Blake" who surely deserves to be ranked among Lebowski and Cogburn as one of Bridge's best performances.
His supporting cast is not short on quality either, with Colin Farrell displaying a similarly surprising amount of musical proficiency whilst successfully disguising the Irish brogue that graces most of his performances and Maggie Gyllenhaal offering a mixture of charm and vulnerability that make her a more than adequate love interest.
However, this is Bridges' film, following Blake as he tries to reinvigorate his ailing music career whilst also dealing with a drinking problem, the indignity of being usurped in the public eye by his one-time protégée and a romantic relationship with a young reporter who is wary of the four wives he has left behind him and the effect he might have on her young son.
"Crazy Heart" plays out a lot like 2008's "The Wrestler", set in a vaguely similar part of America and following the story of a has-been with a vaguely similar set of demons. The main difference is that "Crazy Heart" is much sweeter, playing things much safer in its plot and protagonist. Blake is simply never difficult to sympathise with: his drinking never seems massively out of control, the only major mistake he makes was an honest one that could as easily have happened sober.
He even remains charming whilst supposedly hammered: he dives backstage to vomit but then composedly reappears to finish the song.
Whereas Mickey Rourke was a true mess in "The Wrestler", barely able to keep his life together and constantly hurting those he cared about, Blake only ever really seems in danger of harming himself. The odd sarcastic quip aside, he's nice to almost everyone else in the film, even his young rival and his career even seems to be picking up: in short, he's a nice, talented guy who drinks a little too much.
Perhaps if the story has begun a little earlier - when his career consisted solely of playing in various dives across the country and there was no young, gorgeous love interest to keep him sober- or if more time was given to the son he abandoned (who the film promptly forgets about after Blake makes one attempt to get back in touch with him), it would've made a harder hitting redemption story.
As it is, it's an immensely enjoyable and incredibly easy-to-watch film with a wonderful country soundtrack featuring the winner of 2009's "Best Original Song" Oscar and a host of other equally great songs, performed by Bridges and Farrell. Both of whom, I'm now convinced, could fall back on a country music career if the whole Hollywood thing ever falls through.
It comes highly recommended for anyone who likes Jeff Bridges, just as a cyanide pill does for anyone who does not.
Truly excellent.
Despite losing out to Lars Von Trier's polarising musical Dancer in the Dark for the Palme d'Or at the 2000 Cannes Film Festival, Edward Yang's Yi Yi (A One and A Two), which managed to pick up Best Director, is almost unarguably the better film. An intimate, epic portrait of the middle-class Jian family, Yi Yi focuses on individuals from three different generations - the middle-aged NJ (Wu Nien-Jen), the teenaged Ting-Ting (Kelly Lee) and the young Yang-Yang (Jonathan Chang) in order to provide a commentary on life itself. At the centre of the story is NJ's comatose mother-in-law (Tang Ru-Yun) whom the family have to care for and converse to.
As the world-weary businessman NJ, Yang cast the famed actor/director/screenwriter Wu Nien-Jen who gives an impressive performance with subtle but powerful emotion. In contrast to his wife Min-Min (Elaine Jin) who undergoes an explosive emotional breakdown, NJ's mid-life crisis is inward and reserved. It is a malaise that's sparked when he encounters his former love, Sherry (Ko Su-Yun), who attempts to get back into his life. The attraction between them is undiminished but NJ cannot decide whether or not to let her back into his life - hindered by what kept them apart 30 years ago as well as his current martial vows. On top of this, he cannot seem to reconcile his honest nature with his naturally dishonest occupation.
Concurrently, his daughter Ting-Ting has entered a relationship with Fatty (Pang Chang Tu) whose stark realism contrasts with her optimistic view on life. In one of the film's most memorable scenes, Yang dazzlingly contrasts and parallels their first date with what is taking place concurrently in Japan where NJ has met up with Sherry. Like the doubt that NJ carries over entering a relationship with Sherry, Fatty still hasn't fully recovered from his relationship with Ting-Ting's friend Li-Li (Adrian Lin).
Ting-Ting carries a burden of guilt over her Grandmother's coma as she collapsed while taking out the trash which is normally Ting-Ting's job. During a particularly affecting scene, Ting-Ting opens up to her comatose Grandmother - deploring the unfair nature of life and begging her to wake up.
However, nearly every character in some way, shape or form is responsible for the Grandmother's accident. Through his masterful direction, Yang implements chaos theory into this microcosm of everyday human life - demonstrating how even the slightest action can have consequences.
Perhaps the only truly innocent character in this yarn is the young Yang-Yang (Jonathan Chang) who has an almost uncanny ability to see life as it is. The musings of his childish mind are unwittingly deeply philosophical meanderings that reverberate at the core of the film. Yang-Yang's epistemological questionings address the film's themes of perspective and truth. He asks his father "Can we only know half the truth?" and later we discover he has a collection of photographs of the back of people's heads - something that we can never usually see. His childish actions make sure that the film never gives him omniscience but rather shows that the mind of a child can view life without the trappings of egocentricity.
Sadly, Yi Yi was to be Edward Yang's last film. He died in 2007 from colon cancer, at the age of 59. However, Yi Yi is perhaps the perfect last hurrah that shows a master still at the height of his powers. His stylistic techniques (such as his unparalleled use of reflections) imbue the cinematography of the film with a lyrical beauty that is reflected in the epic saga he depicts. Bookended by a wedding and a funeral, Yi Yi is a work of intense humanism - a eulogy to life itself, no matter how ordinary.
Warrior is without a doubt one of the best sports films of the past ten years. The film is about a MMA competition (Sparta) in which two brothers enter for different reasons. Tommy (Tom Hardy) is an ex marine entering the competition for his fellow marine who died in combat due to friendly fire and vows the give the winnings ($5,000,000) to his comrade's widow. At first glance, Tommy is without a doubt an aggressive and perhaps dangerous character as when he goes to the gym for the first time and fights the local MMA fighter you can see that he is somebody that you don't want to be messing with. Brendan is an ex MMA fighter now a physics teacher with a wife and children. When he realizes that he might have to file for bankruptcy, he feels the best way to get the money is to enter Sparta and win. As the movie goes on it is clear to say that he is definitely the underdog of the film, firstly because of the financial situation that he is in and also because of his physical presence; he doesn't seem to be as physically overpowering as Tommy and yet he is still able to fight his way through competition.
As the film goes on, it follows the two of them in training and slowly building to the competition shows that it's undoubtedly going to end with the two of them fighting for the money. With it showing the two of them, it makes it very hard to see who the hero of the film is as there conventionally is in most films, therefore quite unconventionally showing that they are both heroes of the film. With an older, now sober, father (Nick Nolte) in the middle, which neither of them are particularly fond of because of their difficult childhood when he was an alcoholic shows just how important Nolte, as a father figure, is to bringing the two of the together as they both, as Tommy puts it 'have absolutely no use for him'. This seemingly frail vulnerability and yet warmth that Nolte shows, makes it unsurprising that he was nominated for best supporting actor in the recent academy awards.
What makes this film one of the best sports films of the past ten years is without a doubt the final fight scene between the two of the brothers at the end. Any man would be reduced to tears, even if they didn't have a brother because you can see the love they feel for each other despite not seeing each other for quite a few years. The soundtrack in the background was also very powerful and emotional for me as it seemed to bring the two of them together.
Every man in the world should, at some point in their life, see this film as it was so powerful in the family sense of the word and it was also incredibly motivating for me as you can see the passion they have for fighting as a sport and the love they have for entering the competition in the first place.
Westeros is the fictional land of Game of Thrones, where King Robert Baratheon (Mark Addy) sits on the Iron Throne ruling over the Seven Kingdoms, each governed by one of several powerful houses. The Starks - led by Eddard (Ned) Stark (Sean Bean) govern Winterfell in the North and the Lannister's, led by Cersei (Lena Headey) the King's untrustworthy and incestuous wife, rule the South. Elsewhere across the Narrow Sea are the horsemen tribe the Dothraki and Viserys Targaryen a would-be king of the Dragons and his beautiful sister Daenerys (Emilia Clarke), who is forced into marriage with horse lord Khal Drogo (Jason Momoa) to allow her brother a chance at uniting the tribes in order for him to seize power.
Based on George RR Martin's ongoing series of novels the transfer to the small screen couldn't have been an easy one, yet David Benioff and D.B Weiss have managed to take the novels and turn them into unmissable TV action.
Game of Thrones is full of torture, gruesome beheadings, bloody battles, sex, incest and a fair bit of full frontal nudity. Blood flows episode after episode as one or another character is hacked to death or, for example, stabbed through the face, quite literally. Sex is also a large part of the mix, as are prostitutes and incest. It's certainly graphic, yet not necessarily gratuitous. Whilst the world of Game of Throne is fictitious it feels as though it might once have happened.
Peter Dinklage, who plays Tyrion Lannister is especially watchable and I have certainly warmed to Sean Bean - who I had never really enjoyed watching previously. Mark Addy makes a fine king, swinging widely from kind and caring to out of control bloodthirsty, while Lena Headey who plays his crazed, incestuous, wife shows why she was so capable of being the star of the Terminator: The Sarah Connor Chronicles.
There is a wonderful mix of actors from both the UK and the USA as well as other countries. And it is also great to see several youngsters producing just as strong performances as the adults. Jack Gleeson as the cruel and hateful Joffrey Baratheon, Sophie Turner as the thoughtful and caring Sansa Stark and Maisie Williams as the slight but courageous Arya Stark.
The direction which is excellent, is also surprisingly consistent, when taking into account that each episode is helmed by different directors. The episodes match together seamlessly despite the several fiercely complicated storylines that are ongoing throughout this first season. Indeed it's uncommon to find a TV show that follows one main storyline, or in this case several, at all but Game of Thrones does it with aplomb.
I was compelled to watch the entire series, if for no other reason than, to see just who survives until the final episode. Game of Thrones pays little attention to how important its stars might be in other shows or films, here it's kill, or be killed and no one is safe from the sword or illness. Characters that are very likable are killed of just as easily as those who viewers will instantly hate - perhaps sooner, it makes for a realistic and praiseworthy piece of television that demands your attention. It's near perfect TV.
Superb medieval fantasy based on the novels by George R. R. Martin. At first glance, 'Game of Thrones' seems to be another 'Lord of the Rings' meets some tabletop RPG from 'Games Workshop', but look closer and its not so much a swords and sorcery saga as it is an epic tale of royalist intrigue and war. 'Game of Thrones' also depicts the class struggle between North and South, even going so far as to use familiar visual cues that allude to certain conditions in both hemispheres (e.g. its always grim up north and sunny down south, Southerners enjoy a higher standard of living then Northerners etc). The story sees the Northern House of Stark, led by Sean Bean, in an uneasy truce with the Southern House of Lannister, who betrayed and deposed their ally; the Targaryen King Ayres, to end a barbaric civil war. Hostilities were placated by a marriage between Southerner Cersei Lannister (Lena Heady) and Northerner Robert Baratheon (Mark Addy) who now rules as king. Meanwhile, across the narrow seas, Targaryen's exiled daughter Daenerys (Emilia Clarke), still marked for death by the vengeful Baratheon, plans on regaining 'The Iron Throne', forms an alliance with the barbarians of the Dothraki and is wed to the tribe's most fearsome warrior; Khal Drogo (Jason Momoa).
Needless to say, 'Game of Thrones' isn't exactly a subtle two-hander and the convoluted plot and dizzying array of characters does take some getting used to, so don't worry if you find yourself having to pause proceedings early on, asking questions like: 'So who is he related to, again?' But all credit to those involved, for they've pulled together an epic story to create an absorbing and entertaining journey populated by believable characters with a good sense of the world they inhabit. As with any series, there are some episodes where not much happens and the show's random nudity has become somewhat of a running joke; for it's almost always thrown in to liven up a bit of exposition or oftentimes, for no reason at all!
Great cinematography and directing compliment good performances from the cast; everyone plays their parts well but special mentions have to go out to Peter Dinkladge as droll dwarf Tyrion Lannister, Sean Bean as stoic patriarch Ned Stark, Emilia Clarke as Daenerys Targaryen and Aidan Gillen as Machiavellian eunuch / brothel keeper Baelish. The last time we saw something this ambitious on television was 'The Pillars of The Earth', 'Game Of Thrones' is on a par with that in both scope and scale, and could well go onto become of the best shows in recent years. Recommended.
Lucy (Emily Browning) is a young, beautiful, university student who has had a string of boring, poorly paid jobs, which she has had to put up with in order to afford to pay for her studies in Sydney, Australia. She is offered a job as a waitress, but it's a job with a twist - all the waitresses are dressed in lingerie. However she is unaware that the agency who offered her the job is actually initiating her into a very different role - one of a depraved and demeaning nature.
Lucy is to be sedated and will work as a 'sleeping beauty' - a girl who will be unaware of what is happening to her while she is unconscious - at the hands of several paying customers. It's not long until the psychological effects of what happens to her while she is sedated begin to affect her everyday life and she is forced to find out what has been happening to her.
Straight away I felt that this film would be difficult to watch, but that there was also a good probability that in some way it'd ultimately be rewarding and possibly uplifting.
I realised that there might be some scenes of soft-core titillation, but I hoped that it would also have wonderfully brave and distinctive performances and that the film would focus on the psychological aspects of Lucy's job rather than any of the perverted happenings that were likely to take place. I was hoping that any nudity or sexual content would be handled with complete sensitivity.
One thing I will say is that I believe that the depiction of forced sex has no place on the cinema screen. No place at all. Ever. That said I'm not going to give a personal opinion upon whether this film is depraved or morally unacceptable. All I will say is that there are several scenes that could certainly be considered crude and to anyone's sensibilities perverted.
As for the cast, Browning produces a fearless performance, one that proves she is capable of anything. The sexual scenes alone must have been hard to film, but the medical scenes could not have been easy either. Quite why she should want to push herself to these limits as an actress is beyond my understanding, but it is an audacious performance. The supporting characters are mostly physically, or morally, repugnant and the cast do a very believable job of bringing these characters to life.
Leigh's direction is impressive, especially as this is her debut film. It's observational in approach, yet her confidence as a director is evident and her directorial mark is clearly stamped on the film. I'm not exactly sure what Leigh, or the film, is trying to say; be it politically, socially or psychologically, but her skills as a director are unquestionable.
I could perhaps argue that there is an element of art in Sleeping Beauty, but I'd have to concede that underneath any art there still lies some form of exploitation. Sleeping Beauty will certainly provoke debate amongst viewers and film scholars alike. Opinions will, as always, be divided. Some viewers may not be willing to endure the entire film in order to draw their own conclusions but I certainly wouldn't condemn anyone for that. This is a visceral and gritty film and it's certainly not going to be palatable to everyone.
Ultimately therefore, whilst I may be able to see some merits, I can not whole-heartedly recommend it. Should you choose to watch this film or not, will be reliant upon your own tastes and sensitivities.
From the word go its clear that Rango won't be for everyone. Watching a Johnny Depp-voiced lizard rehearsing a play with a group of rather creepy and entirely inanimate toys may lead many to briefly look confused before going to find something less insane to watch. This may actually be the rational response.
However, with awards season having just ended, a quick glance at the animated film category should be enough to convince anyone to give it a shot: those who do will be treated to one of the most unique, weirdest and altogether most entertaining animated films in some time.
Gore Verbrinski clearly took note of the various unsuccessful attempts made by other studios at beating Pixar at their own game and chose instead to do something truly different, allowing his film to stand apart from the multitude of Pixar masterpieces, rather than in their shadow.
Visually, Rango can certainly hold its own against the big boys of animation: the car crash at the very beginning is truly stunning, easily matching Pixar's finest from a technical standpoint. Artistically, Rango is nothing short of inspired, taking a typical Spaghetti-Western setting and then populating it with some of the most bizarre characters ever to grace the big screen. Anthropomorphic critters dressed like cowboys sounds like pretty standard animated film stuff but one look at this bunch and you can't help but seriously worry about the sanity of their creator.
They look like they were plucked from the mind of Sergio Leone in the midst of a severe fever. Or perhaps what would happen if Tim Burton was ever allowed to make a Western (Hell, Johnny Depp even voice one of them).
Leone's iconic protagonist even makes a bizarre cameo as just one of dozens of equally strange movie references, ranging from a brief glimpse of Fear and Loathing in Las Vegas to a full blown parody of Apocalypse Now (to be frank, I now can't help thinking the original lacked airborne gophers. I'm confidant Coppola would agree.)
These nods to other films are part of what makes Rango as much of a delight to watch for adults as for kids, though even without them, the film's slightly darker, edgier tone stops it from falling into the realm of saccharine kiddie-films that seem designed to punish parents for having the audacity to take young children to the cinema.
Johnny Depp playing an oddball with a funny voice and decidedly loose grip on reality is nothing new - the man has built a career doing it - but it's hard to be cynical when he creates such damn entertaining characters. Rango is certainly one of his finest: more than a little insane, he blunders through most of his own story with the kind of awkward likeability that only Depp can achieve.
Rango was a big hit at the box office, easily breaking the $200 million mark, which is perhaps not surprising as the marketing team performed admirably in their task of disguising the film's utter strangeness to pass it off as a standard talking animal cartoon (a classic easy-sell). Stick the Depp's name on the poster and highlight the Pirates of the Caribbean Connection (Vebrinski directed Depp in three of them) and the term "box office gold" has seldom been used more fittingly.
Regardless of the reason for it, Rango is utterly deserving of the success it had and it's always good to see an imaginative, unorthodox film raking in the cash that hasn't already been vacuumed up by the annual instalment of "Big Robots Punching!" or "Shirtless Vampires Looking Angsty".
There's nothing else quite like it: it;s gorgeous to look at, smartly written and just great fun to watch: just don't expect it to make any more sense when you've finished watching it.
Saw this film in the cinema last year. Did not expect much being a foreign movie.After 5 minutes the action began and it was like a runaway train with none stop thrills and spills,not to mention the body count. The music in the background added to the action.The actors all unknown,played their parts well without any ham acting.
Do not miss it
When it comes to a movie like the Artist, it is rather easy to begin a review by pouring appreciation on the lines of 'an earnest effort', 'an outstanding cinema', 'a touching story' and 'an inspirational exercise'. However at the core of it all, even those selecting up the best of phrases wonder at the back of their minds that whether a movie like this would actually end up entertaining at all or not. As something which is poignant, honest, remarkable or moving could be a piece of literature or a documentary as well. Nevertheless when it comes to the medium of cinema, what is also of paramount significance is the fact that whether a movie manages to keep your attention and engage you for those 100 minutes or not. Thankfully, when it comes to the Artist, the answer is a solid 'Yes'.
The French are no strangers for making pretentious films that they call art. And yet every once in a while they do make something so beautiful and moving that it actually turns out to be art. Last decade they produced Amelie and this decade they exposed us to the wonder that is the Artist. Making a black and white silent movie in 2011 was a very brave and bold move from them. Luckily, this risky move has paid off very well for its cast and crew. As now the Artist is the proud winner of 5 Academy Awards and 3 Golden Globes.
What works most for this movie is the fact that writer/director Michael Hazanavicius retains the very charm of innocence and purity throughout the movie by concentrating mainly on letting the story speak for itself, pun intended, rather than forcing statements and ideas upon the viewers. I won't divulge in the plot as the story is straight forward and by no means convoluted. At its heart is a touching love story reminiscence of old classics and infused with modern wit and gusto. Every scene is crisp and short and things move on with a brisk pace allowing us to move from one situation to another rather swiftly.
Considering the movie's lack of dialogues and the power of entertaining the viewers through famous quotes and witty one-liners, the challenge lies on the makers to attract us through other means and they lift this burden by compensating handsomely in 3 main areas; the visuals, the music and the performances.
The Artist is a visual treat and a feast for the senses. It is truly one of the most beautiful films to look at. The sets are extravagant, the costumes are sumptuous and the black and white adds a dreamlike and stylized dimension to proceedings. The musical score by Ludovic Bource plays a vital and emotional role in the movie since this is the only thing we listen to throughout; it is peppy, joyful, somber and dramatic without being overdone and uses some nice cues from old classical films such as vertigo.
As for the performances, it is rather evident that the actors are cast not only for their talent but for the way that they embody old Hollywood glamour and convey information through their body language. Jean Dujardin gives an award winning performance. He portrays with sensitivity, elegance and nuances the transformation of his character's outcome from idolization to lifelessness. He also has a great comedic flair and it's most evident in the scenes he shares with his co-star the dashing and sassy Brenice Bejo, who oozes confidence and positivity and has a highly infectious smile. Veterans John Goodman and James Cromwell are as dependable as always. Finally let's not forget the faithful dog Uggie who is a very charming dog.
Overall, the Artist isn't anything like the typical Hollywood mainstream offerings; it is a novel experience of a class of its own. It has the power to delight and entertain the viewers because it celebrates a real chapter in the history of cinema and pays a glorious tribute to the era of silent movies. The Artist pairs a touching love story with masterful filmmaking techniques and is one of the best films of 2011. Don't miss it.
Warrior is a tale of a dysfunctional family in which two brothers choose to compete in a Mixed Martial Arts 'winner takes all' event. Tommy (Hardy), an ex-marine, is the younger brother or Brendan (Edgerton) a retired MMA fighter turned physics teacher. Both enter the event for different reasons, but it's obvious that they will end up pitted against one another. one eager to fight, fiercely regardless of kinship, the other a reluctant combatant forced by pride to continue.
Yet there is perhaps a little too much of the generic underdog sports story here with an undeniably formulaic structure. It's well acted, although Tom Hardy barely says a word throughout the film, who although billed as the main star doesn't make much of an impact. In fact it's the less well known Edgerton (and of course Nick Nolte as their estranged father) who must take the plaudits for elevating this film from the obscurity it might have faced had lesser actors been in the roles.
The MMA fight scenes are far less brutal than I would have expected, but also less well choreographed than I would have liked. Some of the bouts are laughable. But perhaps that is preferable to bone-crunching realism.
Ultimately the film is flawed, the fault lying somewhere in the scripting and the direction. Fault must therefore lie with writer/director Gavin O'Connor, who has just one other big film to his name - the disappointing Pride and Glory. He simply doesn't impress. His writing is clichéd and hackneyed, his ability to direct his actors seems ineffectual and the emotion he puts into his writing feels forced.
It's certainly not a total loss, the film is watchable, it's just certainly not a classic. The performances are as powerful as can be achieved by actors hamstrung by the generic nature of the film but whilst their best efforts are genuinely appreciated, in the end Warrior is not a patch on The Fighter.
Lucy (Emily Browning) is a young university student that has to endure menial jobs to pay for her university fees. She takes the opportunity to be a waitress, but it's a job with a twist - all the waitresses are dressed in lingerie. However she is unaware that she is actually being secretly groomed for a very different job - one of a depraved and demeaning nature.
Lucy is to be sedated and will work as a 'sleeping beauty' a girl who will be unaware of what is happening to her while she is unconscious - at the hands of several paying customers. It's not long until the psychological effects of her new employment being to bleed through into her waking life and she is left wondering what has happened to her.
Straight away I felt that this film would be difficult to watch, but that there was also a good probability that in some way it'd ultimately be rewarding and possibly uplifting.
I realised that there might be some scenes of soft-core titillation, but I hoped that it would also have wonderfully brave and distinctive performances and that the film would focus on the psychological aspects of Lucy's job rather than any of the perverted happenings that were likely to take place. I was hoping that any nudity or sexual content would be handled with complete sensitivity.
One thing I will say is that I believe that the depiction of forced sex has no place on the cinema screen. No place at all. Ever. That said I'm not going to give a personal opinion upon whether this film is depraved or morally unacceptable. All I will say is that there are several scenes that could certainly be considered crude and to anyone's sensibilities perverted.
As for the cast, Browning produces a fearless performance, one that proves she is capable of anything. The sexual scenes alone must have been hard to film, but the medical scenes could not have been easy either. Quite why she should want to push herself to these limits as an actress is beyond my understanding, but it is an audacious performance. The supporting characters are mostly physically, or morally, repugnant and the cast do a very believable job of bringing these characters to life.
Leigh's direction is impressive, especially as this is her debut film. It's observational in approach, yet her confidence as a director is evident and her directorial mark is clearly stamped on the film. I'm not exactly sure what Leigh, or the film, is trying to say; be it politically, socially or psychologically, but her skills as a director are unquestionable.
I could perhaps argue that there is an element of art in Sleeping Beauty, but I'd have to concede that underneath any art there still lies some form of exploitation. Sleeping Beauty will certainly provoke debate amongst viewers and film scholars alike. Opinions will, as always, be divided. Some viewers may not be willing to endure the entire film in order to draw their own conclusions but I certainly wouldn't condemn anyone for that. This is a visceral and gritty film and it's certainly not going to be palatable to everyone.
Ultimately therefore, whilst I may be able to see some merits, I can not whole-heartedly recommend it. Should you choose to watch this film or not, will be reliant upon your own tastes and sensitivities.
Written, directed and distributed by Kevin Smith ('Clerks'), 'Red State' marks a return to form after the God awful 'Cop Out' and the less than stellar 'Jack and Miri make a porno'. Drawing heavily from the bloody siege of Waco, Texas in 1993 which saw an armed stand off between cult leader David Koresh and hordes of FBI and SWAT teams: The film works to set up every character in as much detail as possible before going all out for a thrilling, violent finale, which commendably depicts both the police and the cult in an equally negative light.
Smith uses the Stephen King narrative approach, employed to great effect by Robert Rodriguez in 'From Dusk till Dawn', by making it appear that the film is about one thing before dramatically shifting gears and turning its focus onto something else entirely. Michael Parks delivers an electrifying central performance as the cult's persuasive pastor, with a brilliant monologue / sermon that easily stands out as the best scene of the movie. John Goodman is also on fine form as a conflicted ATF agent who tries to keep his head (literally) as the bullets begin to fly. Melissa Leo puts in a terrifying turn as the group's fanatical matriarch whilst newcomer Kaylee DeFer delivers one of most realistic portrayals of panic you'll ever see, we never doubt her sincerity and you can't help but feel a bit sorry for this young woman who was born into the clan and is now in over her head.
Not known for his skills with the camera, preferring instead to let the dialogue do the work, here; Smith actually makes an effort with some sharp, slick shots, good, pacy editing and a tense siege / shootout that wouldn't seem out of place in a Michael Mann film. The only thing I would've changed would have been to end it after the shootout, and use a key character's speech there as a voiceover whilst leaving out the explanation about what that sound actually was. But it's a minor quibble in what's otherwise a gripping, darkly satirical piece by an auteur that's definitely back on track.
In 1997, Trey Parker & Matt Stone conceived the animated television show South Park. This would go on to exceed shows such as The Simpsons and Ren & Stimpy and break new ground in terms of content. The show was undoubtedly crude, tasteless, poorly animated, foul, offensive and for its time, cutting edge & extremely risque, something that had not been observed in animation prior to this. The program did indeed go on to spark much criticism and controversy but just a mere two years later, a film was spawned.
South Park: Bigger, Longer & Uncut opened in 1999 and was considered a commercial and critical success. The title of the movie itself is a double-entendre and just an example of the tongue-in-cheek attitude that South Park is known for (which leads me to wonder how the the MPAA missed out on this 'gag.') Now, my earliest recollection of this film dates back to the year 2000 when I first rented it on VHS. I was around the age of 6 or 7 at the time and I'm certain that my parents had no idea how venomous this film could be. I do recall finding the film downright hilarious despite failing to understand many of the jokes used, but now looking back on the film, in an odd way, it seems it was much more than that.
If you haven't seen South Park then you've most likely been led to believe that it is crude & immature comedy depending on the use of cuss words and fart jokes for cheap laughs, and for the most the part, that could be considered correct. However, the show is a lot more intelligent and adept than it lets on, likewise with the movie which is much more than a political satire and is in my opinion, more preeminent to the television series. It gives off the message that it is perfectly ok to express ourselves however we choose, as well as a subtle "Stand for what you believe in" vibe which is difficult to find in films of its nature lately, sure its shown through cartoon men farting on each other and the repetative use of cuss words but that just shows how adroit Stone and Parker are. As well as that, it also gives off a strong message of how naive parents can act nowdays in a sense of how they do what they think is best rather than what is best for their children.
As well as succeeding as a comedy, the film also surprisingly succeeds in presenting itself as a musical. The film contains many musical numbers, parodying Les Miserables to various Disney movies, most of which are well written, constructed and have a message and plot-developing device to give them more meaning. The soundtrack boasts many memorable songs such as La Resistance, What Would Brian Boitano Do? and Blame Canada (which was nominated for an Academy Award.)
Another excellent substance regarding the film is the fact that it can be viewed as a stand-alone piece, comitting to the series and becoming a regular viewer would need not be neccessary as it is very accessible. It won't take long to understand who everyone is and what they're doing and when you do, you will certainly receive the full enjoyment out of the movie.
In conclusion, South Park: Bigger, Longer & Uncut can be defined as a fun, enjoyable and clever satire that is not to be taken too seriously and can pretty much be summed up as a self-referential joke. I admit that this film is definitely not for everyone but if you enjoy the television series or just enjoy an animated musical comedy with world-class profanity then this is definitely one to view.
Well. Want to have the most enjoyable 90 minutes of your life, then watch this stunning Blu Ray disc: UP. Once again PIXAR have produced an amazing film with stunning colour, precision and love.
The story follows an elderly man, Carl Frederickson. He has wanted to travel to the beautiful lost place called Paradise Falls. Along the way he picks up a few friends. A boy scout, who needs his 'help the elderly' badge (and boy I would give it to after this adventure). Also a 'snipe' called Kevin and a talking dog, Doug. Together they embark on an amazing adventure.
UP has everything you needed cramped into 90 minutes, adventure, action and comedy. Take the kids to watch- actually no; watch this film regardless of your age!
The way PIXAR can make these films make you feel is amazing and so, so clever.
Either way, Blu ray or not, the imaginative story, colours and detail of this wonderful adventure are stunning and will have you lost off the face of the earth for the whole time you are watching this amazing film.
Colours, adventure, action, comedy and talking dogs. UP has it all!!
John Woo's Best film. Stunning battles, amazing picture, supurb sound, 5 hours over 2 discs, easy to follow subtitles. A masterpiece 5*'s
Chinese priminister wants to rule the whole country & take over the empire, goes to war over a woman. Better battle scenes than LOTR's & these were staged for real. 1'000's of chinese. No CG here. Perfect film.
Friends With Benefits is a romantic comedy set mainly in New York with additional scenes in LA. The film follows online art director Dylan (Justin Timberlake) as he gets recruited to GQ magazine by headhunter Jamie (Mila Kunis). The two get together soon enough but not on the usual terms - this time it's purely friendship plus sex. And be warned - or get excited - there is a lot of it. The bedroom scenes manage to be both graphic and funny but of course we know that such a relationship is doomed to failure because sex alone is never enough and after all this is a romantic comedy, right? As such, the plot is predictable enough; the casual nature of the relationship is tested when Jamie decides to date other men. When that (invariably) fails, Dylan lets Jamie get too close by inviting her to LA to meet his dysfunctional but endearing family. There follows a falling out based on a misunderstanding followed by the final reconciliation at which point the relationship is appropriately upgraded and everyone is happy.
I deliberately omitted a spoiler warning there given the highly predictable nature of the genre and the fact that this exact same theme and plotline has been covered quite recently. In No Strings Attached, Ashton Kutcher and Natalie Portman make a pact to have er...no strings attached casual sex without falling in love. Even the tagline sounds suspiciously familiar, "Friendship has its benefits".
This is not to say that Friends With Benefits is a samey film; there is sufficient originality in the details and minor roles to keep things interesting. Woody Harrelson's unique take on alpha-homosexuality is superb while Richard Jenkins as Dylan's father even manages to infuse humour into the sensitive subject of Alzheimer's disease. The city of New York itself deserves special mention, looking great in mid-summer. While the amazing apartments Jamie and Dylan live in are somewhat unlikely for two people in their late 20s living in the Big Apple, the use of flash mobs and cutting edge cellular and internet technology remind us that the romantic comedy has come a long way since the now rather quaint-looking You've Got Mail with its dial-up connections and chunky laptops.
As for the main actors, there is no doubt that Justin Timberlake can hold his own in this company. A convincing portrayal of enthusiasm and sheer energy seem to be his edge, whether of the malevolent kind in The Social Network or the more engaging kind seen here. A great example of this is when he rips the door off his new office at GQ to emphasise the open nature of his management style. It may sound corny and Office USA-like but Timberlake somehow manages to bring a youthful freshness and style to this and just about everything else he does in the film. Mila Kunis for her part looks sultry throughout and her exploration of the female emotional spectrum in all its glory is more than credible. Most importantly, these two actors create a palpable sense of chemistry in a way which most other romantic comedies manage to fail dismally. In an increasingly crowded genre, this alone is enough to raise Friends With Benefits firmly above its peers.
Timberlake and Kunis' chemistry elevate this otherwise by-the-numbers rom com vehicle above the pack
In a word: amazing. Yes, it's a genre film with a simple plot, but based on the sparse novel by James Sallis and filtered through the European sensibilities of Nicolas Winding Refn (Bronson, Valhalla Rising) it becomes so much more. Splattered with the blood of other genres the fairy tale nature of the story - a damsel in distress rescued from an evil king and his warriors by a brave knight in shining armour - takes on a style that places the movie somewhere between the cool blue LA of Michael Mann and the otherworldliness of Leone's spaghetti westerns.
From the neon-pink credits, retro soundtrack to the minimal dialogue, this is a film that proudly wears its influences on its satin-covered sleeve. Hacks steal but geniuses copy, and Refn has made Drive so much more than the sum of its parts. Characters feel like archetypes until the faultless cast give them life that strains at their moulds. Locations seem unrelated - an apartment, a garage, a pizza parlour - until they are tied together by the thin strip of asphalt under Driver's wheels. The plot may be familiar but the love story is so natural, played out in looks and gestures, with the weight of emotion so heavy in what's left unsaid, that it's achingly - hauntingly - beautiful.
It's the beauty that makes the violence all the more shocking. Like a Grimm brothers' fairy tale this is a story that's not afraid to spill blood. Driver lives in a world of physicality and violence - of things that can be smashed apart and put back together. When he's pushed into the criminal world he's tried so hard to stay on the edge of, Driver shows that he's more than capable of pushing back much harder. This isn't needless violence; it's simply the tool he uses to get things done.
This is not film full of car chases, nor is it a movie about a heist gone wrong. Aside from its literal meaning, 'drive' suggests determination, grit and courage in the face of adversity. Drive is about love, and what someone will do to protect it.
When Hugo was first announced you could hear the collective gasp of cinéastes reverberate across the world; Martin Scorsese making a kids movie? Surely not? It's easy to see why Scorsese was attracted to the project - anyone who knows anything about Scorsese's childhood isolation due to debilitating asthma will be able to draw parallels between him and Hugo, the titular protagonist and the film's subject is something very dear to Scorsese's heart.
Hugo focuses on the titular Hugo Cabret (Asa Butterfield), a recently orphaned boy who lives in the bowels of a Parisian train station, who is in constant danger of being caught and bungled off to the orphanage by the Station Inspector (Sacha Baron Cohen). He toils away trying to fix an automation left to him by his father but he is caught stealing parts from the toy shop from the store's owner who turns out to be none other than cinema's grand master - Georges Méliès.
Sir Ben Kingsley gives a particularly affecting performance as the world-weary Méliès, a cinematic genius who is but a shadow of his former self. He finds it painful to talk about the past but not because of any bitterness towards it but rather because he longs to return to his days of happiness. When he meets Hugo, he treats him with a Scrooge-like harshness but slowly develops a fondness as he recognises the parallels with himself.
An orphan but a talented orphan, Hugo is something of a cross between Oliver Twist and Quasimodo as he diligently maintains the clocks at the train station, a job inherited from his deceased uncle, wary that the slightest slip-up will cause the Station Inspector to investigate. Lonely, he desperately searches for meaning in life by fixing an automaton that he believes holds a message from his father. Asa Butterfield portrays Hugo with exceptional handling. His delivery is most impressive in the more moving scenes where he conveys raw emotion that's rare to find nowadays, especially from actors of his age.
However, the true focus of the film is not on Hugo or even Méliès but cinema itself - its origins, its magical properties and its power. Perhaps the key scene in the film is when Hugo takes Isabelle (Chloë Moretz) to see her first movie, Harold Lloyd's 'Safety Last!', Isabelle's facial expression goes through a series of transmutations but all of them undoubtedly express happiness, joy and wonder.
Scorsese takes pains to make sure that audiences experience the same wonder from watching Hugo as Isabelle did from watching 'Safety Last!' and he even recreates the latter's memorable clock-hanging scene whilst utilising the not-so-modern technology of 3D. This is the first live-action movie where I can conclusively say that the 3D was not a gimmick but an essential part of the film's visual aesthetic. From the breathtaking opening shot that brushes across an aerial view of Paris and slowly focuses in on Hugo's eyes peering through the face of a clock to the cold, biting atmosphere of the snowy path that leads to la maison du Méliès, an artistic beauty illustrates Hugo that Georges Méliès himself would surely be proud of.
Lovingly crafted from the rare substance that cinema was soaked in long ago when film was and indeed felt new, Hugo is a wondrous movie experience that will surely stand the test of time for generations to come. A line that Isabelle speaks to Hugo sums up my feelings perfectly: "Thank you for the movie today - it was a gift."
This site uses cookies.
More details in our privacy policy