dbushell Reviews

Amélie (2001)

We all need this film

[7 December 2001]

I was introduced to the work of Jean-Pierre Jeunet by a friend of mine through his earlier piece 'City of Lost Children' which blew my mind with it's sort of 'fairytale techno noir' that is very much a staple of his work when you look at 'Delicatessen' or 'Alien: Ressurection'.

But if genius is measured by the way in which an artist can diversify and build upon his distinctive style, then it is obvious that, with Jeunet, we have a genius in our midst forAmelie is so far from anything he has done, yet is so obviously only HIS work.

I went to see Amelie after having spent a week with one eye pressed against a viewfinder, the other the computer screen as I shot and edited a production of my own and very much emotionally, mentally and physically drained. If ever I needed a breath of fresh air in regard to what film could do for me, this was it.

Jeunet saturates the screen with vibrant colour and sets up (within the first 15 minutes) the character of Amelie to such a degree that you just want to get in and enjoy this film, and that's what you do.

Some have branded this amazing work as too naive to be taken with any real degree of seriousness, but I feel that this is a more cynical view that tends to see naivety (or even optimism) as some sort of character flaw. I hate to refer to current times, but if you want something darker and less fun, open your damn newspaper. We all need films like Amelie because without them, we end up with brittle and cold hearts.

Series 7: The Contenders (2001)

Satire at it's best

[15 May 2001]

I was fortunate enough to see this film at a Directors Q & A in Melbourne last night and I must say that it takes satire of 'reality tv' into a new area.

Incredibly, it began production before our screens were ever tainted by Survivor, Big Brother and the other cheap crap that permeates every timeslot.

Minahan knows EXACTLY what he's doing, with the voice-overs and contestant interviews, even breaking the film up into segments or "episodes" (I'm still waiting for him to break the film up into these episodes, put in ad-breaks and unleash it on an unsuspecting TV audience).

Incredibly violent it may be, but also EXTREMELY clever, funny and insightful.

And all of it...ALL of it scripted!!!

A Room for Romeo Brass (1999)

Astounding and accessible

[29 October 2000]

This film is a must see. This film gives further evidence that the industry is starting to once again, ever so slowly, support the independent or "left-field" films. In fact, support any film that has a DECENT story to tell and something to say.

Besides being a funny musing on friendships - Romeo and Gavin are best of mates, yet rarely say anything 'nice' to each other - in the best of British humour, it also contains perhaps one of the most frightening characters to be seen in a film in a very long time. The climax to this film will have your jaw hanging somewhere around waist-level. Patty Considine as Morrel is amazing, having a sort of hair-trigger eccentricity that pushes him, at the slightest touch, from lovable loner to something much much MUCH darker. The shot that Meadows includes of Morrel alone in his house crying, pulling back to reveal a sort of gas canister makes you wonder exactly what is going on in his head. FANTASTIC!

While Meadows is prone to indulge in the good old "finger-picking-guitar-music-over-shots-of-sombre-people" method of setting a mood, and does it fairly often, he can be excused EASILY by the power of this film, blending a PERFECT mix of humour and drama.

In my view, I'd pay 5-times the admission price for the climax alone

The Virgin Suicides (1999)

See it! Nothing more than that.

[20 August 2000]

I see a lot of films on a regular basis, and it's rare that I have the same feeling the next day as when I leave the cinema. And that's not a bad thing!

If anyone doubted Sofia Coppola's ability as a director, she has done an absolutely phenomenal job of answering her critics with this film - it's beautifully shot, emphasising the contrast between the lovely, clean town the girls inhabit, and the much darker feeling that go on inside their heads.

I've never been a fan of the three leads, James Woods, Kathleen Turner or Kirsten Dunst, but this film has given me new respect for them - Woods is terrific as the father who slowly slides into something close to madness, Turner is amazing as the strict and ridiculously conservative Mrs. Lisbon, and Dunst....well....if she doesn't become a major force in the film industry after this film, then Hollywood is even more screwed than we think it is....she's phenomenal as Lux.

Filled with many subtly dramatic scenes, the film is not depressing, but merely a joy to watch - Josh Hartnett as Trip Fontaine brings to the film a brilliant sense of humour, making it even MORE human.

This film has been criticised for not having a clean ending - but that is the point - the film is told from the point of view of the boys, who never really get to know the girls properly, and as a result, neither do we.

If you only see one film this year, see this!