Teebs2 Reviews

Gravity (2013)

Gravity

[8/10 · 1 January 2014]

By far the best use of a fully immersive 3D environment since Avatar, this is certainly a film to experience on the biggest screen you can get to. 3D is perfect for space, the stark outlines of objects against the emptiness of space or a beautiful, distant earth working amazingly well, rather than being distracting or headache inducing.

That's not to say there aren't any frantic action scenes, in fact oddly enough this is my chief criticism of the film. Poor old Dr. Stone, played by Bullock, is certainly put through the wringer in this bad day at work, the ever increasing perils and sheer bad luck she experiences becomes predictable, and a final credibility shattering sequence involving a fire extinguisher made it clear that as unique beautifully made as it is, it still follows Hollywood action film logic (I also couldn't help but think of the far more beautiful fire extinguisher as propellant sequence in Pixar's Wall:E).

For a film set in the silence of space, there is a lot of dialogue which gets tiresome, but to be fair there are several touching, quiet scenes too. The use of special effects is simply astounding, and any fan of movies should go for the immersive experience, if not the credibility stretching plot.

The Act of Killing (2012)

The Act of Killing

[8/10 · 1 January 2014]

An extraordinary documentary, filmed over many years by Joshua Oppenheimer and his co-directors in Indonesia examining the heroic status afforded death squad and paramilitary figures following the 1960s military coup and subsequent genocide of at least half a million people, under the pretext of being communists.

Oppenheimer weaves many layers of fact and fiction, as the gangsters are given free reign to reenact scenes of their violence and choose to do so in the styles of some of the Hollywood genre films they adored back when they were ticket scalps by day and executioners by night. Anwar Congo is the most interesting of the killers, and becomes the main focus, his internal struggles and, presumably suppressed conscience, being further brought to the surface through the very act of dramatic reenactment. This ends in a horrible scene with Congo, still trying to boast of his murders, but now seemingly wracked with guilt, retching at one of his old murder sites. However unforgivably terrible his crimes, the process he goes through is very human, in contrast to some of the other death squad leaders, hollow men now rich and obsessed with collecting "very limited" diamond trinkets or dragged round shopping malls by a spoilt, Westernised teenage daughter.

The film offers no resolution, the paramilitary Pancasila group responsible for many atrocities are still hand in hand with the current Government, but it does at least draw attention to the horror that lies in Indonesia's history and as one killer remarks, candidly shows the world that it was they who were cruel and not the "communists".

Battle Los Angeles (2011)

Battle: Los Angeles (2011)

[6/10 · 18 August 2011]

Despite these sort of films being a bit of a guilty pleasure of mine, I genuinely don't think this is as bad as the critics made out. Yes, I admit the script is simply a long list of clichés and lazy characterisation, but at least it's tightly paced and acted with conviction especially by Eckhart as the tortured, just about to retire Marine sergeant.

Liebesman's twist on the material is a good one, to portray an alien invasion from the POV of a small group of soldiers using mostly hand-held close up camera-work. Although having a similar kick-butt mentality, it is also more credible than similar blockbusters such as Independence Day, with patient and dedicated soldiering helping to turn the tide against a powerful enemy rather than outlandish science fiction, although it can't beat War of the Worlds for a logical deus ex machina.

The alien SFX are excellent if a little unimaginative, and whilst the loud action scenes got a little incomprehensible at times in general I found it entertaining and distracting enough to forgive its pretty large dramatic shortcomings.

Rango (2011)

Rango (2011)

[7/10 · 18 August 2011]

A bit of an oddball animation from Gore Verbinski which rivals, and occasionally exceeds, Pixar's crowning achievements in animation technology with some tremendous textural details and cinematographic effects, aided I'm sure by Roger Deakins's input.

Johnny Depp provides the voice of a theatrical but lonely pet chameleon who takes on the character of top gunslinger Rango after he gets lost in the desert and meets a town of grizzled Wild West creatures. Verbinski has fun rolling out all the good old Western clichés and film references, particularly a corruption plot straight out of Chinatown.

My only criticism of what is otherwise a very entertaining, gleefully wacky and visually outstanding animation is a lack of that undefinable factor "heart", something which I feel is that niggling X factor which Pixar consistently hits and its competitors don't.

Never Let Me Go (2010)

Never Let Me Go (2010)

[8/10 · 18 August 2011]

A great tragic love story with a subtle sc-fi twist directed by the talented Mark Romanek and adapted from Ishguro's novel by Alex Garland. The central love trio are very well played both as children and young adults, with Knightley, Garfield and Mulligan all capturing their characters strengths and uncertainties in the face of their future as cloned organ donors.

The film has a beautiful yet melancholy atmosphere with a muted earthy colour palette and moody shots of barren coastlines. The film wisely distances from any moralising about the sci-fi side of the story instead focusing on the characters' relationships to life and each other heightened by the limited lifespans of the characters although all the more poignantly applicable to our own. Some may find it too slow and downbeat, but if you can go with the pace it's also very rewarding.

Orphan (2009)

Orphan (2009)

[6/10 · 18 August 2011]

A truly hysterical (in both senses) horror thriller that starts off as a pretty routine "evil child" movie, until a third act twist sends the film into truly ridiculous overdrive. You have to give the writer some credit for having the audacity to write such a twist, it's pure trash cinema gold! Holding this increasingly distasteful, bloody film together is an excellent performance by Farmiga, and to a lesser extent Sarsgaard, the dynamic between them helped by a surprisingly detailed and nuanced back story and relationship. The score and sound effects are distractingly excessive, and could've used a lesson in 'less is more', and let's not even get started on the clichéd finale or the blatant xenophobia. But amidst the hysteria are genuinely creepy touches, the best being Esther's personality disorder being mirrored in her artwork, all sweet and innocent on the surface but with a shocking, twisted adult hatred simmering underneath.

Super 8 (2011)

Super 8 (2011)

[8/10 · 18 August 2011]

J.J. Abrams directs this loving mash-up of 80s sci-fi adventure films, notably the Amblin stable films, with a slightly darker, modern touch as shown by Spielberg himself in his War of the Worlds. All the reviews so far have given Spielberg as the touchstone, but to me the underrated Joe Dante springs to mind rather more. Unlike Spielberg, Abrams uses his top notch, if overly bombastic, effects sequences to shock and awe in their predictable visceral impact, rather than create that sense of original wonder.

Despite Abrams crow-barring an unearned, sentimental moment between kid and the ugly, violent ET, the heart of this film is not the relationship with the alien, here teasingly glimpsed as a Cloverfield type monster, or even the perfunctory broken family subplots but between the kids themselves. A squabbling, Goonies-style dynamic is the films ace, further enhanced and complicated by the inclusion of Fanning's strong female character, a rarity in this sub-genre, provoking puppy love, jealousy and naive heroism to the usual boy's own adventures. The filmmaking project also brings some comic highlights, as Charles opportunistically shoots the threatening military personnel and the train wreckage for added "production value!". The film within a film (shot by the actual teen cast) plays over the credits and is a great outro.

The fun that Abrams has channelling Spielberg does come across, but to me this just further proves just how great the master is and how enthusiasm, technique and a big budget will never beat a warm, genuine heart and perfect storytelling. This is both a director and a film trying hard to please resulting in a visual spectacle which entertains but soon fades, whilst the films it is in love with still feel beautifully effortless all these years later.

Neds (2010)

Neds (2010)

[8/10 · 18 August 2011]

Another powerful drama after The Magdalene Sisters from Peter Mullan, set amidst the adolescent gang culture of 70s Glasgow, and loosely based on personal experience. John McGill, played with both menacing brawn and sensitive intelligence by McCarron, turns his back on his academic successes in favour of his older brothers gang lifestyle after experiencing prejudices within society and hypocritical, violent authority figures.

The film doesn't hold back on the violence that gang mentality stirs up, often contrasting the boys as softly spoken individuals from decent homes against their violent gang behaviour. It's genuinely disturbing to see a good kid at heart fall so low, but Mullan's real stamp on the material separating it from countless other grim rites of passage social realist films is an almost comic absurdity. Highlights include Gary Wells as a piggy-back offering teacher, a kicking from Jesus himself in John's lowest point, a safe passage through a group of genuine predators and in the films most intense sequence John turning into a cross between Travis Bickle and Freddy Krueger.

It is to Mullan and his actors credit that such deviations in tone don't unbalance the powerful, realistic drama at the heart of the film, even if they start to confuse and put into question the main characters state of mind.

Just Go with It (2011)

Just Go With It (2011)

[3/10 · 18 August 2011]

Very lazy rom-com farce with Sandler doing a very slightly grown-up take on his unfunny, charmless man-child character, here realising his assistant is the love of his life, not the 23 year old hottie he's about to marry. Out of the cast, only Aniston impresses with decent comic timing, with many others simply making fools of themselves or proving that their talents should stay on swimsuit calenders rather than the movie screen. Dave Matthews turns up for an unknown reason, as does Kidman (slumming it but apparently having fun) and some Police songs are bastardised into remixes, although despite the painful mugging there are a couple of more subtle visual jokes that suggest the filmmakers do actually have some knowledge of cinema history, including a La Dolce Vita waterfall shot.

Morvern Callar (2002)

A mesmerising experience...

[8/10 · 21 June 2006]

Strangely hypnotic and powerful film, loosely centred around a very strange female empowerment narrative, as the suicide of her boyfriend leads Morvern, a quiet supermarket worker, to experience life for herself.

Another great performance from Sam Morton, and Kathleen McDermott as Lanna is a wonderfully natural companion to Morvern, the chemistry between them is superb. An outstanding soundtrack, and some amazing visual sequences capturing perfectly a dazed and confused night out at a rave party and the immature hedonism of a Spanish "club culture" party resort. One amazing shot encapsulates the sad humiliation of a semi-naked girl in the name of laddish laughs.

Narratively the film is very enigmatic and this will frustrate many people. Morvern remains completely detached from everything, including the viewer, as she calmly disposes the body of her dead boyfriend and takes the credit for his novel. Sam Norton gives Morvern a very innocent child-like quality, that seems completely at odds with some of her actions, giving the character real complexity. It is never clear why Morvern decides to submit her boyfriend's novel as her own work, or what she finds in her trip to Spain.

But narrative and psychological motivation seem somehow beside the point here, where expressionistic sound and image clash with cold reality. Slow, completely enigmatic but somehow wonderful! Proof that Lynne Ramsey is one of the most talented British filmmakers around.

Manic (2001)

Manic Depression

[7/10 · 10 March 2006]

"Manic" follows teenager Lyle (Joseph Gorden-Levitt) as he is sent into therapy to work on his serious anger management problem, having nearly killed a boy at his school with a baseball bat. The film follows his relationships within the small group, comprising of teenagers suffering mostly from depression or similar anger issues.

Similar to "thirteen" released a few years after this film, "Manic" was co-written by one of the teenagers (Michael Bacall) in the film (although presumably not from his own direct experiences) and this does give the script an authentic ring in terms of dialogue, subjects of discussion and a feel for contemporary American adolescence. Several genuine patients of similar therapy institutions play small roles here and the moments when they tell, presumably true stories, do lend an authentic feel. Unfortunately, the film never quite takes off dramatically. It's too stuck in 'realism' to turn into an outright escape narrative such as "One Flew..." or "Girl, interrupted".

Lyle makes plans to escape and dreams of travelling to Europe but it never forms a central plot to the film. Similarly a tentative romance with a girl in the group, Tracey (the marvellous Zooey Deschanel) is downplayed. There are strong sub-plots, such as an ongoing feud with gangster wannabee Michael (a very good Elden Henson) but the film doesn't address the fundamental issues in these kids lives preferring to just address the direct group dymanics rather than digging deeper. In fact the most distressing story is of Kenny, Lyle's quiet room-mate, who it turns out was abused by his apparently normal, caring father. Holding the film together is a fantastic Don Cheadle, as Dr Monroe, the compassionate yet strict group leader. Cheadle manages to give a layered performance that shows an obvious connection to the kids in his care, professional skill at helping them, a mild touch of cynicism as to the extent people really can change and hints of battling problems of his own.

It's an understandable decision not to over-dramatise events but by playing straight the film risks drifting into banality. The decision not to investigate in more depth the way the US, and Western world, relies on medication to control such teenagers is also a missed opportunity.

The intrusive, mostly close-up DV filming does give that documentary feel to some extent, otherwise it's a little excessively jittery and some may find it distracting from the story and characters, rather than adding an emotional subjectivity.

I would give this film a lower score but the performances by the majority of the cast are first class and there are some very emotional moments and scenarios. Gordon Levitt seems to be favouring these kind of messed up teenager roles and his performance is convincing. Zooey Descchanel yet again proves herself the best young actress around in a demanding role and as mentioned, Don Cheadle near steals the film and provides a much needed strong central foundation in an otherwise dramatically and thematically uncertain script.

Kiki's Delivery Service (1989)

Another charming Miyazaki film.

[8/10 · 15 February 2006]

It does seem Studio Ghibli, like Pixar in America, can do no wrong with their animated features. "Kiki's Delivery Service" is a charming film which will win over all but the most cynical of viewer. Kiki is a young witch who has to leave home for a year of real-life experience. She chooses a beautiful city on the coast and sets up a delivery service, attracting the attention of various locals.

To be fair, like many Miyazaki films the story is not really important. Other than the stunning visual detail, his films are most often centred around character rather than plot. I think the strongest aspect of all of Miyazaki's films is the way he mixes the fantastic with a very strong and realistic sense of place and characters with very human complexity. Kiki could have been left simply as a cute bubbly, optimistic character, and probably would have been in an American animated film. However, Kiki has moments of near depression as she struggles to deal with the attention of the infatuated young boy, Tombo. She struggles with her anti-social tendencies when confronted with new social situations. These very human weaknesses create a very sympathetic and rounded character , which can only enhance the film. Of course the film is enjoyable at a simple plot level, although the ending does seem a touch abrupt. I would say that the US voice dub is weaker than usual, Kirsten Dunst being a little annoying as the voice of Kiki though Phil Hartman near steals the show as her black cat Jiji.

A fine film which will keep kids amused, but is equally rewarding for older fans of animation and Studio Ghibli anime.

Mysterious Skin (2004)

Mature and thoughtful!?

[8/10 · 15 February 2006]

Anyone who has seen any of Gregg Araki's early works will be surprised that his latest offering, although explicit and controversial, is actually very thoughtful, mature and poignantly moving.

Gordon Levitt and Corbet are both excellent as the troubled teens who suffered child abuse as children and who carry the memory into adolescence and adulthood in very different ways. The film does contain some explicit sexual scenes, though the child scenes are handled very subtly mostly relying on the power of suggestion.

It's a hugely emotional film, which satisfies as much as it challenges the viewer and I highly recommend it to any one with an open mind who doesn't mind films with strong subject matter.

Me and You and Everyone We Know (2005)

Me, You and Nobody I Know

[6/10 · 15 February 2006]

Highly acclaimed debut film from Miranda July, who also stars as Christine, an eccentric but sweet artist who falls for a newly separated shoe-salesman. It's a frustrating film which fluctuates between moments of genuine sweetness as the various characters reach out to each other for love and affection, or even simple human interaction, but it also has some horribly self-conscious, pretentious moments. The actors are all pretty good, but the film just has that forced quirkiness you too often see in US indie cinema - from the music, to the light and airy visual style, the clever-clever dialogue and slightly controversial events involving children.

It's worth a watch if you like off-beat stuff like "Happiness", "Punch-Drunk Love", "Napoleon Dynamite" etc but, unfortunately, it's not as satisfying as any of those.

The Island (2005)

The latest in crash bang!

[6/10 · 25 January 2006]

The Island, the latest from crash bang maestro Michael Bay, is proof that the Hollywood blockbuster strategy, something for everyone designed to appeal to a mass global audience, can backfire. In this case the broad appeal strategy results in a strangely timid and diluted film, which just isn't quite strong enough in any area to appeal enthusiastically to anyone - a point made clear by it's surprisingly low box office performance: a domestic gross of $36m compared to it's $122m budget.

Although the film offers some interesting ideas with regards to cloning, corporate business and free will presented with at least a hint of intelligence, none of the moral implications or ethical arguments are explored to the degree of depth needed to involve the viewer on an intellectual level. None of the ideas are hugely original, being familiar from a multitude of sci-fi films over the years. Even visually, the film still can't beat the dystopia's of the sci-fi films of the 70s such as THX 1138 or Logan's Run. Ideas pass by, raise just about enough interest and meaning needed for the plot and are then forgotten in favour of Mr Bay's usual fetishistic worship of explosions, shiny inanimate objects and all things crash-bang-whizz.

However, even here we've seen it all before in recent years, so even aficionados of no-brainer action aren't likely to be satisfied. A freeway chase also featured in Bay's own Bad Boys II and was far more exhilarating in the otherwise dire Matrix Reloaded. Shoot-outs, fight scenes, heck even sex, is all diluted down to a flat, inoffensive censor friendly aesthetic by slick, evasive editing.

Performance wise, at first it seems refreshing to have such lesser stars as McGregor and Johansson take the leads until you realise they're not actually that great. McGregor's awful American accent seems to suck his usual strong character from him, and his "real-life" double thankfully retains his natural Scottish accent. Johansson is a surprising casting choice, obviously designed to target the Elisha Cuthbert-alike worshipping teen market, as much as the "Lost in Translation" crowd. The script really gives her little to do, but she's feisty enough and gorgeous, of course, although that airbrush effect on her skin is hideously fake, though I guess that fits with the plot. Unfortunately it is partly the script lets them down, but McGregor just doesn't quite have the charisma of Will Smith, Bruce Willis or even Tom Cruise in this kind of leading role. Buscemi pops up for his obligatory sleazy but helpful role, and gosh that tech job must pay well for him to afford THAT wife and her mail order outfits! Sean Bean yet again pulls out his stock baddie template as does Djimonn Hounsou.

So just that little short of satisfying on both ideas and action front, a largely humourless script and unconventional casting. The film lumbers along powered by Steve Jablonsky's relentless, bombastic score, glossy visuals and nauseatingly quick editing.

However....

Something about the film just about keeps it on the right side of entertaining. Love or loathe Michael Bay, he has a flair for this kind of thing. Unlike some consistently awful directors, his only major flop "Pearl Harbor" was down to a major misjudgement in subject matter and an awful script. Given a half-decent narrative, and good cast his crash-bang aesthetic can power a film along. While The Island doesn't quite power along on all cylinders, give me this over "Pearl Harbour" or the combined works of Steven Sommers, Paul W S Anderson or McG.

Unfaithful (2002)

Surprisingly good

[7/10 · 24 January 2006]

Diane Lane undeniably holds together this film with a magnificent Oscar-nominated performance as the middle-class housewife who has a fling with a charming young Frenchman with tragic consequences.

The first hour or so of this film does play like any stereotypical "housewife fantasy". Adrian Lyne, second only to the Scott brothers for slick visual style, uses symbolism from the outset as what seems to be a desolate and deserted landscape turns out to be a seemingly happy family home. Connie's initial "meet-cute" with Paul is preceded and caused, quite literally by an almighty wind of change...You get the idea. Lane successfully keeps the audiences sympathies despite her devastatingly selfish and irrational actions. Thankfully, she doesn't quite submit to his charms and fall into bed with him immediately - it's only after some painfully awkward meetings and phone calls that the first sizzling, erotic scene occurs.

As the affair continues I found my sympathies strongly transferring to Connie's husband, played by Richard Gere, and son. Her actions become more and more selfish and the web of lies and half-truths begin. In one strong scene the incredibly beautiful Connie, turns down her husbands loving, sexual advances in an atmospheric bathtub, leaving him visibly hurt and aware that something is badly wrong. In contrast Connie has passionless sex with Paul in a restaurant toilet, when a chance encounter with friends prevents her from seeing him at his flat.

Like a couple of other recent dramas such as "In the Bedroom", the film does eventually, and disappointingly veer into conventional thriller territory. It is to Lyne, the script and his cast's credit that the film remains completely involving as both couples secrets become clear, and they are forced to regain and find strength in their relationship in different ways for their families survival.

On the downside, Gere is heavily outclassed in the acting stakes by Lane, though the chemistry is there which is important. Olivier Martinez certainly looks the part, although I did feel the part was underwritten despite his role being, essentially, a mere plot device. As stated earlier, the symbolism is a touch heavy handed, though the visuals are always attractive.

Overall, a surprisingly intelligent and moving look at infidelity and it's consequences on an otherwise stable and comfortable family. Lane's performance is tremendous and the script offers an incisive look at the dynamics of the couples relationship as the affair progresses, and after, as tragic events unfold. Although the film does veer into conventional thriller territory eventually, the film always tends towards reality rather than genre/movie logic, and the ending is wonderfully ambiguous.

Judgment at Nuremberg (1961)

Gripping, if self-important

[8/10 · 24 January 2006]

I am not a Historian so I really can't comment on the historical content of this film in terms of accuracy or details, but I can say that it is a terrifically involving courtroom drama, and easily watchable despite it's 3 hour running time.

Spencer Tracy plays the small-town American judge assigned to the trial of several important German judges and lawmen in Nuremberg a few years after the Allied victory in World War II. It's a perfectly judged performance of a man of great experience and wisdom, who is genuinely open to all arguments and only wants the truth. The other performances are a little more mannered with both Maximillian Schnell and Montgomery Clift slipping to melodrama occasionally.

For the most part, both sides of the coin are very fairly represented as the defence and prosecution attorneys argue their cases. The atrocities and horrors of Hitler's regime are shown in newsreel footage, but the voice of the everyday German people is also represented in the various characters Judge Hayward encounters outside of the courtroom. The film allows for much intelligent discussions investigating the conflict between social conditions and pressures, and the personal morality of the Judges who signed orders on the execution of innocent Jews and the sterilisation of unwanted members of society.

Unfortunately I found the film to be let down by a nagging sense of great self-importance. The big speeches are all delivered as if they were the last words ever to be uttered, which I found became tiresome. Although largely the film presents both sides of the argument strongly, I found the final important moment of the film a let down, as Judge Haywood has the last, critical word against Dr Janning. Understandably given it's makers, the film does ultimately bias itself firmly with the American view on proceedings and the aforementioned self-important tone goes a bit far in this respect. Technically the film alternates between some fine deep-focus cinematography by Ernest Laszlo and some effective, if dated and slightly clumsy, crash zooms and editing techniques at particularly dramatic moments.

Despite these few misgivings which don't quite allow me to rate the film at quite the level it seems to aspire to, it's still an engrossing, perfectly paced courtroom film with great performances and some highly intelligent discussions on war, government, leaders and society that still resonate in today's climate.

Confidence (2003)

CONventional

[6/10 · 22 January 2006]

Reasonably enjoyable heist film, with a great supporting cast including the always cynical Paul Giamatti, a never sexier Rachel Weisz, an eccentrically sleazy Dustin Hoffman and the charisma free Ed Burns doing his best Tom Cruise impression.

The film's only downfall is - it tries too hard. The clever script twists and turns, using the age-old flashback /subjective view of events trick on the audience. The film has a hard, colourful neon-like visual style which is quite an effective alternative to the usual high contrast chiaroscuro of typical film noir plots, which it seems to aspire to. Unfortunately unlike in the best modern films of this type, by directors like Tarantino, Soderbergh et al the characters never feel more than the plot cyphers that they are. Undeniably entertaining then, but just never fully comes to life.

Lupin III: The Castle of Cagliostro (1979)

The Adventures of Arsene Lupin III

[7/10 · 22 January 2006]

Early feature directed by the now world famous Japanese animator, Hayao Miyazaki. A roguish thief, Lupin III, attempts to save the Lady Clarisse de Cagliostro from an evil Count, both of them well aware that she holds the secret to a legendary hidden treasure.

The animation is, unsurprisingly, much less sophisticated than in the later Studio Ghibli films, or even those released only a few years after such as "Nausicaa". However, the quality is still very high and Miyazaki's trademark attention to detail, particularly with machines, is noticeable already.

The character animation is much broader and more obviously cartoon-like but this matches the very light tone of the film - this is an all-out action comedy adventure, after all! The details in the film give it a very European feel, from the costumes to the cars (wonderfully animated Fiat 500 and Citroen 2CV), and I was most reminded of Herge's "Tintin" adventure series.

This film is good fun, though I did find the pacing a little uneven, and particularly recommended to those who enjoy their animated films a bit simpler and more conventional than most of Studio Ghibli's output.

Open Water (2003)

Primal Fear

[7/10 · 22 January 2006]

Anyone expecting a low budget version of Jaws may well be disappointed with this film, as the relatively low rating on the IMDb suggests. Rather than being a gory B-Movie style monster film, this film is almost completely a psychological thriller - a wise choice given the budget constraints and absence of special effects.

Many people here have criticised the film for taking way too much time to get anywhere near the central premise of the film - two divers left stranded in the ocean by their tour boat due to a head-count mistake. Yes, it's boring and mundane - but that's the point. You can't create the sense of an ordinary couple by having them do or say extraordinary things - it HAS to be mundane. Also I found it interesting that they weren't even a particularly likable couple - Susan being one of those insufferable workaholics who juggles business conversations between phones, one call being from her husband just outside the house, in their shiny Lexus SUV. In that sadistic, horror-film kind of way, you just know their comfortable, affluent lives are soon going to be shattered.

Once the couple find themselves abandoned, their sense of feeling a deep irrational fear whilst keeping a superficial, positive spirit is palpable. It really does trigger off nightmarish thoughts - just what would you do or could you do in that situation?! Teasing glimpses of passing cruisers and light airplanes further strengthen the horrible, ironic fact that they are probably surrounded by lots of similar boats, and the shore itself can't be that far away, but they are powerless to be noticed. One brief sequence shows life carrying on oblivious on the shore, as revellers drink and dance. As the hours pass by the couples relationship goes through a variety of believable stages - from the initial, optimistic belief that the boat is sure to return for them through to the first feelings of cold and hunger, than anger and blame at each other for what has happened.

The first few shark sightings are teasingly quick, and anyone who knows how sensitive sharks are to blood in the water will cringe when a character's leg is cut. Realism remains the key here, so there are no bloodthirsty Great Whites here, just an expanding pack of smaller sharks that are merely inquisitive at first.

The performances all seem very natural, apart from some fairly clunky lines of dialogue and the nude scene seems gratuitous, but hints at fractures in the couples relationship which widen during their ordeal. The plausibility of the film, based on true events, revolves around the central mistake which leads to the couples abandonment and it's presented here as an incompetent, yet genuine oversight.

Unfortunately, despite the teasing possibility of a successful rescue mission the film has no Hollywood ending - despite disliking the characters I was rooting for their safety, but the downbeat ending stays true to the films basis in real life. Susan's final decision is moving and gloomy, yet somehow understandable. Not as entertaining as you might expect, (Jaws is still king of the shark films) but worth a look if you like vicariously confronting a few human primal fears.

Chicago (2002)

Stagefright

[7/10 · 17 January 2006]

The rather dubious winner of the 2002 best picture Oscar is as shallow a film as you can find, but the slick musical numbers more than make up for lack of depth through sheer exuberance. Renee Zellweger plays Roxie Hart, a neglected housewife with dreams of returning to her abandoned career on the stage. When she attempts to sleep her way back into show business, her dreams are shattered when her lover turns out to be no more than a predatory furniture salesman, and when he dismisses her she pumps him full of lead.

The cast are all obviously having a great time - Although initially I thought Zellweger was hopelessly miscast, her usual nervous sweetness here hides a ruthless and calculating attention seeker. Catherine Zeta-Jones uses her killer combination of slightly brash attitude, killer figure and aggressive sexuality and a belter of a voice to near steal the film as Velma Kelly, the incarcerated stage star whose publicity Roxie steals.

Rob Marshall missed out on a directing award and it's clear to see why - The choreography is very slick with enough dizzyingly edited flesh on view to make it genuinely raunchy for a modern MTV crowd but with very well performed musical numbers and well staged performances for fans of the stories previous incarnations on stage and screen. However it lacks the cinematic flair of something like Baz Luhrmann's "Moulin Rouge" and the real life scenes are largely uninspired. The decision to make the musical numbers as "fantasies" I found effective, and commented on the plot well.

It's also quite refreshing to see a musical that is at it's core deeply cynical - rather than the sickly optimism often associated with the genre. Billy Flynn controls Roxie and the press like puppets, in perhaps the most striking musical sequence. In another scene, a girl's very real execution by hanging is contrasted with her performing an acrobatic rope act to rapturous applause. Billy creates a frenzy of media attention around Roxie's inexcusable criminal action and the final scene is a suitably sly dig at show business. Velma assures Roxie that the fact they hate each other shouldn't stop them performing, and they take to the stage to great applause, ending in an act where they use imitation machine guns to form their names in lights.

It is in this respect that Marshall's film seems most uncertain. He seems too fond of all the showbiz glitz of his cast and the song and dance numbers to wholeheartedly create a subversive and cynical film, attacking the superficiality of celebrity, the media, the public and the strikingly amoral women's revenge theme. The film is undeniably entertaining, but not as lethal as it might have been.

The Driver (1978)

Empty Lives

[8/10 · 17 January 2006]

The Driver (1978)

Walter Hill's underrated film may have been forgotten completely had it not been for the success of the "Driver" series of Playstation games on which this film is a massive influence. Ryan O'Neal plays the Driver, a ronin-like character, willing to act as an unbeatable getaway driver for anyone as long as the price is right because, well...it's what he does. Bruce Dern is the Cop set on finally catching the elusive criminal, even if it means aiding and abetting criminal activity himself.

This most reminded me of Michael Mann's crime films from the 80s onwards such as "Thief" and "Heat" - Hill's film shares the same kind of existentialist themes about identity - men defined and ruled by their actions, to the extent that they have no room in their lives for anything else. It also shares Mann's style - creating an urban environment that's both chic, yet realistically gritty.

Ryan O'Neal may not have quite the cult status of Steve McQueen but his portrayal of the Driver as an empty, emotionless human being is strengthened through the characters sheer self-confidence and survival instinct. Bruce Dern gives the Cop a nice contrast to his lifeless target, bringing a kind of goofy, obsessive tenacity, as he sets up a bank job with some petty criminals in his attempt to be the first cop to catch the Driver. Isabelle Adjani is strikingly vacant, although her role in the proceedings is far from well defined.

It has to be said that the car chases are brilliant - from the opening getaway police chase to the Driver's calculated destruction of a very shiny Mercedes in an underground parking lot and the final cat and mouse game in a labyrinthine warehouse. The dramatic scenes do inevitably feel a bit sluggish sometimes and the constant hard-boiled dialogue does start to grate. Despite a seemingly sparse, clear-cut plot there are moments towards the climax which are confusing and frustrating.

The existential aspect of the plot is emphasised with a complete absence of character names, so maybe it is fitting that the film, and it's central character, only really comes alive during the car chase scenes - though this may be very relevant to the film's philosophy it does limit the sheer entertainment value as those looking for constant thrills, which the film does deliver, may find the wait between them in such a barren landscape a little tedious while armchair philosophers may find the existential "coolness" forced.

The Postman Always Rings Twice (1946)

Two thirds great Noir

[8/10 · 12 January 2006]

An early film noir, often regarded as a minor classic of the genre. Starts with a near identical premise to another James M. Cain adaptation, Billy Wilder's superior "Double Indemnity" before taking a more convoluted, courtroom based ending.

Lana Turner and John Garfield have heaps of chemistry together, and the first two thirds of the film are highly entertaining, regardless of how many times the plot has been recycled since. The courtroom ending is a little less entertaining as the characters and contrivances accumulate, but still enjoyable as a whole. Some amusing negotiating around the limitations of the production code, but the dialogue hasn't the sparkle of Wilder's film, or the directorial style.

Dead or Alive (1999)

More Miike excess!

[6/10 · 9 January 2006]

A pretty standard, clichéd gangster / cop movie livened up by Miike's usual taboo-baiting, wildly excessive ultra-violence and sex.

After a count-in to the film from the lead characters themselves, foreshadowing the questionable "reality" of the film's climax, Miike opens with a dizzying dose of his trademark sadism and hedonism, which sets up the basic narrative facts of the film. The majority of the actual plot of the film, I found to be often incoherent or incomprehensible but with enough action and exposition to vaguely know what was going on. The main characters are quite well developed also, Sho Aikawa's veteran policeman facing a huge medical bill for his daughter's operation and a failing marriage. Riki Takeuchi certainly looks the part as the head of a rag-tag bunch of criminals brave, or foolish, enough to take on both the police and Japanese mafia and who funds his younger brother's education in the US with his criminal activities. I only realised later, on reading a few reviews, that the gang weren't actually Chinese, but from Japanese families stranded in China, and apparently rejected by both societies and left with no national identity, giving their audacious, near-suicidal, actions that extra bit of depth.

It is only towards the end, with a BIG surprise car explosion that the film truly takes off, introducing a similar cop/criminal dynamic between the protagonists as in Michael Mann's "Heat" or Kurosawa's "Stray Dog". The cataclysmic ending itself is totally genre-defying but compared to the relatively routine plot which precedes it is actually very entertaining and darkly comic.

Nausicaä of the Valley of the Wind (1984)

Eco-warrior!

[7/10 · 9 January 2006]

I have to admit the first time I watched this I was left completely overwhelmed, alternately thinking it was either very moving and profound, or just very silly fantasy. So I watched it again the next day.

The second viewing however was quite a revelation. Once you know the basics of the story and characters, you can really immerse yourself in this detailed world, rather than having to keep up with all the exposition and the "who, where, why, how, what?!" of the first viewing.

I must add now, that I'm usually a firm believer in original language dubs and subtitles, but having watched the English dub of Nausicaa I honestly think it's the better version to watch. Alison Lohmann is an inspired choice, and gives Nausicaa a much more sympathetic and less sentimental character, compared to the original, rather shrill and hysterical, Japanese dub. Nausicaa also sounds closer to her apparent age, a teenager, rather than a child and the story seems much more coherent and easy to follow, without losing anything in translation.

The animation is brilliant, especially all the flight scenes which I understand are a bit of a Miyazaki trademark. The only slight clunker is the very dated 1980s music, which is an almost avant-garde combination of melodramatic orchestral synths, or crazy disco / pipe organ beats! Not to mention a dose of "exotic" sitar flourishes. But it does give the film a kind of 80s ironic charm! Won't go into the story - suffice it to say it's very eco-friendly, with lots of valuable positive themes for the kids. However it also has a great amount of depth (the epic "Dune" series springs to mind) and enough complexity and welcome lack of excessive sentiment to entertain adults.

A must-see for fans of Miyazaki's later work, although it may take a few viewings to fully appreciate this fantastic, epic story!