jhunt709 Reviews

Letters to Juliet (2010)

Letters To Juliet

[8/10 · 15 June 2010]

I have a lot of sympathy for romantic comedies and love stories in general. Pleasing the audience with a pleasant ending almost always amounts to cliché, yet nowadays there are so many releases that attempting to break convention is also beginning to amount to cliché. 'Letters To Juliet' clearly faces this hurdle and takes it in its stride, but how successfully?

Playing a Sophie not unlike her 'Mamma Mia! The Movie' character bearing the same moniker, Amanda Seyfried is a young 'fact finder' playing detective on pieces written for The New Yorker. During a romantic trip with her fiancé to Verona, Italy, Sophie visits the house of Shakespeare's Juliet, where she witnesses heartbroken women sharing their romantic strife with the tragic character in letters which they leave attached to her wall. Intrigued by this activity and befriending Juliet's 'secretaries', a group of women who reply to the notes, Sophie discovers an old letter concealed in the wall which was written fifty years earlier. Taking on the responsibility of writing back, Sophie is surprised when the recipient actually receives the letter and travels from London to Verona, where Sophie joins her along with her cynical grandson in a cross-country search for her lost lover. The setting is beautiful and the scenery as valuable an asset as anything else in this beautiful movie.

'Letters To Juliet' refreshingly refrains from conformity to tone and atmosphere, keeping events light-hearted despite the opportunity for more serious drama. The characters are broadly drawn to encourage comic relief, save for Vanessa Redgrave's excellent portrayal of Claire, whose combination of hope and melancholy weighs down her character and the rest of the film to achieve an appropriate sense of balance between realism and fantasy. The film is, of course, still a love story and in keeping with this the overall story is fairly predictable, so much so that one could deduce the ending from the promotional trailer. An accompanying subplot regarding Sophie's lacklustre engagement to her chef boyfriend Victor is equally unchallenged, but executed with such humour that, however far you saw it coming from, you'll be glad to see back of him.

Fortunately the select few negatives are easily overlooked, for example the speed and believability of Sophie's developing romance with the instantly unlikeable Charlie, as well as the ease with which the film could tell its story equally well in a short film. In the great scheme of things these flaws aren't detrimental to a viewing unless you are set on disliking the feature.

'Letters To Juliet' is a warming romantic comedy with a novel opening premise and a humble manner. Though it closes in a familiar fashion and is certainly no 'Romeo & Juliet', it certainly entertains and charms.

8/10

Mike's New Car (2002 Video)

Mike's New Car

[8/10 · 7 June 2010]

Reuniting the comedy duo (and reprising the voice talents) of Sulley and Mike from the feature film 'Monster's Inc.' makes this gag-driven short worth watching for any fan of these two characters and their relationship.

The premise is a clever continuation from the movie, where Mike was not allowed to drive to work due to the current energy crisis in Monstropolis. In the short, the deprived monster gets a chance to show off his new 'six-wheel drive' to his partner. This subtle attention to detail and character is a display of how intimate Pixar Animation Studios are with their work. Unfortunately for Mike, the display doesn't run smoothly, creating a hilarious predicament in the middle of the street.

'Mike's New Car' might feature a little too much slapstick for some viewers, but many should appreciate it for what it is.

8/10

For the Birds (2000)

For The Birds

[10/10 · 7 June 2010]

Pixar remind us how versatile the short film is as an art form in this hilarious, somewhat silent short that serves to illustrate how the studio would later go on to succeed in shaping the equally serene opening act of their 2008 release 'Wall-E', another consecutive box-office hit for Pixar despite the brave lack of dialogue, which polarises mature viewers as much as it does youngsters.

Displaying great craftsmanship in its cinematography with a flawless choice of angles and shots, 'For The Birds' is a perfect example of classic comedy in its simplest form. Less is more.

10/10

Sex and the City (2008)

Glamour and Grit.

[9/10 · 5 June 2010]

The movie adaptation of television series 'Sex And The City' progresses the New York lives of four women who balance labour and love alongside their close friendship. Despite the brand representing female empowerment, it also proves insightful and entertaining to some heterosexual males (such as myself) who are comfortable enough with our own sexuality to overlook its feminine image.

The standard format of an episode of the hit show saw writer Carrie Bradshaw drawing from her experiences with friends to address the subject matter of her newspaper column. This winning formula guaranteed the achievement of both plot and character resolution while daringly sitting on the fence separating the views of men and women; 'Sex And The City' may have tarred all men with the same brush, but often the show invited viewers to consider how the ladies themselves were at fault in a given situation. This aspect is carried over well in the big screen transition, presenting itself as a bold staple of the overall plot. When Carrie and 'manfriend' Mr. Big decide to get married after he solely finances their new property, their love begins to strain under the pressure of organising the wedding service. Her faith in long-term partner John shattered, Carrie decides to attend to other affairs as she comes to terms with being jilted on the day of the ceremony. While the famous foursome all have rewarding character arcs that (in one case literally) explore the pros and cons of relationships, Carrie's challenges the resolve of women as much as it does men. This equal opportunity approach balances the feature throughout its sluggish running time, representing the battle of the sexes - that the franchise owes much of its appeal to - in a fair manner . The characters are not portrayed as the victims they consider themselves, leaving them vulnerable to criticism (note how they appear to be the main target of any external negativity), but ultimately this gives the film some vital weight. Dialogue is often rich and contested, whether it be friendly discussion or heated arguments. These displays of the human condition are particularly rewarding in light of the fact that 'Sex And The City' could easily have played it safe as a feel-good chick flick, but instead it refreshingly chooses to visit much darker emotions, and for this it must be applauded.

Undebatably the film can be labelled as a glorified, extended episode (what more would the fans want?), and of course there's the product placement, fashion montages and endless wardrobe that pander to lovers of the liberating vibe; but beyond the shallow surface is a film that balances all of this glamour with some truly visceral conflict.

9/10

The Last Song (2010)

At least 'The Last Song' was a good one.

[8/10 · 22 May 2010]

'The Last Song' (based on the eponymous novel by 'The Notebook' scribe Nicholas Sparks) appears to have received much criticism for various aspects of its running time, many of which I can respect, however it strikes me as vicious that viewers are focusing on Miley Cyrus' likability as if it were the overall staple. For a single, external aspect to polarise the audience in such a manner is extremely unforgiving to the bigger picture, and therefore I'll address the Miley factor in a neutral manner. In a leading role separating her from alter ego Hannah Montana, Miley proves she is a blossoming young actress who just needs a few more opportunities like 'The Last Song' in order to find her feet out of a Disney character's shoes. In my opinion her main fault is to play Ronnie, a troubled and troublesome teenager, with a hanging lower lip and fixed gaze for much of the first act, failing to explore why her character is broken. This issue is short-lived however, and Miley plays a happier Ronnie later in the film to a stronger degree, benefiting from her arcing character which should have been developed sooner. In my opinion, the script is at fault for striving to depict Ronnie's demeanour through conventional methods such as bratty behaviour and cocky dialogue. Some may take issue with the watered- down characters (particularly readers of the book) but this is a difficult problem for any screenplay when adapting from the written format.

Besides the sole draw of superstar Cyrus, 'The Last Song' tells a touching story about love, life, family and friendship through Ronnie's connection with her estranged father (a suitably cast Greg Kinnear) and the local heartthrob Will, played by Liam Hemsworth who, like Cyrus, should be credited with rising to the part. The comic relief in Jonah, Ronnie's younger brother, is adapted well by an enthusiastic Bobby Coleman who adds some necessary character to a number of scenes, including the overdone shopping spree montage (which in this instant, he saves). Of course the film generally serves itself as a mechanism driving itself towards its inevitable heartfelt ending, although when the time comes the subject matter is dealt with beautifully, the film remaining uplifting as the credits roll to the inspirational 'When I Look At You'. In my opinion it is moments like these which clarify film's success as a thought-provoking reflection of how we might treat our relationships with significant others; while the novel and its author can be credited with crafting this, the medium of film highlights the concept of fragility for all to see rather than interpret.

'The Last Song' isn't necessarily exciting or remarkable cinema. What it is, however, is a pleasant and gentle piece that touches on the delicate aspects of life that every one of us can relate to.

A Nightmare on Elm Street (2010)

Does fictional America have any teenagers left for slaying?

[6/10 · 20 May 2010]

As a newcomer to the 'A Nightmare on Elm Street' series, my mind was open as to what I could expect from a remake of the 1984 original; I wouldn't be in a position to make comparisons between the movies or the past and present incarnations of Freddy, although I did enjoy this realisation of the dream killer, which I attribute to disturbing make-up and equally disturbing dialogue. Some viewers were displeased that some of his lines were borrowed from past portrayals of the character, something I can accept when a new instalment of a long-running franchise has the opportunity to condense the great, memorable elements of its predecessors into one feature. The 2010 'A Nightmare on Elm Street' owes so much to its own past that any homages aren't unwelcome, particularly to new viewers such as myself. While its success at emulating the original is not for me to discuss, its success as a horror film is, and in that aspect the remake fails.

The concept of the characters dying in their sleep and therefore dying in reality is utilised well, with many of the dream sequences featuring abstract imagery that compliments events in a creative, eerie manner. It is, however, a shame that these scenes become something of a crutch too much too soon, and the terrified teenagers are shown falling to sleep, again and again, letting us know when the characters are safe and negating the atmosphere in doing so. Towards the climax the boundary between reality and the nightmares becomes much less distinct, encouraging the audience to remain engaged with the film and adding a welcome element of the surreal to proceedings. Fans of jump scares will be satisfied, although there are so many of them that they quickly lose their impact; had they been used sparingly they would have deserved a degree of appreciation as a small number were effective. Another issue is how the characters are so isolated in their predicament. While I appreciate that it may have been Freddy's intention to craft his kills to appear as suicide or murder, it seemed more like an act of convenience on the part of the writers to spare them tackling a scene in which minor players (such as the police or even the parents) truly explored the incidents surrounding these youngsters, which would have provided as much interesting conflict as it would sense. When the sleep deprived Nancy decides to takes a routine bath, I almost gave up hope on seeing anybody express their despair with the situation, or the frustration that they seemingly had nobody to confide in besides each other.

Despite hints of creativity, for example the use of a false protagonist (another device I am hesitant to praise for fear it was included in the original), 'A Nightmare on Elm Street' is simply for casual horror fans who want nothing more from the genre than an occasional loud noise and some gruesome special effects while chomping on their popcorn. Anyone else may be sorely disappointed.

6/10

The Lion King (1994)

The King of 90s' Disney Animation

[10/10 · 8 May 2010]

Loosely shaped around the plot structure of William Shakespeare's 'Hamlet', Disney's 'The Lion King' follows Simba, a royal lion cub, in his life following the death of his father. Touching on friendship, identity and responsibility, 'The Lion King' is timeless, standing firm as one of the most popular Walt Disney Classics of its era.

More than fifteen years since its release the film requires no introduction, for so much of its content contributes to the now iconic imagery of the title. Its place in popular culture is certified, from the international adoption of the 'Hakuna Matata' philosophy (hopefully lacking the movie's connotations of life without ambitions) to its uplifting soundtrack, featuring classics composed by Sir Elton John such as the Academy Award-winning 'Can You Feel The Love Tonight?' (Best Original Song, 1994). There are undoubtedly many loyal fans of 'The Lion King' worldwide that can recite numerous pieces of the well-constructed dialogue, including the wise teachings of the shamanistic monkey Rafiki as well as the wisecracks of Timon and Pumbaa, the meerkat and warthog duo that introduce Simba to a life with 'no worries' following his exile.

As seen in the work of the studio prior to 'The Lion King', anthropomorphic animals are crafted with an endearing sense of the human condition that relates them to viewers in a more intimate manner, amplified here to a heavier degree by introducing the concept of family burdens. Emotions such as grief and loss add a poignancy to many scenes that goes unrivalled by live action productions, upholding the belief of many that animation is not at all a format, but simply one manner of telling a story.

'The Lion King' is inspirational on so many levels and in such varying contexts that it proves memorable to the diverse range of viewers that it already has, more than a decade since its initial release. Long live the King indeed.

10/10

The Blind Side (2009)

Don't turn a blind eye to this one.

[9/10 · 16 April 2010]

I am English and as such quite ignorant of the specifics of American Football. Fortunately I am not a lost cause as 'The Blind Side' does not revolve around the sport, despite featuring it heavily. In truth, the movie tells the story of the influence that one unfortunate individual and a wealthy family have on one another. 'The Blind Side' the title refers to is not the technical aspect of the game so much as the aspects of life that each party has been missing, the aspects of life that they discover through each other's presence. In essence the story is a rags-to-riches tale, which may contribute partially to its emotional power; however, this film is not so shallow, focusing on spiritual, rather than material wealth. Even when dabbling in clip montages the picture is never superficial.

Sandra Bullock delivers an Oscar-worthy performance in her award-winning role as Leigh Anne Tuohy, who takes broken youth Michael Oher under her wing when he starts attending the same Christian educational institute as her own children. With the love of a family and the support of a determined mother and father figure, the initially troubled and introverted Michael begins to excel in both studying and sports, despite the low expectations of his teachers. 'The Blind Side' encompasses not only Michael's transition as a character, but also the transition of his carers.

What is most refreshing about 'The Blind Side' is that the film does not lose itself in its serious tone, delivering the full spectrum of emotions including humour, entertaining the audience by allowing viewers to share not only the moments of grief and strife that these characters suffer, but also the moments of joy that they experience. Why should movies (Oscar contenders or not) sacrifice such affairs in order to maintain critical integrity?

Immersing and inspiring, 'The Blind Side' is a rare achievement in storytelling that, notwithstanding heartache and sorrow, conveys a consistent sense of realistic satisfaction that is sadly often lacking.

9/10

The Crazies (2010)

Consistent, tense horror...

[8/10 · 31 March 2010]

Having not seen the original film and lacking in sufficient background knowledge in order to know what to expect from 'The Crazies', I was most surprised to discover that it is a relentlessly tense feature, benefiting from clever direction and realistic characters portrayed by a talented cast that take to their roles seriously.

Telling the story of a town overwhelmed by mayhem following the contamination of their water supply, 'The Crazies' rises above typical genre fare with consistently fresh scenarios throughout its running time, gradually unfolding the story for the group of survivors to piece together along with the audience, adding an element of mystery to the proceedings. Gruesome and shocking, the action is well paced and insightful character development makes for a welcome break between each set piece; the producers appear to acknowledge that their movie is a slasher film to an extent and don't deny the viewer any horror, yet for those who have grown tired of wafer thin characters in this genre, the movie definitely caters for them.

The opening of 'The Crazies' left me feeling somewhat disturbed, wondering if this was a film I would ever be willing to watch again. Having seen (and squirmed) it through, the quality of the overall product has changed my mind.

8/10

Alice in Wonderland (I) (2010)

The greatest tea party that you'll ever attend.

[8/10 · 5 March 2010]

With Tim Burton written all over this imagining of the world of 'Alice in Wonderland' you know what you're in for, and the director doesn't fail to deliver the familiar atmosphere and traits that his fans or even casual movie goers have come to recognise. With a range of quirky characters and curious concepts to incorporate into his cinematic vision, Burton has created a surreal experience that is both brave and bold. In this departure from the original story, Alice (great casting in Mia Wasikowska) returns to Wonderland, where she is recruited to end the Red Queen's reign of terror. With help from old friends such as the Mad Hatter (Johnny Depp in a quality turn), Alice gradually begins to rise to the challenge.

Although the title of the film may prove misleading to those expecting a fresh adaptation of Lewis Carroll's classic, audiences are likely to benefit from a less familiar and therefore less predictable story. With your anticipation heightened by uncertainty, 'Alice in Wonderland' should prove an immersing experience, from the stunning visual craft to the intriguing encounters with famous Wonderland inhabitants. I found myself comparing it to a video game, as Burton appeared to draw out sequences in which Alice would attempt to find a logical solution to a problem, encouraging viewers to think as the protagonist; while the film is an assault on the senses, it also stimulates them.

If any fault is to be found in the film, in my opinion the blame would lay on the story. The mysterious nature of the primary character and the bizarre nature of those who support her don't provide a sufficient connection with the audience, making it harder than it should be to support them, a weakness emphasised by show-stealing sidekicks and a well-played villain courtesy of Helena Bonham Carter. Alice's meetings with influential characters such as the caterpillar and the cat, along with her attendance at the Mad Hatter's tea party, can initially break the film into segments and leave the feature feeling disjointed before the central plot arc comes into play. The quality of each of these scenes, however - featuring great characterisation and playing on the mythology of Wonderland as it is slowly unveiled to us - make up for any lack of a smooth transition between them.

Overall, slightly older youngsters should get the most out of the comedy involved with the characters and their situations without being unsettled by the more frightening scenes and imagery, whereas those who aren't amused can explore the symbolism, themes and literary features revisited in Alice's latest adventure. If you're in to weird, get in to Wonderland.

8/10

The Princess and the Frog (2009)

Almost There.

[9/10 · 19 February 2010]

For years, it seems, The Walt Disney Company has been living in the computer-generated shadow of an animation studio that they now own. With their technique, traditions and tales differing considerably from the House of Mouse (either in its golden era or beyond the Renaissance), Pixar Animation Studios have successfully brought CGI to the forefront of the industry with a loving approach to storytelling reminiscent of Disney's own rise to glory. With audiences worldwide enthralled by this new medium, the method of hand-drawn animation that brought to life Disney's most beloved characters was slowly but surely phased out, with Disney sadly resorting to uninspiring direct-to-video releases and lackluster attempts at recreating the Pixar standard. Now, with John Lasster at the helm as chief creative officer of both studios, Disney have produced their latest feature, 'The Princess and the Frog', in the familiar two-dimensional style of the original Classics cannon.

In terms of technicality the film is obviously distinct from the CGI releases of today, but is just as stunning and matches it in terms of warmth and colour. It is a shame that many will undoubtedly judge 'The Princess and the Frog' as a technological step backwards, especially when so many youngsters are being raised on 'Shrek' and even Pixar's own product. Disney take good advantage of the versatility of hand-drawn animation, resulting in memorable musical numbers and magical special effects, and for many viewers it will revitalise their interest in the format.

Set in 1920s New Orleans, which in turn is set to a swinging jazz soundtrack, Disney's first African-American princess (a minor breakthrough considering the true achievements of this film) unwittingly becomes involved in a voodoo curse after kissing a prince placed under the same enchantment, turning them both into frogs. Refreshingly, Tiana and Naveen have a completely human spectrum of personality traits in either form that expresses both their character's flaws and qualities; they are not drawn as the golden girl and the hero, instead exuding likable and compromising attributes throughout the film, leading viewers on an emotional roller-coaster similar to their own. The supporting cast serves as, but is not limited to, comic relief, and even the more broadly drawn individuals ultimately break their cliché. The film itself of course adheres to the happily-ever-after template, but it's what Disney do best and 'The Princess and the Frog' would not be a worthy throwback if it departed from the foundations and limitations of the fairy tale genre. Instead, the film builds on these foundations, taking a great many elements from previous releases such as 'The Jungle Book' and 'Cinderella' and incorporating them into its own story with a novel spin that leaves them recognisable but relevant to the reinvigoration of Disney animation that Tiana's story is ultimately being told for.

Perhaps the most noticeable influence Pixar's features have had on this film is the sheer bravery of numerous aspects, where art, creativity and originality aren't sacrificed for the sake of avoiding alienating potential audiences. For example, the music has a thorough jazz feel that immediately distances itself from the popular sound and structure of songs from earlier Disney features. This may cause problems for those whose tastes differ or for youngsters who are more captivated by Broadway style numbers, however the music is inviting and the visuals accompanying it grow more spectacular as the movie progresses. The antagonist, a voodoo 'shadowman' with 'friends on the other side' could prove frightening to particularly younger viewers, though the decision to include a darker villain adds welcome weight to the proceedings, with his ending a far cry from the humiliation and jest previous Disney rogues have faced following their downfalls.

'The Princess and The Frog' is told in the traditional Disney fashion that honours their legacy as makers of magic, reminding us why we have enough faith in them to believe that their wishing star will shine brightly in the sky once more. They may not have won everyone back for now, but they're almost there, they're almost there...

9/10

Dug's Special Mission (2009 Video)

Refreshing approach makes this 'special'.

[9/10 · 17 February 2010]

Featuring the most memorable of the canines from the feature, 'Dug's Special Mission' marks a refreshing approach for Pixar companion short films, where the events of Dug's birthday lead right into a pivotal moment from the main feature that we had only previously seen from Carl and Russell's perspective.

Exploiting the sympathy and adoration many of us expressed towards Dug during the film, this short is primarily a showcase of humour up until its ending, which leaves us to take away some considerably heavy implications regarding Dug's role in the journey of a determined old man and an eager wilderness explorer. When you sit down to 'Up' again in the future you may feel the tug on your heartstrings pulling a little harder knowing what Dug's birthday wish was, or at least you'll have had a few more minutes of fun with this lovable dog.

9/10

Triangle (2009)

Thought-provoking, but not for those who look for payoff in their movies...

[7/10 · 29 October 2009]

I hadn't been highly anticipating the release of Triangle as I'd not been following its production; I only noticed adverts for it before its release which looked promising, so I decided to give it a go.

The story has a steady build-up in which we are introduced to the characters, a group of young individuals whose boat is overturned during a sudden storm at sea which is accompanied by a chilling distress transmission. When the deluge passes, they board a large vessel that has seemingly appeared from nowhere, having noticed a figure up on board looking down at them, as if noting their arrival.

Of course, making their way through the interior of the ship, leading lady Jess (portrayed fantastically by Melissa George) feels that the setting is familiar, and it isn't before long that she is accused of turning on the rest of the group as they are stalked by a menacing figure. As it emerges that they have become caught up in a repetitive loop of arriving on the ship and then being picked off one by one, Jess attempts to work out how to 'break the pattern'.

No doubt about it, Triangle is clever; it doesn't just look smart, but it remains coherent throughout its running time. Attention to detail is paid and even though the initial viewing may leave you confused as you simply haven't got the time to take it all in, after it's over and you've read up about the plot on the internet then things start to fall into place and you come to realise the extent of its brilliance. A fair balance of gore and suspense, Triangle is consistently gripping, twisting its way through the events shown in the film, right round 'the loop' and back to the beginning, where the actions and behaviour of the characters become slightly more clear.

Engaging from beginning to end, Triangle is a film that will split the opinion of viewers as the film begins to draw to a close. This is because, as you begin to picture how the film might end, you get the feeling that the explanation you're looking for doesn't exist. I wouldn't say that Triangle is overly ambiguous; enough ideas are presented in the film to allow you to form your own opinions on the 'why?' questions that the movie doesn't really answer. If you're happy to come away from a movie with more questions than answers, willing to accept different interpretations as possible theories, then I highly recommend Triangle. If, however, you want the payoff, the explanation, to know exactly what's happening and why, the film may leave you unsatisfied. Personally, I'm for a mix of both - I'd have loved to have known more about the boat, why they got caught in a loop etc. - so I didn't feel completely deprived at the end. It is simply a shame that despite the movie having some intriguing references to relevant mythology, these aren't followed up in the form of a clear solution. It isn't that the ending is bad or lazy; it's just that for those of you who watched the film to find out what was going on in the trailer, Triangle may not deliver. Still, I recommend all fans of psychological thrillers/horrors give this fantastic little film a chance in order to form their own opinions.

7/10

Up (2009)

With their run of success maintained by their latest feature, Pixar is one balloon that definitely hasn't burst.

[10/10 · 28 October 2009]

How can you tell a feature length story about a man who tows his house around for the duration of the film? Furthermore, how can you have said feature length story's central character be an elderly male who may not be youthful enough to appeal to children, and who also may not be marketable enough to sustain a production line of tie-in merchandise? The answer; ask Pixar.

Early promotional material from plot summaries to teaser trailers did not interest me in Up as much as the studio's previous endeavours; I personally prefer animated films about inanimate objects or animals as opposed to human beings (an example being The Incredibles; highly enjoyable and well-made but my least favourite Pixar film simply for the fact that there were no talking toys, monsters, bugs, fish or cars). Having not seen Up in cinemas early following its release, I finally made my way to a viewing, glad to be extremely surprised by what the film had in store for for a Pixar fan wondering if this was possibly going to be their first release which did not garner my full enthusiasm. Taking off my 3D glasses following the film, I could have hung my head in shame.

When Carl Fredricksen, an elderly man living alone in the house where he grew up with his deceased wife, is threatened with being placed in a retirement home, he escapes by attaching a myriad of colourful helium balloons to his fireplace. Floating away from the city, he discovers Russell, a young wilderness explorer, has become an inadvertent stowaway on his front porch. Following a dangerous storm they land in South America and become caught up in a hunter's search for an elusive wild bird. Though the characters may not immediately strike you as likable, they soon gain your appreciation and before long you're backing them as they take on the enemy and his pack of hunting dogs (who communicate in the most novel, entertaining and laugh-out-loud manner you may have ever seen in a film about talking dogs).

The outstanding technical achievements of the film aside, Up is a complete marvel in terms of storytelling. Whether it be within the script or shown with equal clarity in a visual manner, the journey of Carl Fredricksen as he sets out to fulfill the wishes of his dead wife is conveyed as hilarious and heartfelt in equal measure. That audiences are shedding tears at the BEGINNING of the film is a testimony to the sheer depth of character development, achieved not through complex dialogue but by means of a montage of images detailing the protagonist's life with his partner. Such emotion resonates throughout the entire film; Pixar have not grown complacent despite their success and must be applauded for continuing to take daring risks not only with their productions themselves, but also with the conflict and trials that their characters face within them. At times I found myself wondering if Pixar were really going to let certain events play out with such potentially devastating outcomes.

By far my favourite artistic aspect of the film was the house; tethered to Carl and Russel as they trek towards their destination, it illustrates how Pixar see a potential roadblock and overcome it with such creative ease. Not once does the floating house become a burden to the film throughout its entire runtime; not once was I concerned that it was becoming tedious. This, coupled with the home signifying a great deal of Carl's life-long relationship, ensures that what could have been a weight on Pixar's shoulders is something carried through the events of the movie well and with relevance.

Pixar clearly understand the elements that make a film a classic. Toy Story is arguably their only film to date to have achieved classic status (and it's about time, nearly fifteen years after its release), however in my opinion the majority of the Pixar canon is only waiting for time to be able to honour its legacy. Up rightfully earns its place in this majority.

10/10

Toy Story (1995)

Truly deserving of its legacy.

[10/10 · 10 October 2009]

Please note that I am writing this review having watched the re-release of Toy Story in 3D.

If you're reading this you're probably interested in reading what people have to say about the film rather than looking for advice on whether or not to watch it; Toy Story is a highly popular film/franchise and I'm sure that describing the plot would be a pointless exercise. What I do want to describe, however, is the amazing artistic quality of this film that is now roughly fifteen years old at the time of me writing this review. The first feature length animated film, upon its release Toy Story didn't settle for this title; rather, it made its own legacy and is still now perhaps one of the greatest animated films ever made.

In Toy Story, it seems that Pixar don't miss a trick; there are gags on gags in all manners, from visual jokes and easter eggs to the wit of the dialogue. These characters, these toys, really do feel human. The themes the film deals with, the most prominent being jealousy, are conveyed through the toys in Andy's room as if Toy Story were a live action drama. We all can relate to the core concept of the film; which of us didn't imagine our toys coming to life like this when we were younger?

Watching Toy Story in 3D shows that despite this new technology where we can watch the latest releases in eye-popping 3D, a film will always be as enjoyable in the standard two dimensions if it as well made as Toy Story. Yes, the 3D was highly enjoyable, especially given that the film was not produced with 3D effects in mind; but I could sit at home watching Toy Story on any screen, in any number of dimensions, and feel just as immersed.

10/10

Madagascar (2005)

It's wild!

[9/10 · 28 September 2009]

Some readers probably (and understandably) grow tired of the Pixar/Dreamworks comparisons that surface alongside a new release from either studio or in a review of one of their films, but I'm sorry to say that I just can't help mentioning it; because to me, Madagascar illustrates perfectly how Dreamworks films can be thoroughly entertaining despite the lack of artistic quality that Pixar gain critical recognition for.

Madagascar is far from being a cinematic masterpiece and it could be argued that the film is nothing short of an exercise in unrealistic, over-the-top slapstick humour; however, in my opinion it's darn funny. The comedy stems from the characters themselves AND the situations they find themselves in, with the result being a feature that rarely takes a break from quick-fire gags throughout its running time. That said, the jokes won't be right up everyone's alley but if you're a fan of pop culture references, sexual innuendo and toilet humour, you'll throughly enjoy it (or the kids will). The voice cast is fantastic, accentuating the laughs and often providing them when their characters simply open their mouths (see Sacha Baron Cohen's 'Julien', who very nearly steals the show as the fun-loving leader of a pack of lemurs). Dreamworks have conceived some fantastic characters here, most notably the penguins who could definitely carry a spin-off. While I am certainly no qualified animation critic, Madagascar is also definitely a feast for the eyes.

Critics of Dreamworks may not find anything that will force them to ease off, but those looking for a simple-minded giggle will love it.

9/10

The Damned United (2009)

I wouldn't say The Damned United is the best football film...but I'd say it's in the top one.

[9/10 · 23 September 2009]

Football fanatics whose love of the game attracts them to the cinema to see films about their beautiful game may feel let down by The Damned United, which accounts football manager Brian Clough's doomed forty-four day tenure as the manager of Leeds United. In my opinion, this isn't a football flick; to me it is more a thorough character analysis of a complex individual, which means fans of the sport wanting to see players in action may be somewhat disappointed. What The Damned United does provide, however, is a thought-provoking retrospective of the football industry in earlier years, when the players smoked without hesitation and the stadiums were much less impressive than they stand today.

Having not read the book, I was unsure what to expect from this movie, and with little background knowledge of Brian Clough himself, I was even more unsure of what to expect from the character. Michael Sheen provides a solid, entertaining portrayal of Clough not only in his interaction with other characters, but also in conveying emotional aspects of the great sporting figure, from his driving ambition to the relationship he shared with his business partner Peter Taylor. It is here, in the scenes where we witness the inner conflict of a charismatic individual notable for being outspoken and controversial, that The Damned United scores. The film succeeds in maintaining an unbiased depiction of Clough, allowing us to see both the bold AND the brilliant. I personally developed a liking for Clough, at least one example of how the feature does not shed light on the manager in a purposefully negative manner. Fans of any team, whether they hold Clough in high regard or not, should see The Damned United and make up their own mind. Characterisation aside, the movie has a great sense of humour in the witty remarks of confident Clough, along with sharp dialogue and a well-written script, of which I am unsure how much was adapted from the novel. Some fantastic performances beside that of Sheen and clever cinematography completes the package.

In addition to the main plot, the film is interspersed with segments retelling the story of Clough's management position at Derby County, the club he left to take the Leeds United role left vacant by his rival Don Revie. While arguably irrelevant to the core subject matter of the story, these scenes provide opportunity for contrast and comparison between the two jobs he held, making The Damned United a deep, rewarding character study, which may interest those who don't even follow football in any way, shape or form. The only weakness of the film, though this is possibly nitpicking on my part, is its tendency to tell rather than show, running passages of text along the bottom of the screen rather than illustrate the events. This is only a very minor complaint, but as the film doesn't stand long at about an hour and a half I wonder if these scenes could have been included. Fortunately, however, it doesn't detract from the movie to a great extent.

To conclude, The Damned United is a fantastic piece on the politics and behind-the-scenes of football, and has the appeal for a much wider audience than just simply fans of the game. If the thought of picking up this film for any reason has crossed your mind, give it a go and I'm damned sure you won't be disappointed.

9/10

WALL·E (2008)

Wall-E(pic)

[10/10 · 16 September 2009]

Over the years, Pixar have brought us some truly amazing films, all of high quality in terms of technology and entertainment. Wall-E, their 2008 feature, is arguably the first of those to undoubtedly certify their ability to create a movie to provide for adults as equally as, if not more than, for children. Youngsters will love the flashy robotic sequences and aesthetics, but Wall-E is wonderfully complex enough to give it the most intriguing plot Pixar have ever shared with us.

In a futuristic setting, Wall-E (Waste Allocation Load Lifter Earth-Class) is the last robot of his kind to still be performing his duty, that is to clean up the widespread waste left behind by a human race who made an exodus from the planet some time ago. On board enormous spaceships, humans take up temporary residence under the care of purpose-specific robots catering to their every need until the world becomes inhabitable again. One of these spaceships, the Axiom, has the task of sending electronic probes to Earth to search for signs of vegetation. It is when one of these probes, EVE (Extra-Terrestrial Vegetation Evaluator) finds a small plant recovered by the still active Wall-E that the two robots become involved in events that will shape the future of humanity.

The picture's primary strength, in my opinion, is the presence of political themes such as the environment and obesity that are apparent throughout the film only to the point of being suggestive rather than blatant; the viewer can choose to acknowledge or ignore these themes without their decision having a detrimental effect on their viewing experience, and if the audience were to not even notice these plot points, that wouldn't mean the film would be lost on them either. The depiction of Earth, for example, as a wasteland which still closely resembles our own world as it is now, keeps the story relevant without commanding the viewer to make sure they recycle everything they ever throw away. Also notable is the distinct lack of dialogue in Wall-E; the first act in particular sees the title character and EVE communicate through body language and a limited vocabulary, a bold step for the studio, though well executed despite the inevitable risks that come with making art decisions such as these in films hoping to draw a family audience. Children will have plenty to enjoy despite the scarcity of speech - Wall-E himself is a humorous show stealer sure to make them (and you) laugh.

Pixar chose two main settings for this film; a piece of land on Earth strewn with the leftovers of human civilization where Wall-E resides and the spaceship where EVE is taken after her mission is completed. Here, Wall-E must unite with EVE and the captain to ensure a return to Earth isn't prevented by the scheming auto-pilot system. The difference between the two settings invites comparison between the first and second act, though thankfully Pixar didn't get carried away with robots and technology and made both parts equally interesting and entertaining, something I wouldn't consider easy when the contrast is so clear between the two.

Touching again on the plot, not only have Pixar presented us with an epic story that spans Earth and beyond, but they have also somehow managed to weave in a love story to rival that of any other romance or drama you may have seen. This story arc plays well into the main plot and also conveys itself like a human relationship, which is a true credit to Pixar's characterisation of Wall-E and EVE. Wall-E is that unlucky in love hopeless romantic chasing the girl who's out of his league, except in robot form the clichés are negated and the conclusion is unpredictable. Wall-E has developed a personality during his time alone on Earth, leaving him with an interest in collecting trinkets he finds in his day-to-day rubbish sweep. In a similar manner, EVE makes a steady transition from a directive-driven device to a robot with a soul of her own. It is this character development that makes this love story very touching; weepers beware.

From a technological viewpoint the film is visually breathtaking, but surely you expected no less of Pixar by now? Whether you believe them to be the leading animators in cinema or not, they are still deservedly retaining that title with each new release.

In conclusion, Wall-E is a beautifully animated film with an epic story of romance, adventure and action - don't let its target audience fool you into thinking that it's not a true piece of cinematic art.

10/10

Hannah Montana: The Movie (2009)

Perfect for the target audience...

[8/10 · 13 September 2009]

Admittedly I'd only heard bits and pieces about the Hannah Montana franchise when I decided to pick it up on DVD to watch with the family, more out of curiosity than anything else. Of course Hannah Montana: The Movie runs like your typical Disney flick that originated on, or was made for, its television channel; that is, predictable and corny. However, as far as providing for the target audience is concerned, this film is spot on.

Miley Cyrus provides an energetic performance, essentially taking on two roles as the title character and the girl behind the brand who wants to keep a normal existence while living it up as a celebrity. Hannah Montana faces a tough decision when she realises leading a secret double life is too much for her and those around her, and ultimately has to decide who she wants to be.

Commenting on the cinematic qualities of any aspect of the film would be a pointless exercise considering the movie was made to keep a young, specific audience amused. At 18 I'm the youngest in a family of four, yet the film was fun, enjoyable and well worth a watch simply for the cameos from the likes of Tyra Banks (America's Next Top Model) and Taylor Swift alone. The soundtrack isn't great track after great track although there are some notable gems, including 'Hoedown Throwdown' and in particular 'The Climb', which in my opinion is a fantastic song. The setting of the film elevates the lead character's predicament while providing some beautiful visuals.

In short, anyone considering watching this with youngsters or thinking about letting them see it should find that this is a light, family-friendly film that is nothing short of pleasant viewing, but not much more unless you're a young girl. And if you're not, like me...who are we to criticise it?

8/10

17 Again (2009)

A strong development for Efron's career...

[9/10 · 14 August 2009]

Still riding on the undeniable success of the 'High School Musical' franchise, Zac Efron steps aside the musical genre to front comedy '17 Again', in which he plays the younger counterpart of a moody thirty-something year old who spends his days regretting not following his own dreams as a teenager in order to stand by his pregnant girlfriend. Mike O'Donnell, played by both Zac Efron and Matthew Perry (with an ability that credits them both as comic actors), is given the chance to change his life for the better when a strange accident leads to his becoming a teenager once again.

The surprise for this viewer with '17 Again' was that the content and tone of the film was in considerable contrast to how I originally perceived the package; from the use of Disney's current poster boy to the concept of the film itself, the movie on paper could read like an exercise in crowd-pleasing for the masses of Efron's female fans that its release would be bound to attract. However, any fear of a squeaky clean ninety minutes quickly subsides when the reason for central character Mike O'Donnell's misery is revealed, alongside the emergence of themes such as sexual relationships and family responsibility.

Amongst the more clever aspects of the film was the wise use of Efron's star status. Efron shows off his body just enough to please his admirers, though not nearly enough to alienate viewers such as myself who aren't that way inclined towards him. He is quickly making a name for himself as his acting chops are now giving him a reputation that stands for something besides his image; those of the opinion that he is good for nothing more than Disney television movies may be slowly forced to change their minds. The nature of his character; a father living amongst his children in a similar state of adolescence is also taken good advantage of in several key scenes where the younger Mike O'Donnell, still essentially an adult, tackles problems amongst the real schoolchildren like only a father would. It is this slant on proceedings that keeps the film fresh, saving it from succumbing to its predictable premise.

Ultimately, '17 Again' plays like an enjoyable teen comedy, constantly either funny or sentimental with a witty script and hearty performances from all involved. It is certainly a strong development for Efron's career, and thankfully it dulls his Disney sheen whilst strengthening his credibility as a family-friendly box office draw. Having seen this on the big and small screens, I certainly recommend it for home theatre viewing, though maybe not for families uncomfortable with facing typical teenage content together.

9/10

Harry Potter and the Half-Blood Prince (2009)

Certainly not half-hearted, though possibly half a film...

[8/10 · 29 July 2009]

After five successful instalments of the Harry Potter franchise, The Half Blood Prince follows suit with another magical extravaganza.

In the sixth film (of course based on the novel by J.K Rowling) Harry and his Hogwarts friends return to the school amidst chaos within the wizarding community as the evil Voldemort's return to power swiftly gathers momentum, while between themselves the group face more ordinary personal issues as teenage angst and lust becomes more prominent within the story line.

That the principal cast find themselves battling more against their own hormones than they do the dark forces of the wizarding world is both a blessing and a curse for this movie. While the character's feelings for one another was a major aspect of the sixth novel itself, I find it's dominating presence in the film questionable when there is the absence of several key plot points. While I understand that non-crucial elements of a story must often be sacrificed during the transition from page to picture, I can't understand why some of the more memorable moments from the book were swept aside in favour of scenes that play out in a similar manner to a teen rom-com. While this does not become a major problem due to these segments being (more often than not) laugh-out-loud funny, it is the area of the film that I have to lay blame on for the loss of more intriguing back story and sadly, a more spectacular ending. I understand that some viewers may be deterred by lengthy 'flashback' sequences but the fact is that had they been included, they would have undoubtedly proved beneficial to both those who have read the books and those who haven't. That a climactic fight scene was omitted to avoid repetition with the forthcoming end films is a lousy excuse when five movies so far have been a simple lather, rinse and repeat of a similar premise that has proved to attract box office success and critical acclaim. Though too late to dwell on, I do believe that The Half Blood Prince was also a legitimate candidate to be split into two films rather than one, more so than the seventh and final story that will be presented in two parts. The team behind the film clearly had the courage and ambition to create clear, brave differences from the book and while I certainly applaud this, it also in my opinion becomes the only stumble.

Judging the film on its own merits as opposed to comparing it to the source material, I have to say that the film can proudly make its claim as a highlight of the franchise. Everything from the talented young cast, through the fantastic dialogue to the outstanding cinematography ensures this film entertains audiences from the enthusiastic fans to the movie buffs and film critics. The set pieces bear resemblance to how a reader might imagine them in the novel and there are no wasted opportunities when it comes down to special effects. Considering that the film is over two hours long, it never felt like it despite the amount of time devoted to developing the romance subplots. When the credits roll, you may find yourself thinking that one-hundred and fifty-three minutes of your life just skipped by.

All in all, an outstanding effort resulting in an outstanding movie. Despite their status as blockbusters these films deserve the critical praise and are well-made films. It is only a shame that in this day and age of extended editions and director's cuts, where a studio can make the decision to split one film into two, that the missing plot was simply dismissed or at the very least filmed and not included with the intention of releasing it in its entirety on DVD.

8/10