Below are my top ten films of 2007 (in alphabetical order, because ranking them is just too hard). Note – I saw these films at the cinema in 2007. They may have been released earlier in some parts of the world and you may wonder why they appear in this list – it is because I live in New Zealand and we get some things a tad late. Deal with it.
The Bourne Ultimatum – The third in the Bourne trilogy delivers in spades. Fantastic, intelligent, fast-paced thriller. It is a rare thing indeed. Best action film of the year.
Breach – A gem of a film. Great acting (especially from the amazing Chris Cooper). A compelling and intriguing story.
Eastern Promises – Just brilliant. A tale of morality and the human condition. And you gotta love the Russian accents … Although Viggo Mortensen is sexy in any language.
Hot Fuzz – No, it’s not as good as Shaun of the Dead, but it’s still a very clever and very funny comedy. And stands up to repeats viewings. Funniest film of the year.
Into the Wild – A beautifully film adaptation of a great book about one man’s need to find himself. Wonderfully acted by a stellar cast; great directing by Sean Penn; brilliant soundtrack by Eddie Vedder.
The Last King of Scotland – A disturbing film. Superb acting (and certainly not just a one-man show). Great script. Deserved award-winner.
Lives of Others – Arguably the best foreign film of the last decade. Utterly compelling. The characters are brilliantly realised and the acting is superb – you truly care what happens to the people in this story. Excellent film-making.
Music and Lyrics – It’s in this list because of my weakness for three things: Hugh, Drew and romance. Throw in some music and, BAM, fantastic film! This is a lovely rom-com that delivers on both laughs and chemistry – best rom-com of the year, no contest.
Pan’s Labyrinth – My personal favourite of the year (so good it has entered my top ten of all time). I can’t rave enough about this film. If you haven’t seen it, SEE IT! Yes, it’s a fairy tale, but definitely not one for the kids.
The Prestige – A clever and entertaining story with some fantastic acting and enough twists and turns to make you dizzy. A film you will think about long after the credits have rolled.
Notable mentions: The Bridge (a truly powerful documentary), The Descent (bloody scary), Dreamgirls (great music and phenomenal performance by Jennifer Hudson), The Simpsons Movie (they did it – kept you laughing for 90 minutes!) Stardust (lovely adaptation of the Neil Gaiman novel)
Sunday, January 6, 2008
Sunday, December 23, 2007
Into the Wild
Emile Hirsch, Jena Malone, Marcia Gay Harden, William Hurt, Brian Kierker, Catherine Keener, Vince Vaughn, Hal Holbrook
Dir. Sean Penn
Scr. Sean Penn (based on book of the same name by Jon Krakauer)
This review is going to be hard to write – I finished reading Into the Wild by Jon Krakauer the day before I saw this film. The book is absolutely brilliant and I was eager to see how it translated onto the screen. And I was pleasantly surprised to be presented with a film almost as good as the book itself – in large part, undoubtedly, due to Krakauer’s close involvement with the making of the film. However, unlike many who see this film, I knew everything that was going to happen. I was waiting for each revelation, each obstacle, each set-back, each triumph, and for the ending (THAT ending, which I will refrain from talking about here). So, can I truly write a review of JUST the movie? Probably not, but here goes.
Into the Wild tells the true story of Chris McCandless; a bright, talented, privileged young man who, for a variety of reasons, abandons the path which he is expected to take and instead sets off in 1990 on a two-year voyage of discovery – a discovery of place and truth and, ultimately, of himself. He becomes what one character calls a “leather tramp” – without a vehicle, often without money, without a place to stay, Chris renames himself Alexander Supertramp and hitches around America. His goal is Alaska – to truly live in the wild and leave behind the trappings of society. Without giving away too much, Into the Wild is both a tragic and beautiful tale of a man who had to leave everything behind in order to discover that “happiness is only real when shared”.
This film will bug some people – you’re not necessarily going to like Chris/Alex. But, in the end, you don’t have to – I think understanding him and perhaps sympathising with him is much more important. In the end, what he did may well have been foolhardy. And there’s no doubt he was just a little too influenced by Jack London and Thoreau. But to truly uncover who you are, well, that is something.
Penn has produced a beautiful movie – visually, Into the Wild is a treat. Whether it’s a desert landscape, the fierce rapids of a river, or snow-capped mountains, Penn has captured the vastness of America and made us understand a man’s desire to try to see and experience it all. Penn has also done an excellent job of adapting a complex story – although, in an endeavour to truly tell the whole story, the films does run to 140 minutes. Not a fatal length, as it was compelling throughout, but perhaps a little too long for most audiences. Penn also succeeds in, well, having some mighty cool friends – the original songs produced for this movie by Eddie Vedder are fantastic.
Penn also gets brilliant performances out of all of his actors – without exception, the cast is spot-on. Special mention must go to Keener (in my opinion, the best American actress working today), Hurt (as Chris’s/Alex’s father), and Holbrook who I suspect will get a few best supporting actor nominations come awards season. However, this movie really does rest on the shoulders of Hirsch (as Chris/Alex). This is one man’s story and Hirsch does an absolutely sublime job in this demanding role (so demanding, Hirsch had to shed 40 pounds to play Chris/Alex in parts of the film). Although not a complete unknown (he was in the awful teenage flick The Girl Next Door in 2004), Hirsch is enough of a fresh face to make this role his landmark one.
I really loved this film. It won’t capture everyone – I think my view might have been coloured by reading the book and knowing the story inside and out. But perhaps not. Either way, I recommend this film – it might annoy a little, but ultimately it is a fantastic story of a highly idealistic road-trip of discovery. Into the Wild is not trite or overly clichéd – it is, at its core, about a man looking for meaning. Isn’t that what we’re all looking for?
----------------------------------
Chris McCandless: Rather than love, than money, than faith, than fame, than fairness... give me truth.
Dir. Sean Penn
Scr. Sean Penn (based on book of the same name by Jon Krakauer)
This review is going to be hard to write – I finished reading Into the Wild by Jon Krakauer the day before I saw this film. The book is absolutely brilliant and I was eager to see how it translated onto the screen. And I was pleasantly surprised to be presented with a film almost as good as the book itself – in large part, undoubtedly, due to Krakauer’s close involvement with the making of the film. However, unlike many who see this film, I knew everything that was going to happen. I was waiting for each revelation, each obstacle, each set-back, each triumph, and for the ending (THAT ending, which I will refrain from talking about here). So, can I truly write a review of JUST the movie? Probably not, but here goes.
Into the Wild tells the true story of Chris McCandless; a bright, talented, privileged young man who, for a variety of reasons, abandons the path which he is expected to take and instead sets off in 1990 on a two-year voyage of discovery – a discovery of place and truth and, ultimately, of himself. He becomes what one character calls a “leather tramp” – without a vehicle, often without money, without a place to stay, Chris renames himself Alexander Supertramp and hitches around America. His goal is Alaska – to truly live in the wild and leave behind the trappings of society. Without giving away too much, Into the Wild is both a tragic and beautiful tale of a man who had to leave everything behind in order to discover that “happiness is only real when shared”.
This film will bug some people – you’re not necessarily going to like Chris/Alex. But, in the end, you don’t have to – I think understanding him and perhaps sympathising with him is much more important. In the end, what he did may well have been foolhardy. And there’s no doubt he was just a little too influenced by Jack London and Thoreau. But to truly uncover who you are, well, that is something.
Penn has produced a beautiful movie – visually, Into the Wild is a treat. Whether it’s a desert landscape, the fierce rapids of a river, or snow-capped mountains, Penn has captured the vastness of America and made us understand a man’s desire to try to see and experience it all. Penn has also done an excellent job of adapting a complex story – although, in an endeavour to truly tell the whole story, the films does run to 140 minutes. Not a fatal length, as it was compelling throughout, but perhaps a little too long for most audiences. Penn also succeeds in, well, having some mighty cool friends – the original songs produced for this movie by Eddie Vedder are fantastic.
Penn also gets brilliant performances out of all of his actors – without exception, the cast is spot-on. Special mention must go to Keener (in my opinion, the best American actress working today), Hurt (as Chris’s/Alex’s father), and Holbrook who I suspect will get a few best supporting actor nominations come awards season. However, this movie really does rest on the shoulders of Hirsch (as Chris/Alex). This is one man’s story and Hirsch does an absolutely sublime job in this demanding role (so demanding, Hirsch had to shed 40 pounds to play Chris/Alex in parts of the film). Although not a complete unknown (he was in the awful teenage flick The Girl Next Door in 2004), Hirsch is enough of a fresh face to make this role his landmark one.
I really loved this film. It won’t capture everyone – I think my view might have been coloured by reading the book and knowing the story inside and out. But perhaps not. Either way, I recommend this film – it might annoy a little, but ultimately it is a fantastic story of a highly idealistic road-trip of discovery. Into the Wild is not trite or overly clichéd – it is, at its core, about a man looking for meaning. Isn’t that what we’re all looking for?
----------------------------------
Chris McCandless: Rather than love, than money, than faith, than fame, than fairness... give me truth.
This is England
Thomas Turgoose, Stephen Graham, Joe Gilgun, Andrew Shim, Jo Hartley
Dir. Shane Meadows
Scr. Shane Meadows
This is England is a poignantly, powerfully told coming-of-age story set in 80s England. Based on the experiences of director/writer Shane Meadows, this film is as real and raw as cinema gets. And, yes, there is some violence. But above all, this is a story of finding your place and discovering your limits. Brilliant wee tale, well acted and nicely paced.
This is England is the story of Shaun (Turgoose), a boy on the verge of becoming a man, who has a lot to be miserable about. Picked on at school, raised by a single mum after losing his father in the Falklands War, friendless, a fashion victim – Shaun is in need of something in his life. In walks Woody (Gilgun), a local skinhead, who befriends Shaun (Doc Martins, Ben Sherman shirt, and shaven head – the works). Woody and his mates become Shaun’s extended family and all is rosy. Until, that is, Combo (Graham) is released from prison and has some new ideas for the group – namely, white pride and, along with it, an unwelcome dose of racism. Except, for the impressionable Shaun, Combo becomes something of a father figure and, well, bad stuff happens. As you might imagine.
This is England is told on a very small scale – there are less than ten people in Woody’s gang and Combo rallies only half that to attend the National Front meeting (which, itself, is attended by only a couple of dozen like-minded skinheads). Meadows use of historical footage from the time complements the antics of these few people in this small town nicely. There is an intimacy that makes the friendships and the eventual violence so much more real and poignant. At times the racist ramblings of Combo are comical – the scene when they rob the local convenience store (run by a Pakistani man who speaks much better English than Combo himself) is highly ridiculous. But the anger inside Combo is all too real and explodes with very real consequences. This juxtaposition is extremely powerful and catches the audience a little off-guard. Very clever film-making.
The acting in This is England is superb. I have to admit that I didn’t recognise any of the actors, which was perhaps a good thing – they weren’t actors to me, but simply the people they were portraying. Gilgun, as the extremely likeable Woody, is fantastic, with a wonderful turn-of-phrase. Turgoose, a non-actor (this being his first role), is absolutely perfect. I’m not sure how brilliant an actor is truly is – I suspect he was largely playing himself – but there is no question he pulled off this challenging and difficult role with skill and maturity. The real stand-out for me, however, was Graham as the explosive Combo. Not an easy role to play, Graham shows Combo to be not only a violent and angry individual, but also quite a sensitive and scarred one. How he chooses to deal with his pain may be repugnant to most, but you can’t help but feel for Combo – this is largely due to Graham’s skill and understanding of this flawed and complex character. Brilliant stuff.
I recommend This is England. It’s not without fault – it ends with an unsatisfying abruptness that was unnecessary. But it is a very raw film that will make you angry, while simultaneously pulling at your heart-strings. And that’s quite a feat. Very good British cinema indeed.
-----------------------------
Woody: Listen to me. He's a young lad. He's had a fucking bad week. So we bring him in wi' us to show him a bloody good time and you've just friggin back handed him roun' head. I'M DISAPPOINTED MATE!
Dir. Shane Meadows
Scr. Shane Meadows
This is England is a poignantly, powerfully told coming-of-age story set in 80s England. Based on the experiences of director/writer Shane Meadows, this film is as real and raw as cinema gets. And, yes, there is some violence. But above all, this is a story of finding your place and discovering your limits. Brilliant wee tale, well acted and nicely paced.
This is England is the story of Shaun (Turgoose), a boy on the verge of becoming a man, who has a lot to be miserable about. Picked on at school, raised by a single mum after losing his father in the Falklands War, friendless, a fashion victim – Shaun is in need of something in his life. In walks Woody (Gilgun), a local skinhead, who befriends Shaun (Doc Martins, Ben Sherman shirt, and shaven head – the works). Woody and his mates become Shaun’s extended family and all is rosy. Until, that is, Combo (Graham) is released from prison and has some new ideas for the group – namely, white pride and, along with it, an unwelcome dose of racism. Except, for the impressionable Shaun, Combo becomes something of a father figure and, well, bad stuff happens. As you might imagine.
This is England is told on a very small scale – there are less than ten people in Woody’s gang and Combo rallies only half that to attend the National Front meeting (which, itself, is attended by only a couple of dozen like-minded skinheads). Meadows use of historical footage from the time complements the antics of these few people in this small town nicely. There is an intimacy that makes the friendships and the eventual violence so much more real and poignant. At times the racist ramblings of Combo are comical – the scene when they rob the local convenience store (run by a Pakistani man who speaks much better English than Combo himself) is highly ridiculous. But the anger inside Combo is all too real and explodes with very real consequences. This juxtaposition is extremely powerful and catches the audience a little off-guard. Very clever film-making.
The acting in This is England is superb. I have to admit that I didn’t recognise any of the actors, which was perhaps a good thing – they weren’t actors to me, but simply the people they were portraying. Gilgun, as the extremely likeable Woody, is fantastic, with a wonderful turn-of-phrase. Turgoose, a non-actor (this being his first role), is absolutely perfect. I’m not sure how brilliant an actor is truly is – I suspect he was largely playing himself – but there is no question he pulled off this challenging and difficult role with skill and maturity. The real stand-out for me, however, was Graham as the explosive Combo. Not an easy role to play, Graham shows Combo to be not only a violent and angry individual, but also quite a sensitive and scarred one. How he chooses to deal with his pain may be repugnant to most, but you can’t help but feel for Combo – this is largely due to Graham’s skill and understanding of this flawed and complex character. Brilliant stuff.
I recommend This is England. It’s not without fault – it ends with an unsatisfying abruptness that was unnecessary. But it is a very raw film that will make you angry, while simultaneously pulling at your heart-strings. And that’s quite a feat. Very good British cinema indeed.
-----------------------------
Woody: Listen to me. He's a young lad. He's had a fucking bad week. So we bring him in wi' us to show him a bloody good time and you've just friggin back handed him roun' head. I'M DISAPPOINTED MATE!
Sunday, December 9, 2007
Bee Movie
Voices of: Jerry Seinfeld, Renee Zellweger, Matthew Broderick, Chris Rock, John Goodman and many, many more
Dir. Steve Hickner & Simon J Smith
Scr. Jerry Seinfeld, Spike Feresten, Barry Marder & Andy Robin
This movie is much better on paper than it is on the screen. Jerry Seinfeld is its driving force – perfect. And the cast of voices are phenomenal. And the story – a bee sues the human race for stealing honey – is priceless. But somehow all this potential amounts to an infrequently funny and largely forgettable film.
I was very excited to hear that Jerry was back and undertaking a project so different from his stand-up and his tv series. “Ah, he’s had kids”, I thought. “He’s all soft and squishy now and wants to make something he can watch with his offspring.” And, why not? Here’s a man who made one of the best tv shows ever and never has to work again – whatever he’s involved in has to be good, right? Well, not exactly.
There’s a lot that is good about this movie, most of which I knew before I went to see it. The title itself – Bee Movie – is a brilliant play on words. The story – bees sue humans – is family-fun genius and cleverly developed. A fantastic array of voices – including Oprah for goodness sake! – is testament to how many people want to work with Jerry. And, to top it all off, there is a cameo from Sting – HA!
But, you know what, I just didn’t laugh all that much. It was clever and, in places, very witty. I chuckled and I smiled wryly, but there were no belly laughs. And that’s pretty fatal for a film spawned by a comedian. I think I like the thought of Bee Movie more than Bee Movie itself.
There’s not much more to say. See it, if you want. It’s not terrible – you won’t throw your popcorn at the screen in disgust. It’s just not that good either.
-----------------------------------
Vanessa: Why don't you just fly everywhere? Isn't it faster?
Barry B. Benson: Because flying gets very tiring. Why don't you humans just run everywhere, isn't that faster?
Dir. Steve Hickner & Simon J Smith
Scr. Jerry Seinfeld, Spike Feresten, Barry Marder & Andy Robin
This movie is much better on paper than it is on the screen. Jerry Seinfeld is its driving force – perfect. And the cast of voices are phenomenal. And the story – a bee sues the human race for stealing honey – is priceless. But somehow all this potential amounts to an infrequently funny and largely forgettable film.
I was very excited to hear that Jerry was back and undertaking a project so different from his stand-up and his tv series. “Ah, he’s had kids”, I thought. “He’s all soft and squishy now and wants to make something he can watch with his offspring.” And, why not? Here’s a man who made one of the best tv shows ever and never has to work again – whatever he’s involved in has to be good, right? Well, not exactly.
There’s a lot that is good about this movie, most of which I knew before I went to see it. The title itself – Bee Movie – is a brilliant play on words. The story – bees sue humans – is family-fun genius and cleverly developed. A fantastic array of voices – including Oprah for goodness sake! – is testament to how many people want to work with Jerry. And, to top it all off, there is a cameo from Sting – HA!
But, you know what, I just didn’t laugh all that much. It was clever and, in places, very witty. I chuckled and I smiled wryly, but there were no belly laughs. And that’s pretty fatal for a film spawned by a comedian. I think I like the thought of Bee Movie more than Bee Movie itself.
There’s not much more to say. See it, if you want. It’s not terrible – you won’t throw your popcorn at the screen in disgust. It’s just not that good either.
-----------------------------------
Vanessa: Why don't you just fly everywhere? Isn't it faster?
Barry B. Benson: Because flying gets very tiring. Why don't you humans just run everywhere, isn't that faster?
Beowulf
Ray Winstone, Anthony Hopkins, Robin Wright Penn, Jonh Malkovich, Angelina Jolie, Brendan Gleeson, Crispin Glover
Dir. Robert Zemeckis
Scr. Neil Gaiman & Roger Avary (based on the poem of the same name)
When I first heard that Beowulf was being made into a movie directed by the extremely competent Robert Zemeckis, adapted by literary god Neil Gaiman, and starring grizzly and talented Ray Winstone in the lead, I nearly wet my pants in anticipation. Beowulf is a tremendous tale of bravery and monsters and greed and all that good stuff. But then, horror of horrors, I found out that it was going to be animated! WHAT!?! I mean, I have nothing against animation per se, but why waste such a director, such a writer, such a cast on animation? Why not bite the bullet and do the all-real, all-action adaptation that this tale so deserves? Well, while I still think a live action film could have been amazing, this Beowulf film exceeded my expectations and I was thoroughly entertained, grossed out, frightened and thrilled.
I have to offer a word of advice however – if at all humanly possible, see it in 3-D. I was sceptical about the poxy glasses but, my god, never have I been more wrong. Live action, 3D Beowulf – now that would have been something special.
Beowulf tells the story of a town terrorised by the monster Grendel and his mother, and the hero, Beowulf, who comes to save the day and finds himself mixed up in the whole sorry business of man’s greedy thirst for power and fame. The story of Beowulf was originally told in an Old English epic poem and set in the 5th and 6th century. It’s a ripper of a story and adapted well by Gaiman and Avary. I’m not sure how faithful it is to the poem and, to be honest, I’m never going to read it so I’m never going to know. But I do know it’s a bloody and gory telling, but it also has heart and smarts (but, thankfully, no animated sex).
My beef with this movie is not the writing, but the medium. As I said, I am not anti-animation. But I just wondered why you would slave away trying to make the characters look so life-like … why not use the actors and make a live-action film? I know, I know – it costs less and you can make a cartoon Winstone do more than a real-life Winstone. I know! And maybe, as some critics have suggested, this is the future of film-making. Well, I hope not.
I did like the way in which Beowulf didn’t look like Ray Winstone – that Winstone’s essence was captured in a character that instead looked like a heroic muscleman. So, WHY THEN, do we have Grendel’s mother looking EXACTLY like Angelina Jolie!??! The audience in my screening laughed (yes, laughed out loud) when she emerged from the water. So, for Beowulf (and pretty much all the other characters) the animators really worked hard to make the character believable … but, apparently, Grendel’s mother WAS Jolie. It bugged me, in case you can’t tell.
The 3D rendering was very, very good indeed. I was dodging ceilings and flying bodies; I yelped when an object appeared to drop from nowhere before my eyes; I even reached out to touch something that wasn’t there. It worked well and I wouldn’t even want to contemplate seeing this film in 2D or on a small screen.
So, Beowulf was pretty good. It wasn’t the live-action, cinematic masterpiece I was initially hoping it would be. And I will forever feel a little ripped off by that. But, in the end, I was entertained and the film-makers weaved a compelling tale. It’s not for everyone’s taste, that’s for sure, and it’s gorier than I thought animation could be. But if you fancy a bit of epic fantasy story-telling, then give Beowulf a go. But only in 3D.
----------------------------
Beowulf: I am Ripper... Tearer... Slasher... Gouger. I am the Teeth in the Darkness, the Talons in the Night. Mine is Strength... and Lust... and Power! I AM BEOWULF!
Dir. Robert Zemeckis
Scr. Neil Gaiman & Roger Avary (based on the poem of the same name)
When I first heard that Beowulf was being made into a movie directed by the extremely competent Robert Zemeckis, adapted by literary god Neil Gaiman, and starring grizzly and talented Ray Winstone in the lead, I nearly wet my pants in anticipation. Beowulf is a tremendous tale of bravery and monsters and greed and all that good stuff. But then, horror of horrors, I found out that it was going to be animated! WHAT!?! I mean, I have nothing against animation per se, but why waste such a director, such a writer, such a cast on animation? Why not bite the bullet and do the all-real, all-action adaptation that this tale so deserves? Well, while I still think a live action film could have been amazing, this Beowulf film exceeded my expectations and I was thoroughly entertained, grossed out, frightened and thrilled.
I have to offer a word of advice however – if at all humanly possible, see it in 3-D. I was sceptical about the poxy glasses but, my god, never have I been more wrong. Live action, 3D Beowulf – now that would have been something special.
Beowulf tells the story of a town terrorised by the monster Grendel and his mother, and the hero, Beowulf, who comes to save the day and finds himself mixed up in the whole sorry business of man’s greedy thirst for power and fame. The story of Beowulf was originally told in an Old English epic poem and set in the 5th and 6th century. It’s a ripper of a story and adapted well by Gaiman and Avary. I’m not sure how faithful it is to the poem and, to be honest, I’m never going to read it so I’m never going to know. But I do know it’s a bloody and gory telling, but it also has heart and smarts (but, thankfully, no animated sex).
My beef with this movie is not the writing, but the medium. As I said, I am not anti-animation. But I just wondered why you would slave away trying to make the characters look so life-like … why not use the actors and make a live-action film? I know, I know – it costs less and you can make a cartoon Winstone do more than a real-life Winstone. I know! And maybe, as some critics have suggested, this is the future of film-making. Well, I hope not.
I did like the way in which Beowulf didn’t look like Ray Winstone – that Winstone’s essence was captured in a character that instead looked like a heroic muscleman. So, WHY THEN, do we have Grendel’s mother looking EXACTLY like Angelina Jolie!??! The audience in my screening laughed (yes, laughed out loud) when she emerged from the water. So, for Beowulf (and pretty much all the other characters) the animators really worked hard to make the character believable … but, apparently, Grendel’s mother WAS Jolie. It bugged me, in case you can’t tell.
The 3D rendering was very, very good indeed. I was dodging ceilings and flying bodies; I yelped when an object appeared to drop from nowhere before my eyes; I even reached out to touch something that wasn’t there. It worked well and I wouldn’t even want to contemplate seeing this film in 2D or on a small screen.
So, Beowulf was pretty good. It wasn’t the live-action, cinematic masterpiece I was initially hoping it would be. And I will forever feel a little ripped off by that. But, in the end, I was entertained and the film-makers weaved a compelling tale. It’s not for everyone’s taste, that’s for sure, and it’s gorier than I thought animation could be. But if you fancy a bit of epic fantasy story-telling, then give Beowulf a go. But only in 3D.
----------------------------
Beowulf: I am Ripper... Tearer... Slasher... Gouger. I am the Teeth in the Darkness, the Talons in the Night. Mine is Strength... and Lust... and Power! I AM BEOWULF!
Monday, November 26, 2007
Elizabeth: The Golden Age
Cate Blanchett, Geoffrey Rush, Clive Owen, Samantha Morton, Jordi Molla
Dir. Shekhar Kapur
Scr. William Nicholson & Michael Hirst
I have been trying to get motivated enough to write this review. My response to this film was “meh” – it’s hard to write about such indifference. But then I started to think about why the heck they even made this film and this angered me. Blanchett’s first Elizabeth outing in 1998 was fantastic cinema and was rewarded both critically and financially. This film is a clear attempt to cash in on that success. Unfortunately, folks, when you don’t have the script, you don’t have anything.
The Golden Age tries to focus on two elements of Elizabeth’s life and the history of England – the Spanish Armada and Sir Walter Raleigh. But this focus is muddied by a script that pulls the characters in several directions at once – the attempted assassination, the search for a husband, the persecution of the Catholics in England, the demise of Walsingham … and so on and so forth. Yes, perhaps these things were all going on at the same time (though historical accuracy is not this films strong point). But that’s no excuse for a script that constantly loses focus, that chooses to focus on something so uninteresting when so much of interest was occurring, that is simultaneously confusing and boring.
Okay, I’m not entirely sure about the nature or extent of Elizabeth’s relationship with Raleigh, but the love triangle that at times dominates this film is just rubbish. I can’t help but assume that the filmmakers completely sold out and thought “well, I guess we’ll need a love story because that’s how it’s done”. That’s not how it’s done at all! The love story is without motivation or credibility. It sullies the film. For goodness sake, there was an attempted invasion going on! And one that was so pivotal that it has entered our language and consciousness. But, no, instead we have to constantly watch a bronzed Raleigh try to seduce both the Queen and her lady-in-waiting (and who, by the way, I’m pretty sure was NOT the hero of the Armada as he is portrayed in this film).
The performances aren’t bad in The Golden Age. Blanchett is back – she has so made this role her own I can’t imagine another Elizabeth – and is fiery and strong and wonderful. Too bad the script doesn’t allow her many opportunities to soar. The scene in which she toys with and then soothes a young suitor is absolutely brilliant and nearly worth the price of admission. Owen, as Raleigh, is very good but his character is so clichéd and annoying that he has little to work with. Molla, as the Spanish King, is brilliantly mad. Rush (Walsingham) is perhaps the standout and his relationship with Elizabeth remains the most interesting (as it was in the first film) – sadly, his role is incredibly small and this is a great downfall of the film. I wanted more Elizabeth/Walsingham intrigue and less Elizabeth/Raleigh rubbish.
So, I wouldn’t recommend The Golden Age at all. I was bored and frustrated. I was annoyed at the obvious manipulation of history to make this movie more marketable which, in the end, was incredibly detrimental to my enjoyment of the film. I was appalled at a clichéd and wooden script. If you want to see wonderful costumes, grand halls and a multitude of wigs, watch the first Elizabeth movie (again, if you have to). But don’t waste your time and money on this one.
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Spanish Minister: There is a wind coming that will sweep away your pride.
Queen Elizabeth I: I, too, can command the wind, sir! I have a hurricane in me that will strip Spain bare if you dare to try me!
Dir. Shekhar Kapur
Scr. William Nicholson & Michael Hirst
I have been trying to get motivated enough to write this review. My response to this film was “meh” – it’s hard to write about such indifference. But then I started to think about why the heck they even made this film and this angered me. Blanchett’s first Elizabeth outing in 1998 was fantastic cinema and was rewarded both critically and financially. This film is a clear attempt to cash in on that success. Unfortunately, folks, when you don’t have the script, you don’t have anything.
The Golden Age tries to focus on two elements of Elizabeth’s life and the history of England – the Spanish Armada and Sir Walter Raleigh. But this focus is muddied by a script that pulls the characters in several directions at once – the attempted assassination, the search for a husband, the persecution of the Catholics in England, the demise of Walsingham … and so on and so forth. Yes, perhaps these things were all going on at the same time (though historical accuracy is not this films strong point). But that’s no excuse for a script that constantly loses focus, that chooses to focus on something so uninteresting when so much of interest was occurring, that is simultaneously confusing and boring.
Okay, I’m not entirely sure about the nature or extent of Elizabeth’s relationship with Raleigh, but the love triangle that at times dominates this film is just rubbish. I can’t help but assume that the filmmakers completely sold out and thought “well, I guess we’ll need a love story because that’s how it’s done”. That’s not how it’s done at all! The love story is without motivation or credibility. It sullies the film. For goodness sake, there was an attempted invasion going on! And one that was so pivotal that it has entered our language and consciousness. But, no, instead we have to constantly watch a bronzed Raleigh try to seduce both the Queen and her lady-in-waiting (and who, by the way, I’m pretty sure was NOT the hero of the Armada as he is portrayed in this film).
The performances aren’t bad in The Golden Age. Blanchett is back – she has so made this role her own I can’t imagine another Elizabeth – and is fiery and strong and wonderful. Too bad the script doesn’t allow her many opportunities to soar. The scene in which she toys with and then soothes a young suitor is absolutely brilliant and nearly worth the price of admission. Owen, as Raleigh, is very good but his character is so clichéd and annoying that he has little to work with. Molla, as the Spanish King, is brilliantly mad. Rush (Walsingham) is perhaps the standout and his relationship with Elizabeth remains the most interesting (as it was in the first film) – sadly, his role is incredibly small and this is a great downfall of the film. I wanted more Elizabeth/Walsingham intrigue and less Elizabeth/Raleigh rubbish.
So, I wouldn’t recommend The Golden Age at all. I was bored and frustrated. I was annoyed at the obvious manipulation of history to make this movie more marketable which, in the end, was incredibly detrimental to my enjoyment of the film. I was appalled at a clichéd and wooden script. If you want to see wonderful costumes, grand halls and a multitude of wigs, watch the first Elizabeth movie (again, if you have to). But don’t waste your time and money on this one.
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Spanish Minister: There is a wind coming that will sweep away your pride.
Queen Elizabeth I: I, too, can command the wind, sir! I have a hurricane in me that will strip Spain bare if you dare to try me!
Sunday, November 4, 2007
1408
John Cusack, Samuel L Jackson, Mary McCormack, Tony Shalhoub, Jasmine Jessica Anthony
Dir. Mikael Hafstrom
Scr. Matt Greenberg, Scott Alexander & Larry Karaszewski (based on a short story by Stephen King)
1408 is a movie of two halves. The first half is truly scary, quite intelligent and, above all, entertaining. The second half is not – its clichéd and overly CGI’ed and, well, downright boring. Maybe you could explain this to the ticket seller at your local cinema – they might let you in for half-price, which is all this movie is really worth.
1408 is about Mike Enslin (Cusack), a writer of trashy horror guides – Top Ten Scariest Hotels, Top Ten Scariest Graveyards, etc – who has yet to find something that has truly terrified him. Enslin is convinced that ghosts don’t exist and happy to make money off people who think they do. Jaded by his work, he is lured to the Dolphin Hotel in New York by an anonymous postcard. Specifically, lured to room 1408. Overcoming resistance from the hotel manager (Jackson), he checks in and so it begins.
Well, so it does begin but, sadly, it’s not maintained. The first hour of this film is great – good set-up; we get to know enough about Enslin to make him interesting and we get a little insight into what motivates him; fantastic scene between Enslin and the hotel manager; SCARY first twenty minutes or so in room 1408. And then, well, this film loses its way. It becomes less about scaring the audience with true creepiness and more about Enslin’s personal demons (ex-wife, dead kid, you know the drill) and lots of unnecessary special effects. In fact, that first period in the hotel room I can’t fully review – it had me so scared that I spent most of the time looking anywhere but at the screen (mostly hiding behind my boyfriend’s shoulder). Which, by the way, I take as a good sign. What’s the point of a horror film you can actually watch all the way through?!? Great suspense and truly disturbing, that section of the film is brilliant. Too bad the rest of it doesn’t deliver.
In terms of acting, this is a one-man show – it’s all about Enslin (Cusack). Cusack is extremely watchable (as always) and as he is torn from reality into the weird and evil world of room 1408, we automatically sympathise and are scared along with him – he truly has that “everyman” quality. Jackson puts in a great performance as the melodramatic hotel manager and McCormack is solid in support as Enslin’s ex-wife. But ultimately this film rests on Cusack’s shoulders – pity the writing didn’t support his very good performance.
1408 is based on a Stephen King short story and film buffs will know there have been a couple of fantastic adaptations of his back catalogue – namely The Shawshank Redemption and Apt Pupil. I am less fond of adaptations of his novels (with the notable exception of the brilliant Stand By Me), so was eager to see what the filmmakers had done with this short story. Sadly, very little of the finesse of Shawshank or Apt Pupil is present in 1408.
This film could have been so much better – if the writers could have just allowed it to be creepy throughout rather than delving into the world of fire and collapsing walls and personal demons. Sadly, I do not recommend this film. If it’s on tv, by all means catch the first hour or so – it’ll give you nightmares. But don’t make yourself sit through a disappointing and woefully unscary second half.
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Mike Enslin: [talking into tape recorder] Hotels are a naturally creepy place... Just think, how many people have slept in that bed before you? How many of them were sick? How many... died?
Dir. Mikael Hafstrom
Scr. Matt Greenberg, Scott Alexander & Larry Karaszewski (based on a short story by Stephen King)
1408 is a movie of two halves. The first half is truly scary, quite intelligent and, above all, entertaining. The second half is not – its clichéd and overly CGI’ed and, well, downright boring. Maybe you could explain this to the ticket seller at your local cinema – they might let you in for half-price, which is all this movie is really worth.
1408 is about Mike Enslin (Cusack), a writer of trashy horror guides – Top Ten Scariest Hotels, Top Ten Scariest Graveyards, etc – who has yet to find something that has truly terrified him. Enslin is convinced that ghosts don’t exist and happy to make money off people who think they do. Jaded by his work, he is lured to the Dolphin Hotel in New York by an anonymous postcard. Specifically, lured to room 1408. Overcoming resistance from the hotel manager (Jackson), he checks in and so it begins.
Well, so it does begin but, sadly, it’s not maintained. The first hour of this film is great – good set-up; we get to know enough about Enslin to make him interesting and we get a little insight into what motivates him; fantastic scene between Enslin and the hotel manager; SCARY first twenty minutes or so in room 1408. And then, well, this film loses its way. It becomes less about scaring the audience with true creepiness and more about Enslin’s personal demons (ex-wife, dead kid, you know the drill) and lots of unnecessary special effects. In fact, that first period in the hotel room I can’t fully review – it had me so scared that I spent most of the time looking anywhere but at the screen (mostly hiding behind my boyfriend’s shoulder). Which, by the way, I take as a good sign. What’s the point of a horror film you can actually watch all the way through?!? Great suspense and truly disturbing, that section of the film is brilliant. Too bad the rest of it doesn’t deliver.
In terms of acting, this is a one-man show – it’s all about Enslin (Cusack). Cusack is extremely watchable (as always) and as he is torn from reality into the weird and evil world of room 1408, we automatically sympathise and are scared along with him – he truly has that “everyman” quality. Jackson puts in a great performance as the melodramatic hotel manager and McCormack is solid in support as Enslin’s ex-wife. But ultimately this film rests on Cusack’s shoulders – pity the writing didn’t support his very good performance.
1408 is based on a Stephen King short story and film buffs will know there have been a couple of fantastic adaptations of his back catalogue – namely The Shawshank Redemption and Apt Pupil. I am less fond of adaptations of his novels (with the notable exception of the brilliant Stand By Me), so was eager to see what the filmmakers had done with this short story. Sadly, very little of the finesse of Shawshank or Apt Pupil is present in 1408.
This film could have been so much better – if the writers could have just allowed it to be creepy throughout rather than delving into the world of fire and collapsing walls and personal demons. Sadly, I do not recommend this film. If it’s on tv, by all means catch the first hour or so – it’ll give you nightmares. But don’t make yourself sit through a disappointing and woefully unscary second half.
---------------------------
Mike Enslin: [talking into tape recorder] Hotels are a naturally creepy place... Just think, how many people have slept in that bed before you? How many of them were sick? How many... died?
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