Little Movie Reviews

Shadow Of The Vampire (2000)

Wed, 06 Feb 2013 04:28:00 -0500

Director: E. Elias Merhige; Starring: John Malkovich, Willem Dafoe, Eddie Izzard

IMDb Plot Summary: The filming of Nosferatu is hampered by the fact that the star is taking his role far more seriously than what seems humanly possible.

Amongst cinephile circles, urban legend has it that Max Schreck, the man who played Count Orlock in FW Murnau’s Nosferatu, was actually a vampire himself. Shadow Of The Vampire takes this premise and runs with it, delivering a delicious satire that portrays the madness that arises when filmmakers forgo their scruples in the pursuit of “art”.

Merhige does a phenomenal job of imbuing his film with the ambience of Murnau’s - Shadow is every bit as chilling as the original Nosferatu. Wait, didn’t I say this is a satire? i.e. Cuttingly hilarious send-ups ahoy? Well, yes, it’s got those. It’s to the film’s credit that it doesn’t go for goofs or campiness in its jabs - instead, it’s largely played as a drama, even as a horror, but one laced with deadpan humour. That satirical edge only becomes claws-out obvious in the closing scenes, leaving us with much to ponder as the credits roll. The film’s dramatic structure is slightly unsatisfyingly off-kilter, but I suppose you might say it just adds to the ending’s sense of unease.

Both Malkovich and Dafoe are brilliant as the maverick director and his rogue, bloodthirsty star. Malkovich is suitably manic, while Dafoe handles the meta-ness of his role with aplomb - he is playing a vampire playing an actor playing a vampire, after all. He manages to sink his teeth into the role (forgive me) with hissing theatricality without slipping into pantomime, it’s so delightful to watch.

Funny, clever, skin-crawling and fascinating, Shadow Of The Vampire is quite an under-appreciated little gem; highly recommended for cinephiles.

8/10

The Hobbit: An Unexpected Journey (2012)

Tue, 29 Jan 2013 17:23:18 -0500

Director: Peter Jackson; Starring: Martin Freeman, Ian McKellen, Richard Armitage

IMDb Plot Summary: A younger and more reluctant Hobbit, Bilbo Baggins, sets out on an “unexpected journey” to the Lonely Mountain with a spirited group of Dwarves to reclaim their stolen mountain home from a dragon named Smaug.

I have recently been reminded that the key to enjoying anything is to lower one’s expectations. Such is the case with The Hobbit: having my hopes be so thoroughly played down by friends and critics increased my affection for the movie dramatically! It certainly wasn’t 3 hours of my life wasted - though getting back about an hour or so would be nice.

There is much to like about this movie: I won’t lie, my heart did swell with each recurrence of the old LOTR theme and I delighted in returning to Bag End and Rivendell. The action scenes, repetitive as they were, were just energetic enough to keep me awake for 3 hours (no small feat, I can assure you). Martin Freeman makes for an apt Bilbo, and the pivotal “riddles in the dark” scene was also wonderfully executed. Plus, we get a few glimpses of the clean-shaven Elven incarnation of Bret McKenzie, and they are glorious.

However, I cannot help but agree with the general consensus that An Unexpected Journey’s self-indulgently lengthy running time is a burden. The movie gets off to a painfully slow start, which with a little editing could have been significantly more sprightly. Most of the dwarf-centric humour falls pretty flat, half-assed attempts at thematic resonance are made and the whole project ends up stuck in semi-comic, passable fantasy-adventure limbo. This is not the movie everyone had been expecting (an Unexpected Journey, then? Oh, the wit!), but if you’re looking for a lavish, enjoyable-enough ride, this’ll do just fine.

6/10

Samsara (2011)

Tue, 15 Jan 2013 18:45:42 -0500

Director: Ron Fricke

IMDb Plot Summary: Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.

Samsara is an absolute visual knock-out. It’s a film that plays with the theme of rebirth through images of both the natural and the human, the exquisite and the grotesque. There’s no dialogue, no narrative. Just pictures. And what arresting pictures they are.

Though the use of visual allegory and metaphor was at times a little too blunt for my liking (scene in a Chinese food manufacturing plant…ok, cut to scene of obese Westerners in a food court!), and the film’s portrayal of humanity was too narrow to be truly resonant, for the most part Samsara is quite generous in allowing for individual interpretation. The allusions to the film’s central theme are quite clear, but the relatively detached style means that the film might be appreciated in a myriad alternative ways.

Anyway, this is well worth seeing just for the splendour of its fantastic imagery. Ron Fricke’s globe-trotting cinematography brings us scene after scene of fascinating, memorable images. Hints of cultural exoticism do arise, but most of the time Samsara simply awes and enlightens us with sights from beyond our daily experience, reminding us that it’s a big ol’ world out there.

Seriously, this is the kind of movie that justifies the existence of Blu-Ray; in fact, I wouldn’t have minded it being in 3D. Or, even better, see it in sparkling 70mm on the big screen if you still can! It’s totally worth it.

8/10

Les Misérables (2012)

Fri, 28 Dec 2012 17:17:00 -0500

Director: Tom Hooper; Starring: Hugh Jackman, Russell Crowe, Anne Hathaway

IMDb Plot Summary: In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after he breaks parole, agrees to care for factory worker Fantine’s daughter, Cosette. The fateful decision changes their lives forever.

As someone who spent a brief, heady period of their tweens tirelessly listening to the Les Mis soundtrack and watching the 10^th Anniversary Concert, it pains me to say that the film version has highlighted to me just how absurd the whole affair is. If overblown passions and shameless illogic make you feel ill, this movie is not made for you.

Tom Hooper’s perfunctory and relentlessly sentimental direction doesn’t help a plot that, even fans may admit, is just bloody silly in the first place. Though tearful melodrama may have worked for Victor Hugo, the movie fails to develop any sense of credible urgency to make it bearable. The film’s rich colours and textures go a long way in conjuring up some much-needed sense of occasion, though the restless camerawork and persistent close-ups seem to doggedly play it down.

Acting and singing prowess varies between performers: Jackman and Crowe are vocal weak points, but they inhabit their roles well, while Samantha Barks can pull off “On My Own”, though her acting comes off as a bit broad. And may I say, the Oscar buzz for Anne Hathaway seems frankly ridiculous – she does a pitch/picture-perfect rendition of “I Dreamed A Dream”, but the rest of her brief performance is almost parodically schmaltzy. The highlights are in fact Eddie Redmayne, fusing an endearing performance with exquisite vocal chops, and Sacha Baron Cohen’s impeccable comic timing.

Having said all that, I’m still glad I went to see Les Mis. Though I can sympathise with the scathing reviews, it is nonetheless gratifying for fans to see their favourite songs realised so meticulously onscreen. At the end of the day (pun not intended), the appeal of this love-it-or-loathe-it musical lies not in narrative logic, but in sweeping pathos and a few superbly rousing showtunes.

5/10

Apocalypse Now Redux (1979/2001)

Fri, 30 Nov 2012 05:14:00 -0500

Director: Francis Ford Coppola; Starring: Martin Sheen, Robert Duvall, Marlon Brando

IMDb Plot Summary:During the on-going Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade Green Beret who has set himself up as a god among a local tribe.

Apocalypse Now is an audacious, hallucinatory nightmare of a movie. Not just a commentary on the Vietnam War, it uses the war as a backdrop for scenes of carnage, hedonism and despair, plumbing the depths of human nature to horrifying effect. Not the cheeriest endorsement, I know, but trust me, it’s well worth it.

Though the film’s production was famously beset with problems, every element here seems to successfully serve a work of operatic proportions. The various scenes of warfare are terrifyingly believable, and yet they also work as scenes of intense poetry and weird beauty (perhaps not valorising war, as some have suggested, but expressing man’s perverse attraction to it). The cinematography and score create a persistent sense of visual and aural grandeur, sometimes sending us spiralling into psychedelic delirium. Martin Sheen is excellent, holding his own against Brando (who weirdly got top billing despite appearing for about 10 minutes) in the film’s closing scenes. In sum, we get a hellish, disturbing portrait of the American intervention and, more to the point, the extremes of human nature.

Redux is a director’s cut that adds 50 minutes to the already sprawling film. I haven’t seen the original cut, but I can’t help feeling that the additional sequences (mainly one set on a French plantation and one featuring Playboy Bunnies) are superfluous and disruptive. Otherwise, a great movie, perfect for occasions when you feel like staring into an abyss and weeping for humanity.

8/10 (Rating for the Redux cut; the original may be a different matter)

Twin Peaks: Fire Walk With Me (1992)

Thu, 01 Nov 2012 17:44:34 -0400

Director: David Lynch; Starring: Sheryl Lee, Ray Wise, Madchen Amick

IMDb Plot Summary: A young FBI agent disappears while investigating a murder miles from Twin Peaks that may be related to the future murder of Laura Palmer; the last week of the life of Laura Palmer is chronicled.

Let me begin by saying that Fire Walk With Me is not the prequel that the brilliant Twin Peaks TV series deserves. Though the show was littered with surreal sequences and bizarre dialogue, it all had a weird coherency about it and the sheer audacity of its oddness worked to its advantage. Lynch has clearly attempted to slather its follow-up in surrealism and non sequiturs, and yet it comes across as an amateurish and disjointed attempt to ape the quirks of the original. It lacks the alluring sense of mystery that held the show’s viewers in thrall, preferring to spell everything out in garish, melodramatic strokes. There is some pretty laughable dialogue thrown in there, which isn’t helped by the fact that Sheryl Lee is just not convincing as a coke-addled, promiscuous teenage deviant. She’s meant to be the heart and soul of the film, but I just couldn’t bring myself to care about Laura Palmer.

Admittedly, there are some flashes of creepy brilliance sprinkled throughout the movie (BOB’s leering face will scar my dreams forever), but they are all too scarce, and probably not worth watching the rest of the film for. This is a movie solely for Twin Peaks completists; it will likely taint the Twin Peaks experience for many fans, and it would make absolutely no fucking sense to anyone who hasn’t watched the show. Now if you’ll excuse me, I’m off to get some BOB-induced emotional therapy. Good day.

4/10

Looper (2012)

Tue, 30 Oct 2012 04:40:31 -0400

Director: Rian Johnson; Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt

IMDb Plot Summary: In 2074, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe, who one day learns the mob wants to ‘close the loop’ by transporting back Joe’s future self.

In a movie full of fascinating details, what fascinated me most about Looper was its odd balance between the ambitious and the restrained. It’s futuristic, but there isn’t a flying car in sight. It’s a time travel movie, but it does its best to keep things tidy. It’s punctuated by scenes of bombastic, ear-splitting violence, but it also ends with a nicely understated coda. It feels original, mature, and very exciting.

The universe that Looper presents is striking. With minimal effects, the filmmakers have created a plausible near-futuristic society that has a seedy, derelict sort of glamour. JGL’s facial transformation into Bruce Willis may be less convincing, though the two actors do play off each other well. Plot-wise, the clever script mercifully doesn’t try to do more than it needs to, saving us from having to scratch our heads over plot machinations and letting us just enjoy the ride. It takes a fair bit of exposition before the plot gets going, and it takes a rather different path from what I had expected, but it eventually produces some heart-racing scenes. The tight plot also means Looper doesn’t feel like a sweeping epic à la Inception, and it’s all the more emotionally involving for it. Though some characters feel underdeveloped, and the ultimate “message” isn’t anything to write home about, the film generally hits the right emotional notes where it counts.

It’s not perfect, but I think it’s this interplay between big ideas and understated execution that makes Looper such an interesting, worthwhile experience.

7/10

Slacker (1991)

Wed, 24 Oct 2012 05:09:00 -0400

Director: Richard Linklater; Starring: Richard Linklater, Judy Basquez, Jean Caffeine

IMDb Plot Summary: Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes.

Those with a very low tolerance for rambling philosophical insights, non-existent plots and “indie-ness” had best steer away from Slacker. All else, gather round and enjoy!

Slacker consists of an entertaining series of overlapping vignettes, played out in Linklater’s trademark “day in the life” style. Freed from the constraints of plot, we’re given tantalising glimpses into the lives and thoughts of a range of anything-but-mainstream individuals, mostly the young, the unemployed, the anarchic and the paranoid. I won’t spoil any of it for you, but I can attest that there are a few particularly memorable figures amidst the eccentric, eclectic mix. It’s extremely well written and keeps you fascinated; neither parody, nor loving tribute, you don’t have to buy into anti-establishment philosophy to enjoy this. It’s kind of refreshing to get an alternative perspective on the world anyway, even if it may smack of disaffected hipster-dom. In that respect, it is interesting that this was made in the early ’90s; the Gen X counter-culture style we see in Slacker seems so very familiar to us now, 20 years on.

Though similar in style, Slacker lacks the emotional weight of Linklater’s Before Sunrise/Before Sunset as it seems less interested in making a single relationship seem universal, and more concerned with exploring the diversity of human experience. However, it is a nonetheless thought-provoking look into the various facets of the anti-mainstream lifestyle. (It’s also pretty funny.)

9/10

PS. You can watch it here if you so wish: http://www.youtube.com/watch?feature=player_embedded&v=jB4xlYKAVCQ

Three Colours: Blue (Trois Couleurs: Bleu) (1993)

Mon, 08 Oct 2012 21:04:00 -0400

Director: Krzysztof Kieslowski; Starring: Juliette Binoche, Benoît Régent, Florence Pernel

IMDb Plot Summary: First of a trilogy of films dealing with contemporary French society concerns how the wife of a composer deals with the death of her husband and child.

Trois Couleurs is a trilogy based upon the contemporary meanings of the French Revolution’s maxim, Liberté, Egalité, Fraternité. ”Liberty” is the thematic thread that runs through Bleu - the film follows the recently bereaved Julie, as she attempts to take on an anonymous life and divorce herself from the “traps” of society.

Though it’s a moving tale, Bleu is less about plot than it is about a totally immersive sensory and emotional experience. One might easily attribute the film’s ponderous pacing and sparse dialogue to esotericism, but its beautiful, evocative cinematography makes it surprisingly accessible. The camera’s tendency to linger on the most exquisite details allows us to delve right into Julie’s psychology. It is a genuine pleasure to be given such an intimate insight into a character. The use of music is striking, though its frequent stretches of silence are equally important, making the swooping bursts of sound all the more dramatic. As Julie, Binoche is more than worthy of her role; calling it a “performance” doesn’t do it justice. She vividly embodies this embittered woman, and yet she manages to maintain a certain enigmatic quality, keeping us ever at a distance.

Bleu showcases an attention to detail and rewards the patient. As one drifts through the film, it becomes clear that every creative decision here is purposeful and meaningful, even if that meaning is not immediately obvious - surely all the more reason to watch it again, eh?

10/10

The Lives of Others (Das Leben der Anderen) (2006)

Mon, 08 Oct 2012 06:12:00 -0400

Director: Florian Henckel von Donnersmarck; Starring: Ulrich Mühe, Martina Gedeck, Sebastian Koch

IMDb Plot Summary: In 1984 East Berlin, an agent of the secret police, conducting surveillance on a writer and his lover, finds himself becoming increasingly absorbed by their lives.

The Lives of Others is a stirring drama-thriller that plays on the appeal of voyeurism, striking an entertaining balance between emotion and thought. Set against the backdrop of East Germany, the idea that our decisions determine our path is central to the film’s enjoyably unpredictable plot. The choices that each character makes give us pause to reflect upon ambitious ideas about love, loyalty, power, artistry, and the human capacity for change. Though some plot turns struck me as slightly trite, as a whole it is remarkably incisive.

The unpredictability of the characters’ choices (given the pressures of their oppressive political context) also makes for an effective suspense thriller; the film delicately builds its layers of tension over the course of its cleverly plotted storyline. It’s highly engaging stuff; we become wrapped up not only with the lives of the artists that Stasi agent, Wiesler, is charged with watching, but with how their lives begin to intertwine with his.

Ulrich Mühe is quietly charismatic and believable as Wiesler, despite the inherent incredibility of his character arc. I was saddened to hear that Mühe passed away shortly after the film’s release; I am determined to see more of his work. However, The Lives of Others is a wonderful swansong, meditating upon human cruelty and kindness in a way that ultimately leaves the viewer with a vigorous sense of empowerment.

8/10

The Thing (1982)

Sun, 09 Sep 2012 07:23:00 -0400

Director: John Carpenter; Starring: Kurt Russell, Wilford Brimley, T. K. Carter

IMDb Plot Summary: Scientists in the Antarctic are confronted by a shape-shifting alien that assumes the appearance of the people that it kills.

I never picked myself for a blood-and-guts kinda gal, but The Thing has shown me my true colours: seeing a hideously malformed creature emerge from a man’s split-open head just warms my heart.

Yes, the film’s major strong point is its lashings of gloriously repulsive gore; the titular “Thing” is so magnificently horrific, one can’t help but marvel at it (while shuddering in disgust). Counterpointing this, Carpenter builds an effective sense of dread in the early stages of the film, making great use of the ice-covered landscape and Ennio Morricone’s thrumming score. However, this tension is largely derived from anticipation of what gruesomeness awaits, rather than out of any sympathy for the characters. Though more intelligent than the norm, the characters here are so flat that I didn’t care enough about them to either feel the full weight of the suspense, or to feel much perverse delight in their demise.

Unfortunately, once the creature reveals itself in a couple of bloody encounters, the film starts to drag. And in typical horror movie fashion, there is plenty of lame dialogue, delivered with the utmost solemnity. There’s not much in the way of humour to offset these issues, though Kurt Russell’s hilariously shaggy mane certainly kept me entertained. Despite this, some notes of subtlety remain in that the script never answers all our questions, a welcome touch.

As a whole, The Thing doesn’t live up to its “masterpiece” reputation, but its bursts of batshit audacity still make it worthwhile for horror fans.

6/10

Moonrise Kingdom (2012)

Sat, 01 Sep 2012 03:39:00 -0400

Director: Wes Anderson; Starring: Kara Hayward, Jared Gilman, Bruce Willis

IMDb Plot Summary: A pair of young lovers flee their New England town, which causes a local search party to fan out and find them.

It should surprise none of you film-lovers that Moonrise Kingdom carries all the hallmarks of a “Wes Anderson movie”. Translation: it’s a bit odd. Inspired by children’s adventure storybooks, it takes on the familiar themes of love, family and social rejection, and packages them into one nostalgic, surrealistic treat of a film.

Anderson’s predilection for the uncanny has never been more prominent: the children’s deadpan speech seems to mimic that of their storybook heroes, while the adults speak their lines as if by recitation. Fourth walls are occasionally broken, dramatic jump cuts abound and every scene is like a gorgeously-rendered tableau prodded into motion. These affectations are bizarre but eventually start to seem natural, setting the whimsical tone of this picture-book-come-to-life.

But Moonrise Kingdom is more than just a pleasing colour palette and a “quirky” style. Beneath Anderson’s overt stylistic flourishes there is a simple story about two emotionally damaged tweens who fall in love. By virtue of the film’s sheer weirdness, this potentially cutesy romance is stripped of excessive sappiness: touching scenes of budding romance are mingled with moments of absurd humour and comically high drama.

For all its charm, I took a little while to really warm to this film, dampening the experience slightly, though I suspect that I shall rescind such judgments upon future viewings. At the risk of sounding incredibly “indie”, I would recommend this to all those seeking a pleasantly different style of cinematic storytelling, something so rarely found at your local multiplex.

8/10

The Graduate (1967)

Sat, 11 Aug 2012 04:54:00 -0400

Director: Mike Nichols; Starring: Dustin Hoffman, Anne Bancroft, Katherine Ross

IMDb Plot summary: Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father’s business partner and then finds himself falling in love with her daughter, Elaine

Ever felt a little uncertain about your future? Welcome to the human race, here’s your complimentary copy of The Graduate.

Front and center in this coming-of-age tale is doubt-ridden Benjamin Braddock (Dustin Hoffman, my love). Given some of his hugely selfish actions, it would be quite easy to find Ben repulsive, but Hoffman charms seemingly artlessly with awkwardness. He works well with the irony-heavy dialogue, adding plenty of humour to the brooding mix. Most notably, it is a testament to Hoffman’s charisma that he holds his own against Anne Bancroft’s career-defining performance as Mrs Robinson. Bancroft received an Oscar nomination for her portrayal of this lonely, vindictive housewife and she wholly deserved it. Alternately vicious and vulnerable, she creates the film’s most interesting and tragic persona.

For what could be a straight-forward navel-gazing drama, The Graduate also has an enjoyable sense of aesthetic adventurousness; Nichols seems to take glee in playing with the creative possibilities of the film medium. Also, having some appreciation of Simon & Garfunkel may be required here, as their contribution to the soundtrack is highly conspicuous and a vital part of the film’s wistful tone (warning: the soundtrack gets caught in a maddening loop of “Scarborough Fair” at one point). It’s worth commenting on the film’s infamous ending as well: your interpretation may well determine whether you think The Graduate works. For me, it worked perfectly for this surprisingly humourous reflection on American emptiness and life’s uncertainties. Yep, it’s existentially bleak, but strangely rewarding.

10/10

Little Movie Reviews Strikes Back

Sat, 11 Aug 2012 04:38:00 -0400

Hello there, loyal followers! My little exam-induced hiatus is finito, and I’ll be delivering up my brand-spanking new review of The Graduate shortly. Reading over it, I am realising I have some fairly hipsterish tastes, but what more can a tumblr-dwelling teen expect, eh? Anyway, it’s one of my favourite films, so expect much praise.

Little Movie Reviews is still alive

Tue, 24 Jul 2012 21:12:00 -0400

Apologies for the recent lack of posts; school has started up again and exams that may or may not determine my future are fast approaching, so I haven’t had the opportunity to write as many reviews. But never fear, this blog shall not be abandoned, posts will just be more infrequent over the next couple of weeks. I’m still keen to share my thoughts on the latest and greatest movies I’ve happened across, so stay tuned!

In the meantime, do you guys have any suggestions or feedback about what you’ve seen of Little Movie Reviews so far?

Brave (2012)

Sun, 15 Jul 2012 06:21:00 -0400

Director: Mark Andrews, Brenda Chapman; Starring: Kelly MacDonald, Billy Connolly, Emma Thompson

IMDb Plot Summary: Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse

Visually, Brave is a magnificent film. Its ancient Scottish landscapes are breath-taking and the film flaunts some welcome advancements in fabulous-red-hair-rendering. But while the exquisite misty forests and grandiose castles in the backdrop suggest a sweeping Celtic fable, the tale we actually get is disappointingly banal. Brave’s story of a young woman seeking to be an independent, free-wheelin’ lass seems very familiar, with The Little Mermaid being one suspiciously similar film that comes to mind. Consequently, you’re likely to be three steps ahead of the plot at any given point.

In my mind, this conventional plot could still have made for a lovely fairytale-esque creation, if it were not for the film’s insistence on trying to steal some cheap laughs. It leans pretty heavily on un-inventive slapstick, and sadly there are only so many bear-related collisions one can take before it gets rather annoying! The constant goofiness also pushes most of the characters into caricature territory, as any moments of genuine tenderness and honesty tend to be interrupted by some needless, though neatly timed, fart or belch. Balancing humour and pathos is usually a Pixar strong suit, but here the silliness dampens the sense of wonder that this movie so needs.

Still, you have to give the writers some props for tackling some darker narrative elements and for choosing to explore the mother-daughter relationship, as opposed to the well-worn father-child dynamic. This is a likable movie, it’s just a shame that it doesn’t take its task slightly more seriously.

5/10

PS. Perhaps it goes without saying nowadays, but I would also advise that you don’t waste your money on the 3D version. I’m considering filing a lawsuit against my local cinema for daylight robbery.

Once Upon A Time In The West (C'era una volta il west) (1969)

Wed, 11 Jul 2012 07:41:00 -0400

Director: Sergio Leone; Starring: Claudia Cardinale, Henry Fonda, Charles Bronson

IMDb Plot summary: Epic story of a mysterious stranger with a harmonica who joins forces with a notorious desperado to protect a beautiful widow from a ruthless assassin working for the railroad

With sweeping desert shots, a high body count, and pithy one-liners aplenty, OUATITW is somehow just like every Western you’ve ever seen, but also strikingly unique. Tarantino is a big fan, and it’s easy to see why.

It’s a slow film, but a highly compelling one. Layers of tantalising intrigue keep us hooked as the film unfolds at its mesmerising pace: from the tense, unpredictable shootouts to the inscrutable gaze of the man dubbed “Harmonica”, we’re always kept wanting to know more. In some sense this makes the big payoff ending almost disappointing; perhaps it would have been better to leave some questions unanswered? It’s a debatable point, but Leone’s mastery of dramatic pacing is undeniable.

The extraordinary cinematography is among the best I have ever seen, while Ennio Morricone’s memorable score is absolutely essential to the film’s operatic tone. And unlike many Westerns, the acting here is a strong point. Henry Fonda, renowned for his heroic characters in films like 12 Angry Men, takes a stunning and shocking turn in a bad-guy role, one that he does surprisingly convincingly. Those clear blue eyes of his suit those of a cold-blooded killer quite well, actually! Claudia Cardinale is a sultry anachronism, looking like she’s stepped right out of one of her 60s Fellini movies, but she manages to convey a character with more depth than her “hooker with a heart of gold” archetype suggests.

Flamboyant, poetic and just…well, cool, OUATITW is one that all cinephiles should see.

9/10

Dirty Dancing (1987)

Sun, 08 Jul 2012 03:36:00 -0400

Director: Emile Ardolino; Starring: Jennifer Grey, Patrick Swayze, Jerry Orbach

IMDb Plot summary: Spending the summer in a holiday camp with her family, Frances (‘Baby’) falls in love with the camp’s dancing teacher.

Dirty Dancing is essentially the cinematic equivalent of “Uptown Girl”: it’s got the age-old good girl/bad boy lovers, it’s corny beyond words (in the most deliriously satisfying way), and it makes you want to dance like nobody’s business.

As the title suggests, the main attraction here is the dance moves, and they do not disappoint. The dance sequences are hip-grindingly breathtaking: unlike much of today’s dancing, it’s not just sexual, it’s sexy too. And you know what else is sexy? Patrick Swayze. Patrick Swayze is sexy. As in, sign-me-up-for-dance-classes-this-instant sexy. I think that ought to be mentioned, because, let’s face it, it’s an important factor to consider when most of the dialogue isn’t exactly enthralling.

That’s not to say there’s nothing else to enjoy here. Jennifer Grey is an engaging and believable heroine; all the “coming-of-age” symbolism, though a tad obvious, builds a more interesting storyline; and the nostalgic 60s soundtrack is also a plus. The seemingly endless string of cliches also seems forgivable due to the vitality with which they’re executed: the film embraces such sentimentality so passionately, it just seems all the more heart-warming for it. Whether you’re a fan of dance movies or not, Dirty Dancing just might win you over.

7/10

Baby Mama (2008)

Sat, 07 Jul 2012 10:35:09 -0400

Director: Michael McCullers; Starring: Tina Fey, Amy Poehler, Greg Kinnear

IMDb Plot Summary: A successful, single businesswoman who dreams of having a baby discovers she is infertile and hires a working class woman to be her unlikely surrogate

If I were to start my own branch of Paganism, Tina Fey and Amy Poehler would be my goddesses, such is my admiration for their work. In Baby Mama, they team up to tackle the perils of patchy screenwriting and cheesy plotting, and they do so with moderate success.

The film gets off to a bumpy start as we get an introduction to career-focused, baby-crazy Kate (Tina Fey). Sadly, the annoyingly mechanical direction seems to dull Fey’s usually sharp comedic timing and most of the jokes fall flat. But once Amy Poehler sweeps in, with all her bubbly charisma in tow, things pick up considerably. Poehler may be unconvincing as “white trash”, but she is wholly charming and very funny as the irresponsible, adolescent opposite to Fey’s dorky, driven “career woman”. There are echoes of Leslie Knope and Liz Lemon all over the shop, but honestly, who could object to that?

And yet, though its all very amiable, Baby Mama is a forgettable experience, featuring a bland plot and jokes that don’t hit their target quite as often as they should. Steve Martin, as a hippy dippy CEO, gets to sneak in some funny moments, and a host of other talented comedians are enlisted for bit parts, but you can’t help wishing for a more ambitious script for them to work with. What we are offered is some light fun and the chance to see two of this generation’s most appealing comediennes having a really great time together. Not too shabby, really.

6/10

The Avengers (2012)

Fri, 06 Jul 2012 07:29:00 -0400

Director: Joss Whedon; Starring: Robert Downey Jr, Chris Evans, Mark Ruffalo

IMDb Plot summary: Nick Fury of S.H.I.E.L.D. brings together a team of super humans to form The Avengers to help save the Earth from Loki and his army

I’ll be honest, I came to The Avengers with high expectations. Seeing the film’s vigorous tumblr reaction (it really is The Film That Launched A Thousand “Ships”) and the ecstatically positive critical reception, I was waiting to watch a game-changer. What I got wasn’t quite that, but it was still pretty darn satisfying.

The concept of the film itself is a tantalising one: throwing together your favourite heroes into a volatile cocktail of egos and neuroses has to invite some interesting possibilities. And Joss Whedon doesn’t waste the opportunity. The film is at its best when the heroes are engaging in Whedonian verbal sparring (I’m sure “Whedonian” is a word by now). He takes full advantage of the film’s concept to expose the various psychological wounds of the heroes, playing them off each other to witty and sometimes explosive effect. Robert Downey Jr, master of backhanded repartee, really gets to shine here, while the character insights into Captain America and Bruce Banner are particularly touching.

But once these fanboy-wish-fulfilment interactions have been played out, the movie settles into action-fuelled autopilot. As someone who is not terribly partial to ridiculously long and predictable action sequences, this is where the film faltered for me. But given the gloriously entertaining achievements of the preceding hour and a half, I felt the indulgence was kind of earned. Ultimately, it’s a popcorn movie that’s a cut well above the average. Maybe not worth the hype, but definitely worth your time and money.

7/10