I haven't been the best person at keeping up with writing reviews, so I apologise for that. Last year was a busy one, and this year won't be any different as I finish my degree and graduate. Soon it will be time to head off into the real world, but before then I hope to get some reviews up of the films I am most looking forward to this year in 2012. Amongst them all, I will be getting extremely excited for the arrival of The Dark Knight Rises and The Hobbit.
This winter I have been writing a dissertation on one of my favourite films, Philadelphia (1993). It was one of the first mainstream films to approach the controversial subject of AIDS, and it is directed by someone fantastic and talented, Jonathan Demme (Silence of the Lambs, 1991). Ever since I have started this dissertation, the topic of AIDS has really got to me, and if you enjoy a courtroom drama I would highly recommend watching it. It is a film that has unfortunately been forgotten, but it stars Tom Hanks and Denzel Washington in the beginning of their careers, and their performances are genuinely mesmerising.
When I get the perfect moment I will also compose a list of exciting films to look out for this year. I have also gained a video camera this Christmas, so in my spare time I will be taking some short clips and photos in the Brighton area, as I would like to get a portfolio going for the future. So watch this space!
Well, now you can know. I've finally found somewhere to put all my favourite soundtracks to share with other people who find them just as fascinating as I do. I love them all; classic, fast, sentimental, aggressive, funny, threatening, they are what makes the atmosphere of every film. So here are my favourites, I hope you like them.
Summer 2011 is looking to be a fantastic and an intensely awaited time for movie lovers. This quick look at some of the films that I'm really looking forward to will hopefully get you clued up on what's going to be some of the biggest blockbusters even when the sun is shining. Release dates can be found on the right hand side >>>
I have never been this excited for...The Hangover Part 2
With what seems to be another kick ass soundtrack, this one is set in Bangkok with the same boys (Bradley Cooper, Zach Galifianikis and Ed Helms) returning to our screen for another wedding catastrophe. This time it's Stu's turn, and the narrative is played out in the same way as the first film, so you're just going to have to wait and see what's uncovered. Trailers have just started showing in cinemas, so take a peek and see what you think of the hilarious trailer:
Another big one, and one which fans may be worrying about as it doesn't star Orlando Bloom or Keira Knightley any more is Pirates of the Caribbean: On Stranger Tides. With the beautiful Johnny Depp back as Jack Sparrow, his wit is what will make this movie I'm sure, as it's all about him trying to find the Fountain of Youth. But with Geoffrey Rush back as Barbossa, and the new faces of Penelope Cruz as his old flame Angelica with her father Blackbeard (Ian McShane) this is bound to be worth a watch.
Next up which I can't wait to review is the final film of the lot, Harry Potter and the Deathly Hallows Part 2. At first I was pretty irritated that they cut the film in two, but I now appreciate that it's given fans something to anticipate, and I for one am on the edge of my seat having read the books a million times. This is the last chapter, and the battle in Hogwarts begins. Be prepared to shed some tears if you haven't read the books, that's all I'm saying guys! This looks like it is bursting with action and impressive special effects.
I haven't seen her on the screen lately, but Cameron Diaz is going to be back with her film Bad Teacher. The title pretty much explains itself, but it's a comedy starring Justin Timberlake as well, and it doesn't actually look too bad. Diaz is fiesty, sarcastic and sexy. What's not to love?
I am starting to think there are far too many of these films coming out, first there was the trilogy, then X Men Origins, and now X Men: First Class. An interesting take on the series, this film takes us back before Charles Xavier (James McAvoy, I won't complain at that...) became a professor and before Erik Lehnsherr (Michael Fassbender) became Magneto. Set in the 60's this film is more about the discovery of the mutants, which in a way I think is much more exciting! I can feel the tension between the two main characters too, just by watching the trailer. Let me know your opinions.
I am an animation lover, and recently watched Kung Fu Panda for the first time as I heard Kung Fu Panda 2 is soon due for release. Living his life as the Dragon Warrior, Po (Jack black) is still kicking butt, but his new enemy threatens Kung Fu altogether so Po must work with the Furious Five (Angelina Jolie, Seth Rogen, Jackie Chan, David Cross, and Lucy Liu) to defeat him, and of course with the help of Shifu (Dustin Hoffman). Hopefully this will be one that children and adults alike can enjoy.
Lastly, Marvel are bringing out some fabulous films, Captain America: The First Avenger, and Thor which is in cinemas now. Both of these films look amazing, and if you love you comics then you need to see these. There are loads more films coming out, but these are the ones that interest me the most, so if you want up to date news and trailers I suggest going to http://www.imdb.com/ for all your film needs.
Until now Snyder’s directorial reputation has preceded him, as a man who can successfully adapt graphic novels with a particular cinematic style not unlike that of Tim Burton, and with the intention of making his own mark in the film industry. With the chilling opening of Sucker Punch, Emily Browning’s cover of Sweet Dreams by the Eurythmics effectively dramatizes the first few scenes in which she (Babydoll) is framed for the murder of her sister. This is the first among many energetic covers from the soundtrack; soon to follow is a Queen mash-up of “I Want It All” and “We Will Rock You”, which is not only an amusing accompaniment to the Mayor’s entrance to the asylum Babydoll is sent to, but is pure evidence that this film has attitude written all over it.
The film works on two levels of fantasy; as Babydoll enters the asylum named the Lennox House for the Mentally Insane in the 1960’s, she first imagines it as a burlesque brothel, where the girls must learn a unique routine to perform to the men who come to visit, in hope of survival. The second level appears as Babydoll begins her dance, an action packed fantasy world with zombie German soldiers and dragons, a fantastic choice of antagonists, which parallels the narrative of reality, where she must find five key objects to escape the asylum before she is lobotomised in just a few days. The visuals are impressive, but some audiences may feel that Snyder’s influence of mixing live action with CGI is too powerful. The aesthetics of the film have been made priority, and the narrative definitely suffers because of this.
The underlying motifs and themes of female empowerment and male domination keep the first level of fantasy fairly gripping, but it is in their efforts to complete the quests that enjoyment can begin to diminish. The slow motion that viewers may be familiar with from films such as The Matrix can literally slow the film and pace of the action down, not necessarily in a positive way. Despite Snyder being well known for this technique, it seemed unnecessary in many action sequences which lacked tension, but on the other hand did add to the feel of the film as being similar to another graphic novel, particularly the scene involving the dragon, a ‘boss’ that very much reminded me of the fighting sequences in Scott Pilgrim Vs. The World.
The costumes are far from innocent, no doubt the generous amount of thigh shown by all five girls; Babydoll, Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens) and Amber (Jamie Chung) will be more than enough for male audiences. However, viewers will have to look past the school girl outfit and leotards, if possible, to witness that Sucker Punch can be a work of genius. Japanese influences of anime and manga are certain, particularly with the girls’ hair, costumes and use of expression, specifically Babydoll’s eyes which are a focus piece throughout the film - we are either zooming into her pupil or she is staring innocently at us. The darkness of reality in the asylum is stressed by the low lighting and dull colours which cinematographer Larry Fong, who also worked on 300 and Watchmen with Snyder, has contrasted well with Babydoll’s use of imagination to create a vivid and vibrant environment compared to that of her prison. The dialogue however, is full of meaningless one liners that confirms that these women may be physically involved throughout, but the emotion seems a little forced.
Abbie Cornish gives a strong performance and shows a growing development in her career, as well as Emily Browning, who had a much more delicate and maternal role in Lemony Snicket’s A Series of Unfortunate Events (2004) and Vanessa Hudgens who is best known for her role as Gabriella in all three High School Musical films. They are all a joy to watch with guns in hand, despite some female viewers thinking that they look too unrealistic for looking too ‘perfect’ in many close up shots. Thus, all these elements can make the film on a whole feel rather artificial, as well as some of the vocabulary used for the historical context of the time, and Snyder’s style is so overwhelming that it’s near on impossible to connect with any of the characters. This suggests that perhaps the male viewers would be better off playing a video game instead, because despite being psychologically thrilling, the action feels like it ends within seconds and poses the question, has anything really been left to the imagination? That goes for Snyder, too.
The biggest element that seems to be apparently absent in modern day romantic comedies is the chemistry between the two main leads, who are more often than not the wrong couple to combine. However, Anne Hathaway and Jake Gyllenhaal create remarkable passion and a soothing overdose of pleasure as we watch two beautiful actors working together well, particularly since their tense and unsuccessful relationship in their previous film together, Brokeback Mountain (2005). Gyllenhaal’s role in this film appears to be taken more seriously; regardless of his egotistical personality as Jamie Randall, a pharmaceutical salesman for “Pfizer” whose charm woos the ladies, the adult content being dealt with here makes this romantic comedy more of a drama. Nevertheless, Love and Other Drugs still accommodates the real issues that strike home, such as a relationship that has no serious potential for the couple involved, yet the film’s deeper themes surround Maggie (Anne Hathaway), who is desperately battling the first stage of Parkinson’s disease, whilst in contrast of her declining health the film emphasises the deterioration of the American medical world.
I have had my moments where I’ve thought about death, particularly dying young and what effect that would have on loved ones, but I have never had to consider what it would be like to remain with a loved one who you would consequently watch disappear. This notion is what makes the film so heart-breaking, particularly in the scene where Maggie attends a convention for other people with her disease, who talk individually to the audience about the difficulties of “trying to tie my tie” and simple activities that their tremors complicate, laughing about it and easing the pain of their fate, a warming scene which is not unlike the beginning of Up In The Air (2009). It is the simple movement of Hathaway’s smile which makes this film so stunning; the appreciation of the finer expressions in life, even laughing. The film doesn’t highlight too much detail of the disease, though perhaps it should have for those of us less educated in the symptoms of Parkinson’s, but instead captures the true features of relationships; trust, loyalty, paranoia and accepting that you are good enough for someone. Many obstacles overcome this, as expected, such as the man who has a wife with the disease claiming he “would not do it this way again” and the search for a cure that will never come. Despite this, the audience witness the introduction of the drug Viagra, which consequently, and ironically, seemed to decrease the amount of passion between the couple as Maggie struggles to receive the medication she needs.
Hathaway’s yearn for independence in Maggie is admirable; the confidence she displays in actions such as pouring a glass of vodka, or cutting a photo, as well as her grasp on the film as a whole, which she takes into her own hands and dominates triumphantly. On the other hand, Gyllenhaal has come a long way from The Day After Tomorrow (2004), and both characters shed their insecurities and commitment issues throughout the film, making them more relatable to the audience. The very graphic and surprisingly frequent scenes of passionate sex looks and feels genuine; they aren’t a couple getting it wrong the first time, Zwick proves this through a variety of angled shots, which may be an intense experience for some to watch as they are so blunt, but there is also a relief felt as this couple aren’t afraid to flaunt what they’ve got. Thus, the comical moments were not found in an embarrassing fondle, but from Jamie’s arrogant brother Josh (Josh Gad), who drifts from the narrative occasionally and makes a rather appropriate older Jonah Hill. He learns from the best, and ruins all the conventional clichés usually found in romantic comedies. Maggie also has some funny dialogue, including some very amusing erectile dysfunction puns.
Maggie’s love of art; photos, drawings and the black and white home footage illustrate who they were as a couple, and reflects with who they will become as we accept Maggie will gradually worsen; not unlike the expectations that some people may have of future films of the romance genre. Perhaps it’s about time audiences were prescribed something a little bit stronger?
Reprinted with kind permission, please check out the original post at http://theoohtray.com/2011/01/film-review-love-and-other-drugs/
With the new year in sight and inspired by the discovery of the awaited Pirates of the Caribbean: On Stranger Tides trailer I found earlier today, I thought I'd provide you with some trailers of the bundle of films awaiting us in 2011, the release dates of which can be found on the right hand side of the blog. Pirates of the Caribbean: On Stranger Tides
Jack Sparrow (Johnny Depp) has gone solo, along with Captain Barbossa (Geoffrey Rush) to go on a journey looking for the Fountain of Youth. However, this proves difficult with competition from Blackbeard (Ian McShane) and his gorgeous daughter (Penelope Cruz)
The Dilemma
What will hopefully be a fresh comedy with the likes of Vince Vaughn, Ronny discovers that his best friend's wife is having an affair.
Paul
Another comedy adventure to look out for is this, with Simon Pegg and Nick Frost travelling across the U.S., they soon bump into Paul, voiced by Seth Rogan, who needs to be returned to his mother ship.
Gnomeo and Juliet
This seems to be one adults will enjoy as well as the kids, from the director of Shrek 2, which can only mean good things. This story is very well known so I won't explain it, but with it shown through the generation of gnomes and a comical element thrown in there I think it is worth a see.
Red Riding Hood
Pay attention Twilight fans, the director of your favourite vamp films has taken on this childhood tale and given it a dark twist. Amanda Seyfried has taken on the role of Valerie, a girl in love with someone her parents don't approve of and lives in a medieval village that is haunted by a werewolf. I'll let you do the maths.
No Strings Attached
This typical romantic comedy is about a couple trying to keep their relationship purely physical, starring Ashton Kutcher, which the ladies will love.
World Invasion: Battle LA
The story is self explanatory, but the graphics look good, and I think it will be better than Skyline, sci-fi fans, keep a watchful eye.
Thor
It seems the Marvel phase will not be leaving us in 2011, as this film tells the story of the warrior Thor, who is banished from the realm of Asgard and made to live on Earth.
Transformers: The Dark of the Moon
This third Transformers film shows that The Autobots learn of a Cybertronian spacecraft hidden on the Moon, and race against the Decepticons to reach it and learn its secrets, which could turn the tide in the Transformers' final battle. How will fans react now that Megan Fox has been replaced? Michael Bay, don't let us down.
Cowboys and Aliens
This is a film in the Wild West, with Daniel Craig playing a stranger who has lost his memory. A spaceship lands in Arizona, with the intention of destroying Earth, with only cowboys standing in it's way.
I'm a sucker for a good soundtrack, especially film ones. The instrumental pieces; whether they're in an action film, a romantic comedy, or just a plain comedy, all give me goosebumps. I thought it was about time I pinned down my favourite ten film's soundtracks and why, and you never know, they might just grow on you too. 10. The Lion King (1994)
'I'm gonna be a mighty king, so enemies beware', oh yes, my favourite Disney film of all time, although I won't argue Pocahontas (1995) and Aladdin (1992) came close. This film is one that has been with me since childhood and through my teenage years became the soundtrack that everyone knew. With wondrous songs such as Can You Feel the Love Tonight and Circle of Life you have to give Elton John some credit for producing some incredibly gripping songs that won't be forgotten by the younger generation, not to mention Hans Zimmer's genius, who will be someone I bring up a lot in this countdown. I actually remember trying to but this in a French supermarket when I was little, however my mum was not convinced. This is my favourite song from the bunch, Under the Stars:
9. Bridget Jones: The Edge of Reason (2004)
This is one for all the women out there who sat down like I did, single and lonely, with a box of tissues and some chocolate to watch the lives we wished for unravel on our TVs. This sequel to the successful Bridget Jones's Diary (2001) has numerous famous artists on the soundtrack, from The Darkness, Kylie Minogue, and Will Young, to Jamelia and Jamie Cullum. It's upbeat in all the right places, and damn right depressing in the other parts. Nevertheless, it's the ideal romantic comedy for the girls, and if you feel like singing your heart out then there's no harm in Jamelia's Stop. Being a soppy git, that is not my favourite, and instead I have chosen I Eat Dinner by Dido and Rufus Wainwright, a delightful combination that really pulls your heart strings:
8.Scott Pilgrim vs. the World (2010)
Due for release on DVD on 27th December, this film is one of my favourites this year and it had a rocking soundtrack. A few of the cover tracks on the album are from the film's band Sex Bob-omb, among which I think Garbage Truck is my favourite. There are several other artists, including Beck, Crash and the Boys, and The Rolling Stones. This retro geek-chic film definitely takes pride in its soundtrack, it's not one I listen to all the time but is more of a 'going for a drive' album for me. It's got some funny ones from the battle of the bands part of the film, in particular I'm So Sad, So Very, Very, Sad but the one I think you can rock out to is this one, We Are Sex Bob-omb:
7. Avatar (2009)
I don't think a lot of people will understand why I like this one, but if you like the soundtrack of Jamanji (1995), Titanic (1997), The Perfect Storm (2000) or The Karate Kid (2010) then you have composer James Horner to thank. All the tracks for Avatar are instrumental, some with a small chorus using the Na'vi language as a chant, and the reason I like them are the same reason I love Hans Zimmer. These songs give me goosebumps, they give the right atmosphere, and they always build up to an amazing climax. The use of strings and drums genuinely takes you head on into this adventure, right from the moment Jake enters the Avatar world, through the moments it is under destruction until the very end. Some songs are very long on the album, but the best instrumental pieces are. You can really hear some similarities to the Titanic soundtrack in some of the songs, but this soundtrack makes you feel like you are in an entirely different world. It's magical, and I love the world of fantasy. A whole seven minutes and forty seconds long, Becoming One of the People - Becoming One with Neytiri is the most breathtaking.
6. Shrek 2 (2004)
Ok, I'm getting excited now. I love ALL of the songs from this film, they're catchy, they're fast and I could sing to them all day long. From the beginning of the film, Counting Crow's made me fall Accidentally in Love while Lipps Inc. took me to Funkytown. This soundtrack is fun, there's no other way to describe it, it fits this animation perfectly and makes Shrek 2 that classic that anyone can enjoy. I also like Shrek's soundtrack, but Shrek 2 stood out to me when it took me on that chaotic journey. There are a couple of more contemplative songs, such as People Ain't No Good and I Need Some Sleep, but these are taken over by Jennifer Saunders' Holding Out for a Hero and Livin La Vida Loca by Eddie Murphy and Antonio Banderas. I adore all these songs so much, but the one that gets me every time is this, You're So True by Joseph Arthur. The lyrics are beautiful:
5. Twilight (2008)
Well, you either love it or you hate it, and sorry, but I love it. As I should only be talking about the soundtrack here I won't comment on the films, but this film has various artists which produce a mysterious atmosphere for the film, which I believe was the best way to go having read all the books. There are some more well known artists, Muse and Paramore, amongst others such as Collective Soul and Iron & Wine (great artist!) which give a sense of romance with some 'feisty' thrown in there. I enjoy Carter Burwell's Bella's Lullaby, and Robert Pattinson's Never Think as two songs which are relaxing and emotionally fulfilling. However, I also like the use of Paramore's Decode, which has some very moving lyrics. The proceeding films have not had such an effect on me, apart from Sia's My Love, a very passionate piece. So, here is my favourite, Spotlight (Twilight Mix) by Mute Math:
4. Pearl Harbor (2001)
I'm nearing the top three now, and it's getting pretty hard to actually give these soundtracks a number, because I'd put them all at number one. Pearl Harbor has been a favourite since I watched the film when I was fifteen, not only for the narrative, and the attractive men in it, but for the soundtrack too. These are all instrumental, and unless you're a fan you probably won't have noticed them in the background of the film. But this is a true tear jerker for me, the piano work is graceful, and always catches you off guard, just when you don't think you're going to get upset you probably will. There are some upbeat ones, but they mostly reflect the action going on in the film. It's tough to choose the one I prefer most as there are a couple, but the one I've had on repeat over the years is this, And Then I Kissed Him:
3. Moulin Rouge (2001)
I'm hoping this will be a favourite for most audiences, even the male ones (I know one guy that will sing it with me anyway!). It's one of the most romantic musicals you will ever see, and the soundtrack reflects that. It's sexy, intense, and almost addictive. Because We Can and Lady Marmalade will get you bopping about the place, and there is always the Elephant Love Medley or Come What May that will go down well as a karaoke duet. From the gorgeous voices of Nicole Kidman and Ewan McGregor, this film is amazing and definitely for those of you who like a good musical. I'm not ashamed to say this soundtrack is on my iPod, and as a big fan of Elton John who sang the original of my favourite, I present you with Your Song, covered by Ewan McGregor and Alessandro Safina. Watch out for the climax at 1:50 in...
2. The Lord of the Rings Trilogy (2001, 2002, 2003)
Call me a bloke, I love them. Invite me to watch all three, extended edition, and I'd happily accept the offer. From the adorable and boisterous Concerning Hobbits to mysteriousness in The White Tree and a mixture of delicateness in The Return of the King, once you have heard all the songs from the films you truly do feel like you are part of the characters. The songs convey the romance, the battles, the tensions, and the loss throughout. It gives a sense of hope and power, and amongst all the fighting it really brings out the true theme of friendship and trust. It saddens me that this trilogy had to come to an end, but I feel through the soundtrack you can relive it again and again. My dad introduced me to Enya one night on a drive home and her voice has stuck with me since, and with this, I give you the one song that I look forward to when I watch these films. Evenstar:
1. Pirates of the Caribbean: At World's End
And here we are at number one! Hopefully somewhere out there someone will agree with me that this is a fantastic soundtrack. It's playful, and I think it reflects Johnny Depp's character of Jack Sparrow perfectly. In some places it can be strange, in others just plain fascinating. Composed by in my opinion, the best, Hans Zimmer has produced a stunning soundtrack for the last part of this epic trilogy. In particular, Up Is Down is one I would definitely recommend to simply enjoy, and if you're feeling a little more serious perhaps Hoist The Colours. The one that gives me jitters is this one, One Day which gives me goosebumps at 2:38 exactly in and proves Hans Zimmer's ability to provide an outstanding build up and climax:
There you have it folks, I hope some of you agree, and if not, why not share what you think is a worthy soundtrack?
[Warning: I have revealed when the film is split at the end of Part I and mentioned some key scenes, one that is not in the book]
Hermione Granger (Emma Watson) stands behind her parents in the home she grew up in, wand poised, and whispers “Obliviate”. As she looks around, the memory charm removes her from every photo with her parents, as she emotionally and physically leaves their lives for good. Meanwhile, Ron Weasley (Rupert Grint) watches the sky with concern as his mother calls him in for dinner, and the boy who lived, Harry Potter (Daniel Radcliffe) watches the Dursley family he has lived with since he began attending Hogwarts School of Witchcraft and Wizardry leave their home in search of safety.
The sheer terror of what these three best friends must achieve now overcomes the audience in the sentimental scenes that flood this first half of the long awaited final film adaptation of J K Rowling’s popular novels. David Yates has finally appreciated the finer details within the book that were not so obvious in the previous film, Harry Potter and the Half Blood Prince (2009), which seemed to focus on the sexual tension between the main characters as it had not particularly been addressed in the five films beforehand. As the most feared and powerful wizard Lord Voldemort (Ralph Fiennes) grows stronger (yet fails to make much of an appearance in this part of the film) Hermione, Harry and Ron must leave their loved ones in search of the seven Horcruxes that contain Voldemort’s soul. Two have already been destroyed; one in Harry Potter and the Chamber of Secrets (2002), the other in the Half Blood Prince, and this film focuses on one Horcrux, a locket, which results in angry behaviour from whoever wears it for too long. Rupert Grint’s performance is emphasised here, as he wears the locket the most and becomes insanely jealous of Hermione and Harry, as his make-up shows dark circles under his eyes with pale skin he almost appears evil, and we begin to see the divide in their companionship.
The original source material is obvious throughout the film through detailed conversations and explanations, despite scenes where the trio are at a loss of what to do next, it is apparent that since Harry Potter and the Philosopher’s Stone (2001) the three main actors have come far in terms of ability to give a genuinely sentimental and distraught performance. Yates has incorporated a much darker side of the narrative; for every emotional scene a tense build up followed, with a couple of jumpy moments that probably even startled the parents in the audience. A few scenes are quite graphic in terms of violence and nudity; particularly the scene as the locket is opened, and a dark, mysterious ghost-like figure talks down to Ron about him being nothing compared to Harry. Two naked figures proceed to appear; Harry and Hermione, who passionately kiss and are lost in each other’s arms. This scene was a good adaptation from the book, but nevertheless still a bit embarrassing for the audiences who have grown up with the actors, and it appears that Yates has taken some risks with this film that he had not considered before. The soundtrack is striking and sent a shiver up my spine, as with every close up of a solitary character, and even the argument between Harry and Ron, the pianos and violins heighten the atmosphere with pauses of silence before delivering a breath-taking climax which truly does convey that this is the end of such an epic adventure.
Helena Bonham Carter gave a familiar chilling performance as Bellatrix Lestrange, and showed her true colours as an actress in the scene where she tortures Hermione, with her usual wild hair and wide eyes conveying her yearning for revenge and the death of Harry Potter. The film does not involve the other lead characters as much as you would like, but this is of course down to the book, and if you have read it then you will be enthusiastically waiting on edge for Part II in July next year. The introduction of Bill Weasley (Domhnall Gleeson) and Mundungus Fletcher (Andy Linden) has definitely been delayed and some audiences may agree that it is a shame they had not been introduced earlier in the films they should have appeared in, as it feels a little rushed to fit everything in. Despite this, the cast deliver as they should and give their all, and with such a long running time the audience really do become intimate with them. The forest locations are fantastic; the film is mainly shot in winter, reflecting the cold and sombre moods the three friends must fight through to gain strength. The first part is not all gloom, Ron has several comical moments amongst his violent outbursts, and a few crude moments allow some amusements, (“Blackthorn, ten inch, nothing special but I thought you might like it if it’s going unused”), which are thankfully not as forced as much as they were in the Half Blood Prince.
The most intriguing element of the film is its divide. There is no doubt that a lot of money will be made at the box office from splitting the film, along with all the merchandise and deals available at the cinema, however, considering that in total the film will be longer than James Cameron’s Avatar (2009), the attention to detail from scriptwriter Steve Kloves will surely be appreciated by the audience, as he has concentrated on the most important elements of J K Rowling’s exciting novel. Kloves takes the plot one step at a time; engaging the audience with the minor stories in the book, such as the story of The Tales of Beedle the Bard (written by J K Rowling also), which introduces the concept of the Deathly Hallows into the film through an abstract animation with silhouetted figures whom represent Death and the three Peverell Brothers. These three brothers each acquire an element of the Deathly Hallows, which Harry Potter must now find in the wizard world. This beautiful story broke up the chaos and was a reminder that the film is mainly targeted at a younger generation, and because there was a lot of information to take in, this carefully constructed animation gave an easier understanding for everyone, especially those who may not be familiar with the original text.
The ending scenes of Part I were appropriately chosen; they were touching, and we said goodbye to one of the most admired characters from Harry Potter and the Chamber of Secrets (2002). The voice of Dobby, done by Toby Jones, softly speaks “Such a beautiful place to be with friends” as he lies in Harry’s arms preparing to die. This is done so realistically through CGI, his eyes capturing the sadness as Alexandre Desplat really does tug at our hearts with his musical genius, giving us an harmonious farewell as Harry buries Dobby with his own hands. The visual effects of Part I are aesthetically pleasing, however a little manic, and in some action scenes the shots are lost in each other which is disappointing. Hopefully this won’t be the case in Part II, which audiences can expect to be fast paced and even more emotionally challenging.
Todd Phillips’ shoulders must surely be weighted from the expectations of eager audiences since his successful comedy The Hangover (2009) that witnessed the road trip of three friends and their groom-to-be buddy.
Phillips has once again used the road trip narrative with the inevitable deadline from Atlanta to Los Angeles; a whole one hundred minutes of non-stop action between effeminate Ethan (Zach Galifianakis) and pessimistic Peter (Robert Downey Jr.), who have been taken off the fly list and must find a way to get to Peter’s wife Sarah (the beautiful Michelle Monaghan) who is due to give birth. This fantastic cast have been paired with an undemanding narrative, however, Galifianakis has once again become the star of the screen and taken up characteristics similar to that of Alan from The Hangover; careful attention to detail on his appearance, the “camp” walk, and childish motives that suggest that he still needs looking after.
Due Date isn’t all comedy; there are a handful of serious moments that catch the audience off-guard, as this collision of opposite personalities attempt to bond on their journey. Ethan’s carefree approach to their relationship soon brings out Robert Downey Jr.’s signature sarcasm that we witnessed in Tony Stark throughout Iron Man (2009) and its sequel, revealing the most amusing moments in the film, as creepy and childish versus explosions of anger and gradual lack of trust. These emotional moments could arguably be completely out of place when compared to Phillips’ usual style of humorous moments delivered repeatedly with a lack of affectionate instants.
The two characters attempt to connect on their mutual experiences, the lack of a father figure and father and son issues. Throughout the film we learn of Ethan’s heartache as he carries his father’s ashes around in a coffee can with the intention of spreading the ashes at the Grand Canyon, and in one sentimental scene Peter confesses the morning his father walked out on the family, to which Ethan laughs hysterically and replies, “That’s so funny! My dad would never do that. He’d love me”. The audience’s connection with either character could potentially be quite strenuous, as they prove to be so different, making it hard to relate to either man’s situation. The deadline theme coincides with the pressure Ethan feels to spread his father’s ashes to release an old life and the desperation Peter feels to get home for the birth of new life.
A few years ago Zach Galifianakis was not a well-known actor, and after watching Due Date it is curious whether everyone’s thinking the same thing – can this man take on any other role? There is no doubt his ability to be a comical figure is apparent, nevertheless his charm is beginning to diminish. Robert Downey Jr. on the other hand delivers a comical performance similar to that of his African American character Kirk Lazarus from Tropic Thunder (2008); although the unpredictable moment in Due Date when Peter spits on Sonny the French bulldog and punches a child in the stomach were almost atrocious. The father issues within the film are reflected through Peter’s anger, where at one point he says to the can in reference to Ethan “You should have strangled him at birth”. Phillips seems to have gone from one extreme to another by replacing the baby Alan is so attached to in The Hangover with Sonny the bulldog; he has gone from making a baby masturbate to a bulldog masturbating and has unconsciously begun to push the boundaries of comedy. He is risking the illustration of situations that could easily offend some older audiences who may not be as appreciative of the hilarity. Despite this, Sonny the dog does bring added absurdity to the film, he could almost be a third human character, as he is very expressive of his emotions through his eyes which is genuine throughout.
The balance is found through the cinematography, a stunning visual adventure particularly at the Grand Canyon which Ethan thought was “man-made”. This point in the film provides emphasis on the theme of self-discovery; as Galifianakis brings us to an emotional peak in the film, Phillips has even made the look of Ethan’s father’s ashes in the wind appear dramatic. The scene in which their car flips and crashes is aesthetically pleasing, as Phillips has slowed the movements right down for the audience to appreciate the facial expressions of both lead characters. Phillips’ application of comedy in Due Date initiates controversy over anticipation of The Hangover 2, due in cinemas next year. Will audiences still anticipate the sequel of one of Phillips’ more successful films after Due Date, which seems to have just bridged the gap for impatient audiences?
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This is the first CGI film from Universal Pictures and Illusion Entertainment, and some members of the diverse audience, particularly parents all too familiar with the DreamWorks sequence of the boy fishing on a crescent moon, may be finding themselves a little weary of the numerous animations we’ve had thrown at our screens this year. Toy Story 3 and Shrek Forever After are two that come to mind, although arguably Despicable Me has deviated from this etiquette of talking animals and objects, and instead Chris Renaud has focused on the impact of human emotion, which compared to his work on Ice Age: Dawn of the Dinosaurs (2009), he and Coffin have enabled a stronger connection between the film and its older viewers.
The voice artistry of Gru, played by Steve Carell is imposing despite a compelling Russian accent, which at times can be a little confusing not only to the children in the audience. The physical movements of Gru, the way he emphasises his words with his hands and expresses surprise on his face is familiar to that of Carell’s character Andy Stitzer in The 40 Year Old Virgin, making his humour recognised by those who admire him. From the start the audience are acquainted with Gru’s inappropriate behaviour, as he lovingly blows up a balloon in the shape of a dog for an upset boy, and proceeds to burst it with a pin. Who would expect any less? After all, Gru has got some catching up to do to number one super villain Vector, geeky and intelligent, voiced by How I Met Your Mother’s Jason Segel. To do this Gru intends to steal the moon; a “one up” on Vector’s monstrous but successful act of taking one of the Egyptian pyramids, by adopting and using three very delightful girls, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Elsie Fisher).
This is no protagonist versus antagonist narrative, this is evil versus annoying. The character of Vector may have equipped more weaponry than Gru, but his smugness and unpredictable excitement is like that of a child, which is probably why the children found him so entertaining. His status compared to Gru is expressed through the interior of his house, his modernised pad has a shark swimming under the lounge floor and he has a button for just about everything. The film is vibrant, bursting with colour, and Gru’s house may be the dullest, most Gothic, in the neighbourhood regardless of his alligator sofa, but the three young girls bring life and emotion. In one sentimental scene Gru’s family tree is shown to us, with the addition of some very imaginative drawings of the girls, diminishing those feelings of betrayal, misery and revenge that are every villain’s cup of tea. Nevertheless, Despicable Me is not all smiley faces and rainbows, as the audience watch Gru visit what appears to be a normal bank and in fact uses eye recognition technology to enter the Bank of Evil (formerly Lehman Brothers).
This reference highlights that there is adult humour, also emphasised by Gru’s witty one liners and his small yellow minions, who also become part of the girls’ lives, such as joining in with a tea party and a sequence during the end credits as they test the boundaries of 3D cinema. Dr Nefario (Russell Brand), who doesn’t hold the sophistication and slickness of Q from the James Bond films, but has elderly enthusiasm that warms your hearts, and Gru’s mother (Julie Andrews) who takes on an ignorant approach when it comes to Gru’s work, both add moral strength to the plot. The tense relationship between mother and son is shown in a number of flashbacks, as a little long nosed Gru tells his mother he “wants to be the first person to walk on the moon”.
On the other hand, the relationship between Gru and his girls’ progresses as they visit a fun fair together. Agnes’ performance is not the only thing that stands out here – the 3D experience is definitely worth crediting. The sequence where they ride on one of the rollercoasters was spectacular, and felt as though the audience should have been on a simulator alongside it, however this is only one of the memorable scenes in 3D, and I can’t help but feel we have been spoilt by Pixar and DreamWork’s animation as of late. Elsie Fisher really stands out as adorable Agnes in this scene; Fisher has had a lack of experience in the film industry, but she characterises Agnes as adventurous and loveable, a personality trait that is often admired in young children. Singing herself to sleep about unicorns, asking for “bedtime kisses” and stories, and her joy when Gru wins her a unicorn toy, exclaiming “It’s so fluffy!” are three fantastic examples of her heart-warming ability to capture the audience’s affection. It is obvious as soon as the girls enter Gru’s life that they are melting his cold heart, and it won’t be long before they melt yours too in this family comedy.
World Cinema. A module that has popped up in my second year of university, and without a doubt is highly engaging. It has expanded my view on cinema, as I have watched a variety of films from Hong Kong to France, Spain and India. World Cinema has allowed us as an audience to gain an international perspective, and a lot more films have become available to us through DVD and mass distribution. It has often been found that American and European cinema is more familiar to us, and as Dudley Andrew has suggested in his article An Atlas of World Cinema (2004), we have become accustomed to the Euro-American narrative and ideologies that we don't tend to travel or become aware of other cultures and their films.
Presented by Jonathan Ross, with some shockingly bold facial hair and who I personally have missed since the Friday Night with Jonathan Ross days, the programme is hosted from the BFI and shows a number of films contending for the film of the year award. There is also a World Cinema Achievement Award given to a worthy director. I am going to be having a look through the nominated films on the show, and discussing the show itself.
I am Love
Scottish actress Tilda Swinton (The White Witch from Narnia) takes on the leading role as Emma Recchi, a mother of three and part of a wealthy family who are going through changing times. The themes of the film focus around passion and desire as you can see in the poster, Swinton's stunning red dress parts her from the rest of the cast and reflects her dangerous nature. As director Luca Guadagnino says in the show, "the idea of the film came from the idea of a lonely woman in a beautiful house". The film reflects the complexity of affairs, and revolves around the themes of hands and food, the delicateness of making food and the love of it. Ross describes it as intoxicating, and with such an exhilarating soundtrack to heighten the tense and romantic mood, I am Love seems to be a charming and sophisticated romantic drama.
Let The Right One In
From director Tomas Alfredson comes the Swedish original of Let Me In (2010) about a young boy who finds friendship in a strange girl named Eli who turns out to be a vampire. The film is unlike some of the vampire films we have had recently has such as The Twilight Saga, because it follows typical vampire traditions, such as inviting a vampire into your home. This act also relates to another theme in the film of letting someone into your life, and the companionship that grows. Young Oskar dreams of hurting his tormentors, and in one scene during the show, he is seen stabbing a tree to release his anger and illustrates his solitary lifestyle. Oskar is soon faced with a choice as he discovers Eli's killing nature, and the film is truly a love story focusing on the two main characters. Alfredson has described the character of Eli as the 'dark side' of Oskar as he overcomes his fears and gains strength over the bullies.
Waltz With Bashir
Israeli film director Ari Folman uses this almost comic animated style film to interview veterans of the 1982 invasion of Lebanon to reconstruct his memories of the time he served in that conflict. There are images of massacre and the story indicates the suppressed memories of the violence at the time. Folman argues in person that the massacre could have been prevented if the government and generals had not hesitated in acting to stop it. Ross says that the images in the film caused an uproar due to the refrences related to the Holocaust, and that the animation gives the film it's uniqueness. The interviews were either first hand accounts, or given to actors to read. It is the first animated documentary, and I personally love the visual style Folman has incorporated as it makes it more appealing to a wider audience.
The White Ribbon
"When you were little, your mother sometimes tied a ribbon in your hair or around your arm. Its white colour was to remind you of innocence and purity." A series of accidents and disturbing attacks begin to arise in a small village in the North of Germany in the years before World War I. It is believed that the children are possibly responsible for the mysteries going on in the village, and through the character of Anni we get closer to the children of the film and become surrounded by the motifs of morality and death. The film is narrated by the local school teacher who reflects on those times, and director Michael Haneke says that he wants to "question that claim of truth" which is the reason for using commentary. Similar to Waltz With Bashir, this is a film about someone's memory and how things may have been. Haneke did not want this to be a film about Germany, and says that a British audience can relate it to England, and so on.
A Prophet
Jacques Audiard's A Prophet is a film about finding your identity and making your story. Malik El Djebena is sent to a French prison where everyone is divided into groups, but he stands alone, making him vulnerable to everyone in the prison. The Corsicans are the most influential group in the prison, and Malik soon becomes accustomed to their vulgar and brutal orders. When Malik leaves prison, he is faced with the guilt and company of his murdered victims, despite this he carries on serving the mafia and carrying out orders. The film providea a unique emotional experience of a nobody becoming someone, and the tense environment often found in prisons.
The World Cinema Achievement Award was given to Bernardo Bertolucci who began writing poems when he was younger to be like his father, but at the age of sixteen decided that he liked movies. Writer of The Conformist (1970) and Last Tango In Paris (1972), after which he felt like he could write any kind of film, he then wrote 1900 (1976), The Last Emperor (1987), The Sheltering Sky (1990) and The Dreamers (2003).
I won't tell you the winner of the Film of the Year award, you can find out for yourself here http://www.bbc.co.uk/iplayer/episode/b00v9g9b/BBC_Four_World_Cinema_Award_2010/ and I hope you find the films mentioned interesting if you get the chance to watch them!
You can take the man out of Boston, but you can’t take Boston out of the man. Doug MacRay (Ben Affleck) is looking to escape the ideologies that surround him in the bank robbery capital of America, Charlestown. This is no doubt a narrative we have seen repeated in crime dramas many times; the criminal with a forbidden love, existing in a community that lives and breathes for violence and the ways their fathers taught them. Based on the novel Prince of Thieves by Chuck Hogan, The Town features all the elements of a decent criminal mind – the driver, Albert ‘Gloansy’ Magloan (Slaine), the psychotic weapons handler and best friend, James ‘Jem’ Coughlin (Jeremy Renner), the architect, Doug MacRay (Affleck) and the man who calls the shots, florist Fergus ‘Fergie’ Colm (Pete Postlethwaite).
As the film begins the audience are a witness to a key bank robbery, involving quick pans and close up shots of hostages; it is so fast paced there isn’t a moment to blink. Affleck’s attention to detail is impressive; the bleaching of everything they’ve touched, putting the hostages’ phones in water, blowing up the last vehicle they use. The transition from the CCTV footage observing them in silence back to screams blaring and the intense action is startling, but in an effective way that draws the audience closer to the situation. Affleck’s focus on hostage bank manager Claire Keesey (Rebecca Hall) is the mere start of the intimate shots he shares with her, in and out of the adventurous masks, as MacRay eventually states he wants to “put this whole fuckin’ town in my rear view”.
Affleck’s character is very likeable, as shown by his Pearl Harbour (2001) days where he shows his ability to be romantic, however this could be seen as an influence on his new, harder character. As Claire is forced to open the safe of her bank, she struggles and shakes and loses concentration, initiating MacRay to step out of his intimidating character and steady her hand and as he instructs “Take your time”. Hall reflects an oblivious and sympathetic victim which makes the film more sentimental, she is nothing but vulnerable, but as convention should go, she soon toughens up. The emotional scenes incorporated into the film occasionally feel drawn-out and a little feigned, and you’ll be lucky if you can actually hear them as dialogue was sometimes impossible to understand due to some unconvincing Boston accents.
The chases are electrifying and intense, as the audience are drawn through narrow roads Affleck captures the getaway from numerous high and low angles, the shaky camera technique almost reflecting the problems constantly going around MacRay’s head and the emotional walls that are restraining him in Boston. Slow motion action produces more satisfying explosions throughout, but the black and white flashbacks that Affleck has roughly placed within the film make the narrative appear tacky. The beautiful scenery of Boston captured in bird’s eye view is used frequently to fill in gaps between narratives, making the audience wonder whether Affleck has really excelled from Gone Baby Gone (2007). He hasn’t got it all wrong though, Ben Affleck still knows how to make an audience laugh in strained moments, and in one favourable scene we watch our criminal friends exit their vehicle straight in front of a police car and a policeman who stares in bewilderment, in this moment of dark humour.
The focus on ‘one last job’ is found in a variety of films; it’s the finale, the climax, the decider of how the story closes, it influenced the fate of Dom Cobb (Leonardo DiCaprio) in Inception (2010). The last and third job of The Town is located in Fenway Park, and by this point we are starting to suspect the pressure on FBI agent Adam Frawley (Mad Men’s Jon Hamm) as the atmosphere escalates and he pursues the men himself with a shotgun. Hamm seizes the opportunity to illustrate a protagonist similar to his Mad Men character Don Draper, and keeps the determination of his team pushing through against the tenderness of the film.
The Town is a mature crime thriller and very conventional with its themes, similar to Ben Affleck’s first directorial hit Gone Baby Gone, again set in Boston. It is primarily about a destructive community of broken men reflecting upon their past. We are staring into the lives of families who have bonded through their weapons and loyalties. Affleck as director allows his cast to shine; Jeremy Renner’s reckless and cocky character from The Hurt Locker (2008) exceeds expectations once again as fierce and stubborn best friend Jem. He has an ability to manipulate MacRay in a way that the audience actually encourages the bad guy to get away from Boston. Gossip Girl’s Blake Lively echoes Helene McCready (Amy Ryan) from Gone Baby Gone as a single mother and Jem’s brother who turns to drugs and is involved with MacRay “all her life”. The audience are the only ones who know MacRay’s secrets, and as we are lead to a powerful moment of discovery between the characters, MacRay draws closer to grasping a better life for himself, in front and behind the camera.
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[Warning: this review contains spoilers regarding the plot and fate of characters]
Playwright Moira Buffini has adapted Posy Simmond’s graphic novel in a contemplative way, so that the audience can consider just how dependent society is on celebrity culture and its ability to ruin relationships. With the conventions of a soap opera such as Eastenders and the over-friendly but tense soundtrack from something like Midsummer Murders, Tamara Drewe’s sleepy hometown of Ewedown comes alive as she makes her return as a provocative beauty with ‘unfinished business’. She appears no longer with a repulsive conk of a nose leading her reputation, but instead a new plastic one which is a leading motif within the film as we watch noses either being stuck in other people’s business, or being broken by angry farmers.
The film is slightly separated into several compact narratives, or problems, a convention often found in romantic comedies such as Valentine’s Day (2010) to establish an engaging and complex story. Gemma Arterton creates a scandal in this small town, similar to the hype she is generating in the film world as she climbs the ladder to A-List heaven. Finally grasping a femme fatale role, Arterton also has the chance to merge her work from the TV series Tess of the D’Urbervilles, an adaptation of Thomas Hardy’s book, as playing a country girl. Her contribution within Lost in Austen also indicates her ability to perform as an emotional character, however, the most admirable female in Tamara Drewe is without a doubt Beth Hardiment (Black Books’ Tamsin Greig). Part of the dialogue is communicated in voiceovers, enabling the audience to discover secrets that the remaining characters are oblivious to, although there is one character, American Glen McCreavy (Bill Camp) who observes and hears all. In one unique scene Beth Hardiment addresses the audience directly by looking into the camera, giving the impression she is treating us as a close friend.
What is so admirable about Beth Hardiment is her blind-eye approach towards her husband’s affairs, as Nicholas Hardiment (Roger Allam) uses their ‘writer’s retreat’ home as a setting for flirtatiousness with avid fans to boost his ego and relaxed crime novelist lifestyle while Beth surrounds herself in homemade delights. Her character is similar to that of Karen (Emma Thompson) in Love Actually (2003) who also ignores her husband’s deceitful actions; despite being unaware it is their ignorance that allows the men to stray in the first place. It would not be appropriate to laugh at Beth’s pain, however director Stephen Frear has made her consequences worsen in an entertaining manner; for example as she finds a picture message on her phone, proceeds to drop her mixture bowl and begins to cry, she also sobs, “I trod in the sponge mix” in a disappointing way, and the reality here dawns that we can all relate to these times of fear, anger and ‘things can’t get any worse’.
The competitive writers’ located at the retreat express the film industry as a whole, as they yearn to be published or even heard of. The small town of Ewedown thrives on celebrity culture as I mentioned, and two gossip girls in particular, Jody Long (Jessica Barden) and Casey Shaw (Charlotte Christie), never seen without a magazine, urge the narrative forward by interfering on a more personal scale, as lustful seventeen-year-old Jody attempts to convince Tamara’s love interest, rock star Ben Sergeant (Dominic Cooper) to return to Ewedown in hope to seduce him herself. This mad obsession initiates a pattern in the film, as younger girls seek love in older men, and is especially apparent when Jody chooses Ben over her only friend, influenced by her fixation with fame. Tamara shows no interest in childhood sweetheart Andy Cobb (Luke Evans) who is technically the film’s prince charming, but instead pursues the more experienced type. It was quite uncomfortable to watch intimate scenes with such an obvious age gap between the characters, much like the romance between Rose (Emily Blunt) and Victor Maynard (Bill Nighy) in Wild Target (2009). As Tamara climbs over a fence in the beginning of the film, Beth says miserably “She’s poured herself into those shorts; I hope they don’t give her thrush” as though she is fighting her ground as all men look on with open mouths, there is some obvious tension between the older women and younger, energetic women in the film.
The film as a whole is fairly sexual. Sex in the pub, the shed, and less adventurously in Tamara’s bed but perhaps not all audiences, specifically older audiences, will appreciate how feisty the film is. They may not approve of the increasingly bad language, either. Dominic Cooper’s indulgence with eyeliner makes his hard-guy drummer appearance appealing to any teenage girls in the audience; in spite of this he is much less romantic than his Mamma Mia! (2008) role. Not only does this film introduce a pressure within our culture in relation to celebrities and keeping up with the ‘goss’, it also makes a statement on appearance in reference to Tamara’s atrocious nose. As if society didn’t have enough to worry about, the more self-conscious consumers of Tamara Drewe may take this part of the narrative on borderline offensive.
On the other hand, those who are familiar with Thomas Hardy and the story of The Well Beloved, where a man is unable to commit to one woman but instead falls in love with three women of the same family in different generations, can apply this story to the themes of Tamara Drewe, as the audience are pulled through emotions of betrayal, confusion, excitement and sympathy. There are gaps left to be filled with our own thoughts; the ending is abrupt and unexplained, leaving myself a little bewildered by the disappearance of continuity. The fate of Beth is left in the air, and a death of one of the characters is the only ‘dark’ part of this comedy and left until the end which was quite anti-climactic. Having not read the original source I cannot comment on how genuine the film was to the novel side of things, but it felt slightly unnecessary to have the seasons displayed to us to depict the passing of time, if anything these were ignored. As a British comedy Tamara Drewe is endearing regardless of the urinating cows, which only illustrates and emphasises the true British countryside.
"Because you'll be dust by Monday... because you'll be pulverized in two seconds. The cleaning lady? She cleans up... dust. She dusts."
If you're a comic fan who truly appreciates the characteristics of a comic going into a film then you will enjoy this, no doubt about it. With what appears to be Pokemon-style battle scenes and captions, along with character titles and colourful cinematography, Scott Pilgrim Vs. The World should have it's own category of awesomeness. It's retro, with a rocking soundtrack and the occasional sound effect you should all know if you were in the Super Mario World generation.
It's geek-chic appeal means that the women going to watch this film will be falling at Michael Cera's feet. Cera always pulls off the role of an indie geek boy well, but in this film he has almost matured a little, as he has move away from home and has his own band, but the way he acts around girls brings out that hesitant and clumsy character we all love. His ability to fight was amazing (even if he runs a bit funny); he isn't your typical superhero, he's just trying to win the thing he wants the most, in this case Ramona Flowers (Mary Elizabeth Winstead). You may not think you've seen her in the acting world much, but she played Lucy McClane in Die Hard 4, and I think she has some strong potential to take up more female leads in the future.
Her hard-to-get but charming personality makes her all the more appealing, and you can begin to understand why she has seven ex's. The only thing I felt that could have gone wrong in this film is the fact we as an audience know Pilgrim must defeat seven people, and then what? A happy ending? I am pleased to say it wasn't that straight forward. There are a mixture of characters, such as Scott's obsessive girlfriend Knives Chau (Ellen Wong) and his gay house mate Wallace Wells (Kieran Culkin) who are full of witty one liners. It was even easy to connect with non-enthusiast Kim (Alison Pill).
By the end of the film there is a lesson learned and underneath is just your typical story of a heartbreaking boy just trying not to hurt anyone. He could easily be your best friend, because the relationship problems he goes through is something we can all relate to. Director Edgar Wright has made this film genuinely funny, but we shouldn't expect any less from the man who also directed Shaun of the Dead (2004). I would say this film is aimed at the teenage generation more than anyone else, it's not something I can imagine my parents going to see because you really have to appreciate the comic elements they've integrated.
Who is Evelyn Salt? Well I'm not going to tell you that silly, go and see it for yourself!
All I will tell you is that she is a very successful CIA agent who decides to run from her work when someone who is brought in accuses her of being a Russian spy. Director Phillip Noyce has done a wonderful job on what is another action packed blockbuster this summer. He is more involved in TV series' than films, but nevertheless, he has portrayed Angelina Jolie as more mysterious than ever, and the film definitely reflects that Jolie has still got it as an actress.
Angelina Jolie has performed in a variety of films since her Tomb Raider days, such as Wanted (2008) and Changeling (2008) but she still has the same sexiness about her as an action woman. The truth is, action films fit Jolie like a glove, and she's always suited the role. The trailer asks us "who is Salt?" but reluctantly, we don't find out until the very end, and even then we are left at an open ending which leaves the possibility of a sequel.
The film itself is full of twists and surprises, it will make you heart skip a beat as something that should have been quite obvious is made truly complex to the audience's eye. The amount of action never falters, there is barely a moments peace, keeping the audience tense. It even throws us into the action at the very beginning with Salt being tortured, which is what makes this film very different to Knight and Day, in that Jolie isn't afraid to get beaten about a little by the boys, whereas Diaz found her skills to fire a gun out of nowhere.
The stunts, explosions, and chases are still easy on the eyes, and brain, unlike Inception, but that doesn't make the mystery of Salt any easier. You would think it would be two hours of the CIA chasing Angelina, but it's not. She toughens up, and despite being seen as the bad girl, she's actually seeking to get revenge. She becomes the woman we all want to be, strong and independent, elegant yet dangerous.
With some familiar faces on the block, such as Liev Schreiber (X-Men Origins: Wolverine) playing Salt's boss Ted Winter, and Chiwetel Ejiofor (Inside Man) taking up another detective-type roll, this action movie can be right up anyone's street. You think you'll know what's going to happen next, but you'll most likely be wrong. I would definitely see it again.
I don't usually comment on anything but the current films out there, but I thought I would share with you why I'm absolutely loving season three of True Blood.
I didn't think this TV series would ever be my cup of tea, it doesn't hold back on the amount of blood and gore, sex scenes, or torture. Surprisingly, three seasons down the line, I'm well and truly hooked. It's nothing like your Edward and Bella romance; maybe it's just as intense and sloppy, but surrounding them is an increase in murders, kidnappings, and an ever growing variety of creatures appearing in little Louisiana.
The series follows the story of Sookie Stackhouse (played none other than Anna Paquin - Rogue in X Men) who lives with her brother Jason and who works in your regular family restaurant owned by Sam Merlotte. The restaurant contains most of the main characters, what with it being a small town, but this makes it easy to keep up with all of them. Then there are the vampires, mainly Bill Compton, who Sookie falls in love with, but they're not all 'good'. You'll meet Eric Northman, and Lafayette Reynolds, who deals out vampire blood. Characters come and go, mostly the really naughty ones, and it usually takes a whole season to explain who or what one character is, making it that much more gripping. Some characters have their own powers, making the humans more likeable, however you won't find out what Sookie's is til season three!
Season three has pleasantly introduced werewolves, and about time really. It's a lot darker, gorier, and you can begin to see the split between the vampires, as some take the humans' side and others such as Russell Edgington (The vamp king of Mississippi) who want to kill off the human race. So if your a Twilight fan but would appreciate a real fight between fang and fur, then get your teeth stuck into True Blood. What's not to like, especially when all the characters are appealing to look at!
Secondly on my discussion agenda, I have recently finished book one of the Wheel of Time series, and can say I actually enjoyed it. It was recommended to me by my boyfriend, and I was a little apprehensive as it sounded too much of a lad's read. Once again, I was surprised, as it turned out to be a better version of Lord of the Rings, as The New York Times describes on the cover:
"With the Wheel of Time, Jordan has come to dominate the world Tolkien began to reveal"
With even more fantasy creatures and places than LOTR, these books are appealing to me because I'm a bit of a fantasy action geek. It's a funny cross between the LOTR films and the Zelda nintendo games. It's old school, swords and crossbows instead of guns, they wear cloaks and hold staffs, and I'm not afraid to say that I miss seeing that in cinema. The thing is with fantasy worlds is that you can go your whole life just pretending to yourself they're real, you can escape from your troublesome everyday life. Considering the Wheel of Time series is divided into twelve books, with two still to come, it's something that will keep you far more occupied than LOTR or Harry Potter. There may be some parts you don't understand, it's a bit overwhelming at first, but once you get the jist, the rest follows. If you really get stuck there's even a glossary at the end of each book!
The point I wanted to get to for anyone that actually reads these books is that there is rumour of films being made for them. I think I accidentally came across this link, but I'm pretty pleased I did! You can read it here:
Knight and Day tells the story of how just an ordinary girl, June (Cameron Diaz) becomes tangled in Roy Miller's (Tom Cruise) mysterious life; slowly being immersed into his 'ordinary' life of guns, chases and a little but very important object called the Zephyr. While all this standard action is going on, June finds herself becoming more and more attracted to Miller, however when she finds out she was just being used, she must make the decision of turning him in or sticking with him.
As an acting duo, Cameron Diaz and Tom Cruise are effortlessly fantastic, they make an elegant eloping couple but it is the storyline that is what lets this film down. The action is non-stop, with a hint of sexual tension here and there, but the action is just your standard bullet-in-chest violence, nothing will really make you think "cor, I bet that hurt". The comedy is tongue in cheek, all the best bits were in the trailers and Cruise's patronising tone just really didn't do it for me. This almost out-law couple film never really gives away why it is called 'Knight and Day' either, despite the use of a small knight figure to hold Miller's secret.
So, I ask myself, are Diaz and Cruise just getting too old for this? Cruise's flash of flesh in the beach scenes could not hide the wrinkles that are starting to appear around Diaz's eyes. When it comes down to what the audience want, it's definitely not older generation actors trying to jump around when they clearly aren't made for the action any more. Not saying they've done their time, but there were plenty of younger actors and actresses that could have made this a sexier and must more aesthetically pleasing film. A bit of a downer on the plot was Diaz being constantly drugged because she couldn't 'cope' in the midst of the action. Alas, it felt like half the action was missing because she was passing out! The audience never saw Miller getting out of a violent situation completely, and just goes to show that Diaz never stopped being the damsel in distress since Shrek.
At times the entire film felt a bit of a joke, almost like a mockery of the whole action genre itself, the way Cruise talked sarcastically in spy terms and the unsuitable soundtrack that meant every gunshot and explosion could be predicted. For a 12A, I expected nothing less, but for Cruise's comeback I expected more. I think James Mangold could have made this film a lot darker, particularly concerning Miller's family who we barely see any of. The plot overall is so simple you won't even need to pay attention half the time. There was far too much CGI and green screen noticeable, it was disappointing because a lot of the stunts on the motorbikes were impressive.
If it was this or A-Team, I would have chosen A-Team. Knight and Day is too easy on the eyes and won't get you thinking like Inception, or even Toy Story 3! Just don't bother unless you really have to.
