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Reviews
Ricky (2009)
intriguing blend of obsession, sibling rivalry and magical realism
I saw this today as part of the Alliance Francais film festival in Brisbane.
While not Ozon's best effort (for me Swimming Pool remains his masterpiece) this is an intriguing whimsical story with disturbing undertones of obsession and sibling rivalry.
The story really makes most sense when considered from Lisa's point of view (a powerhouse performance by the young actress here). I took the fantasy aspect of the story to be a metaphorical expression of integrating new members into a tightly knit family of two (and not just Ricky either). This magical realism is very strongly grounded in the emotions of the characters and this is what gives the movie impact in spite of its imperfections. Ozon likes operating on the boundary of fact/fiction mind/reality, and takes huge gambles here which don't always come off--but in the moments they do the film is very satisfying.
The Lovely Bones (2009)
Thoughtful, spiritual and visually beautiful film
I saw this tonight in spite of the negative reviews that have been pouring out on various forums.
Scratching my head to try and understand the vituperation against this movie, which seems to be for two main reasons:
1) Peter Jackson chose not to include the rape scene on screen.
2) Apparently there was too much CGI used to convey Susie's spiritual experience of the 'in between'.
Before I go further I'll make it quite clear that I feel this is neither a perfect film nor Jackson's best work. It's obvious Mark Wahlberg's part has been edited down and I can't help wishing Gosling had been able to stay on in the role of the father. He would have brought an emotional depth to the role which Wahlberg lacks. However, in the scenes that were included I didn't have a major issue with Wahlberg's performance. The rest of the cast were very good, except for the girl who played Holly who was not a particularly good actor.
People claim that Jackson has dishonored Sebold's novel by choosing not to show Susie's violation and death explicitly on screen. I think the opposite. Jackson has understood that whatever he tried to film would be inadequate to convey the horror of such an intensely personal violation. Those who have read Sebold's novel will no doubt remember that while she makes it clear what has happened--most of it is expressed by suggestion and metaphor rather than blow by blow descriptions. Jackson, in my view, rightly felt not only that we do not need to see blow by blow details but was perhaps concerned that from a victim's point of view it might actually be disrespectful to try and do so? I'm not trying to speak for anyone, just batting around ideas.
As for too much CGI; for me this was not an issue at all. Jackson has a terrific visual imagination and this greatly enhanced and helped to convey Susie's struggle to come to terms with what had happened.
Perhaps Jackson's purposes in making this film simply did not match the majority of viewers' expectations. However, even when his movies don't totally work, for me they are never boring.
Lars and the Real Girl (2007)
walks an emotional tightrope with astonishing finesse
This is not a perfect movie--and may be too uncynical about ourselves and our world for the taste of some.
For me, however it was an unqualified pleasure to see a director, screen writer and cast bring a story to the screen that could have gone horribly wrong in any number of excruciating ways, and actually pull it off.
Nine actors out of ten would have run a mile from playing Lars, and wisely so, as Ebert points out. Thank goodness for Gosling's willingness to take the risk--the result is a performance which is a study in the art of understated acting. The effortless grace with which Gosling inhabits the role makes it seem a deceptively simple accomplishment--in reality it is anything but; Lars could easily have become pathetic, ludicrous, or irritating. Gosling balances between comedy and pathos with the skill of a tight-rope artist and never falls off the edge.
See this film if you like movies that are different and ambitious--in this case recklessly so, but the risk pays off handsomely in my view.
The Dead Girl (2006)
one of the best US films released in Australia this year
Since Reign Over Me, this film has, in my opinion, been the best non mainstream American feature film to be released in Australia.
The five stories are in some cases only loosely connected; it is clear, though, that each of the women featured, the stranger, sister, wife, and mother, like the 'dead girl' of the title are also in some sense dead. Her death sparks a new lease of life for each of these other women, in different ways. It seems there are a lot of women walking around who might as well be dead, and the movie is rather scathing about the possibility of positive relationships between men and women, choosing rather to focus on women's relationships with each other and the things that damage them psychologically. Very thought provoking stuff.
Noise (2007)
Best Australian Crime thriller since "Two Hands"
I thought this movie was exceedingly well written, plotted and acted, without trying to explain everything or tie up everything at the end. The characters were engaging, and the performances convincing.
The cinematography, music, sound effects and other elements of the movie all come together to enhance the way the story unfolds for the viewer.
As is characteristic of "Two Hands" (the film I see as its predecessor in many ways), this movie is able to examine some very painful subjects and situations yet interlace this with moments of genuine humour. You wouldn't think it would work, but somehow it does.
Some viewers may be a teeny bit frustrated by the ending, but I won't say any more than that.
A much better film than the recent "Solo"; I am very interested in any future work that Matthew Saville may do.
Half Nelson (2006)
This is what movie making should be about
I was one of the lucky ones to get a free ticket to a preview of this film prior to its release in Australia
As far as I'm concerned, out of the five performances nominated for best actor this year, wonderful though Forrest Whittaker was, Ryan Gosling's performance blows Whittaker's right out of the water. Very hard call between Gosling in this film and Peter O'Toole in Venus in terms of outstanding acting in a difficult and provocative role.
Particularly amazing scenes include the moment when Drey, the young student first finds Dan in the female toilets at the school, shaky and on the verge of collapse from drug use.
Another is when he attempts to tell Frank, a local dealer, to stay away from Drey.
For me the emotional centre of the film comes at the moment when Drey walks in on one of Dan's 'rave' parties and they look at each other for a brief moment as the money changes hands. So much is communicated without the use of a single word.
Dan's speech about the dichotomies evident in Western thinking and the East's ability to accept paradox, imperfection and contradiction seems to encapsulate what the movie is trying to say.
Nevertheless this film is fearless about leaving all kinds of things unresolved at the end of the story, and it works because the screenplay is excellent.
Wish the Americans would make more movies of this kind--provocative, thought provoking stories about real people living real lives will always find an audience.
Little Children (2006)
Who are the real adults?
This film is delicately crafted, intelligent and thought provoking.
As the title suggests, the story involves children, but not in any conventional sense. A common modern reality is explored: there are many so called adults in the world who have never crossed the bridge of thirteen in their emotional lives.
This movie also poses a number of painful questions to the viewer.
What factors do each of us have in our lives that hinder us from maturing? What things help us to mature? Why does the current generation have much more difficulty taking on adult responsibility than previous generations? Finally, who are the real adults? Are children as immature as is commonly thought. This story suggests not.
From the opening shot to the final frame, a great deal of care has gone into the making of this film. As a result, it is a true delight to watch.
Stranger Than Fiction (2006)
death and taxes...
Being a huge Emma Thompson fan, I decided I had to see this one. I wasn't disappointed. Will Ferrell does very well in a part that's more serious than the roles he usually tackles, and Maggie Gyllenhall and Dustin Hoffman clearly enjoy their roles.
A movie that reflects on all sorts of issues--isn't real life almost always stranger than fiction? Why is it that we expect a story to be a comedy or a tragedy? And why is it that people seem to think they can get out of dying someday, whenever or however it happens. Overall, this is an interesting interpretation of the Benjamin Franklin quote that death and taxes are the only things that are certain in life.
For those who like movies that are funny and intelligent.
Babel (2006)
Best movie I've seen all year
I didn't quite know what to expect when going to see this movie. I was deeply moved by and became involved in all three of the stories presented. The various actors are excellent, especially the young deaf-mute Japanese girl, who brings a combination of vulnerability and realness to her work that is simply breathtaking.
Despite being complex, because of the interveaving stories and the necessity of filming in a number of languages, the film fits together well.
This movie won't be for everyone. It is, however, unique; a mesmerising meditation on communication/miscommunication, and how this leads to potential misunderstanding as well as beautifully redeeming moments when people do connect with each other for the first time.
Marie Antoinette (2006)
French Court a la Hollywood
Sofia Coppola has produced another interesting and enjoyable offering, though her best effort for me remains "Lost in Translation" Marie-Antoinette displays her usual masterly creation of atmosphere--a world so artificial it is difficult to be convinced of its reality. Yet don't we see such a reality every day around us, in Hollywood? In the end I think Coppola suggests that the public's image of Marie Antoinette and the disjunction between their image of her and the real person is just as great as that of actors who achieve fame in Hollywood and become grist for the rumour mill.
If you like movies with lots of action, Coppola is not the director for you. If you're drawn to thoughtful movies that rely more on the creation of atmosphere and development of character, you will enjoy this movie.
La tigre e la neve (2005)
Give this one a go
Despite the critics' uncertainties about this one, and despite the fact that it isn't as brilliant a film as "Life is Beautiful" this one is still definitely worth watching. Benigni gives a genuinely compassionate performance; his humour heightens the effect of the pathos rather than detracting from it. I also enjoyed the fact that everything is not tied up in a neat little bow at the end, although you can guess at what will probably happen.
For some people, Benigni may be too over the top; for others this very exuberance will make them smile. If anything in this movie he has matured as a performer; the serious scenes are well done and believable throughout.
Shame if this one dies due to mixed reviews; its certainly more enjoyable than your average Hollywood pulp.
The Queen (2006)
Quirky and thought provoking
Helen Mirren is unquestionably the star of this show, giving a performance that is remarkable for her refusal to play on our sympathies. Nevertheless, by the end of the story, the viewer has caught a glimpse of the real person who has been the Queen of England for more than 50 years.
James Cromwell is a delightfully bumbling and insensitive Prince Phillip, and the other cast members are also very good.
Worth seeing for Mirren's performance alone; however, this is also a well directed movie with excellent support performances and a smart script which sensitively charts the Queen's realisation that times have changed and she has not changed with them
Jindabyne (2006)
its in the little details...
Saw this movie today; there were a number of things I liked about it.
Laura Linney and Gabriel Byrne were both excellent in the leading roles, and gave their characters real complexity and depth.
This movie is one of those that doesn't give you many answers. Some viewers might find this frustrating. The solution to the mystery is clearly implied, though never explicitly stated.
The story as told in the movie takes in far more than the mystery that forms the heart of it, though. The way modern society constructs and negotiates political correctness is subtly explored. So are the different coping mechanisms people have in place for getting through trauma or grief, and the line between protection and telling the truth, and how the truth so often gets slanted with the best intentions.
This movie isn't Lantana, but a Lantana comes along only once in a blue moon.
Well worth seeing for people who like complex, subtle, character driven drama for their movie fare.
Wah-Wah (2005)
bittersweet and thought provoking debut
I have been interested in Richard E. Grant as an actor since seeing him in Jack and Sarah--he brought a sensitivity to his role that not many actors are capable of.
Hearing that his directorial debut was finally to be released here, I was eager to see it, especially since Emily Watson, Gabrielle Byrne, Julie Walters AND Miranda Richardson all make an appearance. Watson in particular is delightful as the effervescent Ruby, and didn't try to overdo the American accent. As a result I felt it was more convincing.
This movie alternately had me laughing, cringing, or on the edge of tears. It is both starkly honest and graciously sensitive at the same time. The treatment of the colonialism issue was interesting as well, since the movie included a variety of viewpoints (I didn't get the impression that the father was particularly racist for example). "Wah Wah" as an expression sums up perfectly the most annoying characteristics of colonial Britain. We watch a family breaking apart, at the same moment as an empire is also breaking apart. The juxtaposition of these events raises questions about national identity and personal identity, and how each is formed by and dependent on the other.
One of the best movies I've seen this year.
Caché (2005)
a movie with considerable 'cachet'
This remains one of the most interesting films I have seen in recent years.
Many reviewers have pointed out the references/allegorical treatment of the French/Algerian relationship; to me Hanake is going much further.
When I first watched this movie, I was caught up in trying to work out who had sent the video tapes.
About half an hour after watching, I realized that Hanake has pulled one of the cleverest hoaxes a director has ever perpetrated on an unsuspecting audience.
There is no possible way that ANY of the characters could have sent the tapes; the movie is deliberately filmed this way. I think Hanake is reflecting on the moral imperatives of movie making; observing his characters in a way reminiscent of Brecht's plays; insisting on making his characters aware that they are being closely and intimately observed, and only succeeding in terrifying them.
Even the final scene echoes what happens at the end of a movie in a cinema--the steps could be seen as a row of cinema seats, with people gradually walking away and dispersing.
This is one it is necessary to see with someone whom you can debate it with for a couple of hours after-wards.
Separate Lies (2005)
a subtle piece about real people
I have to admit I have a particular penchant for the humor and story telling style of British movies, though not all of course, succeed.
This film made me think, and left me in the end with a quiet smile on my face. Its about character development and relationships, truth and lies, and whether love is sometimes simply not enough. Some very nicely understated acting from all the participants, especially the two leads, Tom Wilkinson and Emily Watson.
There was a lot of fuss made about Gosford Park, but with this piece I feel Fellowes has actually produced a better movie, though it has not been a mainstream release.
An intelligent mature story about real people who are undeniably flawed, but also capable of acts of genuine graciousness.
The Da Vinci Code (2006)
fiction based on fiction
My mother and I decided to see this movie last night, out of curiosity.
I have not read the book, my mother has. Both of us ended up wishing we had not decided to sit through this painfully tedious, laughably inaccurate tripe.
To be honest, I was greatly disappointed. I had heard a great deal about how, despite the glaring inaccuracies in the story relating to art and religious history facts, it is a well paced, exciting story. I was expecting to enjoy the movie as a thriller.
Perhaps the screenplay did not do justice to the novel; yet people who have read the book and reviewed the movie claim it is fairly faithful to the elements of the plot in the book. I remain incredulous as to why on earth anyone would take this story as fact? It didn't even allow me to suspend my disbelief for the sake of the story, let alone convince me that the things it claimed could have happened.
Having said all of the above, Ian McKellen and Paul Bettany in particular do all they can to enjoy their roles. The failure of the movie is not related to the quality of the actors; it is simply that they had so little good material here to work with
War of the Worlds (2005)
not Spielberg's best but still delivers
Let's get a couple of things straight.
I wouldn't say "War of the Worlds" is Spielberg's best movie, but there were lots of things I liked about it.
1) It is NOT just another "Hollywood disaster epic".
2) The humans don't come up with a way to vanquish the aliens at the last second.
3) The special effects (though EXCELLENT) are not allowed to overwhelm the story of one family, which is what it's really about.
4) BECAUSE its about one family, and Spielberg allows us to get to know them, we actually CARE about what happens to them, unlike the characters in "The Day After Tomorrow", who were distinctly underdeveloped for the sake of the action.
5) Spielberg's use of pacing; he knows just when to let the viewer breathe, and when to ramp the tension up again; movies like "Charlie's Angels II" leave me feeling numb because there is no letting up on the action and eventually you get to the point where you can't respond any more.
6) Creative use of shots and attention to detail; Spieberg can tell us so much in a short amount of screen time. The beginning sequence, of the drop of water on the leaf, turning into our earth, turning into Mars, which turned into the red traffic light, for one; beautifully done. His use of mirrors, and framing shots through broken window panes. Also his use of the birds; as soon as Rachel sees the birds flying away in a panic in the boat scene, we KNOW the boat won't be making another trip without a word being said!
7) No famous landmarks getting demolished.
8) Dakota Fanning's acting.
Granted, the ending felt rushed; it is however faithful to the ending of the book, if less developed.
I trusted Spieberg to make this movie far more than another "Independence Day" or "The Day After Tomorrow". As far as I'm concerned, he delivered, even if he didn't do so perfectly.