A Single Man

 

• Released Internationally on 11/12/09
• Released in Malta by KRS on 24/03/10

 

In a nutshell

Colin Firth gives one of the best performances of 2009 as George Falconer, a gay English professor living in 1960s Los Angeles, trying to get through another interminable day after the tragic death of his partner of sixteen years.

A day in the life

George hates waking up, but not just in the lazy, duvet-loving way familiar to most of us - he feels real pain on having to face another day without the love of his life. The film opens with him dreaming about the recent car accident that claimed the life of Tim (Matthew Goode – Match Point, Watchmen) and one of the couple’s beloved dogs. We only get to know Tim through flashbacks, as numerous trivial events and items in George’s day bring back painful memories of happier times. But after a brief introduction to George and his morning routine, he clearly states that ‘today I have decided will be different’. So begins probably the most important day in his life, and one of the better character studies to grace the screen in recent memory.

Substance

To divulge more of the plot details might detract from the subtle joy of watching George’s day unfold, so I’ll just add that it manages to remain interesting and often enigmatic throughout, largely due to Firth’s performance. The film feels just the right length for its focused subject matter, and the all important black screen signalling the end arrived at the perfect moment, as opposed to many other good films I can remember where I still wished it had arrived a little earlier or a few scenes later. The script skilfully tackles issues of love, loss and finding clarity, and the fact that the couple in question consists of two men is relevant only in that it adds a layer of isolation to George, and possibly a layer of novelty or unease to the audience.

Style

Where the film excels, however, is in the style department. Without taking anything away from the story, acting or issues at its core, it is how these are wrapped up and presented that elevates the film above other similar films. The film marks the directing debut of renowned fashion designer Tom Ford, who also financed and produced the film, and helped adapt the book on which the script is based. It is therefore maybe inevitable that the film looks so great. Set in 1962, the attention to detail is evident in every shot. George himself is clearly a perfectionist – he even knows how he would want his tie knotted for his own funeral - and his lifestyle permits him to dress and live in impeccable style. The cold war era is recreated both at his lavish but now achingly empty home, as well as his neighbourhood and the campus where he works. Each room could have come out of a design catalogue, yet they only feel cold and empty when Ford wants them to, also thanks to his playful and unashamedly obvious use of colour.

Skill

The way in which the necessary information is unveiled is brilliantly subtle. We need no unnatural voiceovers or retrospective montages to glean everything we need to know about George, and to understand why this day is so difficult to get through. The flashbacks of his time with Tim help, but even they are written in such a natural way that you hardly notice how well we are getting to know George. The rest is dropped lightly and seamlessly into his daily interactions, and over the course of a seemingly routine day we are drawn into this wonderful character, in such a way that the ending unfolds superbly.

Who’s in it?

Colin Firth (Bridget Jones’ Diary, Love Actually, Mamma Mia!) is perfect for the main role, and has us in the palm of his hand throughout. Julianne Moore (Boogie Nights, The Hours) is Charley, a past love and now good friend of George’s, who despite being discarded by a husband and a son still cannot comprehend what George is going through. One of his students, however, the insightful Kenny (Nicholas Hoult, who has grown up since starring in About A Boy), may just be the one person who senses George’s isolation. Jon Kortajarena, the face that has sold tonnes of clothes and perfumes, has a brief but significant encounter with George, and gets the best line in the film.

In the end

Released in select locations towards the end of last year, when Avatar was stealing all the headlines, this film was slowly unveiled worldwide around Oscar time, when Firth was getting just praise for his starring role. In its own quiet, sophisticated way, it is filmmaking of the highest order, and one of 2009’s best films.

 

 

Trailer:

http://trailers.apple.com/trailers/weinstein/asingleman/

The Blind Side

• Released Internationally on 20/11/09
• Released in Malta by KRS on 26/03/10

Preview (Published 01/03/10 in VIDA magazine)

In a nutshell

Based on a true story, this film chronicles the rise of a current professional American football player. Growing up as an obese, poor orphan, he shifts from one foster home to another until he is taken in by an affluent family, who help him reach his full potential, while learning a few lessons of their own.

Why we’re hyped

One type of film most people never get tired of is a good sports story. They invariably involve a hopeless underdog, and they invariably leave you with a lump in your throat by the end of it. From the religious racers of Chariots of Fire to the boyish charm of Rudy or the Mighty Ducks, sport has that magical, believable element that can prove moving and inspirational without needing to resort to fancy effects or incredible fiction.

Who’s in it?

Every good sports story needs a good coach, and Sandra Bullock has single-handedly brought this film lots of attention and headlines with her career-best performance as the mother of the family that takes the boy under their wing. At the time of writing, she is looking like the favourite to take home the Best Actress Oscar, unless Meryl Streep cooks up an upset. Quinton Aaron plays the underdog - a certain Michael Oher who currently plays in the NFL for the Baltimore Raven. Kathy Bates (Titanic, Misery) plays his tutor, and the film is directed by John Lee Hancock, who previously wrote the underrated gem A Perfect World and directed The Alamo.

Review (23/03/10)

It’s all good

One of the more straightforward ‘feel-good’ films of the year, this little gem has no reservations about presenting this modern rag-to-riches story in the simplest of fashions, without needing any major bad guys or periods of turmoil to interfere with the hero on his journey. It almost feels too good to be true, which is nothing to be ashamed of considering it’s based on a true story. There’s no doubt that Michael was lucky to be taken in by the Tuohy family, as their combination of altruism and endless resources was just what he needed to reach the heights he did. Some may argue that they could have touched more lives by distributing their donations rather than showering them on him, but that’s their business, so good for them (and him).

Waiting for his smile

Quinton Aaron gives a suitably reserved performance as the troubled ‘Big Mike’, and it works because we only gain access to his words, emotions and true character once the Tuohys do – a slow process of breaking down his defence mechanisms. This makes those moments when he breaks out into a genuine smile worth waiting for, as we realise that he knows full well what this adoptive family is sacrificing for him. Bullock’s performance is a break from her frequent clumsy roles, and she commands most of the screen time as the no-nonsense mum who wears the trousers in the Tuohy mansion and who is more used to showing her teeth than her softer side.

In the end

While many of us non-Americans might be slightly alienated by the lengthy details about American football and Oher’s choice of football scholarship, these are thankfully transcended by the true story of this social outcast who got lucky and had his life turned around by a loving family. We’ve seen it all before, but it’s still stirring to watch.

Trailer:

http://trailers.apple.com/trailers/wb/theblindside/

Shutter Island

 

• Released Internationally on 18/02/10
• Released in Malta by KRS on 17/03/10

 

Preview (Published 01/03/10 in Vida Magazine)

In a nutshell

The scene is a psychiatric hospital on an island, in 1954 Boston. A patient has escaped, and is assumed to be somewhere on the island. Since she has a dangerous history of multiple murders, two police officers are sent in to investigate. As tends to happen in these situations, a spot of bad weather cuts them off from the mainland, and they start to uncover much more than they bargained for.

Why we’re hyped

Based on the above synopsis, one could easily predict a cheap thriller. Three factors, however, elevate the expectations slightly. Martin Scorcese, Dennis Lehane, and the cast. Scorcese, easily one of the greatest directors alive, has more great films to his name than your average DVD library. He could probably announce that he’s making ‘The Accountant’ and we’d still expect a modern classic. In this case, though, he has a great story to work with. Dennis Lehane’s gritty Boston-set police thrillers have been made into the excellent Mystic River and Gone Baby Gone, and this is one of his more acclaimed novels. The cast is quite impressive too.

Who’s in it?

Leonardo DiCaprio has now starred in three of Scorcese’s recent films, giving some of his best performances in The Departed, The Aviator and Gangs of New York. He plays a US Marshall, and is paired with Mark Ruffalo (Eternal Sunshine of the Spotless Mind, Zodiac). Rounding off an impressive cast that only a big name like Scorcese could have attracted are Ben Kingsley, Emily Mortimer, Michelle Williams, Max von Sydow and Patricia Clarkson.

 

Review (16/03/10)

Like putty in his hands

Some trips are so thrilling or so much fun that the destination is secondary. Like a Monty Python sketch that is so funny throughout it doesn’t need a punch-line, this film should provide a classy thrill ride, irrespective of whether you feel fully satisfied or not by the ending. From the very first frames it is obvious that we are in the hands of a seasoned, skilful director. Scorcese wields his directorial power confidently and with flair, using numerous devices to unsettle us in our seats. Extended dream sequences, prominent use of darkness and light, odd-looking characters that act even odder – they are all part of Scorcese’s palette, and he uses them without overdoing it. He then paints over all that he has created with stark colour and visual effects, and grandiose, atonal music. The acting is faultless, adding greatly to the sense of unease and uncertainty as we watch it grow on the faces of the protagonists. The result is a joy to watch, and a complex thriller that deserves repeat viewings. There is maybe too much spoon-feeding in the exposition phase of the film, but we are at least left with a final question mark rather than a shut case.

Not perfect, not even Scorcese's best, but easily the best film of 2010 so far.

 

 

Trailer:

http://trailers.apple.com/trailers/paramount/shutterisland/

Brothers

 

• Released Internationally on 03/12/09
• Released in Malta by KRS on 10/03/10

 

In a nutshell

Sam and Tommy are brothers. Sam is a marine. Sam has a hot wife. They have two lovely girls. Tommy is a dropout. Tommy just got out of prison. Sam goes to war. Sam dies. Tommy consoles his wife and kids. They warm to him. A lot. But Sam isn’t really dead.

Brother A

Sam (Tobey Maguire – Spider-man, Seabiscuit) is the apple of his father’s eye. An accomplished captain in the marines, he was always the athletic type. After marrying his childhood sweetheart, a cheerleader, he settles down to raise two delightful daughters, but he constantly yearns for new missions and assignments with his men, and is about to be deployed to Afghanistan. This all sits very nicely with his Vietnam-veteran father, Hank (Sam Shepard – The Right Stuff, Black Hawk Down).

Brother B

Jake Gyllenhaal (Brokeback Mountain, Donnie Darko) plays Tommy, whose list of achievements is slightly less commendable. After serving time for armed robbery, he is back in the family picture without an address, car, job, or the respect of his father. Sam believes in him, but Sam’s wife sees him as a nuisance, and isn’t too happy to have him around the children. He tries his best to behave well, so as to reduce the tension during family meals, but he’s not used to following the rules.

Amazing Grace

Sam’s wife, Grace (a luminous Natalie Portman – V for Vendetta, Closer), is clearly in love with her husband and kids. She hates it when he flies off to war, but understands that her pleas to keep him home will never go beyond the joking stage. When two uniformed officers show up at her door, barely one day into his latest mission, her world comes crashing down, and she struggles to keep her family going as the whole town mourns the fallen war hero.

Making amends

Shell-shocked and helpless, Grace finds unlikely support in Tommy, who sees a chance to redeem himself in the family's eyes, and ropes in some friends of his to revamp the kitchen, providing loads of entertainment for the children in the process, and giving Grace some time to think and soak it all in. He even seems to be heading for some reluctant approval from his father, and for once he feels useful. The children grow to love him, and like a rabbit in headlights we watch as the inevitable unfolds.

Only the dead have seen the end of war

Whilst offering few surprises or novelties in the central relationship triangle, the film is a powerful indictment of the lasting effect on war on those exposed to its harsh hand. Maguire transforms before our eyes as he cracks under the horrors of captivity in Afghanistan, and when he finally returns to home soil he is very evidently a traumatised and changed man. Maybe the only person who can understand him is his father, though we never learn the extent of what he had been through in Vietnam. Grace and the children are confused and wary as to how to react to this eerily silent new version of the main in their life. Maguire's excellent restraint builds and builds as his audience, both off-screen and on-screen, wonder whether he will ever reveal what he saw and did that has reduced him to this. His suspicions about Tommy could well be a breaking point, but they are merely a symptom, not a cause.

Trilogy

War films continue to flourish and the rich subject matter continues to provide ample material for great storytelling. This year was no exception, and this film complements two other great films that together tackle three connected aspects of present-day war. The Hurt Locker focused mainly on the addictive aspect of war, and comes to mind as Sam seeks to sign up for repeat missions, despite being fully aware of what lies in store. War is a suitable escape for those who are too changed to return to normality. The Messenger was another excellent 2009 offering, and had at its core the nasty job of informing relatives about deceased soldiers, just as two officers knocked on Grace's door. It also delved into the turmoil one feel's when he returns as a hero, although deep down he feels anything but. Sam is hailed as a hero, but we know he will never be one, and he will carry his emotional scars for life.

In the end

Based on the 2004 Danish film with the same name, this is a well-acted remake, which is very topical and worth some thought. Tobey Maguire is startling to watch at times, and he shows a range often overlooked in earlier roles. The child actors, so crucial to the story, are also impressive. Don't expect any fresh take on the relationship side, but the message about war is undiluted and well-conveyed.

 

 

Trailer:

http://trailers.apple.com/trailers/lions_gate/brothers/

Oscars for 2009

 

• Best Picture: “The Hurt Locker” Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro
• Best Director: “The Hurt Locker” Kathryn Bigelow
• Best Actor: Jeff Bridges in “Crazy Heart”
• Best Actress: Sandra Bullock in “The Blind Side”
• Best Supporting Actor: Christoph Waltz in “Inglourious Basterds”
• Best Supporting Actress: Mo’Nique in “Precious”
• Best Original Screenplay: “The Hurt Locker” Written by Mark Boal
• Best Adapted Screenplay: “Precious” Screenplay by Geoffrey Fletcher
• Best Foreign Language: “The Secret in Their Eyes (El Secreto de Sus Ojos)” Argentina
• Best Animated Film: “Up” Pete Docter
• Best Documentary: “The Cove” Louie Psihoyos and Fisher Stevens
• Best Cinematography: “Avatar” Mauro Fiore
• Best Art Direction: Avatar” Rick Carter, Robert Stromberg, Kim Sinclair
• Best Costumes: “The Young Victoria” Sandy Powell
• Best Editing: “The Hurt Locker” Bob Murawski and Chris Innis
• Best Score: “Up” Composed by Michael Giacchino
• Best Song: “The Weary Kind”(Theme from Crazy Heart) Ryan Bingham and T Bone Burnett
• Best Makeup: “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
• Best Visual Effects: “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham, Andrew R. Jones
• Best Sound Editing: “The Hurt Locker” Paul N.J. Ottosson
• Best Sound Mixing: “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
• Best Animated Short: “Logorama” Nicolas Schmerkin
• Best Live Action Short: “The New Tenants” Joachim Back and Tivi Magnusson
• Best Documentary Short: “Music by Prudence” Roger Ross Williams and Elinor

Alice in Wonderland

 

• Released Internationally on 05/03/10
• Released in Malta by KRS on 05/03/10
• Showing in ‘RealD’ 3D at Empire Cinemas, Buġibba and in 2D everywhere else

 

Preview (Published 01/03/10 in Vida Magazine)

In a nutshell

The eccentric, visionary and often brilliant director Tim Burton teams up with his frequent collaborator Johnny Depp to give us their version of Wonderland (and it’s in 3D too).

Why we’re hyped

Tim Burton’s films share a few wonderful characteristics – they’re usually great fairytales filled with memorable characters, and bursting with flair and colour. Whether it’s his retelling of Charlie and the Chocolate Factory, the excellent tall tales of Big Fish, or his dark gothic imagining of the story of Ichabod Crane in Sleepy Hollow, you can usually tell you’re in the hands of an enthusiastic storyteller. Lewis Carroll’s classic seems like a perfect fit, since the pages of the book overflow with strange scenes, oddball creatures and a general feeling of disorientation. Many of our mental images of the characters come from the Disney version, so it will be interesting to see Burton’s darker and dreamier version.

Who’s in it?

Johnny Depp, ever the chameleon, gets to act even crazier than Jack Sparrow this time around, since he’s hosting a tea party as the Mad Hatter. Burton’s partner and other frequent casting choice Helena Bonham Carter (Big Fish, Fight Club) will be screaming orders as the Red Queen, and rising star Anne Hathaway (Rachel Getting Married, The Devil Wears Prada) will try to balance matters out as the White Queen. Veteran comic Stephen Fry (The Hitchhiker’s Guide to the Galaxy, Wilde) will lend his soothing voice to the Cheshire Cat, whilst Alan Rickman (Harry Potter’s Snape) will lend his to the caterpillar. Michael Sheen (The Queen, Frost/Nixon) will be keeping track of the time, as the White Rabbit, and a partially recognizable Matt Lucas (of Little Britain fame) will be doubling as both Tweedledee and Tweedledum. Crispin Glover (Back to the Future, Willard) will be the Red Queen’s henchman, whilst the size-shifting role of Alice goes to the young Mia Wasikowska (Defiance, Amelia).

 

Review (04/03/10)

Alice in England

The film starts off with a real-world prologue, which is one of the many alterations to the classic tale introduced by scriptwriter Linda Woolverton. Rather than feeling like necessary filler material before Alice goes tumbling down the hole, these scenes of Alice’s real life are funny and entertaining, and cleverly add depth and motivation to Alice’s character. As expected, she then catches sight of the punctuality-obsessed white rabbit, and down she goes. From then on things may seem familiar, but there’s one important difference to the proceedings, which I won’t spoil for you in case, like me, you only realise once Alice herself does.

Quite a character

The film benefits from being a re-imagining of a tale that has entered into public consciousness and many viewers may feel right at home once the famous inhabitants of Wonderland start appearing on the scene. Carefully altering the previous Disney versions without straying too far from the original descriptions and illustrations, the characters are beautifully brought to life by a mix of CGI, borrowed facial features and the superb voice cast listed above. Soon after her arrival, Alice meets the wise caterpillar, who is allowed to smoke in public places, as well as the Cheshire Cat and his transparent methods. The list goes on. There’s even the Jabberwocky, a bad-tempered dragon-like creature from Lewis Carroll’s poem by the same name, who brings a touch of drama and danger to the film’s finale, also thanks to the gravelly voice of Christopher Lee.

Plotting her course

Another noticeable departure from previous versions is the obvious attempt to organise her dreamy encounters into more of a linear story, as opposed to the often random dreaming that Carroll presented. This gives more of an active role to Alice herself, as well as to Depp’s Mad Hatter. Her eventual adventure and contribution to Wonderland may seems similar to what we saw in Narnia recently, although to be fair these queens were barking their orders long before the White Witch ever graced a page.

Not so wonderful

Despite nailing the appearance, environment and encounter of each of Alice’s Wonderland encounters, the end result isn’t as great as the ingredients made me hope for. It’s all fun and it looks great, but when things come to the boil and Wonderland is at stake, do we care? I felt very little sympathy or attachment towards most of the characters, with the exception of the poor Hatter, whom Depp manages to instil with humanity beneath his insane glazed eyes. Only Alice herself and the Hatter get enough screen time to warrant a response, and ironically for a film so obsessed with queens and knaves and cards and spades, I felt it lacked heart. The 3D didn’t impress much either, although Avatar is admittedly a tough act to follow. Apparently shot in 2D and converted in post-production, I don’t imagine this film would lose much if you opt to ditch the fancy glasses.

In the end

As an attempt at creating a fantasy adventure, the film falls slightly short. But as a whimsical dream full of colourful characters, this film is an ambitious and dazzling live-action portrayal of Lewis Carroll’s vivid imagination. They don’t write fairytales like this anymore, and this version will probably make you want to dig out your old copy and give it another read.

 

 

Trailer:

http://trailers.apple.com/trailers/disney/aliceinwonderland/

The Hurt Locker

 

• Released Internationally on 26/06/09
• Released in Malta by KRS on 03/03/10

 

Nutshell Review

It’s hard to sit back and look at this film objectively because of all the intense hype and acclaim surrounding it. By this time next week, it’s quite possible that it would have struck gold at this year’s Oscars, slaying the mighty Avatar in the process. Yet even if it somehow ends up empty-handed, it already has long lists of awards in the bag. Which is quite a feat for a low-budget, bare-knuckles film which only made a slight dent at the box-office.

Don’t get me wrong – this is a great film. But I wasn’t exactly blown away, if you’ll excuse the pun. It’s an intimate look at a three-man unit of bomb disposal experts in Iraq, and it sets out to show one facet of war, which is how addictive it can be. This is clearly stated at the opening – “War is a drug”, and it is masterly portrayed during the course of the film, especially the excellent coda. Other than that, there’s not much of a story, but rather a series of tense and brilliantly-crafted sequences which expose the hurt and humanity of this ongoing war. Kathryn Bigelow’s direction is meticulous throughout, and she deserves all the praise she is getting. I wouldn’t say it’s as superb a film as all its awards make it out to be, but it’s still a great piece of work.

 

 

Trailer:

http://trailers.apple.com/trailers/summit/thehurtlocker/