Last Chance Harvey

 

• Released Internationally on 25/12/08
• Released in Malta by KRS on 15/07/09

 

In a nutshell

Harvey is going through a rough patch. Kate has just about given up on love. They bump into each amidst the bustle of London and thanks to some perseverance on Harvey's part an unconventional love story takes its first steps.

Not the best of weekends

Having given up his dream of becoming a jazz pianist, grey-haired Harvey pays the bills by composing jingles, but a batch of fresh composers risk making his job obsolete. He travels across the Atlantic for his estranged daughter's wedding, only to find that she has asked her stepfather to walk her down the aisle. Trying to drown his doldrums in an airport bar, he strikes up a conversation with Kate, and despite her best attempts to read her book, he keeps it going.

Who needs Paris?

Along with the two central characters, London is very much on display as the setting for their awkward romance. Like Love Actually, Notting Hill, Wimbledon and many others before them, there's something familiar and (ironically) warm about romantic comedies set along the Thames. As they stroll down the South Bank or rush through Heathrow, it all seems extremely believable and natural.

Who's in it?

The main strength of this unpretentious tale is watching two veteran actors at the top of their game as they feed off each other with ease. Dustin Hoffman plays the withdrawn, clumsy Harvey who's ready to drop everything for a chance to bring love back into his life. Emma Thompson is the very British Kate who has lost faith in men as a species and resigned herself to a life of caring for her widowed mother (veteran actress Eileen Atkins) and escaping into trashy novels for her dose of romance. That the spark between them lasts the weekend is a testimony to the high-calibre acting and the well-written script. Director Joel Hopkins makes an impressive mainstream debut as both writer and director, and allegedly wrote the story with these two main actors in mind.

In the end

It's all very predictable and if you've seen the trailer than you've seen most of it, but the effortless acting makes this romantic comedy stand out.

 

 

Trailer:

Trailer in High-res Quicktime

 

Traitor

• Released Internationally on 27/08/08
• Released in Malta by KRS on 27/05/09

In a nutshell

In the same vein as the recent Body of Lies, The Kingdom and Syriana, this film offers yet another view into the war on terrorism, by focusing on a handful of individuals and incidents which are clearly an important part of the global picture. The difference here is the positive light shed upon Islam, and the clear message that it is individuals who are the enemies and heroes in this war, not entire religions or nations.

What lies beneath

Samir Horn is a complex character. A devout Muslim, half Sudanese and half-American, he was educated and trained in the USA, and seems to be motivated by the memory of looking on helplessly as his father was killed in a car bomb. After the explosive prologue we first meet the adult Samir as he trades weapons in Yemen, and ends up in a local jail with poor prospects of getting out. Given a lifeline by the FBI, he calmly refuses to cooperate, but eventually manages to get out anyway. Never falling off their suspect list, his involvement in the ensuing terror attacks is often uncertain, and both the FBI and the audience are left guessing what sort of rage lies beneath his cool exterior.

Who’s in it?

The story was originally conceived by Steve Martin, who besides his prolific acting career has also contributed his writing skills to many of his projects including Roxanne, Bowfinger and the recent Pink Panther sequels. He also adapted his own novel, Shopgirl for the screen, and this time around the film owes much to him due to the clever concept of a main character that could easily fit in on either side. His co-writer, Jeffrey Nachmanoff (who also wrote The Day After Tomorrow) got promoted to director during the course of the film’s production, and he delivers the goods with a snappy, engaging and character-driven film. Don Cheadle (Crash, Hotel Rwanda) stars as Samir Horn, and proves to be a handful for the pair of FBI agents portrayed by Guy Pearce (Memento, L.A. Confidential) and Neal McDonough (Desperate Housewives, Flags of our Fathers). His friend and ally in the terrorism underground is Omar (Said Taghmaoui - The Kite Runner, Three Kings) whilst his contact on the other side seems to be Jeff Daniels (The Hours, Good Night and Good Luck).

“The Truth is complicated”

Much like the above-mentioned Body of Lies, a convincing element of the plot is the mixing of scenes from the streets of the Middle East and from the offices of the US with scenes which we outsiders can recognise from the news, thus suggesting a possible back-story for certain events of this decade. And although this particular angle of the story might be a flight of fancy, it tries and often succeeds to skirt around the usual negative image of Islam related to these incidents. Samir’s religious convictions seem to be at odds with his actions, but as events unfold we start to understand whether he is indeed a holy man, or an extremist. But even when his role becomes clearer, the film reserves a few twists for the end and manages to remain entertaining until the credits roll.

Trailer:

http://www.apple.com/trailers/independent/traitor/ (High-res QuickTime)

Rachel Getting Married

• Released Internationally on 31/10/08
• Released in Malta by KRS on 25/03/09

In a nutshell

As you may have suspected, Rachel is getting married. What you might not know though, is that Kym, her whirlwind younger sister, is taking a break from her rehab program to come join the festivities. With everyone under one roof for the wedding weekend, familiarity just might breed contempt.

Here comes the bride

Maybe it’s because we’ve all been to at least one, or maybe it’s because they are recognizable across cultures and religions, but there’s something immensely watchable and absorbing about weddings on the big screen. From Four Weddings and Funeral to Wedding Crashers and from Love Actually to Braveheart, weddings (and funerals) have provided some of the most memorable and amusing scenes of the past two decades. And this time around, the wedding dominates from the first frame to the last, with a constant flow of emotions, both high and low.

Home video

The film is shot in a seemingly home-made fashion, without adding too much Hollywood gloss to the proceedings, or stooping to the distracting hand-held camera antics that were needed for Cloverfield or The Blair Witch Project. It works by adding an extra sense of realism to what is essentially a very intimate and very private look at family dynamics over a urbulent weekend. It often feels like you’re prying on someone else’s soul-bearing moments and thankfully the dysfunctional family in question has more than enough going on to keep us involved.

Shiva the destroyer

While Rachel’s name is on the invitation, the film is very much about Kym, and their relationship with each other and their estranged parents. With an unstable history of substance abuse and worse, Kym has long been the black sheep of the family, and her return is met with both affection and an underlying hesitancy and caution. Every one of the many guests knows or gets to know what she’s been through, so she tries her best to wear a brave face and enjoy the festivities. But sibling rivalry inevitably creeps in when the focus of attention isn’t always the lady in white.

Who’s in it?

Director Jonathan Demme is no stranger to bringing out the best in his cast, with Silence of the Lambs and Philadelphia under his belt. He doesn’t disappoint here, and the above-mentioned sense of realism owes as much to the camera-work as to the seamless performances from the entire cast. Anne Hathaway (The Devil Wears Prada, Brokeback Mountain) plays against type and is excellent as Kym, to the point that by the time she gets up to speak during the rehearsal dinner, you’re as wary as the guests about whether she’ll say something grossly inappropriate. Relative newcomer to the big screen Rosemarie DeWitt is equally impressive as the titular bride, and the relationship between the two is as believable as it is rocky. Debra Winger (Terms of Endearment, An Officer and a Gentleman) adds a touch of class as their saddened mother, and Bill Irwin (who is instantly recognizable from Robert Altman’s Popeye) gives one of the most heartfelt portrayals of the whole guest list as the father desperately trying to hold his family together. He even manages to turn a playful dishwasher-loading scene into a heart-stopping moment. The original screenplay is by Jenny Lumet, who gets her movie genes from her dad.

In the end

The weekend passes in a flash, and the wedding doesn’t disappoint, however once it’s all over, I couldn’t help feeling that everything was returning back to normal. Despite all the re-enforced relationships or differences, there’s not much change or growth going on apart from Rachel’s marital status. Maybe that’s the whole point – maybe this is just a snapshot of their lives, but still, it’s left up to the audience to imagine what the future holds for Kym and co.

Trailer:

http://www.apple.com/trailers/sony/rachelgettingmarried/ (High-res Quicktime)

Doubt

• Released Internationally on 25/12/08
• Released in Malta by KRS on 18/03/09

In a nutshell

Fr. Flynn is a charismatic, progressive young priest in a small Catholic parish in the Bronx, New York. He also teaches in the attached Catholic school, which is run by the Sisters of Charity of New York, under the iron fist of Sister Aloysius. She becomes convinced that he has abused a vulnerable boy in the school, and despite not having any evidence or witnesses she sets out to bring him down.

Cloistered habits

Adapted from the Pulitzer-prize winning play Doubt: A Parable, this film is predictably short on the action front, but more than makes up for it with its sharp dialogue and powerful performances. Set nearly entirely between the four walls of the church and school, the story is built around four or five key sequences, including two wonderfully orchestrated confrontations between Fr. Flynn and Sr. Aloysius. The dark corridors of the nunnery, the grey skies seen through the occasional window, and the dark, oppressive bonnets worn by all the nuns help to add to the sense of starkness and piety. The sparse score by Howard Shore (The Lord of the Rings) and the occasional Christmas hymn complete the effect.

Mother superior

The great Meryl Streep, unrecognizable as the care-free woman who danced and sang her way through Mamma Mia! only last summer, is terrifying as Sister Aloysius. With a name that conjures up a few memories of similar characters from my own school years, she is utterly believable as the one thing all her students, and colleagues, are afraid of. Once she has her own certainty of Fr. Flynn’s wrongdoing, she will stop at nothing in the pursuit of virtue, even if it means “taking a step away from God”.

“The dragon is hungry”

Philip Seymour Hoffman (Capote, Magnolia) is equally impressive as Fr. Flynn. Whether standing at his pulpit, or mingling with his students, he draws us in, getting us on his side against this monster everyone should be terrified of. This is the beauty of the story – the characters’ doubts become our own, and from scene to scene we must re-evaluate what we have seen and heard to try and reach our own conclusion, and take sides.

Not so minor roles

Amy Adams (Enchanted, Charlie Wilson’s War) is Sister James, a young, naive nun who dutifully obeys Sister Aloysius’ command to be on the lookout, but who after reporting some oddities is then repulsed by the huge chaos she has created. And rounding off the four main characters is Viola Davis (Syriana, Disturbia) as the mother of the boy in question. Not since Judi Dench in Shakespeare in Love has so much praise and attention been given to such a brief role – she only has one speaking seen and a few more seconds on screen. But she turns everything inside out by defying Sister Aloysius and, incredibly at first, not giving the reaction one would expect from a mother. Her impassioned plea is startling, yet possibly the wisest of all the conflicting views, and her role is as pivotal as the other three.

In the end

John Patrick Shanley, who wrote the play, has adapted it for the screen himself, and also directs. He fleshes it out with a few mood-setting outdoor scenes and some background characters, but ultimately it’s his writing when the four main characters face-off that makes the film. Small in scope, and essentially just a detailed study of four different reactions to one dubious occurrence, this is a film that should get you thinking and taking sides, whether you’re a firm believer, a non-believer, or someone with doubts.

 

Trailer:

http://www.apple.com/trailers/miramax/doubt/ (High-res Quicktime)

Marley & Me

 

• Released Internationally on 25/12/08
• Released in Malta by KRS on 18/03/09

 

In a nutshell

Back in 2005 John Grogan, an American journalist, published a memoir entitled Marley & Me: Life and Love with the World's Worst Dog, which chronicled a turbulent thirteen-year relationship with his pet Labrador. A huge bestseller, the book was later adapted as a children’s book, and has now made the predictable, but much-welcomed leap to the big screen.

Evil with a dog face

Soon after marrying his girlfriend Jenny, John Grogan moved with her to Florida where they could pursue their journalist careers in a sunny climate. Originally bought as a present for Jenny, as an attempt to temporarily quell her maternal instincts, Marley proved to be a handful from the start, and quickly turned the couple’s life, and house, upside down. He never fit in with the expected norms of canine behaviour, and no amount of training, discipline or attention could calm him down. Named after the Jamaican reggae legend, he was never quite as laid-back.

Paws for thought

Although marketed as a romantic comedy about a dog, the film pleasantly surprises by being far more than the title would have us believe. Over the thirteen years of Marley’s frantic life, Jenny and John rush through their thirties, have three children, move house, make tough career decisions, and have their relationship severely tested by all of the above. A catalyst for change, and yet a constant feature throughout, Marley is simply one of the many factors in their family’s story.

A different breed of romantic comedy

The triumph of this film is that is successfully manages to portray a very convincing relationship filled with life’s tough decisions, without ever becoming too sombre or preachy. Dogs and palm beaches aside, these are life events that everyone comes across, whether now, ten years ago, or in ten year’s time. Marley’s antics manage to keep the pace quick and the tone light, but the film delves far deeper than your average romantic comedy, and is all the more involving for it. The thirteen years fly by, at one point thanks to a wonderfully conceived and edited ‘two-year montage’, but the key life moments stick in the mind, largely thanks to Jennifer Aniston’s compelling portrayal.

Who’s in it?

Owen Wilson (Wedding Crashers, The Royal Tenenbaums) slips easily into the role of likeable, laid-back John who is now facing some issues with settling down. Aniston shines as Jenny, and will hopefully move onto even more demanding roles rather than remaining typecast in romantic comedies. Alan Arkin (Little Miss Sunshine, Edward Scissorhands) is entertaining as usual in his small role as John’s tough but well-meaning editor, and Kathleen Turner (Romancing the Stone, The Accidental Tourist) makes an awkward and brief cameo as a dog trainer with mettle. David Frankel (The Devil Wears Prada) juggles the pathos and the craziness well as director, and manages to cover a lot of ground in just under two hours.

In the end

Whatever your age, something should strike a chord here, and as mentioned above the relationship between Jenny and John is as much the focus as the titular dog. If you’re a dog lover, this should be a treat, whereas if you’re not, you’ll probably still find it hard to resist Marley’s enduring appeal, and especially the film’s charm.

 

 

Trailer:

http://www.apple.com/trailers/fox/marleyandme/ (High-res Quicktime)

 

Milk

• Released Internationally on 26/11/08
• Released in Malta by KRS on 04/03/09

 

Harvey who?

Harvey Milk was the first openly gay person to be elected to public office in the United States. That was way back in 1977, but his life and story still resonates today. Only a year later, not yet 50, he was assassinated by a former colleague, but like all great activists his work and vision carried on and grew beyond his death, thanks to the consciousness and momentum he had helped create.

Not your average biopic

In the tradition of other portrayals of historic figures such as Gandhi, the film opens with the announcement of his assassination, yet then manages to be a relevant and absorbing film despite having already delivered its ending. Milk was largely unknown outside the US prior to the release of this film, which allows the plot and character to unfold with an element of novelty, despite being largely faithful to historic facts. We first meet Milk in hippie attire as a 40-year old who’s new to San Francisco, but over the next 8 years of his life we witness a physical and aspirational transformation that helps him overcome two electoral defeats and find the strength to finally gain his historic win, changing the lives of many homosexuals nationwide in the process.

Relevant then, relevant now

At the time, the main news items that drove Milk to start campaigning were the ongoing debates and referendums seeking to limit the employment rights of gay teachers in various states. Despite his achievements, we can fast-forward 30 years to today, when some of the same states are debating civil rights for gays, mostly involving marriage and adoption, and the issue is now one affecting the entire western world. At the time of writing, Milk has just won two Oscars – for Best Original Screenplay and for Best Actor, and both recipients gave impassioned acceptance speeches about this very current issue, highlighting how topical it is, and what a personal project this was for them.

“All men are created equal”

Dustin Lance Black, who penned the script based on historical archives and a couple of biographies, is a gay activist himself, and a lot of his previous work has involved gay issues. His screenplay manages to portray Milk as a true-life character, with both his flaws and fortes, and also includes a number of inspiring scenes of Milk addressing public gatherings, which help add the appropriate sense of occasion and history to the events on screen. Acclaimed director Gus Van Sant (Good Will Hunting, Finding Forrester, Elephant) is also openly gay, although his previous work has covered a broad range of issues and characters, without focusing much on homosexuality. His deft touch is visible everywhere, as he melds archival footage and newsreels with new material, yet never crossing into that ‘documentary’ feel, and telling Milk’s story as a story, not merely a sequence of events.

Best Actor

The focus of the film remains, and will probably remain, Sean Penn’s masterful performance as the titular character. Despite having the potential advantage of portraying a lesser known character, he still makes the physical resemblance remarkable, as confirmed by the real life photos shown during the end credits (I love it when they do that – it adds so much to what you’ve just seen). Ever since seeing the amazing trailer (see below) last summer, I was impressed by how different Penn looked. Subtle differences, such as mannerisms, posture and voice, help you completely forget the Sean Penn you might remember from Mystic River or Dead Man Walking. Whilst watching Frost/Nixon earlier this year, I felt that I was watching an incredible piece of acting. With Milk, it was only after the film that I realised how immersed into the character Penn had been, and how I had thought of him simply as Harvey Milk for over two hours.

Out of the closet and onto the streets

Complementing Penn, and never overshadowed by him, is the rest of the impressive cast. James Franco (Pineapple Express, Spider-man) starts off the film as Milk’s new lover, and their rocky relationship provides a backbone to Milk’s political career. Emile Hirsch (Into the Wild, Speed Racer) is Cleve Jones, one of his most resourceful campaigners, and Diego Luna (Frida, The Terminal) is the next “Mrs. Milk”, who feels neglected by Harvey’s focus on politics and not on their budding relationship. The increasingly notable Josh Brolin (W., No Country for Old Men) gives a brief but complex portrayal of Milk’s political colleague and potential adversary, who may have orientation issues of his own beneath his bullish, traditional exterior. Held together by a mix of songs from the era, and sombre, elegant score from veteran composer Danny Elfman, the film has class written all over it, and is as entertaining as it is relevant.

 

 

Trailer:

Slumdog Millionaire

• Released Internationally on 12/11/08
• Released in Malta by KRS on 28/02/09

 

Slumdog is the most celebrated film of the year. Why?

A. It is one of the few feel-good movies of the year

In an eventful year, in which a new era of leadership and optimism was ushered into the United States, but also in which a global recession started to spread from the world’s largest economies to the dinner tables of families everywhere, it would seem understandable that viewers would opt for lighter fare when selecting their film for a night out. And in usual fashion, the winter months have been populated with moving, brilliant, but often heavy and demanding dramas, which have failed to light up the box-office like the thrill-rides released last summer. Which is why Slumdog Millionaire stands out. Refreshingly original, it chronicles the participation of Jamal, a low-class teenager from the slums of Mumbai, as he amazes audiences en route to the final questions of the quiz show ‘Who Wants to Be a Millionaire?’.

B. It is a rags-to-riches tale of love and success

As he battles through question after question, we follow him on his incredible journey from his days as a trouble-making street-kid running from the police, through his teenage years with his brother after the murder of their mother, through to his current hot-seat. The plight of the children in the slums, and their eventual exploitation by organised crime posing as orphanages, is far from ‘feel-good’, and makes for impressive viewing. But Jamal and his brother survive the toughest of situations, and manage to carve out a living on their own. Joining them on their childhood journey is fellow orphan Latika, whom Jamal likes from an early age, but who gets left behind and ends up in unpleasant company. Never forgetting her, Jamal remains determined to find his one true love, and eventually takes part in the quiz show because he knows she’ll be watching. The love story isn’t flawless, but the script manages to avoid it seeming like Jamal simply needs the money to attract her.

C. It is a technically brilliant high-speed ride through India

Director Danny Boyle (Trainspotting, 28 Days Later) has been the target of most of the praise and awards heaped on this film, and it’s easy to see why. For most of its running time, the film intertwines three plot lines – the actual quiz show, the flashbacks to Jamal’s childhood, and the police interrogation of Jamal to see if he is cheating. Still, the film runs slickly, without ever getting confusing, and manages to pack in pathos, humour and excitement in equal measure. After the tense prologue, the wonderful title sequence is a vivid introduction to the slums of Mumbai, India’s so-called ‘maximum city’, as the children are chased off an airfield by the police. Like most memorable sequences in the film, it all rushes past to the sound of A.R. Rahman’s pulsating songs. The prolific composer, one of the hottest in Bollywood, provides big beats as well as soothing score throughout the film, and makes it sound just as great as it looks. The Indian children who portray the trio as children and teenagers are similarly impressive, as are Dev Patel and the luminous Freida Pinto as the adult Jamal and Latika.

D. It is written

Ultimately, it’s hard to single out one or two reasons for Slumdog’s success. It’s just one of those films where everything falls into place, and you realise you’re watching something fresh, exciting and unique. The scenes in Mumbai won’t have you booking flights anytime soon, but out of the filth and abuse comes a heart-warming love story, and a hero worth rooting for.

 

 

Trailer:

Frost/Nixon

• Released Internationally on 05/12/08
• Released in Malta by KRS on 11/03/09

A little bit of history

• June 1972 – Watergate break-in foiled.
• March 1973 – Evidence of the involvement of the Nixon administration comes forth.
• August 1974 – Richard Nixon resigns the US presidency – to date the only person to do so.
• August 1976 – David Frost signs a contract with Nixon, outlining the interviews.
• March/April 1977 – Frost interviews Nixon over 12 days, each session lasting around 2 hours.
• May 1977 – Four 90-minute programs are broadcast, drawing over 40 million viewers.
• April 1994 – Nixon passes away four days after suffering a stroke.
• January 2004 – Writer Peter Morgan approaches David Frost about writing a play based on his 1977 interviews.
• August 2006 – ‘Frost/Nixon’, the play opens in London, to rave reviews.
• September 2007 – David Frost publishes ‘Frost/Nixon’ – his book about the interviews, including full transcripts of all the recording sessions.
• October 2008 – A big-screen adaptation, directed by Ron Howard, premieres in London.
• February 2009 – Despite not having even been born for the first 6 dates above, this viewer finds the film to be engrossing, exciting, and one of the best-made films of the year.

A sense of occasion

The opening titles merge into archival audio and footage of the Watergate hearings, interspersed with behind-the-scenes preparations as Nixon is about to make his resignation announcement. Director Ron Howard also uses the clever technique of mock-documentary shots, where actors from the film give brief, into-the-camera interviews, in character, which provide intimate information about how it felt to be watching those broadcasts at the time. These snapshot interviews pepper the film throughout, and help add insight as well as remind us that we are watching landmark history events.

Frost

We then head downunder to find David Frost, who at the time was hosting a talk show on Australian television. The lively showman, with something of a playboy reputation, is intrigued by the happening across the globe, and dreams up a television coup that could draw in millions of viewers. Strongly believing in his idea, he sets about building a team to help bring it to life, and contacts Nixon’s team to try and set up a meeting. As expected, his idea is shot down by friends, advisors and advertisers, but he keeps at it, even forking out the initial cash from his own pocket. As the project miraculously takes shape, everyone’s excitement is palpable. Michael Sheen, whom you might remember as Tony Blair in The Queen, reprises his acclaimed role from the play, and it’s evident that this is a character he is by now very comfortable playing. His charm and optimism win everybody over, but when push comes to shove and the interviews get rough, he shows what a great interviewer Frost is and why he was a worthy adversary for Nixon.

Nixon

Also reprising his much-acclaimed role from the play is Frank Langella (Good Night and Good Luck, Superman Returns) as Nixon. The veteran stage and screen actor has the added difficulty of portraying a widely-known character, yet despite not much of a physical resemblance he becomes the president remarkably, and at no point does it feel like you’re watching an impersonation. His elegant voice and manner instantly convince you that this man once ruled the world, yet his eventual defeated expression and sweaty upper lip manage to show a man who is carrying a heavy burden. It’s a joy to watch him and Sheen spar throughout the film.

Stranger than fiction

Watching a film like this, and knowing that this actually happened a few decades ago makes it all the more captivating. A few liberties with the truth were taken by writer Peter Morgan when the play was written, and the film script was adapted by Morgan himself. Most variations from the truth are mere technicalities, as highlighted by Frost in his book, and detract nothing from the essential facts. One of the fictionalizations, a late-night phone call by Nixon on the eve of the crucial interview, was hailed by Frost himself as a ‘masterpiece’.

The rest

The great Kevin Bacon (Apollo 13, Murder in the First) gives an upright and determined performance as Nixon’s chief of staff, who leads the Nixon team and at times seems to be the only person who truly believes in the ex-president and who will do anything to safeguard his interests. Frost’s team is made up of Oliver Platt (A Time To Kill, Indecent Proposal) as editor Bob Zelnick, Sam Rockwell (Matchstick Men, The Hitchhiker’s Guide to the Galaxy) as author Sam Renton Jr. and Matthew Macfadyen (Pride and Prejudice) as producer John Birt. En route to the US, Frost also picks up the lovely Caroline Cushing (Rebecca Hall – Vicky Cristina Barcelona, The Prestige). Ron Howard (Apollo 13, A Beautiful Mind, The DaVinci Code) directs.

In the end

From the word go, the film makes it very clear that what the public and the press want is an apology from Nixon, and Frost sets out to get that apology on prime-time TV. Throughout the film, Howard builds beautifully towards the grand finale. Watching the interviews unfold is a joy, as Nixon cleverly ‘stonewalls’ all Frost’s questions and plays out the interviews exactly as he wants to, but watching Frost come back in the ring as he desperately tries to break Nixon down is one of the cinematic highlights of the year.

You can see a few clips from the original interviews here: http://www.frostnixon.com/

Trailer:

Oscars for 2008

 

• Best Picture: Slumdog Millionaire
• Best Director: Danny Boyle, Slumdog Millionaire
• Best Actress: Kate Winslet, The Reader
• Best Actor: Sean Penn, Milk
• Best Supporting Actress: Penelope Cruz, Vicky Cristina Barcelona
• Best Supporting Actor: Heath Ledger, The Dark Knight
• Best Original Screenplay: Dustin Lance Black, Milk
• Best Adapted Screenplay: Simon Beaufoy, Slumdog Millionaire
• Best Animated Feature: WALL-E
• Best Documentary Feature: Man on Wire
• Best Foreign Language Film: Departures (Japan)
• Best Cinematography: Slumdog Millionaire
• Best Film Editing: Slumdog Millionaire
• Best Art Direction: Benjamin Button
• Best Costume Design: The Duchess
• Best Makeup: Benjamin Button
• Best Live Action Short: Toyland
• Best Animated Short: La Maison en Petites Cubes
• Best Documentary Short: Smile Pinki
• Best Visual Effects: Benjamin Button
• Best Sound Editing: The Dark Knight
• Best Sound Mixing: Slumdog Millionaire
• Best Music Score: A.R. Rahman, Slumdog Millionaire
• Best Song: Jai Ho, Slumdog Millionaire

Gran Torino

• Released Internationally on 12/12/08
• Released in Malta by KRS on 20/02/09

 

In a nutshell

Recently widowed Walt Kowalski is retired after a lifetime of service in the car-making industry, and as a soldier in the Korean War. He has strongly-held beliefs about manhood, the American way, religion and the influx of immigrants into his neighbourhood, but they’re all about to be tested by his relationship with his troubled neighbours.

Welcome to the neighbourhood

Despite being of Polish descent himself, Walt considers himself a true American, and openly dislikes all the immigrants moving into his locality, just as he picks on his Italian barber and disapproves of his son’s Asian car. He knows what he likes, right down to his favourite brand of beer and his prized possession – a 1972 Ford Gran Torino, and he’s determined not to make anyone change his mind. His neighbourhood is attracting a large number of immigrants however, especially Hmong families, who are an ethnic group from Southeast Asia. He makes no attempt to befriend his Hmong next-door neighbours, and all he asks is that they stay off his lawn.

So many issues, so little time

One of the great feats of this deceptively-simple film is the large number of issues it manages to tackle so convincingly in under two hours, which is what makes it so enjoyable to watch and so effortlessly flowing. The character of Walt manages to combine the increasingly important topics of racism, growing old, religion and violence, and the film manages to be a remarkable study of all of them. Walt’s relationship with the village pastor, whom his wife was very close with but who he calls an ‘over-educated, 27-year-old virgin’, is particularly amusing to watch.

The man who makes the movie

The film starts, ends and is all about Clint Eastwood. He directs, acts, produces, and even lends his gravelly voice to the end credits song. The role is perfect for him because with such a rich on-screen history, it’s easy to see him as the hardened, experienced old man who’s still as tough as nails and not to be messed with. His weathered face, his deliberately slow pace, and his attention-demanding voice are enough to put genuine fear into the most loud-mouthed of youths.

Changing priorities

As the local gangs start to pick on the fatherless girl and boy next door, Walt comes to the rescue – at first just to stop the inconvenience to his property, but later out of genuine concern and righteousness. Hailed as a hero by his Hmong neighbours, he finds himself slowly drawn into their world, and takes on the missing paternal role in the life of the unconfident and bullied son. As his feud with the gangs begins to escalate, Walt is forced to decide just how much he is willing to sacrifice so that his immigrant neighbours can finally find some peace in their new neighbourhood.

In the end

The film delivers on every level. Clint Eastwood is fascinating to watch, and the different aspects of his changing character are easy to sympathise with. Despite his hardened exterior at the start of the film, every change we see in him comes about convincingly, and he never loses face or seems defeated – on the contrary, he rises above everyone else and becomes a man we should all aspire to be like. All the action happens within the same few blocks of Michigan neighbourhood, and there aren’t any fancy special effects, but this is one of the best-written and important films to come out of 2008.

 

 

Trailer:

The Reader

• Released Internationally on 10/12/08
• Released in Malta by KRS on 04/02/09

 

In a nutshell

Michael Berg is a German teenager who in 1958 embarks on a passionate love affair with on older woman, Hanna Schmitz. The relationship ends abruptly, but they get back in touch with each other many years later, after he has followed a high-profile war crimes trial in which she is the defendant.

Not your average cradle-snatcher

Apart from the usual trysts, the relationship between these two seemingly-mismatched lovers also involves sessions of him reading to her from the books he is studying at school; something she seems to enjoy. He is eager to please, and therefore complies willingly. Later, whilst he is studying law and attending her trial without her knowledge, he discovers that her apparent fetish for being read to dates back to her days as an SS guard in the Nazi concentration camps. He also suddenly realises that she is hiding a secret that she is determined to keep safe, even if it costs her her freedom. As the only person who knows her enough to understand what is happening, he is torn between speaking up and keeping silent, and unsure about which one is the right thing to do.

A man shaped by his past

We first meet Michael Berg in 1995, when he is portrayed by Ralph Fiennes as a cold, unsentimental man who admits to having been deeply affected by his teenage affair. His failed marriage and superficial relationships, even with his own daughter, seem to stem from his ambiguous feelings for this older woman with a horrific past. How he acted at her trial continues to haunt him, and he eventually seeks redemption in trying to resume his reading relationship. The same character is also brought to life by an impressive young German actor, David Kross, who plays the difficult role of the 15-year old Berg caught up in his first sexual relationship, as well as the 23-year old Berg who attends her trial as a promising law student. Both actors complement each other wonderfully, and it is easy to see beyond them and understand this troubled man as one person.

A woman hiding secrets

Kate Winslet has received numerous accolades for her equally-impressive performance as Hanna. Sporting a German accent throughout, she discloses little during her early scenes as Berg’s unconventional but bossy lover, yet she seems as involved as he is. But after she disappears from his life without warning, her effect on him takes on an ominous tone as the trial uncovers her dark past during World War II. Reviled as a monster by everyone else, she still casts a shadow over Berg’s life, and eventually he turns out to be the only person she can claim as a friend. Winslet’s powerful performance also covers her later years, when we, just like Berg, are left uncertain about how to feel about her.

A crew-list of note

The film is directed by Stephen Daldry, who brought a smile to everyone’s face with Billy Elliot in 2000 and then shot up to the A-list with The Hours two years later. Amongst the film’s producers are the late Sydney Pollack and Anthony Minghella, two great directors and producers who sadly passed away before they could see the film completed. David Hare, an established playwright, adapted the screenplay from the novel of the same name, just as he had done so successfully with The Hours.

In the end

Starting off deceptively as a story about an unconventional love-affair, the films truly takes off in the second act, and ends as a thoughtful and important film about doing the right thing. A classy film, with excellent acting throughout.

 

 

Trailer:

The Curious Case of Benjamin Button

 

• Released Internationally on 25/12/08
• Released in Malta by KRS on 04/02/09

The storytelling skills of Scott Fitzgerald

Back in 1921, the celebrated American author F. Scott Fitzgerald (who penned The Great Gatsby), wrote the short story from which this film takes its name, which is a very brief and enjoyable read. The title character was born looking like a seventy year-old, and to the surprise and often embarrassment of all around him he slowly and surely grew younger, until his mind went blank as a tiny baby. The novella doesn’t take itself too seriously, and all that was used for this screenplay are the characters’ names and the concept of a man ageing backwards.

The wonderful writing of Eric Roth

Award-winning screenwriter Eric Roth, whose words have embellished films such as The Insider, Munich and Forrest Gump, fleshed out the story considerably, opening the film in New Orleans a few years ago, as hurricane Katrina was about to wreck havoc. On her deathbed, Daisy (Cate Blanchett) is getting some quality time with her only daughter (Julia Ormond). As they pore through the pages of a diary written by a certain Benjamin Button, the facts about his extraordinary existence come to life. Roth has succeeded brilliantly in changing a whimsical anecdote of a story into a larger-than-life tale of love, loss and the sacrifices some must make in order to have a few moments of true happiness.

The universal appeal of Brad Pitt

Anchoring this fine movie is a career-best performance by Brad Pitt, the actor who most women want to meet, and most men want to be. His admirable career may be partly due to his looks, but is mainly due to a string of excellent performances and unconventional roles, and he remains an actor who is fascinating to watch at work. His complex performance here goes hand in hand with the cutting-edge special effects, as he progresses from a frail and bent (but clearly recognizable) man in his eighties to the mid-forties man we all see in the press, through to a clear-faced twenty-five year old, with physical and facial features altering accordingly. Often acting just with his face, as it was superimposed on somebody else’s body, he still gives Button a life of his own, and draws us into his tragic story as we follow him on his unique journey.

The amazing grace of Cate Blanchett

Twelve years after he was born, but still looking like a man well into his seventies, he meets a young girl named Daisy, and an unusual friendship is born. As the years go by and his physical transformation becomes apparent to her, he tries to win her affection, but she goes off touring the world with her dance troupe, and rejects his advances. His patience and determination are rewarded when she returns home in the early 1960s (when they’re both in their forties, and they both look it), and their friendship quickly blossoms into romance. This is undoubtedly the high-point of the film, as these two lovers in their prime share a few magical years of normality. Blanchett shines during her flashback scenes in the film, and also has the difficult task of re-living all her emotions as a dying woman in her eighties during the present-day scenes.

The magical vision of David Fincher

Weaving all the above together in a wonderful fairytale is the deft touch of director David Fincher. The acclaimed director of such gems as Fight Club, Se7en, and the recent Zodiac brings it all together seamlessly, and with the help of standout cinematography, art direction and music creates a film with a glorious vintage look and feel, without ever letting the details or special effects come in the way of the curious case in question. One particular sequence stands out as probably the most beautiful in all of the films I have seen from 2008, as Button takes Daisy sailing and they enjoy their small and deserved share of the good life. The scenes, combined with Alexandre Desplat’s music, and coming after such a great build-up, make for a masterful movie moment. It’s also to Fincher’s credit that such a long film rarely films dragging, and if anything gets better as it progresses.

In the end

What struck me most about this remarkable film is that it doesn’t try to hit you over the head with any big message. There’s no political ideal, no preachy philosophy, no complex twists or tricks. It’s just a great tale, told beautifully, and in my books is one of the best films to come out of 2008.

 

 

Trailer:

Seven Pounds

 

• Released Internationally on 19/12/08
• Released in Malta by KRS on 28/01/09

Some sort of diet film?

After leaving his superhero mark on the summer box-office in the flawed-but-fun Hancock, Will Smith is back in a more sombre affair for the winter months. The title doesn’t refer to weight-loss or finances, but to Shakespeare’s Merchant of Venice, where the infamous pound of flesh demanded by Shylock remains a chilling literary image of retribution. Smith stars as Tim Thomas, a likeable, smart engineer who makes one tiny error of judgement which ends up causing a horrific traffic accident, and the death of seven people. Tormented by guilt, he sets out to find seven genuinely ‘good’ people, and do his utmost to give them a better life, as he feels they deserve.

Hyperlink cinema.

To reveal more of the plot would be a disservice to the filmmakers, as one of the major plus points here is the gradual and intriguing unveiling of the story, in a technique often described as ‘hyperlink cinema’. By starting off with seemingly-unconnected plot-lines and jumping from one to the other, we are initially left in the dark about what Thomas is up to, but as the story starts to coalesce and fall into place, we are set-up for the grand finale, albeit hinted-at previously. This technique has worked wonderfully in various films over the past decade, most notably 21 Grams, Babel, Crash and Syriana, and is put to good use here. Although the entire plot concerns Thomas, his personal journey involves seven different people, over a span of time, but sharing one common climax. Telling this story in chronological order would probably have resulted in a less-confusing first half, but a much-less satisfying second half.

Still fresh.

Will Smith remains a huge star in his own right, loved by cinemagoers and filmmakers alike, and it’s easy to see why. As he has often done before, he carries the entire story on his shoulders, and gives us a main character worth watching for over two hours. Even when we’re presented with confusing scenes that seem out of character and are hard to place sequentially, Smith makes Thomas believable, and ultimately likeable and admirable. Without Smith this character, and therefore the plot built around him, could easily have turned into farce, with a passive audience at the end. But Smith can now afford to pick his roles carefully, and he must have seen this as suiting him perfectly. With his Fresh Prince still drawing laughs on YouTube and TV re-runs, and with very few duds in his big-screen career, this is one star worth watching, whatever he’s in next.

Heart and mind.

Much like his 2006 offering ‘The Pursuit of Happyness’, this film is all about heart, and unashamedly tugs on our emotions, often in grand operatic fashion. The scientific facts behind the plot sometimes get swept aside without delving into too much detail, but I guess a certain amount of suspension of belief is excusable, and expected. However, the film is set in the present, and certain jarring facts distract from the main message, and might detract from your enjoyment of an otherwise moving modern fairytale.

Who’s in it?

Apart from Smith, the most striking performance comes from an increasingly impressive Rosario Dawson (Sin City, Death Proof, Eagle Eye) who is going from strength to strength in a great variety of roles, and always comes out on top. She gets the most attention out of the titular seven strangers, and rightly so as her story seems the most tragic. Woody Harrelson (No Country for Old Men, Natural Born Killers) has a short but very memorable role as a disabled call-centre employee who’s slow to anger, and Barry Pepper (25th Hour, Saving Private Ryan) is torn between his feelings as a friend and his promises to Thomas. Italian director Gabriele Muccino is reunited with Smith, whom he directed in Happyness, and he adds another fine emotional drama to his mostly Italian body of work. Venezuelan composer Angelo Milli wrote the original score, including a powerful piece for the film’s climax, but interestingly two of the sentimental high-points of the film are enhanced by a cue from Ennio Morricone’s score to La Leggenda Del Pianista Sull’ Oceano. I guess Milli couldn’t match the maestro when it mattered.

In the end.

The initial confusion slowly gives way to realization and satisfaction, and the characters are engaging enough to make you actually care about the striking conclusion, even if it might seem inevitable. The acting is wonderful, and the story is far-fetched, but heart-warming. Worth watching.

 

 

Trailer:

Defiance

 

• Released Internationally on 16/01/09
• Released in Malta by KRS on 21/01/09

In a nutshell

The new blond Bond, Daniel Craig, returns as a very different type of hero in the moving true story of Tuvia Bielski, who along with his brothers helped an ever-growing band of Polish Jews survive the Holocaust for over two years in the forests of what is now Belarus.

More WW2?

Over sixty years later, the second world war still has lots to offer in terms of shocking and heroic story-telling. Whether it’s fiction and extrapolation such as Life is Beautiful or the recent Boy in the Striped Pyjamas, or fascinating fact like Schindler’s List, Defiance or the upcoming Valkyrie, we still have a lot to learn from a war which most people alive today weren’t around for. The tales of villainy and valour are just as resonant today, as we face new wars and live through new forms of human tragedies, albeit often as detached observers. And this could very well be why the subject matter has produced some of the best and most enduring films of recent decades, apart from the evident opportunity to mix adventure and human emotion. This new addition to the endless story of the ‘great’ war is smaller in scope and focus, but just as important and interesting. As a true story it complements Schindler’s List as yet another story of supposedly selfish but ultimately generous individuals who by their leadership and defiance helped a definite number of individuals survive the holocaust, and start a new life after the war. For every descendant of those survivors, this story is all that matters.

Fight or Fly?

Orphaned at the start of the Nazi invasion, the four Bielski brothers are forced into hiding in the forest they know very well, in what occupied Poland. As time goes by their tiny band grows, and they refuse no one, despite struggling to cope with the numbers of mouths to feed. Their hiding place eventually takes on a more permanent form, and over months a small Jewish community grows in the depths of the forest. The community binds together out of necessity and a common enemy, and new relationships are formed. But the cruel winter and the inevitable frayed nerves and frustration threaten to tear the community apart.

Band of Brothers

Bielski himself cannot see eye-to-eye with his younger, but also adult brother Zus, who thinks fighting the Germans is a more honourable way to live than cowering amongst the trees and scavenging for food. But eventually they rejoin forces when it is most needed, and gather their community together in a last gasp run for freedom.

Who’s in it?

Bonding well with Craig’s Tuvia is Liev Schreiber (The Painted Veil, The Sum of All Fears) as his brother Zus. Jamie Bell (Billy Elliot, King Kong) is surprisingly headfast for his age as their younger brother Asael, while relative newcomer George Mackay rounds off the family as the youngest brother Aron. The film is directed by Ed Zwick, who’s no newcomer to epic war films, having given us The Last Samurai, Courage Under Fire, Blood Diamond and Glory, as well as the expansive Legends of the Fall.

In the end

Craig is convincing as the dominant brother, but it’s not easy for him to shake off his Bond image, despite the dirt, grime and muted cinematography. The supporting cast are all great and bring a number of minor characters to life, and overall the plight of these defiant few becomes a moving issue, although their prospects are never really in doubt.

 

Trailer:

W.

 

• Released Internationally on 17/10/08
• Released in Malta by KRS on 31/12/08

Dub-ya

As George W. Bush’s eight years in office come to a close, he is without doubt one of the most recognizable and talked about people of the century so far. With his decisions affecting millions, and his media presence frequent and worldwide, he has been the face of America for a very turbulent two terms, and has stirred emotions (mostly negative) in people across the globe. With the dust hardly having settled, and as his face on the news was being replaced by those of Obama, McCain and Hillary Clinton, Oliver Stone was cooking up his biopic just in time for the elections.

Oliver’s twist

Stone has never shied away from controversy, and made a name directing celebrated films about war (Platoon, Born on the Fourth of July), presidential controversy (JFK, Nixon) and the use of violence and the media (Natural Born Killers). His recent, weaker efforts included one of the first major films about 9/11 (World Trade Centre), although this latter film skirted controversy and focused on the humane aspect. In W., Stone combines all the above topics and views to make a film of two parts – a look at the life and rise to power of a president’s son, who defied the odds to become president himself, twice; and a controversial look at why said president chose to invade Iraq in March 2003.

Junior

The two aspects of the film run in parallel, with Stone switching comfortably back and forth between Bush’s past personal and political life, and the security council meetings in 2002/3 before the Iraq strike. We travel back to W’s high-school years and early career disappointments, which didn’t go down to well with his father (the eventual president, of course). Stone paints a picture of W as the rebel son, and Bush senior having more trust and hope for Jeb, the younger, smarter son. But after beating alcoholism and finding a good political advisor, W defied his parents’ wishes and ran for governor, an eventual victory that started him on the road to two terms at the White House, as opposed to his father’s one.

Commander-in-Chief

Interesting and novel as the flashbacks may be, Bush’s personal life pales in comparison to the oval office drama of the post-9/11 days, which we remember so clearly and which are obviously still affecting the world today. Weapons of mass destruction, UN inspectors, anthrax, aluminium tubes, Saddam, Powell, freedom fries – it’s all here, and it’s amazing that more than five years have already passed. The whole Iraq debate is heightened further by comparisons with Bush senior’s similar decisions in the first Iraq war. This whole Iraq part could have been made into a film of its own, and considering how long W feels, maybe it should have.

Stranger than fiction

The challenge, of course, is separating the fact from the conjecture. We can all go back and check what was said in press conferences and in UN meetings, but we can only guess what was said during high-level cabinet meetings, and when Bush senior used to scold his son. Still, Stone makes it all seem believable and plausible, with the advantage of hindsight. There’s even a healthy dose of ‘dubyaspeak’ – lovely quotes from the wordsmith himself – tossed into the dialogue, including his ‘misunderestimated’, his ‘fool me once’ gaffe, and his ‘containment doesn’t hold any water’ wisdom.

Who’s in it?

Josh Brolin (No Country for Old Men) steals the show as the man in charge. Despite having a much bigger jaw, the resemblance works well enough in the film, and once the hair, swagger, voice and expressions are thrown in, there are a few scenes where you could be mistaken for thinking it was archive footage. Elizabeth Banks (Zack and Miri Make a Porno) is poised and blow-dried as his wife Laura. James Cromwell (The Queen, L.A. Confidential) is ominous and dominating (although not too lookalike) as Bush senior. Richard Dreyfuss (Jaws, Mr. Holland’s Opus) is eerie and Machiavellian as vice-president Dick Cheney, and he is depicted as one of the major forces behind the invasion (rightfully so, in retrospect). Jeffrey Wright (Casino Royale, Syriana) tries his best to prevent invasion as Secretary of State Colin Powell, but eventually is convinced, and convincing, otherwise. Thandie Newton (Crash, M:I-2) tries her best to impersonate Condoleezza Rice, but ends up making a caricature out of her. Ellen Burstyn (Requiem for a Dream) is Barbara Bush, and Toby Jones (The Painted Veil, Finding Neverland) is Karl Rove, the political mastermind who was behind W’s rise to success. Scott Glenn (The Silence of the Lambs) is secretary of defence Donald Rumsfeld (remember him?!) and Ioan Gruffudd (The Fantastic Four) makes a short and awkward cameo as Tony Blair.

In the end.

The board-room wrangles that led to the decision to invade Iraq make for fascinating viewing five years later with the war still raging, though Bush never openly admits his mistake in the film, as he has more or less done in real life. His personal past and family scenarios are watchable, but not very relevant because ultimately all that matters is that he got the top job. Plus they must be taken with a pinch of salt since they’re partly guesswork. The subject matter is definitely worthy of a film, but maybe this was made too soon, and too much was crammed in.

 

Trailer:

Australia

  

• Released Internationally on 26/11/08
• Released in Malta by KRS on 25/12/08

Preview (18/11/08)

In a nutshell

Set during World War II, this film is unashamedly epic in scope, and hopes to be the biggest thing ever produced down under. It’s a stirring love story between a British aristocrat who inherits a large tract of land in Australia, and one of the men who helps her move the cattle across the country to avoid the bombing of Darwin (the city) during the war.

Who’s in it?

Nicole Kidman is Lady Sarah Ashley, and with a name like that you can probably imagine what she talks and walks like, and what she likes to drink in the afternoon. The rough cattle-hand whom she meets down under is played by Hugh Jackman, who like Kidman is also an ozzie, as is the rest of the cast. David Wenham (300, Faramir in The Lord of the Rings) plays the excessively slimy Neil Fletcher, who isn’t too pleased with Ashley taking over the ranch. The film is directed by the amazingly talented Baz Luhrmann, who last graced the big screen with probably the most spectacular film of the century so far – Moulin Rouge!

Why we’re hyped

Luhrmann has a short, but stunning filmography, and besides Moulin Rouge! has also directed Romeo + Juliet and Strictly Ballroom in the 90s. Since then, he staged a successful version of La Bohème on Broadway, and set about researching Australian history to see when best to set his next epic project. He claims to have made the film as grand and moving as such classics as Gone with the Wind and Out of Africa, which might sound pretentious, but is still mouth-watering. It’s highly unlikely that this film can live up to the massive hype it has generated (also courtesy of Oprah), but anything by Luhrmann should still be, at very least, a feast for the senses.

 

Review (23/12/08)

Out of Australia

Our epic journey begins with the arrival of prim and proper Lady Ashley in rough and ruthless Australia, where the dry season is a killer and the beef trading business is not exactly well done. As she arrives with all her spotless luggage and slowly starts to realise how much adjusting she’ll need, you’d be forgiven for thinking this is a remake of Sydney Pollack’s gorgeous Out of Africa from over 20 years ago. As mentioned above, Baz Luhrmann drew some inspiration from the award-winning safari-fest, and the early similarities are remarkable. Thankfully, the plot soon veers off in a totally different direction, and the only resemblances remaining are the wonderful vistas of the titular countries, and the unconventional love story between two very different people.

The Wizard of Oz

Australia’s very own Baz Luhrmann is evidently still in top form. From the outset, he waltzes through the introductions using some of the playful editing and imagery he put to such good use in Moulin Rouge!, and once again every scene is a beautiful spectacle of colour. A simple early shot of a horse rising out of a billabong (small lake) is exquisite, and helps remind us that this is no run-of-the-mill director, but one who has fashioned some of the most striking sequences in recent memory. This attention to detail persists throughout the entire film (and it’s a long one), and looks great on the big screen. The wartime-era views of Darwin port, both before and during the bombings, sometimes focus more on aesthetics than on realism, and this helps enhance the whole fairytale aspect of the film.

Rescuers Down Under

While the love story and heroic journey make for great storytelling, there comes a point where the plot seems to have thinned and burnt out too quickly. But any doubts are quickly blown away by the oncoming war, and by the film’s secondary plot about race, equality and the ‘stolen generations’ of aboriginal children, which comes to the fore. This is personified by the attention-grabbing performance of a twelve-year old debutante, Brandon Walters. He brings such life and charm to the character of the aboriginal child Nullah, that he is as pivotal to the film as the two main stars. His relationship with the star couple forms a moving trio that lifts the love story to heights it could never have achieved on its own. He gives a memorable face and voice to the aboriginal children who suffered during the past century, and who were first in line when the Japanese bombers flew down from Asia.

Cinema Paradiso

Adventure, fate, victory, love, war, salvation, justice. These are some of the main themes that have brought movies to life over the years, and which we watch again and again in different forms and with different protagonists. Baz Luhrmann has ambitiously weaved them all into his grand fairytale, and has managed to pull it off with panache. His love for cinema, showmanship and storytelling is evident in every scene, and he has managed to give us a good-old fashioned yarn to feel great about. This is what going to the movies is all about, and it’s the perfect Christmas film for story-lovers, whatever their age and whatever their tastes. A dazzling masterpiece.

 

Trailer: