Salt

• Released Internationally on 21/07/10
• Released in Malta by KRS on 01/09/10

Preview (first published in VIDA magazine on 01/08/10)

It’s sometimes tempting to dismiss Angelina Jolie’s acting talents because of how insanely attractive she looks. But her roles have been varied and acclaimed over the years, and her output consistently successful. Here she stars as Evelyn Salt, a CIA agent who is accused of being an undercover KGB agent. She must use her skills to stay on the run until she can clear her name, as the whole nation hunts her down. It’s sort of like the Bourne trilogy, but with a nicer silhouette.

Review (31/08/10)

Spy wars

Science fiction and fantasy films transport us to worlds which we, the audience, could never inhabit ourselves. I've always felt the same about spy films. They are a clearly defined and easily recognizable genre of films. They have their own set of rules. And although I know that somewhere in the present, or sometime in the future, the events therein can actually happen, they are as alien to me as the Millennium Falcon or Mordor. Those of you who are active or retired secret service agents may of course beg to differ, but then again I doubt you enjoy these sort of films to begin with.

In from the cold

The fictional tale on display today is set in the present and near future, within the arenas of USA and Russia with some leftover Cold War sentiments. One day, a haggard-looking, foreign-sounding old man walks into a supposedly covert CIA office, and announces that he is a Russian spy ready to hand himself in. Evelyn Salt, an experienced CIA agent with years of experience dealing with Russian affairs, is handed the job of seeing whether he is a nutcase or the real deal. After a brief interview she is all but ready to discard his unlikely theories, but as she leaves the room he announces to all who are listening that she herself is a Russian spy who will assassinate the Russian president on US soil in the coming days.

When in doubt

Her immediate supervisor, Ted Winter (Liev Schreiber - Defiance, X-Men Origins: Wolverine), seems to have faith in Salt, but the secret service chief Peabody (Chiwetel Ejiofor - Children of Men, 2012) isn't ready to take any chances. Terrified that her husband's safety could be at stake, Salt does what seems natural - she runs. This does wonders for her innocence plea, and a Washington-wide chase ensues. With years of physical, mental and weapons training under her belt, Salt proves rather elusive, and the mid-section of the film provides a long and exhilarating chase full of gadgetry and stunts.

Why it works

Then comes the point where the film scored many points, at least in my book. Rather than proceeding along the expected route, which has been seen in countless films before, the plot manages to keep twisting and turning, with a large amount of uncertainty, leaving the true motive and identity of this Salt character as something of a mystery right up to the ending. Admittedly, it verges on the silly and far-fetched at times, but the overall result remains entertaining and engaging. Director Philip Noyce (The Bone Collector, Clear and Present Danger) manages to keep the pace brisk throughout the film, although at times he resorts to the usual 'fugitive' clichés - running through woods - check, booking a hotel room under a false name - check, hair-dying scene - check, and so on. Jolie's performance is suitably enigmatic, with her sculpted facial features alternating between the anguish of a hunted wife and the stony expression of a disciplined spy.

In the end

There's nothing incredibly original about this film, although to their credit, the writers managed to conceive a rather inventive twist on the over-used Russian spy themes. Despite its flaws, it remains an entertaining espionage thriller which should appeal to a wide audience. Not particularly memorable, but great fun.

Trailers:

http://trailers.apple.com/trailers/sony_pictures/salt/

The Girl With The Dragon Tattoo

 

• Released in Sweden on 25/02/09
• Released in Malta by KRS on 12/05/10

 

In a nutshell

Back in 2004, Swedish journalist Stieg Larsson delivered a trilogy of books to his publisher, and died shortly afterwards. They have since become a bestselling sensation, and a Hollywood version of the first book is in the pipeline. The Swedes, however, rightly got there first, and may prove a tough act to top.

Millennium

The story opens in Stockholm with high-profile journalist Mikael Blomkvist losing a legal battle against one of the businessmen he tried to uncover, and getting sentenced to a short spell in prison. Before he is due to serve time, he receives a mysterious invite from Henrik Vanger, a semi-retired business tycoon who lives on the small island of Hedeby, up north.

The job

Vanger is a broken man since the mysterious loss of his favourite niece, who vanished without a trace during a family gathering on the island over forty years ago. Convinced that one of his jealous family members murdered her, Vanger has been unable to find any conclusive evidence despite years and years of work with the police and obsessive poring over the details of the case. He is ready to pay handsomely for Blomkvist to give the paperwork a fresh look.

The unlikely assistant

Back in Stockholm, we meet Lisbeth Salander, a social misfit with a shady past. She works with a security firm, and has an uncanny ability to access information and profile people - something which makes her a huge asset to the company, despite doubts about the legality of her means. She was indirectly hired by Vanger to present a profile on Blomkvist so that they could assess his suitability. She then gets embroiled in a nasty power struggle with her deviant legal guardian, and we swiftly realise how this tough-as-nails girl means business.

The plot thickens

Needless to say, Blomkvist manages to uncover a few leads in the discarded case, and a tangled Vanger family tree starts to unfurl before us, drawing us and him into their sordid history. But the case only starts to truly crackle when Blomkvist finds out about Lisbeth and her hacking skills, and asks her to join the case. What ensues is a thrilling mix of good old-fashioned investigative drama, with a grisly side-portion of debauchery and psychopathology.

Well-condensed

The story is a sprawling and rich family saga, which makes for a thick novel with new characters and twists every few pages. So presenting it all in a two-and-a-half hour film is no minor achievement. But just as Blomkvist maps out the family tree on his cabin wall, we the audience are skilfully shown the faces that matter without it getting too detailed or confusing. The sub-plots are given their due importance, and most importantly, the two main characters are allowed enough time to develop and interact, making them an unlikely duo we can cheer for and worry about.

Lots of substance, slightly less shine

The unsolved mystery at the heart of the story is a fine one worthy of any Agatha Christie classic (the island setting providing ample Ten Little Indians-type suspects), and the solving of the case is enjoyable and often unpredictable. The mixing in of the religious, the perverted and the downright macabre is reminiscent of certain aspects of other gems such as The Silence of the Lambs and Angels and Demons. Whilst making full use of the stunning Swedish scenery, the film occasionally reveals its minor-key roots, and the supporting cast are not always of the calibre of the main twosome. This isn't helped at all by the poor voiceover work provided for this unfortunately dubbed version. Subtitles may be slightly tedious to read, but at least we would get to hear the actors' voices and voice acting, as opposed to a handful of persons who seem to be sitting around a kitchen table with a microphone and a script.

In the end

If you haven't met Lisbeth Salander yet, it's about time you did. She's a wonderfully fresh anti-hero, and her damaged past makes her a potent mix of unpredictability and determination. With the trilogy of books still atop numerous bestseller lists, and with film versions of all three a forgone conclusion, we can expect her to be around for a while. Which is a good thing.

 

 

Trailer:

http://trailers.apple.com/trailers/independent/thegirlwiththedragontattoo/

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/

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

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/

Up In The Air

 

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

 

In a nutshell

Ryan Bingham lives in what he calls ‘Airworld’. A successful middle-aged man who is hired out by companies to fire their employees, he travels extensively, and it is in the land of airports and recycled cabin air that he feels at home.

Smells like a recession

Although the novel was written nearly a decade ago, the premise is a timely one, given the recent/current recession. As jobs are slashed across the US, cowardly bosses who cannot face their employees and fire them after years of dedicated service call people like Bingham. He flies into your city, first class of course, and sits down with each of your employees to try and convince them that this is the best thing that ever happened to them. Responses vary, but Ryan has bags of experience, and a tough outer shell that allows him to do his job well by day yet sleep well at night. The firing scenes are a highlight of the film. Many of the extras were non-actors who had actually been fired recently, whilst two of the more lengthy reactions are handled wonderfully by J.K. Simmons (Juno, Spider-man) and Zach Galifianakis (The Hangover).

Flying solo

It’s hard not to like George Clooney. His choice of roles manages to keep him appealing to both sexes (for different reasons). He’s confident, a smooth talker, and in control. Which makes him a perfect fit for the role of Ryan Bingham. Unshackled by relationships, possessions or even a home of his own, Bingham strolls imperiously through the nation’s airports, and is greeted everywhere with the smiles reserved for loyal customers. If possible, he tries to make every purchase, car rental and flight count towards his frequent flyer miles, and his one dream is to join the exclusive club of those who have topped ten millions miles.

Enter the ladies

Two women enter his life, on completely different flight paths. Alex seems like a female version of him. Another frequent flyer, and not looking for any commitments or mind games, she starts a casual relationship with him which may seem to be going somewhere. Vera Farmiga (The Departed) is subtlely brilliant in the role. Natalie is completely different. A young, bright and headstrong girl, she joins the company with a plan to revolutionize the business, making the actual firing a webcam job, and threatening to ground Ryan for good. He’s coerced into taking her with him on a few jobs, to show her the ropes, and their different views on most topics under the sun make it an interesting ride. Complementing both Alex and Ryan, Anna Kendrick (Twilight) is a head-turner.

The root of the matter

The setting is airports, but the topic is mostly relationships. Ryan’s determination to live and love the single life is thrown into contention by Natalie’s questioning and Alex’s attraction. Back home, his little sister is getting married, and he feels like a stranger at the family gathering. He has a sure answer to each of Natalie’s probing questions, but as the trip unfolds some chinks start to appear in his armour. The film doesn’t shy away from asking questions for which it has no answer, and there’s a good chance at least one of those questions might hit home with each and every viewer.

Adaptation

Director Jason Reitman (Juno) has done an impressive job of bringing the 2001 novel to the screen. Large parts are unrecognizable from the book, but I would say that each change is an improvement. The character of Natalie adds a looming deadline to Bingham’s decisions, and a wall off which he can bounce his views, although his travel-wise and efficient voiceover comes into play occasionally to guide us through his ‘airworld’.

In the end

The film feels effortless, but on closer inspection is a well-cooked mix of impressive acting, a timely and important story, and some deft editing and directing. There are no fancy effects or rousing set pieces, but in its own, smart way, it’s a great film. First class, all the way.

 

Trailer:

http://www.apple.com/trailers/paramount/upintheair/

The Princess And The Frog

• Released Internationally on 25/11/09
• Released in Malta by KRS on 05/02/10

In a nutshell

Walt Disney pictures goes all nostalgic by returning to traditional 2D animation, and to a well-known fairytale, whilst also taking a step forward and introducing their first ever black princess and heroine.

Down in New Orleans

Loosely based on the 'Frog Prince' fairytale from the Grimm brothers, and the resulting 'Frog Princess' book adaptation, this film transposes all the magic and kissing of amphibians to early 20th century Louisiana, in the swinging music-laden streets of New Orleans. Growing up on the less-lavish side of town, young Tiana juggles numerous waitressing jobs to save up for her big dream - opening a restaurant. The strict work ethic instilled in her by her late father leaves little room for the family life that he was so proud of, and her days are devoid of romance, friends or dancing. Across town, her childhood friend and spoilt white brat Charlotte spends her idle days dreaming of princes and romance, whilst surrounding herself with daddy's expensive gifts.

Enter Naveen

One day, a prince walks into town (as tends to happen in fairytales), and Charlotte sets her mind on winning his hand, whilst Tiana hardly spares him second thought. Prince Naveen, from Maldonia (allegedly a fusion of 'Malta' and 'Macedonia', which brings back a few Eurovision voting memories), although quite the looker, is in fact penniless, and he somehow ends up in the hands of the ominous Dr. Facilier, whose area of expertise is voodoo, not ethics. There's lots of chanting and trickery, but suffice to say that by the end of it Naveen is a brilliantly green frog, and the story can get underway. You know how it goes - a kiss from a princess will break the spell, and so on and so forth.

Randy music

When it comes to traditional Disney classics, it's often the music that makes or breaks it. You don't need to remember the finer plot points of Lady and the Tramp to be able to hum 'He's a tramp' or ‘Bella Notte’, and I'm quite sure more people have heard 'When you wish upon a star' than have actually watched Pinocchio. With this in mind, Disney turned to veteran songwriter and composer Randy Newman, who has composed countless memorable songs and scores, and who recently contributed to many of the Pixar and Disney projects. He also fits like a glove because of his jazz roots and expertise, which any musical set in New Orleans would need. The songs vary in quality and melody, and to be honest as I left the theatre there was only one tune I could remember, but a few listens later I'm warming to them, and I believe a couple have the calibre it takes to make a Disney classic. 'I'm Almost There' is particularly classy, and 'Dig a Little Deeper' is great fun. The film is bookended by renditions of 'Down in New Orleans', a rousing jazzy number that introduces us to the city and finishes the film with a flourish.

All the right ingredients

In this deliberate throwback to classic Disney fairytales, and the first 2D since 2004's Home on the Range, the first thing that is spot-on is the look. Some of the characters look like they could have been extras in The Aristocats or The Rescuers, and for those of you who grew up watching Disney classics, this is sure to be a treat. There's even the obligatory not-so-bright sidekick, a large and loud alligator named Louis, who provides a few laughs just like Scuttle the seagull did in The Little Mermaid, to mention just one. There's an admirable heroine to root for, and a pantomime baddie to boo, and without spoiling any surprises I can tell you that everyone lives happily ever after.

Rather messy result

Unfortunately, the sum of parts isn’t as tasty as the ingredients would suggest. The film rattles along at a hectic pace, especially during the first half, without much pause to catch your breath or get to know the characters better. The carnival atmosphere is often great to look at, but some sequences feel crammed and rushed. The entire voodoo subplot is perhaps a bit too dark and unearthly for younger audiences, which is a risky decision since so many parents choose the Disney name as a mark of reassurance for their toddlers’ entertainment.

Who's in it?

Anika Noni Rose (Dreamgirls) and Bruno Campos (Nip/Tuck) voice the central couple, with the former getting most of the higher notes, and the latter getting many of the best lines. The gravely-voiced Keith David (Requiem for a Dream) helps make Dr. Facilier a formidable villain. A few big names lend their voices to the parents – Oprah Winfrey as Tiana’s mother, Terence Howard (Crash) as her father, and John Goodman (The Big Lebwoski) as Charlotte’s father. The film is directed by John Musker and Ron Clements, who previously shared the director’s chair on the exceptional The Little Mermaid, Aladdin and Hercules.

In the end

There’s no doubt that this fairytale has Disney’s magic touch all over it, and I for one am very pleased that they haven’t shelved 2D animation or their Grimm brothers source material just yet. The imbued jazz element may affect one’s enjoyment of the songs and overall film, and I have my doubts whether today’s children will be fondly remembering these lyrics in their late 20s. It remains one of the best animated films of the year, but is far from Disney’s best.

Trailer:

http://www.apple.com/trailers/disney/princessandthefrog/

2009 at the Movies

What soared, what sank, what amazed, what stank.

It’s that time of the year again. The blockbusters of last summer seem like ancient history, unless we’re revisiting them after finding the DVD in our Christmas stocking. The trailers for next summer’s extravaganzas have already been seen countless times online and in theatres, and we the eternally unsatisfied audience already have something to look forward to. And over in tinsel-town, it’s award season.

2009 seemed like a great year at the movies, although I seem to remember thinking that nearly every year. As the rest of the world buckled under the financial strains of recession, the movie industry still managed to turn in some impressive box-office figures, with similar attendance figures to other years, and a few broken records too. Maybe cutting back on your expenses doesn’t mean you have to cut down on trips to the cinema. Maybe two hours of jaw-dropping escapism for a few euro is something that no scrooge can deem excessive. Or maybe there were just so many great films to choose from.

Late entries

Ironically, some of the most anticipated films of 2009 have yet to reach our cinemas. In what has become a clear trend, many of the more ‘serious’ or respectable films, at least on paper, get released as late as possible in the year, so as to make the most of the award season. Between December and March every newspaper, critic society, website and magazine sums up the best of the year, and the season of back patting culminates in the Academy Awards, which this year will be held on the 7^th of March. With so many films to choose from, studios seem to rely heavily on short-term memory, and they hope that whoever votes for awards will have their film fresh in their mind. The financial benefits are also clear, and films released late in the year often have their nominations or awards emblazoned on the promotional posters to attract viewers.

Technically, to enter the running for the upcoming Oscars, your film must have been released during the calendar year 2009. So some of the entries are released in a handful of cinemas around Christmas time, get shown to a few critics, and then let the award buzz build before being unleashed on the public during January or February. So as in previous years, we can expect some big names to hit our screens during the next couple of months.

This time last year

Last winter was no exception, and in the run up to the Oscars we were being transported to Mumbai to play game shows, or to New Orleans to watch Brad Pitt get rid of wrinkles. Within weeks of the Oscars, however, we were treated to the first major release of 2009 – Watchmen. An ambitious adaptation of the complex and revered graphic novel, the film had moments of sheer genius (the opening credits, for example) and was both spectacular and dark, as befitting the source material. It proved successful, albeit with a select audience, and got the year off to a great start. The low seasons trudged along with some spy seduction from Julia Roberts and Clive Owen (Duplicity) and yet another earth-saving intervention from Nicholas Cage (Knowing).

A few films were released without too much fanfare, and made poor box-office returns, but are definitely worth catching in the comfort of your home. The Boat that Rocked was one, and it has now been confusingly re-edited, re-marketed and re-packaged as Pirate Radio. Another hidden gem was the offbeat comedy I Love You, Man, which took the latest trend of ‘bro-mantic comedies’ to a whole new level. Monsters vs. Aliens was also big in the laugh department, and it started off what would turn out to be a landmark year for 3D films.

May

Just as winter has evolved into award season over in Hollywood, May has gained a reputation as the start of the blockbuster season. Ever since Jaws established the summer blockbuster notion, film studios have rushed to book key dates in May to release their money-spinning special effects bonanzas. This year was no exception, and the first box-office behemoth to hit the screens was the X-Men spin-off focusing on Wolverine. Next up was the reboot of the Star Trek franchise, which brought a fresh lick of paint to the sci-fi franchise, and reached out beyond their usual audience.

The computer-generated St. Peter’s Square was possibly the main star of the frenetic Rome treasure-hunt Angels and Demons, which was an adequate and enjoyable adaptation of the Dan Brown novel, released just in time to drum up even more hype for his next book. And to further prove that franchises are the best way to make money these days, the manic month of May was rounded off by two more sequels – Terminator: Salvation and Night at the Museum 2: the Battle of the Smithsonian.

Summer Loving

May ushered in the summer season, but the main attractions were still to come. As worldwide box-office tallies stand at the end of 2009, the three most successful films of the year are Harry Potter and the Half-Blood Prince, Ice-Age: Dawn of the Dinosaurs and Transformers: Revenge of the Fallen (more sequels, please note). All three were released back in the summer months, and despite varying quality (I personally thought that Ice Age was average, and Transformers was a complete mess) they drew the crowds, and will undoubtedly draw them again when the next sequel is released. Avatar, however, is now hot on their heels, and may eventually turn out to be the biggest earner released in 2009, which seems justified, given the quality of the films in question.

A few non-franchise films tried to take on the big names during the summer, and there were great films on offer for all tastes, including the gangster epic Public Enemies and the tearjerker My Sister’s Keeper. But the clear surprise of the summer was the superb The Hangover. Coming out of nowhere, with no A-list cast or crew and not an exactly original idea, the film was possibly the most enjoyable two hours of the entire summer, and now stands cheekily amongst the top ten releases of the year. The summer had its flops too, most notably Brüno, which fell far short of Borat in every department.

Two to watch

Just as summer was winding down, two films burst onto the scene, clicking with audiences and critics alike, and breathing even more fresh air into the sequel-saturated summer. The first, from an unknown director and cast, was the amazing District 9, which under all the effects had the backbone of a great story, and remains one of the best films of the year. The second, from a director who needs no introduction, was the irreverent, polished and wonderful Inglourious Basterds,

Everything about Tarantino’s latest offering stands out amongst the year’s other releases. The man continues to wield his own particular brand of cinema, and Basterds was packed with his usual articulate acting, exciting imagery and vintage score selections. This was probably the earliest release of the year that is taking a serious swipe at the awards, and it seems that the intervening months haven’t caused viewers to forget the great acting of Christoph Waltz and other highpoints of the film.

Back to school

As tends to happen every summer, it ended, and we all had to eventually pack away our suntan lotion and linen tops as the days grew shorter and the blockbusters grew fewer. But summer 2009 had a few treats left, and here in Malta we had September releases for the unusual Funny People. An often-confusing mix between drama and comedy, the film showcases Adam Sandler and the writing talents of director Judd Apatow, and is as hard to digest as it is hard to forget. The Time Traveller’s Wife had captivated me as a book, during a swine-flu enforced week of quarantine leave in August, but the film sadly struggled to capture the book’s spark.

Another oddly disappointing September release was The Soloist, which had all the ingredients for a heart-tugging masterpiece, but seemed to flounder without going anywhere. Action figures made the leap to the big screen with the new G. I. Joe offering, which provided a post-summer dose of world destruction, and made enough money for us to reasonably expect a sequel sometime soon. The end of summer also brought the announcement regarding This is it, the culmination of the media frenzy surrounding Michael Jackson’s untimely death. Originally viewed as yet another way to make money out of his death, the film is however a fitting eulogy, and shows a surprisingly fit and in control Jackson during the final stages of rehearsal for his string of concerts. If the rehearsal footage is anything to go by, the world missed out on quite a show.

Local flavour

October saw the premiere of a completely Maltese production – Kont Diġa. Tackling the conflicting emotions of a young man returning to Malta after a period abroad, the film easily stands above most other local productions seen to date. The concept and plot are maybe a bit too thin to support a full-length feature film, but the film boasts high production values, and has an impressive style and aesthetic. We can only hope that there’s more where that came from.

And speaking of flavour, the most hunger-inducing film of the year was definitely Julie & Julia, a light and tasty true story about a young woman working her way through a book of Julia Child’s recipes. Meryl Streep amazes once more as she transforms into the towering American celebrity cook, and her role has ensured that the film is remembered during these award months. Another light and delightful film was the offbeat romantic comedy (500) Days of Summer, which is built upon one of the best screenplays of the year, and is a refreshing change of pace from the other love stories that moisten our screens.

Gearing up for the holidays

As Christmas lights went up, and temperatures fell (well, not in Malta), the local cinemas started showing films that would last into the holidays and make some extra business thanks to the festive season. The main Christmas-themed film of the year was A Christmas Carol, a retelling of the timeless tale by director Robert Zemeckis, with Jim Carrey as Scrooge. Made with the same (slightly weird) realistic animation as The Polar Express and Beowulf, the film contains all the ingredients for a holiday family outing.

Rather less uplifting, but nonetheless far more successful in terms of numbers, were the two films that dominated the screen in the run-up to Christmas (or rather, the run-up to Avatar). 2012 is yet another apocalyptic disaster movie from the team behind Independence Day, Godzilla and The Day After Tomorrow, and might make for amusing viewing in two years’ time. Close behind in the box-office charts (at the time of writing), lies the second chapter in the girly vampire Twilight saga – New Moon. It appears that the critical lashing that the film received upon release was no deterrent for the franchise’s hordes of teenage fans, and we can expect the third and penultimate instalment, Eclipse this summer.

The third dimension

By the time Santa was loading his sleigh, however, there was only one film that was making headlines. Avatar was burdened with immense expectations, coming as it did from James Cameron, who made Titanic, Terminator 2 and Aliens, but it managed to live up to them and drive everyone into 3D cinemas over the holidays. As I mentioned above, Monsters vs. Aliens was the first of a series of 3D films to gain success in 2009, and the new ‘RealD’ format seems to be catching on like wildfire after gaining favour with Disney, Pixar, and directors like Cameron.

Another appetising 3D caper was released back in September, and the title tells you all you need to know about how much fun the filmmakers had with the plot and visuals. Cloudy with a Chance of Meatballs was surprisingly good, especially when viewed in 3D with burgers flying towards your face. Less zany, but equally fun and polished, was this year’s Disney/Pixar offering – Up. Wonderful in every aspect, it followed an ageing widower on an improbable journey to Angel’s Falls in Venezuela, and once again made excellent use of the new 3D technology to give us viewers a feast of colour and beauty. But Avatar remains distinctive in its complete 3D immersion of the viewer in an alien world, populated by computer-generated characters and scenery, but incredibly realistic. It has already dominated the Christmas box-office (despite strong competition from the entertaining Sherlock Holmes and Alvin and the Chipmunks: the Squeakuel), and will undoubtedly feature prominently in the awards season.

What’s next?

The big names that will reach Malta’s screens in early 2010, but which will probably get an Oscar boost come March are mostly character-driven dramas which rely more on acting and writing than special effects and bombast. Morgan Freeman must probably fancy his chances of an acting nod for his portrayal of Nelson Mandela in Clint Eastwood’s biopic Invictus. If he does get nominated, he’ll most likely be up against George Clooney, who is getting lots of acclaim for his starring role in Up in the Air. The book was an insightful look into a man with a whole new means of escapism – collecting air miles and living out of a suitcase, and I hope the film is as good, which it apparently is.

The Lovely Bones also makes a late appearance, and is another film adaptation of a great book, this time about a young girl who watches her family deal with her disappearance, from the heavens. Expectations are high, especially considering the names behind the project – Peter Jackson and Fran Walsh, who adapted The Lord of the Rings flawlessly. Lots of big names team up in the musical Nine, a vibrant celebration of Italian culture, and another successful screen adaptation of a stage musical. Daniel Day Lewis stars as a troubled Italian film director, and numerous female stars portray the various women in his life. There will be nominations.

Best Pictures

This year, for whatever reason, there will be ten best picture nominees, as opposed to the previous five. The other categories remain unchanged, but this will let more films get in with a chance of the big prize. Hopefully one of the ten will be Up, and my personal favourite would have to be Inglourious Basterds. Other less-known films that are being billed as potential nominees are the riveting war drama The Hurt Locker, which caused me to let my food go cold on a recent flight, and is directed by James Cameron’s ex-wife Kathryn Bigelow, and An Education, which was penned by Nick Hornby and is about a young girl torn between pursing her studies at Oxford or pursuing her dreams in Paris.

Ultimately, though, awards aren’t everything, as I’m sure the investors of Transformers 2 know very well. The one film that seems to have what it takes to be the best of 2009 both in terms of audience numbers and award recognition is Avatar, but at the time of writing it’s still too early to tell. Last year’s omission of The Dark Knight from all the major award categories was ample proof that sometimes awards fail to reflect what the rest of the world thought about the year’s films.

Coming soon

Looking beyond March, however, yields yet another packed year of appetising offerings. Tim Burton finds a tale as crazy as his vision in Alice in Wonderland, and the recent resurgence of sword and sandals films gives us a modern retelling of Clash of the Titans, which hopefully won’t be drowned in special effects to the detriment of the story. Summer will once again regale us with big name sequels – Iron Man 2, Shrek Forever After, Sex and the City 2, Toy Story 3 and The Twilight Saga: Eclipse; but there are a few interesting non-sequels too – Ridley Scott’s Robin Hood, Christopher Nolan’s Inception and a big-screen version of The A-Team. Then, just as summer starts to wane, we can look forward to what promises to be the mother of all action movies – The Expendables. Conceived by Sylvester Stallone as an over-the-top throwback to the steroid-based action films of the 80s, the film boasts a casts that reads like a Top Ten list of action heroes – Stallone, Schwarzenegger, Bruce Willis, Jet Li, Jason Statham, Dolph Lundgren and Steve ‘Stone Cold’ Austin , as well as Mickey Rourke and Eric Roberts. Definitely worth a look, no matter how cheesy.

But the 2010 box-office champ will most probably be Harry Potter yet again, as the first half of Deathly Hallows is unleashed in November, with the ending in sight. It might have to struggle against the next Chronicles of Narnia film over the holiday period, but I doubt that will dent the huge numbers that have flocked to see every Harry Potter film to date. The movie business is alive and well, and next year should prove to be no different. Hopefully more non-Hollywood films will manage to get wide releases, since there are loads of hidden gems in European cinema and elsewhere, and hopefully the upward trend of 3D will continue, making our trips to the darkened cinema all the more magical.

 

(This article appeared in the February issue of Vida magazine)

The Road

• Released Internationally on 25/11/09
• Released in Malta by KRS on 17/02/10

In a nutshell

In an unspecified time, after an unexplained event has wiped out nearly all life on earth, an unnamed man and his only son must fight for survival against other survivors, the elements, and hunger.

Cormac McCarthy

The film is a wonderful, respectful and unwavering adaptation of the excellent book by Cormac McCarthy, who also penned No Country For Old Men. Showered with acclaim ever since its release in 2006, the novel is both a touching father and son story, as well as a cautionary environmental tale. Early trailers gave the impression that the story had been given a ‘Hollywood’ makeover with extra characters and elements of a disaster movie, but these are thankfully absent from the finished product.

Stripping away the details

It is the absence of these extra details that renders the story so powerful and focused. Disaster movies are nowadays frequent and varying in quality, and we never seem to tire of seeing the world reach its end in different spectacular fashions. That’s not the point here. What happened before the event is only briefly hinted at in flashbacks, and there are no fancy CGI destruction shots anywhere to be seen. Instead, we join ‘the man’ and ‘the boy’ as they trudge across the scorched earth, scavenging for food and heading south for what they hope will be a milder climate.

Survival

What we do know is that whatever happened was powerful and widespread enough to effectively arrest life on earth. Plants and animals are all dead or dying, and all that remains are a few (un)lucky individuals with the whole ransacked planet as their playground. The number one priority is food, and everyone forays through the rubble and deserted buildings for preservatives or anything else edible. With time, the spectre of cannibalism rears its unholy head, causing our two protagonists to fear other humans more than the cold or hunger.

Any colour, as long as it’s grey

With the sun perpetually shielded by a cloud of ash, the earth is a bleak and depressing landscape, with plummeting temperatures. We’re never told exactly where the road passes through, but each leg of the journey brings them to more grey-toned destruction. Largely shunning visual effects, the filmmakers found numerous run-down locations across North America, and filmed on the dullest days possible. Any greenery was later removed digitally, and shots were toned down to fit the overall look. There’s even an impressive scene filmed during the aftermath of hurricane Katrina, with the resulting havoc fitting in perfectly.

Father to son

Viggo Mortensen makes the film. We see him slowly wither and fade under the immense strain of hunger, travel, and the painful memories of his wife (Charlize Theron) who didn’t survive the event. The pain and anguish on his bearded face is balanced by the love for his son (newcomer Kodi Smit-McPhee), and the chemistry between them, so essential to a film like this, works convincingly. The man’s purpose is clear – besides surviving and reaching the coast, he must equip his young son with the skills and cunning to survive without him should they get separated. He never misses a chance to teach his son, and makes sure he knows the difference between themselves - the good guys, and the cannibals – the bad guys. Mortensen is fast becoming the most interesting actor working today, and this powerful performance stands alongside his excellent work in Eastern Promises and The Lord of the Rings.

Key episodes

The main narrative of the book and film revolves around certain key episodes in the duo’s journey. Each memorable episode is brought to life and filled with urgency and emotion, since each one presents a potential life or death situation for our fragile heroes. The discovery of a residual can of coke in a derelict dispenser becomes a touching moment of discovery for the boy, who has never tasted the bubbly flavour before. The exploration of abandoned houses is a tough decision, since food supplies or dangerous squatters could be found within. A chance encounter with an ageing fellow survivor (Robert Duvall) provides a rare chance for friendship and humanity. With our focus so sharply on the man and boy, these episodes resonate and make the film engrossing from start to finish.

In the end

Director John Hillcoat has brought McCarthy’s Pulitzer Prize-winning novel to the screen without pandering to any blockbuster norms and without diluting the powerful father-son bond and desperate survival struggle they face. This is by no means light viewing, but besides being bleak, harrowing and often haunting, it is ultimately moving and very, very beautiful. Easily one of the best films of the year.

Trailer:

http://www.apple.com/trailers/weinstein/theroad/ (High-res QuickTime)

It’s Complicated

• Released Internationally on 23/12/09
• Released in Malta by KRS on 27/01/10

In a nutshell

Jake and Jane have been divorced for ten years, after being married for fifteen. Jake has now remarried. When the ex-couple spend a weekend in New York for their son’s graduation, things get complicated.

Mid-life crises

This light-hearted romantic comedy manages to strike a good balance between fluff and drama, and builds a believable relationship dilemma between its two main protagonists. Since their divorce, Jane has taken time to adjust, but is now finally getting herself together emotionally. But empty-nest syndrome looms as her youngest daughter leaves the (huge) family house, and the loneliness isn’t helped by constant reminders about her dry spell from her girlfriends. Jake, in the meantime, is in a hectic marriage to a much younger woman with a harebrained son, and as he is dragged to fertility clinics by his trophy wife, he admits that he has become a ‘walking cliché’.

Happy families

The ex-pair meet occasionally, and the animosity has cooled, but it takes a full-blown family weekend like old times to bring out buried emotions, and with a lot of insistence from Jake, things start to happen. This proves badly timed for Jane’s architect, Adam, who is also divorced, and with whom Jane was starting a tentative flirtation. The triangle provides ample fodder for situation comedy and tough decisions, and the film manages to remain interesting without following any wildly unpredictable path.

Who’s in it?

Meryl Streep caps off yet another outstanding year with her omnipresent role as Jane. Torn between a steady situation she was getting used to, and the promise of fresh excitement, she is faced with all the tough decisions, and she manages all the complications convincingly, switching from lover to ex-wife to mother to cook to first date seamlessly. She continues to excel into her 60s, after an amazing turn in Julie & Julia, and a subtle but classy role in Fantastic Mr. Fox. Alec Baldwin (30 Rock, The Cooler) is single-minded and often hilarious as Jake, whilst Steve Martin (Bowfinger, The Pink Panther) gives a restrained but likeable performance as the nerdy but nice Adam. Baldwin and Martin will be hosting this year’s Oscar ceremony, which sounds promising. The supporting cast complete the complex family trees nicely, especially John Krasinski (The Office, Away We Go) as the fiancé of Jane’s eldest daughter, who starts off awkwardly but ends up having some of the funniest moments in the film.

In the end

Nancy Myers, who previously directed Something’s Gotta Give, The Holiday and What Women Want (as well as writing the former two), continues with her winning formula – light, fun, romantic comedies featuring top-class actors and tackling various relationship issues at different stages of life. Her script is as pleasant as usual this time around, and the cast, especially Streep, deliver. Romance and comedy, with some extra class.

Trailer:

http://www.apple.com/trailers/universal/itscomplicated/ (High-res QuickTime)

Moon

• Released Internationally on 17^th July 2009
• Released in Malta by KRS on 29^th October 2009 as part of the annual Malta International Film Festival

In a nutshell

Made on a small but well-used budget, and mostly a one-man show, this is one of the best films of the year.

Welcome to Lunar Industries

The story unfolds on the Earth's moon. Sometime in the unspecified future, a mining project is established on the surface of the moon, which harvests a clean source of energy for use on earth. The advanced setup allows it to function with only one human member of staff. That lonesome individual is Sam Bell (Sam Rockwell - Matchstick Men, Frost/Nixon), and we meet him just two weeks before his three-year contract is due to expire. He's understandably eager to head back home, especially since his wife was pregnant when he left, and he's had to rely on recorded video messages to enjoy his young family over the past years.

Staying sane

Three years is a long time. Around three years ago, Wii and Blu-ray were released, Saddam Hussein was executed, and Italy won the World Cup. That seems like aeons ago. So we can only imagine how much longer they must seem if you are cooped up in a gleaming, sterile space station with no other humans in sight. I assume Sam Bell was being paid handsomely for his troubles, because there must be few other reasons to do it. Keeping him sane and fit for work during his long stretch is a regular routine of work, treadmill, hobbies, video calls, and Gerty.

Gerty

In a clear homage to 2001: A Space Odyssey, Sam's confidante, companion and support line is a smooth-talking console named Gerty. Voiced elegantly by Kevin Spacey (American Beauty, The Usual Suspects), Gerty has a smiley face where Hal 9000 had a red light, and his display changes with mood. There is little else to discern from his deadpan voice, and his allegiances are divided between the parent company who installed him, and Sam whom he babysits. As Sam starts to see things and get certain suspicions during the last weeks of his sojourn, he needs Gerty on his side as he tries to uncover the truth.

The sounds of space

The homage to Kubrick continues with a solitary scene set to classical music, much like the balletic spaceship sequences that defined 2001, but the references end there, and in all other aspects this story is wonderfully original and surprising. Moon owes much of its overall look and feel to the basic but effective special effects as Sam ventures out into zero gravity, and to the pulsating and occasionally beautiful score from composer Clint Mansell. The lunar landscape scenes provide us viewers, and Sam, with a break from the enclosed environment of the space station, and add a lot to the sense of awe and mystery.

In the end

This polished and rewarding science-fiction film is the film debut of a certain Duncan Jones, who wrote the original story, and directed the film. Previously known mostly for his work in advertising and as the son of David Bowie, we can only hope this will open up many doors for him as a filmmaker. Sam Rockwell continues to impress, and as the story unfolds, his performance is what binds the film together and makes it work. We need more films like Moon.

Trailer: (High-res QuickTime)

http://www.apple.com/trailers/sony/moon/

Malta Box-Office 2009

 

The Top Ten films in Malta between Dec 24th 2008 and Dec 22nd 2009 (Source: KRS)

01. 2012 *
02. Harry Potter and the Half-Blood Prince
03. Michael Jackson's This Is It
04. The Proposal
05. Avatar *
06. The Hangover
07. Angels & Demons
08. Ice Age 3 – Dawn of the Dinosaurs
09. The Twilight Saga – New Moon *
10. Transformers - Revenge of the Fallen

* Still in theatres at the end of the year

Avatar

• Released Internationally on 18/12/09
• Released in Malta by KRS on 16/12/09
• Showing in ‘RealD’ 3D at Empire Cinemas, Buġibba and in 2D everywhere else

In a nutshell

Against the odds, the man who made Terminator 2, Aliens and Titanic has made probably his best film yet.

Brand Cameron

A former truck driver, James Cameron is one of the very few directors working today who can sell a film just with his name. But whilst Jackson, Spielberg, Lucas, Burton and co. have been churning out hit after hit over the past ten years, Cameron has been lying low ever since Titanic in 1997. Very low, in fact, because whilst basking in the glory of Titanic’s unprecedented success, he visited the actual shipwreck and learnt the ways of deep-sea exploration. The resulting documentaries, Ghosts of the Abyss and Aliens of the Deep are the only work of his we’ve seen since, but we now have ample proof that he was hard at work.

How to hype

The project had allegedly been mulling in Cameron’s head since the early 90s, but he claims the special effects were not advanced enough at the time. Midway through this decade word starting surfacing that he was back at work, slowly developing the project, and the past couple of years have been peppered with announcements about how great the film was going to be. Hype can be a bad thing, but with a director like this claiming he has been working on a project for nearly a decade, it’s hard not to get carried away and hope for the best. A chosen few got to see previews of the special effects from as early as last March, and the praise was quite steep. Cameron is one of the directors who has fully embraced the new ‘RealD’ 3D technology, and he claimed the resulting 3D effects his team had managed to develop would be unlike anything seen before. Great expectations, indeed.

So what’s an Avatar?

Avatar is a word that has been around for quite a while, and means embodiment or re-incarnation. It took on a new meaning in the digital age, as a way of referring to your virtual persona in computer games or online communities, or more commonly, the little photo in which you think you look cute, which you use on MSN messenger or similar fora. In the context of this film, it refers to artificially grown creatures, which humans can inhabit and control from the comfort of a bed in a lab.

Na’vi

Forget little green aliens – these elegant creatures are tall, feline and bright blue. The Na’vi are the indigenous race on the planet Pandora, which humans are trying to settle on in the not-too-distant future. The humans are after vast amounts of precious minerals found in the planet’s rock, but the natives aren’t too pleased with the intrusion. Hence the Avatar programme, whereby scientists are trying to infiltrate the locals, learn their ways and gain their trust.

Jake and Neytiri

Relative newcomer Sam Worthington (Terminator Salvation), who has struck pure gold with his performance in this most prominent role, is Jake Sully, a paraplegic war veteran who gets drafted into the program at the eleventh hour to replace his late twin brother. Lacking the expertise, but being eager to experience standing on his ‘own’ two feet again, he takes to his avatar like a duck to water, and before long finds himself deep in native territory and hospitality, where no others have managed before. The plot is rather predictable from there on, with his guide, Neytiri (Zoe Saldaña, Star Trek) being quite a stunning alien, and eventually causing Jake to doubt on which side his heart lies.

Who else is in it?

Aliens veteran Sigourney Weaver is Dr. Grace, who heads the scientific part of the program, and has to fend off the military and managerial teams who are more interested in quick results than her work. Giovanni Ribisi (Saving Private Ryan, Lost in Translation) has a brief but layered role as the chief of the operation, who has to balance the demands of the shareholders back home with the lives of the Na’vi. Stephen Lang (Public Enemies) is the head of the military team, an unfortunately two-dimensional character the likes of whom we’ve seen countless times before, but who serves his purpose well and is a not-too-subtle mockery of the US military. The saving grace of the military side comes in the form of Michelle Rodriguez (S.W.A.T., Lost) as Trudy, the one soldier on Pandora who seems to sympathise with Dr. Grace and her ideals.

Truly special effects

Cameron has frequently astounded audiences with the effects in his films, from the close encounters of The Abyss to the mercurial magic of Terminator 2, and of course the rather convincing sinking of that ill-fated ship. Here, however, he clearly sets a new standard. Just like Jurassic Park ushered in the age of believable computer generated creatures, and The Two Towers elevated the craft by making one creature an emotional, heartbreaking main character, this film outdoes all that came before it. Given an extra layer of believability by the stunning 3D, the Na’vi, who count in the hundreds, populate the film, and interact seamlessly with each other, the humans, and the breathtaking habitat of Pandora. The crowning achievement is the believable love story, which is no mean feat considering that the protagonists are figments of imagination.

“All energy is only borrowed – someday we have to give it back”

Pandora has to be seen to be believed. Created from scratch, it is a central character as much as any other. It is packed with fantastic creatures that make birds of paradise look dull, jaw-dropping scenery and the most beautiful vegetation ever to grace the screen. The Na’vi are very close to nature, and they literally interact with the animals and plants around them as part of their culture. The settings are as much a marvel as the characters, and Pandora provides many of the year’s most beautiful shots, especially those involving the seeds from the ‘Tree of Souls’, the bio-luminance and the ‘floating mountains’. The overall Progress vs. Nature theme is powerfully conveyed, and in no subtle terms (maybe they should have premiered it at the Copenhagen summit).

Cameron shoots, Horner scores

Inexhaustible composer James Horner penned one of his best action scores for Aliens, and won an Oscar thanks to a few moments of sheer beauty in Titanic, so he was probably eager for Avatar to see the light of day. His score provides a voice for the alien Na’vi, with choral pieces and tribal chants, as well as complementing the many spectacular scenes with a beautiful but simple main theme. He returns to action mode for the pulsating and visceral final act of the film, rounding off what is probably his best score of the decade.

So is it perfect?

The film has its flaws, but they are mostly minor and forgivable. As mentioned, the plot is predictable, and the concept has been written and filmed before. Still, the film still manages to fly past despite its 162 minute running time, also thanks to Cameron’s effective use of video logs to propel the story forward without making his montages seem out of place. A few of the military locations and set pieces seem lifted from Aliens, but I guess that is Cameron’s vision of the future, and a couple of decades need not change much. Lang’s hard-lined character never develops beyond his stereotype, but at least he’s consistently bad and an easy character to hate. He also proves essential for a great symbolic duel between natural avatars and technological avatars – another action sequence which Cameron does with class.

In the end

I’m not completely sure whether it was my expectations or the spectacle I was watching, but there was an undeniable sense of occasion when watching this epic unfold. Cameron has managed to create an entire world, down to the last detail, and his effects wizards have made it one of the most beautiful worlds we have ever been transported to. But this is no effects demonstration held together by a flimsy plot – it’s a well-written, well-rounded and engrossing film that should appeal to a wide range of audiences. James Cameron has delivered once again, and has lovingly crafted a film that I predict will stand the test of time. Treat yourself this Christmas – go watch it in 3D as it is meant to be seen.

Trailer:

http://www.apple.com/trailers/fox/avatar/

The Imaginarium of Doctor Parnassus

 

• Released Internationally on 16/10/09
• Released in Malta by KRS on 25/11/09

 

In a nutshell

From the skewed vision of Terry Gilliam comes an eccentric fantasy tale that, whether audiences warm to it or not, will be remembered as the film Heath Ledger was acting in when he died.

An inconvenient truth

Having completed his seminal work on The Dark Knight, Heath Ledger moved onto a smaller British project. He had completed about half of his scenes when he was found dead, and during the media frenzy that ensued, this film was put on hold. Not one to be outdone, director Terry Gilliam eventually saw the film through to completion. One would have to assume that the intentions were three-fold: to bring Ledger’s final work to his audience, for artistic reasons – so that the project is completed, and probably financial reasons – so as not to waste all the pre-production and work that had been done up to his death.

The what of whom?

The film is a bizarre and colourfully imagined fairytale, as one would expect from the creative mind of director Terry Gilliam. Originally famous as the sixth member of Monty Python, and the man responsible for all their zany animations, and for directing their feature films, Gilliam has continued to direct, with his films varying in content from the complex science fiction of Twelve Monkeys to the grey paranoia of Brazil. Here he conceives a travelling roadside theatre troupe in present-day London, which offers audiences the chance to wander through their own imagination and choose between enlightenment and temptation. No, this is not a true story.

Wagers

The basic plot premise is that the ancient Dr. Parnassus (Christopher Plummer – The Insider, Up) once made a deal with the devil, and the devil has now returned to claim Parnassus’ daughter on her 16^th birthday, as agreed. The bet is re-negotiated, however, and Parnassus and ‘Mr. Nick’, the devil, must try to seduce five souls as they traverse through the ‘imaginarium’. First to five wins, and gets the girl. The road-show picks up an apparently amnesiac stranger (Ledger) who proves skilful in drawing crowds and might help Parnassus win the wager.

Distraction

The much-publicized method of completing the film despite Ledger’s demise was roping in Johnny Depp, Jude Law and Colin Farell to complete his role, something that it was claimed would fit into the narrative due to its fantasy nature. We quickly realise how when the first unlucky guy to stroll through Parnassus’ shiny curtains somehow changes appearance halfway through the imagination sequence. The high-calibre Ledger replacements do their job nicely, also due to the superficial resemblance to Ledger once make-up and styling have their say, but the end result is often distracting and ultimately detrimental to the film.

In the end

Worth seeing, if only for Ledger’s final performance and a taste of Gilliam’s vivid imagination, but overall a very disjointed and often absurd film. With so much craziness happening on screen, one needs a constant backbone as a point of reference – however one such constant went missing, and the film suffers as a result.

 

 

Trailer:

http://www.apple.com/trailers/sony/theimaginariumofdoctorparnassus/ (High-res QuickTime)