Grace of Monaco

 

• Released Internationally on 14/05/14
• Released in Malta by KRS on 18/06/14

Review (18/06/14)

3-word review: Just a fairytale. 

It was a modern-day fairytale with all the right ingredients - a celebrated actress, fresh from an Oscar win, gives up her acting career and moves to Monaco to marry Prince Ranier and live a regal life in one of the most sumptuous places on earth. Of course, there must have been dark moments and behind-the-scenes drama, and there was a fair share of tragedy too, with her unfortunate death after an accident. But the royal family of Monaco has been so upset by the portrayal in this film that they want nothing to do with it, and the film starts with the ominous statement that what we are about to see is a fictional account based on true events. So before the first scene, my interest had already plummeted.

Unlikely to be definitive

Once you’ve lost your credibility, it’s hard to pull off a biopic and keep the audience hooked. Yes, we want to see stories about the stars, but we also want to know there’s some truth in them. If I wanted to see a fictional story I’d hop into the adjacent cinema and watch Maleficent. So although the events as they unfold in this film are interesting enough, you might find yourself trawling through Wikipedia afterwards trying to filter fact from fiction. It does tend to ruin the moment, and it definitely robs the film of a lot of gravitas. It’s uncannily similar to the situation a few months ago with Naomi Watts’ portrayal in Diana. 

Key moments

The film starts by focusing on Alfred Hitchcock’s attempts to convince Grace Kelly to return to Hollywood and star in his film Marnie. This is mostly true, I guess, but it seems to be given huge national importance here. We then shift to the politics of French President De Gaulle trying to force Monaco to pay taxes. Tim Roth (The Legend of 1900, Pulp Fiction) negotiates and looks immensely bored as Prince Ranier, while Frank Langella (Frost/Nixon, Good Night and Good Luck) is the local friar who acts as confidant and advisor to the princess. There’s some marital tension of course, and some sibling rivalry, but somehow Grace manages to solve everything in the end by throwing a ball and giving a soppy speech. Whether things happened like this or whether they even happened in the same decade needs some investigation, but the filmmakers don’t seem to care.

In the end

It’s pretty to look at, but once the slight magic wears off you’re left with a boring drama that is too artificial to be labelled as biographical, and too mundane to be labelled as a fairytale. It’s June, so do yourself a favour and watch the World Cup instead.

 



Trailer:

The Wolf of Wall Street

 

• Released Internationally on 25/12/13
• Released in Malta by KRS on 17/01/14

Review (15/01/14)

3-word review: Sex, drugs, stocks.

Scorsese is a genius at what he does, and subtlety is not it. In his latest sprawling character study, he brings to very vivid life the true story of disgraced Wall Street big-shot Jordan Belfort, portrayed by Leonardo DiCaprio, making this their fifth excellent collaboration on screen.

Belfort rose quickly in the money-obsessed world of stock brokers, also thanks to some delicious early advice from his first boss (portrayed wonderfully in an all-too-brief performance by Matthew McConaughey). Enlisting a trusty side-kick (Jonah Hill, whose dramatic roles now start to eclipse his comedic ones), he sets up his own firm selling suspect stocks to hapless buyers, and getting super rich very quickly in the process. This all happened back in the early 90s, and as expected, a lavish lifestyle ensued. The cult following Belfort had amongst young stock brokers was not dampened, but rather fuelled by, his ridiculously over-the-top life and fame as a dubious trader. Scorsese and DiCaprio hold nothing back in stuffing the office antics, epic parties, endless drugs and countless women in our face, leaving very little to the imagination.

Ultimately, the film does serve as a cautionary tale, with justice and heartbreak catching up with Belfort and his team. But the ride is arguably entertaining enough, and some scenes are in equal parts amusing and disturbing. DiCaprio and Hill excel in the drug scenes, along with a few wonderful camera tricks and director touches. It’s so fast, loud and vivid that three hours fly by. The blood and gore so frequently seen in Scorsese’s films are absent this time around, but the drama and the depravity are clearly not. This is excellent filmmaking, but not for the faint of heart.

Trailers:
http://trailers.apple.com/trailers/paramount/thewolfofwallstreet/

Mandela: Long Walk to Freedom

 

• Released Internationally on 28/11/13
• Released in Malta by KRS on 01/01/14

Review (01/01/14)

3-word review: Comprehensive, timely biopic.

In what turned out to be a stroke of good (but sad) luck for the filmmakers, and convenient timing for us viewers, this big screen adaptation of Nelson Mandela’s autobiography was being premiered in London on the same night that news of his death swept the world. Not entirely a coincidence, of course, since his health had been waning for a while, but it’s rare for us to be able to sit and watch a well-made, detailed look at an important figure’s life at the same time as he is being remembered worldwide.

There have been a number of films about Mandela in recent years, but none gave us such a broad look at his life and major triumphs as this one. Goodbye Bafana was focused on his time in prison, as seen through the eyes of a racist guard, whilst the better known Invictus focused on a specific time during his presidency. This lengthy but entertaining adaptation spans the time from his early years as a bright lawyer to his involvement in the ANC and his eventual incarceration as a result. We then see a glimpse of what happened inside prison but also on the South African and world stage during those many years, as well as the huge outpouring of emotion and change on his release.

Idris Elba (The Wire, Thor) might not resemble the kind-faced Mandela too much, but he steps into the part enthusiastically and by the end of the film has become the role in all the many facets required. He manages to portray both the suave, lady-charming young lawyer as well as the stately, wise leader that he becomes. Naomie Harris (Skyfall) dons a thick accent to match up to Mandela as his equally spirited and determined second wife, Winnie, who fought his cause through all those many years of being apart.

The film is long, but it needs to cover a lot of ground, and it manages to include all the important political aspects without leaving out the human emotion. The now famous Struggle is mirrored by the smaller scale struggle of a very particular family. The Mandela family had to endure a lot and pay a hefty price, but they were ultimately crucial in the shaping of their country.

 

Trailers:

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

Saving Mr Banks

 

• Released Internationally on 29/11/13
• Released in Malta by KRS on 29/11/13

Review (28/11/13)

3-word review: Unusual Disney Magic.

Most people alive today, or at least those in the western world, have had their childhood years sprinkled with Disney magic in some form or another. The baby boomers were around when Walt Disney himself was transforming the world of animation and family cinema; my generation got to savour the Mermaid-Beauty-Aladdin peak and all the unforgettable music it brought with it; and today’s children are spoilt for choice thanks to the excellent quality of recent offerings, especially the collaborations with Pixar. Mary Poppins has somehow persisted through all of this, with its most recent incarnation being a stage musical. A childhood without ever having heard the word ‘Supercalifragilistic-expialidocious’ is not one I would wish upon anyone.

The making of

Which is a large part of the reason why this very unique film has such a great, nostalgic appeal to it. It is basically an entertaining, moving, film version of what you normally would expect to find amongst the extras on a DVD set. It is essentially a behind-the-scenes look at how 1964’s Mary Poppins was made. The reason it makes for entertaining viewing is that the author of the Mary Poppins children’s books - a very British lady who went by the name of P. L. Travers - was a very hard nut to crack, and it took Walt Disney many years and tonnes of charm to draw her to tinsel town and let him make the musical version of her books that he had promised his daughters.

Nutcracker

There are few more enjoyable things to watch than a hard nut being slowly cracked, and acting goddess Emma Thompson is wonderful to watch as she slowly, and only very slightly, warms to the carefree Los Angeles ways and cautiously lets go of her precious literary creation. A large part of the persuasion process comes by way of the sublime music that the famous Sherman Brothers (portrayed here by B. J. Novak from The Office and Jason Schwartzman from The Darjeeling Limited) were composing at the peak of their powers, and which can still gets throats humming and toes tapping fifty years later.

Walt

Filling the powerful but warm role of the head of the Disney empire himself is Tom Hanks, who delivers yet another seemingly understated but ultimately excellent performance after his recent Captain Phillips, although if he gets any awards glory this year I imagine it will be for that, not this. His to-and-fro wrangling with Travers whilst never wavering in his determination to make the film he wanted to make is the stuff of warm drama films, not forgotten DVD extras, so I’m glad it has been given this first class treatment. These scenes are carefully woven in between scenes from Travers’ childhood, where her loving but unreliable father (Colin Farrell) was a clear inspiration for the imperfect Mr Banks, and where the events that followed explain her unwavering devotion to the characters in her books.

In the end

Ultimately, the film owes much of its feel-good factor and audience appeal to Mary Poppins itself, and even lifts a couple of songs for key scenes and touching moments. But the two stories are undeniably melded together, so it is a rare and wonderful joy to see this companion piece reach our cinema screens, and remind us of the excitement we felt, back when the winds were in the east, and the mist was coming in.

 

Trailers:

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

Diana

• Released Internationally on 20/09/13
• Released in Malta by KRS on 02/10/13

Review (30/09/13)

3-word review: A missed opportunity.

This is by no means a successful, definitive, biopic. Those films are hard to find, and in recent years have often been passed over in lieu of films focusing on specific periods or incidents in famous people’s lives, without ambitiously claiming to be an all-encompassing account of the person’s time amongst the living. The King’s Speech was a wonderfully-executed example of these focused types, whereas The Iron Lady was a rather successful overview of Thatcher from her dawn to her twilight. 

Making a modern royal biopic must be quite tricky. A chunk of your intended audience probably have the subject of your film on some pedestal and will carefully scrutinise your every move and see if the film is worthy of its subject. Another chunk hate the idea of a monarchy and will gladly ignore the film or tear it to shreds. But it gets even trickier when your subject is one of the most photographed and public figures of the past decades, and everyone has an opinion about her.

As superficial as it sounds, however, a lot is riding on the resemblance of your main star to the person in question, aided as necessary by prosthetics and makeup. Which is a large part, of course, of why The Iron Lady worked. Naomi Watts, despite her very good acting and wonderfully 80s hairdo, does not look like Diana, and it takes a while for this to sink in and allow you to look past it. In fact some of the best shots in the film feature her from behind or from an angle, and I found myself making a double take to see whether it was archival footage or a carefully re-created scene. 

Unfortunately these designed re-enactments of iconic Diana photos and moments are the most enjoyable aspect of the film, since the love story itself feels like a standard soap-opera romance, which could be completely accurate, or mostly conjecture - we might never know. Naveen Andrews (Lost, Sinbad) is confident enough to pull off the role of the heart surgeon who stole Diana’s heart, and Watts manages to combine enough grace and fragility with occasional moments of daring to remind us what a complex person Diana must have been.

It’s interesting to dip back into the mid-90s, in an era of flip-phones, Concordes and cassette tapes, because back then the internet was brand new, and despite Diana’s constant media presence she was spared the endless, permanent internet plastering that some celebrities get today. Which might be why she managed to enjoy this modicum of privacy and have a last few years searching for happiness, albeit away from her sons for long stretches. “My boys need to see me happy”, she said, and at least she gave it a good try.

The cardiac love story plays out as we expect it to, and the film feels like it could end there, but of course it needs to go on a bit longer so that Dodi Fayed (Cas Avnar - Argo) can come into play, and lead things towards that fateful night in Paris. The chilling, famous scenes most of us will recognise provide a powerful coda to this sad tale, but ultimately they fail to lift this film to the incisive portrait it could have been.

Trailers:
http://trailers.apple.com/trailers/independent/diana/

Pina

• First Released Internationally in 2011 
• Showing at St James Cavalier, Valletta, from the 3rd to the end of April, to commemorate International Dance Day (April 29th)
• Showing in 3D 

Review (03/04/13)

I approached this critically-acclaimed film in the knowledge that I know very little about the world of dance, and next to nothing about the “dance theatre” style for which the late Pina Bausch is mostly famous. This unconventional documentary by the celebrated German director Wim Wenders (Buena Vista Social Club, The Million Dollar Hotel) showcases her dance company’s major works, and looks back on her artistic work through the eyes of her dancers.

The format is fairly simple – there is no obvious narrative, but rather a fluid and sequenced trip through her four major works, recreated for the film. The film is punctuated by brief, intense and original interviews with her dancers, who come from all corners of the globe, and evidently miss her a great deal. There are also numerous brief dance sequences set in various gorgeous locations, making wonderful use of 3D and giving an all-round better picture of her style of dance. Pina herself appears in numerous older clips, but unfortunately she passed away when the film was still in its early stages.

There’s no denying that this is vivid, beautiful and very different cinema, but whether you actually enjoy it or not as a film experience will probably depend highly on your relationship with dance. And on whether you view Pina’s quotes as inspirational nuggets to cherish, or vague statements that could really mean anything. But ultimately, I’m quite sure that everyone leaving the cinema will have a very good sense of who Pina was, at least professionally, and what an indelible mark she has left. Which is a testament to Wim Wenders and his observant and thorough approach here.

 

Trailers:

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

 

St James Cavalier have recently installed new digital projectors and a larger screen. Upcoming highlights which will make use of this technology include showings of Matthew Bourne’s Swan Lake, Jeff Wayne’s War of the Worlds and many more. For more info visit http://www.sjcav.org/.

The Social Network

• Released Internationally on 01/10/10
• Released in Malta by KRS on 15/10/10

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

In a nutshell

At very least, if you don't own a Facebook account, you'll have heard about it, read about it in the papers, or seen someone's photos on it. In less than a decade it has mushroomed into an internet brand as recognisable as Google and YouTube, which of course means that somewhere, someone is extremely rich.

Why we're hyped

When I first heard that a movie was being made about Facebook, I admit I thought it was some laughable attempt at cashing in on its immense popularity. But it turns out that someone had written a rather sordid book ('The Accidental Billionaires') chronicling the campus and board-room struggle that characterised the birth of Facebook back in 2004. When business-savvy whizz-kids stumble upon a winning formula, and billions are at stake, you can imagine that there will be lots of interest and intrigue when it comes to sharing the pie. And sure enough the film trailers that have been released so far promise a thriller far more gripping than the title would suggest. The tagline is quite eloquent - “You don't get to 500 millions friends without making a few enemies”.

Who's in it?

Another major reason why this film looks promising is the man in the director's chair. When it was announced that David Fincher was going to call the shots, I for one realised that there must be something in the script that has the makings of a great film. With excellent and adored films such as Fight Club, Seven, and Zodiac under his belt, Fincher also recently showed us how versatile he is by helming the picture-perfect (although rather long) fairytale The Curious Case of Benjamin Button. With him attached, the focus then shifted to who would portray the real-life protagonists of this very recent history. Jesse Eisenberg (Adventureland, Zombieland) looks and sounds the part as Mark Zuckerberg. Listed by Forbes as the world's youngest billionaire, Zuckerberg was one of the co-founders of Facebook, and currently owns one quarter of the empire, besides running the show. Not bad for a 25 year-old. Andrew Garfield (Doctor Parnassus, the upcoming Never Let Me Go, and the next Spider-man) is Eduardo Saverin, who co-founded back in 2004 but has now left the company, under not-so-happy circumstances. Justin Timberlake (who seems to be doing more acting and less gyrating nowadays) rounds off the main trio as Sean Parker, who used to be the President of the company, and who once upon a time co-founded Napster. They've all more or less distanced themselves from the film, claiming things are blown out of proportion – but that was to be expected considering the dirty-laundry aspect of the story. It now remains to be seen whether the vast swathes of people who spend much more than two hours a week on Facebook will want to spend two hours seeing how it was founded, but based on the trailers and the pedigree I'd venture a yes.

Review (17/09/10)

Zuckerberg

Jesse Eisenberg portrays the main guy with a powerful yet nuanced performance. How much of what he injects into the character is true is for Zuckerberg's close friends to decide, but from a normal viewer's perspective this is definitely a fascinating character who commands everyone's attention for the duration of the film. Fincher doesn't hold back, and from the opening scene it is quickly established that this is no likeable hero. He may be at his best in front of the computer screen, but out in the open world, social interaction is not part of his comfort zone. Which is obviously very relevant considering the virtual social network he has built for over 500 million people. Where the film excels, however, is managing to earn our respect for Zuckerberg, despite his lack of people skills. It's obviously assumed that the guy must be super smart, but the script breaks that down into small daily episodes that leave you with the realisation that it was no accident why this guy, and not one of the many other hopefuls, founded the Facebook behemoth.

His friends list

Despite Eisenberg ruling the film, all the other players give wonderful performances, especially Garfield as the estranged Eduardo Saverin, and Timberlake as the flamboyant and impressive Parker. The latter is obviously very comfortable in his role, and he manages to show exactly why Zuckerberg was in awe of him, and Saverin was evidently not. The script cleverly switches between recounting the events, and taking us through the two ensuing legal battles, which allows a structured telling of the tale without resorting to normal voiceover or random flashbacks. It keep the film moving forward swiftly, and the fact that we know where the train is heading doesn't make the ride any less enjoyable.

In the end

This is one of the best films of the year, largely thanks to its fascinating depiction of very recent history, and its sharp and clever script. There's a mountain of memorable lines, and the witty banter and duelling make it as exciting as any action film. Mostly, however, its a brilliant depiction of a generation, and the birth of internet giants in these years where a simple online idea can very quickly become one of the world's biggest bands. If you're not one of the 500 million, you can rest assured that there's a lot to be learnt and enjoyed for everyone here, not just Facebook addicts. It's an inspiring tale of entrepreneurship, creativity and determination, and it's all the more impressive considering it all happened during the past decade. The Social Network. Mark likes this.

 

Trailers:

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

Robin Hood

• Released Internationally on 12/05/10
• Released in Malta by KRS on 14/05/10

Preview (Published 01/05/10 in VIDA magazine)

In a nutshell

Mr. Hood needs no introduction. We’ve seen and read countless versions of the story, from fantastic foxes with whistling sidekicks, to Kevin Costner and his princely ways, and even merry men in not-so-manly tights. But that was all quite a while ago, so we’re due for another take, with this one promising to tell the back-story behind the outlaw. The details should remain the same, however – rob the rich, provide for the poor, arrows, friars, etc.

Why we’re hyped

Although Robin’s boots have been filled by various big names over the years, we can now look forward to a visionary director as well as a stellar cast. Ridley Scott has made many excellent films in a variety of genres, but has yet to recapture the epic feel and huge success of 2000’s Gladiator. He nearly managed with Kingdom of Heaven five years ago, but the theatrical cut was a bit of a mess, and Orlando Bloom was a bit of a wimp as the hero. Let’s face it – if you need to rally the troops, beat the odds and win the girl, you’re better off with Russell Crowe.

Who’s in it?

Besides Crowe as the titular archer, the film boasts the presence of the classy and beautiful Cate Blanchett as Lady Marian. As if those two weren’t enough to appeal to all ages and genders, we can also look forward to Max von Sydow (Shutter Island), Mark Strong (Sherlock Holmes), Matthew Macfadyen (Frost/Nixon), Mark Addy (The Full Monty), William Hurt (A History of Violence) and Danny Huston (Birth) in lesser roles of varying menace and personal hygiene. The latest trailer looks very promising, so let’s hope for the best.

Review (14/05/10)

Robin Longstride

This is not the story of Robin Hood’s adventures. It’s a sort of prequel to all the Robin Hood adaptations you may have seen before, and tells the story of how a certain Robin Longstride, after returning from the crusades as part of Richard the Lionheart’s army, helped start an uprising against the tyrannical King John, and ended up being brandished an outlaw. Once this concept has sunk in, the scope and progression of the film become enjoyable to watch, and the ending proves very satisfying.

Political woes

When King Richard’s reign ends, Robin and his closest friends desert the army, and try to make their own way home across the channel. They bump into a covert squad of French soldiers under the guidance of a certain Sir Godfrey, who are attempting to assassinate the king and lay the groundwork for the French invasion of the British Isles. Back in the Tower of London, King John eventually inherits the crown and with a mix of greed and ignorance manages to infuriate the already oppressed and impoverished English people. Tired of wallowing in misery as the state and church squander their precious resources, the villagers across the land start a rebellion, and the well-timed arrival of the charismatic Robin manages to unite them.

The more the merrier

The impressive cast all take to their parts with gusto, and the consistently strong acting is also helped by a script that manages to be grand without going overboard. The mid-section suffers a bit when it’s unclear exactly who is fighting who, but it all works out tidily in the end. Crowe adds a British accent to his Maximus persona, and is convincing as the hero, albeit without enough human flaws. Blanchett’s Marian manages to warm to him, but not too quickly, and Max Von Sydow as her father is, as usual, excellent. Mark Strong is suitably evil as the traitorous Sir Godfrey, King John’s henchman. His shaved head and reckless disregard for protective headgear make him the most easily identifiable of the enemy forces during the various pillage and battle scenes, and his rivalry with Robin develops as the film progresses, culminating in a wet and wild duel during the film’s spectacular climax.

Archers with tonic

The skills with a bow and arrow play an essential part from the prologue right up the epilogue scenes, and reach epic proportions in the French invasion of England - a magnificent scene mirroring the Normandy landings in WW2. It’s more or less everything you would expect from a war movie set in 12^th century England, and at times the film is quite clearly a mix of Braveheart and Gladiator, even down to individual shots and actions. But I guess you could do worse than try to emulate those two modern classics. The score is one aspect which falls short, however, with the music being unmemorable and largely intrusive.

In the end

The second big film of this summer season should appeal to an even wider audience that the superhero antics in Iron Man 2. Anchored by predictably good performances from the hero and heroine at the core of the story, the film presents an original story, but told in a fashion we have seen before. It’s undeniably fun and action-packed, and like all good ‘prequels’ ends on a satisfying note with everything falling into place as you know it. If you loved Braveheart, this should be fun.

Trailers:

http://trailers.apple.com/trailers/universal/robinhood/

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/

Julie & Julia

• Released Internationally on 07/08/09
• Released in Malta by KRS on 07/10/09

In an eggshell

Based on two true stories, this mouth-watering film chronicles how American cooking legend Julia Child ended up in the kitchen, and how 21^st Century blogging sensation Julie Powell was inspired by her to get her life in order.

Julia

Less known this side of the Atlantic, Julia Child is something of an institution over in America. After living in France for many years due to her husband’s diplomatic postings, she grew to love French cooking, and learnt the art to very high standards in order to pass the time. Her love of eating and cooking grew into a book project with French co-authors, because she was shocked to find that nobody had ever published a French cookery book in plain English. She therefore invested all her time and experience into a guide for ‘servantless’ American housewives. The success that followed led to television cooking specials, more books, and celebrity chefs as we know them today.

Julie

A sure sign of the times, this film can claim to be the first major release to be based on a blog. I’m assuming you know what a blog is (since you’re reading one now), but back in 2002 they were in their infancy. Julie Powell, newly married and reluctantly moving further from the city centre, was in an emotionally draining cubicle job handling post-9/11 complaints, and seeing her dream of becoming a writer slipping away. After much encouragement from her husband, she hatched the Julie/Julia project, a daunting attempt to cook her way through all 524 recipes in Child’s first book, within a year, and blog about the experience. She felt it would bring discipline and purpose to her life, and it turns out she got the recipe right. What started as simply something to do started attracting an increasing following, and she eventually went on to reach her goal, publish the writings as a book, and be a writer (now also with a film adaptation).

Through the eyes of a child

Meryl Streep, yet again, is excellent. She becomes Julia Child so convincingly, yet she doesn’t let the mannerisms, shrill voice and bubbly character stop her from turning in some fine acting. Child was an immense woman at over six feet, with an infectious laugh and voice that gave her no-nonsense approach such appeal with her audience (you can have a look here). With the help of various clever Gandalf/hobbit-style camera tricks, Streep towers over her co-stars and becomes Julia. The sheer joy she exudes on moving to Paris helps her settle in and love the locals, and this sincere love for the French way of life is what she gave back in her book.

Different time, different place

The film follows the two story lines deftly, and despite them being on different continents and in different centuries the various parallels are highlighted as the two projects take shape. Amy Adams, who co-starred with Streep in last year’s Doubt, portrays Julie Powell and the struggles of her annus mirabilis are intriguing to watch. It is in fact quite a nice surprise that the film manages to be so entertaining and engaging, seeing as half of it is essentially about an average person’s self-serving in-house project. But I guess that’s one of the plus points of blogging – Powell’s thoughts and troubles struck a chord with her unknown audience, and eventually with publishers, and now with cinemagoers.

Moral support

The most evident and significant parallel between the two stories is the unfaltering support these two woman had from their dedicated husbands. Both marriages appear passionate and respectful, and both husbands are depicted as admirable in almost every way. Stanley Tucci (The Devil Wears Prada, The Terminal) is quietly brilliant as Mr. Child, and Chris Messina (Vicky Cristina Barcelona) is equally admirable as Mr. Powell.

Low-calorie delight

The book was adapted for the screen and directed by one of the queens of romantic comedy – Nora Ephron. The director of lasting favourites such as When Harry Met Sally, Sleepless in Seattle and You’ve Got Mail manages to lift the film from being simply another biopic, and she laces it with so much fun and great food that it’s easy to be swept up in the enthusiasm. Very little goes wrong in these two stories, and there’s very little not to like about these two characters. Just make sure you eat something beforehand, because I sat through it on an empty stomach and it was delicious torture.

Trailer:

http://www.apple.com/trailers/sony_pictures/julieandjulia/

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:

The Duchess

 

• Released Internationally on 05/09/08
• Released in Malta by KRS on 10/09/08

 

Preview (01/09/08)

In a nutshell

A biopic about the 18^th century English aristocrat, Georgiana Cavendish, Duchess of Devonshire, who was a fashion icon and popular public figure in her time, but who also led quite a scandalous life.

Why we’re hyped

This is a British as it gets. Every so often we’re treated to lavish period films about, made by and starring British people, and they remain unique and special in their own way. And although this Duchess may not be as renowned as, say, Elizabeth, her story seems to be just as entertaining. Comparisons to the late Princess Diana are also sure to spring to mind, because besides the many obvious similarities, Georgiana’s maiden surname was Spencer, and Diana was a descendant of the same family.

Who’s in it?

Keira Knightley plays the title character, and this could very well be her career-defining role. We’ve seen her shine in period pieces before, and this time the spotlight will be very much on her. Another very talented Brit, Ralph Fiennes, plays William Cavendish, who marries the Duchess, and Charlotte Rampling plays Lady Spencer, her mum. The script was based on the biography by Amanda Foreman, and relative newcomer Saul Dibb directs.

Review (09/09/08)

Why bother?

Past events usually retain their interest either if they were major milestones that changed the course of history, or if the issues at hand are still relevant today. Important as she may have been in her time, the Duchess of Devonshire was hardly a landmark figure in history, and I for one had never heard of her before this film was in the pipeline. But from the word go, her story is captivating, and very relevant to our times. If this account is anything to go by, than despite superficial changes in protocol and conduct, affairs of the heart have remained very much the same through the centuries, and painful family decisions have had to be taken, much like what society is facing today.

Headstrong

Keira Knightley makes the role of the duchess her own, and is fortunate not to have to impersonate anyone since we don’t have much footage of Georgiana around nowadays. She breathes a lot of life, and the full range of emotions into her character, and will probably win audiences over just like the duchess did in her lifetime. Georgiana is presented as a fun-loving, strong-minded woman despite the restraints imposed upon her by the era in which she lived, and her popularity is entirely believable. But back home, her marriage is in ruins, and step by step we see her stumble through an emotional rollercoaster, before being faced with heart-wrenching decisions.

Not Voldemort, but close

Driving her to despair is her humourless husband the Duke, played with grim determination by Ralph Fiennes, who ironically gets many of the film’s best lines thanks to his deadpan delivery. His relationship with Georgiana, and with the third wheel in their marriage, Lady Foster, is compelling to watch. One can only hope that certain conversations that are heard here died along with our ancestors, but with all the striking similarities to Lady Diana’s life, one has to wonder what is said in the corridors of Buckingham Palace.

Lavish

Technically, the film is wonderful, with locations, costumes, hairstyles, lighting and music as lavish as one would expect from such a rich period piece. The acting is convincing throughout, aided by a tight and unwavering screenplay that enthrals us with the ten years that shaped the duchess’ life. It’s a good story, well told.

 

 

Trailer:

http://www.apple.com/trailers/paramount_vantage/theduchess/ (High-res QuickTime)

 

The Edge of Love

 

• Released Internationally on 20/06/08
• Released in Malta by KRS on 13/08/08

 

In a nutshell

Set during WW2, this British film covers a short but eventful period in the life of Welsh poet Dylan Thomas, and two women who featured prominently.

Who’s in it?

Keira Knightley plays Vera Phillips, Thomas’ childhood sweetheart who bumps into him during the war. Sienna Miller plays the vibrant Caitlin MacNamara, Thomas’ wife, who gets along surprisingly well with Vera, despite their awkward love triangle. Matthew Rhys plays the poet in question, and the enigmatic Cillian Murphy (Batman’s Scarecrow) plays William Killick, the soldier who marries Vera and threatens to upset the balance of their little trio, with tragic consequences. John Maybury, who previously gave us the creepy The Jacket, directs. The script was written by a certain Sharman Macdonald, who just so happens to be Keira’s mum.

Keira

Whether she’s looking glamorous whilst singing in the shelters, or unkempt as she grapples with motherhood, Keira looks very much at home in these sort of period films. She has British written all over her, and here is very much in Atonement territory, rather than Caribbean territory. And speaking of Atonement, it’s hard not to be reminded of that gem from last year when Knightley is walking around in dinner dresses, meeting soldiers, and whispering ‘come back to me’ in men’s ears. Maybe it’s intentional.

Much ado about nothing?

Plot-wise, not much happens. The events and emotions which form the basis of the script could probably have been made into a much more involving piece of cinema, but here we plod through the proceedings at a dreary place, and when things finally come to the boil, I found that I didn’t know enough about the characters to really care what went wrong. Still, the film is a pleasant watch, but don’t expect it to have you holding your breath.

 

 

Trailer:

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