The Bling Ring

• Released Internationally on 12/06/13
• Released in Malta by KRS on 24/07/13

Review (23/07/13)

3-word review: Sick but fascinating.

I often refer back to a comment I once read - that a good film is one that manages to make the audience feel anything strongly enough. The more films I watch, the more I agree. I liked this one quite a bit, for example, despite it making me want to reach into the screen and slap every single main character hard in the face. I sincerely hope that every person who watches this film is disgusted at some level.

“We had so many beautiful gorgeous things.”

Based on recent true events, this is the worrying tale of a group of spoilt Hollywood teenagers who despite having way too much ‘stuff’ and money in their lives, let their obsessions with fame and celebrity turn them into a ring of burglars, stealing designer items from the mansions of the the stars, enjoying the rush of the invasion even more than the acquisition of more stuff. The warped products of the Facebook generation are presented in near-documentary style, with the camera observing their vapid lifestyles, ridiculous conversation and dangerous boredom. How one spends the day and night is not half as important as how one looks in the ‘selfie’ photos one takes and posts online, and the definition of a successful life is not whether you enjoy your day, but how fabulous it looks on Facebook. I’m sure this rings a few bells with any regular social media user, and this phenomenon is a real and present problem, along with our increasing obsession with watching anything remotely interesting through the screen of our phone camera, rather than with our eyes.

“America’s sick fascination”

As I sat peering into the accessorized lives of these pseudo-spiritual juvenile delinquents, I felt a similar feeling of disgust to when I used to watch MTV’s ‘Cribs’, a show which used to showcase the exorbitant and ridiculous excesses that the filthy rich incorporate into their homes. These brand-obsessed teenagers left me feeling similarly empty and soulless, and sad that this level of superficiality actually exists. It’s like watching the E! channel all day long.

The biggest name in the film, Emma Watson, has some initial trouble shaking off her Hermione character from the Harry Potter films, which is of course how us audiences have seen her growing up. But once you embrace the new accent and attitude, there’s a fine-tuned performance worth noting, and one that brings home the complete lack of self-awareness her character has. A lack of self-awareness that is of course fuelled by reality - these young criminals served their short prison terms and emerged ready to milk their new found fame and make the most of the situation. It’s fame that’s important, not how you got it.

Sofia Coppola continues to build her impressive directing filmography and adds her usual brand of style to the proceedings. The brazen titles, the obtrusive but intoxicating music montages and the hedonistic dialogue are equally matched by a few beautifully constructed scenes, including a gorgeous long take of one of the burglaries. She even manages to make CCTV footage look classy. Some might argue that the film offers no statement or lesson at the end of it all, but I didn’t feel it was necessary - the film is a statement in itself and perfectly captures many symptoms of the sick society we live in.

The Vanity Fair article on which the film is based: The Suspects Wore Louboutins by Nancy Jo Sales.





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

Harry Potter and the Deathly Hallows: Part 1

• Released Internationally on 19/11/10
• Released in Malta by KRS on 19/11/10

Preview (first published 01/11/10 in VIDA magazine)

In a nutshell

It's here. Between this November and next summer, we can finally enjoy the climactic act of what has turned out to be an entire decade of Harry Potter on the big screen. Those who have devoured the books know how it ends, but that shouldn't diminish the excitement of seeing it unfold before our eyes. There will be no sequels, there will be no prequels, there will be no spin-offs. The story ends here.

Why we're hyped

With the slow development of Harry's facial hair, and the passage of each scholastic year at Hogwarts, the books got progressively better and darker. But from the fourth book onwards, the width of each book increased too, with the predictable result that many subplots and details were axed from the film versions. Which might account for why Azkaban (the third one) seems to linger in my memory as the best so far. For the grand finale however, it was decided early on that the film would be released in two halves, allowing lots more screen time, attention to detail, and proper send-offs for the array of characters. That idea worked pretty well with Kill Bill, and here again we have two closely linked, skilled individuals locked in a duel to the death - Harry Potter and Lord Voldemort. By the end of it, there can be only one.

Who's in it?

To list the cast and their previous achievements would cause me to encroach on other articles, as all the surviving characters of the series are of course back for the curtain call. Over the years the Harry Potter films have enlisted the services of a sizeable chunk of the British acting elite, and there are over twenty big names listed for this final film. The young actors behind the three main characters – Harry, Hermione and Ron – have become famous thanks to the franchise, and we can expect them to tackle most of the action once again. They won't be within the protective walls of Hogwarts, however. This time they're off across the country in a race against time to find and destroy Voldemort's 'Horcruxes'. (Needless to say, it helps to see or read the other six before tackling this). The major new addition is the delightful Bill Nighy (Love Actually, Shaun of the Dead) as the Minister of Magic, Rufus Scrimgeour. Behind the scenes, David Yates, who directed the last two, has been entrusted with the finale, as has screenwriter Steve Kloves, who adapted all seven of the books. Author JK Rowling exerts her influence as the producer. The music of the last two outings was a bit below key, but this time around Alexandre Desplat, probably the most busy and interesting film score composer of the moment, has promised to make ample use of the signature themes from the first few films. And there's still a chance that John Williams himself, who wrote those theme (plus most other movie themes the average person can whistle or hum) will be back for Part 2. Love them or hate them, the Harry Potter books have sealed their place in history for a number of reasons, and the success of the film franchise is one of them. Whatever the audience opinion at the end of it all, this if the film event of the year.

 

Review (22/11/10)

A strange phenomenon

It was a rather unusual experience at the cinema yesterday, during Potter's immense opening weekend. Not a seat to spare, despite the complex running Potter screenings every half hour. Not a word throughout the film, despite the running time being close to three hours. And when the main credits suddenly appeared on screen, despite the film's plot having reached no particular checkpoint, everyone simply stood up and walked out silently. There were no murmurs of disappointment. There were no beaming faces or desires to applaud either. We'll just all be back in July.

Why the split is not so good

Of course, middle films of long sagas have become commonplace nowadays. We sometimes expect to see the magical words 'To Be Continued' splashed across the screen, to help remind us that not all is lost. But this is the first time I have ever experienced a film viewing with no bend or bump in the story arc whatsoever towards the end. The choice about where to make the much-publicized split seems to have been based on a not-so-major character's demise, and a step in the right direction taken by Voldemort. But otherwise, you'd be forgiven for expecting to pop out for a toilet break and a drink and come back in for more. Recent films with possible similar scenarios that come to mind include The Two Towers and the above-mentioned Kill Bill, but both has such jaw-dropping final acts of their own that the end of the film was a much-needed breather for both the characters and the audience to regroup. I'm not complaining, I'm just stating how strange it all feels. Having such a long piece of cinema that has no discernible beginning or end seems like an anomaly. I very much doubt that when all is said and done, anyone will ever get a burning desire to cuddle up on the sofa and watch 'Book 7 Part 1' as the highlight of their evening.

Why the split is good

Having said that, this was all very much expected. I was one of the many to feel cheated when many moments of detail or pause were chopped mercilessly from the previous three films. Here we get the full deal. Nothing feels rushed, everything unfolds meticulously, and this crucial time for the characters involved is given the exposure it deserves. The trio at the heart of it all have grown up together, and it shows. The many scenes they share, away from the protective walls of Hogwarts, are great character moments, and help strengthen this already tightly-knit team, before the final plunge. Tempers flare, feelings stir, and like most triangles, not everything is smooth. Director David Yates, now with three of these films under his belt, and probably already busy editing the last one, has firmly established his tone and style for the second half of this saga, and here he is allowed to mix his dark and gloomy scenes with spectacular countryside as the pursuit criss-crosses all over the country. With less time restrictions, he is allowed to linger on scenes of sensual fantasy, dark plotting, physical torture and death, making this instalment even darker than the last one. A notable highlight, unlike anything seen in the previous films, is the short segment recounting the 'tale of the three brothers', or the backstory of the titular Deathly Hallows. Directed by Ben Hibon, the segment is a sudden change of both pace and style, and is a poetic mini-film of its own.

In the end

No matter what I or any other viewer makes of it, this is of course essential viewing for those who have read or watched the previous six episodes, and a natural requirement for those who plan to see the final one. This ready-made audience can enjoy a faithful and ambitious adaptation of the novel, which looks consistently spectacular. Those unfamiliar with the franchise need not bother however, because this film doesn't stand on its own in any way. Nor was it intended to.

 

 

Trailers:

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

Harry Potter and the Half-Blood Prince

 

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

 

In a nutshell

If you’ve never heard of Harry Potter, yet you’re reading this review, then it looks like you’ve got Wi-Fi in your cave. Harry and friends are now in their sixth and supposedly penultimate scholastic year at Hogwarts, and the threat to the world posed by the rising dark wizards is growing.

So where were we?

If you’ve never read the books or if, like yours truly, you read it on release four years ago and have forgotten most of the details, there are some major plot points in store for you during this sixth year. The new potions teacher, Professor Slughorn, allows Harry into his class despite his results of the previous year, and during the first lesson Harry comes across an old potions textbook full of annotations and scribbling. The comments help him whiz through his potions classes and even learn a few new spells, but he wonders who the ‘Half-Blood Prince’ that the book once belonged to, was or is.

The Horcrux of the matter

Dumbledore, in the meantime, is busy collecting distant memories which once belonged to Tom Riddle, or Voldemort as it now seems permissible to call him. He shares these memories with Harry and together they set out to locate and destroy the numerous horcruxes – significant trinkets in which the dark lord appears to have stored parts of himself. By destroying the parts they hope to weaken the whole, but the objects prove to be extremely well-guarded and dangerous to one’s health.

High school magical

On a much lighter note, the students of Hogwarts are growing steadily and, as happens, hormones start to fly. The crushing interests of the main trio continue to provide amusement without becoming too frivolous, but Professor Slughorn concocts some love potion which adds to the emotional chaos. It’s a much needed break from the dark clouds gathering outside the castle walls.

Chance of rain

This is undoubtedly the darkest film of the franchise so far, both thematically and literally. From the cloudy skies that frame the main title, and the opening Death Eater attack on London, the gloom and doom rarely lifts, and the film rushes towards its poignant ending, and onto the next film. Things have changed since the magical, colourful fun of the first film, and some scenes are vicious and terrifying, but wonderfully done. The antics of Draco Malfoy take centre stage, and his rivalry with Potter reaches boiling point in bloody fashion.

Cast a spell

The cast continues to grow from film to film, as more characters join the fray, and more respected British actors add their names to the list. The main new face this time is Jim Broadbent (Moulin Rouge!, the latest Indiana Jones) as the eccentric Horace Slughorn. Michael Gambon (Layer Cake) and Alan Rickman (Die Hard, Love Actually) continue to excel as Dumbledore and Snape, respectively, while recent addition Helena Bonham Carter (Fight Club) adds her unique zany touch to the role of Bellatrix Lestrange. The main trio of ‘child’ actors (Daniel Radcliffe, Emma Watson and Rupert Grint) are now in their late teens or early twenties, and have grown into the roles of Harry, Hermione and Ron to make them their own. Radcliffe still suffers from frequent wooden acting, but he fits the part of troubled Harry well, and is now indelibly associated with the character. Everyone else (who survived the last film) is also back, mostly in minor parts, except for Ralph Fiennes, since Voldemort only appears fleetingly this time around. His ominous presence is everywhere, however, and the chilling flashbacks are brought to life by Fiennes’ nephew, Hero Fiennes-Tiffin.

Still in the hot-seat

After switching between various directors, composers and other crew for the first few films, the producers have now settled on a fixed team for the home stretch, to bring continuity to the conclusion of this epic franchise. Director David Yates (The Girl in the Café) returns after directing the fifth film, and is already at work on the next one. Writer Steve Kloves, who adapted the first four novels, is also back, after sitting-out the fifth, and is responsible for the mammoth task of adapting the climactic seventh book into a two-part finale. Yates’ own choice of composer, Nicholas Hooper, builds on a couple of the themes he introduced in the last film, and also adds a lot of dark new material for the film’s unsettling confrontation scenes and gothic finale. He has totally done away with the well-known Potter themes which John Williams established in the first three outings, and the instantly-recognizable Hedwig’s Theme is notable by its absence. This is unfortunate, and one hopes that the musical motifs return in the finale, since they are an essential part of the franchise’s identity.

What doesn’t work

Like the fourth and fifth films before it, the main complaint this time around is one of omission. From Goblet of Fire onwards, the books were thick, chunky sagas packed with detail, yet highly readable. Compressing so much into a film without reaching Gone with the Wind proportions inevitably leads to many plot points being left out or merely hinted at, and many parts being rushed. Only two of the Voldemort flashbacks are seen, for example, but it’s a credit to the adaptation that the omissions are merely noted, not detrimental to the film’s plot. The film also suffers from the lack of a proper opening or ending, since this is very much an ongoing saga, and this part merely a chapter. Some sort of coda is fashioned out of the last scenes, but the cliff-hanger ending is inevitable, and makes the wait until next year seem all the longer.

What does

These minor gripes aside, the film impresses on numerous levels. The dark, menacing look adds greatly to the current state of affairs, and the attacks on central London and on the Weasley residence have a terrifying urgency which keeps one wary of what tragedy is coming next. A simple, bloodless curse on a student in the snowy surroundings of Hogwarts is turned into a petrifying spectacle, and even the dazzling Quidditch scenes (it’s a wizard sport) are shrouded in inclement weather. The visual effects are uniformly brilliant, but always secondary to the story. Most importantly, there’s a great feeling of familiarity and nostalgia about the whole school and the characters we have followed for nearly a decade – something which makes the attack on their safety all the more sinister.

In the end?

There isn’t much end to speak of, and the end titles are merely a weighted pause until the adventures resume. It’s hard to say that this is the best Potter yet, since the bar was raised so high by Azkaban and Order of the Phoenix, but this is very much the top-shelf filmmaking we have come to expect of the franchise. As we head towards the climactic duel between good and very evil, the film adaptations seem to be in good hands, and despite the time limitations they do the books ample justice.

 

 

Trailer:

http://www.apple.com/trailers/wb/harrypotterandthehalfbloodprince/ (High-res QuickTime)