High School Musical 3: Senior Year

• Released Internationally on 22/10/08
• Released in Malta by KRS on 24/10/08

 

In a nutshell

Judging from the title, you might think that this film is simply a musical, set in a high-school, and that there were two other similar films that came before it. And you'd be right.

What about 1 and 2?

Even the most avid-cinema goer can be excused for missing out on this film's predecessors, because the first two installments of this explosive franchise were made for TV, and then went straight to DVD. Back in 2006 Disney launched the first High School Musical film on their Disney Channel, and it was an instant success on both sides of the Atlantic. The tale of young love amidst high-school feuds spawned massive DVD, soundtrack, game, book and even theatre sales, and like most succesful things nowadays, a sequel soon followed. Needless to say, the sequel was even more successful, and the teenage stars were thrust into the spotlight. As testimony to the exponential success of the franchise, Disney opted to give this third film a theatrical launch, rather than a TV run, and we can expect to be seeing HSM merchandise everywhere very soon.

But what about plot?

Don't worry if you've missed the previous two - this sort of film doesn't need a Usual Suspects-type plot, and you're guaranteed to know exactly what's going on even if you're meeting these young stars for the first time. As expected, there's lots of pubescent romance in the air, and this being their senior year, the students are also plagued with the tough decision about which university to go to, if they're accepted. This might be an alien concept for us Maltese, but we've watched enough American Pie and Saved by the Bell to know how the system works.

Is Grease still the word?

Inevitably, this franchise will be compared to the numerous classic college musicals that came before it, but to be fair the filmmakers don't seem keen on trying to do anything too new - they're just repackaging a winning formula for today's teenagers. And it evidently works. We might all know the lyrics to the Grease songs, but I doubt too many of today's teenagers have seen the actual film. So maybe this will be a good introduction to the world of musicals, and they can then go dig up the old VHSs in their parents' cupboards.

The low

The songs are proving to be one of the film's main selling points, but to my ears they don't have the memorable class of other respected musicals, and I could only hum one or two of the tunes once the credits finished rolling. And the pop beats often sound a bit out of place when characters are bursting into song on rooftops and in treehouses. Many of the characters come acorss as two-dimensional stereotypes, but I guess that can be forgiven since what we're being offered here is a fun showcase of song and dance, with little else.

The high

As a show, the film excels. From the first to the last number, one can clearly see that the focus is on making each musical number a wonderfully choreographed tableau of colour and movement. The actors are wonderful, and one can only wonder what an exhaustive selection process Disney must have been through to find this bunch of fresh-faced singers and dancers. The rooftop sequence and the junkyard number stand out for their style and inventiveness respectively, and there are also a number of large-scale Bob Fosse-style numbers for cabaret lovers. Whether they're dancing with basketballs or paying homage to films they're only just old enough to see, these entertainers make sure the colour and fun runs throughout the film's entire duration. With regards to what Disney is presenting to it's viewers, one can't help but commend the good clean fun this film represents. Parents can rest assured that these dance-crazy students don't smoke, don't drink, don't swear, don't go beyond kissing, and yet they have a great time. So maybe we've reached a point where we need more films like these to show our children.

Who's in it?

Kenny Ortega, the hugely experienced and talented choreographer who oversaw the first two films, returns as director and choreographer for the third. With films like Dirty Dancing, and shows for artists like Michael Jackson and Madonna under his belt, this showman is largely responsible for Disney's recent domination of the teen market, also due to his recent Hannah Montana tour. The two main actors are Vanessa Hudgens and Zac Efron (who looks uncannily like our very own Fabrizio Faniello), and they're accompanied by a host of other talented youngsters, including the show-stealing Lucas Grabeel.

In the end

I can fully understand how children and teenagers would gobble this franchise up, and these young stars are destined to be plastered on bedroom walls for years to come. As a film, the plot and characters are simple, but as a visual feast the musical numbers are extremely well done. I doubt anyone will be singing these songs in 20 years time, but I for one had a reasonably fun time watching them.

 

Trailer:

Eagle Eye

• Released Internationally on 25/09/08
• Released in Malta by KRS on 22/10/08

 

In a nutshell

This technology-laden thriller combines government surveillance paranoia with modern-day omnipresent technology, and just might make you pause the next time you’re about to switch on your mobile phone.

Who’s in it?

Rising star Shia LaBeouf, who in a short span of time has gone from teenage nobody to Indiana Jones’ sidekick, takes on his first adult role as a college dropout whose life is turned upside down when a woman’s voice at the other end of a phone call starts ordering him around and displaying unnerving power over, and knowledge about, his surroundings. He’s soon thrust into an adventure with another unwilling participant – a single mother who has received similar phone calls and instructions, portrayed by Michelle Monaghan. Before they know it, they’re being framed as terrorists and have too much to risk if they don’t play along and follow orders. Rosario Dawson is one of the government agents trying to track down who is who, and Billy Bob Thornton gives a solid supporting role as the FBI agent who’s determined to find out who’s on which side. The uncredited but all-so important uncanny female voice which runs the show belongs to Julianne Moore. The film was conceived and executively produced by none other than Mr. Spielberg, and is directed by relative newcomer D.J. Caruso (Disturbia, Taking Lives, The Salton Sea).

In theory

Spielberg apparently hatched this idea a number of years back, and wanted to make a film about today’s technology that would make audiences feel insecure about the devices around them which they have begun to take for granted. In that respect, the concept sets out reasonably well. Like a number of films we’ve seen in past years, this one reminds us how things we do every day, like use a credit card, walk past a CCTV camera, or use a mobile phone, could potentially be giving away loads of information about us, for whoever is interested (and equipped enough) to see and store.

In practice

Where the film fails, however, is managing to present the above concept credibly. Apparently set in the present, and using what appears to be today’s technology, the plot stars off being believable but eventually veers remarkably off-track. When random phones on sleeping train-passengers start flashing out orders to the main protagonists, you realise it’s time to suspend belief, in a big way. Which is a pity, because the laughable coincidences and exaggerations detract from the real-life paranoia this film could have induced.

In the end

Having said that, this doesn’t mean the film cannot be enjoyed as a pure slice of thrilling fun. The pace is very quick and never slacks, and we’re taken along for a breathless ride. A large number of twists, turns and action sequences help keep the film interesting, as the two main characters are steered to what appears to be an impossible resolution. The acting is solid throughout, and the effects do their job nicely. There’s no denying that this is a fun ride, but what starts out trying to be realistic soon runs off into far-fetched fiction. So you can sit back and enjoy an above-average thriller, but don’t worry about leaving your mobile phone on.

 

 

Trailer:

How To Lose Friends & Alienate People

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

 

In a nutshell

Based on the true-life account of a British journalist trying to make it in New York when he’s offered a job by a high-profile celebrity magazine, this film follows him as he strives to stick to his journalist ethics without ticking off all the stars and colleagues he meets.

Simon Pegg

The name might not ring any bells, but this guy has ‘rising star’ written all over him. He burst into public consciousness back in 2004 when he co-wrote and starred in the truly brilliant ‘Shaun of the Dead’ comedy, which he recently followed up successfully with ‘Hot Fuzz’ (also great) and ‘Run, Fat boy, Run’. This is probably his highest-profile assignment to date, and his face will soon be plastered everywhere when he plays Scotty in the upcoming Star Trek revamp. He benefits from average-Joe looks, which allow him to take on roles which the audience can easily relate to, and he does physical and verbal comedy wonderfully – all traits that are put to very good use here. When we first meet him, his character Sidney Young is running a tiny and frustrating magazine back in the UK, but he soon gets noticed and is flown out to New York to work for the very sort of corporation he used to ridicule. Needless to say, he takes some time to fit in.

Megan Fox

Another new name. Another rapidly rising star. This stunning young actress gave the Transformers a run for their money in terms of eye-candy, and here she slips very easily into the role of a fictional starlet who’s just hit the big-time and is suddenly grabbing all the limelight with a big movie role and some crafty paparazzi stunts. She proves to be the one thing that can tear Sidney down from his ethical high-horse, and get him to accept that he needs to rub a few celebrity backs if his career is going to head anywhere. Throughout the film, he slowly but surely gets drawn into the celebrity game, but as he gains favour with the A-list crowd, he loses favour with those closest to him, and with us in the cinema seats.

Kirsten Dunst

Providing most of the emotional backbone to the story, the reliable and likeable Kirsten Dunst plays Alison Olsen, who is one of the first people Sidney clashes with on arriving in New York, but who eventually shows that deep down she resents the celebrity culture and is made of stronger stuff. She plays second fiddle to Megan Fox in the glamour and glitz departments, but Sidney eventually realises the importance of friendship over fluff.

Jeff Bridges

The Dude himself, the versatile and criminally underrated Jeff Bridges, recovers from his clash with Iron Man earlier this year to play Clayton Harding, the powerful and influential editor of the fictional ‘Sharps’ magazine (the memoir had Sidney working for Vanity Fair, but all names have been fictionalised here). Despite having risen to the top thanks to a symbiotic relationship with the stars, Harding still harbours a bit of nostalgia for the times when he used to tear the celebrities down, which is why he hired Sidney, and why on occasion he gives him free rein to try new ideas for the magazine. This provides most of the food for thought this film serves up – in this age of celebrity blogs and endless paparazzi stories, and where stardom can be obtained thanks to a few well-planned stunts, without any particular need for talent, we’re given some insight into the power of the media, and how they often decide the fates of those they cover. Amongst the many comedy gems throughout the film, we get a couple of references to Bridges’ cult role in The Big Lebowski, with Sidney mistaking the name of his landlady, and one of Harding’s executives having White Russians as his drink of choice.

In the end

Much like The Devil Wears Prada, this film offers us humble mortals an amusing glimpse into the offices of high-flying magazine headquarters, and manages to make us doubt what we read off the news rack. And much like Tropic Thunder, it manages to remove some of the shine that the media has encased Hollywood celebrities with over the years. A good mix of British humour and Hollywood glamour, with Simon Pegg delivering another good performance as he saves us from the inflated egos of stardom.

 

 

Trailer:

RocknRolla

• Released Internationally on 05/09/08
• Released in Malta by KRS on 01/10/08

In a nutshell

Guy Ritchie returns to what he does best – giving us a wild and witty look at the London criminal underworld.

Who’s in it?

Gerald Butler (previously in angry mode as the Phantom of the Opera and the king of Sparta), is One-Two, a small-time criminal who gets an opportunity to cash in on a large estate deal. Tom Wilkinson, one of the most talented and consistent actors around, is Lenny Cole, the leader of most of London’s underworld. Thandie Newton is sultry yet sophisticated as the best accountant in the business, and the one who has everyone’s head turning. However, it’s the relatively-unknown Mark Strong who gives what is probably the most impressive performance, as Cole’s right hand man. His stern looks are a cross between Andy Garcia and Dimitar Berbatov, and not for one second do you doubt that he means business. Plus a host of other new and not-so-new faces playing colourful minor characters.

“Keep the receipts , cos this ain’t the Mafia”

All the elements that made Lock, Stock and Two Smoking Barrels and Snatch such respected hits are back in force here. The script, penned by Ritchie, is smart, funny and races forward, never letting our interest wane. The editing is also fast-paced, but not annoyingly so, and a number of action sequences are brilliantly done, as Ritchie intersperses the action with later or concurrent scenes, making for great viewing. Standouts include a golf-course summit intertwined with a piano-playing lecture on cigarette packaging, a carjack sequence and a nightclub fracas. The myriad of plot lines and connections between characters all come together again and again, leaving a few casualties on the way.

The characters

This is another area where Ritchie excels. He sprinkles his dark underworld with scores of fascinating characters, who thanks to their looks, quirks or actions manage to make an impression even during the briefest of screen-times. There’s two hilarious but scary Russian thugs who sport an impressive array of scars, and who have a rather high pain threshold. They work for a Russian billionaire who’s setting up shop in London, and who both in looks and in sporting interest seems to be a rather unflattering reference to real-life magnate Roman Abramovich. Tank, a hefty criminal who knows everything about the streets of London, has an extensive knowledge of art, and a soft-spot for British period dramas, which he watches in his SUV. And so on and so forth.

The real Rock N Rolla

The title refers to a type of junkie who wants to have everything in life – drugs, sex, glamour and fame. Which is why the film starts and ends with Johnny Quid, a drugged-up, rather pungent rocker who fears no one and also happens to be Lenny Cole’s step son. His whereabouts provide one of the many plotlines of this caper, and he ends the film with the promise of a sequel. Based on what I’ve seen here, I for one will be hoping it gets made.

Guy Ritchie is back. If you like your crime films stylish and snappy, with generous helpings of black humour, then you’ll love this.

Trailer:

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

Tropic Thunder

• Released Internationally on 13/08/08
• Released in Malta by KRS on 24/09/08

Preview (01/09/08)

In a nutshell

In this big-budget action-comedy, three actors with huge egos set out to make the most-expensive war movie ever made. But once they’re deep in the jungles of their exotic location, they realise that this isn’t your everyday movie production.

Why we’re hyped

This is the movie that managed to knock The Dark Knight off the top of the US box-office ladder after four weeks of impressive business. Boosted by a lot of good press for its comedic performances, this all-star cast and crazy concept seem to have resulted in the best comedy of the summer.

Who’s in it?

Ben Stiller (who also directed and co-wrote the script), stars as the biggest action-star alive, and as we’ve seen in his numerous comedies over the years, when he’s not playing a hapless loser (Meet the Parents, There’s Something About Mary), he’s wonderful at playing over-the-top characters to whom humility is a foreign concept (Dodgeball, Zoolander). Which is why he’s probably written this character for himself. Robert Downey Jr., fresh from another of this summer’s huge successes (Iron Man), plays the potentially controversial role of an Australian method actor who will do anything to get his parts right, including undergoing surgery to play a black soldier in the war movie they’re filming. The starring trio is rounded off by Jack Black, who also undergoes a change of look – he’s sporting a blonde crew-cut – to play a comedian who thinks he’s much funnier than he actually is. Amongst the minor roles we find Nick Nolte, Matthew McConaughey and an appearance by Tom Cruise that might surprise you.

Review (23/09/08)

The greatest war movie(s) ever made

Tropic Thunder’s opening shot shows helicopters flying over the Vietnam jungle, and is very obviously intended to remind you of Apocalypse Now. They land, a breathtaking action sequence ensues, and within ten minutes Ben Stiller has paid not-too-subtle homage to Platoon and Saving Private Ryan. The references keep coming, and before long you will probably be reminiscing about Rambo and The Thin Red Line, or indeed any other war movie you may have watched. There’s even a direct musical reference to the Vietnam scenes from Forrest Gump. You don’t need to be Francis Ford Coppola to realise that this is the ultimate war movie satire.

Behind the scenes

But rather than make a simple movie spoof, which as we have seen recently is easier to mess up than pull off, Stiller has crafted a ‘film-within-a-film’ scenario where we get to see these big stars trying to make a great movie, trying to boost their career, and trying to get award recognition. The action goes back and forth between the dense jungles on set and the swanky Hollywood offices where the movie deals are dealt, and the result is a satisfying satire of the whole celebrity culture, rather than of those war movies they’re trying to emulate.

The stars are out

Apart from the all-star cast, the film is peppered with celebrity cameos which help add to the whole Hollywood aura, and at times it feels like we’re watching a movie special on E! Channel. The most extensive of these minor roles goes to Tom Cruise, who gets to play someone rather different from his usual characters, and although he overdoes it at times, it’s still fun to watch. Robert Downey Jr. is wonderful as the Australian method actor posing as a black soldier, as is Nick Nolte in the role of a brooding, scarred war-veteran whose story they are trying to turn into a blockbuster. Definitely original, and a fun concept to watch unfold, although I expected it to be funnier.

Trailer:

http://www.apple.com/trailers/paramount/tropicthunder/ (High-Res Quicktime)

Elegy

 

• Released Internationally on 08/08/08
• Released in Malta by KRS on 04/11/08 as part of the International Film Festival

Preview (01/09/08)

In a nutshell

Based on Pulitzer-prize-winning American author Philip Roth’s book The Dying Animal, this is the tragic tale of a respected and cultured professor whose life begins to unravel when he embarks on an erotic relationship with a younger student of his.

Why we’re hyped

Serious dramas like this can be mesmerizing when the writing is good and the performances are top-notch, and with the array of talent in store here, this seems like a safe bet for a moving night out.

Who’s in it?

Ben Kingsley plays the professor, and Penélope Cruz proves to be his downfall as the reserved but beautiful student. Dennis Hopper, Patricia Clarkson and Peter Sarsgaard add to the stellar cast, and the film is weaved together by Spanish director Isabel Coixet.

 

Review (21/09/08)

A touch of class

Every so often a film comes along in which the mood, the performances and the narrative gel together so effortlessly that the result is a class act from the word go. Within minutes of starting, this film’s class was evident. Ben Kingsley’s delivery of the voiceover immediately draws us into his tragic tale, and the acting allows complex characters to be established and interesting within minutes of appearing on screen. The voiceover returns at key points in the film, and allows some of the powerful lines from Roth’s novel to be brought directly to the screen.

Streamlined

Much like the narration, the musical score is used sparingly but to great effect – this is a film that doesn’t require any tricks or bombast to hold our attention, because the story is the star. Much of the back-story and tangents from the novel have been omitted, so as not to divert us from the story of this troubled affair, and the thoughts it leaves in its wake.

"When you make love to a woman, you get revenge for all the things that defeated you in life."

The elderly, educated main character, cultural critic David Kepesh, has much to teach us about ageing, love, jealousy, independence and fatherhood, and there is a lot for us to ponder once we leave the theatre. But rather than being preachy, the film’s memorable lines are often spoken during squash matches between friends, or thought aloud as seduction is underway.

Cruz Control

The script calls for Cruz’s character to be a true ‘work of art’, and she manages with flying colours. Always prim and reserved, she helps us truly see what is driving Kingsley’s character to jealous obsession. She may be impressed by her teacher’s life of culture, but this is no awe-struck teenager, but rather yet another powerful woman for Cruz to add to her film résumé.

Full extras

Dennis Hopper is delightful as the sage but fun-loving old friend whom Kepesh frequently turns to for advice, Patricia Clarkson has a brief but memorable role as the other woman in the Kepesh’s life, and Peter Sarsgaard underlines some of Kepesh’s failures as the estranged son. The plot rarely sags, and the ending doesn’t disappoint. A quiet, reserved gem of a movie.

 

 

 

Trailer:

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

The Strangers

• Released Internationally on 29/05/08
• Released in Malta by KRS on 08/10/08

In a nutshell

Young couple. Summer house in the middle of nowhere. Planned romantic night. Yeah right.

Oh! The horror!

Different people have different tastes. Anyone knows that. People who make things know it, and people who appreciate things know it. It’s what makes the world a varied place. It’s why we have menus, showrooms and remote controls. It’s why people with hairy cheeks often get married, and why you can still find white socks for sale. And of course, it’s why Hollywood churns out films by the dozen and why the world is sprinkled with cinema multiplexes.

Which brings me (finally) to horror films. Some are termed ‘thrillers’, some are gory, some contain creepy creatures while others use scary psychopaths; but ultimately they all aspire to keep you on the edge of your seat for as long as possible, and maybe even throw you off it a couple of times too. Which can all be quite fun, especially if you’re wolfing down microwave popcorn with friends, or sharing an armrest with a terrified but cute girl you asked out. But most importantly, there has to be a decent payoff in the end. You need something to make your ordeal worthwhile.

There is no such payoff here. Nothing. Just ninety minutes of terror, frights, unease and gore, just for the sake of it. Sure, the film has its moments – if you’re a thrill seeker who likes to be jolted then this might be just the ticket for you, but ultimately I was left wondering whether the rise in blood pressure was worth it. At the end of a rollercoaster ride you get the satisfaction, the view, the memories, and maybe the photo, but here the audience is left with nothing.

Inspirational stuff?

The film starts with the much-abused line ‘inspired by true events’. Where the inspiration ends and the extrapolation begins is hard to define, especially due to the nature of the ‘events’ in question – a planned romantic night for a young couple in a summer house, which loses some of its mood when uninvited guests come knocking.

Survival of the smartest

Assuming, however, that what we are seeing truly happened, then it appears that real-life young couples have learnt all the clichés from recent horror films, and are often as dim as the fictional victims. Which would explain why they insist on walking into rooms without switching on the lights, or getting separated at every opportunity, or walking right into obviously dangerous situations all alone. Which is naturally very convenient for a director intent of scaring us out of our wits.

Who’s in it?

Liv Tyler adds some respectability, and is quite convincingly terrified throughout, whereas Scott Speedman first gains our deepest sympathy after his romantic plans goes awry, but then opts for recklessness instead of chivalry.

Worth screaming about?

Don’t get me wrong – if you’re one of the (apparently numerous) fans of these fright-fests, then this could make you feel great. Many of the tense scenes are well constructed, and the terror is palpable and believable. But if you’re after a good film overall, and have enough palpitations as it is, I’d give this one a miss.

Trailer:

http://www.apple.com/trailers/universal/thestrangers/ (High-Res Quicktime)

Pineapple Express

• Released Internationally on 06/08/08
• Released in Malta by KRS on 17/09/08

Preview (01/09/08)

In a nutshell

The title refers to an allegedly potent strain of marijuana, and that should probably tell you all you need to know about the type of film you’re in for.

Why we’re hyped

Judd Apatow and Seth Rogen are behind yet another male-oriented adult comedy. After 40 Year-old Virgin, Knocked Up, Superbad and Forgetting Sarah Marshall, to name just a few, the writing/acting/directing/producing talents of these two individuals and their band of friends seem to be everywhere. Early feedback seems to indicate that this venture is up to their usual hilarious standards.

Who’s in it?

James Franco, who was all serious and annoying in the Spider-man trilogy, takes on a totally different role and hairstyle as the perpetually stoned Saul Silver, a weed dealer who gets involved in the aftermath of a nasty murder which was witnessed by his loyal friend and client, the equally stoned Dale Denton (Seth Rogen). David Gordon Green directs, Rogen co-wrote the script, and Apatow produces.

Review (16/09/08)

High as a kite

Whilst puffing on some of the titular greenery, Dale Denton witnesses a violent murder, involving a policewoman, and within hours him and his laid-back dope dealer are being chased by the murderer’s henchmen. Still, whilst grabbing essential items from the dealer’s house before dashing off, they grab enough foliage to keep them company throughout the demanding days to come, and manage to stride through death-defying stunts on the way.

Dynamic (but doped) duo

Rogen and Franco seem to be enjoying it here, and their characters are likeable enough to make their buddy-story heartfelt. Franco in particular is a joy to watch, since he plays the stress-free Saul with ease. Rogen more or less reprises the average-Joe role he had in Knocked Up, though this time the stress he’s facing is veered towards the end of life, not the beginning.

Identity crisis

It’s always an ambitious undertaking to attempt to make an ‘action-comedy’, and in this case the result ends up feeling a bit too short of laughs for a comedy, and a bit too funny for the action to be taken seriously. It was probably about thirty minutes into the film before I laughed-out-loud for the first time, although the humour does pile on more frequently in the second half.

Not for the faint of heart

Under the guise of a comedy, the filmmakers manage to literally get away with murder – this is quite probably the most graphically violent film you’ll see all year. But somehow the feet getting shot off, the stabbings, the blood spurts and all the rest seem diluted and toned down by the laughs in between.

Worth yelling about?

Fun film overall, with loads of action thrown in at the expense of the comedy, which isn’t up to Rogen’s and Apatow’s usual standards.

Trailer:

http://www.apple.com/trailers/sony_pictures/pineappleexpress/ (High-res QuickTime)

Step Brothers

 

• Released Internationally on 25/07/08
• Released in Malta by KRS on 08/10/08

 

Preview (01/09/08)

In a nutshell

Two grown men, who still live at home with their single parent, are forced to move in together when their parents get married.

Why we’re hyped

Ridiculous concepts like this can either fall flat, or provide a barrage of laughs, based on who handles them. In the hands of the men mentioned below, this looks promising.

Who’s in it?

Will Ferrell can now boast a string of insane comedies perfectly suited to his bizarre humour, as well as a much-lauded ‘serious’ performance in 2006’s Stranger than Fiction. Here he teams up with John C. Reilly, who sparred with him in Talladega Nights, and they both look the part perfectly – bright-eyed mummy’s boys who just found a new best-friend, albeit roughly forty years old. The ubiquitous Judd Apatow produces, whilst Ferrell and Reilly themselves both contributed to the story and script. Adam McKay (Anchorman, Talladega Nights) directs.

 

Review (09/09/08)

The eyes have it

The promotional poster (see trailer link below) says most of what you need to know about this film. That child-like awe and playfulness is seen on their faces for most of the film. Ferrell and Reilly have crafted these characters themselves, and they dive into them with all the wide-eyed wonder one would expect from 40-year olds who still live like teenagers. The two play out the concept with great enthusiasm, and it’s hilarious to watch them go from teenage tantrum to geeky amazement as they sleepwalk through their direction-less lives. They fit the part so wonderfully, that it’s actually during the later scenes when they finally act grown up that they seem a bit awkward.

Fun plot, odd extras

Fun as the main concept may be, it was never going to last over ninety minutes. Unfortunately, the necessary padding doesn’t work as well as Ferrell and Reilly’s chemistry. The scenes with Ferrell’s successful brother and his wife tend to grate at times, as does the relationship with and between the two parents in question.

Moments of merriment

Fortunately, for every low-key gag or uncomfortable moment you have to sit through, there’s another of Ferrell and Reilly’s screwball scenes around the corner. Highlights include their multiple failed job interviews, their confrontation with the local (teenage) bullies, their foray into the music business, and especially their plots to stop the sale of their parents’ house. These two are a joy to watch.

 

 

Trailer:

http://www.apple.com/trailers/sony_pictures/stepbrothers/ (High-res QuickTime)

 

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)