Knowing

• Released Internationally on 19/03/09
• Released in Malta by KRS on 22/04/09

Summarizing
In 1959, during the inauguration of a new primary school in Boston, USA, a time capsule is buried containing student impressions of what the future will look like. Fifty years later, it is opened, and amongst the drawings of spaceships and robots, one of the submissions stands out. A sheet of paper filled to the corners with numbers, the odd artwork falls into the hands of the son of an astrophysics lecturer, who eventually starts to realize that the numbers have a chilling significance.

Imagining
Starting off innocently enough, the film soon starts to show its supernatural side during the prologue. Lucinda, a socially isolated girl in the new school, starts to act strangely, and then frantically scribbles down the seemingly random sequence of numbers when asked to prepare an entry for the time capsule. Fast-forwarding to present day, we're introduced to a father-son family still getting to grips with the tragic loss of the woman in their life. When the time capsule contents are handed out during the son's school anniversary, he gets Lucinda's cryptic entry, but only later does his father stumble upon a possible meaning for the numbers. Despite the interesting and intriguing fantastical element, the film remains largely grounded in reality for the first two acts, but then veers off into more traditional science fiction and disaster-movie scenarios.

Acting
Nicolas Cage carries the film on his shoulders and is possibly the only actor you'll recognize from the entire cast. He continues to do fine work in various different projects, fitting convincingly into very different roles. His average-guy appearance and unconventional persona allows him to slip easily into the shoes of scientists, hitmen, comic heroes or neurotic losers, as the films may require. He does a more than serviceable job here, juggling his role as father, scientist and potential saviour, and remains intense and focused in the face of an increasingly incredulous worldwide scenario.

Envisioning
Director Alex Proyas (The Crow, I, Robot) has managed to infuse his few films with a very distinct look and feel. The ominous characters that Lucinda sees in the shadows, and who fifty years later return to haunt her descendants, are reminiscent of the iconic 'strangers' in his wonderful 1998 offering Dark City. Apart from directing, he also contributed to the screenplay and production, and manages to meld low-key eeriness with grand-scale disaster. Some of the earlier visual effects are a bit scratchy by today's high standards, but the film's finale contains scenes that any disaster-movie would be proud of. The scenes of chaos that ensue after a plane crash and towards the end are particularly memorable and emotionally charged.

Unravelling
Ultimately, the premise of the movie is more interesting and promising than the end result. The prologue and its reprise in present day offer a supernatural concept that has a spark of originality amongst today's countless similar films. And in the hands of Proyas and Cage, it remains believable and enjoyable, and very entertaining. Finding a satisfying conclusion proves to be more of a challenge, and the overall pace and feel of the film are lost towards the end, with a conclusion that may disappoint. Still, the film deserves special mention amidst today's countless disaster movies and supernatural thrillers for managing to juggle the two elements successfully, and not opting for any easy, predictable ending. It also poses an interesting question - is it worth knowing when tragedy will strike, if there's nothing you can do about it?

Trailer:

http://www.apple.com/trailers/summit/knowing/ (High-res quicktime)

The Boat That Rocked

 

• Released Internationally on 01/04/09
• Released in Malta by KRS on 15/04/09

 

In a nutshell

In the latter half of the 60s, the conservative and all-powerful BBC was in control of what the UK public got to watch and listen to. Rock and pop music were only allowed a few tiny slots per week, despite their growing fan base. Enter ‘Radio Rock’, the 24-hour pirate radio station which from a ship in international waters used to reach over 24 million UK listeners and give them what they craved – non-stop hit music. The government wasn’t too pleased however, and the ensuing battle to close the station down has been hailed as the start of the opening-up of the airwaves.

Who’s in it?

We arrive aboard Radio Rock in the company of the young Carl (relative newcomer Tom Sturridge) who is going through a rough patch and has been sent aboard to spend some quality time with his godfather, and captain of the ship, Quentin (the wonderful Bill Nighy, of Love Actually and Notes on a Scandal fame, in yet another show-stealing role full of languor and dry humour). Carl soon meets everyone else on board, including the infamous deejays the whole nation is tuning-in to, and their minimal crew. Philip Seymour Hoffman (Doubt, Capote) is The Count, a rock guru brought over from across the Atlantic. Nick Frost (Hot Fuzz, Shaun of the Dead) is Dr. Dave, who doesn’t let his obesity interfere with his sex-symbol status. And in a much-hyped return after his brief career abroad, the station is proud to have back their silken-voiced rock god Gavin, played with much gusto by Rhys Ifans (Notting Hill, Enduring Love). On the other end of the spectrum, Kenneth Branagh (Valkyrie, Henry V) is the minister who dreams of sinking the ship, with the help of his assistant, Twatt (Jack Davenport from Pirates of the Caribbean and The Talented Mr. Ripley). The supporting cast is just as hilarious, with each member of this energetic crew bringing his own unique touch to the radio’s growing audience.

Richard Curtis

Despite the impressive ensemble cast, the film promotional material only ever had to have one name plastered all over it – Richard Curtis. The highly revered British writer-turned-director has given us some of the best laughs and romances of the past 25 years. Blackadder, Mr. Bean, Four Weddings and a Funeral, Notting Hill, Bridget Jones and the seminal Love Actually were all the fruit of his pen, whilst he also produced a number of them, and directed Love Actually. His very British sense of fun, warmth and humour is once again all over this film, though maybe not up to his highest standards.

Music to our ears

As can be expected from a film about a 60s radio station, the soundtrack takes centre stage and helps give the film an extra dose of energy, colour and nostalgia. From Procul Harum to David Bowie and from Cat Stevens to The Who, everyone should find at least a handful of songs they love peppered through the film, with a number of key sequences being built around the music the radio happens to be playing, to great effect. (The Beatles are notable by their absence, which probably suggests licensing issues). A classic piece of Morricone spaghetti-western score from the same era is used brilliantly in a key action sequence, and one of the film’s emotional highpoints is made all the more solemn by the use of Elgar’s Nimrod (from the Enigma Variations), which works like a charm but is becoming a bit overused, with recent prominence in Elizabeth and Australia.

Only a few leaks

Despite being a joy from start to finish, and a fun slice of retro Britannia, the film falls slightly short of Curtis’ previous efforts. Its main flaws are forgivable though – despite being long, it’s still fun throughout, and with regards to historical accuracy, Curtis himself has stated he just wanted to make a piece of entertainment, not a precise documentary. Still, despite its blemishes, the film is as infectious and fun as the music it so proudly pays tribute to, and during the many montages of UK listeners tuning in and twisting to their favourite hits, it’s hard not to wish you were there.

 

 

Trailer:

http://82.196.228.81/media/Trailers/boatthatrocked/btr_trl_large.mov (High-res Quicktime)

 

Fast & Furious

 

• Released Internationally on 01/04/09
• Released in Malta by KRS on 10/04/09

 

In a nutshell

An international criminal who uses his driving expertise to hijack targets on the tarmac is looking to revenge the death of his ex-girlfriend. In the seedy underworld of drug trafficking he meets up with his old acquaintance and driving buddy, who now works as an undercover FBI agent. Together they make it onto the highly selective team of expert drivers who shuttle heroin into the US from Mexico, and seek to bring down the drug cartel from within.

The films and the franchise

In 2001, a film called The Fast and the Furious drove through the summer box-office with an action-packed mix of fast cars and scantily-clad women. It did reasonably well, and as seems to always happen with hit films nowadays (unless your film is, say, Ray or Munich), sequels soon followed. Chronologically, this film is set between the 2^nd and the 3^rd film, and manages to breathe some life into a flailing franchise by reuniting the entire main cast from the original film (and giving it more or less the same title).

Who’s in it?

The appropriately named Vin Diesel (xXx, The Chronicles of Riddick) returns as the wanted criminal who likes to steal from behind the wheel. After sitting out the first sequel, Diesel had returned for 2006’s Tokyo Drift, and is now re-teamed with his love interest from the first film, played by Michelle Rodriguez (S.W.A.T., the upcoming Avatar). The less appropriately named Paul Walker (Flags of our Fathers, Eight Below) plays the FBI agent with a dark side, whose passion for driving gets him caught up with his old allies. His romantic history involves the sister of Diesel’s character, portrayed by Jordana Brewster, who also returns from the first film. The director’s chair is filled by Justin Lin, who had helmed the previous outing in the franchise.

More of the same

As expected, and probably as hoped-for by the franchise’s core audience, the film delivers more road races, more pimped-up cars, and more shapely female fans in this alternative world of high-speed driving. The prologue sequence is the most memorable, featuring a high-speed hijack of a land train full of fuel on a desert highway in broad daylight (of which you can see an abridged version in the trailer below). Still, the action sequences seem formulaic and predictable, without any real tension or surprises.

Little else

The major flaw however, is that once again, once you look beyond the shiny bodywork, there’s little else to savour. The film plays out like a playlist of pre-determined action sequences, with a few forced moments of sentimentality in between. Hijack scene – check, road race – check, chase scene – check, tunnel chase – check, and so on. And despite Diesel’s star power and macho image, both of which are essential ingredients to the film, it’s often painful to watch him act, and he is obviously more comfortable driving cars than trying to look sad or pensive.

At the finish line

In the end, I guess it all depends what your expectations are. If you enjoyed the previous three films and want to see more juiced-up cars defying the speed cameras, then this is your ticket. But if you like your action films to have a decent story and interesting characters, then this is unlikely to turn you into a fast and furious fan.

 

 

Trailer:

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

 

Duplicity

 

• Released Internationally on 18/03/09
• Released in Malta by KRS on 01/04/09

 

In a nutshell

Claire used to work with the CIA, but now works as a corporate spy with a huge pharmaceutical company. Ray used to work with the MI6, but now works as a corporate spy for the main rivals of the above-mentioned pharmaceutical company. Together, they’re hatching an elaborate plan to swindle the companies out of 40 million dollars.

Slick and sexy

Adopting the overall look that was perfected in the recent Ocean’s trilogy, this film oozes style. The formula is tried and tested – good-looking stars, tailor-cut suits, pristine interior decor, a smattering of European locations, and lots of witty dialogue. It almost looks too clean, and there’s hardly a hair out of place. Even the music, delivered by James Newton Howard (The Dark Knight, Signs) is a jazzy score as has become standard in such heist or con films.

Pretty woman

Marriage and motherhood have seen the lovely Roberts slow down on the acting front, with her output over the past couple years being just voiceover work for animation, and 2007’s Charlie Wilson’s War. Her welcome return finds her in as good as shape as ever, although she doesn’t get to flash her trademark smile too often this time around, and handles some of the lengthy dialogue duels awkwardly. Still, her star status shines through, and it’s a pleasure to see her back on our screens.

Smooth operator

Her chemistry with Clive Owen doesn’t seem as smooth as it was in their last outing together, Closer, in which they were both excellent. But in this case that’s partly intentional, since their respective characters juggle a budding relationship and an innate sense of distrust and reserve. If this is how all spies in love act, they’re not to be envied. Owen continues to impress, and could probably make a shopping list sound convincing and important, but with scene after scene of droll dialogue it eventually starts to get tedious.

Who else is in it?

The two major supporting actors are wonderful to watch. Portraying the rival giants of the pharmaceutical world, Tom Wilkinson (Batman Begins, RockNRolla) and Paul Giamatti (Sideways, Cinderella Man) give us two very colourful CEOs who have all to lose in the current corporate war. In one of the highlights of the film, they are literally at each other’s neck on a rainy runway in the brilliant main title sequence. Tony Gilroy, the acclaimed screenwriter who made the successful jump to directing with Michael Clayton, once again directs his own screenplay, and this time adds a layer of humour to the mix of his previous effort.

In the end

As mentioned earlier, the endless self-indulgent dialogue can be a bit too much at times, but the film is nonetheless very enjoyable and amusing overall. On original concept in familiar settings, the plot manages to keep interesting, and as a slice of stylish fun the film manages not to outstay its welcome.

 

 

Trailer:

http://www.apple.com/trailers/universal/duplicity/ (High-res Quicktime)

 

Rachel Getting Married

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

In a nutshell

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

Here comes the bride

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

Home video

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

Shiva the destroyer

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

Who’s in it?

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

In the end

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

Trailer:

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

Doubt

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

In a nutshell

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

Cloistered habits

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

Mother superior

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

“The dragon is hungry”

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

Not so minor roles

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

In the end

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

 

Trailer:

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

4 Months, 3 Weeks & 2 Days

• Released Internationally on 24/08/07
• Released in Malta by KRS on 29/10/08. Wide release on 11/03/09

(Romanian with English subtitles)

In a nutshell

Otilia and Gabriela are two university students who share a room in mid-80s communist Romania. Otilia offers to help the timid and clueless Gabriela arrange and go through with an illegal abortion, and the whole experience proves to be a complex and harrowing experience for both of them. Set and filmed in Bucharest, the film gained international attention after winning the Palme D’Or at the 2007 Cannes film festival.

Sad but true

Director and writer Cristian Mungiu based his screenplay on a true story, and he gives us a detailed look at the day that these two students promise to never talk about again. From the early morning preparations as they leave their dorm and set out for the hotel, through the meeting and dealing with the so-called ‘Mr. Bebe’, who carries out the clandestine terminations, we see through Otilia’s eyes the dread and frustration as the desperate day unfolds. The lengths she goes through for her hapless friend are amazing, but not a single event of the day rings untrue, as these very detailed and authentic characters live through their ordeal.

Not your average popcorn flick

The day is divided into sequences according to the changing locations, and each one is filmed with very long shots, creating a very unsettling sense of being there. If you like your films fast and furious, this might not be your cup of tea. The skills of the actors are all the more evident, as they take us through seemingly interminable scenes without missing a beat. It’s almost as if you’re watching a deranged reality-show, with real life unfolding at its normal pace as you stare on from your hidden camera.

Unsettling

As each lengthy scene progresses, the feeling of uneasiness builds. With the life of the girl at stake, both health-wise and legally, each moment of the day is fraught with importance. In possibly the best sequence, Otilia has to leave her friend for a while as she is obliged to attend a dinner party at her boyfriend’s house. She sits, silent, at the rowdy table as conversation flies around her, and we all know her mind is elsewhere. Faintly, in the background, the phone starts ringing, but the happy dinner guests are oblivious. It continues to ring, and she fears the worst. It’s simple, but eerily effective.

In the end

Films like this stand out because of how different they are. One might be forgiven for thinking that all films fall into certain cookie-cutter categories, as dictated by Hollywood. But we should remind ourselves that there’s a whole world of cinema out there, with certainly as much variety in quality as big-budget films themselves. Language barriers and accessibility are a problem, but thankfully once in a while something like a Palme D’Or can bring something like this to our screens. If you’re not in the mood for lighter fare, and if you want to see something very different, and very well-made, you can’t go wrong with this.

Trailer:

http://www.apple.com/trailers/independent/4months3weeks2days/ (High-res Quicktime)

Marley & Me

 

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

 

In a nutshell

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

Evil with a dog face

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

Paws for thought

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

A different breed of romantic comedy

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

Who’s in it?

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

In the end

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

 

 

Trailer:

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

 

Watchmen

• Released Internationally on 06/03/09
• Released in Malta by KRS on 06/03/09

 

In a nutshell

Showered with reverential praise in the comic book world, Watchmen was published as a 12-part graphic novel in the 80s. A multifaceted, dark tale of superheroes in a realistic, present-day world, it has finally made the ambitious jump to be big screen as a single film, albeit just shy of three hours long.

Smells like the 80s

Set in 1985, the film opens with the murder of a certain Edward Blake, later revealed to be the masked superhero ‘The Comedian’. As the back-story unfolds, we learn how masked vigilantes like him have been an essential part of American society for a number of decades, often playing an important role in key historic events. From WW2 to the cold war, superheroes are a daily part of the headlines. It turns out the Vietnam war was in fact won by the Americans, thanks to a healthy dose of heroics, thus helping Nixon get elected to his third term in office. But as these heroes fall out of favour, they become outlawed in 1977.

Mystery men

As the various masked crusaders fade into retirement, descend into madness, or meet an early demise, two continue to work for the government past the ‘77 ban – the now deceased ‘Comedian’, and a rather blue, serene guy of moderate build, Dr. Manhattan. The latter is shown to be the only hero with supernatural powers, as a result of a freak lab accident when younger. The most interesting of the heroes, a lithe, ferocious little guy with Rorschach blots on his mask (and hence known as, you guessed it, Rorschach) continues to operate in the shadows, running from the law and keeping his own agenda. The Comedian’s demise sets him thinking, and he seeks out the other ‘watchmen’ to seek their help with retribution.

By way of introductions

After starting off with the murder, the film has decades of back-story to go through before returning to the present and continuing with the plot. Whilst done by means of different chapters in the novel, this must have been one of the most daunting tasks facing the filmmakers, but they pull it off in style. Ironically, the complex, multi-thread first half of the film was the part I found most enjoyable. The cutting back and forth between the present and the past manages to remain clear, relevant, and most importantly entertaining, despite having to dish out background information on all the superheroes, including a lot of detail about The Comedian himself. Unfortunately, this excellent momentum and editing tapers off in the second half of the film, although the ending manages to be both satisfying and unpredictable.

Watch and listen

As in previous comic book adaptations, the director benefits from having excellent source material, from which, besides the story, he can lift the look of the characters and environment, as well as the action. In fact certain scenes are reproduced exactly from the novel, thus remaining faithful to the author’s vision, and probably pleasing comic book fans. But where this film excels, and stands out as a fresh artwork of its own, is in the sound arena. Boasting a collection of song classics that would make Tarantino proud, the film is punctuated with wonderfully orchestrated scenes that mix music and visuals to perfection. The comedian is brutally murdered to the mellow sounds of Nat King Cole’s ‘Unforgettable’, which is exactly what the scene is, his funeral starts off with Simon and Garfunkel’s ‘Sound of Silence’, and a later tender moment is scored with Leonard Cohen’s often covered ‘Hallelujah’. There’s even a nod to Apocalypse Now as Dr. Manhattan cleaves through the Vietnam battlefields to the sound of Wagner. But the most memorable sequence, and in my opinion the highpoint of the film, is the opening credits. Reworking Dylan’s ‘The Times They Are A-changing’ to cover six minutes of flashbacks, the sequence moves through American history, with key events set up as frozen tableaus, showing the impact of superheroes on the past. It is one of the best opening credit sequences I have ever seen. Sadly, the original score by composer Tyler Bates doesn’t rise to the same level as the songs and as in his previous weak efforts is serviceable, but forgettable.

Who’s in it?

The graphic novel was written by Alan Moore, who also wrote V for Vendetta, and illustrated by Dave Gibbons. Much of the film’s credit obviously goes to them. Zack Synder, who successfully adapted another graphic novel, 300, took on the huge task of directing this complex saga, and as mentioned above his efforts in the first act are very effective. Jackie Earle Haley (Little Children) provides narration as well as a vicious performance as Rorschach, and Patrick Wilson (Angels in America, Little Children) is Nite Owl II. Carla Gugino (Sin City) acts her age in flashbacks as Silk Spectre, and also appears in the present as the ageing mother of Silk Spectre II, played by Malin Akerman (The Heartbreak Kid). Billy Crudup (Big Fish, Almost Famous) is the past, face and voice of Dr. Manhattan, whilst the allegedly smartest guy on earth, Ozymandias is portrayed by Matthew Goode (Match Point, last year’s Brideshead Revisited).

In the end

This is definitely not a film for everyone. Comic-book adaptations tend to go down very well with certain viewers, and not so well with many others. Personally, I think they can vary in quality, just like any other genre. This ambitious, complex film benefits from having excellent source material, and therefore a great story, but ultimately suffers due to having so much ground to cover in the space of one film. Still, it starts impressively and manages to end on a high, despite sagging a bit in the middle. The graphic violence, sometimes stylized, but often not, might be hard to stomach, but it remains faithful to the novel, and adds to the dark nature of the world being portrayed. Despite its flaws, this is the first head-turning release of the year, and is a visual and aural feast you should see on the big screen.

 

 

Trailer:

http://www.apple.com/trailers/wb/watchmen/ (High-res Quicktime)

 

Milk

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

 

Harvey who?

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

Not your average biopic

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

Relevant then, relevant now

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

“All men are created equal”

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

Best Actor

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

Out of the closet and onto the streets

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

 

 

Trailer: