Rise of the Guardians

• Released Internationally on 21/11/12
• Released in Malta by KRS on 30/11/12

Preview (first published 01/11/12 in VIDA Magazine)

This looks like the clear winner for children this month, and may even carry through until the festive season. The animation team at DreamWorks, who have brilliant films such as How to Train Your Dragon to their name, have turned their attention to children’s author William Joyce, who also has experience in film and animation. He is working on a series of books about the Guardians of Childhood - an Avengers-like gathering of famous names including Santa Claus (voiced by Alec Baldwin), the Tooth Fairy (Isla Fisher), the Easter Bunny (Hugh Jackman), the Sandman (who takes care of dreams) and Jack Frost (Chris Pine). They all team up to protect children when Pitch (the nightmare king, voiced by Jude Law) threatens to take over the world. So there’s a fair bit of magic and wonder involved, which allows the animation teams to run riot. This should be fun, but even more so if you’re still at that wonderful age where you believe.

 

Review (29/11/12)

This delivers as expected, with stunning visuals and animation, right from the first few minutes. After a brief prologue introducing the central, misunderstood character of Jack Frost, the film launches into full festive mode, and despite being set around Easter time, provides enough north pole material to feel like a festive holiday treat. The ‘guardians’ all get ample screen time, but are slightly different to their usual self. Alec Baldwin provides a deep Eastern European accent for Santa Claus, who also sports heavily tattooed arms. But otherwise it’s business as usual, from tooth fairies to Easter bunnies to the lesser known Sandman. It’s a testament to the animation team at DreamWorks that the latter is probably the most memorable character, despite not uttering a single word throughout the film.

Jude Law’s villain draws heavily on Hercules’ Hades, and probably deserved a better ending. The film also seems to be cramming too much into one short film at times, and risks losing the plot in the second half. Worst of all, however, it somehow misses out on that extra something, that magical spark, that made recent gems like How to Train Your Dragon and most Christmas classics so heart-warming and special. The ingredients are all there, but something hasn’t set. Or maybe I just dampened my sense of awe when I found out the secrets behind the tooth exchange system and Christmas presents. Either way, young kids should be suitably blown away, and this should serve as a wonderful holiday treat.

 

 

Trailers:

http://trailers.apple.com/trailers/dreamworks/riseoftheguardians/

Argo

• Released Internationally on 11/10/12
• Released in Malta by KRS on 21/11/12

Preview (first published 01/11/12 in VIDA Magazine)

Based on the track records of those involved, and initial reviews, this looks like it will be one of the main films we’ll be hearing about come Oscar time. More importantly, though, it’s a high profile adaptation of a fascinating true story.

Back in the late seventies, there was a hostage crisis in good old Iran, during the course of which six American diplomats in their late 20s and early 30s were successfully rescued. But rather than politicians sitting around a boardroom table, this rescue involved the Canadian government lending a hand and working with the CIA to create a fake film company and purported production of a film named ‘Argo’, to act as an elaborate cover for getting the diplomats to safety under false identities. So not your average day in foreign affairs.

This is the third film directed by Ben Affleck after his brilliant Gone Baby Gone and The Town. He starred in the latter, and he again he takes on the main role here as a CIA identity expert. He also produces, along with George Clooney and Grant Heslov, who together have already given us a few gems, including another period political thriller Good Night and Good Luck. The cast also includes John Goodman (The Big Lebowski, The Artist), Alan Arkin (Little Miss Sunshine, Edward Scissorhands) and Bryan Cranston (star of TV hit Breaking Bad).

So it seems like the good story is a given, and with these sort of artists it should be a well-told one. Plus everyone loves a bit of international espionage, and the period setting should add an extra layer of class. Let’s hope this is as good as Munich, although if all turns out well there should be a much lower body count.

Review (20/11/12)

In a year during which the Avengers assembled, the Dark Knight rose and James Bond came back from the dead, the best and most thrilling film so far turns out to be based on a true story. With Argo, it truly is a case of ‘you can’t make this stuff up’.

The film is chilling from the first minute, with a wonderful opening sequence that draws from the sci-fi storyboards that feature later on to give us a no-nonsense history lesson and set the scene for the hostage crisis. The setting is late 70s / early 80s, but the images are uncannily similar to ones we still see on the news today. The American embassy is taken by rioters, and within minutes we are able to grasp the desperate plight these diplomatic employees face. We then fast forward to 69 days later, when the stalemate persists and the US is getting increasingly desperate in its attempt to get the hostages home to safety. Which is why the ‘Argo’ idea (see preview above) gets the green light.

The film works wonderfully at giving us both the bigger picture but also the personal stories of those six hostages and the man sent to get them out. The whole mission revolves around whether they can find it in them to trust him or not, and for a hugely entertaining two hours so must we. We the audience also get to feel some of that ‘fear of the mob’ that pervades the whole situation, as hordes of unnamed and justifiably angry protesters are heard in the distance. Have you ever felt that awkwardness as you stand there with a customs official leafing through your passport? Or that complete helplessness as some bouncer glances in your direction, and despite you disliking him instantly and having a firm opinion about his level of intelligence, knowing that in this one instant you are completely at his mercy? Imagine that a hundred-fold, and we might be getting close to what these ordinary citizens had to go through.

The period setting is done with great attention to detail, placing us firmly in the immediately post-Star Wars era when such a crazy sci-fi scheme sounded like a good idea. From costumes down to bedroom quilts, nothing is overlooked. The Iran setting is also pulled off reasonably well, despite no film crew having set foot there. Istanbul has to stand in for many Iranian scenes, but this is a minor issue since the film is primarily about people and fear, whatever the setting.

As the film races to its climax, there is some inevitable playing with timelines so as to throw more tension into the mix, but thankfully it manages to steer clear of being incredible. And with so much invested into the hostages, the feelings at the end are well-earned and provide a very emotional conclusion. As with all such films, the true impact of what you have witnessed hits home once the end credits roll, with real-life images alongside images from the film reminding us that these are true stories of true individuals.

Ben Affleck and his team have done it again, and I for one was transfixed by the events onscreen, despite the whole saga having come to an end only a few days after I was born. This film remains extremely relevant in today’s world, but is also a fascinating story. Easily the best of 2012 so far.

Trailer:
http://trailers.apple.com/trailers/wb/argo/

Frankenweenie

• Released internationally on 05/11/12
• Released in Malta by KRS on 07/11/12

Review (07/11/12)

Frankenweenie is a rather odd little gem. As a very personal project by the very unique Tim Burton, it’s his characteristic vision in all its gothic, macabre and irreverent glory. But it remains a fairytale at heart, and features a very lovable dog, albeit recently deceased, at its core.

Burton first made Frankenweenie as a 30-minute short back in 1984, when he was still in his pre-Beetlejuice and Batman obscurity. You can watch it on YouTube if you don’t mind spoiling the surprise. It was a live action short in black and white, and due to its unusual length and debatable child-friendliness, it ended up as a mere extra on the DVDs for The Nightmare Before Christmas.

This full-blown, full-length adaptation is done with the same stop-motion animation that made Nightmare so special, and has thankfully been left in monochrome which adds so much to the atmosphere and lends a nod to the Frankenstein films of old. As soon as the playful Disney logo turns grey and dark, and Danny Elfman’s score turns foreboding, children and adults alike should know that they’re in for something rather different.

In a nutshell, the story is about a young, smart and inventive boy, who is a bit of an outcast and prefers to pass the time alone in his attic, inventing. When his beloved dog Sparky dies suddenly, he finds a way to harness lightning and bring him back to life. But inevitably word gets around, and his jealous classmates use the invention on other creatures, with less romantic effects. The story also portrays the fight between progress and tradition, with the Salvador Dali-esque (and Vincent Price-inspired) science teacher (voiced marvellously by Martin Landau), facing resistance from the town locals when he tries to challenge the minds of his pupils.

Nods to other Burton films abound, with the suburban setting being practically identical to that of Edward Scissorhands, and the resurrected Sparky looking uncannily like the Penguin from Batman Returns. And I think I even detected a nod to the old Rankin/Bass stop-motion classic Santa Claus is Comin’ to Town, whose evil Burgermeister is reborn as this town’s mayor.

If you enjoy Tim Burton films, you’ll love this. If you enjoy films that champion the oddballs and the quiet types, you’ll love this. If you want to show your kids something less fluffy and sparkly than usual, here’s a chance to take them on a PG tour of the dark side.

 

Trailers:

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

Savages

• Released Internationally on 06/07/12
• Released in Malta by KRS on 31/10/12

Preview (first published 01/10/12 in VIDA Magazine)

Director Oliver Stone is no stranger to extreme violence and drugs, but he seems to have toned things down since 1994’s Natural Born Killers, with his focus shifting towards violence of the political, financial and sporting kind. But he now returns to the seedy and dangerous world of drug cartels for this sprawling crime drama. Focusing on two best friends who share both a booming marijuana business and a girlfriend, the tragedy shows how the delicate balance that drug dealer’s lives are built on can collapse spectacularly (or so we’re told). The impressive cast includes John Travolta, Benicio del Toro (Traffic), Salma Hayek (Frida), Aaron Taylor-Johnson (Kick Ass), Taylor Kitsch (John Carter), Blake Lively (The Town) and Emile Hirsch (Into the Wild).

 

Review (30/10/12)

As expected, this one is not for the faint-hearted. Even before the opening credits roll, we’re given a hint of the level of violence we are to expect. Whether those involved in drug cartels actually go to these extremes to find new ways of murdering and torturing their enemies is a point for the police, but Stone tries to show how much is at stake by way of justification. The inevitability of a messy death for anyone who steps out of line helps to add some tension to the proceedings, but ultimately it’s hard to find a character to sympathise with when everyone is super rich and life isn’t worth too much to them. The way the tale unfolds, it seems evident that we are meant to sympathise with ‘O’, or Ophelia, the shared girlfriend and weak point of the two self-made weed kings. But even she lacks any real charm, despite looking stunning. When she tries to explain her plans in life, Salma Hayek’s character cuts her nonsense short with a well-placed ‘do you Americans all talk like that?”

Hayek is initially convincing as the feared drug lord, but her hard exterior crumbles a bit too quickly when the going gets tough. The cast all do quite a good job, with interesting characters that help make the surprisingly linear plot very easy to follow. Which all leads nicely to the predictable showdown in the desert, which much like every step of the dealings, can go either way. It seems that when working with savages things can very quickly descend into chaos, but Stone tries to show us that it’s not always clear who the real savages are.

In the end

Not exactly a drug-war classic, but the beach location and the young protagonists offer an interesting new angle. It’s all reasonably entertaining, if you’ve got the stomach for it.

 

 

Trailers:

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

To Rome With Love

 

• Released Internationally on 20/04/12
• Released in Malta by KRS on 31/10/12

Preview (first published 01/10/12 in VIDA Magazine)

Woody Allen has been making his own particular brand of film for decades, without worrying too much about what critics thought or what the box-office brought in. But his last offering, Midnight in Paris, was extremely well received, and one of his most successful films to date. It seemed to reach out beyond the usual Allen following and appeal to fans of the city, who rushed to see another cinematic postcard that captures the city’s charm and beauty. In the past, he had similar love letters to New York and, albeit less directly, London. So it’s no huge surprise that Allen is following a similar formula here, with his usual well-written drama and romance unfolding in the eternal city of Rome. As usual, he has attracted a stellar cast – Alec Baldwin, Penélope Cruz, Jesse Eisenberg, Ellen Page, and most interesting of all, Roberto Benigni. Plus, as a huge bonus, Allen himself is back on screen, adding his wonderful acting to the writing and directing duties. We can more or less imagine what this will be like - but that’s a good thing.

 

Review (30/10/12)

The film is bookended by two locals who serve as all-seeing storytellers – the traffic policeman at Piazza Venezia and a man whose balcony overlooks Piazza di Spagna. Between them they give us a small sample of the many stories and people that walk through the streets of the eternal city, and thereby absolve Allen of the need to make all their stories interconnect.

The narratives are predictably light and entertaining, playing out like longer sketches with better developed characters, possibly in reference to the many such Italian films of previous decades. Some of those we meet happen to walk through the main sights of the city, but sometimes the camera lingering on the famous monuments feels forced and extra. There’s a decent dollop of fantasy in a couple of the stories, which jars initially but plays out nicely, especially Baldwin as the commenting observer in the shaken love life of Jack (Jesse Eisenberg). Roberto Benigni’s story is also amusing, but only just avoids dragging the joke on for too long.

Woody Allen himself is central to possibly the better plotline, as a retired opera producer who feels he has discovered a raw, different talent during his brief holiday. Again, it’s a one-joke story, but it works. Allen’s writing shines best with the character of Monica (Ellen Page), in which he perfectly captures the intensely annoying ‘tortured artsy soul’ I’m sure many viewers will recognise. Besides the big names in the cast there are also many recognisable Italian stars, including smoky-eyed Ornella Muti, and a hilarious Antonio Albanese who is clearly enjoying himself.

In the end

If you’re new to Woody Allen, I wouldn’t start with this one, but if you’ve enjoyed his previous films you’ll probably find this fun, albeit not hugely so. Either way, if you love Rome, but have no flights booked for the foreseeable future, this could do for now.

 

Trailers:

http://trailers.apple.com/trailers/sony/toromewithlove/

Skyfall

• Released Internationally on 26/10/12
• Released in Malta by KRS on 26/10/12

Preview (first published 01/10/12 in VIDA magazine)

Unless you were attempting a solo Atlantic crossing in a canoe at the time, you probably saw and enjoyed possibly the most far-reaching and audacious piece of movie advertising ever staged - with the Queen herself coming along for the ride. But despite Bond being a quintessential part of British culture, and therefore a fitting addition to the pop opulence that was the Olympics opening ceremony, the timing was of course far from coincidental. Because after a few delays, the 23rd instalment in the most enduring film franchise ever (it turned 50 this year) is about to parachute into our cinemas.

Daniel Craig has proved a very popular choice as the man with the tuxedo, although his second film was not as well received as his debut. For his third romp, he's pitched against a new nemesis portrayed by Javier Bardem, and if said foe is even half as evil as the guy Bardem portrayed in No Country For Old Men, Bond had better not forget his license at home. Dame Judi Dench returns as the bossy (but in a lovable way) M, and we are introduced to a new, younger Q (Bond's quartermaster, and provider of fancy gadgets), portrayed by Ben Whishaw (Perfume). Rounding off an impressive cast are Ralph Fiennes (The English Patient), Albert Finney (Big Fish), along with two rising starlets as the new additions to the legendary Bond-girl catalogue - Naomie Harris and Bérénice Marlohe - one from each side of the British channel, how lovely.

If, for some slightly strange reason, you need any additional reasons to go watch a Bond film, another selling point this time, and one that has raised the hopes of many, myself included, is the choice of director. With such a successful formula at hand, the franchise has often managed very well without the need for any highbrow visionaries in the folding chair. But this time they've managed to land Sam Mendes (American Beauty, Road to Perdition), who is also bringing along his frequent musical collaborator, composer Thomas Newman. That should make for an extremely interesting soundtrack, although at the time of going to press the identity of the big name behind the song is as yet unannounced (Adele? Noel Gallagher? Who knows?).

It's been a very 'Team GB' summer, so we can now sit comfortably in the knowledge that another great British tradition is heading our way, with fast cars, shamelessly sponsored watches, scantily-clad women, and some of the best action ever seen on a screen - and all without ruffling his suit.

Review (26/10/12)

Bond is back, and this just might be the best Bond film you can remember. We all have our favourite Bond moments and nostalgic memories, but this one delivers in every department, and would be an excellent film even if it didn’t have the 007 label attached to it.

Daniel Craig

It was only after the film finished that I realised I hadn’t once thought about whether Craig was a good Bond or not. Only three films into the role, he is Bond, and the way things have progressed since the franchise reboot, it’s all falling into place nicely around the assured and increasingly comfortable central blonde hero. He gets to work the haggard and unshaven look briefly this time around, and we also get a rare glimpse into the more personal side of the world’s favourite spy.

The villain

Javier Bardem is unsettling in many ways as the arch nemesis of the story, and his fine-tuned performance is even more powerful because he often doesn’t fit the usual Bond villain mould. Some might bemoan the lack of scale, but I found it refreshing to have a villian who’s not set on clichéd world domination. Silva, as he is referred to, shows that he could cause global chaos if he wanted to, but he has a different agenda.

The sights

We start off in Turkey, and later get to see the lights of Shanghai and the landscapes of Scotland. But the heart of this film lies in London, with many recognizable locations, and a key action sequence set during an underground rush hour (albeit slightly toned down). The District line also gets a much-needed facelift.

The music

I for one loved the new Bond song by Adele, but there was no denying it wasn’t exactly rousing, thrilling stuff. But in the context of the opening sequence, it fits perfectly, and lends itself to a well designed and plot-relevant title sequence, although not as excellent as the Casino Royale one. Thomas Newman also shows his class by tackling the daunting composer role with ease, mixing his trademark percussion and unusual instrumentation with the usual Bond moments of grandeur or sadness. He also doesn’t shy away from using the James Bond theme in all its glory, especially during one very appropriate sequence.

The team

Judi Dench gets more screen time than usual as M, and she is a joy to watch. Ralph Fiennes makes a welcome addition to the MI6 staff, but it’s not a smooth entry, plot-wise. The Bond girls deliver as expected, although thankfully neither of the main ones is a brainless bystander, despite both being stunning. Their amorous or flirtatious encounters with Bond are not given any unnecessary screen time or attention, however, as there is a lot of material to get through.

In the end

After the slightly disappointing previous entry, this is a spectacular, well-written and emotional return to form; full of traditional Bond touches but self-sufficient as an action film with brains. There are a few surprises, and the story arc of 007 and his unusual employment continues to be very entertaining. You might also find some sequences reminding you of The Silence of the Lambs, The Return of the Jedi and (of all films) even Home Alone, but it all feels appropriately Bond-like. Sam Mendes has done a terrific job, as has his crew, including a beautifully shot final act. For an original story, this one is quite impressive, and it should ensure that we get many more Bond films to enjoy in the years to come. Hopefully, they’ll be as good as this one.

Trailers:

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

2011 in MovieMusic

It was quite a year for films, and with great films come (usually) great film scores. After spending hundreds of hours throughout 2011 and the past couple of months roaming around London and Malta with film scores bursting out of my earphones, I have compiled a list of what I think are the particular highlights, to help you navigate the endless available CDs, and maybe pick out a few gorgeous tracks from iTunes or Amazon. Whilst I still love the physical feel of the CD and the smell and detail of the liner notes, it is very true that digital downloads are very handy for those scores which might not be a great album or CD, but have one or two standout pieces worth paying for.

The Greats

• John Williams came out of semi-retirement to score Spielberg's two films this year (The Adventures of Tintin and War Horse), both of which got nominated for Best Score, and the latter being probably the best score of the year.
• Hans Zimmer started the year off with a fun Rango score, and then did three sequels on autopilot - Pirates 4, Kung Fu Panda 2, Sherlock Holmes 2.
• Danny Elfman had a quiet year, but wrote a fun, sporty score for a film that hardly anyone saw - Real Steel. He also contributed some music to Gus Van Sant's Restless, which unfortunately remains unreleased.
• Thomas Newman was very busy, providing great (but fairly typical) scores for The Iron Lady, The Help, The Debt and The Adjustement Bureau.
• Alan Silvestri provided one of the year's best old-school heroic themes for Captain America: The First Avenger.
• Patrick Doyle scored two unusual films for him - a superhero film (Thor) and a dramatic action film (Rise of the Planet of the Apes)
• Howard Shore returned to form with one of the year's best scores for one of the year's best films - Hugo, as well as providing a Wagner-influenced score for A Dangerous Method.
• The hottest composer of the past few years, Alexandre Desplat, was busy as usual. He ended the Harry Potter story on a high, scored The Ides of March, and provided lots of gorgeous pieces for The Tree of Life, many of which were eventually unused. He also scored Best Picture nominee Extremely Loud & Incredibly Close, and contributed a few themes to My Week With Marilyn.
• James Newton Howard had a green start to the year with The Green Hornet and The Green Lantern, neither of which were very memorable. He provided some great adaptations of Elton John classics for Gnomeo & Juliet, and has a track of saccharine music on the Larry Crowne soundtrack. Thankfully, his score for Water for Elephants got a proper release, and is a wonderful score.
• Michael Giacchino provided one of the year's best - a nostalgic, emotional score for the nostalgic, emotional Super 8. He also provided a new take on the classic Mission: Impossible theme for the 4th film in that series.
• Ennio Morricone, who is very understandably taking it easy nowadays, scored an Italian TV film Come Un Delfino.

The Departed

One of the best film composers ever, John Barry, died on 30th January 2011. His last film score was for Enigma, in 2001. it's impossible to do credit to his fantastic body of work in a paragraph, so you might want to listen to the one-hour musical tribute I hosted back in February last year.

http://www.mixcloud.com/Camillu/the-music-of-john-barry-7th-feb-2011-11/

The Newcomer

Ludovic Bource came out of obscurity to provide a great, obviously prominent score for The Artist, which has won many awards and will probably win the Oscar tonight. The director chose to use Bernard Herrmann's famous music from Vertigo in the climactic scene, but the rest of the film owes a lot to Bource's magic.

The Little Screen

I also included two wonderful TV scores that arrived in 2011 - Carter Burwell scored the miniseries Mildred Pierce, and Ramin Djawadi composed the already famous theme for Game of Thrones.

The Bands

• The Chemical Brothers scored Hanna.
• Basement Jaxx members scored Attack the Block.
• Rodrigo y Gabriela contributed to 2 scores this year - The Pirates of the Caribbean sequel and Puss in Boots.
• Trent Reznor (from Nine Inch Nails) and Atticus Ross followed up their acclaimed score for The Social Network with a similarly atmospheric, but less listenable score for The Girl in the Dragon Tattoo.

The Oscars

All 9 Best Picture nominees are included, except for Midnight in Paris (no original music released, as usual for Woody Allen's films).

All 5 Best Score nominees are included - War Horse, Tintin, The Artist, Hugo and Tinker, Tailor. The Artist will most probably win tonight, although I really hope War Horse or Hugo do instead. Still, for once all 5 nominees are very good scores this year.

The Best Song nominee from The Muppets is included. The other nominated song is from Rio, which is represented by a score track.

The Experts

If you want the opinion of a group of people who probably know much more about film scores than the members of the Academy (and more than I do), you can have a look at the annual nominations and awards for 2011 by the IFMCA (The International Film Music Critics Association) - http://filmmusiccritics.org/

The Best MovieMusic of 2011:

The Adjustment Bureau - The Ripples Must Be Endless [End Title] (Thomas Newman)

The Adventures of Tintin - Snowy's Theme & The Adventure Continues (John Williams)

Anonymous - The Other One (Thomas Wander & Harald Kloser)

The Artist - Overture & George Valentin* (Ludovic Bource)

Attack the Block - Moses the Hero (Steven Price, Kevin Buxton & Simon Ratcliffe)

Battle: Los Angeles - Hymn (Brian Tyler)

Captain America: The First Avenger - Captain America March* (Alan Silvestri)

Come un Delfino - I Ragazzi Del Sole (Ennio Morricone)

A Dangerous Method - Burghozli (Howard Shore)

The Debt - End Title (Thomas Newman)

The Descendants - Hapuna Sunset (Charles Michael Brotman) - not original score

Drive - Bride of Deluxe* (Cliff Martinez)

Extremely Loud & Incredibly Close - Extremely Loud & Incredibly Close (Alexandre Desplat)

Game of Thrones (TV) - Main Title* (Ramin Djawadi)

The Girl with the Dragon Tattoo - While Waiting (Trent Reznor & Atticus Ross)

The Greatest Miracle - Prelude* (Mark McKenzie)

Hanna - Hanna's Theme (The Chemical Brothers)

Happy Feet Two - Opening Medley (Various Artists)

Harry Potter & The Deathly Hallows Part 2 - Lily's Theme*, Dragon Flight, Courtyard Apocalypse & The Resurrection Stone (Alexandre Desplat)

The Help - Aibilene & Ain't You Tired [End Title] (Thomas Newman)

Hugo - The Thief (Howard Shore)

The Ides of March - The Candidate (Alexandre Desplat)

In Time - Main Theme [Orchestral] (Craig Armstrong)

The Iron Lady - Grocer's Daughter & Steady the Buffs (Thomas Newman)

Jane Eyre - Yes! (Dario Marianelli)

Kung Fu Panda 2 - My Fist Hungers for Justice (Hans Zimmer & John Powell)

La Piel Que Habito [The Skin I Live In] - Los Vestidos Desgarrados (Alberto Iglesias)

Mildred Pierce (TV) - End Titles (Carter Burwell)

Mission: Impossible - Ghost Protocol - Light The Fuse (Michael Giacchino & Lalo Schifrin)

Moneyball - More (Mychael Danna)

The Muppets - Man or Muppet (Various Artists)

My Week with Marilyn - Such Stuff That Dreams Are Made Of (Conrad Pope)

One Day - We Had Today (Rachel Portman)

Paul - Goodbye [It's a Little Awkward] (David Arnold)

Pirates of the Caribbean: On Stranger Tides - Angelica (Hans Zimmer feat. Rodrigo y Gabriela)

Puss in Boots - The Puss Suite (Henry Jackman feat. Rodrigo y Gabriela)

Rango - Rango Suite* (Hans Zimmer)

Real Steel - Final Round (Danny Elfman)

Rio - Flying (John Powell)

Rise of the Planet of the Apes - Caesar's Home (Patrick Doyle)

The Rum Diary - Rum Diary* (Christopher Young)

Sherlock Holmes: A Game of Shadows - The End? (Hans Zimmer)

Soul Surfer - Bethany's Wave* (Marco Beltrami)

Super 8 - Super 8 & Letting Go* (Michael Giacchino)

Thor - Thor Kills the Destroyer & Can You See Jane? (Patrick Doyle)

Tinker, Tailor, Soldier, Spy - George Smiley (Alberto Iglesias)

Transformers: Dark of the Moon - Sentinel Prime (Steve Jablonsky)

The Tree of Life - River (Alexandre Desplat)

Twilight: Breaking Dawn Part 1 - The Kingdom Where Nobody Dies, A Nova Vida & Bella Reborn (Carter Burwell)

W.E. - Duchess of Windsor & Letters (Abel Korzeniowski)

War Horse - Dartmoor, 1912* (John Williams)

Water for Elephants - The Circus Sets Up (James Newton Howard)

X-Men: First Class - First Class & Magneto (Henry Jackman)

Your Highness - Isabel the Strong (Steve Jablonsky)

*my favourite tracks of the year

Enjoy! There's lots more where those came from, so if you like a particular track, you might want to check out the entire score.

January at the Movies

• This article was first published on 01/01/12 in VIDA magazine.
• Release dates are subject to change. All films released locally by KRS Film Distributors Ltd.

film of the month:

War Horse

Steven Spielberg made a much-welcomed return to the director’s chair last month, with a first for him - an animated film - but his usual style of adventure and awe. Now he’s back again, and this time with another two of his areas of expertise - war, and heart-wrenching emotion. War Horse is a beautiful tale of a boy who grows to love the horse he cares for, only to see him whisked off to serve in World War I. Although too young to enlist as a soldier himself, the boy eventually sets off on an impossible mission to find his horse and bring him safely home.

The original children’s book was brought to life in spectacular fashion as a piece of stunning theatre (if you’re in London, I strongly recommend it), which uses uncannily realistic puppetry to bring the equine stars to life. Now it’s getting the big screen treatment, and you can bet that Spielberg’s version will be just as moving. Benedict Cumberbatch (Tinker Tailor Soldier Spy), Emily Watson (Punch-Drunk Love), Tom Hiddleston (Thor) and David Thewlis (Harry Potter) star, although they will probably be outdone by the stars on four legs and the British countryside.

Richard Curtis, who does comedy and romance so well (Four Weddings, Love Actually, Blackadder) has adapted the screenplay, and Spielberg-regular John Williams will be providing the score. Not that the story needs much more emotion, but Williams usually manages to add a layer, or five. Whether you like Spielberg’s adult fare or his childlike awe, this should do the trick.

---

also released this month:

The Girl With The Dragon Tattoo

I was recently in a London hospital waiting room, hoping that a tutorial hadn’t been cancelled, when my ears pricked up and I eavesdropped slightly. Two very prim and proper British ladies next to me were having a matter-of-fact debate about whether Daniel Craig would make a good Mikael Blomkvist in the new adaptation of the book. They proceeded to analyse most of the main characters, and an uninformed listener might have thought they were discussing a 70s soap opera on the BBC, not a twisted and often shocking crime thriller from Sweden. But such is the reach of the late Stieg Larsson’s Millenium trilogy, that mums everywhere can hold very strong opinions about the infamous Lisbeth Salander and her tortured past. The Swedes rightly got to the books first, and made three very good films out of them. Now it’s the Americans’ turn. I groaned at first, but with David Fincher at the helm, and what is so far unanimous acclaim for Rooney Mara’s performance as the petite but ruthless heroine, this is looking better by the minute. Rounding off the cast is Christopher Plummer as Henrik Vanger, Stellan Skarsgård as Martin Vanger and Robin Wright as Erika Berger. David Fincher does dark and twisted wonderfully (Se7en, Zodiac) and he even managed to make the birth of facebook a riveting thriller. This should be brilliant.

Immortals

If you’ve ever seen a film or music video by Tarsem Singh, you probably remember it. His visual style is quite unique, and he is more than willing to sacrifice story and flow just to make every shot worthy of a fancy frame. The Cell looked so great that J.Lo wasn’t the best-looking prop in it, and The Fall started off with a masterpiece prologue before diving into colour and looking gorgeous throughout. So he seems like a good fit for more tales of Greek gods and muscly heroes, since 300 was similarly spectacular and artsy. This film looks like an obvious offshoot of that Spartan tale, and we can expect a lot more shiny abdominals and slow-motion spear-throwing. Let’s hope there a plot in there somewhere.

My Week With Marilyn

Like many stars who died young, Marilyn Monroe has been immortalised at her peak, which is why decades later she casts a spell over people who were born decades after her demise. But, unlike many of the pin-up blondes of today, she was famous for more than just her looks (and her line of perfume, etc.) - she was an acclaimed actress who starred with the best. This nostalgia trip looks back at her encounter with the acting institution that is Sir Laurence Olivier (played by Kenneth Branagh), whilst filming in the UK. A young assistant gets to show Marilyn around the British isles, and quickly discovers the extent of her allure. Michelle Williams (Blue Valentine) is receiving heaps of praise for her portrayal of the blonde bombshell, and the film looks to be the best one about her yet.

The Iron Lady

If you’re not convinced by Michelle Williams’ portrayal of Marilyn Monroe, you can pop into the adjacent screen and watch the master at work. Soon after disappearing inside the character of Julia Child, Meryl Streep has now transformed herself once again and is Margaret Thatcher. Her acting, her voice and the hair and makeup make it quite uncanny to even see the film posters, and that’s usually enough of a guarantee that you will immerse into the film plot and forget you’re watching a performance. Directed by Phyllida Lloyd (Mamma Mia!) the film focuses on the run-up to the Falklands war in the early 80s, and is the first big-screen portrayal of the larger-than-life prime minister who still polarizes the public today.

J. Edgar

And rounding off this month’s trio of impersonations, Leonardo DiCaprio takes on a less well-known figure, J. Edgar Hoover. Hoover set up and built the Federal Bureau of Investigation (FBI) across the Atlantic, and is the man credited with making it the crime-fighting powerhouse that it is today. Directed by Clint Eastwood, the film also starts Armie Hammer (The Social Network), Josh Lucas (A Beautiful Mind), Judi Dench (Iris) and Naomi Watts (King Kong). The script is by Dustin Lance Black, who shot to fame after penning the Oscar-winning Milk a couple of years ago.

The Darkest Hour

Timur Bekmambetov may not ring as many bells as, say, Steven Spielberg, but he’s only just making the transition from Russia to Hollywood, and the syllable count isn’t in his favour. After a couple of acclaimed films in his homeland, he brought his stylish action to the film Wanted, which had numerous sequences that you couldn’t dream up if you were the least sober person at Woodstock. He now turns his mix of action and spectacle to the subject of hostile aliens, and this film centres around five young heroes tries to survive an invasion of Moscow. To make things interesting, you can’t see the aliens.

Christmas at the Movies

 

 

• This article was first published on 01/12/11 in VIDA magazine.
• Release dates are subject to change. All films released locally by KRS Film Distributors Ltd.

film of the month:

Hugo

Every festive season, magical family films compete for our attention during the holidays. There’s usually one or two with a clear seasonal theme, but often anything spectacular and family-friendly will do the trick. Whether it’s hobbits on quests, children keeping burglars at bay, or green Grinches trying to ruin Christmas, many a box-office hit has made it’s grand entry thanks to that special December feeling.

Martin Scorsese films do not usually fit that bill. One of the most celebrated and respected directors alive, he usually makes visceral and thrilling films that you don’t get to enjoy until you’ve left sixth form. And if you’re not good with bloody violence, maybe not at all. But like many great artists, he tries his hand at different genres, just like he did with the historical biopic The Aviator a few years back. This time, he’s decided to embrace both children’s fiction and 3D filmmaking, in what is being hailed as a glorious fairytale.

The Invention of Hugo Cabret was published back in 2007 by children’s author Brian Selznick. Scorsese acquired the rights, and the screenplay was written by John Logan, who is the man behind such gems as Gladiator, The Aviator and Rango (and who penned the next Bond film). The story is set in 1930s Paris, with the titular character being an orphan who lives in a world of steam engines and clockwork toys, hidden away in a train station. With regard to the 3D, this is apparently no gimmicky afterthought conversion, but rather a full-bodied attempt by Scorsese to use the medium and weave it into his fantasy storytelling.

Asa Butterfield, who had a haunting main role in The Boy in the Striped Pyjamas, is Hugo. Also responding to Scorsese’s casting call are Sacha Baron Cohen (Borat), Ben Kingsley (Elegy), Jude Law (Closer), Chloë Grace Moretz (Kick-Ass), Christopher Lee (The Lord of the Rings) and Emily Mortimer (Shutter Island). This looks like one of those films that can appeal to those of all ages and all tastes in film. It will be fascinating to see how the man behind so many crime and thriller classics can adapt himself to the childlike and magical, and the early response from abroad suggests he’s done so with class.

 

---

also released this month:

New Year’s Eve

If you watched Valentine’s Day last year, think of this as the sequel. Same formula - more big names than you would find at the Oscars, each with a small plot that all falls magically into place for the big moment. Love Actually set the high standards for this sort of film, but unfortunately Valentine’s Day sacrificed detail and emotion to try and fit in more people. With a cast list too long to go through, let’s hope this doesn’t do the same mistake. If you want to get festive and see what the likes of Robert DeNiro, Halle Berry, Jon Bon Jovi, Michelle Pfeiffer, the newly single Asthon Kutcher (and many, many more) get up to at the stroke of midnight, this might be fun.

 

Machine Gun Preacher

Gerald Butler (300) stars as American biker Sam Childers, who gave up his drinking ways when he embraced religion, and now is an active protector of orphans in Sudan. I guess how much you enjoy this depends on whether you go for the preaching or for the machine guns.

 

Puss in Boots

A spin-off from the now-concluded Shrek storyline, this is all about the feisty ginger cat getting his own back-story and moment in the limelight. Sort of like Wolverine, but with smaller claws. Antonio Banderas is of course at hand to add the sultry accent that makes Puss such a kitty-charmer, and Salma Hayek voices one of the adversaries he encounters. Despite the groans that many elicit when such spin-offs are announced, this one is getting good reviews, mostly in the fun department.

 

Sherlock Holmes: A Game of Shadows

The first Sherlock Holmes film was incredibly fun, despite what the Arthur Conan Doyle purists might have thought. Guy Ritchie’s dark but crisp directing was a perfect fit for old London and Robert Downey Jr.’s aloof excellence brought Holmes to life in style. So here’s a second helping, and once again Jude Law is dragged along as the reluctant but essential Watson. Rachel McAdams (Midnight in Paris) also returns, and the new additions include Noomi Rapace (the Swedish Lisbeth Salander) and the inimitable Stephen Fry.

 

Anonymous

If you thought the Conan Doyle purists were angry, wait till the bard ones see this. A fictional re-imagining of English history, this film stakes the claim that Will Shakespeare didn’t write a single word of his works. Despite the solid cast (including Vanessa Redgrave, Derek Jacobi and Rhys Ifans), many are up in arms claiming this is the most silly film Roland Emmerich ever directed. And this is the man who gave us 2012.

 

Mission: Impossible - Ghost Protocol

Despite the up and downs of Tom Cruise’s popularity, there’s no denying that these films are usually fun, in a Bond vs. MacGyver kind of way. But after the excellent first one, the second had too much slow-motion and Cruise self-love, and the third was tarnished by one of the most far-fetched endings ever. So they took a break, but the franchise is now back, and the first promising sign was director Brad Bird (The Incredibles, Ratatouille and The Iron Giant) behind the camera. Ving Rhames (Pulp Fiction) and Simon Pegg (Shaun of the Dead) are back in the team, and new additions include Jeremy Renner (The Hurt Locker). The plot, should you choose to accept it, involves a bubbling war between USA and Russia.

 

Alvin and the Chipmunks: Chipwrecked

Just when you thought they couldn’t come up with a more painful title than ‘The Squeakquel’, they did. Your kids might be excited to see more of our high-pitched friends, but you might want to take them to see Hugo first, for their sake and yours.

November at the Movies

 

• This article was first published on 01/11/11 in VIDA magazine.
• Release dates are subject to change. All films released locally by KRS Film Distributors Ltd.

film of the month:

The Ides of March

George Clooney is not just a pleasant leading man with nicely-chiselled features. Amongst other things, he’s been trying his hand at directing for the past decade, and his 2005 film Good Night, and Good Luck, which he directed, starred in and co-wrote, is a flawless little gem that has class written all over it. He’s now returning to the political arena with another film in which he also stars, this time as an American presidential candidate.

As the presidential hopeful builds momentum and seems destined for the White House, his campaign is being run by a junior, but very talented, campaign manager (Ryan Gosling, who seems to be in everything nowadays, and was particularly good in the recent Crazy Stupid Love and Drive). Offers start to come in, as I’m sure they do in real life, of shows of support in return for favours later on. But the candidate tries to stick to his principles, and the campaign manager isn’t sure which side to stay on.

Rounding off the impressive cast are Philip Seymour Hoffman (Capote, Magnolia), Marisa Tomei (My Cousin Vinny, The Wrestler), Paul Giamatti (Sideways, Cinderella Man) and Jeffrey Wright (Casino Royale, Syriana). With the media-heavy Obama campaign fresh in our minds, it’s easy to imagine Clooney in the role, and this time we get to see what goes on behind the scenes. With a title like this, I guess we can safely assume there will be a certain amount of back-stabbing.

 

---

also released this month:

The Twilight Saga: Breaking Dawn - Part 1

Yes, that is the actual title. Since the Harry Potter final film split seemed to work nicely, this other fantasy franchise decided to hop on the money train too. So the fourth and final book in the werewolves vs. vampires love story will be fleshed out into two films. This is great news for Twilight fans, I imagine. The chapter kicks off with a wedding, but it turns out that marriages between humans and the undead aren’t such a good idea after all. Needless to say, this is only for those who have watched (and enjoyed) the previous three films.

 

The Rum Diary

Johnny Depp continues to mix staple, blockbuster roles (such as the cash behemoth he heads as Jack Sparrow) with smaller, more intriguing films. One of his weirdest trips was the drug-fuelled haze of Fear and Loathing in Las Vegas, based on the book by Hunter S. Thompson, which was a perfect fit for the eccentric talents of director Terry Gilliam, and Depp. This new film is an adaptation of another book by the same author, and this time takes us to Puerto Rico, where an American journalist immerses himself fully into the local craziness, aided significantly by the joys of rum. This should be fun.

 

Happy Feet 2

Happy Feet was an icy-cool breath of fresh air, that came out of nowhere and was one of the most original, and enjoyable, animated films of recent years. But despite what appeared to be a fluffy, jukebox-style first half, it also dared to delve deeper, and had a few disturbing and thought-provoking moments later on. Thankfully, the sequel is still the work of George Miller (who was also the man behind Babe), so hopefully it won’t descend into cheap sequel-itis. Elijah Wood (you know, Frodo) returns as Mumble the penguin, although he’s now all grown-up and doing some parenting of his own. Also reprising their vocal roles are Robin Williams and Hugo Weaving, and joining the arctic fun are Brad Pitt, Matt Damon, Pink, and Modern Family’s Sofia Vergara.

 

Tower Heist

I love heist films, and this one’s a comedy too. Director Brent Ratner has successfully juggled crime and comedy in the past with the Rush Hour films, and this time he has an incredible cast at his disposal - Ben Stiller (Tropic Thunder), Casey Affleck (Gone Baby Gone), Matthew Broderick (Godzilla), Alan Alda (M*A*S*H, 30 Rock), Tea Leoni (Spanglish) and Gabourey Sidibe (Precious). And adding some veteran mania to the comedy is Eddie Murphy, who might be hoping this film gives his comedy career a bump in time for next year’s Oscars, which it looks like he will be hosting.

 

Straw Dogs

This is an apparently faithful remake of the disturbing 1971 film, about a young couple who drop everything and go to live in an idyllic house in the woods. They start to be harassed and taunted by workmen and neighbours, with things eventually getting very out of hand. James Marsden (Enchanted, Superman Returns) and Kate Bosworth (Blue Crush, Superman Returns) reprise the roles originally played by Dustin Hoffman and Susan George. The original film was infamous for a few graphic scenes, so this might not be for everyone.

 

Contagion

Disaster movies are fun. Those standard shots of newscasters announcing the tragedy, presidents calling for calm, and (this one is obligatory) people slowly getting out of their cars in standstill traffic, make for great cinema, with us viewers obviously rooting for the human race. And amongst all disasters, outbreaks are often the most chilling, since we have been subjected to similar, but thankfully better-controlled, epidemics in the past few years. No matter how scary an alien looks, it can’t cause as much paranoia and panic as an invisible virus that you could pick up by touching a door handle. Steven Soderbergh directs, and the ensemble cast consists of Marion Cottilard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow and Kate Winslet. It’s not every day we see a Best Actress winner be killed off in a film - but with three to choose from here, it’s safe to say we will.