phantom_fan89 Reviews

The Conjuring (2013)

The most chilling supernatural thriller in years

[9/10 · 28 July 2013]

On paper, the premise of The Conjuring reads like a carbon copy of any other supernatural thriller, but to dismiss it as such would be to deprive oneself of experiencing the most chilling horror film in years.

Carolyn (Lili Taylor) and Roger Perron (Ron Livingston) have invested all of their savings into purchasing a large farmhouse to raise their five daughters. Almost immediately, the family begins to experience sinister phenomenon that escalates so violently that they make a desperate plea for help to notable paranormal investigators, Lorraine (Vera Farmiga) and Ed (Patrick Wilson) Warren. Accustomed to dealing malevolent spirit activity, even the Warren's are unprepared for the hostile evil that dwells within the Perron's home.

The Conjuring is a perfect example of how a stale premise can be transformed by quality filmmaking. Director, James Wan, of Saw and Insidious fame, is a master of the genre. Wan goes back to a much more traditional and grounded style of delivering scares, mercifully avoiding overblown CGI.

Another main contributor to the film's success is the intelligent screenplay by Chad and Carey Hayes, whom treat the material with the same respect as one might a great drama. There's not one superfluous scene in The Conjuring as the tension unrelentingly builds throughout.

Adding further weight to the project is the stellar cast. Livingston and Taylor have long been amongst the most under-appreciated actors around and are always welcome screen presences thanks to their amazing versatility. Wilson and Farmiga are flawless as the Warren's. Both are the type of performer that elevates whatever project they're in and it's indisputable that the actors make what would have always been a good film great.

With a look, tone and quality reminiscent of the all time great horror flicks, The Conjuring is one of the best surprises of the year.

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Endeavour (2012–2023)

Great entertainment that deserves to be judged by its own merits

[10/10 · 22 July 2013]

Considering that detective procedurals populate the British television landscape perhaps more than any other genre, one might lament at the prospect of not only another crime drama, but a prequel to one of the most beloved shows, mystery or otherwise, to ever grace the small screen, Inspector Morse. Those who might dismiss Endeavour as just another generic addition to an already overcrowded marketplace, however, would be making a grievous error.

The year is 1965 and an eccentric young Detective Constable, Endeavour Morse (Shaun Evans), is making waves at the Oxford City Police with not only his unorthodox but brilliant methods of deduction, but for his refusal to tow the line in order to please the upper echelons of both the Force and society. Under the steadfast guidance of the seasoned and similarly incorruptible, Fred Thursday (Roger Allam), Morse finds himself embroiled in a number of complex cases that expose him to the darker side of life and human nature.

Although the series will naturally draw comparisons to its popular predecessor, thanks to the show's gripping narratives, vibrant swinging sixties backdrop and perfect blend of light and dark overtones, Endeavour is easily able to distinguish itself by its own considerable merits.

Much of the show's success can be attributed to the ingenious casting of Evans, who puts his own unique stamp on the iconic role. Of course there are parallels to the world weary DI so expertly embodied by John Thaw, but Evans wisely avoids imitation, as the twenty-year age difference between the two interpretations allows the actor to create something fresh. The addition of the character of Fred Thursday is inspired. The street wise, war veteran is the perfect mentor for the idealistic Morse and their relationship is one of the highlights of the series. Fantastic entertainment on every level!

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Rectify (2013–2016)

An utterly captivating drama

[10/10 · 18 July 2013]

An utterly captivating drama that possesses a poeticism quite unlike anything on television, Rectify is one of the most expertly crafted new series of the year.

Nineteen years after being sentenced to die for the rape and murder of a sixteen-year-old girl, Daniel Holden (Aden Young), unexpectedly finds himself released from prison after overlooked DNA evidence is uncovered. Daniel must now not only re-acclimatize back into a hostile society, but also grow accustomed to the infinite possibilities that everyday living presents.

Young is a revelation as the traumatized ex convict. There's a fascinating stillness to his performance in which the actor manages to communicate volumes through expressions alone. The other main stand out is Abigail Spencer as Daniel's feisty younger sister, Amantha; a woman who has centered her life around fighting for her brother's freedom and must similarly reacquaint herself with some semblance of normality.

Rectify possesses a surreal, almost dreamlike quality that belies the violent and brutal undertones of its narrative thread. This is quite fitting considering that the majority of events are experienced through Daniel's eyes, as such the audience is introduced to viewing the most mundane aspects of life from a profoundly beautiful new perspective.

The series shows much restraint in allowing Daniel's innocence to remain ambiguous. It's a brave creative choice and a true credit to the writer's that Daniel's emotional and spiritual journey is so compelling that the viewer is in no great rush to learn the truth of his culpability. Despite the fact that this mystery does simmer quite tantalisingly throughout, Rectify fascinatingly never exploits the 'did he or didn't?' aspect that one might assume as the obvious angle given the premise. Instead the show sets about providing a haunting commentary on crime and punishment, human frailty and life's capability to transcend the boundaries of both a heaven and hell.

The White Queen (2013)

An excellent melodrama that improves with each installment

[8/10 · 11 July 2013]

If you are of the disposition to enjoy extravagant production values, a handsome cast and plots compromised of devious political maneuvering, then it will be easy to appreciate BBC One's epic saga The White Queen for the rollicking good drama that it is. If, however, you are a narc for period accuracy, it's probably best to stick to the history channel.

Adapted from the best selling novel series The Cousins' War by Philippa Gregory, the show is set during the War Of The Roses, a conflict between the House of York and The House of Lancaster for the throne of England.

The subtext of the series revolves around the plight of medieval women, a fate fraught with perils equal to anything that their male counterparts faced on the battlefield. It's an oppressive, violent and often soul destroying existence from which not even the nobles from which the series draws it's focus are spared. In this way the The White Queen surprisingly possesses quite an insular focus despite the scope of the events that play out around the main characters. Interpersonal dynamics and the quest for personal power are the main factors that propel the narrative.

The pilot episode has actually been the weakest thus far, mainly serving the purpose of character introductions and setting the foundation of the central romance between Elizabeth Woodville and King Edward IV. This is not say that it is without merit, as the episode acts as an intriguing appetizer of promised delights to come. Initial patience is soon rewarded as the subsequent installments have upped the anti ten fold. Admittedly creative license has been taken in regards to a number of events, but there is no denying that The White Queen is thrilling melodrama nevertheless.

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The Village (2013–2014)

Emotionally harrowing but expertly written and performed drama

[9/10 · 11 July 2013]

Criminally underrated writer/producer, Peter Moffat, showcases his prodigious versatility by following up his brilliant legal drama, Silk, with the equally compelling The Village.

The Village chronicles the lives of the inhabitants of a small country town as they struggle to adjust to the turbulent societal upheaval brought about by the First World War. From the gentry to the poverty stricken working class, the shocking realities behind closed doors belie the idyllic surrounds of the Derbyshire countryside.

The Village is far from feel good entertainment. It's dark themes and gritty period realism creates viewing that is often emotionally harrowing, but undeniably brilliant.

Despite the explosive era in which it is set, the narrative threads of the series are predominately insular and familial, relying on interpersonal relationships to create drama. The results are riveting, primarily thanks to the vast array of intriguing characters and superb performances by the stellar cast. Moffat is a genius at writing fascinatingly unconventional characters that are neither heroes nor villains, but ambiguously grey. Unlike many male writers, he also consistently imbues his shows with multifaceted females roles that are equally if not more dynamic than their male counterparts.

Moffat's leading lady from Silk, Maxine Peake, is the emotional center of the series. Peake remains one of the finest actresses working today and if there is any justice The Village should garner her some long overdue recognition.

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The King's Speech (2010)

Hopefully Firth's Next Speech Will Be At The Oscar Podium

[10/10 · 23 December 2010]

In the cannon of Cinema's offerings which detail the lives of those seemingly otherworldly creatures known as Royalty, whether the subject be real or imagined, we are usually confronted with a very conventional protagonist-the brave, beguiling, determined aristocrat who is either desperately attempting to grasp power or desperately attempting to hold onto it. Whether it be King Henry the Eighth, Queen Elizabeth or the fictional King John, the portrayal of these characters are always imbued with a certain sense of either subtle or overt arrogance, as if the position of almost indeterminable power and privilege is theirs by divine right. What makes The King's Speech not only fascinating but indeed refreshing is that it chronicles the story of a man who not only has no wish to be on the throne but is absolutely terrified at the prospect of it.

The film tells the story of the man who would become King George VI (Bertie), the mild mannered, reserved "spare" to the throne who suffers from a dreadful stammer. As second in line, Bertie is confident that he will never be required to assume the role which he dreads, but as a member of the royal family he is regularly required to make public speeches, an event which both terrifies and embarrasses him deeply. Bertie's supportive wife Elizabeth enlists the help of maverick speech therapist Lionel Logue whose unconventional treatment techniques slowly begin to instill in Bertie the confidence in which he is so sorely lacking. Things take a turn for the worst however when Bertie's brother David abdicates the throne to marry scandalous American divorcée Wallace Simpson. As the country verges ever closer to war with Germany, Lionel and Bertie's relationship is stretched to breaking point.

This is Colin Firth's film, and if there is any justice the next speech he should be making will be from the winner's podium at the Academy Awards. Playing a protagonist afflicted with a stammer was risky business for both Firth and director Tom Hooper. Indeed, they pulled of quite a fete in the fact that the affliction never gets in the way of the story, it fills the viewer with sympathy not frustration and it never comes across as comical; which in the hands of a lesser actor it might have done. In movies such as this, the phoenix rising from the ashes so to speak, it would have been only to easy for Firth to really chew up the scenery which thankfully the actor wisely refrains from doing so. Firth plays Bertie with such a subtle poignancy, his pain always just underneath the surface that it is like poetry to watch. Much like his performance in A Single Man, it is the restraint shown in Firth's choices that truly showcase what a remarkable actor he is.

As Logue, the eccentric Australian speech therapist Geoffery Rush proves once again why he is one of the all time greats. Rush is similar to Firth in that they both appear to follow the same credo of he who screams and cries the most does not the best actor make. Their less is more approach shows that both are more willing to serve the film rather than their ego's. Their on screen chemistry is one of the true joys of the movie, with the unconventional friendship eliciting both hilarity and tears in equal measure. If nothing else, Tom Hooper should be praised for capturing on celluloid two actors at the peak of their talent and ingenuity.

Rounding out the leads is one of cinema's most interesting leading ladies, Helena Bonham Carter as Queen Elizabeth. Carter's off screen persona is possibly about as far removed as you can get from the notion that the majority of us carry around about the Queen Mum; and yet Bonham Carter's unquestionable talent wins through in the end, her bearing and diction so regal that it is quite a pity a coronation isn't around the corner for the actress herself. It is a very different character from the rather unhinged, larger than life creations Carter has become known for in the past decade. The actress herself stated in interviews that she was unsure about the role because at first she thought it was just another supportive wife part. Yet in Carter's hands, Elizabeth appears a woman before her time, an equal with her husband, supportive and yet not relegated to the background.

Tom Seidler's script is superb. There is a lot of history to cover in the comparatively short running time of one hour and fifty minutes, not to mention the emotional subtext which must be present in order to make the film resonate as it should. Seidler does well to avoid for the most part the generic cliché's associated with films of this nature. Bertie is a flawed man, he will always remain a flawed man, as the film progresses he improves rather than is cured. He has triumphs of sorts but they are personal rather than political . Perhaps this is one of the reasons why the film has such emotional resonance. The majority of us can not relate to heroic grasps for power, but we can relate to small victories, overcoming the fear and adversity inside us all. Seidler restrains the urge to turn Berie into what we usually perceive to be a Hero. He is rather a rather ordinary man doing the best he can in extraordinary circumstances. The narrative flows seamlessly, always gripping, every scene essential.

There is no getting around the fact that The King's Speech is a crowd pleaser, which may be slightly damaging to its reputation in the fact that the only type of film which seems to be considered art these days are pretentious morality tales with unstructured narratives, scenery chewing theatrics and a lot of gratuitous sex and violence. If The King's Speech takes home the best picture Oscar than it will be a much deserved honor indeed. http://rantsreviews4filmnuts.blogspot.com/

Kick-Ass (2010)

It Kick's Ass!

[9/10 · 1 May 2010]

For more reviews head to http://rantsreviews4filmnuts.blogspot.com/ Superheros, caped crusaders, masked avengers, latex wearing super studs. Why is it that these paragons of righteous humanity only exist in our dreams? The main point of Kick Ass is to show us that superheroes don't exist in our modern world for a very good reason. Kick Ass is a parody of the insanely popular comic book adaptations that have been bombarding our theatres since the release of Spiderman back in 2001. The satirical elements of the film seem to be lost on a large number of critics who have branded the film with all kinds of damaging labels; 'exploitative', 'gratuitously violent', and 'politically incorrect' to name but a few. Of course Kick Ass is all of these things. But the film has a different motive for being so than your normal run of the mill action pick.

Kick Ass tells the story of Dave Lizewski, an avid comic book fan who wonders why no-one has ever thought of becoming a superhero? The constantly unnoticed and downtrodden Dave decides to do what others only dream of and create a crime fighting alter ego Kick Ass. Dave soon realises that being a superhero is harder than he thought, especially after only narrowly escaping with his life on many occasions. Dave's problems escalate when Mafia kingpin Frank D'Amico thinks Kick Ass is behind a slew of recent drug busts that is actually the work of real vigilantes Big Daddy and Hit Girl.

Unlike most comic book adaptations Kick Ass does not glorify violence. The graphic nature of the fight scenes serve to humanize the actions. They do not appear heroic, just a big bloody mess. The film also explores the consequences of violence. Every time our hero engages in a battle he is beaten to a bloody pulp and only narrowly escapes with his life.

Most of the flack received by the film centre's around the character of eleven year old, foul mouthed vigilante Hit Girl. Why exactly is it that this character has received condemnation from family groups worldwide, especially since the MA 15+ film has never been marketed as anything less than strictly adult entertainment? Sure Hit Girl is like a pint sized Rambo, but is she any more disturbing than the mass murdering, psychopathic child in Orphan? The sociopathic, serial killer played by Macaulay Culkin in The Good Soon? A callous, bloodthirsty Kirsten Dunst in Interview with the Vampire? There are countless other examples of child exploitation, but Kick Ass seems to be the film taking the beating. The fact that director Matthew Vaughn is making the point that Hit Girl is a product of our increasingly violent culture seems to be lost on most naysayers. He makes the statement that superhero films glorify violence so much that in our society it is perfectly within the realms of possibility for an eleven year old to wish for guns and knives for her birthday.

Kick Ass is a rollicking good farce and anyone who attempts to view it as a straight up action film is going to have trouble. It successfully pokes fun at many generic superhero conventions; the death of a loved one, the arrival of a superpower (which in Dave's case is a slightly heightened ability to take pain due to nerve damage sustained in a fight), the superhero costume ( a green scuba suit which Dave attempts to wear underneath his clothes at all times), the training regime, the nerd boy who likes popular girl, the showdown and the inevitable sequel setup.

The cast is exceptional. Nicholas Cage gives his best performance in years as Big Daddy, Chloe Moretz almost steals the film as Hit Girl, Christopher Mintz- Plasse brings the laughs as Red Mist and Mark Strong delivers another exceptional villain. The film's star Aaron Johnson continues to show his versatility as an actor, possessing the humility to make Dave pathetic enough that the audience just can't help but root for him.

Kick Ass is a unique film that deserves to find a large audience. Here's hoping that audiences will get past the controversy and be able to view the film for the delightful romp that it is.

Shutter Island (2010)

You won't want to close the shutters on this one!!

[10/10 · 20 February 2010]

FOR MORE REVIEWS FEEL FREE TO VISIT http://rantsreviews4filmnuts.blogspot.com/ The dream team of Scorsese and Dicaprio deliver their most thrilling and original effort yet in the form of the physcological mindfield that is Shutter Island.

US Marshal Teddy Daniels is called to a remote island to investigate the disappearance of a murderess from an institute for the criminally insane. Upon arrival Daniels soon begins to realise that nothing is as it seems, nobody can be trusted and danger lurks around every corner.

Like Shutter Island the location, Shutter Island as a film is a rich tapestry of intrigue in which the viewer never feels safe in it's presence. Also like the island itself you never quite know what to expect from the film or even how to define it. As the story unfolds the genre you think you are watching is constantly evolving. Is it gritty film noir, closed circled crime fiction, cop drama or sensationalised pulp? Nobody knows genre better than Martin Scorsese and this very gift enables him to mess with the viewers expectations as he presents us with convention and then turns it upside down.

When it comes to suspense Shutter Island by far surpasses all other cinematic offerings of the past decade. From the opening scene to the rolling of the credits the viewer is bombarded with a plethora of plot twists, red herrings and interconnected sub plots as the narrative grows deeper and more intense. To discuss said narrative would merely spoil the experience for the viewer as the total unpredictability of the films plot is one of it's finest assets.

Dicaprio once again turns in an awards worthy turn as the films damaged protagonist Teddy Daniels. Few actors can emote so much in such a subtle manner without chewing the scenery. The pain expressed in Dicaprio's eyes will haunt you for long after the lights come up. Daniels narrative is complex but Dicaprio handles the progression of his character like the pro that he is. It is hoped that Dicaprio doesn't follow in his directors footsteps in being relegated to always being the bridesmaid for the coveted Oscar. Fingers crossed that Shutter Island remains in voters minds for the 2011 awards ceremony as Dicaprio's performance is one of the best of this or any year. Mark Ruffalo lends excellent support as Daniels partner Chuck Aule. It's definitely Ruffalo's best performance to date and one hopes that he will be offered more roles of substance after this outing. Rounding out the supporting class is the suitably intriguing Ben Kingsly as the resident head physcologist, a scene stealing Ted Levine as a suspicious warden and Michelle Williams as Daniels deceased wife. Brief cameos by Jackie Earle Haley as a patient and Patricia Clarkson as a mystery woman are masterclass acting at it's finest and enrich the quality of the picture.

Cinematographer Robert Richardson does a superb job of making Shutter Island the foreboding and maze of fear that it appears to be. All other departments also seem to come up trumps with the epic musical score of the picture in need of a notable mention.

Shutter Island is one of the most original, unsettling and thought provoking film experiences you are ever likely to get. The intricacy of the plot plays out like clockwork, showcasing film making at it's finest. One of the must sees of the year and definitely worthy of being considered a modern classic, here's hoping the Dicaprio/Scorsese partnerships continues for years to come.

Did You Hear About the Morgans? (2009)

Did you hear about boring this is?

[3/10 · 6 January 2010]

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Not quite code Gigli but still bad even by romcom standards, Did you hear about the Morgans? is unfunny, unimaginative and an unfortunate waste of time.

The Morgans are a recently separated couple who agree to meet for dinner to discuss the future of their relationship. On the way home they happen to witness a murder by a notorious hit-man and narrowly escape becoming his next victims. As the killer remains on the lose the Morgans are forced into the witness relocation program, where they must adjust their big city attitudes to fit in with the values of small town Wyoming.

The film marks the third collaboration between Hugh Grant and director Marc Lawrence, a partnership which keeps producing worse and worse product. After the ho hum Two Weeks Notice and the absolute snooze fest that was Music and Lyrics you'd think the pair would come up with something a little more interesting to work on. Alas this film is just the same old shtick devoid of the charm that made the before mentioned titles remotely watchable.

The predictability of the story is not the problem with the picture, after all if a romcom isn't predictable then it's not a romcom. The main faults lay within the poorly written characters and an hour and a half of situational comedy that falls shockingly flat. The film feels drawn out and incredibly slow. As it meanders along aimlessly we are bombarded with a plethora of fish out of water gags are never funny to begin with and are only made worse but the either fatally dull or embarrassingly stereotypical characters involved in them.

An audience can forgive a romcom for almost anything if the chemistry between the two leads is sizzling. Take The Proposal and The Ugly Truth as more recent examples of this; bad films, big box office! Unfortunately Sarah Jessica Parker and Hugh Grant just don't have "it". You don't really care about what happens to their relationship, quite damaging considering this is the basis of the film. Their performances are lackluster and the fact that they are playing their usual screen persona's is only worsened by the poor script. Added for some extra comic relief but not quite making it are the pairs unamusing assistants played by the usually brilliant Elisabeth Moss and newcomer Jesse Liebman. Rounding out the cast is Queen of the thankless supporting role Mary Steenburgan and Mr. Mustache Sam Elliott as the two law enforcement officers assigned to protect the Morgans. Unfortunately the pair fail to rise above their type A southern stereotypes .

Chances are if you've seen the trailer for this you really don't need to see the movie, as all of the best parts of the film are in it. Did you hear about the Morgans makes for some harmless viewing but if your time is precious perhaps wait for DVD

The Lovely Bones (2009)

There may be a few bones to pick but there still a lot of lovely evident

[8/10 · 5 January 2010]

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Peter Jackson's adaptation of Alice Sebold's best selling novel is deeply flawed. It is also deeply haunting, deeply moving and one of the most unforgettable film experiences of this or any other year.

Fourteen year old Susie Salmon watches over her family from the afterlife as they attempt to piece their lives back together after her brutal murder. But even in death Susie is still haunted by what has happened and becomes consumed with bringing the perpetrator to justice.

The subject matter is tough to say the least, but Jackson handles the material beautifully. Young Susie's rape and murder is never gratuitous, in fact very little of the crime is actually seen as Jackson opts to employ the use of haunting symbolism rather than brutal realism to imply what has happened. In turn Jackson's powerful imagery hits more disturbingly close to home than one could possibly imagine.

Jackson is the master of imagery and the film is glorious to look at. For a movie with such a dark subject matter, it may be surprising to learn that The Lovely Bones is steeped in vibrant colour. Both in life and death Jackson creates visually interesting worlds for Susie to inhabit, both in an authentic recreation of 70's suburbia in both look and feel and a heavenly universe rife with symbolism and magnificent imagery. This being so the scenes featuring Susie in the afterlife, whilst visually stunning, serve to derail the pace of the film.

The Lovely Bones gets off to an excellent start. We are introduced to Susie and grow instantly attached. She is smart, witty and endearingly naive, everything a likable heroin should be which makes the knowledge of her impending doom even harder to digest. The film is a unique mixture of light and dark moments. Jackson lolls us into a false sense of comfort after we view a comical encounter with Susie and her Grandmother about the joy of first kisses, we are then brought sharply back to reality with Susie's narration reminding us that she will soon meet her demise at the hands of the terrifyingly creepy Mr Harvey, the quiet but psychologically disturbed neighbour from across the road.

The film starts of light but soon turns into a tense, gritty thriller as the quest to discover what has happened to Susie begins. The scenes of Susie in the afterlife tend to derail the growing momentum of the investigation, as do some poorly executed sub plots. Susie's infatuation with Ray, a boy from school with which she has had but a few encounters, feels rather off note as she seems to spend more time moping for him in the afterlife than for her family. Susie's otherworldly contact with outcast Ruth also turns out to be highly frustrating as it builds expectation but accomplishes nothing in the way of bringing Susie's murderer to justice.

One of the biggest faults in The Lovely Bones is poor character development, with Susie's parents suffering most. Their relationship seems false and their initial reaction to her death feels rather hastily passed over. The disintegration of their marriage barely registers in the film and we never really get a grip on who they are as characters, making it almost impossible to understand many of their actions, in particular Abigail's. The usually brilliant Rachel Weisz appears to be a blank canvas and doesn't seem to be fully present within her role. Mark Wahlberg fares a little better as the father obsessed with finding Susie's killer, but the holes within his character and thus performance are glaringly apparent. Whilst Rose McIver turns in a solid performance as Susie's younger sister Lindsay, the murder of her sibling appears to have no emotional effect on her character at all. Susan Sarandan in the role of Susie's unconventional, alcoholic Grandmother does well with the little she is given as some brief but pointless comic relief and Michael Imperioli fails to rise above his stereotypical, one note homicide detective.

The two lead characters however manage to escape the fate of the supporting cast. Susie is possibly the most well rounded character in the film and Saoirse Ronan is brilliant in the role. One of the most talented actresses working today her work deserves to be recognised by the Academy as she manages to outshine the majority of performances given by actresses this year. The real show stealer however is masterclass character actor Stanley Tucci as the deranged serial killer Mr Harvey. Tucci's performance is so sinister and disturbing that it will haunt you for some time to come. It would be an absolute crime for Tucci to miss out on at least an Oscar nomination for his work as really he deserves to win.

Despite it's faults The Lovely Bones still makes for one of the most original and compelling film experiences of the year. Completely haunting in every way, it is a great film that could or should have been magnificent.

Sherlock Holmes (2009)

Anything But Elementary

[8/10 · 1 January 2010]

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Fresh from the superbly crafted RocknRolla, Guy Ritchie churns out a hugely entertaining, high voltage thrill ride which is by far the most superior popcorn movie of the year.

After the capture and execution of criminal mastermind Lord Blackwood, reports surface that the evil genius has somehow risen from the grave. With Watson in tow Sherlock Holmes sets about solving a series of murders somehow related to the case whilst dealing with an old flame who has mysteriously re-entered his life.

Over the course of the film every pre-conceived notion you thought you had about Holmes mythology flies out the door (for the better i might add) as Ritchie's vision contains far more laughs, action and thrills than poor old Basil Rathbone or any other Holmes imitator could ever hope to imagine. For want of a better word Holmes and Watson kick butt, majorly. Not many directors do action better than Guy Ritchie and the sequences in the film has his unique stamp all over them.

The film gets off to a cracking good start, both fast paced and intriguing. Unfortunately it begins to meander during the middle as the increasing number of elements to the case become more and more convoluted. The film also spends more time setting up for a sequel than other movie in recent memory. The faceless villain Moriarty, who is all set to be Holmes next nemesis, nearly gets as much screen time as Lord Blackwood! Despite the poorly paced second half, the chemistry between Robert Downey Jr and Jude Law is enough to keep you watching.

Downey Jr makes the role of the infamous detective all his own whilst retaining much of what made Holmes so special in the first place; superior intellect,wit, arrogance and petulance. Physically Downey Jr is about as different as you can get from the popular yet unsubstantiated Holmes iconography that we are usually presented with in adaptions. Yet this new Holmes is so darn likable that you really wouldn't want him any other way. Jude Law is also a far cry from the image of the balding, middle aged doctor we usually associate with Watson. Law invigorates the role, playing seamlessly off Downey Jr. Their relationship is reminiscent of the great buddy films of yesteryear and is one of the highlights of the movie.

The supporting cast does not fare as well. The usually scene stealing Mark Strong is kind of a ho-hum villain. We do not spend enough time with his character or know enough about him to consider him a real threat, especially after sitting through endless acts of genius by Holmes, you never really fear that he will get the better of the wonder detective. Rachel McAdams is also miscast as Irene Adler, Holmes love interest and rival. Adams does not possess the maturity in her performance to make you feel as though she is the street savvy, criminal genius that she is made out to be.

The look of the film is fantastic. Cinematographer Philippe Rousselot does a superb job at capturing 19th century London in all it's glory; from the docks, to the gritty mean streets to even Buckingham Palace, the film is rich in colour and authenticity. Ritchie's frequent editor James Herbert is back, bringing with him the techniques that make the film look typically Ritchie esquire. From the action sequences to the interweaving of past and present timelines, the editing is top shelf. To round of the high quality productions is super composer Hans Zimmer's musical score, which is one of the best of the year and adds to the overall excitement of the picture.

So if your in the mood for a rollicking, fun filled adventure flick that is anything but elementary, you won't do much better than Sherlock Holmes this holiday season

Avatar (2009)

Bang For Your Buck

[7/10 · 26 December 2009]

Deja-vu anyone? Overblown budget, cutting edge special effects, rumors that Cameron had lost the plot, rumors that this was to be an Ishtar for the ages. Yes, history seemed to be repeating itself during the shoot for James Cameron's latest eye popping thrill ride Avatar. But instead of sinking like the ship in Cameron's now comically iconic predecessor, Avatar comes up trumps.

Sam Worthington stars as Jake Sulley, a paraplegic marine who is promised the use of his legs back in exchange for infiltrating the community of the native people of planet Pandora and gathering information to necessitate their downfall. As he grows to love his new way of life Sulley becomes conflicted between following orders and protecting his new people.

I didn't expect to like this film. In fact i expected to hate it considering Avatar combines two of my least favorite genres- science fiction and animation-coupled with a mammoth running time. But James Cameron has managed to create such a visually magnificent feast for the eyes that you would be hard pressed not to become engaged by what is playing out before you.

Cameron takes the art of motion capture CGI to new heights of excellence, producing quality of colour and dimension the likes of which has yet to be seen. The planet of Pandora is an exotic paradise, so lush with native flora and fauna that you long to jump through the screen and touch it. The animated characters are more emotive and realistic than ever before thanks to this new technology which allows every nuance of the actor's facial expressions to be captured and transferred onto the screen.

Sam Worthington does well in the lead. Whilst his performance is nothing exceptional, he makes a solid effort at holding the film together. The fact that you are always routing for Sulley despite his conflicted loyalties is a testament to Worthington's likability. However the real show stealer is Zoe Saldana, quite a feat considering her character is entirely animated. As Neytiri, Jake's Na'vi love interest Saldana's emotions are so incredibly powerful that they blast straight through the screen, enabling the audience to relate to the film on a much more basic human level. Another notable mention has to go to Sigourney Weaver, re-teaming with the man who brought her initial super stardom twenty-three years ago, she plays Dr Grace Augustine, a scientist with an innate love for the native people of Pandora. Her performance reminds us why she is one of the best actresses around for bringing strong, independent female characters to life on the big screen. Rounding out the cast is Stephen Lang as the larger than life, ultimate film villain Colonel Miles Quaritch. Lang hams it up big time, but this serves the character well.

The majority of Avatar's appeal lays within the visual aspects of the film. Cameron's script is not great. The dialogue is rather bland and the story formulaic. The nearly three hour running time is mainly for visual showcasing rather than allowing the quite simple plot to unfold. The films underlying themes of corporate greed, science and religion and the adverse affect of man on nature are hammered home in a loud and obvious way. Yet Avatar still possesses more of an emotional pull than most big budgeted action epics manage to communicate.

This film may not be for everyone, but even Cameron's greatest cynics must give the man props for his vision. If you dislike the genre the running time might get to you, but even so you'd be hard pressed not to feel like you got plenty of bang for your buck. FOR MORE REVIEWS FEEL FREE TO VISIT http://rantsreviews4filmnuts.blogspot.com/

Nowhere Boy (2009)

There Is Nowhere Else You Should Be On Boxing Day

[10/10 · 21 December 2009]

Visual artist Sam Taylor Wood has crafted the most entertaining and thought provoking piece of Lennon mythology to date in her debut feature film Nowhere Boy.

The movie chronicles the adolescent years of John Lennon. Having been brought up by his Aunt Mimi, John's world is turned upside when his free spirited mother Julia re-enters his life, ripping him open and pulling out his artistry as well as pain, anger and frustration.

A number of films and documentaries have tried and failed to make a definitive statement about John Lennon the human being. The reason why Nowhere Boy is so successful is because we are presented with a complex and multi faceted young man, who was a number of things to a number of people and impossible to pigeonhole.

Based on the novel by John's sister Julia Baird with the script penned by Matt Greenhalgh, Nowhere Boy possesses an enormously strong emotional undercurrent that is missing from many films of the biopic genre. The Lennon legend has risen to almost unparalleled mythical heights within our culture and Greenhalgh does a superb job at humanising the story, so much that you forget that you are watching a film about a legend in the making, but rather the story of a young boy caught between the women he loves.

The women in question are John's Aunt Mimi played by the ever brilliant Kristen Scott Thomas and his mother Julia, brought to life in a star making turn by Anne-Marie Duff. Though much of the acclaim seems to be percolating around Duff's performance, Scott Thomas deserves to be equally praised for making the incredibly complex character of Mimi relatable and sympathetic. In the wrong hands Aunt Mimi could have come across as highly unlikeable considering she can often appear distant and cold, but Scott Thomas juxtaposes these instances with such an understated kindness and warmth that we as the audience realise that Mimi is a very caring person who has the misfortune of finding it almost impossible to express sentimental feelings. On the other end of the spectrum Julia appears to be everything Mimi isn't- a free spirit who flouts convention and lives for a good time. Julia is a flirt. She flirts with life, men and even her own son. There is a rather incestuous undercurrent to her and John's relationship such as when she lays on top of him, lost in ecstasy to the tune "I Put A Spell On You". The scene is uncomfortable, as is many aspects of their relationship. In many ways she seems more like a girlfriend to John and as the movie progresses we begin to understand more and more Mimi's misgivings. In many ways Julia has never really grown up and only knows how to engage with men in this seductive manner.

John Lennon is played by relative unknown Aaron Johnson, mainly associated with his role in Angus, Thongs and Perfect Snogging. Johnson breaks free from the shackles of his teen pin-up persona and delivers a mature and layered performance worthy of accolades. Johnson fully embodies Lennon's complexities; he is both good and bad, insecure and arrogant, sensitive and brutal, caring and careless. From Lennon's wit to his magnetism, pain, anger and sarcasm, Johnson gets it all. Considering Lennon is one of the most imitated celebrities of our time Johnson does well to avoid caricature, creating a version of Lennon at his most human. Johnson's vocal abilities also sound eerily reminiscent of a young Lennon, making him an excellent choice in more ways than one.

Taylor Wood is definitely a talent to watch as she not only elicits fine performances from her cast but also manages to capture the essence of post war Liverpool in a vivid and imaginative way. Gone are the bleak greys, squalid mean streets and endless rows of two up two down houses that usually characterises the depictions of the area. Instead we are presented with a much more colorful and vibrant depiction of Liverpool, a City just beginning to discover the charms of rock and roll. The excitement in the air is palpable.

One of the greatest attributes of Nowhere Boy is the soundtrack, crammed with classics from Elvis Presley, Screamin' Jay Hawkins, Jerry Lee Lewis and Eddie Cochran. Coupled with these original rock songs are covers sung by Aaron Johnson and Thomas Sangstar as their respective characters.

Nowhere Boy is an absolute gem of a film that will hopefully find the audience it deserves. You'll laugh, cry and kick yourself for not learning guitar in your youth. Possibly the most touching film of the year, there is nowhere else you should be on Boxing Day. FOR MORE REVIEWS FEEL FREE TO VISIT http://rantsreviews4filmnuts.blogspot.com/

An Education (2009)

You May Be A Little Lost As To The Lesson, But Still Glad You Went To Class Anyway

[7/10 · 15 December 2009]

An Education is a flawed yet cracking little independent gem that makes for one of the more enjoyable and original film experiences of the year.

The film chronicles the girl to woman transformation of sixteen year old wannabe sophisticate Jenny (Mulligan). Upon meeting the much older David (Sarsgaard) Jenny is introduced to a high rolling world filled with culture and glamour far beyond her wildest dreams. Jenny must decide whether her new lifestyle is worth sacrificing her academic ambitions for.

Based on a memoir by Lynn Barber, An Education explores the themes of first love, social expectations and femininity in the 60's in both a smart and entertaining manner. It's sociopolitical subtext of the plight of women during the era never comes across as preachy or takes away from the more comedic aspects of the film.

Director Lone Sherfig's recreation of swinging 60's London is so vibrant and visually pleasing that, like Jenny, you can't help but be swept up in the magic of the atmosphere. Sherfig's film is well constructed and well paced, whilst managing to evoke the feeling of a film from Hollywood's golden era. Whilst the narrative is maintained effectively throughout, it's themes are slightly lost due to some poor casting choices.

While An Education attempts to chronicle the coming of age of school girl Jenny, due to the mis-casting of Carey Mulligan in the lead there is no discernible coming of age evident. It is certainly not due to lack of talent, as it is obvious that Mulligan possesses the acting chops and screen presence of someone destined to become a major star. The problem is that Mulligan portrays Jenny so sophisticated, confident, sensible and worldly wise right from the get go, that the character never seems to undergo any sort of discernible change or personal growth. The only difference between Jenny the school girl and Jenny the sophisticate is a new hairstyle and some impressive haute couture. Because Jenny oozes this maturity and wisdom from the start, it is even more inconceivable that she would be swept of her feet so easily by by David, especially considering that Jenny always comes across as far more intelligent and charismatic than him. This is partly the fault of Peter Saarsgard who is fatally miscast as David in the fact that he does not possess the charm or charisma to make you believe that Jenny would consider throwing away her academic dreams for him. The pair are severely lacking in chemistry and apart from possessing the financial means to provide Jenny with her dream lifestyle, David does not appear to be exceptional or interesting in any other way that would make him appealing to a young girl of Jenny's intellect. The supporting cast fare much better. Alfred Molina is brilliant as Jenny's well intentioned but misguided Father, providing much of the comedic relief as well as some of the more poignant moments of the film. Cara Seymour delivers a beautifully understated performance as Jenny's mother with Emma Thompson and Olivia Williams making notable turns as the teaching faculty at Jenny's school. Also well cast is Rosamund Pike and Dominic Cooper as Davids glamorous friends. Pike plays the blond bimbo to subtle perfection whilst Cooper plays jack the lad Danny with such a fun, sleazy charm that you can't help but thinking that the movie would have fared better if Cooper reversed his role with Saarsgard.

Nick Hornby's script is fast paced and witty. The snappy dialogue contains a unique mixture of light and dark sentiments to keep An Education an intriguing tale. Whilst most scenes are well thought out, the film comes across as rather hastily thrown together towards the end. The much talked about trip to Paris consists of a two minute montage and the conclusion of the film seems rather abrupt and forced.

Costume designer Odile Dicks-Mireaux is in much need of an Academy Award nomination for providing designs reminiscent of the garments adorning Hollywood legends such as Audrey Hepburn and Elizabeth Taylor. The style and sophistication of the costumes surpass any other film in recent years and deserves to be recognised.

All things considered An Education is a good film that is almost great but had the potential to be exceptional. But in a marketplace littered with shiteous romcoms, dull action offerings and torture porn, it is definitely one of the more smarter choices for your movie dollar. FOR MORE REVIEWS PLEASE FEEL FREE TO VISIT http://rantsreviews4filmnuts.blogspot.com/

The Invention of Lying (2009)

It's A Shame Gervais Couldn't Invent Some Laughs

[2/10 · 5 December 2009]

The golden boy of comedy loses his shine with this debacle of a film, proving that he is indeed fallible.

In a world where there is no such thing as lying, down on his luck writer Mark Bellison (Gervais) discovers that he possesses the ability to do so. Bellison quickly discovers that he can utilise his new gift to change his life for the better.

A lot of Gervais's shtick revolves around making fun of the character he is playing. Whilst this may have produced comedic gold in previous outings such as The Office and Extras it plays to disastrous effect in The Invention Of Lying. Unlike previous Gervais creations, David Brent and Andy Millman, the character of Mark Bellison does not deserve the antagonistic attitudes or blatant humiliation he is constantly subjected to by friends, co-workers and even his mother. If Gervais intended the many insults afforded to nice guy Bellison to be humorous he was sadly mistaken as they just serve to leave a bad taste in your mouth. The romance in which the film centers around also feels shockingly off note as the object of Bellisons affections Anna (Garner) is terribly unlikeable. When she's not telling Bellison that he's short and fat with a stubbed nose and not attractive enough to procreate with, she's making fun of those inferior to her. In her defence she is forced to tell the truth as she sees it, but considering at one point she is contemplating entering a loveless marriage in order to produce genetically superior children, you have to question why exactly Bellison is desperate to be with her? The concept of the movie may be original but it's fatally thin. Gervais couldn't even bother to come up with a reason as to how or why Bellison is suddenly able to lie, we are just supposed to take it for granted that he now can. There is really no plot to the film, merely a plethora of un-amusing set ups that play out like a bad episode of Saturday Night Live. Gervais and his co-writer Matthew Robinson also unsuccessfully try to make some kind of social comment about the superficiality of human nature and the contradictions of Religion that are not as clever or original as the writers obviously think they are.

Not even a stellar all star cast can elevate the enjoyment factor of this comedic dead zone. In their brief appearances Tina Fey and Jonah Hill seem to be nodding off in their roles, whilst Rob Lowe manages to make the allegedly charismatic Brad Kessler fatally uncharismatic. Meanwhile Jeffrey Tambor is wasted in a ho-hum role as Bellison's boss and leading lady Jennifer Garner fails to make her character Anna even remotely enjoyable to watch.

The only shining light in the film comes from brief cameo appearances by Edward Norton, Phillip Seymor Hoffman and Jason Bateman. It's not so much that their cameo's are particularly good, rather that they momentarily distract you from this ultra dull offering. If you are fan of Gervais you than may be able to suffer through this, if not save yourself the bother. ONE OUT OF FIVE STARS For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

2012 (I) (2009)

A Disaster Film In More Ways Than One

[4/10 · 1 December 2009]

Roland Emmerich's latest overblown "look it's the end of the world, what we need is the most average guy you can find with a dysfunctional family to save the day" offering almost borders on satire as we are inundated with everything that is ridiculous about the disaster genre repeatedly over the course of almost three hours.

The year is 2012 (obviously) and the world as we know it is coming to an end via a succession of natural disasters. The film chronicles mankind's struggle to survive.

It's a shame that the films of Roland Emmerich have become increasingly overblown and self indulgent over the years, for he once showed great promise in being able to intertwine solid dramatic content with large action sequences in his earlier outings like The Patriot. However as 2012 and last years dreadful 10000BC show, Emmerich has forgone all ambition of producing anything of quality, instead seeming more concerned with producing the most mind numbing special effects that the ridiculously large budget of 200 million dollars could buy. It's painfully obvious where most of Emmerich's attentions lay as the multiple human narratives in 2012 fall shockingly flat.

We all expect disaster movies to be somewhat ridiculous. After all they are so formulaic that the only thing that really changes is the disaster itself. 2012 is no exception as we once again are presented a bunch of stereotypical characters attempting to survive a flurry of natural disasters whilst mending their relationships. But the problem with 2012 is not so much that it adheres to every disaster movie convention in the book, but rather that we are subjected to sit through them for almost three hours. The plot is littered with so many pointless characters, sub plots and "we're a family" pep talks that the running time is unforgivable. In between the tidal waves and earth tremors the film lags endlessly, so much so that you are actually welcoming the complete annihilation of the world so you can leave. It also appears that Emmerich wasn't sure what tone he wanted for the film. On the one hand he tries to add in a plethora of 'emotional scenes', exploring-in a bad after school special sort of way- the big issues of corporate greed, heroism, self sacrifice, redemption and science and religion. On the other hand he adds in so many cheesy one liners, cringe worthy dialogue and absurd set ups e.g a Russian Paris Hilton look a like risking her life for her chihuahua , that you can't help but think the joke may be on us.

Unfortunately the cast can't do much to elevate the enjoyment factor of the film. Let's face it, disaster films are paycheck films and in exchange for the millions paid to them the actors do their best to look serious. John Cusack (the reluctant hero), Amanda Peet (his estranged wife), and relative newcomer Chiwetel Ejiofor (the scientist) do their best to make their stock disaster movie characters look suitably worried throughout, but the relatively bad dialogue and ridiculous situations more than renders any attempt to give a worthwhile performance futile. Oliver Platt does his best to stand out as the token greedy bureaucrat whilst Woody Harrelson provides some comic relief as a drugged up conspiracy theorist. It's Thandi Newton however who receives the award for the most pointless role of the year, as the presidents daughter (much like her role in W) Newton seems to merely hover in all the major scenes contributing nothing.

Whilst the film fails on many levels the special effects department manages to deliver. Cinematographer Dean Semler manages to make tidal waves and earthquakes almost beautiful in their destructive glory.

If your in the mood for some mindless bit of fun and don't mind a sore backside then you may enjoy 2012. For everyone else perhaps wait for DVD when you can employ the use of the fast forward button on your remote control. For More Reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Mao's Last Dancer (2009)

You would be hard pressed not to want to pirouette down the aisles

[7/10 · 27 November 2009]

Just when we thought all was lost, the Australian Film Industry is provided with a flicker of hope thanks to the release of Mao's Last Dancer.

The film chronicles the rise of Ballet star Li Cunxin. As the impoverished son of peasant laborer's in Communist China, Cunxin is plucked from obscurity to attend The Beijing Dance Academy. Chosen to represent his country as an exchange student for the Houston ballet, Li soon begins to question the Communist dictates on which he has been raised.

Whilst Mao's last dancer is one of the best Australian produced movies to emerge in about a decade, it is not without it's flaws. Bruce Beresford's direction is rather hit and miss. Whilst producing many heart warming scenes coupled by beautifully shot dance sequences, many moments that should come across as highly dramatic fall somewhat flat with others feeling more contrived than organic. Screenwriter Jan Sardi's script consistently builds dramatic tension throughout, such as when communist party dictates begin to infiltrate the dance academy as well as Li's standoff at the Chinese embassy, only to have such story arch's be resolved with disappointing anti climaxes.

Despite the scripts faults, Beresford deserves a pat on the back just for tackling the project considering he had the unenviable task of finding a bilingual actor who could carry the picture whilst needing to be one of the best ballet dancers in the world. His prayers were answered when he came across Chi Cao who not only bears a striking resemblance to the real Cunxin but also attended the Beijing Dance Academy where Li was taught his craft. Cao's acting inexperience is obvious in certain scenes, but his natural charm, screen presence and undeniable dancing talent makes him an extremely likable protagonist who the audience longs to see succeed. The casting of Amanda Schull is rather more questionable. Thirty year old Schull, known mostly to audiences as Jodie Sawyer in Center Stage, is rather miscast as Li's eighteen year old love interest Elizabeth. Although Cao is also thirty in real life he is far more successful in pulling off Li's youthful naivety than Schull is at Elizabeth's. At one point in the film when she informs Li that she's a virgin you can't help but think... really? After watching her set the screen on fire with her dancing prowess in Center Stage it is almost cruel to cast her once again as a ballerina and not have her dance a single step throughout. The film possesses a strong support cast that includes Bruce Greenwood as Li's American mentor and Kyle MacLachlan as a savvy international law attorney. Their performances enrich the movie and add much needed weight to this independent production.

Mao's last Dancer is beautifully shot, particularly in it's dance sequences. Beresford uses a unique blend of live action and slow motion capture shots to fully encapsulate the performances. The cinematography by Peter James also assists in elevating the routines and is never so effective as when capturing the vivid Chinese landscape.

One of the best attributes of Mao's Last Dancer is the hauntingly beautifully and often rousing musical score of Christopher Gordon. It is rather criminal that more than likely Gordon will be overlooked at next years Academy Awards-mostly due to the fact that the film has yet to garner much attention outside of Australia- as his original music is amongst the most beautiful ever to be committed to celluloid.

Despite it's flaws Mao's Last Dancer is a thoroughly enjoyable piece of entertainment. This can mostly be attributed to the story of Cunxin itself, which is so inspirational and uplifting that it would be almost impossible not to leave the cinema without a smile on your face and a fervent desire to do a pirouette. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Couples Retreat (2009)

You will enjoy the experience but won't rush back for another booking!

[6/10 · 20 November 2009]

You may feel a certain dejavue upon viewing a preview for Couples Retreat. Vince Vaughn is playing, well, Vince Vaughn-a charmingly quick witted slacker who doesn't appreciate his beautiful partner or their lifestyle. His best friend is John Favreau playing, well, John Favreau. Add in a host of fish out of water situations, some wise cracks and a lesson learned and you basically have the formula for the last five Vaughn Romcoms. Couples Retreat is slightly elevated from usual fare however, thanks in most part to a stellar ensemble cast.

In a desperate attempt to save their marriage Jason and Cynthia (Bateman and Bell) decide to enroll in a Couples Retreat. In order to receive a discount they convince their friends Dave and Ronnie (Vaughn and Ackerman) and Joey and Lucy (Favreau and Davis) to accompany them. Believing that the trip will be all fun in the sun, the group are chagrin to discover that they must participate in couples therapy or leave. Almost immediately each couple soon begin to discover that their relationships are not as strong as they thought.

Couples Retreat does not deserve the critical mauling it has received. It's almost as though critics have been struck with a case of sour grapes. After all Vaughn and Favreau have written a script that has allowed them to go to a tropical paradise with their best friends, surrounded by beautiful women. This is hardly justification for labelling it the worst film of the year! Fame 2009 anyone?Anyone? Couples retreat is far from flawless. The first half of the film succeeds well in holding interest as we too are eager to view what awaits for our couples on this tropical paradise. However once we are are there and the initial awe of the lush green fauna and sparkling blue water have worn of, we-like our couples-must accept that what comes next is not so good. The second half seems to drag on aimlessly until you find yourself wondering what the actual point of the last half hour has been. The ending is also so contrived that you can't help but thinking Vaughn, Favreau and Fox just pulled it out of their backsides so that they could go back to sun baking.

The film also suffers from the fact that the female characters are far more underdeveloped than their male counterparts. Ackerman comes across as bland while Bell is your stereotypical neurotic and Davis desperately tries to shake of her good girl image as the lustful housewife. The actresses are just not given the chance to showcase their full potential, making it clear that their main purpose in the film is to look pretty.

The men come of far better. Even though Vince Vaughn is doing his usual shtick, he's so gosh darn likable you just can't begrudge him for it. Bateman turns in his best performance since his Arrested Development days, bucking his usual habit of sleepwalking through his roles. Favreau manages to make his very unsympathetic jock character likable and Faizon Love turns in a genuinely hart warming performance as the well intentioned Shane.

Vaughn regular John Michael Higgins and cult comedian Ken Jeong deliver hilarious cameos as councilors with Carlos Ponce receiving some of the films most cringe worthy laughs as Salvadore, a sex addicted Yoga instructor. Not faring so well is Jean Reno as retreat instructor Marcel. He seems miscast and his lines fall flat.

But the film does try to make some meaningful statements about relationships e.g the grass is not always greener, it is better to be with someone than alone. It also teaches us that average looking guys always have super hot girlfriends and that all women are size two with ripped abs.

Despite it's flaws, there is also much to like. A stellar cast, beautiful locations, hot bodies (if your a guy) and yes even a few laughs! Couples Retreat never pretends to be anything more than what it is-A highly enjoyable, if rather forgettable Romcom perfect for a date night. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Fame (2009)

You Won't Want To Live Forever After Watching This!

[1/10 · 20 November 2009]

Fame 2009 should serve as a warning to any studio attempting a remake, re-imagining or re-invention of a classic. Far from capturing the magic of the original we are instead presented with the biggest Turkey of the year so far.

The premise is similar to that of the 1980 film. A bunch of fresh face hopefuls are accepted into the prestigious New York City High School for the Performing Arts. Their professional and personal lives are tracked throughout their school experience as they seek fame and fortune in the big city.

The problem with Fame 2009 is not the fact that it fails to live up to it's predecessor. It's fault lays within the fact that it plays like a hastily put together, two hour MTV video trying to make a quick buck of the name of a beloved franchise.

The first fault with Fame 2009 is it's director. To date Kevin Tancharoen's most prestigious credits happen to be "The Search For The Next Pussycat Doll" and "Britney Spears Live From Miami". However adept Tancharoen may be at zooming a camera in on pop tarts behinds, he is painfully unqualified to helm a fifteen million dollar musical in which you have to deal with real actors. He manages to illicit even faker performances from his young cast than any contestant on one of his reality shows could have ever been capable of.

The casting in itself is a train wreck. These teenagers are supposed to be attending a talent school, yet not one among them seem to be particularly talented. As a matter of fact you can't help but wonder if the list of successful applicants was confused with the list of rejects and then no-one had the heart to tell them. None of the young cast possess the appeal or charisma to actually make their roles memorable. Not even the support of Kelsey Grammar, Megan Mullally or Bebe Neuwirth could elevate the quality of the film. They languish away in small, thankless roles which makes you wonder why they even bothered to waist their time.

Another major blunder is Allison Burnett's script. Whilst the original Fame broke ground by incorporating classic musical numbers with gritty subject matter, Fame 2009 comes across as something schlepped together by the Disney channel as a follow up to High School musical. The content seems insipid, with the highest source of tension being "I want to sing but my parents want me to play classical music!" Cue the violins. Character development is also so atrocious that by the end of the film you couldn't really care a less about anyone. Numerous sub plots are introduced at an alarming pace, yet not one of them are adequately explored or resolved. After spending over three years in the lives of these kids, their is no discernible growth or change in anyone. You'd even be hard pressed to remember their names.

The final nail in the coffin have to be the films musical numbers. You could expect the same quality from any High School production. It's not a good sign when you leave the cinema feeling you could have been a better choreographer when the closest you've come to a dance routine is the Macorina.

If your feeling nostalgic for leg warmers, sweat pants and the vocal styling of Irene Cara i suggest you bypass this offering and rent the original. Save your time, save your money and save yourself. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Julie & Julia (2009)

An Irresistible Recipe

[8/10 · 20 November 2009]

With the sound of Nora Ephron's past two cinematic catastrophes Lucky Numbers and Bewitched still ringing Code Gigli in my ears, i was undoubtedly skeptical about her latest foray into the Romcom genre. Julie and Julia however signals a return to form for writer/director Ephron who has managed to produce one of the most charming films of the year.

Julie and Julia tells two alternating tales. One involves Julia Child's rise to Culinary fame whilst the other chronicles blogger Julie Powell's mission to cook every recipe in Child's 'Mastering The Art Of French Cooking'. Although the stories are set decades apart-Child's in 1950's France and Powell's in post 9/11 New York-each woman shares a common bond of wanting to better their lives by pursuing their shared passion of food in different yet equally rewarding ways.

The task of having to tell two biographical tales within the one film was not an enviable one, yet Ephron's screenplay succeeds flawlessly in interweaving the two vastly different plots. Child's exploits in France and Powell's personal and professional trials and tribulations manage to engage equally, thanks in large part to the quality of the performances.

As Julia Child, Meryl Streep reminds us all that as far as actresses go, she is in a class all by herself. Streep is an early favorite to receive her sixteenth Oscar nomination for the role, and deservedly so. You can't help but fall in love with Child as Streep manages to bring to the perfect combination of wit, intelligence and poignancy to the role. Streep also manages to avoid the tendency of actors to caricature real life subjects, making the larger than life Child endearingly human.

Unfortunately Amy Adams as Julie Powell succeeds less in winning the audiences affections. In fairness to Adams, the character herself admits that she can be 'self absorbed' and a 'bitch'. Her performance just seems to lack the charm necessary to help the audience forgive the character for her faults. Her emotional range never seems to stem further than a mopey/perturbed combination contributing to her performance as a whole falling somewhat flat. Relative unknown Chris Messina is quite likable, lending good support as Powell's 'saint' of a husband. Still, you can't help but question what exactly his character is getting out of a relationship in which he is constantly playing second fiddle to Julie's relatively juvenile problems. Perhaps it is more the fact that it is human nature to root for the underdog that helps Powell's story to succeed, rather than the likability of the character.

The relationship between Julia and her husband Paul-played by Stanley Tucci- is far more endearing and is the underlying heartbeat of the movie. Tucci, one of the best character actors in the business, shines in a role that in the wrong hands could have been completely buried by Streep's vivacious Child. The scenes between these two masterclass actors provide some of the most humorous and touching scenes of the film.

Like any good recipe, everything in Julie and Julia just seems to gel. Editor Richard Marks does a superb job of fitting together what was undoubtedly a jig saw puzzle of a film. Costume designer Anne Roth and the films make up department are exceedingly good at recreating 1950's Parisian chic couture as well as the less glamorous New York contemporary fashion. Finally Stephen Goldblatt's cinematography makes for a vibrantly colorful and fresh looking film, almost good enough to eat! Despite the film languishing slightly in the second half and a rather abrupt ending, Julie and Julia makes for thoroughly enjoyable viewing. Managing to be sweet without being corny and touching without being soppy, it's feel good viewing at it's finest. It also happens to be the film most likely to make you gain weight, so don't be surprised if you are hit with a massive attack of the munchies afterwards! For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Whip It (2009)

Don't Count On Wanting To Spend Another Round In The Ring

[5/10 · 20 November 2009]

The news that Drew Barrymore was about to make her directorial debut was greeted with a fair amount of skepticism within the industry. Her freshman effort however is not the complete clunker predicted by many nor does it herald a highly anticipated new career path for Barrymore. Instead she delivers a predictable and mediocre coming of age yarn that is not worthy of the talent it attracted.

The movie follows the girl to woman transformation of Bliss Cavendar (Ellen Page). Forced to participate in beauty pageants by her overbearing mother (Marcia Gay Harden) social misfit Bliss finds herself much more at home in the rough and tumble world of Roller Derby's. Facing strong opposition from her parents Bliss makes it her mission in life to join the local league and become her own person.

Whip It boasts an all star cast, although you have to wonder whether or not they would have even considered the material had Barrymore not been behind the helm. Perpetually misunderstood youth Ellen Page essentially plays Bliss Cavendar as Juno without the confidence (or the pregnancy). Despite this Page is obviously talented and makes the character likable enough, however she is completely upstaged by Arrested Development star Alia Shawkat who completely outshines Page's Oscar nominated behind as her wise cracking best friend Pash. Veteran actors Marcia Gay Harden and Daniel Stern are comically brilliant as Bliss's well intentioned parents with Juliette Lewis making us realise that she's one of best and most under appreciated actors working today as Bliss's devilish rival Iron Maven. Rounding out the supporting cast is rapper turned actor Eve, Tarantino stunt women extraordinaire Zoe Bell, Barrymore herself and the forgotten Wilson brother Andrew.

One of the biggest problems with Whip It is it's pacing. At times the film seems to drag on endlessly, making you question why a rather simple plot takes almost two hours to unfold. The more enjoyable moments come from the friendship between Bliss and Pash as well as the actual Roller Derby matches themselves. Barrymore succeeds so well in making you feel as though you are inside the ring that you can almost smell the sweat and blood. However these moments are often few and far between and we must instead watch a poorly developed and rather pointless love story unfold between Bliss and local musician Oliver as well as numerous sequences showcasing how 'wild' the derby girls are (they skate and wear heavy make -up, we get it!) Barrymore's direction is certainly not bad, it just comes across as a little schizophrenic. It's almost as though she really wasn't quite sure what the end product should be, as such we are introduced to too many themes and ideas. While no great prodigy she should certainly be given another chance at directing as there is obvious potential evident. Barrymore certainly manages to elicit fine performances from her cast and should be applauded for the fact that she didn't turn Whip It into a self serving vanity project as most other actor/directors have a tendency to do.

Whilst nothing spectacular, Whip It is nonetheless enjoyable fare. Just don't count on wanting to spend another round in the ring. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

The Twilight Saga: New Moon (2009)

Chris Weitz Saves Himself From A Mauling

[7/10 · 20 November 2009]

Weitz delivers a solid and faithful adaptation of Stephanie Meyer's insanely popular novel. Whilst keeping in tact much of what was good about the book, unfortunately a few faults were transferred over as well.

In New Moon Bella is left nursing a broken heart after her beloved Edward skips town. Fearing he was putting her in constant danger Edward broke of their romance, leaving Bella's childhood friend Jacob Black to pick up the pieces. As their relationship grows increasingly complicated, Bella is amazed to discover that Jacob is harboring a secret of his own.

The Twilight novels were always destined to work better as films than as books, mainly due to the fact that we are spared Meyer's unfortunate habit of waffling on e.g Bella's miserable, for the next one hundred pages I'm going to keep baffling on about just how miserable she is in case you missed the basic idea of the concept. Screenwriter Melissa Rosenberg once again does a superb job of adapting Meyer's novels by snappily summarising the poorly paced book, mostly retaining the charm and skipping the yarn. Unfortunately like the book, the middle of the film seems to drag on, but this does seem unavoidable considering how true to events Rosenberg's script remained. New Moon is also flawed in the fact that, like the first film, many serious moments appear unintentionally funny which serves to dampen the quality of the picture.

After the relative Ishtar that was the Golden Compass, Chris Weitz has managed a return to form proving he can be trusted with a big budget and beloved source material. Weitz manages to retain much of what was loved about the first Catherine Hardwick adaptation-snappy dialogue with a unique balance of light and dark moments-whilst putting his own visual imprint on the film. Also remaining from the first film are the cast which has a lot to do with the Twihards acceptance of Weitz's vision.

Kristen Stewart once again pulls of the inordinate task of making the insufferable character of Bella from the novel like able. Stewart brings a certain strength to the character that is sorely lacking in the books. Robert Pattinson however is devoid of the charm and charisma that made his first outing as Edward so memorable. In Pattinson's defence the character is chronically depressed and mopey throughout the film. However, as you watch the gamut of his acting abilities range from a frown to a scowl and back again you can't help but get the impression that he doesn't really want to be there, and considering the constant hysteria and media attention that plagues the actor's personal life, perhaps he doesn't. This film was Taylor Lautner's time to shine and he makes the most of his opportunity. As Jacob Black he brings great warmth and likability (as well as some crazy muscles) to the role that makes him a real competitor for Bella's affections. As an audience member you almost dare to think the impossible- perhaps Bella would be better of with this quintessential boy next door than the perpetual sad sack she pines for throughout the film. The rest of the supporting cast once again do well to add most of the comic relief to the film. New addition Michael Sheen as Volturi leader Aro proves why he is one of the most in demand British actors in the business, whilst child prodigy Dakota Fanning turns in a suitably creepy performance as the sadistic Jane.

New Moon is visually stunning. Cinematographer Javier Aguirresarobe manages to give the dreary town of Forks a lush, almost otherworldly quality. The beautiful visual quality is emphasized when the story shifts to Italy and we are inundated by majestic scenery and vibrant colors. The only real disappointment are the quite poorly done CGI werewolves which looked about as real as Pamela Anderson's breasts.

All in all Twilight fanatics should be pleased with the latest installment and Summit Entertainment should sit back, relax and start counting the Benjamen's. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/