Errington_92 Reviews

Stations of the Cross (2014)

The Morbidness of Religion

[26 October 2016]

A story of extreme religious conviction, Stations of the Cross left me in a profound state of sorrow for a character who never realised the insanity of their actions.

Maria is raised in a devout Catholic family, with a domineering mother instilling guilt over any slight indication of sin (of which there are no bounds) and her local priest continuing to give Maria a sense of moral failure, that she must thrive for God's love no matter how horrific the consequences.

The narrative's dogmatic nature is intensified by Anna Bruggemann's script, whose use of characterisation creates thoroughly vivid individuals whose actions serve to enforce (depending on your ideals) our own sense of morality. The static cinematography is another effective tool in reflecting the characters' dogma. It lets audiences become further embedded into Maria's tormented existence, feeling dismayed with each dire choice she makes.

As the final scene played out I couldn't help but think Maria's life was wasted, missing out on a life's worth of wonder in exchange for a belief that enforced repression. Station of the Cross is an powerful study of religion's morbid nature.

Flying Blind (2012)

Flying Blind

[19 August 2016]

Frankie is a dedicated and stringent aeronautics specialists who quickly becomes infatuated with Kahil, one of her student whose mysterious background soon causes complications. Despite these complications, which are connected to today's cultural and political concerns, Flying Blind's attempt to ultimately portray their relationship as a romantic endeavour does not work.

This is mainly due to Frankie directing the relationship towards pure sexual desire. She becomes out of sync with her usual strict pattern, putting other matters aside in order to experience another lustful tryst. Although Frankie's behaviour is understandable when taking into account earlier scenes which establish her solitude life, it still does not make their relationship convincing as a romance.

Rather, the relationship is more convincing as a mismatch which builds upon the other's suspicions. Frankie's unease whenever Kahil speaks Arabic or socialising with his friends, whereas Kahil becomes frustrated with Frankie's work for weapons defence organisations. Their conflicts force audiences to think about current cultural and political implications. How comfortable are we with multiculturalism? How destructive is a defence policy which uses drones?

These questions lead to Kahil's revealed sympathies for Islamism fundamentalists, both by admitting Algerian terrorist groups tell the "truth" about the government and associates himself with other suspicious individuals. Flying Blind frames these revelations through Frankie's mindset. Through her determination for Kahil, she attempts to find out more about Kahil's past to see if there is a genuine reason for Kahil's fundamentalists sympathies. Though these facts are left vague enough to let audiences determine if Frankie is extremely naive or if Kahil is genially innocent. Either way, Flying Blind's portrayal of this intense relationship provokes dilemmas that are becoming extremely relevant within today's cultural and political spheres.

Four Corners (2013)

Four Corners (2013)

[8 August 2016]

Four Corners offers nothing new for the gangster genre. An impressionable youth verging towards a life of crime, a reforming criminal attempting to right his wrongs and a serial murder investigation intertwine in this cliché ridden narrative.

Those who enjoy gangster films might not think twice about Four Corners being generic to its genre. Yet they might not forgive Four Corners for its disjointed approach to narrative, as it verges between stories which usually felt disconnected from the overall narrative and leads to viewer dissatisfaction.

Adding to this, Four Corners' characterisation is weak. The characters were stereotyped or had little substance. This applies especially to Ricardo. How can we as the audience expect to ponder Ricardo's plight if we are offered little insight into why he switches between a chess player and wannabe gang banger. These flaws make Four Corners monotonous viewing.

Author! Author! (1982)

Author! Author! (1982)

[26 June 2014]

Author! Author! was an evoking story of a Playwright manoeuvring work along with his personal live. It had the ability to convey a dramatic storyline whilst containing comedic moments to lighten the mood.

Ivan Travalian (Al Pacino) is suffering from his Wife Gloria abandoning him and the children for another man. I was surprised at first by the film's dramatic tone thinking it would be more comical, however this is by no means a complaint. Pacino could certainly hold his own as a dramatic actor as he already proved in previous films. Pacino's incorporated a furiousness into his character which was counted by the passive-aggressiveness Tuesday Weld placed into Gloria's character. These performances were critical in accumulating drama within Author! Author! as it was easy to emphasise with Ivan's emotions whilst becoming infuriated with Gloria. Yet their dramatic confrontations were also comical shown in Ivan arguing with Gloria's new lover Larry. Pacino and Weld again placed their respective characteristic attributes into the scene creating an evoking scene. Yet Ivan's behaviour towards Larry broke dramatic tension as he was exceptionally funny, his threats towards him were ridiculously hilarious.

Author! Author! was criticised upon release as it was claimed Ivan's relationship with his children felt contrived. This was a harsh criticism as this aspect contained many comical and heart-felt moments. Spending an evening meal with his children after Gloria deserted the family, Ivan acknowledged the situation with dry humour, "we're all depressed in this family, so we'll stay depressed". Ivan was breaking down the tension as he did when he attempted to escape with his children before gaining unwanted police attention. "I see myself on page six of the New York Post", once again using dry humour in difficult situations. Yet there were emotive scene where Ivan had to deal with the children's problems, there certainly were not contrived as one could feel an emotional bond between the characters. This emotional bond enhanced support for Ivan to keep his family together.

Author! Author! was able to combine dramatic and comical aspects of life. Ivan's determination to sort out the difficulties in his life and keep his family together made him an admirable character, thus making Author! Author! an admirable film.

My Man Godfrey (1936)

My Man Godfrey (1936)

[18 June 2014]

My Man Godfrey is a robust film with its witty dialogue and excellently-produced characters who play off each other in an engaging social commentary ever present in 1930s comedy.

Godfrey is living as a 'forgotten man' in the City Dump when he enters Cornelia and Irene, young rich sisters participating in a scavenger hunt attempting to gain a 'forgotten man'. Disgusted by Cornelia's snobbishness yet intrigued by Irene's youthful zest who is an exception amongst her class, she and Godfrey start a relationship filled with comedy and realism when he accepts a position as her families' butler. Their relationship mostly consisted of comedical exchanges as Irene desperately tried to make Godfrey fall for her with whimsical results. They became a comic duo with Godfrey being the witty introvert with his smart comments whilst Irene was very extroverted with her eccentric behaviour and delightful charm. It results in hilarious moments between them emphasising My Man Godfrey's perfection in its comic characterisation. Yet their relationship does come at a price. Irene hiring Godfrey as the family butler puts him at odds with Cornelia, who treats Godfrey with contempt. Their conflict is filled with venomous exchanges underlining My Man Godfrey's social commentary. Cornelia as a rich snob is self-adsorbed in her wealthy world thinking she's too good for Godfrey, a 'forgotten man' whose has fought for a living.

The conflict between Cornelia and Godfrey was the pinnacle towards My Man Godfrey's rich/poor theme. Godfrey having previously lived in rough conditions had an understanding of social problems regarding distribution of wealth. It was a prominent problem in 1930s America which My Man Godfrey treated with poignancy. As a result Cornelia & Irene's family where targets for humor. Mrs Bollock getting drunk and seeing pixies and Cornelia wrecking property was meant to be laughed at whilst mocking their idiocy as affects of their excessive living. Even Mr Bollock realised the ridiculousness of his family emphasising Godfrey's "empty-headed nitwits" comment. The perfectly balanced mixture of comedy and social commentary justifies the claim of My Man Godfrey as a robust film.

My Brother the Devil (2012)

My Brother The Devil

[14 June 2014]

My Brother The Devil can be described as an formulaic gritty, realistic crime drama seen in a multitude of films like Boyz In Da Hood, Kidulthood and La Haine to name a few. Yet it does offer a shocking twist and tense atmosphere underlining the characters' realities which were dramatically absorbing.

Until My Brother The Devil revealed its twist, it was a formulaic narrative. However there was no faulting its atmospheric direction. My Brother The Devil used still images of gang-life in its opening scene whilst firmly establishing differences between Rashid and Mo, Brothers and main protagonists. Visuals were primarily used as they are an emotive concept, actions speak louder than words. My Brother The Devil did well to establish atmosphere by placing characters (and consequently audiences) in violent situations. The actors' direction in specific scenes was fundamental towards this, not relying on dialogue only. The scenes are left to settle through each actors' instincts forcing audiences to absorb tension. Yet it is the shocking twist within My Brother The Devil whilst it felt questionable at first did fit into Rashid's and Mo's characterisation regarding gang-life's requirement of fierce masculinity. In this regard it was a bold move which intensified My Brother The Devil's atmosphere.

Despite the intriguing twist, My Brother The Devil's narrative style did feel cliché. As previously stated the narrative was formulaic to an extent where I was predicted what would follow. Yet the acting in specific scenes are able to absorb audiences into their world. Wherever it was Rashid or Mo having to square up to fierce opposition or experiencing violent situations, the actors involved never overly convey their situation. Thanks to this the actors created a realism shocking audiences into realising the harrowing environment these characters were part of. This directness of My Brother The Devil's realism makes it slightly superior over its clichéd flaws to make it an dramatically absorbing feature.

A Prophet (2009)

A Prophet (2009)

[4 June 2014]

A Prophet contrasts between gritty prison drama and romanticism of crime's luxuries. A Prophet in despite of this contradiction in terms was an engaging film whose atmospheric and hard-hitting qualities on prison life were transfixing.

A Prophet's atmospheric qualities lied with Malik's experiences, a fresh prisoner transferred from youth offender to adult prison. A Prophet was decisive in establishing prison's harsh environment with Malik experiencing numerous harrowing moments which are bleakly toned, essential for A Prophet's narrative style. Such scenes' tone were perfected as they were left to settle for audiences to contemplate Malik's scenario. The hand-held cinematography's irregularity personified Malik's humiliation and anxiety within prison. Yet A Prophet also focused on other aspects of Malik's life. Malik lacked formal education which makes his prison life more difficult, adding to the tragedy of his situation. A Prophet again perfected bleak atmospheric tones to let audiences contemplate Malik's lack of formal education as a tragedy. It showed great direction from Jacques Audiard as capturing a bleak atmosphere effectively.

A Prophet's representation on crime was mostly direct and brutal. Malik's time throughout prison involved him in various horrendous and dangerous tasks which were horrific not only for audiences but to Malik himself. Later Malik is shown to be increasingly haunted by his actions giving consequence to criminal activity. However A Prophet somewhat contradicted its' representation on crime as Malik became established into criminality, there were certain scenes of sensationalism. This dented A Prophet's representation of crime through taking away the gritty realism previously conveyed.

A Prophet in regards to sensationalism was familiar by delving into such territory. Yet A Prophet's atmosphere and skillful direction concluded it to be a hugely satisfying drama capitulating the difficulties of prison life.

Who Killed Johnny (2013)

Who Killed Johnny (2013)

[29 May 2014]

Who Killed Johnny from my perspective was an inconsistent film veering from the bizarre, supposedly hilarious to extremely dramatic. It would have worked better if there had been consistency between these various aspects yet it simply leaves you questioning what you saw.

Who Killed Johnny as a comedy relied heavily on visual gags which felt either flat or clichéd. These took place through Melanie and Max processing scenarios for their proposed script with characters of different features and persuasions imagined for comic intent but with no satisfying results. The visual gags which felt like clichés were the appearances of Jambo and Gudrun, an interracial couple. Jambo with his afro and very tight Y-fronts along with Gudrun's large breasts and luscious behind were emphasised for their visual humour. I assume it was meant to be hilarious yet it felt bland.

Characterisation within Who Killed Johnny never felt truly elaborated. Although Melanie and Max did have chemistry with each other along with their relationship towards Jambo and Gudrun, Who Killed Johnny transitioning between real life and scenarios within their script warped characterisation because it was never given strong focus. Even after Who Killed Johnny's central narrative point occurred there was more reliance on comic moments rather than strong characterisation. Though some may feel comic moments are adequate within Who Killed Johnny, its lack of characterisation as a result did not make me invest into Who Killed Johnny's narrative.

As Who Killed Johnny's narrative continued to become more inconsistent, it was another clause for my viewing displeasure. Who Killed Johnny became more outlandish and switched directions especially in its climax where I was left questioning my viewing experience. The continuous inconsistency was Who Killed Johnny's most critical flaw which hindered it as a whole.

My Week with Marilyn (2011)

The Monroe Dilemma

[25 May 2014]

My Week with Marilyn is based upon Colin Clark's memoirs on his relationship with Monroe during filming of The Prince and the Showgirl (1957). Since Monroe was a tragic figure whose public persona contributed to her ultimate downfall I expected My Week with Marilyn to expose this tragedy, however it mostly contributed to Monroe's glamour image.

My Week with Marilyn began establishing Colin as the misfit of his family. Whereas his Father is an Art Historian and his Brother a Military Historian, Colin's desire for film making disgusted his family. As much emphasis is placed on Colin breaking from family tradition I assumed it would coincide with later plot points yet this was to no avail, one of many flaws within My Week with Marilyn. It swiftly moves onto Colin asserting himself into the film industry which is made both admirable and entertaining through a montage of scenes. It might be enjoyable to watch yet it was another flaw as it only filled time before reaching Colin's relationship with Monroe. Once Monroe is first glimpsed My Week with Marilyn falls into a clichéd trap of reflecting her physical beauty more than her physiological vulnerability. Parading around in public places and being playful towards Colin reaffirmed well-established viewpoints of Monroe, there was nothing intriguing about her representation. Once Colin's relationship with Monroe develops, there are interludes into her psyche whilst appealing do not delve deep enough. In one scene Colin has to comfort Monroe reeling from a sexist comment and later she confides with him that "all people ever see is Marilyn Monroe". These are meant to be a profound insight into Monroe's psyche yet My Week with Marilyn proves itself to be a contradiction. If this was a profound statement then Colin would not have been infatuated with Monroe simply because she was a sex symbol and My Week with Marilyn would have not glamorised her.

The only sincere response from Colin and Monroe's relationship in particular her representation as a sex symbol was Colin's interactions with Lucy, a co-worker. She was the object of Colin's affections before dropping her for Monroe which understandably made Lucy upset. Running back to Lucy after his Monroe relationship reaches its decline, Lucy swiftly rejects him before asking if Monroe broke his heart. When he responds Lucy boldly answers "good, it needed breaking". Lucy's response was a powerful moment which challenged previous contradictions regarding Monroe's representation as Colin's obsessive gaze came at a serious price. This earnest moment is what I hoped My Week with Marilyn would contain, however it hindered itself on overly glamorising Monroe instead of truly revealing her vulnerability.

Dancer in the Dark (2000)

In a musical, nothing dreadful ever happens

[22 May 2014]

"In a musical, nothing dreadful ever happens". These are words spoken in Dancer in the Dark which have ironic significance as this is a musical filled with dreadfulness in its unfolding tragedy and subverts musical traditions for sinister meanings.

Set in 1960s America, Selma is an Czech immigrant who came to America to benefit her son Gene. Working tirelessly in the local factory and hiding knowledge of an hereditary degenerative disease of blindness, Selma saves her money hoping to get Gene an operation to prevent him suffering the same fate. However Bill, Selma's landlord in desperate need for money to repay his bank taking advantage of Selma's vulnerability by stealing her money leading to an inevitable decline. This synopsis makes Dancer in the Dark sound like a standard drama. However this is a Lars Von Trier film, anyone aware of his filmmaking will know his unconventional style. Instead of standard drama Dancer in the Dark contains an awkwardness which at first is hard to distinguish if it's deliberate. Selma is represented as a childish character whose mannerisms (waving at a train as it goes by) and her obsession with Hollywood musicals made it hard to believe she is a responsible Mother. This also applies to performances, there is a constant sense of otherness as if you're witnessing an amateur production. Not to say the performances were inadequate but the direction involved along with hand-held cinematography's intense movements and frequent cuts orchestrated the narrative into a series of awkward scenes contributing to an unsettling environment. At least at first.

Once Dancer in the Dark's turning point is reached its awkwardness reaches potential and the unsettling environment begins to make sense. Selma's childishness intensifies into her musical daydreams. Dancer in the Dark used musicals numbers not to show expressions of joyous optimism but Selma's denial of grim reality. The musical numbers thus contain an unconventionality, they were not vibrant and glamorous but unskilful and bizarre. Each musical numbers' composition lacked structure, for example on a slow moving train Selma dances with workers on an open carriage followed by a couple dancing outside a near-by house. This unstructured style reveals Selma's wild imagination briefly rejecting her dreadful reality. It was Selma's childish fantasy to be a musical star yet Dancer in the Dark conveys this as simply an unrealistic obsession. It gives Dancer in the Dark's musical numbers a subversive context which is creatively intelligent as the musical numbers' abnormality showed Selma's delusional mental state. Dancer in the Dark though at first will take time to become accustomed to, it transforms into an exceptionally creative film which is brilliant in its unconventionality.

Ikiru (1952)

Ikiru (To Live)

[19 May 2014]

Ikiru is poignant and directly profound through contemplating life's meaning in Watanabe's dealings with mortality. Watanabe is an old-aged bureaucrat whose life was obsessed with work until discovering he has terminal cancer. Whereas Ikiru takes its time in reaching Watanabe's revelation of his terminal cancer, audiences are told at the beginning. Audiences being aware of this made Watanabe's mundane office environment extremely bleak. Firstly Watanabe and his colleges are unresponsive at a joke by a younger, immature employee and a montage of citizens being moved around from department to department regarding their queries. Ikiru firmly establishes Watanabe's routine occupation as somber which is emphasised in Watanabe's acknowledgement of his terminal cancer, that he had wasted his adult life.

Ikiru's theme of morality became significance in Watanabe's reactions to his impending death. He rejects his bureaucrat duties and becomes engaged with his human desires. Wantanabe disappears for days at a time drinking and reminiscing about his past as one memorable scene showed him singing an old love ballad to the stunned silence of those around him, reflecting Wantanabe's realisation towards death. Watanabe also becomes infatuated with Toyo, a younger employee through her quirkiness giving him revived senses of youthfulness. Yet this soon flames out only emphasises Watanabe's loss of time. These scenes in Ikiru relate to Watanabe's notion of "a protest of my life up to now" provoking internal questions of morality and one's use in life.

From protesting his life to giving it meaning, Watanabe becomes the catalyst for long-standing plan for a children's park which had previously been ignored by his department. Watanabe's determined vest to complete the park before his death continued to emphasis Ikiru's profound message regarding life. Once Watanabe has passed on and his achievements are recognised, his former co-workers say "compared to Watanabe we're just trash", consolidating Ikiru's profoundness for life. It is this message which audiences should take away from Ikiru.

Throne of Blood (1957)

Throne of Blood (1957)

[10 May 2014]

A re-telling of Shakespeare's Macbeth set in feudal Japan, Throne of Blood visually captured the play's self-seeking and treacherous atmosphere whereas its characterisation is somewhat left to be desired.

General Washizu and his comrade Miki come across an evil spirit who prophecies their rise with Washizu becoming Master of the North Castle and Miki will be Fort Commander. The evil spirit concludes that Washizu will eventually become Lord of Cobweb Castle, and that Miki's son will succeed Washizu. Washizu and Miki are understandably puzzled by the evil spirits' prophecy and initially disregards them. However Washizu with his wife Asaji become obsessed with the prophecy, leading to violent greed and malicious manipulation. Considering the heinous themes within Throne of Blood, one would expect the performances through characterisation to be riveting. Unfortunately the performances were mostly sub-par incorporating little depth to their characterisations. The performances felt as if they were being read from the script and using over-emphasised facial expressions simply because they had to. Even Toshiro Mifune's (Washizu) performance was mostly underwhelming. His performance gave little to establish reasons for Washizu's inevitable lust for greed and murderous desire. It is only when Washizu becomes haunted by those he's killed that Mifune's performance improved capturing Washizu's mental derangement. Isuzu Yamada as Asaji gave the only consistent performance. Asaji's subdued expressions and cold-hearted tone influencing Washizu personified her character which Yamada fully understood.

Throne of Blood's strength lied in its visual representation. The opening sequence contained ominous music which was unsettling emphasised through misty surroundings where Cobweb Castle once stood, creating a mysterious tone relevant for the themes which followed. The visual representation was emphasised in various well-choreographed military scenes of enthralling action along with Washizu's climatic death scene directed with hallowing silence and long shots to encapsulate excruciating repercussions. Throne of Blood was a film that faired better in visually conveying its themes rather than personifying them through characters. However that is not to say Throne of Blood did not well adapted the origins of Shakespeare's play and in that sense its visual representation was an acceptable substitute for flaws in characterisation.

From Up on Poppy Hill (2011)

Consolidating Studio Ghibli's Zest For Storytelling

[7 May 2014]

Studio Ghibli films rarely fail to disappoint and usually leave me feeling mesmerised and exuberant. From Up on Poppy Hill was no exception with its solid storyline and brilliantly developed characters placing itself as another triumphant piece of Studio Ghibli's legacy.

From Up on Poppy Hill centres itself on the theme of transition within Japan from post-war to hosting the 1964 Tokyo Olympics. This transitional period is both a backdrop and incorporated into the characters' lives with Umi's opening monologue, "the past is not ready to let go of us either". Umi's tangled past formed from their Father's death, an event she never fully recovered from. Whilst her Mother is away Umi asserts herself as the families' dominant figure making Umi an addition to Studio Ghibli's admirable protagonists. Some may argue themes of transition and traditionalism are over emphasised, yet the characterisations make these themes admirable. Umi as her families' dominant figure was noble as she undertakes various household tasks. The greatness of From Up on Poppy Hill's writing is what is unsaid. Scenes of silence with Umi preparing meals for her family created an atmosphere where Umi is respected. Yet Umi's characterisation also had a tragic side with her Father's death still raw within her memory. Umi's loyalty to her Father is equally heart-wrenching and honourable reflecting the need to understand the past if transition towards the future will succeed.

Juxtapositing Umi's struggles with the past is Shun, a fellow student at Umi's school who forms a close relationship with her. Shun's youthful ambition not only attracts Umi but gives audiences vitality within themselves to respect the past. His desire to restore Quartier Latin, an ageing building housing the high school's clubs underlined why the past has to be respected and acknowledged if transitioning into the future."Destroy the past and you dishonour who lived and died before us" was Shun's defence in restoring Quartier Latin. Umi's and Shun's relations with their past helps forge their relationship which is admirable. Through their relationship and their dealings with the past From Up on Poppy Hill affirmed the importance of preserving and understanding tradition.

Whilst From Up on Poppy Hill dealt with transition with sincerity, there was room for pleasing comedy moments. The scene where Umi and Shun first meet occurs when Shun takes part in a stunt that is whimsical and amusing. Many of the secondary and minor characters during montage scenes of repairing Quartier Latin engaged in hilarious antics and dialogue which equally stayed on course with the theme of transition. From Up on Poppy Hill takes audiences on sentimental journey to respect our pasts if the future is to be improved.

Hang 'Em High (1968)

The Moral Core of Violence

[29 September 2013]

An intensely morally conscious Western, Hang 'Em High offered interpretations of violence. When is violence right or wrong? Should there be a point where violence has to be stopped? What are the consequences of violence? These ambiguous interpretations emphasised Hang 'Em High's harrowing and confrontational portrayal of a violent frontier.

Mistaken for a wanted murderer Jed Cooper (Clint Eastwood) is left hanging from a tree by a posse bent on delivering 'justice'. Understandably affected by his near-death experience, Jed becomes Deputy Marshall at the behest of Judge Fenton (Pat Hingle) to make the posse accept their consequences even if it means death. However along the way Jed becomes at odds with Judge Fenton regarding violence's complex nature.

A Western setting is appropriate to play out Hang 'Em High's themes of violence. A harsh terrain unforgiving of the devoid characters occupying its space which Jed was against perfectly back-dropped the violence. Undertaking three prisoners to face trial, Jed comes up against Miller (Bruce Dern) the most experienced of these prisoners. When Miller tries killing Jed it leads to a fantastic fight sequence, intensified by their opposing personalities. Once Miller realises he's lost the fight, he tells Jed to kill him. Instead Jed ties Miller on a horse intent on Miller facing the law. What makes this scene powerful is the variations of violence at play. Miller knows the consequences of his violence will lead to his execution whereas Jed will not commit violence upon Miller as an easy way out from execution. Hang 'Em High offers violence's portray to audiences with the same complexity as the characters dealing with it through Hang 'Em High's narrative.

Whilst we can cheer Jed's revenge, we also have time to reflect upon other forms of violence in Hang 'Em High such as public executions. Clearly presented to be morally questionable with shots of children on a family outing to see condemned men being put to death, the bizarre fulfilment gained from witnessing their executions. Hang 'Em High has to be commended for offering this space of thought to audiences.

On a side note a love interest develops between Jed and Rachel (Inger Stevens), a woman with her own checkered past. But this happens with little convincibility and takes place too late in the narrative to be heartfelt. Overall Hang 'Em High should be thought of as tackling variations of violence.

The Call (II) (2013)

A Thriller of Standard Calibre

[27 September 2013]

As the credits rolled on The Call I felt it was nothing new. A thriller of standard calibre, it employed predictable clichés and tension which fizzled out before it terrified audiences.

Traumatized by a botched attempt to save a teenage girl 911 operator Jordan Turner (Hallie Berry) finds herself in a similar situation trying to save Casey Welson (Abigail Breslin) from crazed psychotic Michael (Michael Eklund) who has a past history of abducting teenage girls. From there-on-in Jordan is thrown into a pursuing chase between police authorities and Michael. Since audiences experience The Call through Jordan with a majority of her scenes set in a 911 Dispatch Centre, Hallie Berry had responsibility to convey high-tense emotions and relatability. Despite offering Jordan a kind-hearted motherly quality, always trying to soothe Casey's panic, dramatically speaking Berry could not convinced me which made it hard to connect with Jordan. Same can to be said of Abigail Breslin. The only reason I sympathised with Casey was the dire circumstances she found herself in. Desperately trying to escape the crutches of a psychopath is quite understandable. Though Breslin's acting brought nothing else to her character's scenario.

The person who deserves high praise is Michael Eklund. He created a strong presence as an unbalanced murderer prettified of losing control. His frantic and leering mannerisms increased under pressure thus increasing his presence. Eklund never failed to veer away from his character's persona which made The Call somewhat watchable. Eklund's acting gave The Call more tension than the narrative itself tried to. Numerous clichés from Casey trying to attract attention, Jordan dealing with her emotions and will Michael be exposed or not? It has been done before to the point where I was second guessing what happen next.

Even when The Call tried to surprise us with a twist ending it was unrealistic towards characterisation and lacked true substance, one more reason why The Call is a thriller of standard calibre.

The Westerner (1940)

The Westerner (1940)

[25 September 2013]

An intriguing Western which mixed drama, comedy and romance, The Westerner was well-directed and acted. It is these qualities which notes The Westerner as a quality feature.

Gary Cooper leads the cast as drifter Cole Harden wandering into a long-standing battle between homesteaders and cattle herders in Vinegaroon, Texas. Being acquainted with self-righteous 'Judge' Rob Bean (Walter Brennan) whose antics have made him powerful amongst the cattle herders and Jane-Ellen Mathews (Doris Davenport), a homesteader who becomes Harden's love interest. Attempting to act as mediator, Harden has to deal with consequences stemming from his peaceful means. You may think this synopsis sounds like a straight-up Western with shootouts and fiery romance abound. However the characterisation offered great depth which are played out and explored.

As an antagonist 'Judge' Bean was never one-dimensional. Whereas delivering his own form of 'justice' with no remorse and continuously conveying a leering arrogance, Bean has an obsession with starlet Lily Langtry. Adoring her pictures across his saloon, Langtry becomes a symbol for Bean's greed, selfishness and desire. Worthy opposition arrived through Harden, upping the ante in a clever game of wits between Bean getting themselves into situations which were marvellously performed by Cooper and Brennan. Their chemistry made The Westerner transformations into different genres work.

The Westerner also knew how to balance generic concepts neither becoming too dramatic or comical. After the execution of a condemned man comes along the over-zealous undertaker portrayed as a laughable opportunist. Thinking Harden will be his next profit the undertaker sly-fully takes his measurements. Once Harden is spared a hanging the undertaker's reply "I've just lost a customer". This line's delivery and meaning showcased the dynamics The Westerner had to be a quality feature.

They Live by Night (1948)

A Fully-Charged, Emotional Film Noir

[19 September 2013]

They Live by Night, Nicholas Ray's directorial debut which he also co-wrote, offers an emotionally powerful storyline with a moody atmosphere film noir is known for.

Young, naive and recently out of jail, Bowie (Farley Granger) has to survive robbing banks with experienced accomplices 'One-Eye' Chicamaw and 'T-Dub' Mansfield. Lying low from the police in a gas station, Bowie and Keechie (Cathy O'Donnell), daughter of the gas station owner, bond which develops into a run-away romance following an incident. Though their relationship is threatened by being 'chained' in a continuous struggle between their love and a world of crime.

As a film noir They Live by Night goes beyond action-packed violence, tense confrontations and atmospheric settings. They Live by Night's genius was creating a hotbed of complex relationships filled with stirring emotions. Placing these relationships amongst a noir setting resulted in a bittersweet viewing experience because of Farley Granger and Cathy O'Donnell's chemistry. It was magnificent, both giving their characters a sense of nativity and innocence within their love for each other. Amongst the reputation Bowie receives for his criminality we see his true self, a young man engulfed in misdeeds trying to escape. Whereas Keechie is vulnerable to Bowie's world and inexperienced in general. Yet she is still of giving love wholeheartedly. Bowie and Keechie's journey was heartbreaking to see.

These attributes also extended to the secondary characters. Adding to They Live by Night's atmosphere was Bowie's working relationship with Chicamaw and Mansfield. Howard Da Silva and Jay C. Flippen respectively offered a fierce intensity to They Live by Night emphasising Bowie's vulnerability by bossing him around with their hard-boiled nature which is typical of film noir.

These tragic and fierce attributes went beyond characterisation. They Live by Night offered appropriate symbolism adding to Bowie and Keechie's dire circumstances. In a memorable scene where Bowie and Keechie are married, it takes place at a cheap chapel and cost $20 for a wedding license. The cheap tackiness is associated with the background Bowie and Keechie were attempting to escape. Wanting to lead suitable lives yet having to sink so low to achieve it. This underlines a depth towards They Live by Night's narrative surpassing into a fully-charged emotional noir.

And While We Were Here (2012)

'Inspiring' Chick-Flick.....

[17 September 2013]

If you asked me to summarise And While We Were Here briefly, my answer would be inspiring chick-flick. Though using the word inspiring is solely theoretical. In practice And While We Were Here does not deliver as it emerged itself in a cliché we've seen time after time.

Set amongst picturesque Italian locales, freelance writer Jane (Kate Bosworth) is searching to complete her first book in the company of husband Leonard (Iddo Goldberg), a touring classical musician. Though their visit to Italy takes a back seat as their relationship is explored. It's established early that their relationship is lacking fullness from Jane's perspective as Leonard has contrasting interests and opinions. Jane's dissatisfaction, highlighted by an unsensual sex scene, tells us all we need to know.

This begins the build-up to Jane's journey of life's meaning, attempting to inspire the audience. During a day of sightseeing Jane meets free-spirited Caleb (Jamie Blackley), a younger man whose zest for life puts a spring in Jane's step. In typical click-flick procedure Jane feels she has met the man of her dreams excited by Caleb's knowledge of culture and life. Inevitably Caleb causes a three-way tension between himself, Jane and Leonard leading to predicable sentimentality and drama.

Reflecting over And While We Were Here there are criticisms to be made. Firstly Jane's lust for the younger, exciting Caleb is a worn concept. Does life's fulfilment always have to result in seeking adventure with strangers? This platitude continued with Jane occasionally listening to her Grandmother's war experiences where she learnt to make the most of life in dire circumstances. We get it...

It was hard to see what Jane saw in Caleb beyond his rebellious nature. This is not to say Caleb was not portrayed well with Jamie Blackley giving an energetic performance. Despite Caleb's personality relating to And While We Were Here's theme of fulfilling life, I could not to disagree with Leonard reference of Caleb as "that child". If Caleb seems immature then why should audiences emote towards Jane?

In addition Jane and Leonard's deteriorating relationship was one-sided. Only Jane's side is portrayed with Leonard's reasoning being antagonised rather than explored. His only defense comes in a revealing confrontation near And While We Were Here's climax. Whilst we're supposedly meant to sympathise with Jane's raw emotions, Leonard did make some convincing arguments which lent sympathy towards him. Rather it's Jane who comes across as hostile. She conducted herself harshly towards Leonard and her reasoning within their argument did not deliver. Either this was the fault of Bosworth, the script or both. This only adds to my argument of And While We Were Here trying but failing to be inspirational though it was certainly a chick-flick, by no means a positive praise.

Purple Rain (1984)

Purple Rain (1984)

[7 September 2013]

I cannot recollect one dramatic film where the soundtrack evoked more emotion than the performances besides Purple Rain. For Prince as a musician along with his band the Revolution it is a credit to their musical abilities. However for Prince as an actor he left a lot to be desired, though in part Purple Rain's direction and script also contributed to its' failings.

Amidst a rivalry with Morris Day and his group the Time, The Kid (Prince) with his band are trying to make it big in the music scene. If tensions between The Kid and his band mates were dramatic enough, aspiring scarlet Apollonia (Apollonia Kotero) enters The Kid's life to start a turbulent romance. Add to The Kid's domestic troubles with his abusive Father regularly beating his Mother and Purple Rain pours with dramatic atmosphere. Unfortunately what could have been a greatly dramatic piece was left begging.

The Kid and Apollonia's relationship was awkwardly formed with little chemistry building towards their romance. Matters where not improved by either's acting ability which made their relationship unconvincing. This only got worse when they become bitter towards each other as their mannerisms and actions lacked conviction. If only the script had provided more depth beyond the bickering shown on the surface then it may have improved. Reflecting over their relationship it does not make The Kid a likable protagonist, behaving like an immature child and taking cheap shots at Apollonia in his performance of 'Darling Nikki'. However a more captivating part of the Kid's life was his paternal issues. Tortured by their constant fights and emotional breakdowns there seems to be no solution to The Kid's domestic hell. It was Clarence Williams III and Olga Karlatos who provided performing firepower here that is an element which makes Purple Rain bearable.

Providing lighter moments with comedic flair was Morris Day and business partner Jerome (Jerome Butler). When they were not being sly towards The Kid, they concocted plans for commercial success mainly using Apollonia in an all-girl band. Morris' flirting with the ladies will leave some amused but the biggest laughs come from him and Jerome conducting daily business. As a pair they make up for Purple Rain's minimal dramatic flair.

Yet one could argue the music itself is a character which stole the show from everyone else. Tied with Purple Rain was an album of the same name which provided electrifying entertainment. Even if you're not a Prince fan songs like 'When Doves Cry' and 'Purple Rain', amongst the most commercial songs by Prince and the Revolution, should keep you in tune with the film. Though you would have to be a die-hard Prince fan to see beyond Purple Rain's failings and enjoy its narrative offerings. There were flickers of dramatic sparks but overall it disappointingly embers.

Under the Cherry Moon (1986)

Under the Cherry Moon (1986)

[25 August 2013]

Are you a movie goer looking for visuals to admire? then Under the Cherry Moon will apply. Do you enjoy movies containing soundtracks of musical excellent, of course subjective to your musical taste, Under the Cherry Moon should apply again. However if you want a strong narrative and solid characterisation then lower your expectations as Under the Cherry Moon delivers poorly.

As two Gigolo's swindling their way through Paris, Christopher (Prince) and Tricky (Jerome Benton) are searching for the perfect payoff. This is found in young Heiress Mary Sharon (Kristen Scott Thomas) who the promiscuous pair soon target. However their initial plan of exploiting Mary's wealth diminishes as Christopher falls in love thus beginning a whirlwind romance against her controlling Father's wishes. The plot summary may sound reasonably structured yet Under the Cherry Moon took on too many genres repelling any sense of focus. Not that mixing generic concepts has not achieved success for other films but Under the Cherry Moon is not amongst them. The comical scenes juxapositioned with high melodrama was narratively disjointed.

This is rooted in Under the Cherry Moon's characterisation. Focusing upon Christopher and Tricky's personalities neither one had substance. Since they were the primary characters there should have been an aspect which makes audiences side with them. Instead the majority of Under the Cherry Moon is spent highlighting their self-interest or knack of comedic sensibilities when faced with problems. For a dramatic narrative it becomes ludicrous especially upon the film's latter half becomes dedicated to philosophical ideas. Realising Mary is his soul mate Christopher engages the notion of their eternal bonding, even after he's exposed as a fraud, leading them to a melodramatic climax. Despite this attempt at dealing with consequences of the characters, in Under the Cherry Moon's wider context it was wholly inadequate.

So it there anything worthy to note? Yes there is. As previously stated the visuals have to be admired with Michael Ballhaus' cinematography providing stylishly crisp images. Unsurprisingly Prince succeeded in provided his own style. The flamboyant attire conveyed essences of a gigolo persona, shame his characterisation had no calibre. A final positive was Under the Cherry Moon's soundtrack provided by Prince & the Revolution containing songs of their 1986 album Parade. A personal highlight being 'Girls & Boys' when Christopher interrupts a party to impress Mary and audiences alike with ecstatic dance moves. Though this cannot excuse the wider flaws which made Under the Cherry Moon generally subpar.

The Anonymous People (2013)

The Anonymous People (2013)

[20 August 2013]

Lecturing audiences with a straight-up, honest attitude The Anonymous People aimed to challenging perceptions on alcoholism and other drug related addiction. According to The Anonymous People such addictions must be seen as an illness rather than moral weakness.

Interviewing those recovering and affected by addictions offering audiences personal insights. Every interviewee is stripped bare of inhibitions unashamedly discussing their experiences at face value. How addiction affected their lives and once in recovery forced to handle their past. Having to deal with social prejudices of addiction and in some cases political pressure to simply make good their errors by promoting progressive thinking. They have to be admired for openly sharing their experiences to further addiction awareness in spite of monumental opposition.

The historical context behind addiction and its activism to make addiction recognised as an illness was well covered. The formation of Alcoholics Anonymous, Marty Mann's prolific campaigning, celebrities and politicians coming together. There has been extensive efforts to widely recognise addiction as a health problem which needs treatment rather than persecution. The historical knowledge The Anonymous People conveyed was compelling and delivered intelligently by comparing history with present day ethos. So with a rich historical framework why is The Anonymous People having to expose these issues?

The media is portrayed as a primary culprit for to their lust of sensationalism, "a sexy story sells" as one interviewee noted. The 'War on Drugs' crusade which dominated the 1980s was also referred to in formatting negative attributions upon addicts. Despite this acknowledgement The Anonymous People did not push their criticism far enough. It would have been beneficial to note the specific policies the 'War on Drugs' enforced that mistreated addicts and more crucially noting commercialism's' role in addiction. Considering The Anonymous People's context, from an audiences' viewpoint it was screaming for criticism against commercialism's relaxed approach in selling alcohol as seen in dozens of global advertisements. This was an argument sorely missing which would have evaluated The Anonymous People as a more hard-hitting documentary.

Mother (2009)

Intensely Compiled Drama

[5 August 2013]

Where to start with Mother? During my intense viewing experience I was astounded by Mother's multi-layered narrative where characterisation and plot twists have striking effects.

In an unsettling story Madeo (Kim Hye-ja) and her son Do-joon (Won Bin) live in societies' bare margins. She is under pressure to keep her workplace in order while Do-joon clearly suffers mental health problems and easily mislead by his 'friend' Jin-tae (Jin Goo). These factors make the pair looked down upon by their neighbours. If social stigma wasn't enough Do-joon becomes the primary suspect in a local murder case. So begins the catalyst of Mother's multiple layers unfolding.

There is no singular viewpoint Mother takes. Instead every character (of significance) has their pros and cons revealed to make one question their motivations. Are social perceptions coming into play? Is there an element of denial covering up the truth? Where does the guilt really lie? Mother is no holds barred experience where perspectives are challenged.

As Madeo leads her own investigation into the murder case, more personality traits are revealed. If casting Kim Hye-ja was a conscious choice regarding her small stature, frailty and advanced age during filming then the casting director was correct. Naturally seeing an older woman fight against the odds provides a sense of weakness on her part but Hye-ja's conviction of vulnerability as Madeo is manipulated by Jin-tae into exchanging money to prove Do-joon's innocence lends sympathy towards her plight. Though Madeo's cryptic nature slowly became exposed only emphasising Mother's dynamic narrative.

Mother is definitely a note-worthy film for those seeking serious drama and complicated characterisations that provided compelling insights and twists.

The Class (2008)

Refreshes The Spectator's Mind

[25 July 2013]

In watching The Class I was struck by its intelligence. The direction taken upon social and cultural issues within dialogue broke the figurative forth wall allowing individual interpretation and enhancement of character development. You can immerse yourself in the classroom through The Class' documentary style cinematography travelling around and between Francois and his students. This intimacy and contextualisation of The Class resulted in a rewarding experience.

Based upon Francois Begaudeau's semi-autobiographical of the same name, Begaudeau himself plays the lead role as an inner city teacher dealing with troublesome kids. Begaudeau portraying himself in an episode of his life made the narrative more appealing for me as The Class had a strong sense of realism. Though Begaudeau didn't simply stand in front of the camera to make his presence known. He emoted the hopes and frustrations of a teacher attempting to provide for students. His acting abilities were equally matched by those playing the students, not one faulted in conveying their personalities and problems.

In dealing with these issues at hand the actors were helped by an exceptional script. Large portions of The Class is set within Francois' classroom debating social and cultural issues, from the use of language to a generation's moral standards. All issues were debated with openness allowing audiences to be a part of the discussion thus interpreting your own take which for me felt satisfying.

The Class highly deserved multiple awards it later received from Palme d'Or to the Cesar Award as its' a noteworthy, refreshing film for those seeking cinematic sophistication.

A Field in England (2013)

Open-Minded Viewing Experience Required

[23 July 2013]

Director/Editor Ben Wheatley said he wanted to assault audiences with ambiguous imagery and narrative. Wheatley succeeded with A Field in England, placing audiences into a figurative void of mystery.

In chaotic battlefields of the English Civil War, Whitehead and three newly found acquaintances track the open fields with the developed purposes of finding treasure. Though A Field in England is not so cut and dry, with instability flowing through the narrative and ourselves. A Field in England detaches connections to any character by a variety of bizarre scenes and ambiguity towards its narrative space.

The vast, open landscape captured on widescreen with black and white cinematography makes for displacement towards the characters by fixating ourselves to the setting. This is enhanced by psychedelic notions in behaviour and editing places one's mindset to fever pitch interpreting various meanings. A Field in England is begging for interpretation, having an open mind will result in a world of good.

Some have complained that A Field in England has a weak plot to justify its turbulent nature. Going back to having an open mind, if you interpret then ideas will come. The journey taken by Whitehead seems to be a test of faith. Attempting to stay true to the principles he holds dear. It's not as if the acting was inefficient in concocting a plot. Particular mentions go to Reece Shearsmith giving vulnerability towards the directionless notions Whitehead experiences and Michael Smiley as the devilish antagonist O'Neil.

A Field in England certainly will not meet everybody's criteria for viewing entertainment but it should have benefit of the doubt.

World War Z (2013)

Zombie Feature That's 'Out Of Left-Field'

[11 July 2013]

Relentlessly unforgiving in its heart pounding action, unnerving our senses by delving into the unknown, keeping us fearful in suspense. World War Z is a climatic testament to the thriller genre and considering its contextual layout should be highly praised.

The Lane family conduct their day as being status quo. Suddenly this breaks down when mass panic erupts around them. Having to follow instinct, Gerry (Brad Pitt) protects his family by fanatically manoeuvring through the streets of a now-plagued Philadelphia. Clearly in cinematic terms one can imagine the frantic technical style. A soundtrack to make your heart race, hectic cinematography and flashing edits.

World War Z as a thriller lives to the genre's requirements. Marc Forster's direction lets World War Z suspense audiences in the dark before leaping out to unnerve. Every scene contained itself to the standards expected. The enigmatic score of Marco Beltrami captivated every tingling of my senses when Gerry was against deadly odds. The Zombies, in close quarters, were greatly effective. Kudos to Alex Reynolds (Choreographer) and Katalin Baranyi ('Zombie Coordinator', according to IMDb) for concocting genuinely frightening nemeses.

Although these micro elements bring out the fear, World War Z never shifts aside the human factor. The action never overcomes the instincts Gerry, his Wife and Daughters experience. I could acknowledge all their emotions as they found themselves in a catastrophic situation. Here lies my contextual admiration for World War Z. It applies Zombie generics without indulging into blood and guts visuals. Rather we see the human condition in a raw form. Mireille Enos as Gerry's Wife simply wanting her Husband's safety makes for numerous moments of heartfelt anguish, the same can be said for his Daughters. Particularly Constance (Sterling Jerins) whose innocence emphasised the frailty of humanity, the transcendent fear shared by all. World War Z blends horrifying thrills with heartfelt concern for the Lanes in their plight. These are qualities I normally don't find in multi-million blockbusters.