Reel Review Roundup

Fast 5 (M)

Directed by: Justin Lin

Starring: Paul Walker, Vin Diesel, Dwayne Johnson, Jordana Brewster, Tyrese Gibson, Ludacris

One and a half stars

Review by Julian Wright

I am not even going to bother with the car puns like “top gear”, “rusty script needs oiling” or “pedal to the metal action scenes.” It is far too predictable and would detract from my main point that this is just a dreadful film. Any fifth film in a series is doomed, the formula has been done to death. And after Scream 4’s comments on endless sequels, seeing this over the top action flick play it straight without a wink or a hint of irony just makes the experience even more gruelling.

I sound cruel, but I am not just being a cranky film critic that didn’t “get” this film. I also have my “bitterly disappointed fan” hat on. I thoroughly enjoyed the cheeky original that was an oil soaked love letter to rev heads. It was a gleefully unabashed B-grade pop corn flick that was all brawn and no brains and I enjoyed it as much as the next audience member.

The series took a dip in the subsequent entries but I was pleasantly surprised by part 4 as it reunited the entire cast of the first one, threw in a twist with an unexpected death and ramped up the car chase sequences. It had recaptured the spirit of the first one. So what went wrong? Let me count the ways…

After Dom’s (Vin Diesel) mates broke him out of a prison bus at the end of the last one, it was inevitable the beefed-up bogan’s adventures were not over. The crew – Brian O’Conner (Paul Walker), Mia (Jordana Brewster) and Vince (Matt Schulze) – are now on the run from the cops and lying low in Rio. Funny how they always hide out in exotic locations. A job which requires busting a couple of cars out of a moving train carriage turns sour and draws police attention – and that of a Brazil’s most powerful drug lord.

Also keen to track them down and bring them in is Federal Agent Hobbs (Dwayne Johnson), who recruits sassy straight arrow local cop Elena (Elsa Pataky) to help. With the news that Mia is pregnant, the crew decide to take on one last job (how original) and steal the drug lord’s money which will set them for life, financially.

They bring in some familiar faces from past sequels to help execute the heist, but they have one big problem – the stash of money, which was originally split up in several not-so-secure locations, is put in a vault in the police station full of corrupt cops that are on the drug lord’s payroll. Last jobs are never easy, are they?

With the tension between now best buds criminal (Dom) and ex cop (Brian) completely eradicated, interest in this drama has plummeted. Conflict has to come from outside the group. Enter The Rock. Now it just plays like a showdown of lame, testosterone fueled dialogue uttered through gritted teeth and clenched jaws. And boy are there some howlers in this one. And Brian and Dom having a heart to heart about fatherhood? Gag.

Previous car chase sequences were edge of your seat stuff and while consistently unlikely, were never downright  jaw-droppingly  impossible like they are in this one. A hand-built, multi million dollar Italian sports car leaps off a moving train and lands without a single dent or scratch? Sure. Dom’s ability to drag a multi tonne safe down the streets of Rio without carving up any of  the bitumen and takes out 10 cars by swinging the thing around. Righteo. The man sure has some skills, and that rear bumper sure has some reinforcement. I’m not asking for the reinvention of the wheel, I’m just asking that my intelligence not be insulted.

Thor (M)

Directed by: Kenneth Branagh

Starring: Chris Hemsworth, Natalie Portman, Anthony Hopkins, Stellan Skarsgard

Three stars

Review by Julian Wright

It does feel silly to pick at inconsistencies, plot holes and unrealistic moments when reviewing a comic book adaptation. I know it is all make-believe. What part of “God of thunder is banished from his home planet after a tiff with his Dad and forced to live on Earth” would lead audiences to believe this was a realistic drama? None, really, but it is supposed to create an alternate world in which logic should still be apparent.

Who really believed a nerdy kid from New York could shoot spider webs from his wrists and swing from skyscrapers while battling villains in a home-made costume? Or that a man with super powers could hide his identity from close friends and colleagues with a pair of spectacles? Very few, I am sure. All these stories are meant to be just a bit if fun, but it was the hero’s relationships with others that humanised them and grounded them in an alternate, but somewhat, realistic world.

I didn’t have a problem with the intergalactic battles, space travel or sorcery in Thor. Instead, my quibbles lay with the character arc of the lead hero and his unrealistic portrayal. Between the mind-blowing special effects and impressive battle sequences, I couldn’t help but think “that just doesn’t make sense.”

A legendary war between the people of Asgard and the Frost Giants was finally settled when King Odin (Anthony Hopkins) was able to secure their power source during battle and keep it under lock and key. The most recent attempt to retrieve it happened to be in the middle of the crowning of a new king.

Odin is now getting on and feels it is best to pass his duties on to his son Thor (Chris Hemsworth), much to the chagrin of his more sensible brother Loki (Tom Hiddleston). Thor is the next logical person in line for King but his arrogant and gung-ho attitude worries Odin. Thor’s behaviour breaks the camels back when, after his crowning ceremony is interrupted by the Frost Giants, he recruits his warrior mates for a revenge seeking battle.

Odin banishes Thor for his reckless behaviour and he and his weapon of choice, the mighty hammer, are banished to Earth. Wouldn’t you know it, he lands smack bang in the path of feisty astrophysicist Jane Foster (Natalie Portman), her witty side kick Darcy (Kat Dennings) and their mentor Professor Andrews (Stellan Skarsgard).

Jane thinks she can learn something from Thor while he adjusts to life on Earth and attempts to redeem himself. Meanwhile, back in Asgard, Loki is crowned King after his father takes a turn for the worst, discovers his family ties are not what he was led to believe and begins creating havoc.

While, most of the time, the family drama is palpable and keeps you hooked into the story, other times this feels like a throwaway introduction to Thor to include him in the upcoming Avengers film that will unite several Marvel heroes. Loki is a far more interesting and complex character than Thor and his familiar “bad boy redeems himself” arc. I sense a spin-off/origins story.

The troubling part is the  jarring 180 degree turn Thor does as soon as he hits Earth. In Asgard, Thor is an arrogant warrior, always on the lookout for the next bloody battle. He isn’t even afraid to instigate one for his own satisfaction. But on Earth, he is a charming cutie pie. What the? While Hemsworth certainly has star power and is able to hold his own against heavyweights like Hopkins, he failed to make the transition a smooth one. It is a shame because this oversight is what pulled me right out of the “reality” of the film.

Scream 4 (MA)

Directed by: Wes Craven

Starring: Neve Campbell, Courtney Cox, David Arquette, Emma Roberts, Hayden Panettiere

Four stars

Review by: Julian Wright

It takes balls to resurrect a decade old franchise whose last installment was considered the least of the series, has been parodied to the nth degree and virtually been left in the dust of several gore fuelled horror series’ that have popped up in its absence. On the  surface it appears to be a hollow attempt to cash in on Hollywood’s recent deep-rooted obsession to reboot and remake its entire back catalogue of films.

But in the hands of cheeky creator and horror film buff Kevin Williamson, those set backs were exactly what was needed to be able to return with this kick ass reboot … or sequel … or remake. He purposefully waited until the horror genre had once again morphed so he had something new to comment on. All those classic horror film titles his movie geek characters rattled off on the original Scream have now all been remade for a new generation. On top of that, there are sadistic torture porn films like Hostel and the seven Saw films.

But Scream established 15 years ago that copying its predecessors is not its style. So if you can’t beat them or join them, you must talk about them and poke fun at them. And therein lies more devilishly fun thrills with plenty of witty humour to fill in the gaps between the slashing and hacking.

Full-time Ghostface target Sidney Prescott (Neve Campbell) returns to Woodsboro, her home town, to promote her self-help book Out of Darkness which she wrote to exorcise her demons and graduate from victim status. It is the last stop on her book tour and happens to coincide with the anniversary of the original Woodsboro bloodbath that Sidney miraculously survived. For her publicist Rebecca (Alison Brie), it is the opportunity to drum up media attention and boost book sales.

Sidney’s visit also allows for a reunion with fellow survivors Sheriff Dewey Riley (David Arquette) and former journalist Gale (Courtney Cox) who are now not so happily married. But before the three can catch up over coffee and cake, the bodies of two high school girls are found and the call is traced to a phone that is found in Sidney’s rental car. A new murder mystery is kick-started.

Sidney’s teenage cousin Jill (Emma Roberts) and her friends Kirby (Hayden Panettiere) and Olivia (Marielle Jaffey) receive threatening phone calls from Ghostface, implying they are the new targets in this new decade’s bloodbath that follows new rules. Bored and frustrated Gale uses this opportunity to burst back into action and conducts her own investigation into the murders. She enlists the help of Woodsboro High School’s cinema club co-founders Charlie (Rory Culkin) and Robbie (Erik Knudsen) who know a thing or two about these new rules that the horror genre abides by now.

Writer Williamson and director Wes Craven keep the proceedings reasonably fresh by not only referencing new technology that Ghostface can now use to stalk his victims, but tinkering with the formula of the franchise. The popular opening kill/s gets a makeover, Ghostface’s attacks seem more vicious and several sequences are drawn out extra long but then of course, in true Scream fashion, are mocked by its characters.

Possibly the film’s biggest flaw is trying to juggle so many characters. With the conscious decision to keep the original core cast while introducing a new generation of victims-slash-survivors-slash-red herrings (wait! I haven’t even mentioned the three cops given considerable screen time, Jill’s shady ex-boyfriend or her Mum), it feels like Williamson and Craven are following the entire population of this small town. There are plenty of disposable cast members but so few we care about.While it doesn’t blunt the thrill of the ride, it does prevent us from coming away fully satisfied.

The most important thing is that you rarely have any idea where this movie is heading, and pinpointing the killer/s before all is revealed is virtually impossible – which is why we fell in love with this franchise in the first place. Recapturing the gleefully horrific spirit is such a joy to behold. This is one sequel-slash-remake-slash-reboot that should be welcomed.

Mars Needs Moms (PG)

Directed by: Simon Wells

Starring: Seth Green, Dan Fogler, Elisabeth Harnois, Joan Cusack

Two and a half stars

Review by: Julian Wright

Disney, who once dominated the animation genre for decades, seems to be struggling to keep up with the whiz-bangery of Pixar and even Dreamworks. The studio’s charm filled 2D classics like Snow White and the Seven Dwarfs, Pinocchio, Dumbo, Bambi and countless more worked a treat in the 1930s through to the 1990s, but that style seems to be fading with the quick wit and pop culture references of the Toy Story series, Finding Nemo and Cars proving to be more popular with families.

Mars Needs Moms tries to recapture that sweet sentimentality while injecting some high adventure but the tiny tot preview audience just looked at it like it was from another planet. Where were the snappy one liners? Where were the appealing characters? Where was the story that appeals to parents and their kids on equal levels?

Disney needs to remember that it isn’t just the expensive production or the 3D effects that keeps audiences coming back in droves for Pixar films – it is the clever storytelling. While Mars Needs Moms has shades of other, more successful animated films, Disney might have to pick up its game after this well-intentioned misfire.

Milo (Seth Green) is a typical young boy who, when asked to take out the trash and other chores, groans that he has to do everything around the house. He argues when he is told to eat his vegetables and when he is told to go bed. Mum (Joan Cusack) is at the end of her rope and in an argument Milo tells her he’d be much happier if he never had a mum. And in a case of be careful what you wish for a la Home Alone, he gets what he wants.

Mum is whisked off in a space ship and taken to Mars. A new generation of Martians have just popped out of the ground and the planet’s Nannybots, who rear the young, need new memories from a disciplinarian to upload into them. This process doesn’t end too well for the Earth mother whose memories are used – she ends up dead. Cue foreboding music.

Milo manages to stow away on the spaceship that has his mum and is taken to Mars where he is helped by overactive and overweight human Gribble (Dan Fogler). Gribble was stranded on Mars after the same thing happened to him and his mother several years ago. Rebel martian Ki (Elisabeth Harnois) helps the humans save Milo’s mum. The rest is a lot of jumping, falling, tumbling, racing against time and lesson learning.

How does Disney expect to play in the same league as Pixar when the script is filled with dialogue like: “Come on, let’s go!” and “Come on, are running out of time!” Yeah Disney, come on!

Mars Needs Moms gets points for a sensational opening sequence that perfectly captures the bratty attitude of young children who take their parents for granted. But after 90 minutes of focusing on what the best 3D shots are, those fleeting moments are all just a distant memory. It is overloaded with themes that are reiterated and driven home with a sledge-hammer at regular intervals. One more time in case you didn’t get it … no I wouldn’t do that to you.

There are also some strange elements to this film. Much has been made of producer Robert Zemeckis’ motion capture technique that, even now still renders the characters facial expressions almost non-existent. Gribble is the most life-like here but Mom looks positively creepy. Why did they get a grown man to play Milo? And what is up with the wrinkly old ruler The Supervisor (Mindy Sterling) that comes off as a shrill Asian stereotype? Mars might need moms but this film needs to take a page from the Pixar film-making book.

Never Say Never (G)

Directed by: Jon Chu

Starring: Justin Bieber

Three stars

Review by: Julian Wright

I don’t know how I did it, but I managed to avoid the Justin Bieber phenomenon. I wasn’t living completely under a rock, I was aware of him, but I had no idea how popular he was or how much of an impact he had on the lives of pre-teen girls. I had heard of his meteoric rise to fame thanks to the support of superstar Usher – but the story sounded more like an urban legend. I had not, however, heard a single song of his in its entirety.

Thanks to this behind the scenes look at his background, upbringing, popularity and preparations for a sold out concert at Madison Square Garden, I have heard several of his songs. I am still not a Belieber (that’s what the fans call themselves, another thing I have learned). His bubble gum pop style music left me with a tooth ache and an inclination to visit the dentist. But you have to admit the teenage heart-throb is a charming little fellow with more natural talent than 10 manufactured pop bands put together.

Starting out with a few home movie clips and interviews with his grandparents, we learn that Justin was a good kid who bonded with his grandfather. Justin also had a knack for picking up any instrument and mastering it without any formal lessons. Interviews with his manager and mum offer insight into his unexpected rising popularity through YouTube clips and the chance they took to have him carve out a music career at such a young age.

There is rehearsal footage, trips back to his home town in Canada where we visit his home, where he catches up with his mates and the flight of stairs he used to sing to locals on the street from. Some of the funnier parts are the comments that come out of the mouths of his young fans in on-the-spot interviews. Bieber fans say the darndest things. A nice tongue in cheek moment is the ode to his hair style and the quick flick of the neck he uses to get it just right. This is all intercut with rehearsal and concert footage.

Part of the thrill of the documentary and the kid’s story in general is watching his fan base grow from a few requests posted on YouTube asking for more videos to hordes of screaming fans on the street or a full house concert. It is all about as light and breezy as his music. Sorry cynics, the roughest time this kid has is dealing with a sore throat, not a cocaine addiction.

But hang on a minute, a Justin Bieber documentary without a single interview with Justin Bieber? Very strange indeed and this is a major flaw. We see the phenomenon around him, but how does he cope? Does he want this for the rest of his life? Does he ever just want to go back to a “normal” life? I guess we will never know. And I don’t think the fans particularly care either. It didn’t stop the preview audience from cooing at his baby photos, reaching out to touch him and screaming “I love you!” whenever he spoke.

There are worse things you could do with your time than spend a few minutes with this genuinely down to earth, charming and appealing chap. I am intrigued as to what kind of music he will make when he is old enough to graduate from syrupy pop music hell. Wait, maybe I am becoming a Belieber after all.

The Lincoln Lawyer (M)

Directed by: Brad Furman

Starring: Matthew McConaughey, Ryan Phillippe, Marisa Tomei, William H. Macey

Three and a half stars

Review by Julian Wright

Could Matthew McConaughey have been a lawyer in a past life? His role as a compassionate lawyer in the deep south in A Time to Kill shot him to stardom in which his rousing closing statement convinced a jury that vigilante activity is OK if it is to avenge the savage rape and beating of a defenseless little girl. Now he is equally believable as slick and smooth as glass Mick Haller who can count an envelope of cash by giving it a quick shake while sitting in the backseat of his Lincoln.

In between courtroom dramas, McConaughey has dabbled in romantic comedies and action/thrillers, finding only moderate levels of success and praise. While his charm shines through in each film, he looks most at ease in the courtroom. He has so much conviction as a lawyer and looks so comfortable playing one, I wouldn’t be surprised if he came out and admitted he was once a practising lawyer.

Fast-talking Mick Haller (Matthew McConaughey) spends his career getting rich clients off their charges for the monetary benefits it has for him. And he isn’t afraid to play dirty either. He picks a seemingly simple case in which 32-year-old rich brat Louis Roulet (Ryan Phillippe) is charged for beating a prostitute. The victim says Louis broke into her apartment, beat her up and threatened to rape her at knife-point. He says he was set-up. He insists he is innocent and his story might just check out.

But the more clues Mick uncovers – or his private investigator Frank Levin (William H. Macey) uncovers – the less innocent Louis appears. Mick finds himself caught up in dangerous cat and mouse mind games with his client and is faced with several ethical dilemmas. Weaved into these tense times is the sometimes-fine-sometimes-strained relationship he has with his ex Maggie McPherson (Marisa Tomei), whom he shares a daughter with.

The not very surprising “twist” that has Mick’s family’s safety threatened is one of the not so inspired moments in this familiar but nonetheless gripping thriller. The first quarter that sets up the plot threatens to lead its audience to believe this will be fairly standard affair that could easily be played out within a one hour time slot on primetime television. These early moments prove film makers have to work just a little bit harder to try something a bit different after we have spent hours each week watching the same police procedurals with a string of CSIs and Law and Orders.

But it improves as it goes along. Particular attention is given to fleshing out Mick’s background and state of mind which adds to the proceedings, giving us a rounded character to root for. Director Brad Furman keeps the tension nicely consistent in the court room sequences. It goes on a bit towards the end forcing us to sit through about four endings, but the ride there is the main thing and it is a fun ride.

Red Riding Hood (M)

Directed by: Catherine Hardwicke

Starring: Amanda Seyfried, Gary Oldman, Virginia Madsen

One star

Review by Julian Wright

If you dare venture into your local multiplex to see Red Riding Hood, take a friend, because you will need the extra fingers and toes to count the number of draw droppingly awful moments. Dreadful dialogue, lame action, terrible staging, recycled love triangle, a talking wolf. The list goes on. I have never giggled, snorted or groaned in disbelief more times during a straight faced drama than this rendition of the 700 year old fairytale.

This version is so inept even Twilight fans, who this is clearly geared towards in light of the vampire saga’s phenomenal success, would utter more guffaws than gasps. It is a case of a wasted opportunity to come up with something fresh and wildly entertaining. Instead, those behind it had a specific Twilight loving audience in mind and panders to them. I’m guessing this will just drive those Twihards straight to the next installment of their favourite blood sucking saga.

One nice touch is the slight aging of the popular heroine. Red riding hood, or Valerie (Amanda Seyfried) is a young adult living in an isolated village on the edge of dark and creepy woodlands. One not so nice touch is the Twilight-inspired love triangle this version has her in. While her family is forcing her into a marriage with village rich boy Henry (Max Irons), Valerie has the hots for orphaned wood cutter Peter (Shiloh Fernandez). A young, desirable woman caught between two young men. How original. As if the dynamic didn’t cause enough awkwardness, the town is being terrorized by a vicious and largely unseen wolf that is shredding up the townspeople.

Enter Father Solomon (a predictably over the top Gary Oldman) who arrives in town hot on the wolf’s trail and shakes things up. He comes armed with some interesting information – the wolf is a cursed human and it could be any one of the townspeople that has been morphing every full moon. This whodunnit aspect a la Scream is another nice touch but is not fully realised. Fingers are pointed and suspicious looks are shot at others, but the storytellers do not commit to it so most of the fun is drained.

When Valerie has a close encounter with the wolf she discovers there is somehow a connection between them. She learns it is keen to take her away from the village and it will only leave the people alone of she goes with it. The conversations between Valerie and the wolf in which this becomes apparent are howlers. Now the beauty has more on her plate than being torn between two love sick young men.

Director Hardwicke sticks to safe and familiar forbidden love territory with even less inspired results than her Twilight effort. The similarities between the two films are not the main issue, however. It is the countless “what were they thinking?” moments that have been strung together. The G rated girl on girl grinding at the village dance, soap opera delivery of dialogue and the perfectly coiffed appearance of far too many characters are just a few more silly elements that help complete the list. At one point, my friend pointed out “For a town that doesn’t even have running water, Red Riding Hood’s mum looked pretty good!”

The Reef (M)

Directed by: Andrew Traucki

Starring: Damian Walshe-Howling, Gyton Grantley, Adrienne Pickering

Three stars

Review by Julian Wright

You can have all the money a studio can throw at you or you can spend years struggling to raise a handful of cash to make a film about a bunch of people stalked by a shark in the middle of the ocean, but the bottom line is there is not much you can do with the scenario. Jaws started it all with Steven Spielberg taking a B-grade premise and turning it into a summer blockbuster thriller. Renny Harlin dumbed it down with special effects and an action film mentality with Deep Blue Sea and Chris Kentis went simple is better with Open Water.

With all the lame imitations in-between that followed the same formula but substituted the shark with some other ocean critter, it is a fairly tired routine. People go out on a boat, people get stranded in the ocean, people end up being shark’s lunch. With so many variations, pretty much all possible scenarios have been utilised.

Australian attempt The Reef falls closer to Open Water with the limitations of a small budget ensuring that director Andrew Traucki has to work extra hard to frighten the board shorts off his audience. Again, it is more about what you can’t see than several CGI sharks leaping out of the water at the screen. He confirms the less is more approach is still an effective way to go.

Unfortunately, The Reef suffers the same problems as another recent ambitious Australian film Sanctum. You can have all the pulse pounding suspense you can create to put your audience on edge, but if the characters are annoying or the performances unconvincing then you are in trouble.

Luke (Damian Walshe-Howling) delivers boats for a living so when his next job is to sail one to Indonesia, he invites his ex-girlfriend Kate (Zoe Naylor) her brother Matt (Gyton Grantley) and his girlfriend Suzie (Adrienne Pickering) to tag along for the ride. Luke and Kate have sailed together before and Matt and Suzie are visiting from London so they are up for a bit of an adventure and some R and R.

After frolicking on a tiny and remote island, the fun is cut short when the yacht capsizes and begins to sink. Luke insists their only chance to survive is to swim up to 12 miles to the nearest island. The others reluctantly agree to go with him. But there are hungry sharks lurking in those 12 miles of ocean.

My fear of the unknown under the ocean’s surface was kickstarted by Jaws and subsequently any film that delves into the dangers of being stranded in the middle of the ocean automatically has my palms sweating. There are some terrific moments of suspense, but the film’s overall effect is burdened by the underdeveloped characters.

The attempted rekindling of the romance between Kate and Luke is so clumsily handled that it looks like an episode of a high school soap opera and Matt and Suzie are given zero background. Having interesting characters to care about would have helped ratchet up the tension when they are put in danger. It is familiar terror-inducing territory that doesn’t offer anything new to the stalking shark sub genre but it does deliver a few thrills.

Rabbit Hole (M)

Directed by: John Cameron Mitchell

Starring: Nicole Kidman, Aaron Eckhart, Dianne Wiest

Four and a half stars

Review by: Julian Wright

It can be difficult to find an audience for a film whose lead characters must suffer through life’s hardships. Even though most of the time there is a glimmer of hope in these movies, many people do not want to spend their hard-earned cash on a film that will ask them to be in the same state of mind as the traumatised characters. Teenage boys want the visceral experience of cars that turn into robots and ladies want Pretty Woman’s fairy tale ending. This is unfortunate because some of the most rewarding films are those that explore raw emotion and human resilience.

Becca (Nicole Kidman) and Howie (Aaron Eckhart) spend most of Rabbit Hole in such a dramatic and heartbreaking situation that to many it would be hard just to relate to them, but its bravery in tackling the subject matter is commendable. Not as hard to take as the similarly themed Reservation Road (2007), Rabbit Hole looks at how a couple deals with loss after their son is accidentally killed.

Some time has passed since Becca and Howie’s son was hit by a car in front of their home and killed. Becca, who had given up her career to focus on motherhood, now struggles to fill her day with activities to take her mind off of the incident. She is mostly home-bound but her haven reminds her of him down to the fingerprints on the walls.

She has gotten rid of the dog that their son chased onto the road, framed photos of him and now begins to take his paintings off of the fridge in a bid to move on. But when she accidentally (or was it?) erases a video of him from Howie’s Iphone, the tension comes to the surface. He accuses her of trying to erase the memory of their son, she claims she is just trying to move on.

Group therapy doesn’t work them. Becca rudely interjects a member’s heartfelt story about God taking their child because He needed another Angel. “Why didn’t He just make one?” Becca asks. Seeing as the couple can’t come to terms together, they find their own solace elsewhere. Becca befriends the teenager that killed her son and Howie becomes close with group therapy member Gaby (Sandra Oh).

While Reservation Road was almost unbearable to watch in its unflinching and harrowing look at losing a child, Rabbit Hole does not wallow in depression. The script and actors keep emotions in check and even sprinkle the odd amusing moment to offer a third dimension.

Everything rings true here from the awkwardness felt when Becca’s sister announces her pregnancy to the nicely performed argument that erupts between husband and wife that avoids melodrama and induces chills.

Kidman turns in a less showy performance than in previous failed big budget efforts, one that is more on par with her best work in To Die For. It is unfortunate to note that her last great performance was 15 years ago, but better late than never. Perhaps she learned her lesson after a string of dud remakes and working with a much smaller budget has enhanced her abilities.

Give the big budget blockbusters and the sugary sweet rom coms a miss just this once and treat yourself. Honest and believable with spot on performances and restrained direction, this is one dramatic hole you should venture into for the rewarding experience.

Conviction (M)

Directed by: Tony Goldwyn

Starring: Hilary Swank, Sam Rockwell, Melissa Leo, Juliette Lewis

Three and a half stars

Review by: Julian Wright

If the plot for Conviction was not inspired by real events, I would have had a hard time accepting the proceedings. Are audiences supposed to believe that a small town single mother from a white trash background managed to get her high school diploma, entry into university, then law school and pass the bar exam to represent one single client? Well, you better believe it, because it did happen.

If scripted from a Hollywood screenwriter’s overactive imagination, it would have been tough to convince an audience to go along with it. It was a continuous process that lasted around 15 years – a long time for someone to stay focussed and determined. But like Aron Ralston’s story depicted in 127 Hours, in which he had to cut his arm off to escape an isolated canyon, the seemingly impossible is actually true.

Betty Anne (Hilary Swank) and Kenny Waters (Sam Rockwell) were a couple of misfit children who would run amock around town causing havoc and whose mother claimed she was too busy to keep an eye on them. While Betty Anne’s life never amounted to much other than a cute family with a couple of kids, Kenny continued to be a trouble maker.

Most incidents are pinned on him, including the murder of a local elderly woman. Kenny swears he is innocent and  local cop Nancy Taylor (Melissa Leo) just has it in for him, but evidence begins to point to his guilt. He is eventually convicted of the murder and sent to prison. It seems he will never get out.

Betty Anne, who has always stuck by her brother, makes it her mission to get him out of prison. She gets her GED, goes to college and law school and passes the bar exam to become a lawyer so she can find any way of proving his innocence. The 15 year-long process puts a strain on her life, marriage and relationship with her children, but she does have one ally in her feisty school mate Abra Rice (Minnie Driver).

Films based on a true story have a tendency to be sugar-coated to appeal to the masses. The Blind Side comes immediately to mind. Conviction is not quite as sweet but it is also not as edgy as it could be either. While we see the effect Betty Anne’s actions and narrow-mindedness has on her family, we often don’t feel it. One minute the kids are there, the next they decide to move to their dad’s house. One postponed fishing trip does not feel like enough neglect for their drastic reaction. Sometimes the sense of urgency is curiously lacking.

The timeline jumps around too often and too much time is spent on young Betty Anne and Kenny. Director Tony Goldwyn does not realise how efficiently he has established their bond during the childhood sequences and insists on revisiting them to hammer the point across.

Most of the cast is impeccable with Swank, Rockwell and an almost unrecognisable Juliette Lewis as uber trash in a minor role coming off best. Leo, who has found acclaim for her performance in The Fighter, makes much less of a mark here. Uneven storytelling, several slow spots and clunky double meaning of the title aside, Conviction is nevertheless a fascinating couple of hours about family bonds and determination.