Reel Review Roundup

127 Hours (MA)

Directed by: Danny Boyle

Starring: James Franco, Amber Tamblyn, Kate Mara

Four and a half stars

Review by: Julian Wright

With Australia’s release date of 127 Hours lagging so far behind the rest of the world, it seems redundant to write about something everyone has known or heard about for several months. I am talking about that scene. While Catfish promoters urged us not to reveal its twist, that scene in 127 Hours is quickly becoming cinema lore. It is the moment when trapped mountain climber and thrill seeker Aron Ralston has to hack off his arm with a blunt knife to survive.

Watching that scene turned out to be one of the most fascinating experiences I have had in cinema. As Aron dug that knife into his skin and fiddled with tendons, the entire audience shifted in their seats, covered their eyes, blocked their ears and groaned in disbelief even though we all knew it was coming. It was something that got a uniform reaction from its audience in unison. I had only seen this collective response  in screenings of the heinous The Room in which everyone was encouraged to throw spoons at the screen.

But 127 Hours is more than just that scene. We know it has been nominated for six Oscars including Best Film and Best Actor. So after Aussies sat around listening to everyone else talk about that scene and discuss whether or not the film deserved its nominations, we finally get to see it for ourselves.

Adventurer Aron Ralston (James Franco) ignores a phone call from his mother, packs a backpack and heads out to Moab, Utah to go biking, hiking and canyoneering alone. He is a free spirit and lives life to the extreme. He even relishes a bicycle stack by pulling out his camera and documenting it as he lays in a heap on his bike.

Along his travels he meets a pair of lost beauties Kristi (Kate Mara) and Megan (Amber Tamblyn) and shows them where they need to go and also a thing or two about being adventurous. Not long after they separate, Aron takes another spill as a boulder in a canyon becomes loose and falls and he finds his right arm wedged between the rock and the wall of the canyon. For the next 127 hours, Aron rations his limited water and food, tries to keep his mind focused, attempts to move the boulder and documents his experience.

You might think that by director Boyle getting us to that canyon as quickly as possible would mean limiting ways in which to relay exposition (as limited as it would be), particularly in a way that isn’t cliched or boring. But he has come up with genius flashbacks, images and mirages that fill in the gaps for us and elevates Aron from a one dimensional character.

And it is the simple things that give us insight into Aron’s psyche. While trapped in the canyon, he waits for that 10 minutes of sunlight each morning and how good it feels on his foot. A man that goes through life with no regrets suddenly realised how his actions have put him in this spot, where no one knows where he is. Franco’s performance, in which the realisation slowly surfaces, is stunning to watch.

And that inevitable scene is, surprisingly, not gratuitous. Instead, it is inspiring. Not that you will want to run out and chop your arm off after seeing this film, but just Aron’s sheer determination and will to live is impressive. This fight for survival movie is everything Sanctum wishes it was. Without the gimmick of 3D or a huge Hollywood name attached, 127 Hours achieves so much more in the way of characterisation and storytelling. I would give my right arm to see this excellent film again.

Sanctum (M)

Directed by: Alister Grierson

Starring: Richard Roxburgh, Ioan Gruffudd, Rhys Wakefield, Alice Parkinson

Two stars

Review by: Julian Wright

After two dreadfully scripted and acted hours of Sanctum it is apparent that executive producer James Cameron’s involvement was limited to the technology used to film this survivalist thriller. Much has been made about the 3D technology he pioneered for Avatar which was then used here. With all the hype about his credit in an Australian film, no one seemed to worry whether or not it would be good.

The high profile Hollywood heavyweight that brought us no nonsense action thrillers like Terminator and Aliens could have offered his golden touch to this flimsy script. While it is a competently filmed thriller, the characters and dialogue are so banal that you wish they never get out of their underground tomb.

Sanctum is the kind of film where characters are annoying, jokey, stubborn, don’t listen and ultimately, end up dead because of it. Perhaps Cameron should have spent time helping to develop the script as well as lending his state of the art 3D technology. I am sure it would have resulted in a punchier adventure.

Experienced diver Frank McGuire (Richard Roxburgh) and his team have been kilometres down in the South Pacific’s Esa Ala cave systems for months exploring where few people have been. When his financier Carl Hurley (Ioan Guffadd) goes down to pay a visit with his girlfriend Victoria (Alice Parkinson) in tow, they run into some trouble when a cyclone hits and a flash flood causes their exit to be sealed.

Frank doesn’t really know how to be a father to his son Josh (Rhys Wakefield) who is also trapped down there with them, but this is where his skills come in handy. He gets straight into survival mode and makes no bones about their chances. He tells them not to bother waiting around for a rescue team because it is not coming. Their only chance is to look for another way out.

Now burdened with a whiny and defiant kid, limited air and a couple of inexperienced divers, he must take his group through water filled caves and tight tunnels to try and find an exit that may not exist. But the one dimensional members of the crew meet their demise one by one in such routine fashion that you can pick the order in which they die like a Friday the 13th movie.

As you could imagine, the set up does not lend itself to complicated plotting or even much below the surface character development. This is all about putting the audience on the edge of its seat and threatening to push it off. Unfortunately, it doesn’t give us any appealing characters to root for. There are some sensationally tense sequences that, when they are over, you realise you have been holding your breath. It is a testament to director Griersson’s directorial skills to put us into this state of catatonia.

Possibly best viewed with the volume down (or off), Sanctum offers spine tingling underwater sequences, only some of which are enhanced by 3D technology, but also dialogue and accents that threaten to ruin your ear drums. One thing is for sure, you wont want to climb into caves any time soon. Or trust that a film executive produced by James Cameron will be any good.

The Fighter (M)

Directed by: David O. Russell

Starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo

Four stars

Review by: Julian Wright

I am usually cautious of films that claim to be based on a true story or inspired by real events. Particularly the sport-themed ones. Did the down and out sport hero really overcome all the odds to put his career back into full swing and achieve his goals to the uproarious and tearful applause of his friends, family and spectators? Freeze frame, cue fade out and roll credits. Or is it just scripted that way for dramatic effect? When broken down, they are usually as factual as The Wizard of Oz.

The ones that get my attention are the ones that depict the events realistically whether or not they have been tweaked for the film. In other hands, The Fighter could have suffered a sport-TV-movie-of-the week fate. Made by other filmmakers, the story of boxing brothers, one a drug addict, the other an up and comer in his older brother’s shadow could have been altered so that the drug addict bowed to applause in the tear jerking climax.

Director David O. Russell may have a few cliches on his hands but the story unravels in a realistic way, with genuine locations and spot on performances adding to the authenticity. Decisions aren’t always easy to make here, no one emerges from a fight without a scratch and family bonds are hard to break.

In Massachusetts in 1993,washed up boxer Dicky Eklund (Christian Bale) still clings to his local legend status while choosing a life of hard drugs and bad company. His up and coming half brother Mickey Ward (Mark Wahlberg) enjoys a few rounds in the ring but his full potential is not realised because his manager mother Alice Ward (Melissa Leo) keeps pairing him with the wrong competitors. Between his overbearing mother and unreliable trainer brother, Micky finds it hard to control his own career and finds it floundering.

When Micky meets college drop out and bar waitress Charlene Fleming (Amy Adams), she gives him the support and confidence to take the reins in his career, a move that creates palpable tension within the tight knit family that includes seven trashy sisters. Micky must struggle with alienating his family for the sake of his career without actually cutting them off completely.

The tension-filled scenes between Leo and Adams threaten to hijack the focus from the brothers. They are certainly some of the more entertaining scenes as they offer the audience the chance for a nervous giggle or two. But this is what sets the film apart; it focuses on more than one character and the dynamics in more than one relationship.

Russell’s hand held camera work gives it a documentary-like feel and so does Bale’s commitment to his role. Bale not only acts the role but looks it as a drug addict. He has dropped a dangerous number of kilos again for his work (remember how eerily skeletal he was in The Jacket?).

I still have not warmed to Wahlberg as a dramatic actor. As solid as he is here, he is outshone by his fellow cast members. Bale draws focus anytime he is on screen with his showy shenanigans (he is often cartoonish), but Leo ‘s characterisation goes much deeper than her tragic out of date costumes and even Adams offers a glimmer of insight into a supporting role.

But every time Wahlberg’s voice lowers to resemble a 12-year-old girl’s, my skin crawls. It seems he can only play tough as nails, hard edged cops or sooky, mopey guys with no in between. The Fighter is still an impressive feature that side-steps most cliches and knocks other sport movies out of the ring.

True Grit (M)

Directed by: Joel and Ethan Coen

Starring: Jeff Bridges, Matt Damon, Hailee Steinfeld

Four stars

Review by: Julian Wright

I was torn about True Grit before I had even settled down with my box of popcorn to watch it. Westerns, like romantic comedies, are ranked very low on my must see list. You usually have to lasso me and have wild horses drag me to see any film from either genre. But I was desperate to see what a couple of my favourite film makers, Joel and Ethan Coen, had to offer. No Country For Old Men and Burn After Reading topped my best of lists in 2007 and 2008 respectively.

I was hopeful their storytelling skill would win me over, give me an appreciation for the genre and prompt me to go back and watch past Western classics. Working from existing material (True Grit is a novel written by Charles Portis and later made into a film in 1968 starring John Wayne), the Coens have created another impressive film. While it won’t trump Black Swan as my top film of 2011 so far, it would sit comfortably in my DVD collection.

After her father is killed by a criminal who no one is keen on tracking down and bringing to justice, 14-year-old Mattie Ross (Hailee Steinfeld) takes it upon herself to do what the law enforcement won’t. First she must sort out her father’s burial and finances to make sure her family are not burdened, then she seeks help to track down her father’s killer Tom Chaney (Josh Brolin).

She is pointed in the direction of US Marshall Rooster Cogburn (Jeff Bridges), who is described as having true grit. But Mattie soon learns he is just a whisky swilling has-been. Nevertheless, he takes her money for the job and heads out to find Tom, with Mattie in tow. They are also accompanied, occasionally, by Texas Ranger LaBoeuf (Matt Damon), who is keen to see Chaney brought back in handcuffs.

The Coens have created a script with a sense of wit and have peppered the dialogue with snappy one liners that adds some frisky fun to the sombre tale of revenge and redemption. Without the zingers, this film would have been much more difficult to enjoy. That is not to detract from the heart felt story and the performances that bring them to life.

Steinfeld, with her confidence and firm determination, is quite a find and slips nicely into a newly formed group of young actresses wowing critics and audiences for their portrayals of unusually well written roles. Chloe Moretz kicked ass in Kick Ass and Let Me In, Jennifer Lawrence took charge in Winter’s Bone and Natalie Portman tackled complexity in Black Swan. Not bad company for the newcomer.

While I probably won’t be hitting the Western section of my local video shop, my respect for the Coen brothers as film makers continues to grow. I cannot wait to see what genre they tackle and put their stamp on next.

Black Swan (MA)

Directed by: Darren Aronofsky

Starring: Natalie Portman, Mila Kunis, Vincent Cassel

Five stars

Review by: Julian Wright

The road to achieving perfection is a nightmarish, blood spattered journey bubbling with paranoia, tension, horror and haunting images. You may even break a nail or two. The intensity of the journey may force you to cover your eyes at crucial moments.

I hope for director Darren Aronofsky’s sake he did not have to go through the same horrifying trip goody two shoes ballet dancer Nina Sayers went through to create his perfect movie. Lucky he didn’t cover his eyes and cower from such a challenging project because what he has created is a multi-layered masterpiece dripping with metaphors that may prompt multiple viewings and drawn a career defining performance from typically lightweight Natalie Portman.

Nina Sayers (Natalie Portman) has been killing herself for years under the guidance of sleazy but brilliant studio director Thomas Leroy (Vincent Cassel), developing her technique and turning her body into the perfect tool to express her art. We witness her morning ritualistic preparations and feel every bone crack and split toe nail. She has been working her way to scoring her dream role – the Swan Princess in her ballet company’s version of Swan Lake. It is hard to tell if her drive is her own or influenced by her ex-ballet dancer mother Erica (Barbara Hershey), who babies Nina and keeps her room packed with stuffed toys and lined with pink wall paper.

When veteran dancer Beth Macintyre (Winona Ryder) is bumped from the plum role for being too old, Nina begins feeling the pressure to be the best to get the role she has longed for. Nina secures the role but leaves Thomas constantly in doubt as to whether or not she can pull off the role of the evil and seductive  Black Swan that requires frothy sexuality – something the child like Nina lacks. He already knows she is perfect as the delicate White Swan. Nina struggles with getting in touch with that dormant side of her personality and as the premiere date gets closer, she gets the nagging feeling that new girl Lily, who exudes her sexuality effortlessly, is gunning for the lead role.

There are so many delicious layers to this tale; on the surface it is a behind the scenes look at the ballet industry. But look closer and it is one character’s journey of self discovery as she blooms (albeit belatedly) from a girl into a woman, learns to leave her inhibitions at the door for the sake of her art and achieves her idea of perfection.

And Aronfosky tells the complex story as a full throttle horror/thriller that rivals 100 Saw sequels. Never before have fleeting images of brief horror and self mutilation been able to set its audience so close to the edge of their seat or so easily crawl under their skin and wreak havoc.

If horror is not for you then you are treated to the pleasure of watching Portman transform as a performer on screen as her character does. Not only does she capture the duality of Nina Sayers, but also pulls off the self doubt and self deprecation in between. She has been deservedly showered with praise and award nominations because it would have been one of the most difficult roles for a young actress to pull off convincingly.

Starting the new year with a perfect film is a thrill and raises the bar impossibly high for the rest that are due to follow in 2011. I just hope other film makers strive for this level of perfection.

Paranormal Activity 2 (M)

Directed by: Tod Williams

Starring: Brian Boland, Molly Ephraim, Katie Featherston

Three and a half stars

Review by: Julian Wright

In a time when horror films over-rely on gore (Saw series) and Hollywood insists on an endless line of remakes (Friday the 13th, Halloween etc), Paranormal Activity reminded us that sometimes it is the simple things that really get under our skin. Creaky doors, swinging chandeliers and other household objects moving by themselves became so ludicrously cliche in the genre over the decades that it was more fitting for a Scream inspired movie to come out and poke fun at them, not embrace them.

Alas, Paranormal Activity did embrace them and was one of the few movies that gave me sleepless nights with its less-is-more attitude. And now things are still going bump in the night because that pesky demon from last year’s box office hit made on a shoestring budget is back for more supernatural shenanigans.

More like a prequel than a sequel, the haunting of a cute young family caught on security cameras happens before the events in the original. If you can get past the clunky and derivative set up (if these events happened before the first one, then why did we see the haunting of Micah and Katie first) there are plenty of scary good times to be had.

After a family with a newborn come home one night to find their entire house trashed but nothing missing, they are understandably rattle, so they decide to install several security cameras to make themselves feel more at ease. Around the same time, strange things begin to happen around the house.

The pool cleaner, that is put in the pool every night is found out of the pool every morning and doors swing open and close by themselves. But for a while this only happens while the family sleeps.

The family becomes wise to the creepy incidences when they view the footage and Mum and step-daughter think the house might be haunted, but Dad thinks it is all hooey. Sordid family secrets and past ghostly encounters are hinted at when Katie (from the first one) visits with her sister to discuss the strange goings on. They decide out of fear to never mention it again.

But just because you try to forget something, does not mean it will go away. In fact, in this case it just seems to make things worse.

Part of the fun of these films is that explanations are only suggested and hinted, never fleshed out, which manages to crank up the tension as things around the house slowly start moving by themselves. Impressively, one of the biggest scares happens in broad daylight – one minor twist on the tradition that gives more mileage to the scenario.

The film toys with the audience to the point where you want to yell and throw our pop corn at the screen. We stare at static shots for minutes on end which forces us to dart our eyes across to every corner of the frame looking for something to happen. Such techniques will ensure multiple viewings to make sure we haven’t missed something move in the background or a shadow on a wall. The director Tod Williams’ ability to drive his audience into a frenzy is admirable.

There is more added to the mythology and in doing so it becomes increasingly murky and silly towards the end, but the journey getting there rivals 10 roller coaster rides. As with the first, there is room for another outing, but i think that would be pushing things a bit far – there are only so many creepy swinging doors you can see before it becomes a boring cliche again.

Buried (M)

Directed by: Rodrigo Cortes

Starring: Ryan Reynolds

Four stars

Review by: Julian Wright

Buried is about a guy lying in a box for 90 minutes. Sounds boring, right? But remember, Joel Schumacher gave it whirl a few years ago by sticking Colin Farrell in glass casing on a New York street in Phone Booth and managed to turn it into a tense thriller with moralistic undertones to give it some weight. So we know it can be done.

There are several crucial differences though this time around. There are no windows in this box. There is no hustle and bustle outside this box, no Times Square buzzing with activity, mouthy prostitutes, angry pimps or a collection of cops with their guns cocked. There are no news crews, no cameras and this time, there is no visible sign of help.
Buried director Rodgrigo Cortes has given himself tighter and stricter boundaries but fortunately for audiences he likes to think outside the box without ever actually going outside the box for this taught and claustrophobic thriller.
Paul Conry (Ryan Reynolds) wakes up in a wooden box with a mobile phone, a couple of glow sticks, a lighter and a pen. Through panicked phone calls to numerous American authorities desperately looking for help, we discover he is a contract truck driver working in Iraq. His convoy was ambushed and the next thing he knows he is trapped underground in a coffin with barely enough room to roll over.

Phone calls from an anonymous man with a middle eastern accent demands he pays millions of dollars otherwise he stays in the box and dies. But Paul is just an innocent blue collar man in the wrong place at the wrong time. He has no political ties, no money and the battery life bars on his phone are disappearing one by one. His situation looks grim.

And grim is a fair way to describe Buried. It is claustrophobic, tense, relentless and almost unbearable at times. In an effort to keep the suspense at almost unbearable levels, Cortes has made the conscious decision to never cut away from that barely lit box.
Despite uncomfortable political undertones (I am not sure poltics was the way to go with this concept, it could have worked just as well with other motivations), Buried is worth seeing with imaginative direction given the restrictions of the set-up.  No two shots seem to be the same.
Reynolds, who has mostly gotten on my nerves with his smart alecky movie persona, is a revelation. He slips in a couple of quips but mostly gives a raw performance – you really feel his panic and desperation right until the jaw dropping end.

Hopefully, this impressive film will not be buried in DVD collections or movie lovers’ memories.