Reel Review Roundup

A Mighty Heart (M)

Directed by: Michael Winterbottom

Starring: Angelina Jolie, Dan Futterman, Archie Panjabi

Four stars

Review by: Julian Wright

Angelina Jolie came out of nowhere in 1999, outshone Winona Ryder in Girl,Interrupted and took home the oscar for her performance. Since then she has made more appearances in the tabloids than she has in quality films. It was starting to look like her highly acclaimed performance as a mental patient was a fluke.

Always one to surprise, Jolie has finally turned in one more searing performance as Mariane Pearl. Just days after the shocking attack on New York city on September 11, married couple Mariane and Danny Pearl (Dan Futterman), both journalists, were working in dangerous territory in Pakistan.

Danny was the South Asia Bureau chief at the Wall Street Journal and was trying to make contact with a man who might have inside information on al-Qaeda. When he does not return from the meeting, which was supposed to be his last interview before the couple headed home, his heavily pregnant wife becomes worried for his safety.

With the help of Danny’s colleagues, US diplomats and the head of the Pakistani anti-terrorism unit, she discovers her husband has been kidnapped by an extremist group. They set up camp at Mariane’s friends house and try to track down where her husband is and find out if he is safe.

What follows is a harrowing account of the long, slow and agonising process of trying to track a Jewish man held captive by Muslims in a country that is so heavily populated. Director Michael Winterbottom cleverly chose to shoot this movie on location, which adds an unforgettable authenticity to the film. It is a technique that fellow British director Paul Greengrass used in his Bourne films and it successfully transports the viewer to that place and time.

While Angelina Jolie gives the best performance of her career, the film itself is sometimes flawed. With so many speaking parts and thick accents, it is often hard to follow who has done what to whom. The maze of endless contacts that the authorities must sort through to find Danny makes things more difficult. The film’s pacing also lacks when it should be making you grip the arms of your chair.

Winterbottom does masterfully craft an emotional journey that, by the end, will have broken your heart. He skilfully and respectfully omits any footage of Danny’s horrifying demise and yet still creates a high level of emotion and one of the most chilling moments in cinema when Mariane learns about it.

Jolie skilfully embodies Mariane’s brave and dignified nature while at the same time, refusing to portray her like a saint. By doing this, Jolie’s raw, layered and complex performance makes Mariane even more relatable. Not so much a political film about who is right and who is wrong, it looks at how terrorism affects people and how those people rise above it.

As appeared in Examiner Newspaper 2007.

Rise of the Planet of the Apes (M)

Directed by: Rupert Wyatt

Starring: James Franco, John Lithgow, Freida Pinto, Brian Cox

Four stars

Review by Julian Wright

Rise of the Planet of the Apes is a case of the trailer not doing the film justice. Taken out of context, shots of a scared looking man in the foreground as a shady figure swings past behind him and James Franco talking to an ape in the woods looked utterly preposterous. And what is with that title? Is the planet rising? Or the apes?

Clunky title aside, this is the surprise blockbuster of the American summer. Having seen the film, it is understandable that it would have been hard to capture the film’s themes and pathos in just over two minutes – especially if the marketing department want to appeal to as many teenage boys as possible.

This is one of the most thoughtful and cleverly scripted films so far this year; something I did not expect to get out of a movie about cranky apes. In addition to the tight script is the phenomenal special effects that bring these animals alive.

In San Fransisco, scientist Will Rodman (James Franco) heads a team that is experimenting with genetic engineering to try to find a cure for Alzheimer’s disease. Their work is paying off with one chimpanzee they are experimenting on showing unprecedented intelligence for that species.

When the chimpanzee escapes and causes havoc in the lab, the team is shut down. What they discover is that the animal’s behaviour was not out of aggression but protection for its infant. All the chimpanzees are put down but Will takes the youngster home with him to save his life. Over the years the chimp, named Caeser, displays increased intelligence, suggesting a genetic inheritance.

While Will is able to raise Caeser as his own and develop a strong bond, it is clear that Caeser is not in the right environment. A confrontation with a neighbour lands Caeser in a compound with other chimpanzees, apes and orangutans. Despite being with his own kind, it is a struggle for him to fit in, especially in the very unnatural environment. Unhappy with their mistreatment, Caeser sets the wheels in motion to rise against humans and reclaim their place in the world.

Up until the “rise”, this is a surprisingly intelligent film that takes it’s time developing character – and not just the human ones. Caeser is the centre of the story as he struggles with a confused and confusing upbringing; raised as a human but hidden away. There are many touching moments as he grapples with the changes he encounters and tried to make heads or tails of his existence.

The final third of this film is alternately thrilling – with some great action set pieces – and laughably bad. Subtitled signed conversations between animals, the discovery of vocals and a chimpanzee riding a horse are a few moments that are sure to induce more giggles than anything else. Look past the mouthful title and underwhelming trailer and give this “rise” a go.

Reel Review Roundup had the privilege of spending a few minutes chatting with Red Dog producer Nelson Woss over the phone during an intense day of media interviews. It was the day after the Perth premiere and although exhausted, Woss still oozed enthusiasm about his latest project.

The tale of an adorable kelpie continued to bring Australian communities together during the making of a film based on the canine’s life 40 years after his legendary trek through WA , according to Red Dog producer Nelson Woss.

Woss, who has a fondness for Australian legends (he brought the story of our most famous outlaw to the big screen in 2003’s Ned Kelly) came across the story of Red Dog when he discovered Louis De Bernieres’ book about the inspirational canine.

Red Dog united a small mining community in the early 1970s then hitch-hiked around WA (and as legend has it a quick detour to Japan) looking for his master.

Woss said the community came together once again after all these years to help get the film made.

“We were tough, hardened film makers working with a budget that was one-third of the budget we had for Ned Kelly,” he said.

“We didn’t have (trailers) and our crew members were on double and triple duty.

“We got the support of so many organisations that helped us get the story on the screen and even the locals got behind us

“This is a period film which can be hard to make especially on a low-budget.

“We couldn’t afford extras so we ran an advert in the local paper and the locals turned up to the set and some of them even loaned us their 1970s cars.”

Leading man Josh Lucas, who plays Red Dog’s master John, was inspired enough by the story that he gave up the glitz and glamour of Hollywood to get down and dirty in the Pilbara to shoot the film.

“We chased a few actors but Josh made sense,” Woss said.

“He is a dog lover and so when we showed him pictures of Koko (who plays Red Dog) he jumped on a plane and came over to WA.”

A long time fan of any movie with animals, Woss was not deterred by the old Hollywood saying ‘never work with kids or animals’.

When asked if he would ever work with animals again he insisted he “would definitely work with Josh Lucas again” followed by a hearty laugh.

Red Dog (PG)

Directed by: Kriv Stenders

Starring: Josh Lucas, Koko, Rachael Taylor, Noah Taylor, Luke Ford

Four stars

Review by: Julian Wright

If recent critically acclaimed Aussie films such as Snowtown and Animal Kingdom left you clutching a bottle of anti-depressants, the uplifting tale of Red Dog may inspire you to put it back in the medicine cabinet. However, be warned, you may need to clutch a box of tissues instead.

While powerful pieces of film-making that have restored critics’ faith in Australian cinema, those hard-hitting dramas can be a bit much to take after a while. They dwell on  murder, torture, crime and general unpleasantness. Need a break from all that? Feel like a bit of a chuckle?

Red Dog comes at the perfect time. It is a breath of fresh air with its whimsical attitude and heart warming story and takes us out of the monotonous suburbs and off  to the Australian outback.

Red Dog opens with the heart melting canine dying in the bar of a remote town in WA’s north-west. The towns people gather around to comfort the pooch in his final moments. When truck driver Thomas (Luke Ford) stops by, Red Dog’s human friends fill him in on the canine’s eventful last 10 years.

After he hitchhikes a ride into Dampier, a mining town, Red Dog is adopted by the residents and rough and tumble workers. At first bus driver John (Josh Lucas) does not fall for his charms like everyone else, but the two eventually develop a bond and John becomes Red Dog’s master.

The film follows Red Dog’s journey and many adventures as he saves one man from a shark attack and has multiple run ins with a bad-tempered cat. One devastating development prompts the nomadic dog to take a car, train and plane trip around WA . He even makes a pit stop in Japan.

Along the way there are tears, laughter, highs and lows and it is a ride Aussies should take. Kriv Stenders has done a 180 degree turn with his directing style. This is the polar opposite of his bleak slow burn drama Lucky Country. Red Dog moves along at an enjoyably brisk pace that takes in the beautiful scenery of the Pilbara region. This is a gentle and infectious family film that will tug on the heart-strings, but not too hard. Still, keep the tissues handy.

No Country for Old Men (MA)

Directed by: Joel and Ethan Coen

Starring: Josh Brolin, Javier Bardem, Tommy Lee Jones, Kelly Macdonald

Four and a half stars

Review by: Julian Wright

Film directing duo Joel and Ethan Coen established themselves as innovative film makers more than 20 years ago with their ultra stylish and ultra low-budget film Blood Simple. They took the film noir genre and gave it a modern spin with some eye-catching camera work.

But their collective talent doesn’t simply lie in where to place the camera. The films they make are about ordinary people caught up in extraordinary situations. Who could forget the heavily pregnant cop in a sleepy town trying to track down the perpetrators in an elaborate kidnapping plan that ends in a high body count in Fargo? A handful of droll, simple citizens of a Texas town get a look-in in their latest film.

While hunting alone in what seems to be the middle of nowhere, trailer park dweller Llewelyn Moss (Josh Brolin) stumbles across a drug exchange gone wrong. He finds the drugs stacked on the back of a ute, the $2 million in a bag and several dead bodies riddled with bullets. When he takes the money he knows what trouble he is getting himself into.

Without telling his wife Carla Jean (Kelly Macdonald) too much, he makes her stay with her mother in another town while he tries his best to live off the radar. What he doesn’t know is that ruthless criminal Anton Chigurh (Javier Bardem) has just escaped the local police and is hot on his trail.

Having been called to the scene of the failed drug exchange, sheriff Ed Tom Bell (Tommy Lee Jones), disillusioned with what he has experienced over the years, tracks down Carla Jean in an attempt to find Llewelyn. Thrown into the mix is bounty hunter Carson Wells (Woody Harrelson), who is sent by a businessman to control the situation. But he has had past dealings with Chigurh and is aware of just how dangerous and deadly serious he is.

Do not be put off by the familiar synopsis of this film. The ordinary people who stumble across riches idea was done by Sam Raimi in 1998’s A Simple Plan. But the Coen brothers have added so much to the story that one is left mesmerised. Much like Fargo, this film is violent, shocking and at the same time hilarious.

Some of the most astonishing moments are entire scenes that are carried out without a single line of dialogue. It is these scenes of silence that create some of the most intensely suspenseful moments in film history. It is a skill to admire because therein lies the brothers’ film-making genius.

This film won’t be everyone’s cup of tea, but Javier Bardem chills the blood with his cold performance and is deserving of his recent Golden Globe nomination. He rivals Anthony Hopkins as Hannibal Lecter in the villain department.

As appeared in Examiner Newspapers 2007

Tucker and Dale Vs Evil (MA)

Directed by: Eli Craig

Starring: Tyler Labine, Alan Tudyk, Katrina Bowden, Jesse Moss

Four stars

Review by: Julian Wright

Striking that balance of comedy and horror can be tough. Too many laughs and the element of shock and white-knuckle suspense is eroded. Crank up the gore and non horror fans wont even bother. And do you try to be funny while someone is having their head chopped off, or wait a minute for the punchline?

I do not envy those that are faced with the task, but we know it can be done. Scream, anyone? That one even chucked in some social commentary for good measure. Shaun of the Dead is also a good example of a successful comedy/horror. Tucker and Dale Vs Evil will sit comfortably in that limited list of films that do it right.

Dumb but lovable hillbillies Tucker (Alan Tudyk) and Dale (Tyler Labine) are on their way to their holiday home in the woods for a vacation. Their modest accommodation is a run down cabin that is moments from collapsing. The past tenants left some curious knick-knacks behind like wind chimes made of bones and newspaper clippings of local mass murders. This doesn’t phase the dopey duo, they just assume they were news buff archeologists.

Their fishing trip is interrupted by some boozed up, sexed up college kids out for their own version of fun. Freaked out by their own campfire tales of chainsaw wielding killers, the idiotic college kids assume Tucker and Dale are crazy, in-bred Deliverance-types by their appearances. When the creepy looking but kind-hearted friends rescue blonde beauty Allison (Katrina Bowden) from drowning in a skinny dipping related accident, her friends think she has been kidnapped.

The college kids’ vigilante inspired attempts to get their friend back are a hilarious juxtaposition to the sweet bond that forms between “kidnapper and kidnappee” Dale and Allison. But when each kid that wields a weapon of some sort ends up accidentally killing themselves, their remaining friends become convinced the hillbillies did it. In turn, Tucker and Dale think they are being attacked out of the blue by crazy kids who have made a suicide pact.

The crazy misunderstandings are the guts of this clever spoof of The Texas Chainsaw Massacre, Wrong Turn and Friday the 13th.It even manages to offer some food for thought on judging and stereotyping others. The genius of the script is that there isn’t even a serial killer. The energetic cast of mostly unknowns put a lot of effort into this little gem and there is just the right amount of carnage to go with the big belly laughs. It wont deter you from going back into the woods but it might make you think before you judge a book by its blood soaked cover.

Larry Crowne (M)

Directed by: Tom Hanks

Starring: Tom Hanks, Julia Roberts, Wilmer Valderrama

Two stars

Review by: Julian Wright

Tom Hanks and Nia Vardalos’ first collaboration, My Big Fat Greek Wedding, may have struck a chord with world-wide audiences but a second visit to the feel good comedy well has not paid off. Greek Wedding was as light as air and imperfect but it captured the quirks of Greek culture and struck box office gold – not bad for a low-budget indie flick based on Vardalos’ anecdotes. Attempts at something more substantial with Larry Crowne has proven almost disastrous.

Even the sweetest of cinematic confectionery has to have a touch of believability to draw an audience in. Whether or not they hold our attention when reality is stretched is up to the skills of the team behind the scenes. But when you have a film like Larry Crowne, that forgoes logic from the beginning, the film makers have little hope of pleasing an audience.

Laid off from his retail job for not having a college degree, middle-aged divorcee Larry Crowne (Tom Hanks) finds himself at a point of having to start all over again just when he should be settled. With a crushing mortgage to pay off and no interest in falling back on his other skills –  he was a chef in the navy for 20 years – he decides to get that coveted degree at a community college. Skipping over such points as how Larry affords college when he is clearly strapped for cash, can’t make mortgage payments and is forced to swap his gas guzzling SUV for a more economical scooter, is just the beginning of this film problems.

Encouraged by college staff to take up the barely attended public speaking class, Larry signs ups. But how it will actually help him is not explained. The class is taught by Mercedes Tainot (Julia Roberts), who has as little enthusiasm for her job as the students have for the subject. She hangs on the possibility there will be less than 10 students in the early morning class so she can cancel it and complains a lot about her students. So why doesn’t she find a new job too? Another unanswered question.

An unlikely (to say the least) friendship forms between Larry and a fellow student and scooter enthusiast Talia (Gugu Mbatha-Raw) when she takes him under her wing. What does she find appealing about this middle-aged dork? Why does she re-arrange his furniture? More details swept under the rug. But it does spark some amusingly jealous behaviour from her boyfriend and scooter gang leader Dell Gordo (Wilmer Valderrama). Side note: Larry’s finger snapping initiation into their scooter gang is just plain silly.

This film is about Larry’s journey,which aims to be inspiring. And it could have been, if it weren’t for so many distracting hiccups in the script. Larry and Mercedes’ courtship is cute enough but drawn out and the inevitable conclusion agonisingly protracted. Hanks still oozes charisma. He is very likeable as always, but Roberts plays Mercedes far too bitterly in the first half that is it hard to empathise. After this misfire, Hanks, who directed, Vardalos and Roberts might want to reconsider their career paths.

30 Days of Night (MA)

Directed by: David Slade

Starring: Josh Hartnett, Melissa George, Danny Huston, Ben Foster

Two and a half stars

Review by Julian Wright

Audiences have witnessed countless goblins and ghouls come to life before their eyes in film. Vampires have terrified audiences since Nosferatu took his first victim in the classic 1920s film. Since then there have been various versions of vampire lore.

Fright Night had some fun and took some satirical jabs at vampires in the 1980s and Francis Ford Coppola made the sumptuous period horror Dracula with an A-list cast in the 1990s. After 85 years, director David Slade has proven it is quite a difficult task to bring something new to the genre.

In a contrived set-up, the sleepy town of Barrow, Alaska is about to be plunged into darkness for an entire month. Everyone is packing up and preparing, some even moving on to the next town to escape it.

On the last day of light for a month, sheriff Eben Oleson (Josh Hartnett) discovers some strange goings on in the isolated town. He finds a stack of burnt mobile phones and dogs have been slaughtered. Enter the Stranger (Ben Foster), a mysterious man who is clearly not a local, who causes a disturbance in a café. He warns the sheriff that something bad is going to happen, but nothing could prepare Eben for what will follow.

The town is invaded by a pack of vampires and the town’s people must survive an entire month before the sun rises again. Thrown into the mix is the presence of Eben’s estranged wife Stella (Melissa George), who had run out on him and skipped town. She had been called back for work but missed her flight out of there. The two must work together to help people survive.

It is good to see so much Perth talent up on the big screen in a Hollywood movie. The film is based on a graphic novel co-written by Perth resident Ben Templesmith and stars WA actress Melissa George. Unfortunately, there is very little in the way of new ideas, twists or even novelty value.

After giving us the controversial, intense and stylish thriller Hard Candy last year, the viewer may have expected much more from director David Slade. He was able to tighten the screws of suspense so skilfully in his first film, and made audiences squirm with one particular scene that will go down in film history.

Slade demonstrated an interesting style with the use of vivid colours and claustrophobic close-ups. He fails to capture the same white-knuckle experience in 30 Days.

The main problem is the tempo. It begins well enough, but stops dead in its tracks far too soon, when the survivors decide to sit around hiding from the vampires and wait for the sun to rise. And with little human drama and few interesting characters, it becomes hard to get involved in the action.

Slade does manage a few effective jump scares and the soundtrack is creepy. Ben Foster as the Stranger – and the voice of doom – is a standout. The character could easily have been cheesy, but Foster takes it deadly seriously and sends a chill up your spine. There are also too many lapses in logic and continuity and so many questions remain unanswered.

As appeared in Examiner Newspaper 2007.

Halloween (R)

Directed by: Rob Zombie

Starring: Malcolm McDowell, Scout Taylor-Compton, Danielle Harris

Three and a half stars

Review by: Julian Wright

When director Gus Van Sant dare to remake Alfred Hitchcock’s classic film Psycho, critics and audiences ripped him to shreds. Not only was the move unheard of, but the end result was a pointless shot-for-shot rehash that just highlighted how much of a master Hitchcock really was.

When it was announced Rob Zombie was going to remake Halloween, the classic slasher film of the 1970s that was inspired by Psycho, horror fans had their doubts. What could possibly be achieved by remaking a film that many would say had nothing wrong with it in the first place? But instead of setting up his shots to copy those in the original, Rob Zombie took an entirely different approach and came up with a decent re-imagining of a classic.

In a small, quiet town called Haddonfield, Michael Myers (Daeg Faerch) lives with his dysfunctional, white trash family. His mother (Sheri Moon Zombie)  is a stripper, her boyfriend verbally abuses him and makes sleazy advances toward his teenage sister and he is often bullied at school. When the school principal calls a meeting with Michael’s parents over some disturbing behaviour, he invites child psychologist Doctor Samuel Loomis (Malcolm McDowell) to sit in.

Dr Loomis warns Michael’s mother that his behaviour is dangerously close to psycopathic tendancies. She doesn’t believe him, but on Halloween night, Michael finally snaps, killing his entire family except his baby sister while his mother is at work. He is locked up in a psychiatric ward for 15 years but Dr Loomis is unable to get into his mind – and eventually Michael stops talking alotgether.

When Michael (Tyler Mane) escapes as an adult, Loomis is convinced he will head back to his home town to finish what he started when he was just a child. When Michael arrives in Haddonfield, he dons the iconic white mask and begins stalking three high school friends Laurie (Scout Taylor-Compton), Linda (Kristina Klebe) and Annie (Danielle Harris).

The first two thirds of Rob Zombie’s version of the life of Michael Myers is surprisingly effective. He cleverly delves into what makes a psychopath and answers many questions Halloween fans have had for decades about why he kills. And the answers are satisfying.

The use of hand held camerwork is put to good usein these early scenes, creating a home life that would make anyone want to pick up a knife. It is rob Zombie’s most mature work, after making the abysmal 1970s horror homage House of 1000 Corpses and the nasty The Devil’s Rejects. It also shows his respect for the original Halloween.

The later scenes that have Michael stalking the three girls and Dr Loomis trying to convince the town sheriff (Brad Dourif) that he is dandangerous  are closer to the original but they are clunky. They move along at a pace that is far too quick, making them seem incidental to the story. It also eliminates any potential suspense becasue we don’t spend the time getting to know the victims like we did in the first one.

Zombie also goes a bit too far at the end with a prolonged climactic sequence. But despite some negative points, this is possibly the best remake in quite a while. It has its own style and expands on the original concept instead of simply rehashing it. Halloween fans need not fret, this remake is far superior to even some of the sequels.

As appeared in Examiner Newspapers 2007

American Gangster (MA)

Directed by: Ridley Scott

Starring: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Josh Brolin

Three and a half stars

Review by Julian Wright

When you get two academy award winning actors in the same film for the first time, the anticipation can be almost unbearable. When Hollywood heavyweights Al Pacino and Robert De Niro shared few precious minutes together in Michael Mann’s Heat audiences were on the edge of their seats.

Powerhouse performers Denzel Washington and Russell Crowe made the mistake of appearing together for the first time in the dreadful sci-fi flick Virtuosity in 1995. Since then the two have accrued several awards and endless praise for their subsequent work. This time they get it right when they go head to head in Ridley Scott’s American Gangster as men from the opposite sides of the law.

American Gangster tracks the rise and fall of the most powerful African American criminal, a man who was able to surpass the Italian Mafia when it came to organised crime. When Frank Lucas’ (Denzel Washington) boss and mentor dies in 1968, he is left an impressive legacy. He was one of the leading black crime bosses in Harlem.

But Frank strives to achieve more than his predecessor. He believes the only way to do this is to take advantage of the war in Vietnam and use the US planes to transport pure cocaine from the jungles in Bangkok. By cutting out the middle man he is able to sell it as is and at a cheap price.

As the streets become flooded with pure cocaine, Frank’s empire grows and more people become affected by the drug. Cop Richie Roberts (Russell Crowe) tries to track down where it is coming from and who is to blame. While sorting through low-life criminals to get to the kingpin, Richie must also deal with a heartbreaking tug of war with his wife over their son.

Given the talents in front of and behind the camera, one would expect a crackling cat and mouse crime thriller. Unfortunately, despite the top performances the film has little subtext and therefore fails to have much weight. What we see is fairly standard and routine. It is a long and slow build up to the inevitable but when the two stars share the screen, it proves to be worth the wait.

What is interesting is how Denzel Washington is so fascinating to watch and effortlessly commands the screen. His portrayal of this criminal is chilling. For the most part, he is nice and respectable but often relentless and unleashes horrific violence. Crowe’s character isn’t given enough light until too far into the film. Up until then it is difficult to become involved in his plight.

Ridley Scott often works with characters that don’t have lengthy back-stories or deep psychological profiles, but this time maybe he should have pushed for a bit more. More character depth and development may have improved an otherwise familiar story. He does, however, create some shocking and suspenseful moments.

 As appeared in Examiner Newspapers 2008