Maleficent

This latest Disney instalment of the Sleeping Beauty fairytale is even more magical, epic and spectacular than the last one made in 1959. Although nowhere near as terrifying as that first animated film, where just the musical score could send a chill down my spine and the wicked fairy, Maleficent with her deathly pallor and evil cackle, was the very epitome of evil.  This was a character who was purely evil, there was no motivation or subtext to her actions;  whereas in this re-visioning of the classic fairytale we first meet Maleficent as a young orphaned fairy girl surrounded by beautiful, mystical creatures in her fairy realm of The Moors.  Giving Maleficent a past completely humanises the character so that she is no longer just an evil being and the history with King Stephen explains her vengeful curse.

Gone is the deathly pallor of the cartoon version, in fact the adult Maleficent, played by Angelina Jolie has glowing white skin and though she may still have the angular face with remarkably high and defined cheekbones, it is not a harsh face.  This visage is absolutely mesmerising, particularly the caramel green eyes and the full red put.  It is little wonder Mac make up is selling a Maleficent range and with a dazzling red lipstick, when her lips are such a distraction in the film.

The acting was superb throughout the whole film, with the enchanting princess Aurora played by Elle Fanning and faithful servant Diaval played by Sam Riley as the main supporting characters, along with Sharlto Copley as the King.  There was also appearances from Juno Temple, Imelda Staunton and Lesly Manville as the three good fairies who endeavour to raise the young princess.  A particularly special scene involves one of Angelina Jolie's own children, little Vivienne Jolie-Pitt plays the infant Aurora adoringly approaching her mother whose appearance was apparently scaring all the other children on set, this added to the playful nature of the story and also added to the loving nature of the princess.

Some people have criticised the film for relying on Angelina Jolie to carry the film, but it is called Maleficent, and should therefore be about this character; her magnificent performance and beguiling beauty do not detract from the original and clever story.  It follows on from Frozen’s modern theme that women and young girls do not need to rely on men; that relationships between women are just as vital and substantial.  Female empowerment and sisterhood is at the core of the film and it is fantastic to see such a strong, powerful female character and to know that these kind of roles emerging for women in film and TV.

Rating 9.5/10

Armageddon

I am embarrassed to admit that I have only recently watched Armageddon for the first time, I developed a slight fear of meteorites after watching Deep Impact at a young age and it definitely debilitated my film viewing for the subsequent years.  However meteorites is the only thing the two films share, otherwise Deep Impact does not even compare to Armageddon; it consists of a brilliantly formulated plot with a great script and excellent casting.  

 It was straight in with the action and immediately had me hooked, the same went for the brilliant characters that you instantly loved.  Bruce Willis plays Harry Stamper, the “best oil driller in the world” and A.J, (Ben Affleck) is his young ingenue, they are multi faceted characters and this is evident from the relationships and interactions between them, from the beginning scenes where you see their working relationship to the end which reveals a father/son bond.  This is made stronger by their shared love of Harry’s daughter, Grace Stamper (Liv Tyler), nevertheless this love affair was not actually in the original script, they were written and filmed later in production apparently in a last minute bid to extend their audience and appeal to young girls.  

Steve Buscemi adds to the film like he does to every film he appears in, always a great character that is memorable above many others, sometimes even the main stars.  Although he claims that the role was pitched to him as a heroic geologist which he gladly accepted in a move away from the usual lowlife’s he portrays, but after taking on the role the sleazy characteristics were written into the script.  When his character, Rockhound gets space dementia and starts acting dangerously, he is wrapped in duct take, which is actually NASA protocol for immobilising an unstable member of crew.

I thought the special effects were of a high standard for 1998, you would hardly even notice that the film was 16 years old.  This was probably aided by NASA’s compliance with the producers, allowing them to film in the normally restricted space agency, which included the neutral buoyancy lab, a 40 foot deep, 65 million gallon pool used to train astronauts for weightlessness and the use of two 10 million dollar space suits.  Although NASA obviously had some involvement in the filming they clearly did not offer any advice for the actual plot or protocol in space; they now show the film during their training management programme and ask new managers to spot as many errors as possible, of which there are at least 168.

The director, Michael Bay thinks that he had to rush the ending and feels like he did not do the film justice, but I think it is an excellent movie that works even though it may have a slightly unbelievable premise.  Ben Affleck apparently questioned the likelihood of the film when talking to Michael Bay, “Wouldn’t it be easier for NASA to train astronauts how to drill rather than training drillers to be astronauts?” To which he responded, shut up.

Rating: 8/10

Captain America: The Winter Soldier

I was uncertain what to expect from the second instalment of the new Captain America franchise; I really enjoyed the 1940’s setting of the first film and I was concerned about this modern day sequel.  I feared that the franchise might have lost its edge, the distinguishing factor that differentiated it from all the other super hero films flooding the cinema, nevertheless the characterisation of Captain America (Chris Evans) is excellent and he still has his old fashioned ideals and morals, which set him apart from the rest of Marvel gang.

The pairing of the fierce and brazen Black Widow played by Scarlet Johansson with the good natured, honest Captain America made for great scenes of sexual tension and angst between the two stars.  Scarlet seduces the screen and viewers as usual.  Nevertheless I have issues with her hair style which really doesn't suit her face shape; also her hair is actually revealed as wavy when it gets wet so it begs the questions, when does she have time to straighten those locks and why is it such a priority when the world as they know it might be ending?

I enjoyed the fact that even in the comic book world of super advanced computer systems technology still fails and when Fury aka Samuel L. Jackson tries to escape in his big black Chevrolet he comes across a series of malfunctions. However you do question why he resolves to use defensive strategies rather than just immediately fighting his way out of the situation and escaping.

I find it a little odd, or maybe distracting, that this Marvel film that features SHIELD so heavily as the main subject only involves two of the Avengers…where was Iron Man or The Hulk during this little crisis?  A few niggling flaws in the concept, but otherwise a brilliant film as can be expected from these Marvel ventures that have intricate plot lines, and generally good scripts.

Rating: 8/10

The Secret Life of Walter Mitty

Directed and starring Ben Stiller, The Secret Life of Walter Mitty exhibited some beautiful cinematography, but unfortunately had a tendency to fall a little flat.  There were spectacular scenes that almost built up to a climactic event but then it plummeted and it never quite reached that pinnacle.  It had a slow start where Walter’s dream sequences felt a little too disjointed and then the office environment did not feel realistic enough to contrast with his imaginary world.  The bearded bad guy that entered to take over the office is a bit too much of a caricature, he was a one dimensional character who just seemed ridiculous mostly due to his inane dialogue but mostly because of the fake beard stuck to his face.

However, I do think the film had a great message especially, for the computer age where people think they can experience something through digital images, video games and the internet, but ultimately miss out on what is actually around them and in so doing ignore natural human instincts.  Walter would rather connect with a woman he works with over an online dating website rather than in person, clearly demonstrating how people avoid risk taking and feel safest moving within a little bubble.

The beautiful scenery captured on camera was really magnificent and certainly inspired me to travel and see more of the world.  One scene particularly resonated with me; Sean Penn plays world famous photographer, Sean O’Connell who has eluded Mitty throughout the film until he is discovered nestled in the Himalayan mountains waiting for a snow leopard.  The chance moment occurs for him to take the picture, but he decides he would rather encounter the moment fully, “If I like a moment, for me, personally, I don't like to have the distraction of the camera. I just want to stay in it.”  In the digital camera/smart phone age it is extremely difficult to avoid the trigger happy tourist who will quite happily journey on a safari or walk along a mountain track looking at the world through some kind of screen, which never really captures the majesty of such views or the all encompassing sensual experience.

Rating: 7/10

Philomena

I was sceptical when this British movie was up for Best Picture at the academy awards, the story seemed a little too simple and the cast while excellent maybe a bit too minimal. After actually watching the film I am still unresolved about the nomination; it was a fantastic film and the acting was brilliant as can well be expected from Judi Dench and Steve Coogan, and yet I am not sure whether it should really be in that category.  Maybe I have just become too accustomed to the more precarious, bold film making finding its way into this category, while these subtler works are often appreciated but not put on the pedestal.  

Based on real events, the film sees a young naive Irish girl seduced at a fairground, causing a pregnancy that condemns her to a nunnery that works damned, shamed girls like slaves in a laundry and sells their young children to rich Americans.  50 years later the young lady is an old woman and now is the time she decides to share her secret with her daughter and try to find her lost child.

Meanwhile the journalist Martin Sixsmith, played by Coogan, has been shamed and is looking for a way back in to the media world.  Though arrogant and prejudiced he lowers himself to working on a human interest story which he stipulates are for "vulnerable, weak-minded, ignorant people.”  They come across obstacles at the nunnery as records have been burnt and the nuns do not appear very cooperative, nevertheless a lead takes them to America and so the odd couple are thrust together on a journey across the Atlantic.

The contrasting characters create a beautiful dialogue that is witty and enlightening, especially as Philomena clings to her religion repenting for her sins while Martin blasphemes and curses the nuns and the Catholic church.  The film has been criticised for its depiction of the Catholic church and particularly the nuns involved in the case.  However Coogan and the real life Philomena Lee met with Pope Francis and Lee felt a sense of closure and forgiveness in his presence for the sin she felt burdened with for 50 years. The vatican then had a private screening of the film and Coogan was told that the film was "entirely in keeping with the tone of the Pope's approach”.  It seems the Pope has taken a more modern approach to criticism as something that is not unquestionably wrong and offensive.

Philomena is a thought provoking, emotional and entertaining drama that has the capacity to appeal to a wide audience, while illustrating the power of both journalism and religion.

Rating: 8/10

Paperback Hero

As I am currently residing in Australia, I think it is time I become better acquainted with the films that have been produced and created Down Under.  I have started my education with a romantic comedy that features a young Hugh Jackman as our "hero", Jack Willis who writes love stories on napkins as he drives around the country in a road train. The comedic scenario evolves as a publisher arrives in their outback diner looking for Ruby Vale; a friend of Jack's but also the pseudonym under which he has written his novel. He manages to persuade his friend to play the part of author and travel to Sydney with him, taking a share in the profits and his promise that he will pay for her wedding to the perfectly nice but seemingly dull, Hamish.  Ruby undergoes a classic makeover physically and holds back the usual cascade of profanity that issues from her mouth.  After all this trouble it soon transpires that poor simple Hamish is not the man she pictures as her romantic hero.

The Australian setting gives the film a different dynamic to your standard American or English rom-com, with outback earthy characters who are easily relatable and loveable.  It was quite a simple little story, but still very enjoyable.

Rating: 6.4/10

Divergent

I went to see Divergent knowing very little about it other than it shared certain similarities with The Hunger Games; based on a trilogy of young adult fiction which has already been completed and published, featuring a strong female lead, in this case 'The Descendents' star, Shailene Woodley battling a dystopian future.  The plot was a mystery to me, but not for long as the film started with a brief description of the faction system segregating society and the imminent decision that our leading lady, Beatrice was due to face at the choosing ceremony.  As she narrates the opening we gain an immediate insight into her complex situation and her unsettled state of mind as she must determine whether she loses her family or her secret aspirations; if they choose a different faction to their family they can no longer see them.  Her troubles are increased when she undergoes a kind of aptitude test that monitors her mind, indicating which faction she would best suit; her test result gives multiple factions, meaning she is Divergent.  From this moment on we know what the title of the film is referring to and that our Beatrice is in danger from the government who fear the disorder and independence of Divergents.

The five factions of society are; the honest "Candour," intelligent "Erudite," peaceful "Amity," fearless "Dauntless," and finally the selfless are "Abnegation, which is the category that Beatrice was born into.  This dystopian world lives off fear of the past and the control of the faction system which is very similar to Suzanne Collins' The Hunger Games. Each division of society has a very distinct job that contributes to this strange walled city, however when the jealous Erudite decide they want to steal the role of governing body from Abnegation they themselves are actually breaking this strict obligation to stay within their confines and they further this by employing the law enforcing Dauntless to becomes drones in their war.  So while they may fear the disruption of Divergents, their actions are actually more likely to have an impact on the regulated system and cause people to question how practical it really is.

Woodley with her pretty elfin features delivers a fantastic performance as the brave and conflicted heroin.  However I think the screenplay falls short at times as it is slightly lacking in character development; the poor girl hardly seemed to know the family she loved so much;  so certain that her brother was abnegation and then the slightly predictable twist that she only really understands her parents minutes before they are killed.  Also her relationship with the character Four is a little odd, after their first kiss she warns him that she wants to take it slow, this is followed by a vision of her inner fears one of which that Four will try to force himself on her.  I'm not sure what kind of message that is meant to be sending the viewer and particularly a young audience; it may be that Veronica Roth is following in the steps of pro-abstinence Twilight author Stephenie Meyer.

While it may have the odd discrepancies in character and plot, it is still a gripping story and I look forward to seeing the rest of the trilogy; if only so I can have a few questions answered.  You were left speculating; why and how these factions were ever constructed and conceived as a good idea? where is the factory working faction...who makes all the clothes and electrical products? Which faction is responsible for construction or hospitality?

Rating: 6.8/10

The Grand Budapest Hotel

In The Grand Budapest Hotel, Wes Anderson has created a film that is artistic but also undeniably entertaining; fantastically constructed in plot, characterisation and cinematography.  The film plays out as a classic farce, where the only way down is up;  most clearly evident in the comical jailbreak scene that involves tunnelling through floors, climbing up ladders and sliding down laundry chutes. It opens with a young girl standing in a cemetery holding a book, she turns the book to look at the author's photograph and through this we transition to the next layer of the narrative.  The "Author" played by Tom Wilkinson and as his younger self, Jude Law is based on an Austrian writer called Stephen Zweig, whose writing inspired Anderson's adaptation.  It transpires that the book this "Author" wrote is based on a story told to him many years earlier about events which took place in an even more distant past, and so through this clever layering of narratives, we the audience find ourselves hurled from one time and place to another.  Along with the multiple narrators the film also utilises the structure of book chapters  which creates an Episodic feel, so while scenes stick out very clearly in your mind as individual events it still flows naturally on some bizarre course.

The main events of the story take place in 1932 when The Grand Budapest Hotel is rich in people, service and colour; the hero of the story is the concierge Gustav H, played by Ralph Fiennes, a man who is desperately clinging to the masterful art of exceptional service.  All he knows and holds dear feels balanced in a fragile state, dramatised by the sudden death of one of his regular guests, Madame D, but also directly symbolising the hierarchical class system which balanced in a fragile state during the interwar years.  Gustav inherits from this rich older woman and this triggers jealousy and conspiracy amongst her living relations, leading to false accusations and the quest for truth.  The story takes on an almost Kafkaesque approach with the odd series of events and the strange characters who all seem connected, however it does so with a lot of humour and careful consideration of the aesthetics.

Anderson takes care in producing something that is at once visually pleasing but also immediately revealing.  The palatial hotel in all it's plush, saturated glory is contrasted to the dismal remnants in 1968 when the young bell boy Zero decides to share his story with the "Author".  To produce this fairytale building, Anderson used a three meter tall miniature handmade model rather than a more typical CGI version, "The particular brand of artificiality that I like to use is an old-fashioned one."  This heightens the pre-war dream world that fills the screen emphasising the step back in time, but it also plays with the medium of film as an art form, rather than an imitation of reality.

With a fantastic cast, recognisable faces seem to literally pop up in the drama and amusingly while some characters appear to have middle European accent's others like Edward Norton are still thoroughly American in their address, further lending to the surreal nature of this film.  The characters may not seem particularly realistic at times as they get lost in the dream world, but the emotion behind their actions and the human consciousness evident in the script brings them alive.  You connect to the characters on some level as you empathise with them;  it may all seem absurd and unconnected from reality but there are moments that are shockingly ordinary and base, such as the fate of Zero’s wife, Agatha.  The viewer gets carried away with the drama of these wonderful creatures and they will definitely have you laughing, gasping and possibly even sobbing.

It is rare that these quirky films are so universally enjoyed, nevertheless this film definitely offers a beautiful and amusing interlude to life. 

Rating: 8.5/10

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