It is a pleasure to see a film that has believable characters and an engrossing story which both entertains and enlightens. "Hilary and Jackie" tells the story of two sisters, Hilary and Jacqueline Du Pre, from their early years as devoted sisters and fledgling musicians, through their divergent life choices as professional soloist and housewife.
Jacqueline's career as cellist takes off just as Hilary decides to marry and raise a family on a rural farm. The music is integral to the development of the story. Director, Anand Tucker, uses it to comment on the action, much as the piano performances were used in "Shine". The digital stereo sound highlights the richness of the music combined with emotionally gripping sound effects.
Emily Watson shines as Jacqueline in a varied and multi-faceted performance that may well earn her another Academy Award nomination. As the quieter more sensible Hilary, Rachel Griffiths is also effective in a less showy but subtle portrayal.
The key dramatic sequence comes at the film's center where Jacqueline leaves her husband, pianist and conductor, Daniel Barenboim, to stay with Hilary and her family. The surprising favor and request she asks of her sister will not be revealed here. Suffice it to say, this is not a film for children.
The powerful final scenes will remain long in memory. The fine music should encourage those not familiar with the careers of Du Pre and Barenboim to sample their recordings. Put this fine film on your must-see list.
Hilary and Jackie
A Clockwork Orange
Stanely Kubrick's "A Clockwork Orange" is one of the first movies that proved that cinema can be the most enlightening and amazing art form around. Movies have always been a true love for me, but it wasn't until this film challenged me that I fell deeply in love. The first viewing left me speechless, unable to describe how weird and terrible I felt. I thought it was the film that left me in this mood, so of course that was the easy target to blame. It was just a bad movie, overrated and stupid and a waste of time. But upon further thought, I realised the film did exactly what it was supposed to. It showed how the world can be a weird and horrible place, and how this young man who goes around torturing people and being a wicked person ultimately doesn't have to pay for what he does. And it's funny too. So this film brilliantly satirises this world, showcasing pure evil and people who ordinarily do not perform such evil are forced to laugh and observe what we all hate to admit is the truth. It's sick, but at the same time brilliant. And when one gets down to the core, you can't really explain it. It just is what it is. It's real. No one really sees it very often, but it is out there and everyone knows. And no one does anything about it. In essence, "A Clockwork Orange" is the ultimate satire, and one of the ultimate film experiences. It's art, it's life, and in a funky way, it's entertaining.
Pride and Prejudice
Colin Firth .... Fitzwilliam Darcy
Jennifer Ehle .... Elizabeth Bennet
David Bamber .... Mr. Collins
Crispin Bonham-Carter .... Mr. Bingley
Anna Chancellor .... Miss Bingley
Susannah Harker .... Jane Bennet
Barbara Leigh-Hunt .... Lady Catherine de Bourgh
Adrian Lukis .... Wickham
Julia Sawalha .... Lydia Bennet
Alison Steadman .... Mrs. Bennet
Outstanding ... MacFadyen is a worthy Darcy and a darned good actor to boot! The scenery, backgrounds, and country folk were much more realistic than previous versions. The costumes and hairdos also seemed in keeping with the times. Another great addition is the priceless Donald Sutherland who, in a perfect world, would have had more scenes with Judy Densch. If those two can't chew up the scenery, nobody can. And, finally, Keira Knightly is a jewel. Her beauty is so apparent that it almost detracts from the fact that this is a very good actress who can hold her own in any room. This was a delight and I only wish that it could have been 6 hours long.
Love Actually
In London, from five weeks before Christmas up to a month after Christmas, the lives of different persons are linked by love. The Prime Minister (Hugh Grant) and the member of his household, Natalie (Martine McCutcheon); his sister Karen (Emma Thompson), her husband Harry (Alam Rickman) and Harry's secretary, Mia (Heike Makatsch); Harry's employees, Sarah (Laura Linney), a woman with a serious problem in her life, and the designer Karl (Rodrigo Santoro); the writer Jamie Bennett (Colin Firth) and his Portuguese maid Aurélia (Lúcia Moniz); the grieving widow Daniel (Liam Neeson) and his son, Sam; a porn actress and her colleague; the singer Billy Mack (Billy Nighy) and his manager; the just married couple Peter (Chiwetel Ejiofor) and Juliet (Keira Knightley) and their best man Mark (Andrew Lincoln); a British young man that travels to USA, trying to score women in that country. "Love Actually" is a delightful homage to love. There are different situations, some of them dramatic, others funny, sometimes touching but never corny. The interconnection of the stories has a perfect timing. The cast is a constellation, highlighting the shining beauty of Keira Knightley and the nice role of Hugh Grant. There are many wonderful moments, such as the collective interview of the Prime Minister and the American president; or the moment when Karen finds that her Christmas gift is a CD of Joni Mitchell; or when Mark declares his secret love for Juliet; or the relationship of Daniel and Sam; or when Daniel meets Carol; or when the manager of Billy makes a comment about Elton John; or the narration in off in the beginning of the movie. I believe I could list many other magnificent moments, but better off the reader of my review rent or buy the DVD and have a good time. My vote is nine.
Title (Brazil): "Simplesmente Amor" ("Simply Love")
Becoming Jane
I saw this film on March 28th, 2007 in Indianapolis. I am one of the judges for the Heartland Film Festival's Truly Moving Picture Award. A Truly Moving Picture "…explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.
The "Jane" is Jane Austen and this is a fictional depiction of her young adult life before her novel writing career. I suppose half of the tale is based on fact such as she rejected a marriage proposal, and half the tale is made up to create engaging story-telling. But that's not important.
The essence of the story is the mores of proper English society around 1800. Woman had their place. And that place was to give oneself to an arranged marriage and become a dutiful wife and mother. It was even more important to be in these roles if you were a daughter of a minister of modest means who had lots of children to care for. Jane was one of those children.
But Jane has spunk and smarts and a stubbornness to live her own life as she sees fit. Anne Hathaway plays young Jane convincingly and Anne's good looks are played down as much as possible. It's Jane's inner self that makes her attractive and not her exterior appearance.
And she is so attractive that she has three suitors; the rich and dull one, the poor and roguish one, and a secret and nefarious one. This circumstance allows us to see England from the various social strata, which is fun and informative.
Jane, 200 years ahead of her time, shows beauty and grace and charm and spirit, and will not buckle to her day's lot in life. We should all have such courage "… to follow our bliss" knowing we have but one life to live.
FYI – There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.
Atonement
Wright shows us a beautiful, intriguing and dark painting called 'Atonement'. Based on Ian McEwan's novel, is based on three principal characters and how a lie told by one of them changes all three of their lives forever. The character Briony is one of the most interesting characters in recent cinema. While the story is impactful, 'Atonement' is also marvelous to look at. The frames, the amazing cinematography (especially long shots e.g. set in Dunkirk, closeups and underwater shots), the music and the sets and locations are more than impressive and highly add to the poetry of the story.
The complex characters in demand strong performances. Sadly, Keira Knightley does not impress. I've never thought of her as a great actress. Here, she just lacks the nuances of a woman of that time (the film is set in the 30s) and she seriously needs to eat. James McAvoy is great. Child actress Saoirse Ronan is brilliant (certainly not the irritating child performances we so often see in films). She underplays her part with a certain dignity. Romola Garai is phenomenal in a briefer role. Supporting cast, that includes Gina McKee, Brenda Blethyn and Vanessa Redgrave, is good (as the aforementioned actresses have hardly ever disappointed).
'Atonement' is cleverly told from two different perspectives, that of what really happened and what Briony thinks/imagined. At times, it the film's sudden shift of gear (e.g. switching to the war scenes) feels odd but it comes to an almost full circle towards the end. I found the smoking habit of the characters (which was sort of in your face) annoying. Also, at times, the pacing was very slow. The ending is quite profound and it is left for the viewers to interpret and to seek an answer to a question that will definitely stay in mind long after the film's ended. In one word, I'd describe this film as a brilliant piece of work.
Trainspotting
In 1996 John Hodge took Irvine Welsh's novel "Trainspotting" and with the help of Danny Boyle's direction created one of the most influential, modern cult classics Britain has to offer. Commonly ranked among the greatest films of the 90s; "Trainspotting" delivers satisfactory viewing every single time. The essential drug film.
The term "trainspotting" in this case, is not the non-drug based hobby, but has two meanings for this film. A) The act of "trainspotting" is UK slang for trying to find a vein to intravenously inject drugs. And B) A joke not featured in the film, but two of the characters go to a disused train station to buy drugs and say they are going "trainspotting".
Ewan McGregor stars as Mark Renton, a performance that put him on the map, a man who spends; or wastes, most of his time taking drugs with his friends in one of their apartments. Until he decides to finally pack it in and go cold turkey. We see the highs and lows of the drugs as Renton attempts to build a new life. He battles the strain and the influences of his mates; including Sick Boy (Johnny Lee Miller) a man who stops at nothing to take all, Spud (Ewen Bremner) a fast-paced anxious performance and Francis Begbie (Robert Carylye) a frighteningly intense character who is possibly my favourite of all-time; and Renton's sex life.
Vibrant colour is used to exaggerate the actions to intensify the imagery on screen. This also makes it stand out from other films creating a massive impact on the viewer. Unforgettable. The soundtrack consists of the pop culture the characters themselves love and some regularly featured in real life at the time. The film captures the era perfectly.
Danny Boyle's stylish direction is what mainly is so appealing about the film. Delivering an expertly structured adrenalin rush. The daring topic of the film was well perceived by critics and audiences to claim universal praise. But, they were still unsure if it was supporting drugs or an anti-drug film. In a way it is both.
We are guided through the film with Renton's narration, making it an extremely watchable viewing, one irresistible to want to experience several times. A hilarious triumph. This is movie-making.
Basic Instinct
The 90's was a decade that was blessed with many great movies, yet there are none greater than that of Basic Instinct. It is a truly great film. With Michael Douglas and Sharon Stone heading a wonderful cast, this was one of the great thriller movies I can remember watching. It had everything a movie could want, a bit of mystery, sex, intrigue and murder. There will need to be a pretty good movie to replace this classic from the top as one of the greatest all-time thrillers.
Nick Curran is a disgraced San Francisco police detective who helps investigate the murder of a prominent city official. Curran has a history of alcoholism and drug abuse although he is clean now. Catherine Tramell, the chief suspect, a spoiled rich girl with a background in psychology is toying with Curran's mind. When Curran is taken off the case, he enters into a dangerous relationship with Tramell, which could have bad implications. Soon everyone Curran comes into contact with turns into a suspect.
Undoubtedly, this movie is most famous for it's high level sex scenes that it contains. While I did enjoy them, they are overrated just a fraction. I must admit Sharon Stone has an incredible body and she certainly knows all the moves. These scenes also turned Michael Douglas into a sex manic of sorts and partially ruined his first marriage to Diandra Luker. Yet they create quite a mood for this film and are the main reason why it was the success it was.
The cast was great in this too. Michael Douglas is a Hollywood legend and this film only made him even more popular. His role as a the down and out cop was great. Douglas has some great films to his credit. These include Romancing the Stone, Fatal Attraction (not to similar to Basic Instinct), A Perfect Murder, and of recent Traffic (alongside his second wife Catherine Zeta Jones) and Don't say a word. Then what do you say about Sharon Stone? Before this film she was virtually an unknown, then she stormed on to our screens, without letting audiences take a breathe. Her film credits include The quick and the dead, Total Recall and The Specialist.
Other cast members include Jeanne Tripplehorn, who played Curran's ex-wife and Psychologist Dr Elizabeth Garner. Her role made me feel very anxious to realise what was going to happen. The sex scene involving her was a little hard to take. Then you have the good guy of the film, Gus, played by George Dzundza, but the way we see him go is also too much to handle. One other actress I did recognise, was Leilani Saralle, who played one of Catherine Tramell's gay lover's, Roxy.
Basic Instinct had a very good director, that being Paul Verhoven. He made this film extremely well and any other director might have got it wrong. He has made some other good films including Robo Cop, Starship Troopers and Total Recall. He did do one big flop, that being Showgirls. He commented on that film by saying `I think it was bad too'. I am sorry Paul, but you were right. Basic Intinct's script was pretty good in how it left you dangling. It was like you were in a big game of cat and mouse. I can understand that some people might not like it for that reason, but I thought it was good. The movie also had a great musical score attached to it, giving the movie a chilling feel to it.
So, all in all Basic Instinct is a film that I will always remember. It was so controversial that where I come from, I remember people needed to show there ID to get into the local cinemas, because of its sexual and violent content. I don't blame the cinemas for doing so, because it is not suitable for young eyes to see. If you want to watch a great thriller, then sit down and watch Basic Instinct. Trust me its ‘nice'!
The Devil Wears Prada
With dialog that absolutely crackles, "The Devil Wears Prada" is bound to please most audiences but will primarily appeal to the MTV generation, I suspect. When all is said and done, it's your typical fish-out-of-water, bright-lights-big-city fable, just dressed up all purdy.
Or, put another way, it's essentially "The Princess Diaries" with much, much, muuuuuuuuuch better dialog and a slightly more sophisticated and dramatic story arc.
So while older audiences may feel the film is a bit formulaic, the hysterical, but occasional cruel, one-liners and zingers hurled at Anne Hathaway's Andy are sure to keep them entertained. Stanley Tucci and Emily Blunt get most of the barbs, and Blunt in particular is fantastic in the film.
Tucci and Meryl Streep, however, get to make the most provocative and stirring speeches in the film, and they deliver. Hathaway capably carried the movie, perhaps overacting, but she makes it work. Streep proves again that she's a gifted comedian. Emily Blunt, as Emily, is pitch perfect, and her performance here gives beautiful irony to her given name.
The film is just too long, however, primarily because the director feels obliged to explain everything -- every plot point is rendered obviously and painfully clear, and nothing left open for interpretation. That said, we're spared the "perfect ending" and left with a heroine who can truly stand on her own two feet, and in any shoes she might desire.
Forrest Gump
FORREST GUMP (1994) **** Tom Hanks, Sally Field, Robin Wright, Gary Sinise, Mykelti Williamson. Brilliantly directed and inspiring comic drama about the truly extraordinary life and times of mentally challenged Forrest Gump (Hanks in the best role of his career won his second Best Actor Oscar in back-to-back winning roles), a simple, honest, and decent man whose childlike innocence is his lucky charm through his altering experiences that span the past two decades flawlessly. Mind-boggling Oscar-winning computerized effects by Industrial Light & Magic has Gump meeting the famous and infamous. Hanks is a wonder (dare you not to get a lump in your throat when it finally registers that he has a child - watch his face!) and gets fine support especially Wright as the love of his life and Sinise as his best friend (Best Supporting Actor nominee) superior adaptation of Winston Groom's novel by Eric Roth (also an Academy Award recepient) that truly captures lightning in a bottle. Oscars also went to director Robert Zemeckis and for Best Picture. *** One of my all-time favorite flicks. I still cry, particularly Forrest telling Jenny why he loves her so much ("You're my girl!") and at the gravesite when the birds fly overhead.
No Country for Old Men
I won't take the time to write a review for this movie--it's not worth the time. Besides, there are many reviews written by others sharing similar feelings about this movie who have described its lack of merit much more eloquently than I could. I just want to say that I'm glad I didn't spend good money to see it.
Although I did enjoy the acting talent of Tommy Lee Jones, Josh Brolin, Woody Harrelson and Kelly Macdonald, the movie itself left me totally unfulfilled. There are more plot holes and leftover loose ends than I can enumerate. How this movie received an academy award nomination is beyond me. The Coen brothers must have a lot of voting and review-writing friends.
There Will Be Blood
Words don't describe Paul Thomas Anderson's latest epic film project, and he doesn't let them dominate the story either. A significant chunk of "There Will Be Blood" has no dialogue and the ability for it to stay so captivating is only a testament to Anderson's incredible ability to tell stories about people through images that says more than about what's happening.
Anderson's weapon in this film is no secret. It isn't often Daniel Day-Lewis's name shows up on a marquee these days, especially when it's not tied to something that is sure to be good. This latest choice of his, however, is better than good and so is he. His character, Daniel Plainview, a self-proclaimed "oilman," is deeply complex and troubled. The way that Day- Lewis plays the lighter parts and seamlessly transitions to the darker parts is chillingly believable. Plainview is not only interesting, but he's embraceable, despicable, amusing and frightening all throughout the film.
The only truly supporting cast is his son and a self-proclaimed prophet that he comes into complications with played by Paul Dano (Little Miss Sunshine). Dano's performance is unfortunately shadowed by Day-Lewis and it does feel like he was too young to be cast, but the 23-year-old is highly impressive and will perhaps be a marquee name in the near future.
"Blood" is otherwise the strength of Anderson and his crew. The original score by Jonny Greenwood, who is mostly known for his guitar skills in Hollywood, brings something abstract that simultaneously fits the film's generally quiet demeanor using a variety of percussion sounds and few musical notes. While some films prefer soaring John Williams themes, Greenwood's theme for "Blood" is one dissonant chord and a sound effect that can be best described as a more painful version of the THX sound system effect. It's harsh, but so is the film. Anderson makes every moment count whether it's when there's music or where he puts the camera.
To best describe the film in terms of people familiar with Anderson's work, it's his first film that truly translates to the interests of all dramatic film-lovers. It is distinctly his film, yet viewers will be able to grasp it much more easily than the abstract and obscure multiple storyline nature of "Boogie Nights" and "Magnolia." For people new to his work, be prepared to feel some discomfort, but if you pay attention to the way the story is told, then you'll find the mastery of "Blood."
Lars and the Real Girl
If anyone had told me I would one day be crying during a movie about a man and his blow-up doll, I would have called them a liar. But, here I am, going through at least 3 Kleenex even after the movie is over. Lars and the Real Girl is a touching, quirky film that is a lesson in why people do the things they do. Anyone that is interested in social work, counseling, psychology, or ministry should watch this movie.
Lars is a quiet young man (probably 30s) who does not like to be touched. He works in a cubicle in some random office. Currently, he lives in the garage of his childhood home. His brother, Gus, and new wife, Karin, live in the connected house and are expecting a child soon. Karin puts a great deal of effort into trying to pull Lars out of his shell. Gus, on the other hand, thinks Lars is happy how he is. It's his choice to spend time alone, isn't it? The status quo is shaken up, however, when Lars brings home a new girlfriend. Her name is Bianca, and she is a blow-up doll. But Lars doesn't realize this, or if he does, he doesn't acknowledge it. She is, to him, real. He talks to her as if she is. For everyone who thinks sounds disgusting, take note: his relationship with Bianca is not sexual by any means. On the contrary, Bianca used to be a missionary and the two of them insist that Bianca sleep in the house instead of in bed with Lars in the garage. I say the two of them insist because Lars actually seems to hear answers when he asks Bianca's questions.
At first everyone is shaken up. The four of them go to the family doctor under the guise of needing to make sure Bianca is in good physical health. Dr. Dagmar suggests to Gus and Karin that Bianca is here for a reason and they should just ride it out. She asks Lars to come in once a week to make sure Bianca is all right. While they wait for the treatments to take effect, Dagmar and Lars get a chance to talk, and voilà, Lars is in counseling without him even knowing it.
Karin wants to do what is best for Lars. Gus just wants this little problem to go away. This is making it all too apparent that maybe things aren't all right with this family. On the positive side, Lars starts spending more time around other people. People of the town, including preachers, hairdressers, and hospital workers, all treat Bianca as if she is real. This seems to give Lars to courage to come out of his shell, but he isn't the only one who changes.
Bianca helps this community and this family come together in unexpected ways. The acting is superb. Ryan Gosling as Lars is sure to get an Oscar nomination. Paul Schneider as Gus is the perfect brother who would rather bury painful issues than deal with them. Patricia Clarkson as Dr. Dagmar is a truly compassionate doctor that would put any counselor to shame.
Lars and the Real Girl has now moved up to my top favorite movies of all time. Anyone who sees this movie will be pleasantly surprised. During the movie, I saw one couple get up and leave. I have no idea what they could have been offended about. There is nothing sexual or gross about this movie. The blow-up doll merely becomes a physical embodiment of one man's terrible loneliness in a world where he was heartlessly abandoned.
Le Scaphandre et le papillon
How much do we really communicate? Can you tell me what you're thinking? What you're feeling? Not an approximation, but exactly? To find a common language, a window of trust, and to communicate experience! To see inside the mind of an artist. Or for the artist, ours. If we find that common wavelength, can we dive in? Let the 'butterfly' take flight from its dark chrysalis? The interior world of another. The inscrutable depth of another person's individuality.
The first movie I saw by neo-expressionist painter Julian Schnabel was Before Night Falls. In that film, the artist was trapped in prison, quite literally. Which presented great communication difficulties for him (in giving life to his novel in the world). In this film, we have examples of people trapped or imprisoned in different ways. A man who had been taken hostage in Beirut. An ailing father who has difficulty climbing stairs to and from his apartment. Both are trying to reach out to the main protagonist. Bauby. An amazing and successful socialite who's in his very own 'prison.' Bauby has secured a publishing contract when tragedy hits. A stroke causes 'locked in' syndrome and he reviews his options as an author. The book he writes, and on which this film is based, is the one he is remembered for. I haven't read it. But his powers of expression, glimpsed in the film, make me want to buy it. The book he nearly wrote - a re-write of the Count of Monte Cristo - would probably be pulped. (But I wonder if that was poetic embellishment - Dumas was the first person to describe locked in syndrome in the person of Monsieur Noirtier de Villeforte, a Cristo character).
How many people know of Jean-Dominique Bauby, former editor of Elle fashion magazine? It doesn't matter. But what does matter is experiencing his ability to discern, his articulate vision of beauty. Not as science, but as an education of the senses (and this is a sensuous and evocative film).
Why is The Diving Bell and the Butterfly so successful? A French language film picking up four Oscar nominations is remarkable. (The American director insisted on authenticity and made it in France and in French.) I suspect the consummate vocabulary of metaphor it uses is partly responsible. It makes the challenge facing Bauby a global one and relevant to everyone's life. None of us communicates perfectly, after all. Words left unsaid, to friends, to lovers, because we didn't find the 'right' words.
The speech therapist who breaks through Bauby's barrier is excellent. Her motivation is, here is a man she respects and admires. It is also the biggest challenge of her career. Bauby's sense of humour, voiced as interior dialogue, is scathing. His lecherous thoughts about the therapist are tempered with good taste and his incorrect jokes about his own condition.
Bauby starts to write his novel and his sense of poetry bursts through. We feel a glimmer of a mental rush associated with artists, explorers and adventurers. The Diving Bell and the Butterfly is the adventure of life and death. Not in Hollywood terms with big explosions. But with sensitivities, with meanings. It has a 'reach out and touch' quality. A Laughing Buddha whose joke we've missed (but might catch on another occasion). It is the most awesomely beautiful film I have seen for a long while.
Schnabel's thing might be helping us taste something we might otherwise let go unnoticed. In Basquiat, he introduced many people to the artist Basquiat, but also to the revered and misunderstood Warhol. (And if you want to understand someone as weird as Warhol, understanding the contemporaneous – and only slightly weird - Basquiat is maybe a good place to start.) Here, his insight is transcendent. The film is a work of art. About a work of art. The use of visual metaphor and an excellent script lets us use Bauby's condition symbolically. Ingenious editing keeps us on the edge of our seat, especially towards the resolution, as we race to work out how a drive in the countryside will end.
The only scene I could find a flaw in was where he shaves his father. The sound of the rasping blade as he shaved his dad troubled me – if it was added afterwards I think it was overdone and distracting. But the scene was an emotional building block. And much of our story is told like this, through flashbacks. With his beautiful ex-wife. With his children. With his lover. And with his father. People with whom, like most of us, he still has one or two little unresolved issues. They made me wonder if we make too little effort to communicate when it seems easy to do so.
The film successfully mixes a down-to-earth style, great special effects to see through Bauby's one remaining eye, and jaw-dropping montage. As we observe mundane details of our hero's life falling apart or reaching fulfilment, the camera cuts to ice fields collapsing into the sea or winding back in reverse motion. Or there will be a sudden switch to sensuality as he guzzles wine and oysters in a swank restaurant, feeding and being fed by his lover. Janusz Kaminski, the cinematographer for countless Steven Spielberg's, excels, as does Oscar-winning screenwriter Ronald Harwood.
It should perhaps be noted that the film has not been immune to attempted high-jacks by groups with their own agendas. The Catholic News Service hailed its 'life-affirming qualities' compared to another great film it denigrates, The Sea Inside. Although locked-in state is a rare condition, few individuals experiencing it are likely to have the wealth and resources, public acclaim and reason to live that Bauby had. The situation of Ramon Sanpedro (The Sea Inside) might be a more common one.
The Water Horse: Legend of the Deep
Heartwarming family entertainment. This movie has the feel of "ET" and "Dear Frankie" another great Scottish film. The setting is near Loch Ness in Scotland during World War II. The landscape of Scotland is a beautiful backdrop for the movie and the character of Angus just finds his way into your heart. There is laughter as well as many touching scenes. Of course, there is the anti-hero, there always is. And the war in Europe is also a "character" in the film as it affects people's lives. The theater where I saw the movie had many children in attendance and they all seemed to love this movie. And there is enough in the story to keep the adults involved also.
Into The Wild
I saw this movie at an advanced screening in Nashville on August 23, 2007. Although it was a little long, it was a great movie.
The movie follows an Emory grad who struggles to find the meaning of life. He travels across the country (ultimately to Alaska) and along the way he touches lives and becomes a man.
This movie really makes a person reevaluate their priorities in life and I personally found it to be inspiring. The director did a beautiful job with the story line and the landscapes were incredible.
Vince Vaughn plays a small part and is his usual lovable self. Emile Hirsch was wonderful and has a bright future in acting.
One shocker was the random brief nudity of men and women.
This movie is worth seeing at least once.
Juno
If people didn't realize what a joke the Academy Awards have been, certainly Juno will go a long way to show just that.
Juno is nothing but a huge PR campaign masquerading as an indie film. That's exactly what the Academy wants to be known for.
The fact that Juno is completely fake, from the absurdly hip bio of its writer to its forced (supposed) humor is what the Academy is all about.
Academy Awards have ceased a long time ago to be about quality. That's why they love Juno. They saw the hundreds of trade ads and voted for Juno, and the other films that bought cover ads in Variety and the Hollywood Reporter.
It may be good business for trade newspapers, but it's a shame for film and for the public.
Hotel Babylon
Another Show putting the BBC back at the top of UK Drama.
This is another show on the BBC that just fills me with joy! For so long I have been deeply depressed at the state of UK TV. Channel4 came up with "Big Brother", and suddenly it was reality TV on every channel. Now it may be just me, but I get enough reality watching the News channels and getting depressed. I have craved good drama for years now. Drama should be a little escape from reality, a break from the news, an hour to 'switch off' and immerse yourself in another World, like a long hot bath! Drama on UK TV has been very poor of late. The soaps are being run almost nightly, and I felt that these almost daily showings are leaving the writing teams really pushed for more desperate ideas. We have had a couple of gems now and again ("Queer as Folk" for example). So you cannot imagine my delight when I heard the BBC were resurrecting "Dr Who". Russell T Davis at the helm (a writer I have worshiped since I watched Children's TV!) and a cast and crew that should be envied the World over I was excited. Sure enough, "Dr Who" was a sensation! Suddenly there seems to be a resurgence in drama on UK TV. No offense to my American buddies (responsible for 24, QaF, Sex and the City, 6Feet Under et. all), but it is great to see UK Drama coming back with the quality and care the US throws at a lot of it's Dramas. I must at this point, thank HBO for all they do for drama in the US :) So, onto "Hotel Babylon".
This show is a wonderful creation, and another great commission by the BBC. A collection of individual stories that can be watched independently of each other and enjoyed. However, the Hotel staff are a great excuse for building a story arc as the series develops and you become attached to them emotionally. The stories contain humour, and moral conflict that makes you think. This is not 'brain death TV' but something and some people you become involved with. This cannot be praised highly enough.
The cast are superb, totally superb. The writing is clever and wonderfully woven, and the editing makes the show a beautiful thing to watch. The sets are lavish and totally believable, the lighting is perfect, the sound track (VO and music) is wonderful. This is a show that I hope has been filmed in HD, so we can really appreciate the work done by both crew and cast in this wonderful format even more on DVD (HD or Blu-Ray, I don't care!) release.
Please give this show a try, and I truly believe you will not be disappointed. Do not expect "Fawlty Towers". Expect a lavish well made Drama, that will excite and engage. I thank the whole team for such a great job.
With a growing portfolio, "Hotel Babylon", "Doctor Who", and "Sea of Souls" to name but three, I am quietly hopeful the BBC has passed it's 90's "Reality" phase, and now are back into GREAT Drama.
Mad Men
Mad Men is AMC’s provocative new original series from writer and executive producer Matthew Weiner of The Sopranos. Set in 1960 New York, Mad Men pulls the viewer into an unexpected new world - the high-powered and glamorous “Golden Age” of advertising - where everyone is selling something and nothing is ever what you expect it to be.
