REVOLUTIONARY ROAD (REVIEW)

Stars: * * * * (4/4)


                                                                                                      

The picturesque conformist view of the ideal, or "common", human life is actually quite depressing. Let's just think about this for a second: we go through childhood, youth and finish high school. Then we move onto College and University and into careers. By the age of 30 society looks down on us and says: "When are you going to settle down, get married, have kids and move into your ideal suburban home?".
This seems to the accepted norm of society: school, job, marriage, kids. And people are just seen as the pieces that match this puzzle, with each new generation leisurely stepping into take their place. "Revolutionary Road", adapted from the acclaimed novel by Richard Yates, explores these themes in depth. Set against the backdrop of a suburban neighbourhood of the 1950s, a time where conformity was never questioned and every man wore grey suits and took the train in silence to work, the film masterfully portrays a trapped couple struggling to come to terms with their place in society.

The film starts off at a College party where the young men and women mingle amid 1950s dance music, smoke and cheap liquor. It is here where Frank Wheeler (Leonardo di Caprio) meets his future wife April (Kate Winslet). They ideally discuss their lives, the future, and all the things that they want to become. Whimsically they fall in love. Before this we are taken to a play recital where Frank watches April from the crowd. The final curtain closes and the mutterings of the audience, and the expressions on Frank and April's face tells us it didn't go well. April hides backstage, ashamed to face the audience and her husband, wallowing in self-pity. Frank begrudgingly makes his way to the dressing room, conjuring up what he is going to say to mask what was an embarrassment. He tries to play the role of the doting husband, but April sees right through the facade and immediately shuns any sympathy or attention. Their marriage is strained, and life is taking it's toll. The shot of them walking down the corridor from a distance, and as it gets closer Frank edges forward creating even more distance between them, is masterfully done. Immediately we are shown this is not a happy couple, life has crushed their idealistic young spirit, and life is taking it's toll.

The Wheelers' live on Revolutionary Road in a house shown to them by Mrs Givings (Kathy Bates). Everything about their lives conforms to the ideals constricted on them by society. April is a stay-at-home mother with two children who doesn't have a job. She does housework, cooks and cleans, and entertains family guests politely and with a nice cup of tea. Frank drives his car to the train station where he takes the train to work. Dressed in a grey-suit and tie, he sits and reads the paper like all of them. Like all of them, he gets off the platform and walks to work where he does a mundane job in a mundane office environment.
The scenario is so plain and realistic it is almost painful to watch these two ordinary souls torturing themselves and making their lives a misery.

But it is April, who seems the more willing to take the leap, that makes the first step. She suggests moving to Paris as a way to start over and experience a new life where she would work as a secretary and Frank would take time to "find himself". Frank eventually agrees, and through their hope for a new beginning we see radically different people; both are invigorated, confident and willing to challenge anything and anyone. This notion challenges the accepted norms of gender roles that were clearly defined and unchallenged during this time period.

Of course, life happens when April finds out she's pregnant, and it is here where their worlds come crashing down. Frank receives a huge promotion that promises more money and prestige, and he is willing to take it to play his role as loving husband; April doesn't find acceptance to easily. The couple is challenged by John Givings (Michael Shannon), Mrs Giving's son, who readily speaks the truth openly and without thought of consequence. He is the only one that plainly tells them what they are thinking and what is happening, and as irked as they are, deep down they know he is right.

"Revolutionary Road" will no doubt draw comparisons with Mendes' earlier work in "American Beauty", but what makes this different is that whilst "American Beauty" idealizes the truth of beauty and looking deeper, "Revolutionary Road" goes to a whole new level of unraveling the unique pain and emotion of life. It goes even deeper. The acting in this film is also amazing with both Di Caprio and Winslet giving riveting performances, but it is Michael Shannon that steals the show in the short time that he is on screen. He is the window into their souls, and as he looks in it just gets blacker and blacker.

If you're expecting a happy reunion of Kate and Leo from "Titanic", or believe this is the ending it could've had, think again. "Revolutionary Road" is a dark character study that explores the depths of our souls, and only those brave enough to want to see it will find this rewarding.

TALLADEGA NIGHTS (REVIEW)

STARS: * * * (3/4)
                                                                       
"If you ain't first, you're last". These are the words that govern Ricky Bobby's life, from a naive 10-year-old-boy to a 35-year-old professional race-car driver.

Talladega Nights is a spoof comedy about Nascar driving, chasing ones dreams, and trying to get up when knocked down. Directed by Adam McKay (of "Anchorman" and "Step Brothers" fame) we are given an hilarious set-up involving Will Ferrell as Ricky Bobby, a man abandoned by his father (Gary Cole) at 10 and living by the motto "If you ain't first, you're last", the last words his father said to him at his school's career day.
Ricky starts off working on the track for the worst Nascar franchise, swiftly changing tyres and enjoying after-work drinks with his crew and best-friend Cal Naughton Jr. (John C. Reilley). His life changes when he takes over from the main driver and races forward to place third in a race. Ricky is not used to the life of a rich star, as can be seen in his awkward post-match interview where he doesn't know how to use a mic and what to do with hands. However, the owner of the franchise signs both him and his friend Cal up as new drivers for the team, and the two start taking Nascar by storm. Ricky wins practically every race, sometimes using Cal to help edge his path to the front. Soon afterwards fame and fortune come easy to Ricky as the sponsorship dollars and women fly in to his path. He develops a cocky, arrogant attitude of the untouchable sports-hero, at the top of his field and without a care in the world. And this is where Will Ferrell places Ricky so well; displaying this cock-sure man who is willing to exploit his best friend to get to the top, yet at the same time revealing a man that, when truly challenged, questions his own ability to succeed and do the right thing.
However, he is given his ultimate foil when Jean Girard (Sacha Baron Cohen), the most successful driver in Formula 1, arrives on the scene ready to challenge Ricky's claim to being the "best driver in the world". Baron Cohen plays Jean Girard, a gay Frenchmen who loves Jazz music and reading French novels whilst driving on the track, brilliantly as he, Ferrell and Reilley balance each other out perfectly. Other members of this ensemble include Jane Lynch, Michael Clarke Duncan and Amy Adams.

What makes this a little different from other Will Ferrell comedies (aside from some slapstick jokes and Ferrell's obligatory 'rage' scenes) is that the characters are overall better written, and the cast blends together to give the viewers lots of laughs. The script in this movie is one of the best for a Ferrell comedy, as is the direction from Adam McKay. The racing scenes are also impressively dealt with and could've been made to look hideous, but because this is done properly, it gives the film some level of authenticity.

But what I like about Talladega Nights is the overall message it is trying to portray, that of not just how easy one can rise to fame in sports and experience the high-life, but how easy one can fall from that too. I often sit and marvel at the exorbitant salaries of British football players, or American sports heroes, and how the arrogance seems to rise to extreme levels. Well this movie takes these elements and shows us that we should do something first and foremost for love and enjoyment.

Let the fame and fortune fall where they may...

SEMI-PRO (REVIEW)

STARS: * *  (2/4)

"Semi-Pro" takes us back in time to the 1970s, where out-of-proportioned afros' hairstyles, funk music and pimped-out automobiles ruled the streets.

It starts off with Jackie Moon (Will Ferrell in yet another outlandish character role), owner, player, coach and power-forward for the Flint Michigan Tropics (a team in the Amateur Basketball League) introduces himself and his team to the sparse, yet enthusiastic crowd. From the montage beginning we know who he is: he is a one-hit wonder singer, with his once-popular song "Love Me Sexy" soaring to No.1 on the charts. With this came a fortune, which he chose to invest into an Amateur Basketball franchise. And as the ringside announcers Lou Redwood (Will Arnett) and Dick Pepperfield (Andrew Daly) remark, it's his money, he can do with it whatever he wants.

The plot of this story is pretty straightforward: the Tropics are bottom of the league, can't sink a basket to save their lives, and are faced with impending financial doom. The tension is increased when it is announced that they can save themselves by finishing fourth and being absorbed into the NBA. With this bait, Jackie enlists the help of seasoned pro Monix (Woody Harrellson), a player that in his career has punched and hit basically everyone at the Tropics. With this comes a really disturbing romantic side-plot involving a reluctant ex-girlfriend (Maura Tierney) and her obsessed boyfriend (Bob Coddry).

We have come to expect a specific character and brand of humour from Will Ferrell, and it's no different here. His character basically transports himself from Talledega Nights, with his usual rants and self-absorbed behaviour. Except instead of Nascar racing, we have Basketball. His character was funny in Talledega Nights, but here it just seems to be a bit overplayed, and whilst it does have its moments, in the end it does fall flat. The jokes seem to be repeating themselves.

What does make this movie worthwhile for a laugh though is the strength and acting of the supporting cast, noticeably from Woody Harrelson whose character perfectly finds the balance needed in the story. He plays his character in a serious overtone, and that is what makes it funny when you put it against the backdrop of the ridiculous Jackie Moon, 70s setting and Tropics franchise. Andre Benjamin, from the hip-hop group Outkast, also surprises in his role as Clarence, the team's best player who dreams of bigger and better things (AKA, the NBA). These characters are the most well-written and rounded. The most laughs though definitely come from the duo of Will Arnett and Andrew Daly, whose banter in the background is both brilliant and clever.

Semi-Pro is not a bad film, and there are lots of laughs, but if one is not a Will Ferrell fan one will struggle to find them. The film does a good job of taking us back in time to the era of the 1970s, with outlandish costumes and a funk-ridden soundtrack. In the end, the overall story and sometimes distracting direction is what lets this film down in the end. Definitely for Will Ferrell fans only.

 

THE HANGOVER (REVIEW)

STARS: * * * * (4/4)

                                           

A trashed out luxury suite. Smoke rising, big-screen TV's smashed, empty beer cans strewn throughout, a random chicken running around, and a tiger trapped in the bathroom. These are just a few of this film's ingredients. Add all this together and you get comic perfection. The Hangover was the best comedy released in 2009, and to my mind the most memorable of recent years. It has a cleverly constructed script with lots of gags, funny situations and believable yet outright outlandish characters.

The Hangover starts out on a dusty road outside Las Vegas where three friends have lost their friend and can't find him. Ordinarily this wouldn't be that funny. But the fact that he is getting married that day makes for a brilliant scenario that makes for great viewing.

Our boys are in a battle against the clock. The story is told in a sort of flashback to the day before, where the gang sets off for Las Vegas to party it up before Doug's (Justin Bartha) big wedding on Saturday. Phil (Bradley Cooper) is a school teacher, but he definitely hates his job, tricking the kids into thinking they're paying for a field-trip by actually funding his Vegas trip with their money. He also says to a boy who approaches him after school: "It's the weekend, you do not exist!". Stu (Ed Helms) is a doctor (sorry, dentist) that seems unable to break away from his domineering fiance, and seems totally devoid of any kind of confidence or self-respect. Alan (Zack Galifinakis) is Doug's soon-to-be brother-in-law who tags along for the ride. Alan is a bearded, pudgy middle-aged man, yet has the playful innocence of youth: he is obsessed with counting cards, Rain Man and illegal things one can do on airplanes. This is Galifinakis' break-out performance, and he really shines here. He could've easily overplayed his character, but he keeps it simple, and we grow to love this little man who really cares about people and just wants to be part of the group.

The gang (or "wolfpack") check into Caesar's Hotel, and embark on a night they'll never forget. Of course, the opposite happens and they forget everything, including where Doug is. The film then sets out to retrace their steps in their search for Doug, and we are given many memorable situations, characters and cameos.

What makes this movie different to any other of it's overplayed genre is that the comedy seems natural and fresh, and doesn't rely on seemingly unplausible situations or events. This could very easily happen, and yes there are one or two things that seem a little far-fetched, but the balance gets it just right. Todd Philips (of Old School fame) takes a gamble by casting relatively unknowns as the leads, and it pays off handsomely. I think that's what gives it it's "freshness" is that we haven't really seen these people before, they seem more real. The script is really well-written and everything about the film is authentic.

This is not just a good comedy, it's a great comedy. You'll join in with the boys as they search to find their friend, but their friend also becomes "your" friend, such is the film's touch. As the film states: "What happens in Vegas stays in Vegas". Well, this film will stay with you. That is a guarantee.

OFFICE SPACE (REVIEW)

 STARS: * * * * (4/4)
                                      
                           

"Office Space" is one of those movies that wasn't exactly appreciated like it should've been upon its release in 1999. In the 12 years since its release it has grown, developing a cult-following of dedicated fans who empathise with the characters and understand what the movie was meant to achieve.

"Office Space" is an extremely clever and well-executed satire of Corporate America. It looks at business situations and models, from middle-management to cubicle-confined workers who rely on their weekly paychecks to survive. The movie opens brilliantly where we are introduced to the characters we love in situations that pretty much everyone who has worked in an office environment, "9-to-5" type job has experienced. Stuck in the grind of traffic, where the cars literally have come to a complete standstill. Peter Gibbons (Ron Livingston) drives through traffic, going along with the slow grind of the rest of the world. He is stuck in a lane that doesn't move at all, where he looks to the sidewalk and sees an emfeebled old man with a walker going faster then him. He looks to his left and sees that the lane is starting to open up, the cars are moving swiftly. So he joins the lane, only for it to come to a halt, and funny enough the lane he has just left is now moving.
This sets up Peter's situation and the rest of the film perfectly in the sense that, no matter what one is doing and what environment one is in, there always seems to be a better, more attractive option nearby. The trick is, how do we get there?
Peter works for Initech, where his job is to update bank software for the "2000 switch" (remember the Y2K phenomena?). His best friends are Samir (Ajay Naidoo) and Michael (David Herman), software engineers who, like Peter, feel their souls being crushed by the Corporate world. Peter is plagued by his annoying boss Bill Lumburg (Gary Cole), who seems to purposefully insense Peter with his constant requests regarding mission statements of TPS reports. The basic plot is that after Peter seeks help from a psychotherapist, he makes a "revelation" that changes him, where he decides to "rebel" against the establishment...taking Michael and Samir with him.
The other characters in Peter's life include Milton, the self-obsessed, excluded individual (brilliantly played by Stephen Root) whose obsessions with his weekly paycheck and a red-stapler adds to the comic touch of teh film. He is a character that can't be heard and is ignored - haven't we all felt like that? Peter lives next-door to Lawrence (Deidrich Bader), a hill-billy type character reminiscent of Seinfeld's Kramer.

I won't give away too much of the plot here as it would spoil the authenticity of the film. But what makes this film so good is not so much the plot, but the simplistic yet very human characters that we can all easily relate and root for. They aren't "Hollywood" macho-men stars, but just simple, ordinary guys who are making a living. The film also has appearances by Richard Riehle, John C.McGinley, and Jennifer Aniston as Peter's love interest. There is also a brilliant cameo performance by an inanimate office object who provides one of the greatest comic scenes of all-time, but I'll let you watch the film to find out for yourself.

"Office Space" is the film that lets us escape into a fantasy where we can let our not-so-wild dreams fill us with amusement and joy. The production design of the film, with the grey-gloomy colours, confined spaces and cubicles sets the tone for the action to take place. Director and Writer Mike Judge has given us a modern-day comic classic, that I'm sure will be cherished and discovered by many frustrated individuals for many years to come.

MOVIE NEWS 2011

JAMES BOND 23 (2012)

It seems "Bond 23" has gone into pre-production with filming set to start in about Oct/Nov 2011, due for a late 2012 release. Daniel Craig is back to reprise his role for the third time as Bond, as well as Judi Bench. The villain has not yet been named but its been rumored that Javier Bardem or Ralph Fiennes will take the role. Sam Mendes is attached to direct, which is an interesting choice. Mendes is more known for his intricate dramas, such as "American Beauty" and "Road to Perdition", and hasn't really done an action/adventure type film. So it'll be interesting to see how this turns out. If he's given a good script and story, this could be a very different-looking Bond movie. It is rumored that Mendes also wants to reunite with cinematographer Deakins. The two worked on "Revolutionary Road" and have both stated they'd like to work together again. If Deakins comes on board, we can at least be guaranteed that the film will look good. Either way, it can't be any worse than "Quantum of Solance"....can it??



THE HANGOVER PART 2 (2011)

I'm not sure how I feel about this. The Hangover was genius, the best comedy in years. A sequel is risky because if it fails, it threatens the authenticity and brilliance of the original. The basic premise for this one is the gang (or wolfpack) head to Thailand for Stu's wedding. The original cast is back, which is a good thing. Liam Neeson also makes a cameo. Release date will probably be in the Summer (US). Here's a "teaser" for the film:

http://www.youtube.com/watch?v=PB0fCP7Nj3w

THE INVENTION OF HUGO CABRET (2011)

Martin Scorsese has wrapped up filming for his new film, "The Adventures of Hugo Cabret". This is a vastly different project for Scorsese, who is well known for his gritty crime-tales and suspense dramas. "Cabret" is a children's fantasy tale, starring Chloe Moretz (Kick-Ass), Sasha Baron Cohen, Ben Kingsley and Jude Law. The film is set in the 1830s in Paris, so it'll be interesting to see the production design and feel of the film. Scorsese has also ventured into 3-D for the first time. Release date is in December 2011.

 (Scorsese on the set of Hugo Cabret)

J.EDGAR (2012)

Eastwood is busy filming his upcoming film J.Edgar, a biopic about FBI boss J.Edgar Hoover, starring Leonardo di Caprio, Armie Hammer (The Social Network) and Naomi Watts. It is slated to be released in 2012, but Eastwood shoots and edits his films fairly quickly so expect a late 2011 release.

Here are some pics from the set:
 (courtesy of napiersnews.com)

 (courtesy of buzzhollywood.com)

ACADEMY AWARDS 2010: My Final Thoughts

                                                    

Well, the Awards season for 2010 is finally over. Thank Goodness! It's been a long, arduous see-saw season that left even the most hardened pundits confused. That being said, the final push of momentum saw The Kings Speech over the line, beating out early favourite The Social Network. I've never seen a season where a film dominated the first half of the awards, literally trumping all opposition, only to be overtaken in quite an extraordinary turn around of fortune. After Network triumphed at the Globes, I felt certain nothing would stand in its way.

But I was wrong.

From a personal view point, I was happy The Kings Speech walked off with the big prize. It came down to a choice between Kings Speech and Network, and to be frank, Speech is a better more satisfying movie. But maybe I wanted it to win mainly because I didn't want to see Network win. If it were my choice, I would've given out the Best Picture award to Toy Story 3, with Inception being a close second. However, the Academy refused to embrace the animated genius, and opted for the more conventional choice.

I made my predictions this year in the hope of trying to get 20/24, which is a difficult feat because of the smaller film categories (like Live Action Short Film, which is a gamble). Added to that the close races in some categories, and the odd surprises that come up every year, getting a 80% successs rate is hard.

The night started terribly for me as I got none of the first four awards! So in order to get my aim, I would have to get every award right for the rest of the night. I knew I wasn't, but in the end my total added up to 17/24. Not a bad effort.

My take on the awards? Well, the show was pretty boring as usual. The hosts simply didn't click: James Franco, whilst a fine actor and my choice for Best Actor of the year, looked asleep half the time; and Hathaway's cheerful presence did seem to slightly grate some people. Billy Crystal was great in his short apperance, and I wish the Academy would bring him back. Or Steve Martin. Or how bout giving someone like Conan O'Brien a chance? He hosted the Emmys in 2007 and was hysterical.

The awards itself? Well, I predicted a sweep for The Kings Speech, but it didn't quite dominate the technical categories as I thought it would, losing awards such as Art Direction, Costume and Score. The big surprise for me was seeing Inception win Best Cinematography over True Grit, which was the universal favourite for this one. Toy Story 3 of course picked up Animated Feature, and it was nice to see Randy Newman take the Best Song award. Inception garnered 4 technical awards, as I knew it would, in the Visual Effects and the two Sound categories. The Fighter took home Best Supporting and Best Supporting Actress awards for Christian Bale and Melissa leo respectively. I was glad to see Bale win because he was great in his role and has had a fantastic career. Of the major categories, Leo's win was the only one I got wrong. In retrospect I should've gone with her as she was the favourite, but I had a hunch she may have lost friends in some quarters due to her personal campaign methods. I was wrong. Personally, I was not happy to see Leo win as I felt she didn't deserve it. My personal pick would've been Amy Adams who was much more convincing, and if not her then Hailee Steinfeld. I correctly predicted Original Screenplay to go to The Kings Speech and Adapted Screenplay to go to The Social Network, whose only other prizes was Editing and Score (which was a bit of an upset as I thought Speech would take this).


                      

Firth and Portman won Best Actor and Best Actress - no surprises there. But the award that was the most interesting of the night was definitely Best Director. In fact, I was on the verge of thinking: "Oh my word, Social Network is going to take this!". I thought this because Speech wasn't sweeping the tech categories like I thought, and Fincher was kind of the 'favourite' for the award. However, when they read Hooper's name, I knew it was all over. Spielberg stepped up and announced the Best Picture for 2010 as "The Kings Speech". Harvey Weinstein has the final laugh. And the King is crowned.

There will be a long debate as the years go by as to the legitimacy of The Kings Speech's "Best Picture" win. Many will cry that The Social Network was snubbed, and will cry foul. I, however, think that BOTH these pictures weren't the best of the year. But, history can't be changed.
Network fans can take comfort as they fall into the category of The Shawshank Redemption, Apocalypse Now, Pulp Fiction, Goodfellas, Taxi Driver, Raging Bull (and many many others) of films that didn't win Best Picture...

As Spielberg said, "That's not bad company" to be in... don't you think??