AMERICAN BEAUTY (REVIEW)

STARS: * * * *  (4/4)

If I were to have told you that "American Beauty", a film released to much critical and commercial acclaim, was directed by a debutant, you'd probably have doubted that statement to every degree possible. How can a film so layered, so meticulous and stylish, have been directed by a first-time director? Indeed, that was the question I asked myself when I first saw this movie. Sam Mendes delivers a knock-out film that delivers on every level, and gives us one of the most (if not the most) remarkable debut films in the history of cinema. It is a story of the inner soul that resides in suburban America, where we are bought up to idealise and aspire to this "perfect" little world of a 3-bedroom house, a loving wife or husband, children, nice car and money. This is the "perfect" little life that is sometimes aptly referred to as the "American Dream". But this dream is not perfect. In fact, it's anything but, and this film shows it as Mendes takes us behind the white picket fences and paned windows. He gives us the life we see behind these seemingly ordinary people. And as the film progresses we are shocked to discover that these people are people we see every day: at work, at school, even ourselves.

It starts off with a wonderful tracking shot of a typical American suburb, tree-lined with perfect houses and mowed gardens. We are introduced to a seemingly typical American family: Lester (Kevin Spacey), Carolyn (Annette Benning) and their 16-year-old daughter Jane (Thora Birch). Lester and Caroyln are both frustrated in their jobs and seem in a very stagnant place, both professionally and in their relationship. The demands of a family and jobs have definitely affected their relationship, and we can see that the gap has already divided between them. Jane is as confused as any other teenager and wears dark clothing and lots of make-up, perhaps in a sub-conscious effort to hide herself from the rest of the world. She has a self-obsessed friend (Angela, played by Mena Suvari) who subtlely plays her down at every moment. Angela is beautiful and spirited, the object of every guy's attention, and she most certainly uses this to boost her ego. Next door a new family has moved in, and immediately we can sense something just isn't quite right. The father is Col. Frank Fitts (Chris Cooper), a stern disciplinarian army veteran who keeps a tight ship on his timid wife (Allison Janey) and their son Ricky (Wes Bentley). The dynamics in both family are strained, and we follow both as Mendes takes us deeper into their personal lives and relationships. We get a real sense of imprisonment from all the characters, but it is Lester's character who undergoes the most change. From the beginning we can see that for years he has let his wife and daughter walk-over him, until he meets Ricky next door and they smoke a joint. He is reminded of his youth and the happiness he felt, and decides to take action. What results is a brilliant, poignant story that not only keeps the viewer entertained, but leaves us shocked at the brutal realism before us.

This film is a masterpiece. The script, written by Alan Ball, is regarded as one of the finest ever written (and so it should be). The story and characters are multi-layered and given such dimension that we don't see them as characters in a movie, but as real people we see on a daily basis. Mendes works closely with one of the best cinematographers of all time, Conrad L. Hall. As with "Road to Perdition", their follow up movie to this one, this film focuses on detail. The focus on colors, composition and framing is to such a higher level that it almost seems effortless on their part. Hall uses lighting and camera movement to such great effect in this film that it just highlights the aesthetic richness of it. From a technical stand point, this film is near flawless: outstanding script, cinematography, direction and score, we are left in amazement. Mendes also succeeds in bringing out the best from his actors - the entire cast deliver amazing performances. Spacey gives us a character who has been crying to break out, and when he finally does we are left smiling the whole way through. His performance is brilliant, particularly in the final scenes of the movie where his character is left confronting his real self, and fully deserving of the Academy Award. Benning is equally as good as the success driven, money grabbing mother who gets emotional over just about anything. The supporting cast deserves special mention too, but the performances of Cooper and newcomer Wes Bentley is sublime. There scenes are minimal, but the dynamics of their strained relationships are delivered on a subtly poignant level. Both could've warranted serious Oscar consideration. Movies like "American Beauty" is the reason I love film. There are no major explosions or CGI-effects or 3D. Just a superb story and characters told from a masterful point of view.

This film was a phenomenon when it first came out in 1999. It was a hit with critics and the audience alike, winning six Academy Awards and closing out the millenium in style. I think the reason it resonated with so many people is because of its basic elements: a simplistic yet layered story, real characters and technical mastery. But this film takes us behind the curtains. Behind the fences and into the lives of people. And what we see us not only shocked, but wanting to see more.

THE KIDS ARE ALL RIGHT (REVIEW)

STARS: * * * (3/4)

"The Kids Are All Right" is a romantic comedy/drama about a dysfunctional family. Is that all? No, there's a more to it then that. Director/writer Cholodenko has captured a situation that I am sure is becoming more and more prevalent in this modern day. When I watched this film I immediately thought of the darker comedy/dramas featuring dysfunctional familes ("Little Miss Sunshine" and "Juno" sprung to mind), but this is a darker look at the dynamics of a family that is now being forced to adapt to a new development.

The premise for the film is a clever one: what if a lesbian couple's children (conceived by artificial insemination) decide they wanted to meet their birth father? We are presented from the beginning with two women, Nic (Annette Benning) and Jules (Julianne Moore), who try to raise their two children. They struggle to tie them down and protect them (quite possibly because they fear they won't be accepted by the outside world like they were). And they've done a pretty good job: the daughter Joni  (Mia Wasikoswa) is an 18-year-old A-grade student who is intelligent and sweet, whilst their son Laser (Josh Hutcherson) is as confused and disorientated as any other 15-year old boy. But they've managed to keep their children's love and affection, and sense of normality about the whole thing. The parents assume the traditional parental roles in a way: Nic is the main breadwinner and more domineering. She watches over her pack with a fiery eye, and is the main protector. Jules is more submissive and femine, and is open to a few more things. But despite them being different, the writer/director portrays them in a way where we just see two people who have found each other, who love each other, wanting to be good parents and raise a family. However, things change when Joni decides she wants to meet her birth father. The kids meet Paul (Mark Ruffalo), a man who is presumably in his early 40s: he is chilled, laid-back and has an accepting attitude to almost everything (he runs an organic restaurant/farm, so we can expect this). Overwhelmed by the call, he agrees to meet them, and the stage is set for the rest of the story to unfold.

What happens next is conventional to this kind of darker comedy drama, but it is interesting to see the family grow and come to grips with Paul, and his involvement. The kids naturally start to see him as a kind of "father figure", but they hold back on fully expressing it for fear of what this may mean. The script isn't amazingly spectacular, but is solid in it's message, and there are many well-written scenes that capture the characters' intentions. For example, where the characters are just talking around an open dinner table, and we can feel the tension between the characters: we can see Paul being uncomfortable but trying to keep it together, Jules trying to be accepting and understanding, while Nic is a predator looking to break down her prey with any sign of weakness.

Probably the strongest point of this movie is the acting: we see the vulnerability of the children, and their desire to grow closer to Paul but at the same time showing restraint. Ruffalo, who is a sorely underrated actor, gives his second good performance of the year (following his showing in "Shutter Island"). We can see this is a man who is just going about life in a care-free way, but is suddenly starting to see what having a family could mean. He is confused throughout the film about what this really means, and how he should react, and Ruffalo delivers this performance spot on. Julianne Moore is also good in the role of the feminine Jules, but Annette Benning gives an impressive turn as the mother who, through her eyes, is slowly watching the family she fought so hard to build and protect, fall apart. Benning strips down to the core of emotion, and while at times we think "why can't she just relax?", we realise that her intentions are sincere.

This is a solid movie, and whilst the concept is good, the script isn't able to fully keep up for the whole film. At times some of the dialogue and the situations seem contrived and forced. But like other indepedent dysfunctional family dark comedies, such as "Little Miss Sunshine" or "Juno", we realise that every family has their own problems and unique dynamics. "The Kids Are All Right" is a solid movie where the acting saves the script and gives us real characters that we all know.

TOY STORY 3 (REVIEW)

STARS: * * * * (4/4)

Pixar has done it once again. Their status as the "masters of animation" is unparralleled, and each year they seem to churn out one masterpiece after the next. Ever since the inception of the Best Animated Feature at the Academy Awards, Pixar has won it the most times. They won 3 in a row, with "Ratouille" in 2007, "WALL-E" in 2008, and "Up" in 2009, and they look certain to make it 4 in a row with this picture. 2010 sees them returning to familiar territory. This is the third film in the successful Toy Story animation franchise, and it delivers on all levels. It is a great ride with lots of action, adventure, daring and emotion. Toy Story 3 captures our imagination from the get-go and keeps it to the end. We welcome the return of the characters from the first two installments; our hero Woody, the enigmatic Buzz Lightyear, Mr and Mrs Potato Head, Rex and the rest of the gang.

The story begins with us seeing the gang trapped in the toy cabinet. Several years have passed, and the toys have been trapped inside. They never get played with anymore, because their owner (Andy) is not a boy any more. He is seventeen and has other things on his mind: girls, college, and teenage angst. The toys are worried with the news of Andy's impending departure to college, and as he cleans up his room they are left wondering where they'll end up: in the attic, or in the garbage? Due to an error on the mother's part, they end up getting donated to a daycare centre. The gang is excited to be played with again, and are happy to be in the presence of the other toys at the daycare. They are welcomed and embraced, particulary by the big loveable bear Laslow and his trusty sidekick, a flashy Ken doll. Initially, the daycare appears quaint and cosy, and a perfect new home. The gang is happy, except Woody, who was the only toy chosen by Andy to go into his "college" box. Woody is determined to make it back home, and escapes from the daycare. However, as we can expect, things go drastically wrong: he struggles to make it home, but also learns that the daycare (as well as Laslow and the Ken doll) is not all that "cosy" as it first appeared. In fact, it is a prison where toys are abused and mistreated, and where there is no way out. Woody has many difficult choices to make in this film, and he is the glue that keeps the gang together.

I won't give away the rest of the story, but just to say Pixar gives us a classic Prison-like drama reminiscent of "The Great Escape" and "Papillon", and we laugh and cry as we follow our toys on their mission to freedom. We are also given a fresh love story, and many memorable and clever moments throughout. We love the characters who are toys. They have human characteristics, but they are toys, with the main motivation of just wanting to be played with and to be loved. This is a need inside all of us, and Pixar presents us with a poignant adventure that will bring's out this basic human emotion. The opening sequence reminds me very much of "Up" as we the shades of time passing us by. We see Andy having fun with the toys, playing as a little boy, the innocence of youth. It is thus with a little sadness that we see him grown up, having lost that "little boy" inside him, and seeing the toys suffering inside the toy box. Watching this did bring back those days inside of me, as I'm sure it did to many other viewers. Once again (as with "Up"), Pixar vividly and superbly gives us this poignant imagery. The last act of this movie is very strong, particulary the ending which was very impressive.

The film is technically very good, and whilst the animation might not be as "high tech" or revolutionary as such recent ventures as "WALL-E" or "Up", it has evolved in depth from the first to films. Credit must go to screenwriter Michael Arndt who gives us a clear, adventurous storyline that is suspensful and challenging at the same time. There is a lot of depth to this film, and the central message that highlights our need for acceptance and love is very cleverly portrayed.

I am also thankful that I didn't see this film in 3-D because I think it could've been distracting, which would've detracted from the story. Just let the story and images come out naturally, and the rest will take care of itself. This is a gem of a film that the children will love, and even though they may not fully understand some of the themes until they are older, they'll most certainly enjoy the ride.

MARTIN SCORSESE INTERVIEW: On "Shutter Island" and Leonardo Di Caprio

This is with courtesy to In Contention (http://www.incontention.com/), a great website that follows film news and the Oscar race.

This is a telephone interview done by reporter Kris Tapley with legendary filmmaker Martin Scorsese, in which he discusses his recent work with Leonardo di Caprio and the process of filming "Shutter Island". Well worth a listen.

http://incontention.com/2010/12/29/interview-shutter-island-director-martin-scorsese/

BLACK SWAN (REVIEW)

STARS: * * *  (3/4)

Fresh from the success of his great film "The Wrestler", Aronofsky has delivered another daring, gritty display of human psychological emotion. Whilst "The Wrestler" focuses on a character who striving to reclaim his former glorly, "Black Swan" tells the dark story of a character out to achieve glory for the first time. This is a dark psychological thriller about the human psyche, and the capacity we have for self-destruction and greed.

From the outset, Aronofsky places us on the stage with Nina (Natalie Portman), who is dreaming about being on the stage in the lights, dancing beautifully and without inhibition. Nina has always been an underachiever who has had to watch from the sidelines as others steal the show. She is eager for her "shot", and is sick of being part of the "extras" who make up the numbers. So it is with excitement when she learns from the company Director, Thomas Leroy (Vincent Cassel) that there is going to be a new production of the classic "Swan Lake", and that they will be holding castings for the "Swan Queen", a role coveted by every ballet dancer in the company. She faces stiff competion by all the other dancers, in particular young Lily (Mila Kunis). Nina immediately has eyes on the role, and gives it her all during her audition. She is perfect as the "white swan", who is good, pure and righteous. Problem is, her "black swan", a character who is evil and malicious, is less convincing. Believing her audition to be a failure, she rushes home to take comfort in the arms of her mother (Barbara Hershey). We see the pain in her eyes as she believes she's blown her audition, and isn't this something we've all felt? The moment after a bad job interview or when we have expectations that are too high, and there is that inevitable letdown? Nina's pain is real. However, as fate happens, she does inevitably land the role, and is the envy of all her peers as she puts in intense focus amid all the self-doubt that has crept over her.

Nina becomes so intensely focused on her role and on her ambition to succeed in the part that it starts to mess with her mind. She starts to see things that may or not be real, and this all leads her to sink further and futher into psychological madness. It is in this where Aronofosky succeeds as a director: we constantly question if events happening are real or not, and are gripped by the unpredictable events that happen in the movie. There are some very vivid and gritty scenes in this movie, but they serve a purpose to the story and aren't "gritty" just for the sake of it. The dance sequences were also impressive and well portrayed.

Portman gives a solid performance as Nina, though there were at times moments where I felt her reactions to be slightly unconvincing. Kunis and Cassel give good performances as well, but the standout in this movie is Barba Hershey, whose character seems the fullest and more rounded. She is shown to be loving and caring, but there are also times where she lashes out at her daughter's behaviour. She is worried for her, and we see that in a compassionate, yet sometimes frustrated, way. The production design of this movie was also cleverly done in that we are constantly seeing the contrasts in colours and lighting between "black" and "white", the constant themes of "light/good" and "dark/bad". The musical score keeps to a classical theme. And because the music is about "Swan Lake", which was written by Tchaikovsky, that only makes it better. From a technical stand point, this film is strong.

This film focuses on the extent of the human limit, the "dark" and "light in all of us. And we are forced to ask the question: how far can we go to succeed? Humans are indeed capable of anything, and this movie shows it.

TRAILERS: "The King's Speech", "The Fighter", "127 Hours" and "Black Swan"

Here are the trailers for some upcoming movies for awards season:

"Black Swan"
http://www.youtube.com/watch?v=5jaI1XOB-bs

"The King's Speech" (Colin Firth is the big favourite for Best Actor this year)
http://www.youtube.com/watch?v=-aS4hoOSlzo

"The Fighter" (it seems Christian Bale is the big frontrunner to win Best Supporting Actor in this one)
http://www.youtube.com/watch?v=71l-kIhJ5j8

"127 Hours"
http://www.youtube.com/watch?v=OlhLOWTnVoQ

                                                                                                                                        

ACADEMY AWARDS 2010: THE BEST PICTURE RACE AT THE MOMENT

These are stilll some films I want to see, but it appears that these films are the big "front-runners" for the Oscars next year. From the awards buzz I've been hearing, I'd say this looks like the order at the moment:

1. The Social Network
2. The King's Speech
3. The Fighter
4. Inception
5. Black Swan

There are still five more spots, I reckon you'll see the likes of "127 Hours", "True Grit" and "Toy Story 3" rounding out the list of ten. The safe bet is "The Social Network", but look out for late runs from anyone of the top 5.
                                                                                                                                             

SUPERBAD (REVIEW)

STARS: * * * 1/2 (3.5/4)

"Superbad" is a movie full of vulgarity, sex jokes and situations that aren't new to the teen/high school party movie that we've seen time and time again. What makes this movie different, and in my opinion better then the countless other movies in this genre, is that the script is infinitely better: the jokes are the same, but the way they are deilvered is vastly different. This film carries on the inspiration from other Judd Apatow films such as "The 40 Year Old Virgin" and "Knocked Up", where the dialogue is fresh and snappy, delivered in a cocky yet confident way. Superbad gives us countless memorable one-liners that have been quoted ad-naseum since it's release in 2007. There have been many comparisons drawn to "American Pie", another successful high school party movie, but apart from the obvious similarities in plot, I think the comparisons fall flat. Firstly, "American Pie" was released in 1999 and had predictable characters and situations. "Superbad", released 8-years later in 1999, is the teen movie of this generation. The dialogue is more precise, the action is more vivid and less predictable, and the ending is also more original.

In terms of plot, Superbad really doesn't really give us anything new. After a stylish 1970s funk-themed opening dance sequence, we are introduced to three high school seniors who aren't really part of the "scene" at their school: instead of going to weekend parties, they stay at home and do the things that normal teenage boys do. It is coming to the end of their Senior year, and they want to go out with a bang: one big party where they get drunk, and lose their virginity. Let's be honest, every teenage boy has had at least one "big party": that one night where they psyche themselves up beforehand and strive to finally make "that move". Evan (Michael Cera) and Seth (Jonah Hill) are best friends, who are joined in their misadventures by Fogell (Christopher Minz-Plasse), who is even more unpopular then them. Fogell can't even talk to girls, whereas Evan and Seth can at least communicate with them, despite their initial  awkwardness. Jules (Emma Stone), Seth's acquired target, immediately places importance on Seth as she gives him the responsibility of getting alcohol for the night's party. This is a big thing for Evan, and more so, Seth as the entire mission and success of the party revolves around them bringing alcohol for the evening. But it all hinges on Fogell, who obtains a fake ID in which he changes his name to "McLovin'". "McLovin", which has become a cult-phenomenon with fans, is Fogell's alter ego, different to him in every way: he is funny, confident, and cool. Along the way the boys experience different adventures, but it is Fogell who udnergoes the most change. He meets two inept police-officers (humourously portrayed by Bill Hader and Seth Rogen) and is embraced and accepted. By the end, Fogell becomes McLovin', and we know that he won't be pushed around in future like he was in the begining.

Seth and Evan's characters are also well written and developed. There is an underlying sense that their friendship is being tested, and by the fact that they are going to different Colleges.It is the inevitable is becoming reality, and this pushes them on to have one "last" bit of fun before they are forced to face the future. In the beginning the boys, particulary Seth, view women as objects that have no feelings. But at the end, their views have changed, and they show a newfound respect that women deserve. Our boys are growing up. And essentially, that is what "Superbad" is about: the inevitability of growing up, and moving on.

"Superbad" is a very funny film with lots of laughs and humorous situations (such as Evan having to break into song to entertain a bunch of crackheads), but it is the emotionally rounded characters that make this movie stand out in an otherwise over-extended and cliched genre. Seth Rogen and Evan Goldberg wrote the first draft of this script when they were 16, with the characters loosely-based on themselves. And I think it shows in the way the story plays out. They've kept it authentic to the generation. The three young actors also do a great job engaging the audience: Hill and Cera compliment each other well, with good chemistry and energy. But the most impressive is Christopher Mintz-Plasse, who fits the role of Fogel/McLovin' perfectly. He does a great job in his first film, beating out hundreds of other auditons to the land part. He has already gone on to further success in such films as "Role Models" and "Kick-Ass" (however, he will have to be careful not to be typecast). My only major problem with this movie, as with other Judd Apatow productions such as "Knocked Up" and "Funny People" is the pacing. It feels ten minutes too long. Some parts, particulary in the middle, play out a little too long and could've done with better editing.

That said, the movie will keep you laughing, and if you can keep up with the inevitable sex jokes and vulgarity that will occur, then this movie will have you saying "I am McLovin'" for sometime after.

CITY OF GOD (REVIEW)

STARS: * * * *  (4/4)

This movie surely must be the envy of international cinema. Very rarely does a film produced outside of Hollywood (and in a language that's not English) receive such applause and acclaim, but this film does - and rightly so. It is both visually encapsulating and brutally shocking as well.

"City of God" is a Brazilian made story about a poor settlement on the outskirts of Rio de Janiero, and the early development of drug and gang war-fare spanning the 1960s and 1970s. Director Fernando Meirelles does a fantastic job of capturing the realism of the violent surroundings, creating an authentic feel to the story. The story starts at the end and is told through flashbacks and voice-over narrations by our narrator, a young man named Rocket, whose vocation is different to his surroundings. He wishes to pursue a career in photography, and wants no part of the violent, drug-ridden neighbourhood he lives in. But he sees it everyday: people getting robbed, people getting killed, drug deals. It is appropriate that he should tell the story from an "outsiders" point of view. I compare the narrative style of this movie to that of Goodfellas with voice-over narrations, and a character that, whilst apart of the "gang", doesn't fully conform to the requirements.

Rocket tells the story of the first real hoodlums in the slum (including that of his brother, Goose), and the rise of Lil' Ze, who as a boy tried to participate in the activities but was often ridiculed. Lil' Ze's character is moulded and shaped as a little boy, and it is his desire to get his first kill. He does that, and after satisfying his lust, his destiny is already shaped. Rocket goes on to explain how Lil' Ze gained prominence and took over the drug trade in the area, only to be denied full control by a small contingency lead by Carrot, a rival drug-lord. There is no reasoning with Lil' Ze: he shoots people for fun, and uses violence to get his way. The only weakness we really see in him is when he is at Benny's farewell. His inner emotional desire for human love is shown when he nervously asks a girl to dance, and she rejects him. He's never felt this before. This is the catalyst for turf war spurned by jealously, revenge and pride. But Rocket is there, armed with his camera, to tell this bloody story. The violence and brutality of the gangs is ruthless, and Meirelles doesn't hold back on the camera: he puts it all on the screen for us to see. Many times he switches to hand-held in these scenes, creating a sense of realism, and successfuly portraying the hecticness and disorientation of the characters.

It is so often the case where poor narrative techniques and sloppy editing ruin a film, but despite these risks, Meirelles pieces together this film superbly. The editing is quick and sharp - we see this in the opening quick shots of the streets. Vendors and street sellers preparing food. A chicken watches another chicken getting killed, and tries to make his escape, running down the street whilst being chased. Indeed, this can be seen as a metaphor for the whole movie: that you can try and run, you can try and get away, but there will always be people after you. Benny is an example of this, as is everyone who tries to trun away from the violence that lies in front of them. Another superb sequence is towards the beginning of the film when Rocket narrates the story of The Apartment (Lil Ze's headquarters). The camera stands still and we see the characters and story unfolding before our eyes. The acting in this movie is also impressive, but the standout is Lil' Ze, played by Leandro Firmino. Considering this was his on screen debut, it was a remarkable performance. He fit the role perfectly and gives us an ultimately terrifying, yet deep down, vulnerable character who uses violence as his only salvation. Meirelles also did well by casting natives from the Rio slums, especially the to younger children, creating more authenticity.

"City of God" earned 4 Academy Award nominations, including Best Director to Meirelles, who does an amazing job in his depiction, and is the glue holding this masterpiece together. This film is a triumph as it visually entertains us while telling a brutally shocking story. We as the viewer try to feel hope for the characters, but it is so hard due to their violent circumstances. The characters seem trapped inside a vicious circle, with no real chance of freeing themsleves from the "City of God". As Rocket points out in the beginning: "If you go, they get you. And if you stay, they get you". Indeed we feel this way as the audience. Beware though that this film is not for the feint hearted. You have to pay attention to the narration, especially int he first act. But trust me. It is well worth it in the end.

HOT ROD (REVIEW)

STARS: * * * (3/4)


This movie is a vehicle for trio of The Lonely Island music group, who parodies RnB music and popular songs by putting blatantly vulgar lyrics and themes to their music. That said, the trio have successfully (as they have in their music) put together a humorous tale of courage, commmitment, and captured the true art of downright randomness.

"Hot Rod" is essentially a tale about a young man (we never learn his age but we can assume he is in his early 20s) who dreams of being a successful stuntman. The flaw in his character is that he is not. He attempts impossible mad jumps on his mo-ped, ill-timed explosions and very poorly organised Houdini escape tricks. Rod (played flamboyantly by Andy Samberg of SNL fame) is the hero. What's brilliant about his character is that, as the hero, he has a goal, a desire, a dream. As the viewer we are supposed to want to see our hero succeed, but at the same time we love it when he fails at his stunts because it's funny. The beautiful thing about Rod is that no matter how hard things get, no matter how many times he is ridiculed and hurt, he still gets back up and it makes him even more determined to succeed.

The plot for the movie is fairly straightforward: Rod is trying to succeed as a stuntman, but he sucks. He then realises his step-father (Ian MacShane) needs a heart-transplant. He then makes it his mission to raise the money needed. Rod, along with his inept team of Rico (Danny McBride), Dave (Bill Hader) and his brother Kevin (Jorma Taccone), set out to raise the money needed to form one incredible stunt, "the biggest the world has ever seen". Of course, there is the typical 'girl-next-door- character (played by Isla Fisher) who Rod longs after. She, of course, likes him but is dating a real jerk of a guy (Will Arnet). The story is predictable and formulaic, but the charm of this movie is not in the story, but in the way it's told, and the small things that comprise it.

The music sets the backdrop and adds a comedic touch to the film. It plays up boldly as Rod attempts big stunts, then cuts out, only for the audience to see Rod suffering on the ground after failing it. The music borrows from such 80s acts as Foreigner and Survivor, almost to the point where we wonder "is this an 80s picture, or a 2000s picture?". But that only serves to make it more humorous. We aren't exactly told the era or the characters' ages, we have to make assumptions. The film is also littered with very random humour that appears to have no correlation to the plot. Some sccenes are really over-the-top, but one scene really sticks out: I don't want to spoil it, but when Rod goes to his "quiet place" in the woods and "fist punches out his rage". This scene was well made, and cleverly edited with the sole purpose of making the audience laugh as hard as possible.

The cast is great in this movie, but the real stand out is Ian McShane, who plays Rod's step-father. His character is well-written, original, and well-rounded. He cares for Rod and his family, but in the way he acts sometimes you wouldn't believe it. Sissy Spacek also makes an appearance in the film as the mother.

Overall, if you're looking for something light-hearted and full of laughs, then "Hot Rod" is for you. I think it's a very good comedy. But what makes it good is that the character of Rod is meant to appeal to our youthful side: here is a guy who is an adult, he's grown up, yet he still hasn't given up on his dreams. He keeps getting up on that bike, keeps trying to jump through fire, knowing at the back of his mind that he probably will fail, but he's going to do it anyway. We laugh when he gets hurt because all of us have gotten hurt in our lives. But we must, as Rod does, get back up on that bike and try again. He reminds us that life is short. Stunt it.

CASABLANCA (REVIEW)

STARS: * * * *  (4/4)


"Casablanca" was made in in1942, and as I write this, 68 years ago. It is regarded as a "timeless classic". And as the theme song of the movie goes "As Time Goes By", this movie has survived the ages and has still retained its spot near the top of the list. Indeed, it is a classic film that will be remembered for all of time.

Set in Morrocco in the early stages of WWII, where uncertainty in Europe and the war have caused people to flee, Rick Blain (Humphrey Bogart) runs a successful nightclub that buzzes with entertainment every night. He is a man of great influence in Casablanca, and his club definitely raises his status. However, his comfortable life is thrown into disarray when Isla (Bergman), an old fling from their days in Paris, arrives at his club one night with her husband. The pianist of the club Sam plays their song (As Time Goes By), and this prompts Rick in a fury to run up to Sam and remind him to "never play that song". It is there where his eyes meet Isla. The look on Bogart's face is memorable. The audience does not know the story between these two - this is shown by a masterfully poetic flashback. Whilst the entire cast deliver fantastic, believable performances, it is Humphrey Bogart who shines in the lead role. He is totally convincing as Rick Blain, the stern yet kind-hearted hero. We get a sense watching the film that Rick masks his unhappiness and past by acting tough and mean, yet through Bogart's performance we can sense a softer, hidden side. Bogart earnt an Academy Award nomination for his role (he would later go on to win for "The African Queen, but would've been just as deserving for this performance).

I won't give away the plot here, but needless to say this is most certainly an intriguing, and masterfully made movie. The black-and-white cinematography has aged well and gives the film a certain noir look about it. The film, whilst a drama, also has some witty comedic touches to it - done mostly by the Captain of the Police, Renault (Reins). What interests me most about this film is there is no major antagonist. The characters come across as ordinary people forced to act out due to their situations. The antagonist I guess could be the characters' themselves, their inner demons, and the whole situation of the war.

"Casablanca" is a re-watchable classic, and a worthy winner of 3 Oscars which include Best Picture. Rick Blain's nightclub serves as an oasis in Casablanca, a little haven where people can come and relax and forget about where they are. The skillful entertainer Sam sings songs with an air of hope and freedom. Who will forget Bergman saying to him: "Play it Again, Sam". Indeed, I won't.

THE SHAWSHANK REDEMPTION (REVIEW)

Stars: * * * *  (4/4)

"Get busy living, or get busy dying" - this immortal quote can be attributed to Andy Dufresne (Tim Robbins) as he sits within the confines of Shawshank Prison in Maine, contemplating the life he could've had. He has been sentenced to two life terms for murdering his wife and her lover in 1947. As Andy arrives at the prison for the first time, the long panning shot of the prison gives us a sense of coldness and isolation, and serve as a perfect introduction. The grey, dark colours of the wall serve as a launching point for the story to take effect.

We meet Red (Morgan Freeman), who forms the second half of the protagonist contingent of this film. He is the "go-to-man" in the prison. If any inmate wants something, as he said: "I'm the guy who can get it for you". Andy spends his first few months in isolation and solitude, whilst at the same time being taunted by Bogs Diamond and his crew of rapists. It is only when he meets Red that the viewer starts to get a sense of hope for Andy, that his life might change for the better. The two strike up a friendship and grow closer as time goes on. As Red says: "Prison time is slow time".

As the film progresses, Andy's educational skills are exploited to good effect by the corrupt warden Norton (William Gunton). Warden proclaims himself a Christian with Christian ideals, yet we learn this is just a mask as he exploits Andy and others to satisfy his greed, and his character becomes more gruesome and loathsome as the film goes on. Andy and Red learn to put their trust in each other, and together find hope in the most incomprehensible enivoronment. They play Chess, a game where strategy and patience is rewarded. It is a game that takes its time. Much like prison and much like life, patience is a virtue. Everything takes time. The viewer is drawn into their world, and once we're drawn in, we join them on their journey.

Every aspect of the film is perfection. From the sharp editing to Darabont's valient yet subtle script (forms the backbone of the narrative). He never once does he try and force any of his ideas on the viewer. His direction is flawless, whilst he and cinematographer Roger Deakins paint the setting of the grim environment of the characters we love so much. Thomas Newman also deserves special mention for his hauntingly beautiful score.

The Shawshank Redemption has stood the test of time. Instead of fading into obscurity like so many other films, it has grown with each passing year. It is the film that other films should aspire to achieve in terms of it's message. Tim Robbins and Morgan Freeman are excellent in their respective roles (Freeman being nominated for the Best Actor Oscar, but Tim Robbins has an equal or even bigger claim to that position), and the supporting cast put in mesmerizing performances, in particular James Whitmore as Brooks. A small but pivotal role, his performance is that of subtle brilliance as the audience joins him in his struggle to come to grips with his ailing life. A Best Supporting Actor nomination surely would've been just rewards for his performance. The Shawshank Redemption was nominated for 7 Academy Awards, including Best Picture and Best Director, and walked away with none. One will not find too many injustices in the history of cinema more then this one.

The Shawshank Redemption is a remarkable film about hope, friendship and the courage to never give up. It is a modern cinematic Masterpiece, and deserved every accolade it was so viciously denied. It gives the universal message for all those who are trapped prisoners in their own lives, a message of utmost importance:

"Fear can hold you prisoner, Hope can set you free".

SHUTTER ISLAND (REVIEW)

This was my very first film review. I think I've gotten better since then! hehe

STARS: * * * 1/2 (3.5/4)

"You'll never leave this island"; these are the words spoken to Teddy Daniels (Leonardo di Caprio), a US Federal Marshal who has been dispatched to Shutter Island in 1954. It is his duty, along with his partner Chuck (Mark Ruffalo) to track down a dangerous escaped prisoner.

This is Scorsese's first film since the Oscar-winning The Departed (2006), and it doesn't disappoint. We are taken on a visual and emotional rollercoaster as we join Teddy on his mission. Almost immediately Ted is antagonised as he passes by one of the female inmates, a scary looking woman who gestures him to "keep quiet". From that moment on, the eiry scene is set. The cinematography of this film is excellent, with some stunning shots and lighting. I think of the scene when Teddy wanders into Block C, the most dangerous of them all, guided only by a match and failing corridor lights. The film has an atmosphere of doom, despair and desperation, giving the viewer a mixed sense of wanting to get off the island, yet being unable to turn away for fear of what might be lurking around the corner. The script is complex and layered, and masterfully written. All-in-all, this is a great movie.

Scorsese has assembled an outstanding cast featuring Ben Kingsley in a superb performance (and marking a great return to form) Mark Ruffalo, Max von Sydow, Jackie-Earle Haley, Michelle Williams, John Harold Lynch and Emily Mortimer. But it is Leonardo di Caprio that gives another sensational performance as Teddy Daniels. He takes us on an emotional journey, and one so complex that only an actor of the highest quality can pull it off - and he more then succeeds. If you didn't believe Di Caprio to be the finest actor of his generation, this film may go a long way to guide you to that conclusion.

To conclude, this is just a great, multi-layered and visually entertaining movie, but at times the viewer can feel a little confused by subtle plot devices that Scorsese has put in place. It takes careful viewing to notice the subtleties and nuances of this film, and is such that it could take multiple viewings to fully understand the complexity of it. However, I am left wondering why Paramount Pictures delayed the release of this film to early 2010 and not for Oscar consideration, cause it does warrant some. The film has good technical aspects, noticeably in the stunning cinematography, and also does a great job with the editing and sound.

Despite this, Shutter Island probably won't be up for many Oscars, but here's hoping thatI just that the Academy has the capacity to...remember...

(12 September 2010)

WELCOME TO "THE MOVIE BEAT"!

Good day and welcome everybody to "The Movie Beat"!

I've created this blog to share with you my passion of film and movies. This site will have many things and I hope to keep people updated with my reviews of movies (old and new), as well as movie/actor news, announcements, and awards chat.

I hope you enjoy the blog, and please feel free to post commments and suggestions. Also, if there is any film you would like me to see and post a review of, please let me know. Reviews will be posted soon for the following films:

Superbad
Hot Rod
Casablanca
Shutter Island
The Shawshank Redemption

Have a good day and see you all soon!