Vicky Christina Barcelona ***
Once again, Woody Allen lives out his fantasies through the silver screen (although he has surely achieved at least some of these in real life). As a girl, I initially felt somewhat insulted by the outrageous female stereotypes presented to me: the fun, flirty, outgoing blonde; and the stuffy, reserved brunette. The male character was also laughable, particularly his ease of wooing beautiful girls! However, as with most of Woody's films, as I continued watching, I soon forgot about all these gender issues and instead got caught up with the light-hearted and witty fun of the film. The Spanish setting provided some pretty aesthetics, and the imagery worked well within the narrative (Littleman informs me Woody was commissioned to make this by the Spanish tourist board). Penelope Cruz's entrance into the story spices things up nicely, her character is feisty and mental, and she completely overshadows the other two women acting-wise, and in every other way . The voice-over commentary (THROUGHOUT!) is horribly annoying (sometimes even patronising) and the movie would've been a lot better off without it, but then it would have been less signature 'Woody'. Funny in occasional places, this is an easy and pleasant watch, but there is nothing particularly special, and certainly nothing new, here (apart, of course, from the passionate kiss shared by Scarlett Johanssen and Penelope Cruz, which is guaranteed to cause a stir of excitement for many).
Friday 27 February 2009
Rachel Getting Married
Rachel Getting Married ***
Like most films about weddings, this focuses on family, rite-of-passage and togetherness. What sets this apart, though, are the over-riding theme of addiction, and less prevalent motifs of loss and blame. Another big focus here is music. Throughout, the soundtrack punctuates the mood and creates atmosphere and feeling. Unusually, every piece of music used occurs live, as part of the action, and most are performed by the characters themselves. This makes for an interesting viewing experience, and the choice of songs and style seem to entice us into deeper contemplations of what this film as a whole is actually about. Despite this, the constant violining and soundtrack-to-the-lives of the characters proves to be really annoying; similarly to the relentless guitarring and serenading that we endured in Once.
As a still-protective big sister, I found the relationship between the two sisters incredibly moving, particularly the scene where Rachel bathes Kim, which to me was the defining moment of this film. There are other very tender moments, too, both for sad (images of a deceased child's colourful toys) and sentimental (the wedding vows) reasons. Overall, I would say that the scenario of a wedding, and the recovering addict as protagonist, make for an interesting juxtaposition, and a film that delves far deeper than many others would dare. It was definitely not as annoying or cliche as it had the potential to be; and it was extremely satisfying to watch Anne Hathaway shine in a less-than-conventional role.
Like most films about weddings, this focuses on family, rite-of-passage and togetherness. What sets this apart, though, are the over-riding theme of addiction, and less prevalent motifs of loss and blame. Another big focus here is music. Throughout, the soundtrack punctuates the mood and creates atmosphere and feeling. Unusually, every piece of music used occurs live, as part of the action, and most are performed by the characters themselves. This makes for an interesting viewing experience, and the choice of songs and style seem to entice us into deeper contemplations of what this film as a whole is actually about. Despite this, the constant violining and soundtrack-to-the-lives of the characters proves to be really annoying; similarly to the relentless guitarring and serenading that we endured in Once.
As a still-protective big sister, I found the relationship between the two sisters incredibly moving, particularly the scene where Rachel bathes Kim, which to me was the defining moment of this film. There are other very tender moments, too, both for sad (images of a deceased child's colourful toys) and sentimental (the wedding vows) reasons. Overall, I would say that the scenario of a wedding, and the recovering addict as protagonist, make for an interesting juxtaposition, and a film that delves far deeper than many others would dare. It was definitely not as annoying or cliche as it had the potential to be; and it was extremely satisfying to watch Anne Hathaway shine in a less-than-conventional role.
More retro "Oscars" reviews
Slumdog Millionaire: *** 1/2
There has been a lot of hype about this (all good press), so the expectations were high. The thing I liked about this was the simplicity of the storyline, which suited the overall style. This was generally a compelling movie, with interesting direction and acting (the most impressive acting came from the youngest actor who played Jamal). However, it was somewhat predictable, and the prevailing love story thread was rather cheesy (obviously the journey taken by the two young boys was far more compelling). I didn't find this movie particularly 'hard hitting' or 'uplifting' as the reviews were saying, but it was certainly moving. I wouldn't say that this was a disappointment, but I do feel that it has been overrated.
Changeling: ****
I am shocked to see that it hasn't even been nominated for 'best picture', a title it would've have been deserving of. I wanted to see Ange doing some amazing acting again (I loved her in Girl, Interrupted, but in nothing since), and was not let down. Her acting has matured and she carried this role really well. The film was artistically and stylistically wonderful, providing engaging and memorable images throughout. The narrative is also captivating, and it would be difficult not to feel completely involved in it. Despite this, I don't think this is one that I'd want to watch again, simply because some of the moments were so harrowing.
The Curious Case of Benjamin Button: ***
Obviously, this was a very commendable movie, and I liked it, but didn't love it. I just felt as though there was a lot missing. The relationship between Benjamin and Daisy was a little bit weird, but I wish they'd gone one step further and made it really freaky, disturbing even. Instead, it just seemed like another boring love story, with a bit of a twist. This should have been less trite and a whole lot more curious.
There has been a lot of hype about this (all good press), so the expectations were high. The thing I liked about this was the simplicity of the storyline, which suited the overall style. This was generally a compelling movie, with interesting direction and acting (the most impressive acting came from the youngest actor who played Jamal). However, it was somewhat predictable, and the prevailing love story thread was rather cheesy (obviously the journey taken by the two young boys was far more compelling). I didn't find this movie particularly 'hard hitting' or 'uplifting' as the reviews were saying, but it was certainly moving. I wouldn't say that this was a disappointment, but I do feel that it has been overrated.
Changeling: ****
I am shocked to see that it hasn't even been nominated for 'best picture', a title it would've have been deserving of. I wanted to see Ange doing some amazing acting again (I loved her in Girl, Interrupted, but in nothing since), and was not let down. Her acting has matured and she carried this role really well. The film was artistically and stylistically wonderful, providing engaging and memorable images throughout. The narrative is also captivating, and it would be difficult not to feel completely involved in it. Despite this, I don't think this is one that I'd want to watch again, simply because some of the moments were so harrowing.
The Curious Case of Benjamin Button: ***
Obviously, this was a very commendable movie, and I liked it, but didn't love it. I just felt as though there was a lot missing. The relationship between Benjamin and Daisy was a little bit weird, but I wish they'd gone one step further and made it really freaky, disturbing even. Instead, it just seemed like another boring love story, with a bit of a twist. This should have been less trite and a whole lot more curious.
The Reader vintage review (a before-The Oscars P.O.V.)
The Reader ****
At last, an exceptional Oscar-nominated film! This is shattering and heart-breaking; a truly a affecting film. At the film's outset, I was surprised at the accent and personification of Winslet's character, which seemed to be a German stereotype, and a rather comical one at that. Was this going to be a light-hearted journey? As the first part of the film (and the relationship between grown woman and growing boy) progressed, this became increasing enjoyable to watch, due to the uneasiness we are forced to feel. Despite being less "curious" than 'Benjamin Button', this relationship was more uncomfortable and controversial than the one in 'Button' could dream of being. The constant usage of the pet-name "kid" highlighted this, as did the parental overtones, and images of childhood innocence: boy scouts, choir-singers, bicycles, etc. I was really enjoying this fickle, flighty and dangerous first section, which heightened the sheer agony of the transition to the shocking and sickening second. We are thrown from a tale of forbidden yet disquieting love, to one of murder, trial and mass-genocide; as Hanna Schmitz is tried for crimes and incidents which occurred during her time as a guard at a concentration camp. It is then that this becomes truly harrowing to watch, especially as her former lover is observing the trial as a part of his law studies. The way these two narratives cross and intermingle, particularly ideologically, is clever and compelling. We as the audience experience what the character Michael does, and take a turbulent journey of conscience and morality. My only criticism of this otherwise brilliant film is the way that it ended. I feel the narrative continued for too long, and that there was too much closure at the end. What I loved about this movie was its ability to truly devastate the viewer, and I would have preferred to be left with a feeling of unresolution and mental torture, than one of closure (but is this just me?). This is one not to miss, though, and I feel an injustice that David Kross was not acknowledged with an Oscar nomination for his wonderful portrayal of Michael.
At last, an exceptional Oscar-nominated film! This is shattering and heart-breaking; a truly a affecting film. At the film's outset, I was surprised at the accent and personification of Winslet's character, which seemed to be a German stereotype, and a rather comical one at that. Was this going to be a light-hearted journey? As the first part of the film (and the relationship between grown woman and growing boy) progressed, this became increasing enjoyable to watch, due to the uneasiness we are forced to feel. Despite being less "curious" than 'Benjamin Button', this relationship was more uncomfortable and controversial than the one in 'Button' could dream of being. The constant usage of the pet-name "kid" highlighted this, as did the parental overtones, and images of childhood innocence: boy scouts, choir-singers, bicycles, etc. I was really enjoying this fickle, flighty and dangerous first section, which heightened the sheer agony of the transition to the shocking and sickening second. We are thrown from a tale of forbidden yet disquieting love, to one of murder, trial and mass-genocide; as Hanna Schmitz is tried for crimes and incidents which occurred during her time as a guard at a concentration camp. It is then that this becomes truly harrowing to watch, especially as her former lover is observing the trial as a part of his law studies. The way these two narratives cross and intermingle, particularly ideologically, is clever and compelling. We as the audience experience what the character Michael does, and take a turbulent journey of conscience and morality. My only criticism of this otherwise brilliant film is the way that it ended. I feel the narrative continued for too long, and that there was too much closure at the end. What I loved about this movie was its ability to truly devastate the viewer, and I would have preferred to be left with a feeling of unresolution and mental torture, than one of closure (but is this just me?). This is one not to miss, though, and I feel an injustice that David Kross was not acknowledged with an Oscar nomination for his wonderful portrayal of Michael.
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