The Meaning of Soul

Over the weekend, I had the guilty pleasure of watching Todd Phillip’s (Old School) remake / reimaging of the 70’s TV show ‘Starsky and Hutch’ on BBC 3.  Recommended for fans of the original series or nostalgia enthusiasts. Ben Stiller and Owen Wilson star as the title characters. Two of Hollywood's most famous odd couples that have united together for a number of projects over the years are usually always likable in their films and here nothing changes.  Owen Wilson uses his sarcastic quips to his advantage, coming across as the smoother of the two, whereas Ben Stiller is the bumbling and self-conscious idiot who is both over-protective and over-zealous

 The premise of the film is two mismatched cops: David Starsky is a strict, by-the-books cop, while Ken "Hutch" Hutchinson is more laid-back and doesn't mind crossing the line of the law every once in a while. They're brought together on a case involving murder and cocaine. With assistance with their inside man Huggy Bear (Snoop Dogg), they are determined to bust the biggest case Bay City has seen, while some bickering and clash of ideas ensues.

Vince Vaughn plays Reese Feldman, the villain in the film. He’s a rich playboy, drug dealer who creates an undetectable cocaine mixture with his associate Jason Bateman, who are both very entertaining. Snoop Dogg was also enjoyable as Huggy Bear.  Personally, not a fan of his music, but he delivered some laughs and for once wasn't a completely pointless character.  Amy Smart who played Holly in the film along with Carmen Electra who played Stacy were both good as Starsky & Hutch's love interests and great to look at on screen.  I never watched the original series, so I can’t compare them to David Soul and Paul Michael Glaser (the original Starsky and Hutch) although they did make an appearance at the end of the movie, which was cool to see.  Although, the most important element of the film is the red and white classic 1976 Ford Gran Torino.  Quality looking car!

The result is a very goofy, entertaining flick that never tries too hard and never falls too hard either.  This is the sort of movie that you just sit back, forget your worries, and watch a couple of clowns bumble their way through the '70s.  It's not the kind of movie you'll be talking about after you see it - just a simple popcorn flick. ‘Starsky and Hutch’ is well made and funny - a surprisingly simple movie that is everything it pretends to be. 

Cheers!

Champagne Supernova

‘The Things We Lost In The Fire’ is a powerful and emotional movie that excels in both content and theme. The story makes you understand and feel the pain of its characters, not just see it.  Also, the film never falls on cheap sentimentalism.  It is always very honest

Halle Berry plays Audrey, loving wife of Brian (David Duchovny), whose is gunned down in the street after preventing a man from beating his wife. Jerry (Benico Del Toro) was best friends with Brian since childhood, but Audrey disapproved of their friendship because of Jerry's heroin habit. A cautious relationship is established between Jerry and Audrey when she offers him a place to stay after he tries to kick his habit following Brian's funeral. While Jerry is successful at keeping off the drugs, Audrey finds it difficult to accept the fact that her two children are warming towards him and starts resenting the fact that, despite his degenerate lifestyle, he is still alive, while Brian is dead.

The key aspect in this movie is about the people and their frayed emotions in the wake of personal tragedy. ‘The Things We Lost In The Fire’ focuses largely on the incredible Benicio Del Toro – an inspired choice of casting – whose natural acting skills manage to deflect the attention away to some degree from Halle Berry and David Duchovny.

Del Toro really gets under the skin of his character, which helps the viewer push aside reservations about a character that is a junkie, but with morals and standards whilst in the depths of his addiction. I felt the film avoids the clichés that are too often in this kind of plot and injects a note of uncertainty into what would otherwise be a sort-of happy ending.  By the end of the movie, Jerry comes to realise that he has that 'feeling' he was always looking for with heroin, but that having it isn't necessarily enough – you also, as Brian would say – have to “accept the good” without making further demands in life.  Whether he is strong enough to be able to accept the fact he can overcome his problem is something that plays in our minds well after the movie has finished.

Cheers

To Be Where There's Life

Although, Blazing Saddles and Space Balls might be the most famous Mel Brooks films, ‘Young Frankenstein’ for me is really where he achieves a pinnacle in comedy. The comedy is laugh out loud and over the top, but it never resorts to cheap slapstick.  Mel Brooks does a great directing job, but the film belongs to his cast. Gene Wilder as Dr. Frederick Frankenstein (pronounced "Fronkonstein").  Wilder famous roles include The Producers and Willy Wonka and the Chocolate Factory, but he delivers one of his finest comedy performances in Young Frankenstein.  Even though he doesn't quite beat Wilder, Marty Feldman is absolutely terrific in his role as the hunchback Igor.                  

The story centres on medical lecturer Frederick Frankenstein, who one day receives the will of his grandfather, Victor von Frankenstein, creator of the monster learning he's inherited Victor's old Transylvanian castle. Upon arriving in Transylvania, leaving behind his girlfriend Elizabeth (Madeline Khan) he meets Igor (pronounced "I-gor"; played by Marty Feldman) and his assistant Inga (Teri Garr playing the stereotypical blonde love interest).  After discovering his grandfather's downstairs laboratory, he begins pouring over Victor's old medical notes pertaining to the Frankenstein project and after initially trying to live down his heritage, Frederick becomes immersed in attempting to create another Frankenstein monster despite some resistance from current tenant Frau Blaucher (Cloris Leachman).  Frau's appearance ignites the film's most sustained running gag; whenever her name is uttered, horses start neighing in terror.  Upon successfully digging up a large enough body, Frederick's plans go awry when I-gor, instead of picking out the right brain takes an abnormal brain (or in his words, the brain from "Abby Normal").  After eventually waking up, Frankenstein monster escapes and while he appears threatening, he simply wants to be loved

Two stand out scenes from the movie include, one involving the Frankenstein monster walking into the house of a lonely blind man (Gene Hackman) where he invites the monster in for soup and wine. Unfortunately, the hot soup is poured over him and when attempting to light a cigar, the blind man sets Frankenstein's thumb on fire.  The other scene is where Frederick creates a hilarious performance for the public sympathy for the monster.  The choreography and monster’s singing is perfectly timed and really amusing.  Mel Brooks and Gene Wilder took a classic Universal Monster movie and made their own genuinely entertaining comedy.   

Cheers,   

All Around the World

Howdy!

            After watching a clip in class of Spartacus, I borrowed film from my pal to watch during the week and it’s an epic story of tragedy and triumph, which is really entertaining and compelling.  Directed by Stanley Kubrick, Spartacus is the story of the rebellious Thracian Spartacus, born and raised a slave who is sold to Gladiator trainer Batiatus.  After weeks of being trained to kill for the arena, Spartacus turns on his possessors and leads the other slaves in a rebellion.  As the rebels move from town to town, their numbers expand as escaped slaves join their ranks. Under the leadership of Spartacus, they make their way to southern Italy, where they hope to cross the sea and return to their homes.                                     Meanwhile, in Rome, the slave revolt has become a deciding factor in the power struggle between two senators: the republican Gracchus and the militarist Crassus each of whom sees the fortunes of the rebellion as the key to his own rise to power or humiliating defeat.  As the two statesmen attempt to hamper and manipulate the rebels for their own benefit, Spartacus and his followers press on towards freedom.

The film belongs to Stanley Kubrick, who handles scenes of intimacy superbly and his attention to detail illustrates the violence, brutality and corruption of both the masters and the slaves.  The acting is decent, Kirk Douglas gives a powerful portrait of a complex character that is inspirational yet gentle and kind, who grows over the course of the story.  Laurence Olivier was wonderfully subtle and layered performance as Crassus with Charles Laughton as a brilliant counterpart as his no-nonsense rival Gracchus.  Tony Curtis is also calm and collective as Antoninus, the slave who becomes Spartacus's right hand man and Peter Ustinov does a fine job as the sleazy Batiatus.  Jean Simmons plays Varinia, Spartacus love interest.                            

The movie is long (think 3 hours 20 mins), but it is worthwhile watching, especially the last decisive battle scene between the slave army and Roman legions. The orchestration of thousands of extras in the battle scenes was magnificently staged.  The extras playing the Roman legionnaires marched in formation so precisely and the whole formation moved very gracefully.  Compare that to ‘Troy’ or ‘Gladiator’, probably special effects would be used to capture the same scene.  Another scene, which is brilliant, is when the victorious Crassus, who wants to know who Spartacus is amongst the walking wounded, but one by one his army stand up and declare "I am Spartacus!"  That scene is just stands out for me and shows the commitment of the rebels towards Spartacus.                                     

The ending scene, where Varinia confronts Spartacus as he hangs on the cross is a passionate scene played with raw emotion.  Spartacus knows he's lost and even though his wife and son are free, everyone else is no better off than when he started.  Maybe even be worse off, but it's this final defeat that ultimately makes Spartacus stand out, it doesn't provide us with miracles; every victory is hard earned.   Like ‘Gladiator’, Spartacus is the courage of one man who defies the Roman Empire and it’s a film, which has stood the test of time and will for many years to come. 

 Cheers

Slide Away

Howdy!

Over the weekend I rented out ‘Black Water’.  An Australian independent movie about a true story of a pregnant woman Gracie, her husband Adam and Gracie’s younger sister Lee, who embark upon tour into the Australian swamp for fishing. Their guide uses a small motorboat and takes the tourists along the river to a remote spot. When they stop, they are attacked by a huge crocodile that capsizes their boat and immediately kills the tour guide. The three survivors climb a tree and when they realise that help isn’t coming to rescue them, they decide to try to find a way out of their sheltered location. However, in the muddy water, the crocodile stalks the trio. 

I rented the movie because my pal told me ‘ it does for crocodiles, what Jaws did for sharks’.  Now, Jaws is my favourite film of all time, but to me ‘Black Water’ is Jaws 4.  It’s has no where near the suspense or drama Jaws offers.  It felt the film was very repetitive and predictable.  There was poor character development and I felt nothing for them when they were in danger.  I was voting for the croc. In Jaws, there plenty of character development that the audience can sympathies and empathies with them, but in ‘Black Water’ there isn’t any.  I thought the film might have an entertainment value, but it lacked drawing the audience into the situation.  The film to me was like Open Water or Rogue.  There isn’t a believability to it.  I know they’re true stories, but it’s the way it’s delivered on screen that fails.  I still think someone out there has to make a film on the USS Indianapolis, which I believe could be a good a film as Jaws.

  On a personal note, thank you Andy for the Q and A with Lord Attenborough.  It was an absolute pleasure to be in the crowd and hear his thoughts on his professional and personal life.  I’m sure I speak for the class that if Mr. Attenborough was still in the auditorium, we would all be there listening intensely.  I also read on movie websites that producers Thomas Schuhly and Mario Kassar have the rights to remaking Metropolis.  Don’t know how far along that is, but time to stop the remakes before it gets out of hand.       

Cheers

Don't look back in anger

Howdy!

Recently, I got the chance to watch ‘Max Payne’ with a few of the guys from Uni.  The film is a video game adaptation, which stars Mark Wahlberg as the title character. Most video game adaptations have been box office flops and this was the same.  The story revolves around a series of murders in New York City in which DEA agent Max Payne, whose family was killed as part of a conspiracy and an assassin / Mona Sax (Mila Kunis) who is out to avenge her sister's death. The police, the mob, and a ruthless corporation hunt the duo.

I’ve never played the game so I couldn’t say if it’s faithful, but I wasn’t a fan of the movie.  Portions of the movie didn’t make sense to me; I fell asleep during the middle and eventually left before the end.  I thought the director (John Moore) was trying to make it look like ’Sin City’ type film.  Dark, depressing, moody, film-noir(ish), but it just didn’t work for me.  Mark Wahlberg gave a poor performance.  With his family brutally murdered, you would expect to feel for his character, but you don’t.  The supporting cast are no better, again you don’t care for them even though they have suffered major tragedies.  There wasn’t a lot of action sequences and the storyline just didn’t flow.  There was no rhythm or suspense.  The script failed to deliver any mystery or surprise and as an audience it wasn’t compelling to watch.   

It was quite a disappointing movie to watch and I wouldn’t  recommend to anyone.

Cheers

Live Forever

Howdy! 

I got the chance to watch the Martin Scorsese crime thriller ‘ The Departed’ An American remake of the Hong Kong ‘Infernal Affairs’ franchise.  The film won four Academy awards including Best Picture and Best Director, deservingly so!  Personally, I thought it was up there with Scorsese’s best work, which has to include Goodfellas, Raging Bull, Taxi Driver, Casino etc…

The film centers’ on two just-graduated officers from Massachusetts State Police Academy following opposite sides of the law: William / Billy Costigan Jr. (played by Leonardo DiCaprio) is assigned to work undercover with the Irish mobster Frank Costello (played by jack Nicholson) in order to get evidence to ultimately arrest the mobster. DiCaprio’s true identity is only known by his superiors Dignam (Mark Wahlberg) and Oliver Queenan (Martin Sheen). The protégée of Costello, Colin Sullivan (played by Matt Damon), is promoted in the Massachusetts State Police and is the informer of Costello. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations Costello is involved with.  Although, when it becomes clear to both the mob and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy.  Each must race to uncover the identity of the other man / “rat” to save himself (the “rat” is Matt Damon if you want to know)

I have never seen the original ‘Infernal Affairs’ trilogy, so I couldn’t say if it follows the same adaptation.  Although I felt ‘The Departed’ was a suspenseful, gripping and edge of your seat crime thriller.  The monologue of Jack Nicholson at the beginning of the movie introducing the Irish/Catholic setting, were its low key lighting and you never see his face, but only hear his voice was a joy to watch and a great start.  I thought the cast was excellent.  DiCaprio, Damon and the ever-reliable Nicholson were on top-notch form.  The support cast of Wahlberg, Sheen, Baldwin and Winstone were great too, especially Wahlberg who is a scene-stealer, who portrays his role with great conviction and passion.   The intensity of the final 20 minutes has everything a finale could have.  Its fast paced, suspenseful, plots twists and practically everyone is killed off.  Never saw the lift scene coming!                                     

The cinematography is well crafted - the camera positions grasp the scene in its fullest while avoiding being generic.  The direction is pure Scorsese - the steady cam shots, the unexpected explosions of violence and the combination of humour and bloodshed.  The screenplay by Monahan is very good too. The dialogue is harsh, crisp and clever with an outstanding soundtrack, which includes The Rolling Stones ‘Gimme Shelter’.  Overall, the film is an exciting tale of deception and violence mixed with a strong cast. 

"I don't want to be a product of my environment. I want my environment to be a product of me”. – Frank Costello

Cheers