Couples Retreat: Movie Review
Rating: 5/10
Cast: Vince Vaughn, Jason Bateman, Jon Favreau, Kristin
Davis, Malin Akerman, Kristen Bell, Jean Reno, Peter Serafinowicz, Temuera
Morrison
Director: Peter Billingsley
We all know life sometimes gets in the way of relationships - whether it's
work, kids or commitments, we're all a bit guilty of maybe neglecting (to a
degree) the one we love.
Couples Retreat (starring a group of the Frat Pack) is the tale of 4 couples
who head to an island resort at the insistence of one of their own who are on
the verge of divorce - and see the getaway as a last make-or-break chance.
The quartet of couples all have their issues - there's Jon Favreau's Joey and
Kristin Davis' Lucy who are at the stage of their marriage where they can't
stand the sight of each other; Jason Bateman's suffocating Jason and Kristen
Bell's Cynthia who (as mentioned) are on the verge of divorce; Faizon Love's
divorced Shane and his 20-year-old girlfriend and Vince Vaughn's Dave and Malin
Akerman's Ronnie - who to be fair are the strongest of the couples and whose
only real problem is getting time together.
Once on the Paradise Island, the gang soon realise what they'd expected to be
a vacation is more about therapy, building and strengthening relationships and
talking - than partying and enjoying it.
The cracks begin to form in all four of the couples as they realise what's
demanded of them&
Written by Jon Favreau and Vince Vaughn (a reteaming of the Swingers gang),
you'd expect Couples Retreat to be a riotous laugh a minute look at
relationships during a retreat on a paradise island.
And that's what the trailer hinted at...
But yet Couples Retreat is not exactly comedy - it's probably more truthful
to say it's a drama with a few deadpan good one liners thrown in - as well as
some solid performances - including Jason Bateman who continues to shine on
screen.
For the first time on screen, I've actually warmed to a character played by
Vince Vaughn; usually boorish, his Dave is probably his most reality grounded
and mature role ever which sees you sympathising with his plight as he and
Ronnie begin to realise everything's not perfect in their lives.
Most of the laughs from Couples Retreat come from the side characters; from
Peter Serafinowicz's contemptuous, sneering, deadpan island host Stanley to
Carlos Ponce's terrifyingly creepy yoga instructor (trust me you'll never look
at a yoga instructor the same way again) the supporting characters are the ones
which are on screen caricatures. Sadly Temuera Morrison is there simply as an
island style sidekick to Jean Reno's pompous Monsieur Marcel.
There are some great one liners and moments in Couples Retreat - but if
you're expecting more than that, you will leave sorely disappointed. Granted,
it's a more mature film, it just could have done with being a little funnier in
places given the wealth of talent involved.
If, however, you're looking for a film which takes couples whose lives have
been battered by the day to day pressures of modern life and forces them to
re-evaluate, then a word of caution - Couples Retreat may find you leaving the
cinema, thinking your relationship could do with a spruce up and makeover.
Friday, 9 October 2009
The Secret of Moonacre: Movie Review
The Secret of Moonacre: Movie Review
Rating: 5/10
Cast: Dakota Blue Richards , Juliet Stevenson, Natascha McElhone , Ioan Gruffudd, Tim Curry Coeur De Noir/Sir William De Noir
Director: Gabor Csupo
The latest adaptation of a novel (this time, it's The Little White Horse by Elizabeth Goudge) appears on our screens in time for the school hols.
It's the story of 13-year-old Maria Merryweather (Dakota Blue Richards, last seen in The Golden Compass) who starts the film becoming an orphan after her father dies.
As her sole inheritance, she's left a book - but that book is the story of a centuries old dispute between the Merryweather and De Noir dynasties - over a necklace of magic Pearls bestowed on them by the Moon Princess (Natascha McElhone.)
Despatched to live with her uncle Sir Benjamin Merryweather (Ioan Gruffudd) at the isolated Moonacre estate, Maria begins to discover there may be more truth to the book and the feud than fiction&
The Secret of Moonacre is not a bad fantasy story - it's just bogged down by some, at times, pantomine performances by supporting members of the main cast. The worst offender of this is Juliet Stevenson's Miss Heliotrope, who appears to think she's in a Carry On film. Her overacting distracts from the more restrained subtle performance of Dakota Blue Richards' Maria Merryweather - even Tim Curry's Coeur De Noir/Sir William De Noir is over the top.
It's a shame because the true beauty of this film comes from its sumptuously gorgeous sets and costumes.
The department involved with making the Moonacre world a reality needs an Oscar - they're so wonderfully visualised and made real that it's just sad the story doesn't follow suit.
The Secret of Moonacre may keep the kids quiet for a little while - but an older audience may find it slightly lacking - there's a real lack of development in the interaction between the main characters - and where alliances are forged and friendships made, the brevity doesn't help make it more plausible.
Overall despite attempts to give the classic period movie a more fantastical twist, The Secret of Moonacre falls a little flat and may leave some of the kids in the audience (old or young) fidgeting in their seats.
Rating: 5/10
Cast: Dakota Blue Richards , Juliet Stevenson, Natascha McElhone , Ioan Gruffudd, Tim Curry Coeur De Noir/Sir William De Noir
Director: Gabor Csupo
The latest adaptation of a novel (this time, it's The Little White Horse by Elizabeth Goudge) appears on our screens in time for the school hols.
It's the story of 13-year-old Maria Merryweather (Dakota Blue Richards, last seen in The Golden Compass) who starts the film becoming an orphan after her father dies.
As her sole inheritance, she's left a book - but that book is the story of a centuries old dispute between the Merryweather and De Noir dynasties - over a necklace of magic Pearls bestowed on them by the Moon Princess (Natascha McElhone.)
Despatched to live with her uncle Sir Benjamin Merryweather (Ioan Gruffudd) at the isolated Moonacre estate, Maria begins to discover there may be more truth to the book and the feud than fiction&
The Secret of Moonacre is not a bad fantasy story - it's just bogged down by some, at times, pantomine performances by supporting members of the main cast. The worst offender of this is Juliet Stevenson's Miss Heliotrope, who appears to think she's in a Carry On film. Her overacting distracts from the more restrained subtle performance of Dakota Blue Richards' Maria Merryweather - even Tim Curry's Coeur De Noir/Sir William De Noir is over the top.
It's a shame because the true beauty of this film comes from its sumptuously gorgeous sets and costumes.
The department involved with making the Moonacre world a reality needs an Oscar - they're so wonderfully visualised and made real that it's just sad the story doesn't follow suit.
The Secret of Moonacre may keep the kids quiet for a little while - but an older audience may find it slightly lacking - there's a real lack of development in the interaction between the main characters - and where alliances are forged and friendships made, the brevity doesn't help make it more plausible.
Overall despite attempts to give the classic period movie a more fantastical twist, The Secret of Moonacre falls a little flat and may leave some of the kids in the audience (old or young) fidgeting in their seats.
Thursday, 1 October 2009
(500) Days Of Summer: Movie Review
(500) Days Of Summer: Movie Review
Rating: 8/10
Cast: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler.
Director: Marc Webb
Okay right from the off, I am going to issue you a warning.
Much like the start of the movie, which emphasises that the following film is not a love story, (500) Days of Summer will divide people's opinions.
To some the quirky factor of 11 may be too much to handle or the main protagonist will either come across as doleful and sympathetic or whiny and irritating. Seriously I saw this with three friends and we were divided straight down the line - two loved it and two hated it. As you can see from the rating above, we are heading into safe waters with this review.
Joseph Gordon-Levitt (GI Joe, Third Rock From The Sun and half the indie movies of the last five years) stars as Tom, a bored greeting card writer and frustrated architect, who is going nowhere fast.
Tom has settled with what he's been given in life, but that all changes when Summer (Zooey Deschanel) is hired as a new secretary in his firm. It's love at first sight.
Backed up by his suitably quirky mates (aren't they always in movies?), Tom finally talks to Summer over their love of those happy British rockers, The Smiths.
And so the picture begins as both fall in and out of love, all told from the point of view of the lovelorn Gordon-Levitt.
First-time director Marc Webb is certainly given the freedom to play with the typical romantic comedy structure. The film plays with time, going from the first feelings of love to the bitter taste of a broken relationship, then back to the awkward initial moments of intimacy, then back again.
Webb also plays with animated sequences and in a bizarre moment, a full scale Busby Berkeley-style dance number in a park. But the great thing is it all works. Yes it's quirky, yes it wants to be different but it doesn't feel completely forced.
Gordon-Levitt has developed from geeky child actor, through geeky teen, to geeky adult but his fine comedic chops stand him well in the more humorous moments. After years of honing his skills in independent movies, (500) Days of Summer, along with his appearance in GI Joe this year, mean he has well and truly arrived in the megaplexes.
Zooey Deschanel plays pretty much the same doe-eyed-ingénue-with-an-edge role as usual and isn't really asked an awful lot to do, but she is a perfect foil to Gordon-Levitt.
There are other minor quibbles, including the slightly overbearing soundtrack, which clearly is hoping that it's mix of trendy, 80s Britpop and French ballads would send it top of the CD charts, just like the soundtrack to that other indie darling Juno.
But overall this is a gem of a movie.
It turns the traditional romantic comedy on its head and will leave you smiling as you leave the cinema. Or of course you could hate the movie like my friends -up to you to decide
Rating: 8/10
Cast: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler.
Director: Marc Webb
Okay right from the off, I am going to issue you a warning.
Much like the start of the movie, which emphasises that the following film is not a love story, (500) Days of Summer will divide people's opinions.
To some the quirky factor of 11 may be too much to handle or the main protagonist will either come across as doleful and sympathetic or whiny and irritating. Seriously I saw this with three friends and we were divided straight down the line - two loved it and two hated it. As you can see from the rating above, we are heading into safe waters with this review.
Joseph Gordon-Levitt (GI Joe, Third Rock From The Sun and half the indie movies of the last five years) stars as Tom, a bored greeting card writer and frustrated architect, who is going nowhere fast.
Tom has settled with what he's been given in life, but that all changes when Summer (Zooey Deschanel) is hired as a new secretary in his firm. It's love at first sight.
Backed up by his suitably quirky mates (aren't they always in movies?), Tom finally talks to Summer over their love of those happy British rockers, The Smiths.
And so the picture begins as both fall in and out of love, all told from the point of view of the lovelorn Gordon-Levitt.
First-time director Marc Webb is certainly given the freedom to play with the typical romantic comedy structure. The film plays with time, going from the first feelings of love to the bitter taste of a broken relationship, then back to the awkward initial moments of intimacy, then back again.
Webb also plays with animated sequences and in a bizarre moment, a full scale Busby Berkeley-style dance number in a park. But the great thing is it all works. Yes it's quirky, yes it wants to be different but it doesn't feel completely forced.
Gordon-Levitt has developed from geeky child actor, through geeky teen, to geeky adult but his fine comedic chops stand him well in the more humorous moments. After years of honing his skills in independent movies, (500) Days of Summer, along with his appearance in GI Joe this year, mean he has well and truly arrived in the megaplexes.
Zooey Deschanel plays pretty much the same doe-eyed-ingénue-with-an-edge role as usual and isn't really asked an awful lot to do, but she is a perfect foil to Gordon-Levitt.
There are other minor quibbles, including the slightly overbearing soundtrack, which clearly is hoping that it's mix of trendy, 80s Britpop and French ballads would send it top of the CD charts, just like the soundtrack to that other indie darling Juno.
But overall this is a gem of a movie.
It turns the traditional romantic comedy on its head and will leave you smiling as you leave the cinema. Or of course you could hate the movie like my friends -up to you to decide
Fame: Movie Review
Fame: Movie Review
Rating: 4/10
Cast: Asher Book, Paul McGill, Naturi Naughton, Paul Iacono, Debbie Allen, Kelsey Grammer, Charles S. Dutton, Kay Panabaker, Walter Perez, Megan Mullally, Anna Maria Perez de Taglé
Director: Kevin Tancharoen
Fame costs - and right here, is apparently where you start paying.
When asking around the office about Fame memories, there were common themes - whether it's the legwarmers or Leroy, everyone's got an opinion on this iconic film and TV series.
So you'd have to wonder how massive a challenge it would be to rewrite the film and update it for a more savvy audience in 2009.
The latest version features a cast of relative unknowns as the wannabes who are put up against the acting talents that are Charles S Dutton, Kelsey Grammer, Bebe Neuwirth and Megan Mullally (who all play teachers in this.)
The film begins with a smattering of auditions as the Performing Arts school gets ready for a new year - and a new batch of would be famous people.
Thereafter, it's broken up into the four years (from freshman year, sophomore, junior and senior year) the cast are at the school for - and their various trials and tribulations in the run up to graduation.
Let's lay this on the line here - as you can tell from the summary, there are no main or major characters - and it's difficult to describe Fame as an ensemble cast.
Concentrating on the positive for a moment - the whole film is brilliantly choreographed and has a tremendous energy during the scenes of dancing and singing - every one of those involved in those respective scenes gives 110%.
But therein lies the major problem for Fame - it's too unfocussed.
There are around 10 "leads" whose lives are followed over a four year period during the film's 100 minute duration - as any basic mathematician will tell you that doesn't leave much time for either character development, consistent plot or time to get to love those who faces the obstacles.
And here's another problem - the obstacles that these kids face are unfortunately so predictable and stereotyped you can see them coming a mile off.
Every talent cliche is there - the classical pianist who's a genius but who just wants to cut loose and sing - against the wishes of her father; the naïve young actress who doesn't believe the sleazeball will hit on her; the jealous boyfriend; the rapper who's father left; the actress who can't trust her instincts and cut loose because of self doubt&
It's just so disappointing to see as it the predictability of the situations can be seen a mile off - and I know films are supposed to be escapism and not set in any kind of reality, but how can you put characters into these situations when everyone has seen these kind of dilemmas before?
The young cast give it their all in each heavily choreographed set piece after set piece - but when it comes to dialogue, unfortunately they're acted off the screen by the old guard of Grammer, Neuwirth, Mullally and Dutton.
You can't fault the energy of Fame - it's just a shame none of the major songs are as memorable as Irene Cara's original theme and the whole production doesn't fly.
Rating: 4/10
Cast: Asher Book, Paul McGill, Naturi Naughton, Paul Iacono, Debbie Allen, Kelsey Grammer, Charles S. Dutton, Kay Panabaker, Walter Perez, Megan Mullally, Anna Maria Perez de Taglé
Director: Kevin Tancharoen
Fame costs - and right here, is apparently where you start paying.
When asking around the office about Fame memories, there were common themes - whether it's the legwarmers or Leroy, everyone's got an opinion on this iconic film and TV series.
So you'd have to wonder how massive a challenge it would be to rewrite the film and update it for a more savvy audience in 2009.
The latest version features a cast of relative unknowns as the wannabes who are put up against the acting talents that are Charles S Dutton, Kelsey Grammer, Bebe Neuwirth and Megan Mullally (who all play teachers in this.)
The film begins with a smattering of auditions as the Performing Arts school gets ready for a new year - and a new batch of would be famous people.
Thereafter, it's broken up into the four years (from freshman year, sophomore, junior and senior year) the cast are at the school for - and their various trials and tribulations in the run up to graduation.
Let's lay this on the line here - as you can tell from the summary, there are no main or major characters - and it's difficult to describe Fame as an ensemble cast.
Concentrating on the positive for a moment - the whole film is brilliantly choreographed and has a tremendous energy during the scenes of dancing and singing - every one of those involved in those respective scenes gives 110%.
But therein lies the major problem for Fame - it's too unfocussed.
There are around 10 "leads" whose lives are followed over a four year period during the film's 100 minute duration - as any basic mathematician will tell you that doesn't leave much time for either character development, consistent plot or time to get to love those who faces the obstacles.
And here's another problem - the obstacles that these kids face are unfortunately so predictable and stereotyped you can see them coming a mile off.
Every talent cliche is there - the classical pianist who's a genius but who just wants to cut loose and sing - against the wishes of her father; the naïve young actress who doesn't believe the sleazeball will hit on her; the jealous boyfriend; the rapper who's father left; the actress who can't trust her instincts and cut loose because of self doubt&
It's just so disappointing to see as it the predictability of the situations can be seen a mile off - and I know films are supposed to be escapism and not set in any kind of reality, but how can you put characters into these situations when everyone has seen these kind of dilemmas before?
The young cast give it their all in each heavily choreographed set piece after set piece - but when it comes to dialogue, unfortunately they're acted off the screen by the old guard of Grammer, Neuwirth, Mullally and Dutton.
You can't fault the energy of Fame - it's just a shame none of the major songs are as memorable as Irene Cara's original theme and the whole production doesn't fly.
In The Loop: Movie Review
In The Loop: Movie Review
Rating: 7/10
Cast: Peter Capaldi, James Gandolfini, Tom Hollander, Anna Chlumsky, Chris Addison
Director: Armando Iannucci
A riotous hit at the New Zealand Film Festival, In The Loop finally arrives on the wider circuit.
A spin off from the critically acclaimed The Thick Of It, it's a tale of politics, foul mouths and hilarious misunderstandings with global consequences.
With the British Prime Minister and US president looking to go to war, there are the inevitable political splits - and the situation is made much worse by Secretary of State for International Development, Simon Foster (Tom Hollander)
His comment that war is "unforeseeable" during an interview is picked up - and suddenly the entire world appears to be going to hell in a handcart.
Only to make matters worse, the UK's chief spin doctor Malcolm Tucker (a stunning bilious performance from Peter Capaldi whose anger seems to push him close to a stroke) latches onto Foster as he tries to limit the damage control.
In The Loop is a dizzying, hedonistic trip through the corridors of power.
It's about British politics and the satire - and takes in Washington politics as well.
It's fast paced, intelligent, frenetic and full of endlessly quotable F word moments - Iannucci shows why he's the king of UK satire as he lampoons the reality of life behind the political curtain.
With a top notch ensemble cast, In The Loop is full of quality performances - but one simply towers above the rest.
It's quite simply Peter Capaldi's film - his turn as spin doctor Malcolm Tucker defies description - from the first moments when he tells Foster's new intern to go away in no uncertain terms, it's clear he's not a man who minces his words.
But if it's Tucker's tirades which are the lasting memory of the film, you soon realize that the plot (such as it is) feels little more than a long drawn out episode of The Thick Of It (which if you've not seen when it was on TV ONE then I suggest you seek out the DVDs immediately)
That's not necessarily a bad thing but Iannucci almost paints himself into a corner with his story and there are lulls throughout.
However, thanks to the juxtaposition of an impending global war and the absurdity of constituency politics, he's able to weave a tableaux which is fun, frantic and requires a certain level of intelligence to follow.
In The Loop is a vicious satire and a very funny expression of politics as well as the levels it's played on - from the very top to the very bottom with quibbling interns.
You have to wonder how close to reality and truth this actually it is - and if it is, we're all in serious trouble.
Rating: 7/10
Cast: Peter Capaldi, James Gandolfini, Tom Hollander, Anna Chlumsky, Chris Addison
Director: Armando Iannucci
A riotous hit at the New Zealand Film Festival, In The Loop finally arrives on the wider circuit.
A spin off from the critically acclaimed The Thick Of It, it's a tale of politics, foul mouths and hilarious misunderstandings with global consequences.
With the British Prime Minister and US president looking to go to war, there are the inevitable political splits - and the situation is made much worse by Secretary of State for International Development, Simon Foster (Tom Hollander)
His comment that war is "unforeseeable" during an interview is picked up - and suddenly the entire world appears to be going to hell in a handcart.
Only to make matters worse, the UK's chief spin doctor Malcolm Tucker (a stunning bilious performance from Peter Capaldi whose anger seems to push him close to a stroke) latches onto Foster as he tries to limit the damage control.
In The Loop is a dizzying, hedonistic trip through the corridors of power.
It's about British politics and the satire - and takes in Washington politics as well.
It's fast paced, intelligent, frenetic and full of endlessly quotable F word moments - Iannucci shows why he's the king of UK satire as he lampoons the reality of life behind the political curtain.
With a top notch ensemble cast, In The Loop is full of quality performances - but one simply towers above the rest.
It's quite simply Peter Capaldi's film - his turn as spin doctor Malcolm Tucker defies description - from the first moments when he tells Foster's new intern to go away in no uncertain terms, it's clear he's not a man who minces his words.
But if it's Tucker's tirades which are the lasting memory of the film, you soon realize that the plot (such as it is) feels little more than a long drawn out episode of The Thick Of It (which if you've not seen when it was on TV ONE then I suggest you seek out the DVDs immediately)
That's not necessarily a bad thing but Iannucci almost paints himself into a corner with his story and there are lulls throughout.
However, thanks to the juxtaposition of an impending global war and the absurdity of constituency politics, he's able to weave a tableaux which is fun, frantic and requires a certain level of intelligence to follow.
In The Loop is a vicious satire and a very funny expression of politics as well as the levels it's played on - from the very top to the very bottom with quibbling interns.
You have to wonder how close to reality and truth this actually it is - and if it is, we're all in serious trouble.
The Limits of Control: Movie Review
The Limits of Control: Movie Review
Rating: 6/10
Cast: Isaach De Bankolé, Bill Murray, Tilda Swinton, Gael García Bernal, Hiam Abbass, Paz de la Huerta, Alex Descas, John Hurt
Director: Jim Jarmusch
A Lone Man (Isaach De Bankolé) is a criminal hitman, hired to do a job in Spain.
Through a series of encounters with pivotal contacts, he begins to edge closer to his target - but the nearer he gets to the hit, the more tangled the web becomes - who can he trust?
The Limits of Control is not your average film- with hardly any dialogue throughout and only the minimal soundtrack, it's not going to appeal to everyone.
Even the sparse dialogue is repeated throughout the film at various junctures and every precious word which is spoken, is pivotal, looped and recycled.
The idiosyncracies and actions of the Lone Man are also looped - each day begins with him doing his tai chi before demanding two espressos in separate cups at cafes in each locale where he finds himself.
Each meeting starts the same way with a contact asking him "You don't speak Spanish, right?" before passing him a matchbox with a piece of paper inside.
As he pieces together the puzzles of where he's meant to go, we learn at the same time he does.
However, it's not really about the plot - this is a Jim Jarmusch exercise in cool and minimalism - as well as cameos - the best being Bill Murray (but to reveal much about that would spoil the film.)
John Hurt and Tilda Swinton appear in scenes, espouse some philosophy with our hitman before disappearing into the distance.
But if The Limits of Control is about the characters, much of the surroundings help to frame some kind of narrative and context - Spain has never looked quite so beautiful as it does on the big screen here.
Those looking for a coherent plot with a solid explanation of what's going on will be sorely disappointed - but once you settle into the groove and the journey of the story, you are soon sucked in. The looped and repetitive nature of some of the scenes lulls you into a false sense of security as you wait for the jigsaw pieces to fall into place.
The Limits of Control is a diverse piece of film-making - and may just be the perfect solution to the full-on blockbusters currently in the multiplexes.
Rating: 6/10
Cast: Isaach De Bankolé, Bill Murray, Tilda Swinton, Gael García Bernal, Hiam Abbass, Paz de la Huerta, Alex Descas, John Hurt
Director: Jim Jarmusch
A Lone Man (Isaach De Bankolé) is a criminal hitman, hired to do a job in Spain.
Through a series of encounters with pivotal contacts, he begins to edge closer to his target - but the nearer he gets to the hit, the more tangled the web becomes - who can he trust?
The Limits of Control is not your average film- with hardly any dialogue throughout and only the minimal soundtrack, it's not going to appeal to everyone.
Even the sparse dialogue is repeated throughout the film at various junctures and every precious word which is spoken, is pivotal, looped and recycled.
The idiosyncracies and actions of the Lone Man are also looped - each day begins with him doing his tai chi before demanding two espressos in separate cups at cafes in each locale where he finds himself.
Each meeting starts the same way with a contact asking him "You don't speak Spanish, right?" before passing him a matchbox with a piece of paper inside.
As he pieces together the puzzles of where he's meant to go, we learn at the same time he does.
However, it's not really about the plot - this is a Jim Jarmusch exercise in cool and minimalism - as well as cameos - the best being Bill Murray (but to reveal much about that would spoil the film.)
John Hurt and Tilda Swinton appear in scenes, espouse some philosophy with our hitman before disappearing into the distance.
But if The Limits of Control is about the characters, much of the surroundings help to frame some kind of narrative and context - Spain has never looked quite so beautiful as it does on the big screen here.
Those looking for a coherent plot with a solid explanation of what's going on will be sorely disappointed - but once you settle into the groove and the journey of the story, you are soon sucked in. The looped and repetitive nature of some of the scenes lulls you into a false sense of security as you wait for the jigsaw pieces to fall into place.
The Limits of Control is a diverse piece of film-making - and may just be the perfect solution to the full-on blockbusters currently in the multiplexes.
Samson and Delilah: Movie Review
Samson and Delilah: Movie Review
Rating: 8/10
Cast: Rowan McNamara, Marissa Gibson
Director: Warwick Thornton
This is the film which set all of Australia talking.
An incredibly powerful piece, it's the tale of Samson (Rowan McNamara) and Delilah (Marissa Gibson) both Aborigine who live on a reservation.
Life for them in the reservation is hard - a series of repetitive monotonies (as signified by Samson's brother's band which bashes out the same tune daily) and which offers no real hope.
One day Delilah's nan dies and after she's set upon by locals who claim she didn't look after her nan properly, Samson takes matters into his own hands, steals a car and the two head away from the reservation for what they believe is a better life.
However, they end up on the streets, struggling to get by and much worse off than they were - will they survive?
What an incredibly powerful and moving film this is.
Director Warwick Thornton's taken examples of his life in Alice Springs and put it up on the big screen for everyone to see.
It's mesmerising, horrific, humorous and will leave you wondering how anyone could live in a place such as this.
Both the first time leads are stunning - their performances compel you to watch them - even if it is with a sense of heartbreak. They spend most of the film hardly talking and as their non-verbal tender relationship grows, I guarantee you will be left feeling sick to your stomach at the moments when the real shocks hit.
Samson and Delilah is at times bleak and painful to watch - but you are glued to the screen and left fully aware that for some, this is the daily reality of their life.
There's light at the end - but even without that ray of hope glistening, the entire film is still compelling - and sickening - in equal measures.
Rating: 8/10
Cast: Rowan McNamara, Marissa Gibson
Director: Warwick Thornton
This is the film which set all of Australia talking.
An incredibly powerful piece, it's the tale of Samson (Rowan McNamara) and Delilah (Marissa Gibson) both Aborigine who live on a reservation.
Life for them in the reservation is hard - a series of repetitive monotonies (as signified by Samson's brother's band which bashes out the same tune daily) and which offers no real hope.
One day Delilah's nan dies and after she's set upon by locals who claim she didn't look after her nan properly, Samson takes matters into his own hands, steals a car and the two head away from the reservation for what they believe is a better life.
However, they end up on the streets, struggling to get by and much worse off than they were - will they survive?
What an incredibly powerful and moving film this is.
Director Warwick Thornton's taken examples of his life in Alice Springs and put it up on the big screen for everyone to see.
It's mesmerising, horrific, humorous and will leave you wondering how anyone could live in a place such as this.
Both the first time leads are stunning - their performances compel you to watch them - even if it is with a sense of heartbreak. They spend most of the film hardly talking and as their non-verbal tender relationship grows, I guarantee you will be left feeling sick to your stomach at the moments when the real shocks hit.
Samson and Delilah is at times bleak and painful to watch - but you are glued to the screen and left fully aware that for some, this is the daily reality of their life.
There's light at the end - but even without that ray of hope glistening, the entire film is still compelling - and sickening - in equal measures.
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Brand new Oblivion posters unveiled Entertainment Weekly' s got the first look at some new Oblivion posters. The Oblivion posters s...
