Surgeon, Nick Cavanaugh has been taught from a young age, that with hard work and persistence, he can have anything he desires. However, what, or rather, who, he desires is Helena, a model who does not return his affections.
After one night with her, he becomes obsessive, and when she finally attends a party he holds at his former family home, which he has recently come into possession of, due to the death of his mother, he feels that all his dreams have come true. This idea is crushed, however, when she leaves early, with one of his (male) friends. The next day, she calls him to ask him to return her purse to her at the airport, where she's waiting to catch a plane. However, due to a missing address book, she returns to his home with him to search for it. While leaving she is hit by a car, which is where the main body of the film begins.
Nick helps Helena into his home, and operates on her alone. He removes her legs, apparently unnecessarily, essentially trapping her. From here, the film becomes a battle of wills between the two protagonists, Nick and Helena, underscored by the themes of Nick's apparent rejection and obsession with his mother - who bears a startling resemblance to Helena - and the Venus De Milo.
Helena (Sherilyn Fenn), the titular character is beautiful, and she definitely knows it. She seems to enjoy her power, and never doubts it, even during her darkest moments. Even after the accent, when she is rendered a prisoner by her loss of mobility, she rarely expresses regret at the loss of her beauty - only one comment, as I noticed - seeming to regret the loss of her mobility more, while being aware that is still as beautiful as she ever was. Although I have no idea if this was a conscious effect or not, the idea of a wheelchair bound character remaining strong-willed, beautiful, and, in many ways, still in control was fairly cheering.
Helena toys with men, and often plays with fire, teasing and emasculating men physically stronger than her, in the sure knowledge that she is untouchable. In this assumption, she is clearly wrong.
Nick (Julian Sands) is definitely a troubled man. Although clearly strong and competent - he's Cheif Surgeon of a hospital, comes from a wealthy family, has a loving girlfriend, and keeps his rather attractive body in shape - he is insecure enough that the self-possessed Helena finds it easy to get to him. His obsession with her, and, in general, his relationships with women effectively emasculate him, despite everything else. Somewhat admirably, he does manage to stand up to Helena's games, although he never attains the self-control she does.
As mentioned, much of the film consists of the power-play between the two. Clearly, at first the power is with Helena; Nick's obsession with her effectively controls his life, leaving no part of it untouched. Even after the loss of her legs, Helena remains in control of him - after she tells him that she wishes he were dead, he holds a gun to his head, and asks her if that's what she really wants. Her submission is one of the key points of the film, signalling the first time she acknowledges her dependence on him. Nick isn't under her thumb all of the time, however; he makes it clear that she is dependant on him for all her needs, although the fact that she has driven him to it makes it arguable how in-control he is.
Jennifer Chambers Lynch's debut at directing, Boxing Helena does show some skill. There are several effective moments of confusion, which are done very well, when the audience is not sure of what's happening in the film for a few moments, until something suddenly clicks. Most films don't pull this off well, but Boxing Helena does so perfectly. This is slightly let down by the ending, which seems almost like an easy-out from the film. However, on second thought, the ending does explain several parts of the plot, which don't gel together entirely well, although they do nothing about the unexplained plot hole.
The visuals of the film are rather good - Nick's home, and the clothes in the film are all very glamorous and complement Fenn's look - reminiscent of a 1920's silent film actress, almost - perfectly. Sands upper-class English accent also matches this theme.
There's almost a feeling of timelessness in Nick's home, where much of the film takes place. That's interesting, as, as well as the place where he remembers his mother from, it's also the place where he tries to trap Helena; it could almost be interpreted as him trying to create his own world, replacing his childhood obsession with his preoccupied mother with his love for Helena. He seems to be retreating from the world, and the static state of his home underlines that.
Another item of interest, is the somewhat accurate, in my opinion, portrayal of a stalker, Nick's obsession with Helena. It's believable that he'd do anything to keep her, and that's downright scary at times.
The use of the symbolic Venus De Milo throughout the film is also worth noting. The statue is shown at various points in the film, certain differences from it's normal anatomy foreshadowing the changes to Helena.
In summary, Boxing Helena is an interesting portrayal of obsession and desire, with a slightly disappointing ending. However, lots of naked women, and some interesting power-plays make up for it.
Sunday 4 September 2011
Bicentennial Man
I have seen this film quite a few times in the last few years, and every time I take something new from it.
Loosely based on the short story by Isaac Asimov, Bicentennial Man is set in "the near future" (the actual date given for the start of the film is April 1st, 2005, which dates it slightly), and follows the story of Andrew Martin, a robot. In this imagined 'future', androids as servants are commonplace; what is unusual about Andrew, however, is that he begins to display traits such as curiosity and creativity which are considered abnormal when experienced in machines. Andrew's owner, when releasing the uniqueness of his belonging plays Henry Higgens to the robot's Eliza Doolittle and teaches him about humanity, almost as a project it seems. His youngest daughter, known as little miss, also becomes close to Andrew (it was, in fact, she that gave him his name, through being unable to pronounce 'android'). The elder daughter and wife are unable to accept a robot as a human - a key scene near the beginning of the film contains an argument about whether Andrew should receive money from the sale of the clocks he learns to build. While little miss cannot understand why Andrew should not receive the rewards of his skill and work, her mother is equally unable to understand why a machine should be paid for the work it does.
As the film progresses, Andrew learns more and more about humanity, as he watches his family grow and develop, and as he learns more and more himself. This film is oddly humorous at times, although not in an obvious way; the humour derives from Andrew's attempts to understand the idiosyncrasies of humanity, and his unique way of looking at things. Eventually Andrew requests his independence - not because he wishes to leave his family, but because he wishes to be more than property. Hurt by this, his owner grants him his freedom, but tells him that he cannot stay with the family - he must make his own way in the world. Thus Andrew sets out on a quest to find out if he truly is the only one of his kind, torn between humanity and machinery.
Robin Williams plays Andrew extraordinarily well. Although, as I have said, this film is humorous, for once Williams is not playing a comical character. Andrew's quaint way of viewing things humanity takes for granted, and several lines in the film have a very intelligent humour to them, rather than the almost slapstick humour Williams is famed for. The character of Andrew is shown over two hundred years, and Williams portrays him growing and changing in a very believable manner. Andrew progresses from being unable to understand human phrases unless they are perfectly grammatical and logical to being able to read the expressions, body language and small nuances that people take for granted to communicate.
Embeth Davidtz who plays both little miss and her look-alike granddaughter, Portia, is also fantastic. She manages to keep the two distinct roles unique, despite the many similarities in the roles the two characters play. As a matter of fact, all of the actors are amazing. Each one contributes perfectly to the storyline of the film, and I could not detect a single moment that seemed forced, out of character, or just plain wooden. Since the film takes place over two hundred years, all of the characters age, and the make up effects used for this are extraordinary. Unlike in I-Robot, another Asimov inspired robot film, no CGI is used, or at least, none that is detectable. Still, the film persists in being visually stunning, and rather than being dated is merely presented in an ageless style, much like Mona Lisa Smile.
As Andrew learns what humanity means, and what being a robot truly means, he is forced to make more and more decisions. his eventual decision - in fact all of the films many events and decisions - are presented in such a way as to be perfectly understandable, although the film manages not to spell things out or patronise the audience. The use of the instrumental "Then you look at me" (the vocal version, performed by Celine Dion only being played over the end credits) at poignant moments is very effective, and the sheer beauty of the music only adds to the tragedy and wonder of such moments. This film, although it does have happy moments, also has it's share of tragedy; a part of the immortality of being a robot is seeing humans die.
The ending is amazing, and, although normally I begin predicting the end of a film about halfway through, as I recall, when watching this for the first time I was far too absorbed to even think about it.
This film is fairly long, although not at all drawn out, and is more serious than most, although it's still funny and enjoyable. I don't imagine it will be to everyone's taste, but I do feel that if you give it a chance, you won't be disappointed.
Loosely based on the short story by Isaac Asimov, Bicentennial Man is set in "the near future" (the actual date given for the start of the film is April 1st, 2005, which dates it slightly), and follows the story of Andrew Martin, a robot. In this imagined 'future', androids as servants are commonplace; what is unusual about Andrew, however, is that he begins to display traits such as curiosity and creativity which are considered abnormal when experienced in machines. Andrew's owner, when releasing the uniqueness of his belonging plays Henry Higgens to the robot's Eliza Doolittle and teaches him about humanity, almost as a project it seems. His youngest daughter, known as little miss, also becomes close to Andrew (it was, in fact, she that gave him his name, through being unable to pronounce 'android'). The elder daughter and wife are unable to accept a robot as a human - a key scene near the beginning of the film contains an argument about whether Andrew should receive money from the sale of the clocks he learns to build. While little miss cannot understand why Andrew should not receive the rewards of his skill and work, her mother is equally unable to understand why a machine should be paid for the work it does.
As the film progresses, Andrew learns more and more about humanity, as he watches his family grow and develop, and as he learns more and more himself. This film is oddly humorous at times, although not in an obvious way; the humour derives from Andrew's attempts to understand the idiosyncrasies of humanity, and his unique way of looking at things. Eventually Andrew requests his independence - not because he wishes to leave his family, but because he wishes to be more than property. Hurt by this, his owner grants him his freedom, but tells him that he cannot stay with the family - he must make his own way in the world. Thus Andrew sets out on a quest to find out if he truly is the only one of his kind, torn between humanity and machinery.
Robin Williams plays Andrew extraordinarily well. Although, as I have said, this film is humorous, for once Williams is not playing a comical character. Andrew's quaint way of viewing things humanity takes for granted, and several lines in the film have a very intelligent humour to them, rather than the almost slapstick humour Williams is famed for. The character of Andrew is shown over two hundred years, and Williams portrays him growing and changing in a very believable manner. Andrew progresses from being unable to understand human phrases unless they are perfectly grammatical and logical to being able to read the expressions, body language and small nuances that people take for granted to communicate.
Embeth Davidtz who plays both little miss and her look-alike granddaughter, Portia, is also fantastic. She manages to keep the two distinct roles unique, despite the many similarities in the roles the two characters play. As a matter of fact, all of the actors are amazing. Each one contributes perfectly to the storyline of the film, and I could not detect a single moment that seemed forced, out of character, or just plain wooden. Since the film takes place over two hundred years, all of the characters age, and the make up effects used for this are extraordinary. Unlike in I-Robot, another Asimov inspired robot film, no CGI is used, or at least, none that is detectable. Still, the film persists in being visually stunning, and rather than being dated is merely presented in an ageless style, much like Mona Lisa Smile.
As Andrew learns what humanity means, and what being a robot truly means, he is forced to make more and more decisions. his eventual decision - in fact all of the films many events and decisions - are presented in such a way as to be perfectly understandable, although the film manages not to spell things out or patronise the audience. The use of the instrumental "Then you look at me" (the vocal version, performed by Celine Dion only being played over the end credits) at poignant moments is very effective, and the sheer beauty of the music only adds to the tragedy and wonder of such moments. This film, although it does have happy moments, also has it's share of tragedy; a part of the immortality of being a robot is seeing humans die.
The ending is amazing, and, although normally I begin predicting the end of a film about halfway through, as I recall, when watching this for the first time I was far too absorbed to even think about it.
This film is fairly long, although not at all drawn out, and is more serious than most, although it's still funny and enjoyable. I don't imagine it will be to everyone's taste, but I do feel that if you give it a chance, you won't be disappointed.
Before Sunset
After their one night together, nine years before, Celine (Julie Delpy) and Jesse (Ethan Hawke) haven't seen each other. Until, that is, Jesse writes a book about their experience. Hearing about it, Celine tracks him down to his final book-signing, coincidentally at her favourite bookstore in Paris where she now lives.
With time to kill until Jesse needs to catch his plane, the two decide to walk through Paris, as they did in Vienna almost a decade before.
Hawke and Delpy reprise their characters from nine years before. Jesse, the American, who was once a wandering romantic, has grown into a family man. Married, with a four year old son, he appears to have hung up his leather jacket and turned into a homemaker. However, throughout his conversation with Celine, it becomes clear that he isn't happy; After losing Celine, and various other events, he decided that since romance hadn't worked, and since his girlfriend was pregnant, he should maybe try the settling down thing. It doesn't seem to be working out for him.
Celine's gone almost the same way, turning into a serial monogamist. Although she doesn't seem particularly enamoured with her current boyfriend, she claims she loves him.
The two characters begin talking politely, as old friends. This soon deepens into something resembling their relationship in the previous film, changed slightly by their differing ages and experiences. They walk, and talk as they did before, and talk about what's happened since they last met.
Their relationship shifts again, however, as they talk more, and begin to admit what each other meant, despite the little interaction their two lives have had. It soon becomes apparent that they've been closer than they thought - for several years, they lived in the same city, streets away from each other. Jesse tells Celine that he thought he saw her on his wedding day - a quick recap of their varying locations reveals that it may well have been her.
In many ways, the film's about second chances, and how little things can change the course of someones life. It also seems to be about how, if somethings meant to be, it's meant to be, although that might just be my romantic interpretation.
Plotwise, not much happens in the film. The two characters walk and talk, for the hour and half or so that the film lasts. The time which passes onscreen is almost identical to that which passes off-screen - in other words, the action takes place in real time.
The important events aren't in what happens in the film, but in what happens within the own characters mind. At the beginning, Jesse was hoping to see Celine, to see what would happen, perhaps. He admits that he often thought that, if they had managed to meet, his whole life could have been different. Celine is more guarded than he is, but when she drops that guard and starts to think about how, maybe her life could be different, it's a dramatic change.
In short, once more, the important part of the film is in the relationship between the characters, and once again Hawke and Delpy play their parts to perfection. Hawke and Delpy are credited, along with director Richard Linklater as scriptwriters, which implies, as suspected, that they ad-libbed much of their conversation.
This film also takes place nine years from the prequel, in time passed onscreen and off. The actors have aged naturally, and, to be honest, it's a little disappointing how quickly Ethan Hawke aged. He's not unattractive, don't get me wrong - I just preferred him when he was in his early twenties, with that sexy jacket. Delpy still looks just as gorgeous as ever, though.
Paris is a beautiful city - the characters comment on the architecture, at one point - although it isn't used much in this film. It makes a nice backdrop to the plot, though.
In summary, although Before Sunset can drag a little at times, the whole thing passes much faster than you'd think, almost like a real conversation with a loved one. If the cliff-hanger ending of Sunrise drove you crazy, then this film more than makes up for it.
With time to kill until Jesse needs to catch his plane, the two decide to walk through Paris, as they did in Vienna almost a decade before.
Hawke and Delpy reprise their characters from nine years before. Jesse, the American, who was once a wandering romantic, has grown into a family man. Married, with a four year old son, he appears to have hung up his leather jacket and turned into a homemaker. However, throughout his conversation with Celine, it becomes clear that he isn't happy; After losing Celine, and various other events, he decided that since romance hadn't worked, and since his girlfriend was pregnant, he should maybe try the settling down thing. It doesn't seem to be working out for him.
Celine's gone almost the same way, turning into a serial monogamist. Although she doesn't seem particularly enamoured with her current boyfriend, she claims she loves him.
The two characters begin talking politely, as old friends. This soon deepens into something resembling their relationship in the previous film, changed slightly by their differing ages and experiences. They walk, and talk as they did before, and talk about what's happened since they last met.
Their relationship shifts again, however, as they talk more, and begin to admit what each other meant, despite the little interaction their two lives have had. It soon becomes apparent that they've been closer than they thought - for several years, they lived in the same city, streets away from each other. Jesse tells Celine that he thought he saw her on his wedding day - a quick recap of their varying locations reveals that it may well have been her.
In many ways, the film's about second chances, and how little things can change the course of someones life. It also seems to be about how, if somethings meant to be, it's meant to be, although that might just be my romantic interpretation.
Plotwise, not much happens in the film. The two characters walk and talk, for the hour and half or so that the film lasts. The time which passes onscreen is almost identical to that which passes off-screen - in other words, the action takes place in real time.
The important events aren't in what happens in the film, but in what happens within the own characters mind. At the beginning, Jesse was hoping to see Celine, to see what would happen, perhaps. He admits that he often thought that, if they had managed to meet, his whole life could have been different. Celine is more guarded than he is, but when she drops that guard and starts to think about how, maybe her life could be different, it's a dramatic change.
In short, once more, the important part of the film is in the relationship between the characters, and once again Hawke and Delpy play their parts to perfection. Hawke and Delpy are credited, along with director Richard Linklater as scriptwriters, which implies, as suspected, that they ad-libbed much of their conversation.
This film also takes place nine years from the prequel, in time passed onscreen and off. The actors have aged naturally, and, to be honest, it's a little disappointing how quickly Ethan Hawke aged. He's not unattractive, don't get me wrong - I just preferred him when he was in his early twenties, with that sexy jacket. Delpy still looks just as gorgeous as ever, though.
Paris is a beautiful city - the characters comment on the architecture, at one point - although it isn't used much in this film. It makes a nice backdrop to the plot, though.
In summary, although Before Sunset can drag a little at times, the whole thing passes much faster than you'd think, almost like a real conversation with a loved one. If the cliff-hanger ending of Sunrise drove you crazy, then this film more than makes up for it.
Before Sunrise
On a train in Europe, Jesse (Ethan Hawke), an American who is about to catch the plane from Vienna back to America the next day, and Celine (Julie Delpy), a Parisian who is returning home after visiting her grandmother, meet and begin talking.
As the train nears Vienna, Jesse and Celine prepare to say goodbye. However, at the last minute, Jesse returns, and, implores Celine to get off the train with him. Explaining that his plane doesn't leave until the following morning, and that he can't afford a hotel, and merely planned to walk around all night, he tells her that he feels they have a strong connection and the time would pass much quicker if he could talk to her, and get to know her more. Feeling the same, Celine agrees, and the two spend the night walking around Vienna, discussing everything and anything. Knowing that they must part in the morning, they reveal more of themselves than they usually would.
Essentially, this is the entire plot of the film. Due to the short time frame - the film spans maybe nine hours total, at least four hours of which the characters spend asleep - every little gesture and word is magnified. Every phrase the characters utter has a purpose - to show their developing relationship, and to give insight into their backgrounds.
Jesse, the American, is dark-haired, blue-eyed and, really, astonishingly good-looking. He's fairly open to new experiences, which is obvious because without that trait the film wouldn't have begun. He later explains that his mother and father had a lot of troubles in their relationship, and that he's been told he was an accident. Celine sympathizes, but he then goes on to explain that this makes him feel free - the fact that he isn't meant to exist, in a way, means he can do anything he wants; the world is full of possibilities.
In many ways, Jesse comes across as a cynic, while Celine is more likely to believe the best of people. This is particularly obvious when they meet a palm-reader, and in the scene where a wandering poet tells them to give him a random word; he'll fit it into a poem, and if they like it, they can pay what they think it's worth. Celine loves the poem, but Jesse feels compelled to point out that, in his opinion, the poet probably had one or two stock poems, into which he fitted the required word, rather than writing each one as an original. However, he soon drops the subject, and allows Celine to have her delight in it.
It soon becomes apparent that at heart, Jesse is a romantic, but he's been hurt - or rather not hurt, nothing so dramatic; more let down - by events and people in his past, to such an extent that he's built up a cynical shell. However, he's still brave enough to put himself out there and take chances (as becomes apparent in the sequel, which I'll try to avoid mentioning from now on).
Celine, the blond Parisian looks, as Jesse observes, rather stunningly like a Boticelli angel. She's not as cynical as Jesse, and comes across as more spiritual. At one point, she shows him a graveyard in Vienna, where all the bodies found in the river end up; specifically she shows him the grave of a young girl, Elizabeth, who died at age thirteen. When Celine first saw the grave, she was also thirteen, and that struck a chord with her.
Celine's also a little more kooky than Jesse - she inspires a game where they each pretend to phone a friend to tell them about this strange person they met on a train.
The relationship between the two characters is what really makes the story grow, and the two actors play their parts amazingly well. The on-screen chemistry between them is amazing - all the tiny little gestures, and words. The dialogue in the film seems almost ad-libbed, it's so easy and natural. The image of these two people getting to know each other seems entirely plausible, and so believable. There's one scene, near the beginning, where the two characters are in a booth in a record store, listening to a song. It's about love, and although neither says anything, you can see in their movements and glances that they are both thinking about their feelings, and the lyrics to the song. They're both pretending that they're not thinking that the song is about them, and the awkwardness of their actions only make the scene more realistic and sweet.
The film is very focused on the two lead characters, and the camera angles and amount of close-ups used reflect that. Although the dialogue is important to the film, the moments of silence, where thoughts are shown through gestures alone are really effective. The amounts of other languages used in the film - for instance, the first words are in German - make it feel really European, and again add to the realism. These phrases aren't translated, which puts us in Jesse's shoes, almost - he only speaks English.
In summary, the film is definitely unusual. The characters are sweet and endearing, and you really want their relationship to end well. The film ends on a cliff hanger, and although the nine year wait for a sequel must have frustrated quite a few people, watching it in retrospective means I can see the sequel immediately, as I certainly plan to after watching this.
All in all, it's a film about love, and about people, and I'm afraid, if you're not interested in those subjects you won't like it. Although parts of it steal from cliches, that only makes it better. Before Sunrise is one of very few films to be rated 100% fresh on popular review site, Rotten Tomatoes. In other words, no-one has ever reviewed it badly, a fact that speaks for itself.
As the train nears Vienna, Jesse and Celine prepare to say goodbye. However, at the last minute, Jesse returns, and, implores Celine to get off the train with him. Explaining that his plane doesn't leave until the following morning, and that he can't afford a hotel, and merely planned to walk around all night, he tells her that he feels they have a strong connection and the time would pass much quicker if he could talk to her, and get to know her more. Feeling the same, Celine agrees, and the two spend the night walking around Vienna, discussing everything and anything. Knowing that they must part in the morning, they reveal more of themselves than they usually would.
Essentially, this is the entire plot of the film. Due to the short time frame - the film spans maybe nine hours total, at least four hours of which the characters spend asleep - every little gesture and word is magnified. Every phrase the characters utter has a purpose - to show their developing relationship, and to give insight into their backgrounds.
Jesse, the American, is dark-haired, blue-eyed and, really, astonishingly good-looking. He's fairly open to new experiences, which is obvious because without that trait the film wouldn't have begun. He later explains that his mother and father had a lot of troubles in their relationship, and that he's been told he was an accident. Celine sympathizes, but he then goes on to explain that this makes him feel free - the fact that he isn't meant to exist, in a way, means he can do anything he wants; the world is full of possibilities.
In many ways, Jesse comes across as a cynic, while Celine is more likely to believe the best of people. This is particularly obvious when they meet a palm-reader, and in the scene where a wandering poet tells them to give him a random word; he'll fit it into a poem, and if they like it, they can pay what they think it's worth. Celine loves the poem, but Jesse feels compelled to point out that, in his opinion, the poet probably had one or two stock poems, into which he fitted the required word, rather than writing each one as an original. However, he soon drops the subject, and allows Celine to have her delight in it.
It soon becomes apparent that at heart, Jesse is a romantic, but he's been hurt - or rather not hurt, nothing so dramatic; more let down - by events and people in his past, to such an extent that he's built up a cynical shell. However, he's still brave enough to put himself out there and take chances (as becomes apparent in the sequel, which I'll try to avoid mentioning from now on).
Celine, the blond Parisian looks, as Jesse observes, rather stunningly like a Boticelli angel. She's not as cynical as Jesse, and comes across as more spiritual. At one point, she shows him a graveyard in Vienna, where all the bodies found in the river end up; specifically she shows him the grave of a young girl, Elizabeth, who died at age thirteen. When Celine first saw the grave, she was also thirteen, and that struck a chord with her.
Celine's also a little more kooky than Jesse - she inspires a game where they each pretend to phone a friend to tell them about this strange person they met on a train.
The relationship between the two characters is what really makes the story grow, and the two actors play their parts amazingly well. The on-screen chemistry between them is amazing - all the tiny little gestures, and words. The dialogue in the film seems almost ad-libbed, it's so easy and natural. The image of these two people getting to know each other seems entirely plausible, and so believable. There's one scene, near the beginning, where the two characters are in a booth in a record store, listening to a song. It's about love, and although neither says anything, you can see in their movements and glances that they are both thinking about their feelings, and the lyrics to the song. They're both pretending that they're not thinking that the song is about them, and the awkwardness of their actions only make the scene more realistic and sweet.
The film is very focused on the two lead characters, and the camera angles and amount of close-ups used reflect that. Although the dialogue is important to the film, the moments of silence, where thoughts are shown through gestures alone are really effective. The amounts of other languages used in the film - for instance, the first words are in German - make it feel really European, and again add to the realism. These phrases aren't translated, which puts us in Jesse's shoes, almost - he only speaks English.
In summary, the film is definitely unusual. The characters are sweet and endearing, and you really want their relationship to end well. The film ends on a cliff hanger, and although the nine year wait for a sequel must have frustrated quite a few people, watching it in retrospective means I can see the sequel immediately, as I certainly plan to after watching this.
All in all, it's a film about love, and about people, and I'm afraid, if you're not interested in those subjects you won't like it. Although parts of it steal from cliches, that only makes it better. Before Sunrise is one of very few films to be rated 100% fresh on popular review site, Rotten Tomatoes. In other words, no-one has ever reviewed it badly, a fact that speaks for itself.
American Pie: Band Camp
To be honest, it seems like the American Pie franchise is being milked for all it's worth. The first one was a classic, the second one was good in it's own way, the third one was [i]really[/i] pushing it...yet, surprisingly, the fourth one is pretty good.
Stifler's little brother, Matt, is all grown up and attempting to follow in his brother's footsteps. After a prank, he's punished by being sent to Band Camp, otherwise known as Geek central. However, remembering his brother's friend Jim's bandee nympho wife, Michelle, Matt realises that band geeks have a hell of a lot of sex. So, being a Stifler, he decides to secretly film it.
The plot is basically that of a teenage fantasy. The plot relies on a series of strange co-incidences and unlikely and unbelievable twists, and ends with the normal, romantic happy ending. There's the miss-understandings, mixed messages, mistakes which are then forgiven after a grand romantic gesture, and a change of heart which makes the a-type bad boy into a nice guy for his special girl. The word *bleep*, along with many other words (which would undoubtedly also be *bleep*ed out if I actually wrote them) are spammed almost to the point of annoyance, and the sexual jokes are even more abundant than in the previous films.
Nonetheless, the film is undoubtedly hilarious, and the actors aren't disappointing. Very few of the original characters are in this film. The Sherminator is back, as a very strange guidance counsellor, and Jim's dad appears, this time as the camp counsellor.
All in all, it's a pretty good, swear and sex filled teen movie, but it doesn't even come close to the original film, or even the first sequel. Nonetheless, it's sweet, even if the female lead does resemble a walking lollipop (her body is too slim for her head - those actresses both scare me and make me feel inadequate.).
Stifler's little brother, Matt, is all grown up and attempting to follow in his brother's footsteps. After a prank, he's punished by being sent to Band Camp, otherwise known as Geek central. However, remembering his brother's friend Jim's bandee nympho wife, Michelle, Matt realises that band geeks have a hell of a lot of sex. So, being a Stifler, he decides to secretly film it.
The plot is basically that of a teenage fantasy. The plot relies on a series of strange co-incidences and unlikely and unbelievable twists, and ends with the normal, romantic happy ending. There's the miss-understandings, mixed messages, mistakes which are then forgiven after a grand romantic gesture, and a change of heart which makes the a-type bad boy into a nice guy for his special girl. The word *bleep*, along with many other words (which would undoubtedly also be *bleep*ed out if I actually wrote them) are spammed almost to the point of annoyance, and the sexual jokes are even more abundant than in the previous films.
Nonetheless, the film is undoubtedly hilarious, and the actors aren't disappointing. Very few of the original characters are in this film. The Sherminator is back, as a very strange guidance counsellor, and Jim's dad appears, this time as the camp counsellor.
All in all, it's a pretty good, swear and sex filled teen movie, but it doesn't even come close to the original film, or even the first sequel. Nonetheless, it's sweet, even if the female lead does resemble a walking lollipop (her body is too slim for her head - those actresses both scare me and make me feel inadequate.).
A Very Long Engagement
A Very Long Engagment is the story of Mathilde, who's fiance, Manech, died in World War I. Two years after the fact, she is informed that he was executed for self mutilation, along with four other men (each of them having destroyed one of his hands in order to be invalidated out of the army), by being thrown into the no-mans land between a French and a German trench.
I don't usually like war films. I have a weak stomach, and seeing people blown up isn't my idea of fun. Despite all this, 'A Very Long Engagement' is an amazing film. The opening scenes of the war and the self mutilations committed by the various soldiers are horrendous (I have to look away every time), but deftly handled. They are especially effective, in that at least one of the soldiers loses his mind completely in the violence of the war, and the others do not nurture fond memories. The violence is not meant to be enjoyed for what it is, as in some gory horror films; it is meant to shock and dismay, to bring a sense of real despair to the film.
The emotional parts of the film are handled just as well. The actors all give stunning performances, and the expressions and vocal intonations are spot on. The tension as Mathilde searches for Manech, and for the soldier who may or may not have survived the execution is heartrending. I cry at the ending every single time.
Another good thing about this film is its loyalty to the book. I'm very fussy about that (the written word being my first love) and out of all books->film conversions I've seen, this one beats the lot.
The only thing I can find wrong with this film is that some people may find it too emotional, while others find it too violent. The fact that it's in French could be a problem for those who dislike reading subtitles. And the fact that it's French means you wouldn't want to watch it in front of your parents. Still, definitely worth a look.
I don't usually like war films. I have a weak stomach, and seeing people blown up isn't my idea of fun. Despite all this, 'A Very Long Engagement' is an amazing film. The opening scenes of the war and the self mutilations committed by the various soldiers are horrendous (I have to look away every time), but deftly handled. They are especially effective, in that at least one of the soldiers loses his mind completely in the violence of the war, and the others do not nurture fond memories. The violence is not meant to be enjoyed for what it is, as in some gory horror films; it is meant to shock and dismay, to bring a sense of real despair to the film.
The emotional parts of the film are handled just as well. The actors all give stunning performances, and the expressions and vocal intonations are spot on. The tension as Mathilde searches for Manech, and for the soldier who may or may not have survived the execution is heartrending. I cry at the ending every single time.
Another good thing about this film is its loyalty to the book. I'm very fussy about that (the written word being my first love) and out of all books->film conversions I've seen, this one beats the lot.
The only thing I can find wrong with this film is that some people may find it too emotional, while others find it too violent. The fact that it's in French could be a problem for those who dislike reading subtitles. And the fact that it's French means you wouldn't want to watch it in front of your parents. Still, definitely worth a look.
America's Sweethearts
Eddie Thomson and Gwen Harrison are America's Sweethearts. The world's best loved couple, on-screen and off-screen, every film they make is an automatic sell out. Except, maybe, for this one.
The film shows what happens at the press junket for Eddie and Gwen's latest film. Unfortunately, it was on the set of said film that Gwen met her new partner, Hector, and she and Eddie split up.
Although the film is ostensibly about Eddie and Gwen, the camera spends more time on their publicist, Lee, played by Billy Crystal, and Gwen's PA and sister, Kiki, played by Julia Roberts. The director of the film has refused to deliver it, insisting that it is first seen by the press, and Lee needs to make sure the press remain distracted until the movie turns up. The best way to do this, is to put the focus on Gwen and Eddie's relationship, for which he enlists Kiki's help. However, Kiki has her own problems.
The relationship between the two sisters is interesting. It's not immediately clear that the two are sisters, mainly due to the fact that Gwen treats Kiki like a skivvy. Gwen is used to getting her own way, and is not above using manipulation to get it. Even though Kiki can see straight through her, she usually lets Gwen push her around, as she always has, since high school, when Kiki was the one who broke up with Gwen's boyfriends, ending the school year as "the most hated girl in school". This may have been due to the fact that Kiki, as many characters observed, used to be fat, thereby leading to low self esteem. She has, however, dropped sixty pounds before the movie starts, and is looking better than ever, something that is soon noticed by Eddie. Although he is still too hung up on Gwen (almost obsessed, as he observed later) to realise how his feelings for Kiki are developing.
The film, to be honest is hilarious. While Gwen is doing her best to get the media back onto her side at the junket, Eddie no longer cares what anyone thinks. With Lee's machinations ensuring that every small event or comment is misconstrued, and Gwen's out of control lover challenging Eddie at every possible opportunity, the film soon descends into chaos. All the actors are amazing, and am I the only one to see the resemblance between John Cusack and a young Billy Crystal? This is the only film I've seen John Cusack in, and I must admit, I adore him. Cusack, Roberts, Crystal and Zita-Jones all work really well together.
In summary, there are lots of emotions on screen, lots of jabs at Hollywood, a few plates smashing, a rather surprising dog, and someone falling off a roof. It's not the deepest or most thought provoking film, but nor is it pure fluff. It's lighthearted and funny, and, frankly, I love it. The soundtrack's great too - I actually watched the credits two or three times in a row, just to listen to the songs played over them.
The film shows what happens at the press junket for Eddie and Gwen's latest film. Unfortunately, it was on the set of said film that Gwen met her new partner, Hector, and she and Eddie split up.
Although the film is ostensibly about Eddie and Gwen, the camera spends more time on their publicist, Lee, played by Billy Crystal, and Gwen's PA and sister, Kiki, played by Julia Roberts. The director of the film has refused to deliver it, insisting that it is first seen by the press, and Lee needs to make sure the press remain distracted until the movie turns up. The best way to do this, is to put the focus on Gwen and Eddie's relationship, for which he enlists Kiki's help. However, Kiki has her own problems.
The relationship between the two sisters is interesting. It's not immediately clear that the two are sisters, mainly due to the fact that Gwen treats Kiki like a skivvy. Gwen is used to getting her own way, and is not above using manipulation to get it. Even though Kiki can see straight through her, she usually lets Gwen push her around, as she always has, since high school, when Kiki was the one who broke up with Gwen's boyfriends, ending the school year as "the most hated girl in school". This may have been due to the fact that Kiki, as many characters observed, used to be fat, thereby leading to low self esteem. She has, however, dropped sixty pounds before the movie starts, and is looking better than ever, something that is soon noticed by Eddie. Although he is still too hung up on Gwen (almost obsessed, as he observed later) to realise how his feelings for Kiki are developing.
The film, to be honest is hilarious. While Gwen is doing her best to get the media back onto her side at the junket, Eddie no longer cares what anyone thinks. With Lee's machinations ensuring that every small event or comment is misconstrued, and Gwen's out of control lover challenging Eddie at every possible opportunity, the film soon descends into chaos. All the actors are amazing, and am I the only one to see the resemblance between John Cusack and a young Billy Crystal? This is the only film I've seen John Cusack in, and I must admit, I adore him. Cusack, Roberts, Crystal and Zita-Jones all work really well together.
In summary, there are lots of emotions on screen, lots of jabs at Hollywood, a few plates smashing, a rather surprising dog, and someone falling off a roof. It's not the deepest or most thought provoking film, but nor is it pure fluff. It's lighthearted and funny, and, frankly, I love it. The soundtrack's great too - I actually watched the credits two or three times in a row, just to listen to the songs played over them.
Treasure Planet
James Pleiades Hawkins has always been fascinated by the stories of Captain Flint, and his legendary treasure. As a child, the spirit of adventure kept him awake at nights, reading about pirates.
As a teenage, Jim is somewhat disappointed. Nothing in his life seems to have much purpose. His father having abandoned them, he and his mother run an inn, the Benbow, and Jim spends his spare time sky-surfing – like windsurfing or skateboarding, with a rocket engine attached to the board. This search for excitement and bigger thrills often gets him into trouble, especially when he begins breaking into closed and dangerous areas. It's after one such occasion, when the police have brought him home, that Jim is sitting outside, feeling upset for letting his mother down, but still unable to see a way out of his troubles. He's there when Billy Bones, an old sailor, crashes nearby. Dragging him into the warm, Jim, his mother and Dr Doppler, a family friend, are just in time to hear Bones last words ("beware the cyborg") and receive the inheritance of a treasure sphere before pirates desperately searching for said sphere break in and ransack the place. Jim and the others escape to Doppler's home, where, after fiddling with the treasure sphere, Jim discovers that it's actually a projector that shows the way to Treasure Planet, and Flint's hidden trove.
Excited by this discovery, Dr Doppler commissions a ship and a crew, and he, Jim and the audience are soon introduced to the other main characters of the film; Captain Amelia, first mate Arrow, and, of course, ship's cook, the cyborg Long John Silver.
The relationship between Long John Silver and Jim Hawkins, one of the best parts of the book is kept completely intact here, although slightly more is put in about Jim's absent father, and how much this affects him. A slight romance element is added, with Doppler and Captain Amelia, although it doesn't detract from the main plot, and somehow, manages not to be tacked on, or forced, and Morph, the being used instead of the traditional parrot (think Pokemon's 'Ditto') is an adorable little bundle of goo, and a welcome addition to the plot. B.E.N., the robotic equivalent to Ben Gunn can be a tad annoying, but the kids will like him. Captain Amelia's quick-witted British human is genuinely funny, in a Blackadder kind of way, although it gets very little focus within the film.
Treasure Planet was filmed using 2D characters on 3D, computer animated backgrounds. Although many aspects of the film look very traditional and old fashioned, certain key elements and slight changes update the look. As mentioned in the extra features, the animators were going for a seventy percent modern, thirty percent traditional feel, and I'd say they achieved it.
Treasure Planet has a great soundtrack, the two key songs, Always Know Where You Are, and I'm Still Here being performed by the GooGoo Dolls' John Rzeznik. Seriously, they rock. I listen to them for fun. The incidental music in the film deserves a mention, too. It starts of with a kind of traditional sea-faring sound, then the electric guitars and synthesizers join in, adding a modern feel.
The film contains dozens of little jokes and references, and it works on many levels. The Flatulan language spoken by one of the characters will make the younger children giggle, while the name of the ship – RLS Legacy – will make the literary fans smile.
The film is funny, in a smiling rather than a laugh out loud kind of way. It manages to keep the relationship between Long John Silver and Jim Hawkins, one of the most important parts of the film, completely intact. As it's more a cover version of the story, than a true copy, the slight changes to the script shouldn't annoy people as much as they would in a supposedly more faithful adaptation.
In summary, I loved this film. It wasn't well received at the box office, although, later, it was liked by many critics. Treasure Planet is a great film. It doesn't have the mature content of films aimed at older age groups, but that doesn't have to be a problem. It's a film I can watch with my six-year-old cousin, and neither of us will be bored.
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