A quaint little Americanized British university comedy. The quips were funny, the innuendos laughable and The Graduate references hilarious. I may be biased towards liking this film; it's rare I see a film set in my home town (Bristol) amidst streets and scenes I have walked everyday for 7 years of my life; I'm also a sucker for 80s pop which may have been the reason I was sucked into the Donnie Darko phase back in 2003. I do have to say though, all the best bits are in the trailer, yet it was still worth my £2.50 in coppers. £2.50 is such an excellent price to pay for a film. Don't expect groundbreaking film making.
The stars, Rebecca Hall, Alice Eve and Tom Allen.
On an unrelated note, you can see my IMDB Voting history here.
This is the review that led me to seek out this film and I could not phrase my feelings towards the movie any better. It is a review from my site Indie Cult by a friend, Cory Mailliard:
Lodge Kerrigan’s amazing Keane begins with its main character at rock bottom. With nowhere else to go, the audience is left to watch helplessly as he begins to chip away at the concrete to get even lower. Endlessly fascinating but not exactly what you would call entertaining, Keane is the kind of film that will be viewed by critics and masochists only (though I’m sure there’s a considerable amount of overlap).
We find William Keane (Damian Lewis) wandering around a bus terminal, desperately searching for his missing daughter. We are given little back-story, but we gather that she disappeared at this terminal while under his care months before the film begins. Still, he wanders around, asking any stranger who will listen if they have seen his daughter. Hopelessly, he asks a cashier if he remembers selling William a ticket months ago. He will finish the day screaming her name at passing cars before he falls asleep in a ditch.
For such a small, intimate film, Keane displays a surprising amount of momentum. The first half-hour, during which William spends much of the time muttering to himself in a drug-fueled frenzy, is explosive. When a Lynn (Amy Ryan) and her young daughter, Kira (Abigail Breslin), enter the picture—just when we wonder how, exactly, Kerrigan plans to keep up with the film’s tiring pace—Keane changes gears.
The sudden appearance of Lynn and Kira forces a jarring change of perspective. From this point on, the success of Keane depends entirely on how well Kerrigan and Lewis have sketched William Keane. Were he not a truly multi-dimensional character, the audience would scoff at scenes of an obviously deranged William acting as a surrogate father to Kira. It’s telling that despite William’s instability, we never believe that he is a danger to her. There is an amorphous quality to Keane; a sense that Kerrigan is working to constantly redefine the audience’s perception of the title character. The film is restless—constantly approaching from new angles, looking for cracks to burrow into.
Keane is amazing not just because it is a nearly perfect character study, but because it offers a preconception smashing look at illness and depression. Lewis’ performance is fearless—the stuff that awards should be made of. And it’s a good thing, too, because for just a minute there, I was sure Dreamcatcher would ruin the guy’s career.
It is a hard film to watch. That much is without question. But Keane is also a reminder that art was made to plumb the deepest, darkest depths and that when it does so honestly, the results can be both difficult and hypnotizing.
... has reached dizzying new heights. A long time ago I mixed up the meaning for the word nadir, thinking it meant precisely the opposite. I say this now; Sonic has reached its nadir; and I truly wish this sentence held the meaning I once would have thought it did.
And so everyone is raving about Bond's brilliant return to form. Indeed, this is one action film you should not miss. I am only disheartened slightly by my correct predictions for the entire plot arc and the intro scene that felt second rate. Other than that I am thoroughly impressed and look forward to future episodes in Bond's all new suave yet lethal direction.
Kirsten Dunst is the star of a Coppola movie once more, this time it is a peculiar amalgamation of pop culture and period drama that tells the common Sofia tale of a lost girl and her troubles; though this time it is enshrined with historical fact, which has ultimately led to crucifixion by some critics that utter slurs of historical inaccuracies. I can't really comment with regards to this, my knowledge of Marie Antoinette, before watching the film, was limited to the singular quote, "Let them eat cake". I did not watch the film for a historical biopic, I watched for the lofty-comely movie experience I have yet to experience in any another cinematic work but so dearly love like an addiction.
To talk of the precise satisfaction I get when watching The Virgin Suicides, Lost in Translation or Marie Antoinette is difficult and many fail to see how I and others can be so captivated by these stories. Whether it be some strange dreamy essence or hidden connection to my private thoughts - those that whisk me away during my routine daily life - I cannot really tell, and even if I could explain in full retort would you the reader comprehend this connection? The only window to my rapture that I can think to give you is that of Sofia Coppola's trademark scene; the long drive and the absent minded window gazing. Many see just that - a girl looking out of the window - what I see and ultimately relate to is the simultaneous tranquility of emptiness and fullness; of our random passing thoughts and memory re-enactments as the street lights and the trees accompany us in life's brief rest bite, in the pause where we think of what might have been, what will be and everything in between.
To wrap up this lovely little post here is a jewel in YouTube's rough, it is entitled Lick the Star and is Sofia Coppola's first short movie:
It is impossible to find an online clip of this movie, though relatively easy to obtain a copy. So the video above is a fitting tribute in the form of a music video by Albarn's Blur for the song "To the end".
L'Année dernière à Marienbad's plot is thus:
In a huge, old-fashioned luxury hotel a stranger tries to persuade a married woman to run away with him, but it seems she hardly remembers the affair they may have had (or not?) last year at Marienbad.
That plot description paints the feature as a simple tale yet it is one of the strangest and most mysterious of movies you will ever lay your eyes upon and one which is entirely original; the grace and finesse of its labyrinthine plot shall be endlessly fascinating, eerily sumptuous and will irrecoverably haunt you forevermore,; come full circle - last year at Marienbad?
Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.
A nice little action comedy piece with a lot of famous faces. Nothing groundbreaking or unpredictable here but it's worth watching for some cheap giggles or Josh Hartnett in a towel for most of the film, if you like that sort of thing.
An hour later and I am finally able to make this post. Some weird corruption as a result of Firefox 2.0s cache when switching between proxy's led to all google services and specifically their login procedures from failing to load, thus I could not login to Blogger. Erasing my private data from Firefox and starting over fixed the problem until it occurs again.
Anyway, Manderlay is Lars von Trier's sequel to Dogville, a personal favourite. It sees Grace and her father, on their trip home from Dogville pass Manderlay where a black woman pleads for help as a slave is about to be beaten. Grace steps in and liberates all, enforces democracy and sets about improving the Manderlay community. The film consequentially follows the events that occur thereafter and the route the small community takes. I don't want to delve into the political discussions that arise from this film's conclusions, I merely wish to urge you towards watching this monument so that you may approach the table of debate with some interpretations of your own.
Manderlay is masterful and brilliant. It also stars the delightful Bryce Dallas Howard and Willem Dafoe:
Grace and her father
The original and barebones set
Grace Margaret Mulligan: Dammit Wilhelm, they're not free. That's what matters.
Wilhelm: I'd call that a philosophical argument.
Me and You and Everyone we know, a first time masterpiece by writer, director and star Miranda July.
Christine Jesperson: [seeing his bandage] Whoa, what happened?
Richard Swersey: You want the short version or the long one?
Christine Jesperson: The long one.
Richard Swersey: I tried to save my life but it didn't work.
Christine Jesperson: Wow. What's the short one?
Richard Swersey: I burned it.
Labels: Movie
The greatest wildlife documentary I have ever seen has returned for its concluding run! Prepare to be amazed.
Labels: TV
This is one of my favourite moments in Season 3 of the X-files, glad I could find it on YouTube. Just an interesting and funny conversation between Mulder and Scully as they are stuck on a rock in the middle of a lake in the episode "Quagmire".
Labels: TV
Return to Oz (1985) starring Fairuza Balk. Surprisingly few people have heard of this childhood gem, fewer still have seen it and many pass it off before laying eyes up on it. From this short clip I hope you will see that this is not your everyday children's film, it is weird and intriguing; it is a film that does not dumbfound its audience with simplifications and fluffy pink things or loud noises and explosions. In fact it is scary, but who in the 90s decided that kids shouldn't get a little scared when they watch films? If ever I see this film listed on TV I will make sure to find the time to watch - perfect for that rainy Sunday afternoon.
Labels: Movie
I love playing this game, despite its replay flaws (i.e. there are none in the xbox version), the exhilaration of multiplayer Road Rage on the new tracks in unbeatable.
Labels: Gaming
A stunning portrayal and biopic. Sublimely astonishing
A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska.
"Now the long horns are gone And the drovers are gone The Comanche's are gone And the outlaws are gone Now Quantro is gone Stan Watie is gone And the lion is gone And the Red Wolf is gone and Treadwell is gone..."
Also, during a BBC interview about the film, Herzog was shot with an air rifle. The interview was resumed indoors and at the end Herzog was encouraged to check his wound. Though there was "a bruise the size of a snooker ball, with a hole in it." Herzog declared "It was not a significant bullet. I am not afraid." Video from BBC here
Labels: Movie
This is a trailer that does its job well - it gives you the premise of the story, it intrigues you and nothing more. That intrigue lead me to see this film on a lonely Guy Fawkes eve surrounded by Coventry's pseudo-blitz. It's simply a magical tale that escapes the ties of the romantic genre. Both Keanu Reeves and Sandra Bullock act at their best.
Labels: Movie
A great satire that manages to make a cigarette lobbyist the hero, somehow.
"Aaron Eckhart holds the picture together with a witty, charismatic performance as a tobacco lobbyist. The film is basically about his profession as he spins the news, pitches a movie idea, dodges a subpoena, has an affair with a reporter (Katie Holmes), tries to spend time with his son (Cameron Bright), and has lunch with an alcohol lobbyist (Maria Bello) and a firearms rep (David Koechner) - where they literally compare body counts. The performances are excellent across the board, from William H. Macy's crusading Senator to Rob Lowe's smirking Hollywood agent who struts around his office in a kimono. Even Adam Brody is enjoyable as Lowe's hyperactive assistant whose in-joke with a co-worker earned one of the biggest laughs of the movie.
The majority of the credit, however, needs to go to first-time feature director Jason (son of Ivan) Reitman. Adapting from Christopher Buckley's novel, Reitman has fashioned an enormously clever script, consistent and strong in character, yet not forgetting to be incredibly funny. The style is also perfect - brisk, light-hearted, with impeccable timing marred only by a tangental subplot including Sam Elliott that is, sadly, not very funny. Overall, however, the pace is fast enough where the laughs keep coming.
Reitman also does the unthinkable: he keeps the satire dark and funny to the very end. While most comedies stray blindly into the sentimental, "Thank You" avoids unnecessary emotional tripe and - thankfully - avoids sermonizing about the dangers of smoking or of the flaws of the political process. Eckhart's flawless performance and Reitman's wonderful screenplay anchor an uncommonly perceptive comedy, provided you take yours black. If you need a little cream and sugar, "Fun with Dick and Jane" might still be at the dollar theater. - Comments written by Paxatron"
Labels: Movie
I have pre-ordered the Nintendo Wii and Legend of Zelda - Twilight Princess; with this introduction and another trailer for the game being released yesterday and the airing of the South Park episode wherein Cartman cryogenically freezes himself to avoid the wait for Wii my anticipation is growing rapidly: "It's like waiting for Christmas... times a thousand!". The landscape in this video reminds me an awful lot of Shadow of the Colossus, which for me is the pinnacle of original innovative gaming on the Playstation 2.
Labels: Gaming
Continuing on the theme of posting videos for my favourite television shows (see: X-files, Veronica Mars) I am now providing you with a fan made trailer for the BSG mini series, the dramatic opening to a 3 series (and continuing) epic that gets better and better with each episode. I cannot emphasize enough how much you have to see this show; I had originally passed it off as just another one of those sci-fi programmes but the extent to which it develops every major and minor character, the plot arcs, the twists, the developments, the gutsy ballsy nature of the writers to approach important and thought provoking issues head-on at light speed and the overall quality of anything and everything. Do not under any circumstance pass off this groundbreaking series because it is of sci-fi genre - it would be a dire mistake.
Labels: TV
To commemorate the old two seasons worth intro to my favourite show. They've replaced it with one of those spangly-fancy OC looking remixes which, in the words of a 14 year old American girl, "makes me wanna puke my guts up".
Labels: TV
I caught this one on the off chance, the above trailer attempts to hype it up as one of those sci-fi thrillers with all the special effects and gut heaving whammy - it's not and don't be dissuaded; there's a lot of character development and interesting plot arcs and it kept my intrigued and guessing for its entirety. I recommend it just for a little bit of mystery on your Wednesday night.
Labels: Movie