Never Let Me Go

Tags

2010's, Andrew Garfield, Carey Mulligan, Charlotte Rampling, Drama, Keira Knightley, Mark Romanek, Never Let Me Go, Sally Hawkins, Science Fiction

Film Title

Never Let Me Go

Director

Mark Romanek

Starring

• Carey Mulligan as Kathy H
• Andrew Garfield as Tommy D
• Keira Knightley as Ruth C
• Sally Hawkins as Miss Lucy
• Charlotte Rampling as Miss Emily
• Isobel Meikle-Small as Young Kathy
• Ella Purnell as Young Ruth
• Charlie Rowe as Young Tommy

Adapted from the acclaimed novel by Kazuo Ishiguro, Never Let Me Go is a haunting evocation on the subject of mortality. Capturing the mournful undercurrents of the story and featuring three impressive central performances, Mark Romanek directs this poignant story of the human soul.

To the outside world, Hailsham looks like any other boarding school. Yet it is far from it. In the opening frames of the movie, the audience sees things that seem somewhat different to the expectations of an English boarding school. The students scan their wrists on sensors around the school and take unnamed tablets every morning. For Kathy, Tommy and Ruth, this is the way they have been brought up, yet there is the lingering feeling that something isn’t quite right about the schools ethos. Narrated by Kathy, we witness the three central characters growing up in this peculiar environment in which they are forbidden to pass the boundary separating the school from the outside world. This isolating existence adds to the enigmas surrounding the trio. When they learn their destiny from their new teacher Miss Lucy, which I won’t divulge for fear of spoiling it, it changes everything about them. Years later, the characters are grown up and have left Hailsham for somewhere else. Yet there is still the searching for answers regarding their fate that plagues quiet Kathy, awkward Tommy and jealous Ruth. Kathy is in love with Tommy but as she doesn’t want to upset the balance of friendship stays quiet as he courts Ruth. The jealousy and tenuous link at many times almost breaks as they navigate their way through realisation, grief and love. For the trio, a normal life is not an option and various questions are posed throughout Never Let Me Go surrounding the human soul and the nature of existence. Poignant, poetic and profound, Never Let Me Go asks many questions of us an audience and all we can do is witness the sadness, emotions and strange beauty of the film that will haunt almost anyone who sees it.

Alex Garland’s screenplay sensitively depicts the realisation of events and the effect it has on the close friendship shared between these characters with no knowledge of the outside world. By parts science fiction and drama with a romance at the heart, Never Let Me Go manages to balance these with stunning and powerful results. Mark Romanek’s subtle direction frames the story in melancholy and evocative colours which allows the story to reveal certain surprising points with a quiet unpredictability and intelligence. Rachel Portman contributes a stunning score of love, anguish and closeness that really lends the film a massive emotional impact as these characters decipher their shocking destiny and are faced with difficult decisions.

What really gives Never Let Me Go an emotional heart is the three central performances of Carey Mulligan, Andrew Garfield and Keira Knightley. Carey Mulligan is the most effective in her portrayal of Kathy, who narrates the story. Some may say the role seems passive, when actually it is filled with quiet, determined emotion and a certain weariness that Mulligan excellent embodies with deep pathos and skill. It is a role filled with passion, intelligence and power that Carey Mulligan delivers with deep emotional weight. Andrew Garfield contributes a wide-eyed naive quality to Tommy as he journeys through a discovery for the truth whilst dealing with his feelings for both Kathy and Ruth. Garfield is very subtle but hugely impressive in this role, and when he releases his emotion later on in the film it is such a harrowing moment. Rounding out the troika is Keira Knightley’s performance as Ruth, whose jealousy burns as she sees how Kathy clearly adores her boyfriend. But Knightley intelligently doesn’t make Ruth a one-dimensional character, she shows us the caring side that want to hold on to her friends and the aggressive side that surfaces when provoked.  All of the actors portraying the characters as children are exceptional as they have an uncanny resemblance to their older characters and possess deep emotions for people so young. Sally Hawkins has a brief but highly emotional role as the teacher who informs the students of their destiny and Charlotte Rampling is suitably imperious and enigmatic as the headmistress of Hailsham.

Crafted with poignancy and full of deep, far-reaching themes, Never Let Me Go is a haunting film that will live long in the memory.

The Fog

Tags

1980's, Adrienne Barbeau, Hal Holbrook, Horror, Jamie Lee Curtis, Janet Leigh, John Carpenter, John Houseman, The Fog, Tom Atkins

Film Title

The Fog

Director

John Carpenter

Starring

• Adrienne Barbeau as Stevie Wayne
• Jamie Lee Curtis as Elizabeth Solley
• Tom Atkins as Nick Castle
• Janet Leigh as Kathy Williams
• Hal Holbrook as Father Malone
• John Houseman as Mr. Machen

The Fog is John Carpenter’s ghostly horror from the 80’s that focuses on a California fishing town celebrating its centenary, only for horror to engulf the festivities . Boasting suspense, a menacing score and chills, it is most certain to keep you scared throughout.

The Californian town of Antonio Bay is just about to celebrate its centenary. Just before the clock strikes twelve, Mr. Machen, a salty old fisherman is telling a chilling story to young children around a campfire. It details the deaths of many men on a ship named the Elizabeth Dane, that was shipwrecked after seeing the light from a fire all those years ago as the fog rolled in. He tells the children that one day the ghosts of the men who died will rise from their watery grave and seek revenge. Strange phenomena start around the town with car alarms sounding for no reason and phones ringing with no reply. It is around this time that Father Malone, the local priest discovers an old journal in the walls of the church. To his horror he discovers how his grandfather was one of six conspirators who helped lure the ship to the rocks, as the people on board where lepers whose rich leader Blake wanted to establish a colony on Antonio Bay. Meanwhile various residents of the town become frightened by the glowing fog that keeps appearing from midnight to one. The residents consist of Stevie Wayne, the husky voiced, lighthouse bound DJ; town resident Nick Castle; runaway hitchhiker Elizabeth Solley and the organiser of the celebrations Kathy Williams. As events begin to take a sinister turn from jubilant celebration, the residents come to realise that the fog brings with it the spirits of the men who died and are now wanting justice for what happened to them by killing those in their path. Ghostly terror, suspenseful atmosphere and a competent cast make The Fog a creepy tale of nocturnal haunting.

John Carpenter creates a chilling atmosphere from the get go, with the prologue featuring Mr. Machen telling the ghost story around the fire as the children listen intently. It is a genuinely creepy and chilling scene that sets up the ghostly events that will soon follow. The setting makes for eerie viewing, especially the scenes of Stevie Wayne in the lighthouse as the day fades into night and the titular fog rolls in. As with most of his films, Carpenter creates a sonic embodiment of horror and bone chilling menace. From the sound of the fog horns droning to the pulsing electronic score, The Fog is fascinating and spine tingling to listen to. Some of the effects may be dated and some scenes may drag for longer than they need to, but these are minor flaws in this ghostly horror story.

The characters are played with ease by the cast. Adrienne Barbeau makes for a sexy yet warm scream queen who must do battle with the fog whilst in the lighthouse. Jamie Lee Curtis and Tom Atkins are good as the hitchhiker and her new boyfriend. Jamie’s real life mother Janet Leigh is uptight and stoic as the town organiser who comes to see that the town is built on lies rather than goodness. Interestingly, they don’t share the screen until late into the movie. Hal Holbrook is effective in the small but pivotal role of Father Malone, the first person to uncover the unholy deed responsible for this terrifying haunting. The cameo of John Houseman as he tells the chilling origins of the town is supremely crafted and bound to linger in the mind.

For spine chilling and ghostly horror, The Fog is the go to movie.

Carnage

Tags

2010's, Carnage, Christoph Waltz, Comedy, Drama, Jodie Foster, John C. Reilly, Kate Winslet, Roman Polanski

Film Title

Carnage

Director

Roman Polanski

Starring

• Jodie Foster as Penelope Longstreet
• Kate Winslet as Nancy Cowen
• Christoph Waltz as Alan Cowen
• John C. Reilly as Michael Longstreet

Based on the acclaimed play, Carnage is a darkly funny examination of a meeting between two middle class couples to smooth over a skirmish between their sons that turns into something quite different. As directed under Roman Polanski’s acute eye for body language and the power of words, Carnage is sharp, funny and dramatic viewing.

Penelope and Michael Longstreet invite Nancy and Alan Cowen over to their high-rise New York condo to discuss an altercation between their children. The Cowen’s son struck the Longstreet’s boy with a stick after an altercation, which resulted in a couple of broken teeth and a swollen face. Initially the meeting between the couples is cordial, but it soon begins to take on another form. As the couples begin to take sides on the issue of their kids, verbal assaults are thrown about and the mask of civility melts away into an extended slanging match on the differing viewpoints of class, ideals and morals emerges from this supposedly diplomatic situation. In the end, the meeting is nothing to do with the two boys, but the regression of their parents into anarchy at being in such a claustrophobic setting. Prepare for acerbic one liners, verbal jousting and fine performances from the four members of the cast in Polanski’s comedic chamber drama of niceties being dispensed with and the true self burrowing its way to the top in an argument.

The first thing to notice in Polanski’s movie is the limited but highly effective setting of the Longstreet’s condo. Polanski examines the humorous side to these middle class character’s insular surrounding with a certain amount of tension, which he is more than adept because of his work in Repulsion and Rosemary’s Baby. The condo seems to take on a life of its own and becomes almost prison like as we watch the Cowen’s attempt to leave but being halted at every opportunity. Polanski who also co-wrote the screenplay succeeds in bringing the acerbic wit to the screen with comedic and equally dramatic moments popularising this supposedly civil meeting between mature adults that descends into shouting and screaming. Roman Polanski manages to direct at a steady pace as the mask of diplomacy begins to slip and it really is amazing how he keeps us interested with such a short running time.

The biggest asset belonging to Carnage is the four main actors involved who all put in excellent work. Jodie Foster flat-out nails the role of Penelope Longstreet, a prissy woman obsessed with manners whilst being something of a snob. Her highly strung tendencies as a character really add to the comedic side of the film. Kate Winslet lets loose with her role as Nancy, the demure trophy wife whose escalating frustrations combined with too much booze lead her to extreme situations. Christoph Waltz gets some of the best lines as the ruthlessly suave and chauvinistic Alan, a lawyer constantly attached to his phone more than his wife’s pleas to leave. It is Alan who is the only character to see the absurdity of the meeting and the fact that no resolution will come of it. John C. Reilly adds humour but an underlying rage as Michael, who at first tries to calm the situation but later becomes a key instigator in stoking the flames of the already heated situations.

Making effective use of the limited setting, waspish dialogue and four great performances, Polanski’s Carnage in short is a barbed, dramatic and darkly funny account of civilised people descending into chaos.

Death Proof

Tags

2000's, Action, Death Proof, Grindhouse, Jordan Ladd, Kurt Russell, Mary Elizabeth Winstead, Quentin Tarantino, Robert Rodriguez, Rosario Dawson, Rose McGowan, Sydney Poitier, Thriller, Tracie Thoms, Vanessa Ferlito, Zoë Bell

Film Title

Death Proof

Director

Quentin Tarantino

Starring

• Kurt Russell as Stuntman Mike
• Rosario Dawson as Abernathy
• Tracie Thoms as Kim
• Zoë Bell
• Mary Elizabeth Winstead as Lee
• Vanessa Ferlito as Arlene
• Sydney Poitier as Jungle Julia
• Jordan Ladd as Shanna
• Rose McGowan as Pam

Quentin Tarantino’s side to the Grindhouse project he worked on with Robert Rodriguez comes in the shape of Death Proof. An homage to splatter movies, muscle cars and the sleazy exploitation movies he watched as a kid, Death Proof isn’t his best movie. But one can’t deny the adrenaline and style of the film that keeps it watchable.

The plot centres around the character of Stuntman Mike, a psychopathic stunt driver who picks up women in his death proof car and murders them in what he covers up as accidents. The film concerns his encounters with two groups of attractive females and the consequences. In the first segment, three female friends, Arlene, Shanna and resident DJ Jungle Julia are driving through Texas looking for a good time. Unbeknownst to them, the predatory Mike has been stalking them. They end up in the same bar together where Arlene performs a seductive lap dance for him for a bet made with her friends. After an intoxicated woman named Pam asks for a ride home, Mike offers her his services in his souped up automobile. Lets just say that things end up quite nasty and blood soaked. A number of months later in Tennessee another group of girls all involved some way with the film industry are travelling. The group consists of make-up artist Abernathy, stunt girls Kim and Zoë and aspiring actress Lee. Stuntman Mike begins to stalk the group but this time the girls are more aware of him. And boy do they fight back with a vengeance. Buckle up and get ready for high-octane shocks from Quentin Tarantino as he paints his homage to 70’s movies with visual flair.

As it mentioned earlier in this review, Death Proof isn’t the best work done by Tarantino. The tone is sometimes uneven and the story lags at various times, but having said that there is still much to praise within this film. The use of distortion to the film to give it that old, worn-out effect works wonders with this type of thriller. Tarantino directs some adrenaline pumping chase sequences that really are thrilling to watch as the second group of girls attempt to play psychopathic Mike at his own twisted game. The stunt work by professional Zoë Bell is hugely impressive throughout her duration on-screen. As is often the case with movies by Quentin Tarantino, the soundtrack is cool and full of grooves from just about every genre going.

Kurt Russell is frighteningly sadistic and strangely charming as Stuntman Mike, really delivering a memorable performance of psychosis and horror. The others who impress out of the cast are Rosario Dawson, Tracie Thoms and Zoë Bell. They deliver some kick ass attitude and sass that is more than a match for Stuntman Mike’s plans. Rose McGowan has a small but memorable cameo as the rather unfortunate Pam, who accepts the ride with Mike, little realising what he has planned for her. Vanessa Ferlito impresses the most out of the first bunch of girls, with her raunchy dance moves certainly sending temperatures soaring. Mary Elizabeth Winstead however is thoroughly wasted in that she’s given little to actually do.

So all in all, Death Proof isn’t the greatest by Tarantino. But it manages to deliver enough thrills, action and kick ass babes to keep you entertained.

Planet Terror

Tags

2000's, Action, Freddy Rodriguez, Grindhouse, Horror, Jeff Fahey, Josh Brolin, Marley Shelton, Michael Biehn, Naveen Andrews, Planet Terror, Quentin Tarantino, Robert Rodriguez, Rose McGowan

Film Title

Planet Terror

Director

Robert Rodriguez

Starring

• Rose McGowan as Cherry Darling
• Freddy Rodriguez as El Wray
• Josh Brolin as Block
• Jeff Fahey as J T Hague
• Michael Biehn as Sheriff Hague
• Marley Shelton as Dakota Block
• Naveen Andrews as Abby

Robert Rodriguez’s homage to cheap horror movies of the 70’s comes in the form of Planet Terror, which was released as part of Grindhouse, a collaboration between Rodriguez and Quentin Tarantino. If it’s substance you’re looking for, turn away now. But if it’s zombie horror, a killer soundtrack and action gore galore, Planet Terror is certainly worth sticking around for.

Cherry Darling is a go-go dancer, sick and tired of her job as she dreams of being a comedienne. She quits her job and finds herself one night in the local diner, where she encounters the enigmatic El Wray. He used to be her lover, but their relationship has cooled. Meanwhile in the rural Texas town, a toxin has been released into the air from a military base nearby. At first nothing happens, but then many of the residents begin developing various side effects and subsequently morph into ravenous zombies. The zombies begin to attack the living causing chaos and a fight for survival. Joining forces with El Wray, the local diner owner, the sheriff, a chemical engineer and a doctor, Cherry leads the fight against the infected, even after she has a leg eaten and replaced with a machine gun. Prepare for kick ass action, copious amounts of blood and grainy visuals as Planet Terror emerges as over the top action in the style of B-movies.

From the opening frames, you know what you’re going to get from Rodriguez. He nails the grainy abrasions that popularised the films of his childhood and adds them to this film in homages which come off rather well, especially in the opening scenes of Cherry’s sexy dance. He even throws in a missing reel with apologies and some sleazy trailers for good measure. The soundtrack is killer, from the grungy guitars to the smoking saxophone, it makes for a rocking listen. Rodriguez directs some pretty great scenes of action as the survivors fight back against the encroaching zombie threat. Gore hounds will lap up the various scenes of zombie hunger and believe me there is a lot of bloodshed in Planet Terror. Where Planet Terror falters is the pacing and some of the humour that doesn’t come off to good. Yet, many watching will barely notice these flaws because of the visuals and kick ass action/horror.

Rose McGowan makes for a fierce, sexy heroine as Cherry Darling and delivers an impressive performance of sassy, kick ass attitude and some great comic timing. Freddy Rodriguez makes for an enigmatic presence as the bad boy, gunslinger El Wray. For the rest of the cast, including Josh Brolin, Jeff Fahey and Marley Shelton, they really have fun with their roles in this action/zombie horror. The real star of the show is Rodriguez himself, firmly creating a tongue in cheek horror homage that is for the most part entertaining.

Short on substance but high on octane and visual techniques, whilst also boasting some great action, Planet Terror won’t be to everyone’s taste. But its a good way to spend a couple of hours without having to think a lot.

Little Women(1994)

Tags

1990's, Christian Bale, Claire Danes, Coming-of-Age, Gabriel Byrne, Gillian Armstrong, Kirsten Dunst, Little Women, Mary Wickes, Period Drama, Samantha Mathis, Susan Sarandon, Trini Alvarado, Winona Ryder

Film Title

Little Women

Director

Gillian Armstrong

Starring

• Winona Ryder as Jo March
• Trini Alvarado as Meg March
• Claire Danes as Beth March
• Kirsten Dunst as Young Amy March
• Susan Sarandon as Marmee March
• Christian Bale as Laurie
• Mary Wickes as Aunt March
• Samantha Mathis as Adult Amy March
• Gabriel Byrne as Friedrich Bhaer

Adapted from the much-loved novel of Louisa May Alcott, Little Women is a heart-warming, movingly told gem of a coming of age movie about the importance of family and sisterhood. Boasting strong performances, beautiful cinematography and emotive music, Little Women is a joy for everyone to watch.

The focus of the story is on the women of the March family in the years of the Civil War and the time after in Concord, Massachusetts . Meg is the beautiful, gracious but slightly vain eldest, Jo is an expressive tomboy with a passion for writing, Beth is sensitive and earnest,  Amy is the romantically winsome and spoilt youngest. Their mother, affectionately known as Marmee, guides them through their lives with loving care but makes sure the girls manage to stay true to themselves no matter what whilst their father is fighting in the war that to them seems to be never ending. The sisters come across love, hardship and kindness as they grow up and experience the vicissitudes of life. The sisters befriend Laurie; the lonely boy next door who becomes almost like a part of the family and yet he develops feelings for Jo along the way. The film follows the March sister’s various ups and downs, personal pain and happiness and the strong, unbreakable bond between the girls that is eternal. Crafted by Gillian Armstrong, Little Women is sensitively told and beautiful without falling into the trap of being overly sentimental in its story of these four special girls.

Gillian Armstrong brings to the forefront the feminist undertones of the story, embodied by Marmee’s wish that her four daughters develop their intellect as well as blossoming beauty. Some purists may take issue with this and feel that it is bashing people on the head with the message, but it does the opposite by subtly adding an interesting dimension to the story and gives us an array of strong female characters that live long in the memory. Armstrong obviously feels a connection to the story and as her past output often features strong female characters, it’s not difficult to see why such a talented film maker would adapt this classic, intimate story for the screen. As the story spans many years in the lives of these girls, the expressive cinematography captures the changing of time to stunning effect by showcasing the beauty of the seasons. The evocative score by Thomas Newman highlights the deep themes of family importance and the various differing personalities of the March sisters as they make their journey through life and all that it entails. It was rightly nominated for an Oscar and it isn’t difficult to see why. As an audience, we glimpse the various troubles and joys that make up the lives of these characters. Many of the scenes stay strong in the memory such as Jo’s feisty independence beginning to emerge, Amy’s near death experience when she slips through the winter ice, the sisters reading a letter from their father around the fire and the sensitive Beth’s battle with Scarlet Fever. It really makes for heart-warming viewing as these girls go through the various stages of life and experience the many changes that it brings.

Most of the joy that comes from the film is down to the cast. In the lead role as the idiosyncratic and hot-tempered Jo, Winona Ryder is a marvel at bringing both the tough side to her character to the forefront whilst showing us the emotional care she has for those around her. Ryder is delightful and makes the plum role of Jo her own, The beautiful Trini Alvarado is impressive as the manner obsessed Meg, who begins to understand the social standing isn’t everything in life. A young Claire Danes is suitably lovely and sensitive as the caring Beth, who seems to face even the toughest things life can throw at her with a sense of decency and a smile. Young Kirsten Dunst adds mischief and an amusing selfishness to her role as the hopelessly winsome Amy, who is a regular madam with her nose in the air. It must be said that the chemistry between the four young actresses is simply delightful and helps you buy into them as sisters. Susan Sarandon embodies the love but firm care of the girl’s mother, revealing a strong women intent on keeping her girls from becoming merely a decorative piece on a suitor’s arm. A young Christian Bale is impressive as Laurie, the boy next door who is first enchanted by the four March women and later befriended by them. Mary Wickes, with killer one liners and a withering eye, is a hoot as the rich Aunt March, who can’t seem to go a minute without finding something to bad mouth or look down upon. On the other hand, Samantha Mathis as the older Amy and Gabriel Byrne as a handsome professor involved with Jo, are underwritten and as a result don’t get much to do in terms of pushing the story ahead.

Touching, immensely enjoyable and crafted with beautiful care by Gillian Armstrong, Little Women is sensitive and loving viewing at its best.

Kill Bill Vol 2

Tags

2000's, Action, Daryl Hannah, David Carradine, Kill Bill Vol 2, Martial Arts, Michael Madsen, Quentin Tarantino, Revenge Drama, Uma Thurman

Film Title

Kill Bill Vol 2

Director

Quentin Tarantino

Starring

• Uma Thurman as The Bride/Beatrix Kiddo
• David Carradine as Bill
• Daryl Hannah as Elle Driver
• Michael Madsen as Budd
• Gordon Liu as Pai Mei

Following on from the events of Vol 1, Kill Bill Vol 2 makes for cool, stylish viewing. Whereas the first volume was focused more on action, this volume zeroes in on the dramatic and emotional undercurrent of The Bride’s journey to avenge her near death experience. It all proves for a satisfying conclusion to this revenge saga.

Having battled her way through old adversaries who turned her wedding day into a massacre, The Bride now has three people left on her kill list. These consist of Budd, Elle Driver and last but not least Bill. Along the way, she encounters someone she never thought she would see again that could change the course of her revenge filled journey. But in Tarantino’s trademark non-linear way of telling us the story, we are given bits of knowledge about some unanswered questions. We see The Bride attempting to live another life by marrying someone only to have it snatched from her, her tutelage under the cruel but rewarding Martial Arts expert Pai Mei and finally find out her real name, Beatrix Kiddo. Through flashbacks, visual references to a multitude of genres and some searing performances, Tarantino keeps us entertained whilst delivering some drama to the tale, which he pulls off very well indeed.

I’ve heard many say that Vol 1 is the better of the two and I am inclined to agree. But I still enjoyed Vol 2 because of the way Tarantino injects some poignancy into The Bride’s journey and glimpses her relentless pursuit for those who betrayed her. It may not have as much action as the first installment, but Vol 2 is equally as thrilling and absorbing as its predecessor. There still is some amazing action sequences, including a fierce duel with the one-eyed Elle in a desert trailer, that make for great viewing, especially in regards to the choreography of the fight. Other highlights are The Bride’s eventual emergence as a warrior under the teaching of Pai Mei and how it benefits her and a black and white flashback that reveals the strange relationship between The Bride and Bill. As with most of Tarantino’s movies,the kinetic and flashy editing is marvellous and complemented by another genre busting soundtrack.

The cast fill out Tarantino’s eclectic characters with impressive results. Returning as the revenge seeking Bride, Uma Thurman delivers another intense performance as we watch her relentless search for payback. Thurman also manages to deliver poignant work in the way she shows how much The Bride has lost in the past and how all of her pain has now transformed into uncontrollable rage that can’t be measured. Whether clawing her way through dirt after being buried alive or dueling with her enemies with a lethal Samurai sword, The Bride is one woman who will never give up and will kill anyone in her path. David Carradine is great as the eponymous Bill, whose betrayal has set in motion this chain of blood soaked carnage. His scenes with Thurman are extremely impressive, their showdown of wills and confessions makes for dramatic viewing to say the least. Daryl Hannah is on villainous form as the vindictive assassin Elle, her duel with The Bride provides an action filled highlight to the picture. Michael Madsen plays another of The Bride’s targets Budd, who is more than prepared for her arrival and finds an interesting way of trying to kill her.

By giving us an emotional undercurrent to the story, Tarantino succeeds in balancing brutal violence and revelations with aplomb. Vol 2 proves dramatic, startling and compulsive viewing.

Kill Bill Vol 1

Tags

2000's, Action, Daryl Hannah, David Carradine, Kill Bill Vol 1, Lucy Liu, Martial Arts, Michael Madsen, Quentin Tarantino, Revenge Drama, Uma Thurman, Vivica A. Fox

Film Title

Kill Bill Vol 1

Director

Quentin Tarantino

Starring

• Uma Thurman as The Bride/Black Mamba
• David Carradine as Bill
• Lucy Liu as O-Ren Ishii/Cottonmouth
• Daryl Hannah as Elle Driver/ California Mountain Snake
• Vivica A. Fox as Vernita Green/ Copperhead
• Michael Madsen as Budd/Sidewinder

Quentin Tarantino’s fourth movie is an action packed, blood soaked revenge tale told with stylish panache and various references to other genres. From samurai movies to anime and western, Tarantino fashions all of these into this wildly entertaining action with a breakneck pace and a seriously kick ass heroine.

Left for dead on her wedding day, a woman, known only as “The Bride” eventually awakens from a four-year coma after a mosquito bites her. In non-linear fashion, we are informed of her origins and what led to her near death experience. She was once a member of The Deadly Viper Assassination Squad, an elite group of skilled assassins under the charge of the eponymous Bill. She went by the codename Black Mamba whilst working for the squad. The Bride, who was also pregnant was attacked by the other members on her wedding day and Bill put a bullet in her head. After waking from her coma and realising her baby is now gone, The Bride’s rage begins to manifest and she swears a brutal revenge. Escaping hospital, she quickly makes a list of the members of the assassination squad who she intends to kill one by one for their part in her brutal attack. Vol 1 deals with The Bride tracking down two of the members on the list, the fierce Vernita Green and the powerful O-Ren Ishii. And so begins a wildly entertaining revenge saga that is daring, über stylish and full of bloody violence and action. As the proverb at the beginning of the film states “Revenge is a dish best served cold”. Or in Tarantino’s case, cold and covered with lashings of blood.

Tarantino should be praised for the way he manages to incorporate so many disparate influences into a seriously entertaining though brutal film. From utilising music from classic westerns and featuring a startling anime sequence, he definitely knows how to keep you watching. The kinetic editing is superb in capturing The Bride’s one-woman mission to annihilate those who have caused her great pain. Special notice must go to the fighting choreography which really is something to behold. The biggest highlight is The Bride’s blood soaked duel with the Crazy 88, hitmen for O-Ren. Cutting between colour and black and white gives the scene a thrilling and daring quality that is hard to not appreciate. Some may complain that the film is an example of style over substance, but if that is the case you have to admit that the style is certainly entertaining nonetheless. As is the case with most of Tarantino’s movies, the soundtrack is an eclectic listen, this time featuring music from Spaghetti Westerns, old samurai movies and thrillers.

The cast of the Kill Bill Vol 1 all deliver memorable work. Heading the cast with a searing performance is Uma Thurman as The Bride. She encompasses the pain that gives way to unleashing her inner rage and physical strength on those who betrayed her with fearless ability. The Bride is one seriously kick ass character who you really don’t want to mess with. Although his face isn’t seen, David Carradine manages to make Bill a menacing character just with the sound of his voice. He is cloaked in enigmas as the story unfolds and The Bride makes it her priority to kill everyone before reaching the traitorous Bill. Out of the other members of the assassination team, which includes Vivica A. Fox and Michael Madsen, Lucy Liu and Daryl Hannah make the biggest impacts. Lucy Liu embodies the fierce violence within O-Ren which stems for a childhood in which she witnessed her family’s murder. Her duel with The Bride is a visually spectacular highlight as they fight with katanas in the snow. Daryl Hannah makes quite an entrance as the one-eyed Elle Driver. Strutting into hospital dressed in white while whistling a chilling song and planning The Bride’s death, she is most certainly an interesting creation from Tarantino.

Ultra violent, daring and stylish, Kill Bill Vol 1 isn’t for the faint of heart. But it will appeal to those who get the various genre references and who want to witness the excellent and hypnotic work from Quentin Tarantino.

Easy Virtue

Tags

2000's, Ben Barnes, Colin Firth, Easy Virtue, Jessica Biel, Kristin Scott Thomas, Period Comedy, Stephan Elliott

Film Title

Easy Virtue

Director

Stephan Elliott

Starring

• Jessica Biel as Larita Whittaker
• Ben Barnes as John Whittaker
• Colin Firth as Major Jim Whittaker
• Kristin Scott Thomas as Mrs. Veronica Whittaker

Based on the Noël Coward play and boasting a witty screenplay and fine performances, Easy Virtue is a period comedy that examines the clashing of cultures in the 1920’s revolving around a middle-class Englishman’s hasty marriage to a forthright American woman and the subsequent reactions of his stuffy family.

1920’s; John Whittaker is the only boy of a middle class family. Whilst vacationing in Monaco, he falls for the beautiful American racecar driver Larita, who is much older than him. After a brief courtship, they marry and John decides to take his bride back to the English countryside to meet his family who live in a large and grand house. Larita is greeted with an icy reception by John’s imperious mother Veronica; a steely, dragon like woman of order and stability and his two sisters. John’s father Jim, a former major in the war is a shadow of his former self and feels no love for Veronica. He does however come to appreciate the breath of fresh air that Larita brings to the dreary house. Although she attempts to get along with her in-laws and adapt to English culture, the free thinking and feisty Larita finds it difficult because of how different her upbringing is to the high-ranking family’s and the continuing opposition from Veronica. Can her marriage to John last with all the hostility around her? Cue vicious and caustic dialogue and a humorous insight into the machinations of the upper class in the 20’s as Easy Virtue unravels with hilarious and sizzling results.

Praise must to go to the period design which accentuates the glamorous era of the 20’s which is sometimes at odds with Veronica’s attempts at tradition. The manor in which the family lives is designed with a keen eye for period detail and really is a stunning sight to behold. The costume design is gorgeous, especially in the various gowns worn by the glamorous Larita that set pulses racing around the inner circle of the household. The jazzy score helps add to the period atmosphere, including a sultry rendition of “Mad about the boy” sang by Jessica Biel.

The witty screenplay captures the conflicting emotions that run high as a result of Larita’s arrival into the household. It humorously cuts through the facade of civility with a sword like wit that gives the audience room to laugh. Stephen Elliott directs with a brisk pace that keeps the one liners and scenes that mock society values coming thick and fast. Only occasionally does the film feel uneven when it tries to add some serious undertones. The cast of Easy Virtue are ideally chosen to flesh out this story of social disorder and how the life of one family is turned upside down by the eldest son’s marriage. In the role of Larita, Jessica Biel is vivacious, sexy and convincing. I’m not usually the biggest fan of Biel’s acting, but I can’t fault her work here. She conveys the forthright manner of Larita whilst showing us subtle insights into the depths of this woman with charm and sophistication. As the lovestruck John whose impulsive marriage disrupts the order of things, Ben Barnes is effectively wide-eyed and naive as his character begins to question the resentment thrown Larita’s way. Colin Firth is marvellous as the dishevelled father, he really shows us the crushed pride and happiness that were once within this man, which the war took from him. Kristin Scott Thomas flat-out nails the role of the stony Veronica, delivering her lines with mendacious wit and astonishment like a hornet protecting its nest.

A funny period film with style, wit and great performances, Easy Virtue is marvellous viewing for its satire on middle class values.

The Prince of Egypt

Tags

1990's, Animated, Biblical, Danny Glover, Helen Mirren, Jeff Goldblum, Martin Short, Michelle Pfeiffer, Patrick Stewart, Ralph Fiennes, Sandra Bullock, Steve Martin, The Prince of Egypt, Val Kilmer

Film Title

The Prince of Egypt

Directors

Simon Wells, Brenda Chapman and Steve Hickner

Voice Cast

• Val Kilmer as Moses
• Ralph Fiennes as Rameses
• Michelle Pfeiffer as Tzipporah
• Sandra Bullock as Miriam
• Jeff Goldblum as Aaron
• Danny Glover as Jethro
• Patrick Stewart as Pharaoh Seti
• Helen Mirren as Queen Tuya
• Steve Martin as Hotep
• Martin Short as Huy

DreamWorks take on the biblical story of Moses is a stunningly animated and powerfully constructed film. From the stirring music to the talented voice cast, The Prince of Egypt is a powerful achievement in animation as Moses discovers his destiny to lead the Israelites out of Egypt.

In Ancient Egypt, a female slave, in order to save her baby son from a cull of Hebrew children, sends him down the river in a basket in the hopes that he will be able to live free. The baby is discovered by the Queen, who adopts him and gives him the name Moses. Years later, Moses is grown up and has a friendly rivalry with his older brother Rameses, who will one day become Pharaoh. Moses is unaware of his mother’s sacrifice all those years ago or the fact that he is a Hebrew by birth. That is until he meets Miriam, his biological sister and a slave who informs him of the truth. Confused and shocked by this, he begins to see that everything he’s ever known has been a lie. Now aware of his past, he can’t just stand and watch as the Hebrews are enslaved by the Egyptians. Fleeing into the desert after accidentally killing a slave driver beating an elderly slave, Moses is visited by God in the form of a burning bush. Moses now begins to understand his destiny but his views are at odds with the newly crowned Rameses. Their differing beliefs will forever change the close relationship of the two. Evocative, well executed and filled with images of great wonder and beauty, The Prince of Egypt is a staggeringly staged marvel of animation that will engage you regardless of whether you’re religious or not.

The first thing to praise is the grand and beautiful animation that captures the interest from the first frame. Scenes live long in the memory from the slaves praying through their arduous work to Moses being sent down the river, visual splendour abounds. Special attention must go to the sequences of the Plagues of Egypt; as frogs emerge from the river, livestock perishes and the last plague of the death of the first-born occur. These scenes are carefully constructed and detailed to the highest degree as well as dealing with some deep themes such as faith and religion. The music of the film is stirring and very memorable. The two songs that stand out the most are ‘Deliver Us’, sung by the slaves as they ask God for mercy and the Oscar-winning ‘When You Believe’, a stunning song about the eventual reward of patience and the joy that comes from undying faith.

The voice cast assembled are an exceptionally talented bunch that invest their characters with both heart and emotion. Val Kilmer strongly voices Moses and shows us the gradual bravery after initial uncertainty that Moses gets as he realises his destiny. The commanding voice of Ralph Fiennes portrays Rameses who struggles with his brother’s calling and won’t back down as he sees it as a sign of weakness. Michelle Pfeiffer combines feisty determination with loving warmth as Tzipporah, the eventual wife of Moses who he helped escape from Egypt after being kidnapped. Sandra Bullock is earnest and passionate as Miriam, the sister of Moses who is the first person to show him the truth about his destiny. Fleshing out the other skilled voices are Jeff Goldblum, Danny Glover, Patrick Stewart and Helen Mirren, who all contribute emotional depth to this tale. Steve Martin and Martin Short voice the court magicians who add the comic relief.

Stunningly animated and sonically beautiful, The Prince of Egypt is a marvellous film. Some may say it is religious propaganda, but one can’t deny the amount of talented work at play here in bringing this story to the screen.