Hide and Seek

Tags

2000's, Amy Irving, Dakota Fanning, Dylan Baker, Elisabeth Shue, Famke Janssen, Hide and Seek, John Polson, Melissa Leo, Psychological Thriller, Robert De Niro, Robert John Burke

A very contrived psychological thriller that could have used a bit of work on it, Hide and Seek at least generates some jolts of terror and has two great central performances from Robert De Niro and a young Dakota Fanning.

David Callaway (Robert De Niro ) is a renowned and talented psychologist in New York City with a glamorous wife Alison( Amy Irving)and adorable 9 year old daughter Emily (Dakota Fanning). One night, David awakes in the middle of the night to find that Alison has committed suicide by slitting her wrists in the bath. Emily sadly sees her mother dead and withdraws into herself from that very moment. In an attempt to get Emily away from the trauma of her mother’s passing, David uproots her to Upstate New York . This is against the advice of fellow psychologist and and family friend Katherine(Famke Janssen), who doesn’t think it is a wise idea to just move Emily without letting her deal with what has happened. Emily is traumatised, morose and distant towards David, though he attempts to get her to open up to him. Moving Upstate to a large house with only a few neighbours ( who are all depicted as rather creepy and too curious) , David hopes that a fresh start will help both him and Emily work through both shock and grief . He strikes up a conversation and attempted friendship with sexy divorcee Elizabeth( Elisabeth Shue) but this is met with aversion and awkwardness from Emily. One day, Emily tells her father she has a new friend called Charlie. As no one has seen Charlie, David deduces that Charlie is imaginary. He is at least happy that Emily seems to be doing a little better than before , but things begin to change for the worse. Emily plays games with Charlie , their favourite being hide and seek. All seems innocent enough at first before a string of horrifying events begin to manifest. Soon the so called games between Charlie and Emily escalate to vicious scenes and overt hostility towards David, resulting in danger and death. A twisted game is afoot as David attempts to uncover who Charlie really is before it gets too late. Is Charlie simply a figment of Emily’s traumatised imagination? Or has Emily herself got something to do with it? Or is Charlie truly a flesh and blood person who is intent on mayhem and evil? You’ll have to watch to find out.

John Polson is not a bad director, he just goes down the rather obvious route here. This makes it seem like he’s simply ticking a box to make it a thriller, but not adding too much difference along the way.  That being said, he at least manages to scare up some rather unnerving moments throughout. It’s just a shame it couldn’t coalesce better with the full picture The problem with Hide and Seek is that it feels tired and derivative, plus it tries to be overly serious but winds up looking anything but. I don’t mind predictable when it’s done well, sadly Hide and Seek has its fair share of problems. The big twist is effective enough but it feels a bit too telegraphed if you watch close enough. Once things are revealed, events do get more intense and harrowing it has to be said, with Emily put through the emotional mill. Yet it can feel a too little too late eventually as what’s come before has been impactful enough I guess, but then descends into standard psycho horror territory . There are many cases of misdirection involving the neighbours which don’t go anywhere or ring true, resulting in numerous plot holes . The bad thing is that the movie thinks it’s being clever by throwing in many red herrings; but it ends up coming off. The music and atmosphere are things that kept me watching , even if the film is largely illogical. The score from John Ottman has a ghostly feeling too it, with choral voices and foreboding ambience elevating the material. The autumnal setting and muted colour scheme brings a certain chilliness to feel proceedings. So while, certain elements do manage to keep you watching in Hide and Seek, it doesn’t add up to a cohesive whole. 

Robert De Niro is one of my favourite actors and I find even in films that aren’t quite worthy of his talents , he still delivers. Such is the case here with his quiet and often contained performances as a caring father trying to understand the horror around him, but occasionally not realising that he’s treating his daughter and not another patient. It’s not one of his best performances , but it’s still good and one of the better parts of Hide and Seek. It’s Dakota Fanning, who at the time was movie kid royalty and with good reason, who really delivers the goods and provides one of the most effective parts of the routine movie. Using her saucer like eyes to unnerving and devastating effect, a dark haired Fanning taps into the mystery of her character who is by turns traumatised and creepy. Fanning is compelling at displaying emotions far beyond her young years and especially in the latter half of the film, she pulls you in and holds her own against Robert De Niro with a haunting performance. Robert De Niro and Dakota Fanning are the people who hold Hide and Seek somewhat together. Famke Janssen has some good moments as the supportive family who is protective of Emily, but the rest of the talented cast are wasted. You have the likes of Elisabeth Shue, Melissa Leo, Dylan Baker, Robert John Burke and Amy Irving here. And they are all given barely anything to work with

So it’s a pretty standard psychological thriller that is rather pedestrian in parts and mixed, but Hide and Seek gains points from the main cast and some good atmosphere crafted.  It still doesn’t come up to scratch, but it’s not completely unwatchable.

The Terminal

Tags

2000's, Barry Shabaka Henry, Catherine Zeta-Jones, Chi McBride, Comedy, Diego Luna, Drama, Kumar Pallana, Stanley Tucci, Steven Spielberg, The Terminal, Tom Hanks, Zoë Saldaña

A slightly whimsical comedy drama from Steven Spielberg about a man rendered without a country and stuck in JFK Airport, The Terminal benefits from a touching and terrific lead performance courtesy of Tom Hanks . It’s not of the director’s major works or up there as a masterpiece in his filmography, but it’s a quite lovely movie of hope, patience and belief that is in many moments rather affecting to watch.

Viktor Navorski(Tom Hanks) is from the Eastern European country of Krakozhia he arrives in JFK airport. The only hitch in his plans to visit New York is that while he was in the air, a military coup occurred in his country and the government was overthrown . With the U.S not recognising the new government and his passport taken, he is without a country and not permitted to step foot outside of the airport. Not knowing much English, Viktor initially panics about what he’s going to do about his circumstances. He begins sleeping and living for lack of a better word in one of the terminals. Over time, Viktor begins to show immense aptitude in adapt to this strange situation by learning English, finding inventive ways to have food and have some semblance of goodness in what it a truly fish out of water experience. He becomes friends with various airport staff, such as food deliverer Enrique(Diego Luna), cleaner Gupta(Kumar Pallana) and cargo handler Mulroy(Chi McBride) . Spending time with them, he forms good ties and he helps Enrique grow more confident in his attempts to woo the tough but beautiful Immigration Officer Torres( Zoë Saldaña ). He also comes up against an increasingly angry and frustrated Acting Field Commissioner Frank Dixon(Stanley Tucci), who wants to be someone else’s problem and feels that his chance of a promotion is going up in smoke because of Viktor. Dixon is watched by his second in command Thurman(Barry Shabaka Henry), who comes to like Viktor and is often quietly at odds with his superior. There’s maybe even a chance at love for Viktor with conflicted air hostess Amelia Warren(Catherine Zeta-Jones) .Over the months of time he spends living in the airport , Viktor changes the lives of those around him while trying to make sense of what’s going on and wondering if he’ll ever return to his home country or set foot in New York.

Steven Spielberg shoots The Terminal through with a hope and energy to it. The airport transforms from what seems like a confusing place and Spielberg beautifully gets across the difference . It can be said that it slips into sentimentality a little too often, but the heartfelt nature and occasional note of bittersweet experience is something that the veteran filmmaker knows how to do. Both the comedy ( of which there is quite a bit of thanks to the work of Tom Hanks and cast)and the drama hit good spots throughout . The Terminal is at once a big scale movie, largely due to the tremendous detail and scope of its setting, and also rather intimate as it takes place largely in one location. The gliding camerawork and long takes are beautifully done and the shimmering work of cinematographer Janusz Kamiński brings out the varying emotions through shadows, reflective surfaces and glass. Plus I can’t review the film without mentioning the production design, which is second to none in crafting this setting. All the production design deserves credit for the stellar work hereWhat The Terminal might have benefited from to put it higher up in terms of quality is some editing. I feel that The Terminal does overstay it’s welcome because it runs too long for it’s own good. Trimming down in some parts would have certainly improved the film, but it’s still an uplifting tale that is difficult to resist. If you can suspend disbelief in parts, like how quickly Viktor picks up English and somehow manages, you can enjoy The Terminal and what it has to offer. A sprightly score by Spielberg regular and maestro John Williams fizzes away throughout. Williams brings a bustling yet heartfelt core to the events both comedic and dramatic for us with what I think is a rather underrated score in his long and illustrious career. Whenever Spielberg and Williams collaborate, it’s often magical and The Terminal is no exception.

Tom Hanks provides a lot of the heart and depth to The Terminal and is one of the best parts of this movie . Combining a natural bemusement with a hidden sense of resourcefulness(plus a very different voice than you think of for Hanks), he is also adept at all the comedy too; capturing the awkward mannerisms of a man completely in an extreme fish out of water scenario. Hanks makes the audience immediately sympathetic to the Everyman character who we see is not as bumbling as people think in the beginning. The blending of heart and comic timing is a winning combination that makes this a fine performance from Tom Hanks. Although not in the most well written or defined part, Catherine Zeta-Jones brings warmth and a quiet sense of uncertainty as a woman caught in a situation she seems destined to repeat. Through her interactions and developing feelings for Viktor, Zeta-Jones provides a vulnerable and lovely presence alongside Hanks . Though I must say as good as she is in the part, I feel the role needed to provide more for her as the character is rather patchy in terms of writing. Catherine Zeta-Jones makes the part watchable but I think more could have been done with her character in the long run. it would have been nice to see Zeta-Jones really have a part to sink her teeth into. Maybe bits of the romance between the two leads don’t add up or feel like they could have been explored better. But at least there’s a tentative chemistry between both stars that’s rather lovely to see as is their connection over the course of the picture. Stanley Tucci is having a ball as the who becomes gradually more frustrated with Viktor who he sees as a major thorn in his side. His character is working hard and doing his job. This has ultimately lead to him not realising that his humanity and sympathy has been skewered because of his adherence to rules. As antagonistic as Dixon is in parts , Tucci never lets him descend into full ok villainy. He instead lets us see a man who is too good at his job and irritable if his authority feels threatened . An entertaining supporting cast rounds out the characters, who become largely something akin to a family unit. Barry Shabaka Henry as second in command provides a quiet sense of comedy as he reacts to his boss with bewilderment and eye rolling .Kumar Pallana provides the comic relief as the jokey janitor amusing himself with the hapless events of the airport, while impressive performances by Diego Luna and Zoë Saldaña as lovesick food deliverer and brusque immigration officer show the star quality both have. Chi McBride rounds out the main group of Viktor’s friends as the wisecracking baggage handler. 

A touching comedy drama with both an underlying message of humanity and occasionally pangs of melancholy, The Terminal provides a heartwarming movie experience. Enlivened by colourful characters, directing and gorgeous visuals, The Terminal might be minor Spielberg, but it’s still rather effective and moving.

Paranormal Activity

Tags

2000's, Horror, Katie Featherston, Micah Sloat, Oren Peli, Paranormal Activity, Supernatural Horror

Using a simple premise of a supernatural threat targeting a young couple captured with a camera, Paranormal Activity builds a creepy atmosphere throughout as the threat gets real. You’ll want to sleep with the lights on after watching this creepy chiller.

Young couple Micah and Katie ( Micah Sloat and Katie Featherston )have been experiencing strange and unexplained phenomena in their San Diego home . The often immature Micah has decided to set up a video camera in an attempt to capture proof of a paranormal entity, though Katie is not enthused by this idea. Katie reveals that she’s had strange events akin to a haunting throughout her life when a psychic comes to visit. The psychic warns the couple not to aggravate the entity that has latched onto them and particularly. It’s not a matter of the house being haunted, it is Katie herself . With his camera and technology, Micah finds the whole idea of a haunting fun and cool. Katie , who really doesn’t see it as something thrilling, becomes increasingly more terrified as the haunting continues. To start, various household objects are misplaced and creaking doors are the extent of paranormal energy. It then becomes a lot more sinister at the days go on. The clashing of viewpoints in terms of how Micah and Katie view the strange events that befall them escalates, as Micah becomes even more interesting in finding out what is haunting them and Katie begins to fall apart emotionally. Following Micah’s blatant disregard for not bothering the haunting presence, the entity ups the ante leaving in a desperate fight to survive this malevolent intrusion. All the while, the seemingly unending threat is being captured on film by camera, often in moments the protagonists don’t see until later.

Oren Peli, who as well as being writer and director , also edited the movie,  does a superb job crafting a horror movie that’s simple but shrewdly done . It’s pretty hard to believe this was his directorial debut because of how assured his touch for suspense is What Peli gets right is the tone and gradual suspense of Paranormal Activity. He knows to to build tension without the film dragging on( it comes in at under 90 minutes) making one chilling efficient exercise in terror. Paranormal Activity deal with the presence of ghosts and haunting , yet the direction and execution of it add a veneer of reality to proceedings which in turn heightens the fear and scares it goes on to generate. And it’s also nice to see a horror movie that relied on mood and atmosphere as opposed to excessive gore. Not that I mind gore in my horror movies, I just often find myself being more disturbed by the psychological approach of dread and anticipation Although a found footage movie, Paranormal Activity has a certain level of sophistication as it doesn’t often feature spinning handheld camera. Yes there are parts of handheld camerawork, but it’s largely the times when the camera is still that the chills occur. As sets the camera up in the bedroom , we begin to observe strange events slowly but surely mainly of the nocturnal variety. We are forced to concentrate intensely to see if something subtle has occurred and whether our minds are playing tricks on us. It’s an effective trick as we get invested in the haunting and it keeps us creeped out along with the protagonists . Often we don’t see anything but the sounds and sense of dread make our minds run wild which is employed with impact in Paranormal Activity.

Special credit must go the sound design here who craft a feeling of escalating dread with every bang or loud noise. This , coupled with periods of almost unbearable silence and it’s a nerve wracking experience that awaits you. The best usage of this is one of the nocturnal sequences when we witness Katie in a seeming trance get up out of bed and stares at her sleeping boyfriend . What’s most alarming is that the camera timer shows she has been doing it for a number of hours without moving. The silence and whole atmosphere of this scene gets under your skin and is one of many that’ll have you spooked. The budget may have been low, but the chills are high in Paranormal Activity.  It’s not really original, but it’s for my money one of the better found footage movies and a downright creepy film in general.

As the two main players in the film, Micah Sloat and Katie Featherston are believable and very authentic as the couple under attack. Both feel like real people who you could know and this goes a long way in this movie. Sloat strikes the right mout of geeky curiosity and immaturity as his over eager antics make the situation at hand a lot worse than he expected. It’s Featherston who is the heart of the film; convincingly displays the deep rooted fears of a young woman seemingly haunted since she can remember. Her increasing desperation and slip into instability at the events around her is one of the driving forces of Paranormal Activity as most of it links directly to her. There are other actors in the film, but the lions share is taken up by the duo of Katie Featherston and Micah Sloat and they certainly deliver throughout.

A terrifying horror that favours psychological chills over excess gore, Paranormal Activity shows his the found footage genre can be to elicit a ruthless and efficient horror movie. Be sure to watch with someone else as terror is best in movies when shared

Rec

Tags

2000's, Foreign Language Film, Horror, Jaume Balagueró, Manuela Velasco, Pablo Rosso, Paco Plaza, Rec

A brutally effective horror movie that zips along at a quick and ferocious pace and proves that found footage can still be impressive, Rec makes for a disturbingly intense experience.

Ángela Vidal( Manuela Velasco) is a peppy young reporter who along with her unseen cameraman Pablo(Pablo Rosso) is filming a documentary on the emergency services. One night while filming at the fire station when nothing seems to be happening, the firemen get a call about a lady trapped  in her apartment. Ángela naturally jumps at the chance of a story and so she and Pablo tag along to the apartment block. Once inside, the firemen along with encounter the woman is distress. The woman then becomes crazed like a zombie and bites one of the firemen, throwing everyone into terror. Once removing themselves from the room and locking the woman in, the group head to the lobby. The other residents have assembled , wanting answers for what is going on. Everyone starts to panic as the military shut off the building, leaving everyone trapped inside. They hear that a virus has spread between people through saliva, explaining the crazed and feral woman. The results of the virus are rabid viciousness and the instinct to attack and bite. But as the tension mounts and panic sets in, the body count rises as people become infected by the virus and chaos reigns.  Ángela and Pablo keep recording as the horror unravels, attempting to avoid being infected and savagely attacked in the now claustrophobic apartment block. One thing is for sure, it’s going to be a fight for survival as Ángela and Pablo attempt to make it through, determined that what transpires in the apartment block will be discovered even if they aren’t .

Directors and writers Jaume Balagueró  and Paco Plaza make sure Rec lulls you into a false sense of security before unloading ultimate terror. They succeed on this score and also on making it feel realistic and like you are right in there. Once the zombie horror hits, Rec doesn’t let up with the tension and gruesome action as the kinetic point of view camera plunges us straight into the heart of the terror of this apartment block under siege. As a rule, I sometimes find that found footage movies give me a throbbing headache with the way they are shot. While Rec does include many scenes of shaky camerawork, it feels a lot smoother than most which makes it more intense and easier to follow. It’s a simple premise from  Balagueró  and Plaza that is shrewdly and economically directed , making for a lean and mean horror movie of vicious intent and brutal, nail-biting content. The script also allows viewers to discover things at the same time as the characters , increasing the shocks as we experience them and our guesses are stripped away by jolts of terror. The claustrophobic and hellish atmosphere is further heightened by the absence of a score. This makes everything feel realistic and lets the audience listen out for anything sudden about to happen or not. Credit too must be given to the zombie effects that look terrifying yet also in the realms of possibility as all hell breaks loose.

The main members of the cast are . Manuela Velasco, who is almost always onscreen is an appealing presence. She nails the determined and go getter persona within the part of Ángela which gives way to fighting for survival of the most terrifying sort. Velasco’s likeable charm , fight and sense of breathless terror at what she encounters are all on full display as the heroine of this story and make an impact. Though it’s only his voice that we hear, Pablo Rosso convinces as the much harangued cameraman Pablo, who is charged with capturing the horror right in front of him. The supporting cast are all convincing and seem so realistic in what they are doing. Which is totally in fitting with the almost documentary approach that Rec is going for.

Ruthlessly impressive and terrifyingly claustrophobic , Rec is a triumph of horror film making that leaves your heart pounding in fright. Even if the found footage genre of horror doesn’t often appeal to you, I highly suggest Rec as it might just change your mind.

Underworld

Tags

2000's, Action, Bill Nighy, Fantasy, Kate Beckinsale, Len Wiseman, Michael Sheen, Scott Speedman, Shane Brolly, Underworld

A dark action fantasy with imaginative mythology, Underworld certainly looks terrific and has a bit more plot than you’d expect. It’s an imperfect film, but with oodles of style and a kick ass Kate Beckinsale , Underworld holds the interest and has quite a few things to recommend.

A war has been raging for many centuries invisible to human eyes. It has been fought between the vampires and the werewolves, here called Lycans. Selene(Kate Beckinsale) is one such a vampire, referred to as a Death Dealer as she hunts down her enemy. We pick up with her as she hunts Lycans but finds something different this time. The Lycans are hunting a human by the name of Michael Corvin(Scott Speedman) ; which to Selene makes no sense as humans have no part of the conflict between the two clans. While pursuing Lycans, Selene becomes curious about Michael and how he somehow fits into events. The Lycans, headed by the slimy yet wily Lucian(Michael Sheen), have secret plans that involve blood and becoming more powerful . While the Vampires have plans to awaken one of their Elders very soon. Defying orders from the arrogant and scowling second in commands of  vampires Kraven(Shane Brolly), the reckless Selene investigates Michael and unexpectedly begins to care for him.  It then becomes clear that the conflict between the species isn’t as straightforward as many have been lead to believe. As various treachery is uncovered and her attachment to deepens, Selene begins to question what she’s been lead to believe just as the war hots up again and the dormant Vampire Elder Viktor(Bill Nighy) is awakened.

Len Wiseman is a very stylish director who makes a good go of bringing this story to life. He showers us with lashings of blood soaked violence, barrages of bullets captured in slow motion and leather gear throughout. And it must be said, on the visual scale, Underworld is rather dazzling . With a dark cinematography style bathing events in Gothic grey and moody blues, we are put into this nocturnal world of battles that feels fantastical and darkly intriguing.  What’s surprising about Underworld is that it isn’t just a mindless action fantasy, there is some good world building here. Occasionally it gets a bit too much with explaining things and the run time does leave a bit to be desired. I feel the movie flags in the midsection before all matter of violence breaks loose and sucks us back into the spectacle that was so entertaining. As I mentioned previously, it’s not a perfect movie but it’s sure as hell entertaining when it’s in high gear. It’s flawed but definitely got a lot going for it and I for one enjoy the good of what Underworld provides to me. A thumping score that is definitely what I’d call early 2000’s accompanies the film and fits in with the aesthetics quite well.

Underworld is not what you’d call an actors movie per say, though it has a handsome cast. Kate Beckinsale, clad in a figure hugging latex catsuit, has the appropriate sex appeal, icy cool and sullen attitude for her role of Selene. All these attributes work well as well as the physicality and reckless personality Beckinsale imbues into the part. She’s suitably cast and carries the centre of the e film as we watch her emotions become more prominent when Selene has tried to shut them off. In short, Kate Beckinsale is ideally cast and makes for a great kick ass heroine with a heart. Scott Speedman is mainly required to be startled and confused as the human caught in the midst of this war. Thankfully, Speedman does what he can with what he’s given and at least provides the centre of the story as he and Selene grow closer. Questionable morals and arrogant personality are on show from Shane Brolly as the leader of the vampires, who can’t help but feel inadequate when questioned by Selene and others on his judgment . Bill Nighy appears late but makes an impact as the Vampire, who while wise and seemingly respectable enough, may in fact be something more manipulative entirely .

So while it’s imperfect and not everything comes off, Underworld is still a largely engrossing fantasy with great action, nice wold building and good cast headed by the sexy Kate Beckinsale.

Tuck Everlasting

Tags

2000's, Alexis Bledel, Amy Irving, Ben Kingsley, Fantasy, Jay Russell, Jonathan Jackson, Romance, Scott Bairstow, Sissy Spacek, Tuck Everlasting, Victor Garber, William Hurt

Based on the popular novel , Tuck Everlasting is a magical and at times moving fantasy that ponders deep questions and boasts a wonderful cast. While it might not be to all tastes, Tuck Everlasting may very well surprise you. Especially because it’s not something I imagined would come from Disney but somehow works.

It’s the early 1900’s and rich teenager Winnie Foster( Alexis Bledel) feels constricted by society and how she’s never allowed to have any adventure. She’s largely confined to her house , where her parents smother her with rules and restrictions. Her mother Mrs. Foster( Amy Irving) is prim and proper , while her father Mr. Foster ( Victor Garber) is often busy . Winnie becomes more frustrated with her life when she’s informed that she’ll be going to a boarding school. Angry, she runs off into the woods that she’s been forbidden to enter. Finding herself lost, she meets a handsome young man called Jesse Tuck(Jonathan Jackson) . He’s secretive but before they can connect, Jesse’s brother Miles(Scott Bairstow) takes Winnie with him back to his family. Here Winnie meets the mother and father of the Tuck family, Mae(Sissy Spacek) and Angus(William Hurt). The family live in a wooden house, sheltered on the lake and among beautiful scenery . The family are hesitant over what to do with Winnie as they are clearly hiding from something . After initial uncertainty because of their secretive ways, the family warms to Winnie. As she spends more time with them, Winnie becomes entranced with how they live and finds trusted comfort with them. Jesse eventually reveals the secret of his family; they are immortal having drank water from a spring within the woods. Though they are a close family and live life with some sense of freedom, the Tuck’s have a few feelings of regret and sometimes question what they did. In the meantime, Winnie grows closer to the family. Unfortunately for Winnie and the Tuck’s, especially Jesse, who she has fallen in love with, darkness may be on the horizon. A mysterious Man in a Yellow Suit ( Ben Kingsley) has arrived with an intention on discovering their secret to immortality and wants to exploit it. And it seems he’ll resort to anything to get his wicked hands on it. Winnie’s parents also send out a massive search party to find their runaway daughter. With both of these things hanging over the summer that will change everything, the big question falls to Winnie. Will she drink from the spring to become immortal or decide against it and grow old like everyone else?

Director Jay Russell conjures up a pretty magical movie that takes innocence and the pressures of growing up and infuses them with summer adventure. He’s clearly got great admiration for the source material and doesn’t feel the need to over simplify for children, yet not alienate older viewers either. The visuals are simply gorgeous; long sweeping shots of woodland, dreamy dissolves between scenes and a sense of bittersweet reverie that colours every frame. Even the most cynical of people is likely to be charmed by this warm-hearted yet wistful movie that explores deep issues with heart and a soulfulness. Where other movies fail when trying to straddle both kid friendly content and weighty issues, Tuck shines. While some little moments get a tad saccharine, it steers to the right side of sentiment and heart that is hard to resist or fault. It’s a movie that can be incredibly moving too with the big question of immortality and eternal life at the centre . I mean I think the prospect has been something that has been of interest to people for centuries and is a concept that is most intriguing.  An eloquent, wistful and stirring score from William Ross highlights the often bittersweet nature of the film, but also the beauty and mystical energy involved too.

Heading the cast is the young Alexis Bledel , who gives a very fine performance. Bledel embodies the stifled feeling of caught in the need for adventure and wrestling with the prospect of growing up. A lot of the movie rests on her shoulders, but Bledel, with her blue eyes and genuine demeanour ,rises to the challenge of capturing a girl at the point of womanhood with a very difficult dilemma at her door. Plus she has very convincing chemistry with Jonathan Jackson as the main Tuck of the film. The aforementioned Jackson brings an incredibly earnest charm to his part and has enthusiasm to burn. Veteran stars William Hurt and Sissy Spacek bring experience, depth and honesty to their roles. Both Spacek and Hurt convey so much often without words and bring true class and heartfelt emotion to Tuck Everlasting. William Hurt possesses the wisdom of someone who cares deeply for his family, while Sissy Spacek beautifully portrays a genuine maternal warmth as the glue of the family in times of upheaval. Scott Bairstow is mainly left to glower and snarl as the resentful brother, though he does get one pretty emotional scene. On villainous duty and doing it in suitably stylish taste is the ever watchable Ben Kingsley. Complete with something quite unnerving, his skill for flattery and slippery way with words , Kingsley makes the main villain quite creepy and someone you really want to not succeed in his wicked plan. Amy Irving and Victor Garber , though not given the most to do, effectively embody the kind of parenting from a time gone by with strictness and want to please the rigid rules of society.

While Tuck Everlasting may not appeal to certain demographics or audiences( the Disney label might put some off), I’d say they are missing out on a very lovely and wistful story. With a blend of innocence and maturity, Tuck Everlasting is a winning fantasy in my book and one to treasure.

Heartbreakers

Tags

2000's, Anne Bancroft, Comedy, Crime, David Mirkin, Gene Hackman, Heartbreakers, Jason Lee, Jennifer Love Hewitt, Ray Liotta, Sigourney Weaver

A funny, scintillating and often raunchily sharp madcap crime comedy, Heartbreakers crackles with great, comedic performances and a game cast. While it overstays it’s welcome with the running time , it’s still a good knockabout time with scintillating scenes and many great laughs

Max(Sigourney Weaver) and Page Connors(Jennifer Love Hewitt) are a mother daughter con artist duo who have been largely successful in their schemes. Their main ploy is for Max to charm someone with money into marriage. On the wedding night, she falls asleep thus not consummating the marriage. Shortly after, Page poses as a seductive young girl in order to put the man in a compromising position. Max then discovers this indiscretion and files for divorce, earning plenty of money in the process. They begin the movie by pulling this number on hot shot car salesman Dean( Ray Liotta). But this charmed existence is dealt a blow when the IRS catches up with them and they are forced to pay back their ill-gotten gains. Wanting money once more, Max persuades Page to do one last con with her and they head to Palm Beach. They set their sights on the loathsome tobacco baron William B. Tensy(Gene Hackman), who is never without his product and is prone to hacking fits. Page, although obviously close to her mother, feels a tad resentful that Max is always the one who seems to be the most successful and skilful at the con game. And while obviously talented at the game too, thanks to sassy attitude and plenty of sex appeal, Page wants to prove she can do it alone and be as savvy as her mother . Alongside the big con she and her mother are working on, she decides to do one of her own. She meets the sweet and unsuspecting bar owner Jack(Jason Lee), who has been offered a good amount of money for his establishment. What Page hasn’t counted on is developing deep, romantic feelings for him, which threatens to throw a spanner in the works. Also around to complicate matters is the return of Dean who wants to get even , despite the fact he’s still crazy for Max. Much eventfulness unfurls as the elaborate con takes unexpected turns with an out of his mind Dean joining the fray and unexpected feelings getting in the way of a possibly lucrative operation for the scheming mother/daughter duo.

David Mirkin does a commendable job with Heartbreakers. He obviously is enjoying directing this amusing and at times raunchy crime comedy with amoral characters and a few good curveballs. When it comes to the laughs, Heartbreakers does deliver in large part due to the writing and zany events displayed. We have side splitting moments involving a nude statute , Max’s quick thinking in getting out of a possible jam when impersonating an Eastern European mistress and Page being used as the seductive decoy many a time. And basically anytime that Ray Liotta and Gene Hackman are on screen. The bone of contention within Heartbreakers comes with the running time, which it must be said goes on too long . Plus, there are some parts, mainly in the latter stages, that become overly complicated when they shouldn’t. I mean I’m all for twists and turns when observing a con game, but a few too many takes the cake. Thankfully, the vast majority of Heartbreakers is entertaining enough to compensate for these flaws and make it a fun-filled ride. It’s breezy and tart, with gorgeous locales and naughty antics a plenty. A jaunty and breezy score, peppered with fizzy mischief accentuates the fun time that’s being had by just about everyone involved.

The cast is what really makes Heartbreakers sizzle and have a great sense of humour. Sigourney Weaver, who is an actress I’ve always admired and been impressed with, flexes her comedic chops here with a charismatic turn. Combining a sense of experience in all things devious with moments of genuine heart, Sigourney Weaver is wholly convincing as a worldly con artist who is afraid to lose her daughter. Weaver is on great form as an commanding and slick criminal who had never grown tired of the grifter existence and displays it with appealing confidence and sexy ease. As her sparring partner in crime and daughter , Jennifer Love Hewitt also excels. Balancing cuteness, sex appeal and tough eye rolling sarcasm, she’s a vixen who develops a heart against her better judgment.  Although constantly scene in figure hugging clothing that is hard to ignore, Jennifer Love Hewitt isn’t relegated to brainless sexpot here. Rather she knows how to flaunt it with a sense of humour and fun that’s most appealing .Weaver and Hewitt share a great chemistry and are genuinely believable as not your average mother daughter. Watching their back and forth is a delight with bickering and double dealings going hand in hands in a joint venture. Both ladies are wonderful and so very watchable in this crime caper. Another big standout is Ray Liotta, having fun with his often intense and unpredictable  persona, is a delight as the out of his mind car dealer caught in the web. Liotta brings new meaning to the word manic with a hilarious performance as a spurned and played man who eventually gets in on the con game action. A scene stealing Gene Hackman is a true hoot as the man targeted by the women for their scheme. Spluttering through endless cigars, wearing heavy make up that makes him look like a reanimated corpse and embodying a sleazy routine as a dirty old man, the ever talented Hackman makes you howl with his comedic antics here. Both and are comedic delights in this movie and the screen lights up with them on it. Jason Lee probably gets the least to do as a potential pawn in the con game and love interest. He’s sweet and sincere, not to mention rather clueless, but he just isn’t as interesting as the other people who occupy the screen. In her last movie appearance before her death, Anne Bancroft has a ball as a shifty lady who you are never sure of. And boy does she have a blast in this supporting role that lets her sign off in style. 

So while it does wear out it’s welcome thanks to the running time getting long in the tooth and things stalling in the midsection, Heartbreakers is still a fun romp through the con game. It’s enlivened by an up for anything and delightful cast and some pretty fantastic laugh out loud moments. This review is dedicated to the exceptional Ray Liotta, who recently passed away. 

The Passion of the Christ

Tags

2000's, Biblical, Biblical Drama, Hristo Shopov, Jim Caviezel, Luca Lionello, Maia Morgenstern, Mel Gibson, Monica Bellucci, Religious Drama, Rosalinda Celentano, The Passion of the Christ

Depicting the last twelve hours in the life of Jesus Christ, Mel Gibson’s unrelenting religious drama pulls no punches on the brutality scale. Though that does offer hope, if you can get make your way through the startling brutality depicted. All in all, The Passion of the Christ emerges as a truly powerful and emotion churning film.

We begin in the Garden of Gethsemane where Jesus(Jim Caviezel) knows he will be betrayed . Judas( Luca Lionello), one of his trusted disciples, betrays Jesus for pieces of silver and leads them to where the master he followed is . Arrested, Jesus is accosted by priests and faces the temptation of Satan. Watching are his disciples, plus his mother Mary(Maia Morgenstern) and Mary Magdalene(Monica Bellucci), who are devastated by the proceedings that follow. As the hours pass by, it’s an emotional rollercoaster for all involved. From being taken to the conflicted governor Pontius Pilate(Hristo Shopov) to his scourging by soldiers, Jesus is put through sickening abuse and soul shaking cruelty. Despite being tortured and mocked, Jesus remains as resolute as he can in his conviction of his purpose to be the saviour of the people. As his torture continues, Jesus eventually carries the cross to his place of death as jeering crowds and devastated followers continue with him. The hope of resurrection comes in a soulful conclusion with the ascension of the Messiah.

Mel Gibson directs with real conviction and pardon the pun, passion. He’s created a film that doesn’t sugarcoat or simplify the last twelves of Jesus Christ’s life . I’ve found that often in religious movies depicting Christ, the brutality and hardship of his last hours is watered down and over rather quickly . And while many of those movies are fantastically made and crafted, The Passion of the Christ is a different movie altogether. Gibson crafts a truly harrowing experience that both rewards and scars. The decision to have the film be in Aramaic, with also bits in Latin and Hebrew, is an interesting one that I think pays off because it makes things feel realistic and immediate. Now I’ve read that there are those who view as anti-Semitic because the main people wanting Jesus put to death are Jewish priests. While I can understand where the accusation is coming from , though I don’t believe that the film itself is anti-semitic . It rather shows how there is sin and darkness on either side of things and how man can often be cruel and shockingly vicious towards others . The scenes of vicious brutality are intercut with flashback from Christ’s past, including the Last Supper and rescuing Mary Magdalene from the street. These scenes are bathed in a beautiful glow which counteracts the almost muted colour palette of the early passages, followed by glaring brightness as the journey towards crucifixion comes into motion. All of this is strikingly shot and realised by the talented cinematography Caleb Deschanel .  His work is stark yet strangely beautiful; reminiscent of old fashioned painting and artwork. Among the savagery on show, the cinematography holds moments of soulful grace. The focus on eyes throughout is arresting in a very visual sense and in between the often harrowing images depicted, translates a lot of emotion to the audience. Sound editing makes every moment of brutality stand out, particularly the sound of the whip that cuts in the back of Jesus and into the ears of the audience. A truly haunting score from John Debney heightens all the emotions displayed in a way that is truly hypnotic, dark and yet stirring as it unfolds. For many viewers, the level of brutality, violence and general intensity will prove too much for them. And it is true that The Passion of the Christ is a test of endurance on both the emotions and the stomach. Some parts of it due feel like overkill, like a beating that refuses to end. But I believe that’s the main point of the movie and that by refusing to shy away from the brutality, it is attempting to bring a level of reality to the story which is often eschewed for something nicer. 

Jim Caviezel is truly astounding as Jesus Christ in what is obviously an immensely challenging role. Caviezel finds the core of strength that comes through when experiencing startling torture. His soulful expression, underneath viciously inflicted wounds, brings volumes of depth and beatific humanity to Christ. Put through the emotional and physical mill, Caviezel is on hand to deliver a performance that says so much and is filled with deep reverence and dignity throughout. Maia Morgenstern is sublime as Mary, the mother of Christ who is seen throughout the movie enduring every parent’s worst nightmare. What this woman conveys with her eye is simply extraordinary; you feel every emotion goes through her and is expressed on her marvellous and nuanced face. My hats off to the immensely talented and totally believable Maia Morgenstern.  The same can be said of Monica Bellucci, who doesn’t have a lot of dialogue but whose face speaks more than reams of dialogue ever could. Both women are truly superb as the important women in the life of Jesus. They both must watch with mournful, expressive eyes, the man they care about go through immense pain in order to save people from their sins. And they truly deliver work that like that of Caviezel, burns itself into the memory for its power. Hristo Shopov, who possesses a palpably haunted and weary aura, plays Pilate as a man who is damned if he does and damned if he doesn’t . The burden weighs heavy on him and Shopov plays this convincingly and authenticity .Rosalinda Celentano appears in the brief but important role of Satan. With her piercing visage and unnerving aura, she’s a memorable part of The Passion of the Christ and pretty unforgettable. Luca Lionello appears as the traitorous Judas, who soon feels the immense guilt and feeling of disgust that comes with betraying someone who trusted you. Lionello embodies when he’s on screen this feeling of self-hatred and regret as demons swell around him. 

At the end of the day, The Passion of the Christ is both a soul shaking and powerful movie. It’s not for the faint of heart and I wholeheartedly mean that , but if you have the stomach, it’s an unforgettable experience.

The Village

Tags

2000's, Adrien Brody, Brendan Gleeson, Bryce Dallas Howard, Cherry Jones, Joaquin Phoenix, Judy Greer, M. Night Shyamalan, Psychological Drama, Psychological Thriller, Sigourney Weaver, The Village, William Hurt

Somewhat of a conundrum among movie fans and critics upon release, The Village is no doubt about it a flawed movie from M. Night Shyamalan. But there is something about it that always sparks my mind and it does have my opinion of it being a misunderstood movie.

In the late 1890’s, a sheltered village borders a foreboding woods. The Elders of the village speak of creatures referred to as ‘Those We Don’t Speak Of’, who inhabit the woods but who not many have actually seen . No one is supposed to cross the boundaries between the village and the woods as their is a truce stating this and that never the twain shall meet. The villagers all go about their days seemingly in harmony but whenever they see a red colour they must discard of it and appointed members take a nightly watch over the village and the woods. The quiet yet thoughtful Lucius( Joaquin Phoenix )has an idea to trek through the woods in order to get medical supplies for those in need of it as recently a little boy died who could have lived if medicine was around. The request by Lucius is denied by the village Elders, which include his guarded mother Alice(Sigourney Weaver). We learn that the mentally disabled Noah Percy(Adrien Brody)has once been in the woods but supposedly wasn’t seen by Those We Don’t Speak Of. Noah also has feelings for Ivy(Bryce Dallas Howard) , who is the blind daughter of Elder Edward(William Hurt) . Ivy though loves the stoic Lucius and is determined to bring him out of his quiet shell. Things change within the village when Lucius briefly steps over the boundary before being spooked and returning home. After this breach of truce, animal carcasses are found about the village, red warnings are left on doors and Those We Don’t Speak Of appear to menace the villagers. It soon becomes clear following a near tragedy that someone must pass through the woods in search of help. But just what will be discovered when the brave Ivy does?

M. Night Shyamalan is a very skilled director and he definitely knows how to stylishly delivery creepy imagery and emotion, plus a twist ending that is always going to be debated. Sequences like entering the village and menacing the locals are appropriately creepy as is Ivy’s eventual journey through the forbidden woods. These show M. Night Shyamalan exercising immense cinematic ability in displaying the build up in pace as we get to know the dwellers and their lives/routines.  I’m going to just put it out there that The Village is an imperfect film that while intriguing, leaves a lot of things vague and sometimes it doesn’t quite make sense. In some ways it provides a watchable mystery with a human heart, but then there are areas that really don’t add up when you actually give them some thought. Saying this, I do find that The Village  was pretty miss marketed at the time of release as a straight up horror movie when it’s more of a psychological drama/thriller in period costume. I think this made the public’s idea of what it would be to be very different from the finished article. And as a study in secrecy, belief and how fear/grief make an impact on those attempting to steer away from it, The Village is different but effective in its execution of those themes.

In terms of visuals, The Village looks glorious especially throughout, owing the mood enhancing cinematography of Roger Deakins that coats a lot of the unfolding film in a golden, near sepia tone which resembles flickering candlelight . This along with Shyamalan ‘s use of long close ups that start slow and then zero in on the faces of the cast add to the creepy and uneasy atmosphere. One of the best things in The Village is the sublime score from James Newton Howard and featuring the talents on solo violin of Hilary Hahn. It is by turns menacingly creepy and poignant in equal measure as the mystery unravels and the sense of sadness comes through to the sounds of ambience from James Newton Howard and the mournful yet expressive violin of Hilary Hahn . The duo deserve every inch of praise for their haunting contribution to a confounding movie.

Where The Village doesn’t falter is in its cast , which is pretty stacked with talent from top to bottom. Joaquin Phoenix, who I find is one of the most reliable and dedicated actors out there , is commendable as ever here. Contributing a thoughtful take on a man who often finds it difficult to express himself but who has enough gumption to begin to emerge from his shell, Phoenix is thoroughly superb. In an early role that helped her get notice and show off her talent we have Bryce Dallas Howard. Radiating a delicacy and alternating iron will , she’s beautifully convincing as Ivy. Though the character is blind, Howard makes her a character who refuses to be defined by this and instead is a rather forward thinking woman, who is braver than most of the eponymous village and not afraid to show it. Adrien Brody is effectively tragic as the misunderstood Noah, who finds himself in trouble but is not really aiming for it as he is not treated with the appropriate help, except from a sympathetic and beautifully understanding Ivy. William Hurt and Sigourney Weaver exhibit stoic secrecy and a guarded authority as the village elders who are a lot more than meets the eye . Brendan Gleeson emits a melancholy and dejected persona as a man who lost his son and is wrestling with the unimaginable grief. The impressive Cherry Jones is also effectively used as a high up member of the village with her own private sadness to hide .It’s only really Judy Greer that gets shortchanged with the role of Ivy’s sister. It’s not that Greer isn’t good, in fact she’s a very talented actress. Unfortunately it’s just that the part of Kitty doesn’t leave a lot of scope to do much with.

The Village has quite a bit to recommend and is quite an eerie and melancholy film from M. Night Shyamalan with many a great performance( particularly the one from Bryce Dallas Howard) and a superlative score. It’s still got many head scratching moments that can render some of it ambivalent for the viewers. Yet I believe some reassessment is in need for The Village, as it does have some forms of merit within it’s often mind bending story.

Master and Commander: The Far Side of the World

Tags

2000's, Adventure, James D’Arcy, Lee Ingleby, Master and Commander: The Far Side of the World, Max Pirkis, Paul Bettany, Peter Weir, Russell Crowe

A sensational adventure drama with a great attention to detail, fine direction and two sterling central performances, Master and Commander: The Far Side of the World is hugely entertaining while still holding inside a depth that you wouldn’t expect.

It’s 1805 and the Napoleonic Wars are in full swing. The experienced and charming Jack Aubrey( Russell Crowe)is captain of the HMS Surprise. At the orders of the British Admiralty he is taking his ship off the North coast of Brazil to intercept a French ship by the name of the Acheron. It’s feared that if the Acheron continues its journey , the wars will spread further and last longer . Aubrey and his crew are surprised when fog rolls in and the Acheron ambushes them, severely damaging the Surprise. It’s a much bigger ship that is more heavily armed and stronger than the Surprise. The crew have to fix the ship while at sea, which poses a challenge for them. For Aubrey, the mission becomes personal as he begins to push the crew harder and starts to display questionable tactics and a foolhardy attitude while in pursuit of the Acheron . He has the crew attempt to track the much bigger and elusive ship against the seemingly insurmountable odds. This puts him at sixes and sevens with everyone, most prominently the ship’s surgeon/ naturalist and confidante Stephen Maturin( Paul Bettany) who argues that his good friend is risking the lives of the crew and not following the code of conduct by which he usually governs by. The journey around South America and the Pacific Ocean to find the continues as much in the way of bad luck befalls those present aboard the and Aubrey’s single mindedness elevates. Once the Acheron comes into view again, but with the crew paranoid and the Captain’s ways beginning to challenge those in his care, it’s not going to be plain sailing for anyone involved

The talented Peter Weir is on fine fettle directing this adventure on the high seas thats both thrilling and engaging. He combines the epic scope of an adventure film with the sense of intimacy you think of with drama. While the whole exercise is beautifully mounted, it’s the little moments that really matter here. And we do bear witness to a compelling literal and figurative journey of morality and leadership, beautifully brought to life by Peter Weir. Master and Commander was filmed on two replica shops, one that was actually used on the sea while filming. Both add a further authenticity to events and truly place us at the heart of this journey. Plus, they truly convince as a living vessel of cramped conditions, doubts and thundering action. Once again, Weir and his exceptional crew of production designers really went for painstakingly true to the time period details that are sublimely realised . There’s a revealing side that displays the frictions, rivalries and bloodshed( though most of it is discreetly shot). As most of the film takes place in the ship, it becomes alive with all the emotions running through it from the characters. When one thinks of Master and Commander, there are two main action sequences in it, which might surprise many. But the sequences are stunningly orchestrated and full of danger, while not sugarcoating the often brutal reality of war and how damn unpredictable it can be. The opening out of the blue attack hits hard and unexpectedly while the ingenious final battle is a full on thrusting sequence of action and tactical one upmanship.A few parts in the middle sag but is largely a very involving movie, particularly pertaining to the characters and visuals . The sound editing which is thunderous and immersive and the cinematography that gets across the conditions aboard a ship and the natural beauty of the sea both received deserved Oscar wins. The sound design in particular is truly marvellous; every crack and shot of a canon rings with energy and fire The scenes in the are breathtakingly beautiful and a feast for the eyes so all lovers of stunning imagery should take note during these sequences, and the cinematography from Russell Boyd is gorgeous. The score from Iva Davies, Christopher Gordon and Richard Tognetti is an adventurous one that really suits the story and has the same amount of energy and drama that is depicted on screen.

Russel Crowe heads the cast of the seafaring adventure with an absolutely entertaining performance. The dashing leadership, cheeky grin and then the realisation and sense of shock that comes with making big, life threatening decisions are all there and embodied by Crowe. It’s a full blooded portrayal of a rash but dedicated man serving his country and running into a questionable quagmire of which some is his own making. A delightfully subdued, dependable and cynical performance from Paul Bettany as the surgeon/naturalist Stephen is also of note for how effectively he slips into the part. Maturin is the more practical, rational one of the two but also boasts a deep sense of questioning curiosity that can’t be harnessed. Bettany brilliantly conveys all of these parts and really makes the character his own. It helps that Crowe and Bettany work so well together and boast a great chalk and cheese chemistry that lends an extra string to its bow. The friendship between the characters is one of the best parts of Master and Commander it has to be said. James D’Arcy makes for a stalwart supporting character playing the loyal first lieutenant, while Lee Ingleby is sensational as the tragic Midshipman who is unliked by the rest for his lack of nerve and suffers deeply because of his treatment. Young and spirited Max Pirkis stands out as the pint sized midshipman who loses an arm early on, but has enough tenacity to overcome this obstacle. Pirkis has a maturity that belies his young years and he more than holds his own against most experienced costars. The overall cast of the film is of a good standard, but it’s Crowe and Bettany that you’ll remember the most.

A surprisingly human adventure with questions of morality and order in at as well as spectacle, Master and Commander: The Far Side of the World is a fine achievement in filmmaking.