Xena: Warrior Princess Season 5

Tags

1990's, 2000's, Adrienne Wilkinson, Hudson Leick, Jennifer Sky, Kevin Smith, Lucy Lawless, Paris Jefferson, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 5

After the startling finale of Season 4, Xena swings back into action with its fifth Season, that stands as my second favourite after the iconic Season 3. It’s epic, enjoyable and has almost everything you’d want from the show. Be warned, spoilers may well follow in this overview of the penultimate season.

We pick up as Xena( Lucy Lawless) and Gabrielle( Renée O’Connor) are ascending into heaven following their brutal crucifixion. Following a battle between demons and angels, the two are restored to life by healer Eli . Joxer( Ted Raimi) once more joins them and finally tells Gabrielle his true feelings, which leads to a certain awkwardness between them but once more eases to friendship again. At first, following resurrection, Xena is not herself at all. The memories of being a warlord and her skill in battle are gone. Luckily, once creating a new and improved Chakram that links almost telepathically to her, Xena is back to herself again. Many changes, however, await her back in the land of the living. Chief among these is the fact that she discovers she is pregnant but hasn’t been with anyone in an intimate capacity. Xena still fights when the occasion arises, yet Gabrielle, who herself has honed her fighting skills and ditched the way of peace, is the one who takes up arms more readily this time around. We also have Ares(Kevin Smith) on the prowl, trying to get Xena on side by attempting to sway Gabrielle and those around her. This locks them all in a battle of wills as Ares is a difficult guy to resist, though for once he does seem to be quite genuine in his feelings for Xena. Once Xena gives birth to a daughter named Eve, all matter of evil seems fixated on it. This is because of the prophecy regarding ‘The Twilight of the Gods’; a time when humans will grow tired of Gods and will rise up causing those who have supernatural power to lose such abilities. It happens to Zeus, which angers other Gods who will stop at nothing to rid the earth of this child and sets in motion the aforementioned Twilight. Although Xena attempts to protect Eve, she knows that the God’s won’t give up in their search. With help from allies, she, Gabrielle and trick the God’s into believing they are dead, while Eve is placed in safety. What they hadn’t counted on was Ares really believing them and thinking he has lost Xens, he freezes their bodies. Awakening 25 years later, the duo find things have changed. Joxer is now near elderly and even has a skilled fighter son named Virgil(William Gregory Lee), plus the terror Rome has been through Greece. To Xena’s shock, her daughter has grown up to be a vicious warrior who goes by the name of Livia( Adrienne Wilkinson), and kills indiscriminately like Xena in her brutal past. The big question is can Xena and Gabrielle help reform Livia back into Eve before it’s too late and any more devastation can hit?

At this point in the series, I think producers knew exactly what they were doing and how to do it with a lot of confidence. Not that they didn’t know what they were doing before, I simply mean that obviously after a few years working on a show the formula is definitely set up and ready to fire on all cylinders. And once more we are given excitement, adventure along with depth, humour and character, which can’t be faulted and display the creative efforts of many at some of their finest. These are all things fans know and love the show for and in its penultimate series, it supplies them with this assortment of qualities. The music from the very talented Joseph LoDuca is again a high point . Although for the first half Xena doesn’t fight as much as usual(owing to the character’s pregnancy and the fact that Lucy Lawless was pregnant in real life too), it helps establish how much Gabrielle has learned throughout her travels and aids episodes that are Xena-lite. It compliments both, though it’s a kick to see Xena get back to fighting once more following the birth of her daughter. Season 5 is not flawless but the vast majority of it makes it a favourite of mine along with the aforementioned third season. Like that season, this one just has so much good in it that it’s essential viewing for quality and the atmosphere. The only real flaw is the role of Amarice, a scrappy Amazon who is actually lying that was seen late last season. She travels with the group but I just feel like she’s pretty superfluous to the stories and not really that interesting. Jennifer Sky does her best, but the character is rather forgettable. And some episodes in the middle area feel a bit like filler but are at least redeemed by the main bulk of successful episodes that showcase Xena at some of its most fun and darkly epic.

We open with the sensational “Fallen Angel”, which gets Season 5 off to a flying start. As Xena and Gabrielle arrive in heaven, a battle between angels and demons headed by Callisto. Gabrielle is pulled to hell, while Xena ascends. Soon the switching of roles and possibility of redemption and resurrection appears. The settings of heaven and hell are excellent as are the scores of angels, some very skilled in fighting and the vicious demons with their bloodthirsty intent engaging in intense battles. The episode looks fantastic with the sets for heaven and hell really standing out and backing up the themes at work. Xena transfers her light to Callisto( Hudson Leick signing off in emotional style) in order to save Gabrielle, making Callisto a newly born angel and restoring the good that would have been there if they’d never crossed paths. Its a sublime opening episode that contains action, heart and imagination which are all touchstones of the show. We finish with healer Eli, with the unbeknownst to him help from reformed Callisto, bringing Xena and Gabrielle back to life. Guilt, redemption and vengeance are the starting blocks and go to themes that are always explored well, and they help kick this season off with a bang and a promise of what’s more to come. Another zinger comes courtesy of tongue in cheek “Animal Attraction” with its anachronistic western references and the various facets of love playing out. In it, Xena journeys to help an old friend locked in a battle with her sheriff like ex. Funniest is Xena stopping bickering by announcing her pregnancy, much to the surprise of everyone. The spirit of the villainous Alti returns in ‘Them Bones, Them Bones’. Here she is attempting to corrupt Xena’s unborn child snd bring it into the darkness. With trippy angles and striking imagery of bloodstreams, animals, and lights, it’s a visual feast. Plus. there’s nice tipping of the hat to Jason and the Argonauts, with Xena and Alti’s spirits doing battle as reanimated statues. to I am a sucker for stuff like this and a returning Alti is once more a compelling villain who is devious and a worthy adversary for Xena.

A big emotional and important episode is found in  ‘Seeds of Faith’ .Peace preaching Eli tries to rally the people into waging a war of love against the Gods. Ares doesn’t take kindly to this and Eli dies a martyr at the hands of Ares, prompting consternation between everyone of whether his death meant anything or not. Watching the various reactions to his death is fascinating as everyone is wrestling with different paths of life and which way is correct, sublimely realised and displayed. As an audience, we do finally hear of the impending ‘Twilight of the Gods’ which enlivens events and sets the stage for much more drama. And crucially we finally learn how Xena’s pregnancy came into motion with the now reformed Callisto explaining that she is to be reincarnated and that she chose Xena to be the one who carries her spirit. It’s her way of giving something back to her old nemesis and at this point both women are even and have achieved redemption and atonement for their actions against the other. It is emotional and thrilling to watch. A big standout of an episode in a season thats by and large stacked with quality. Then we have “Lyre, Lyre, Hearts on Fire”, a lively musical episode that stands out and isn’t a carbon copy of ‘The Bitter Suite’ in Season 3. We find Xena, Gabrielle and Joxer out to stop a war brewing over who gets possession of an incredibly powerful lyre. To quell any fighting or further violence, Xena organises a battle of the bands to see who’ll claim it. The addition of modern songs in an old setting is rather inspired and the anachronistic instances are a real hoot. There’s also the sensational and scintillating “Amphipolis Under Siege”, which is one of my favourite episodes so far. It blends drama, crafty action and twisty turns that make it a special treat. In it, the goddess of war Athena( played very well and with an unnerving poise by Paris Jefferson ). It must be said that Athena isn’t completely without heart, she respects Xena yet knows that in order to preserve the Gods she must carry out a heinous act. Anyhow, she mounts a siege around Xena’s hometown, the villagers however are rallied to protect Baby Eve. Twists and turns abound as Xena goes into battle against Athena, with each showing just how skilful they are in the art of manipulation. Ares thinks he has Xena onside but he’s ultimately used by Xena and Gabrielle, much to his chagrin developed what seems to be genuine feelings for the warrior.  I particularly enjoyed seeing how well Xena and Gabrielle played everyone to perfection to protect Eve. The battles are exceptional choreographed and exciting( as is Xena running from flames in an inspired shot)and the personal drama of Xena, plus backup, doing anything for Eve is very involving. Plus, you have to watch carefully to see if you’ve uncovered the subterfuge used which is always quite fun in my book and it’s sneakily done. In short, a fantastic episode that’s fast moving yet still makes time for story, in the show and how on my favourites list. Then there is a sensational run of episodes that are simply dazzling and surprising, chief among these ‘Looking Death in the Eye” “Eve” and “Motherhood” . In ‘Looking Death in the Eye’, a visibly aged Joxer narrates the last adventure of Xena and Gabrielle, before their ‘deaths’. This framing device is suitably intriguing and leads to many twists as the dynamic duo fool the God’s but find themselves inadvertently setting in motion something even more startling. We discover events little by little in a fantastically staged episode that really sets the scene for what’s to come and throws up some cool surprises for the viewer. In ‘Eve’, Xena is in pursuit of her daughter after revealing her identity to her. It’s interesting to watch as it’s a flip of the situation with Hope and Gabrielle claiming she was just an innocent child, the only difference being it is now Xena in the hot seat having to contend with knowledge that her child has grown up to be a murderer. What really shocks is the slaying of Joxer by Livia/Eve’s hands, which genuinely shocks as he does diein bravery thought obviously weakened by age. And who can forget the finale of ‘Motherhood!‘, truly extraordinary and exhilarating viewing as the Twilight begins and Xena takes on the almighty Gods of Olympus.

Our main cast is once more on sensational form having truly grown and shaped their roles, it’s hard to picture any of them being played by anyone better. Lucy Lawless, of intense, blue eyes and oodles of appeal is on hand as the eponymous warrior atoning for her past crimes. She also has the strength and protective love of the character as she becomes a mother who can also kick ass when it’s needed. Xena is a woman of many facets, from tough, sarcastic fighter to smart, emotional woman who is flawed but likeable. You can’t ask for anyone better at getting across all these different angles to Xena than Lucy Lawless. She is Xena, it’s as simple as that. The same can be said of Renée O’Connor, who has charted the journey of Gabrielle from tag along to powerhouse assailant with a heart. Renée O’Connor clearly relishes getting to show more physicality than ever in the part yet keeping hold of a decent enough worldview. She’s more steely and ready to do what needs to be done with a dash of cynicism, while not completely forgetting her depth and understanding. Lawless and O’Connor once more bounce off each other with great ease and conviction. Although his character is often divisive among the show’s fandom, Joxer makes his mark again for the last time courtesy of Ted Raimi. He gives the character both humour and immense depth that we really feel sad when he meets his end. Despite arriving late in the season, Adrienne Wilkinson makes an impact. Kevin Smith does some of his finest work here, shading Ares with a deep brooding and what seems like a genuine love for Xena. It’s nice seeing that he actually appears to care, rather than just the bravado he puts across as the God of War. Playing Livia/Eve, she is handed the difficult task of essentially playing two disparate characters in a short period of time. Thankfully, she rises to the occasion and displays both a vicious cunning and a redemptive desire in her run of episodes, balancing between both personas wonderfully. William Gregory Lee portrays the son of Joxer as someone more skilled than their father but with a similar temperament and humour to match fighting skills. I’m interested to see the development of the newer characters on here, particularly Eve.

Below are my episode rankings:

1. Fallen Angel – A+
2. Chakram -B+
3. Succession – B-
4. Animal Attraction – A
5. Them Bones, Them Bones -A
6. Purity – B
7. Back in the Bottle – C
8. Little Problems – D-
9. Seeds of Faith – A+
10. Lyre, Lyre, Hearts on Fire – A
11. Punch Lines – B
12. God Fearing Child – B+
13. Eternal Bonds – B+
14. Amphipolis Under Siege – A+
15. Married with Fishsticks – D-
16. Lifeblood – B
17. Kindred Spirits – B
18. Antony and Cleopatra – A
19. Looking Death in the Eye – A+
20. Livia – A
21. Eve – A+
22. Motherhood – A+

Season 5 is a sensational penultimate season of Xena that boasts some of the best the show has to offer, I’m mightily satisfied and looking forward to the last season that awaits me.

 

Stardust

Tags

2000's, Adventure, Charlie Cox, Claire Danes, Fantasy, Ian McKellen, Jason Flemyng, Mark Heap, Mark Strong, Matthew Vaughn, Michelle Pfeiffer, Peter O’Toole, Ricky Gervais, Robert De Niro, Sienna Miller, Stardust

Based on the novel by Neil Gaiman, Stardust is a lavish fantasy of tongue in cheek humour, surprising darkness and a feeling of adventure that can’t be denied. Boasting a game cast and some dazzling scenery/visuals, it’s hard not to be swept up in this movie. 

A rural England town known as Wall is bordered by a giant wall that divides it from the magical kingdom of Stormhold. No one is supposed to go through the portal in the wall and it’s guarded by a man who refuses entry, though one man did and met a beautiful woman who he had a passionate romance with. Nine months later, his son is brought to his doorstep with no sign of the mother. The boy grows up into Tristan Thorn(Charlie Cox), a good-hearted but clumsy man who has a big crush on local beauty Victoria( Sienna Miller). The problem is his love for her is unrequited and Victoria is a selfish and vain woman who enjoys stringing others along. Tristan remains undaunted in his attempts to woo her and this is where things get interesting. In the Kingdom of Stormhold, the old King( Peter O’Toole) is dying and he hasn’t appointed a successor out of his sons. Usually, it’s the last man standing who takes the crown but the King decides to freshen things up a bit. He decrees that the first of his three remaining sons who retrieves his ruby will be crowned. The King throws it into the sky where it hits a falling star. The star is seen by Tristan and Victoria, and the capricious Victoria asks Tristan to retrieve the star to prove his devotion before a deadline. If he succeeds in retrieving the star, Victoria will accept his hand in marriage. Bowled over by her, Tristan naturally accepts the challenge. Little does Tristan realise how far reaching and eventful his quest will be. The biggest surpise is once he passes The Wall, he discovers that the star has taken the form of Yvaine( Claire Danes). She might be a radiant beauty but her personality is feisty and she immediately clashes with Tristan. Both begin to warm up to the other as forces of greed and desperation chase them. The remaining and power hungry princes Septimus( Mark Strong), Tertius( Mark Heap) and Primus( Jason Flemyng)are in hot pursuit, followed by an amusing Greek chorus of deceased siblings. Most evil and menacing of all are witch Lamia(Michelle Pfeiffer) and her siblings, who are fixated on gaining eternal youth of which the star can provide. Lamia in particular is a ruthless being of great power and cunning, who is not to be tricked with once she sets her sights on something. Tristan is thrust into a dangerous adventure to save and get back to The Wall before Victoria’s deadline. But in between dodging death and mischief, Tristan starts to see that maybe Victoria isn’t the girl for him as he develops feelings for Yvaine along the way. 

Matthew Vaughn is on hand for entertaining and dazzling direction, with oodles of style and adventure. He’s a director who knows how to keep a story spinning and very exciting, most evidenced once the breathtaking fantasy elements begin. The script is very successful at placing us in the fantasy adventure of the piece while retaining a certain sense of off the wall sheen. Stardust boats a sense of infectious craziness and off kilter magic that marks it out as something different in the fantasy genre. For while it’s very amusing and playfully silly, these are balanced with some rather creepy and sinister moments that are not quite what you expect but add to the overall appeal of Stardust. It is for my money, a film that will appeal across the generations of viewers that see it. With its humour, romance, darkness and thrills, it’s a true delight of a film that transports you into a zany world for two hours. Oh the humour scale, there are a lot of knowing winks to the audience and some fairly naughty jokes that grown ups watching can appreciate. The locations are breathtaking with mountains, hills and that romantic feeling of a hero’s journey on full display for the viewer. The magic is rendered with fun and panache in the effects department, ensuring a film that’s lovely to look and have a good time with. The only flaw I can find is that there is often so much going on that you can lose focus on the events happening. I mean I like when there are various parts to a story, but there are moments when Stardust overdoes it a bit. I’m grateful however that this is the only niggle I have because the rest of this fantasy make up for it. When the three stories gel, Stardust really hits great heights of intrigue and fantastical fun. The score from Ilan Eshkeri matches the heart, romance and adventure of the film and is pretty beautiful/magical in parts too. And Take That provide the irresistibly catchy “Rule the World” to Stardust, which is hard to get out of your head once your eyes have heard it.

A sensational cast is on hand and all up for a fantastic time. In the lead, Charlie Cox is ideally suited for the main hero thrust into the biggest adventure his life has experienced. Cox is fresh faced, personable and full of charm which goes a long way in playing the hero of our narrative and endearing him to us. Claire Danes has an ethereal glow that aids her in playing the personified star Yvaine, while infusing her with a temperamental personality that softens beautifully once her and Tristan get to know each other . Yvaine be the character everyone is after but she is dar from a simpering victim which is fully embodied by a radiant and bristling Danes. The pair have a very entertaining chemistry that sizzles and enthrals. Standing out and having an obvious ball is Michelle Pfeiffer, who longtime readers know is one of my favourite actresses. She’s relishing playing the lead witch hellbent on getting her youth back and doing it in despicably, delicious fashion. Pfeiffer hits the evil and seductive notes wonderfully, while embracing an eye rolling layer of comedy. It’s a great performance from Michelle Pfeiffer who proves to be a dastardly adversary for our hero but one who’s having a full on blast and savouring this opportunity to play bad to the bone. Robert De Niro has some great comic moments as a space pirate, which finds him playing against his usual image of macho and forceful tough guy. Jason Flemyng and Mark Heap are two of the greedy brothers after the star, though it’s the reliable Mark Strong, on sneering form, who stands out the most as the ruthless brother desperate to be king. I’m not the biggest fan of Ricky Gervais but he’s passable enough as a wheeler dealer. Sienna Miller is effective in her small role as the girl who knows the power of her looks and how to use them to her advantage, which inevitable sets the story in focus. Peter O’Toole contributes an entertaining cameo as the king who sets in motion the quest everyone ends up on before he dies. And on narration duties is Ian McKellen, whose iconic and distinctive voice is richly used. 

So while it is occasionally overstuffed with too many ideas and story, Stardust remains a delightfully different fantasy film with quite a bit going for it. 

Vertical Limit

Tags

2000's, Action, Alexander Siddig, Ben Mendelsohn, Bill Paxton, Chris O'Donnell, Izabella Scorupco, Martin Campbell, Nicholas Lea, Robin Tunney, Scott Glenn, Steve Le Marquand, Thriller, Vertical Limit

A tense action thriller that’s not in any way groundbreaking or original, Vertical Limit gets by on immense adrenaline and a competent cast. It’s a B movie to be sure, but a very good one.

Peter(Chris O’Donnell) and Annie Garrett(Robin Tunney) are avid climbers who frequently engage in this hobby with their father. But one day while climbing Monument Valley, disaster strikes. Two falling amateur climbers cause the line holding the family to become precarious. The father instructs Peter to cut the rope to save his children, which Peter does and in turn his father falls to his death. The act saves Peter and Annie but does immense damage to their relationship. Three years later, Peter has given up climbing and turned his attentions to wildlife photography, while Annie has become a prominent celebrated climber. The two meet once more at the base of K2, which at its peak is the second largest following Everest. The relationship is still damaged between the two and though Peter wants Annie to speak to him again, she can’t bring herself too. She is there to take part in an expedition up the mountain with billionaire Elliott Vaughn(Bill Paxton). For Annie, it’s a chance to carry on her father’s love of climbing mountains, but for arrogant Vaughn, it’s all part of a publicity stunt. Joining them will be experienced climber and level headed guy Tom McLaren(Nicholas Lea), and two other climbers . The group is warned by mysterious climber and legend Montgomery Wick(Scott Glenn) that the weather isn’t forgiving and can turn in an instant, but no one pays much attention. Peter is also worried but can’t communicate with his stubborn sister. So the climb goes ahead, even though there is a chance that extreme weather could hit. Sure enough the elements are against Annie, Vaughn and Tom as Mother Nature hits with a vengeance, causing an avalanche. In the ensuing chaos following the deaths of the two others on the trip, Annie, Vaughn and Tom find themselves trapped in a crevasse that slowly seals, leaving them injured and nearly cut off from any form of rescue. Thankfully, Annie knows morse code as does Peter and manages to briefly contact each other, but it’s not as simple as just finding the place of rescue in a mountain thats unforgiving. The mountain is expansive and dangerous and the group slowly start to feel the effects of the cold and biting sting of dwindling supplies exasperated by the growing tension between the trio. Peter, despite the estrangement from his sister, plots a rescue that will be both daring and extremely harrowing if he wants to save his sister. He enlists the help of gorgeous touch cookie Monique(Izabella Scorupco)who wants a share of money for a new life being offered by the company, brothers and climbing enthusiasts Malcolm and Cyril (Ben Mendelsohn and Steve Le Marquand) and Kareem(Alexander Siddig), whose cousin was one of the ill-fated members of team that ventured up the mountain. The nomadic Wick joins them as he is an expert on the treacherous ascent, though we learn he has another agenda for going up K2. The group have canisters of nitroglycerine in their bags donated by the nearby Pakistan Army, which are incredibly dangerous but will hopefully if used correctly. The clock is on for Peter to rescue his sister and the team with not a second to lose.

Martin Campbell is no stranger to action thrillers having directed Bond flicks GoldenEye and Casino Royale. And his talents in these areas serve him well in Vertical Limit as he cranks up the action and suspense to high degrees. He isn’t going for some intellectual exercise and knows thats not what the audience is craving either. This understanding aids Vertical Limit as a film of action and spectacle for the popcorn crowd where you don’t really have to do a lot of thinking but you sure as hell enjoy it. Granted there are some quite moving moments that you might not expect in such a film, but it’s the sheer adrenaline and energy of the film as the clock ticks away that make it credible. The visuals are pretty on point; capturing the beauty and precariousness of mountains amidst the breaks from action. It’s truly a sight to behold these natural wonders that are enticing but also death-defying in the extreme. Vertical Limit may run on a bit long for my liking with two hours pushing it, but I enjoyed the vast majority of the movie. It piles on the scenes of near death and action in quick succession which actually benefits the film, even when it is fit to burst. James Newton Howard provides an action packed score, focusing mainly on strings and drums for added oomph in the perilous journey on the mountain.

Though the characters are essentially cliched and pretty overfamiliar, a credible cast fills them out nicely. Chris O’Donnell, while not being the most convincing actor there has ever been, is decent enough as the central hero of the piece. He’s passable as the rescuer with baggage and is credible in the action scenes it must be said. Robin Tunney brings out strength and vulnerability as the trapped sister; trying to make smart decisions as she succumbs to the impact of cold weather and being trapped. Tunney makes her character’s suffering and bubbling resolve feel at least genuine whenever she is on screen which goes a long way for me. Bill Paxton and Scott Glenn are however the standouts here as men with shared history and not all of it good. Paxton exudes an underhand sliminess and selfishness that makes you thoroughly despise the character and is a credit to his skill as an actor. Glenn, with a face that is bound to install fear and a little admiration, projects a gruff exterior as the mountain expert with his own personal reasons for scaling K2 and a particular axe to grind. Both actors are very good in their respective roles and I enjoyed seeing both men on either side of morality occasionally blur those lines. Nicholas Lea, taking a break from playing the underhand traitor on The X-Files, seems quite glad to be portraying someone who is actually good at heart but no pushover in the least, even when mortally injured. The beautiful Izabella Scorupco has the right blend of sex appeal and grit to make her quite memorable, while Ben Mendelsohn and Steve Le Marquand offer comic relief in between the nail biting action and terror, with both convincing as stoner brothers in need of that rush of adventure.Rounding things off is Alexander Siddig, whose quite and calming presence is a welcome respite among the chaotic happenings.

So while no Oscars or awards for genre defining content will be awarded to Vertical Limit, it’s action and suspense keep you invested and man if it isn’t a thrilling ride.

Children of Men

Tags

2000's, Alfonso Cuarón, Charlie Hunnam, Children of Men, Chiwetel Ejiofor, Clare-Hope Ashitey, Clive Owen, Julianne Moore, Michael Caine, Pam Ferris, Peter Mullan, Thriller

A bleak but hopeful film directed by maestro and having a certain prescience with the events of the world today, Children of Men is a futuristic thriller shot through with darkness and the possibility of salvation that’s powerful and thrilling movie making.

The year is 2027 and the world is in meltdown following disease, mass violence and the startling fact that it’s been 18 years since the last baby was born. The United Kingdom is now in the grips of a police state that persecutes asylum seekers by placing them in internment camps once they enter the country and the infertility has caused violent unpredictability in the people who occupy this grey, oppressive time. The world is on the brink of utter collapse as fighting, deceit and mistrust tears apart the fabric of society and rebels and government are pretty much in the same boat of not being entirely truthful or clear cut as they make out. Theo Faron(Clive Owen), a cynical, alcohol dependent bureaucrat with a bruised past, has no faith in this world since he lost his son to a flu pandemic. His only source of some happiness is good friend and ageing pot smoker Jasper(Michael Caine), whose affable natire is a source of brightness in a time of uncertainty and panic . Theo’s existence is shaken up when he’s contacted by his former love and activist Julian Taylor(Julianne Moore) for help with a mission that involves the militant group or ‘freedom fighters’ The Fishes. The two have history as it was the death of their son that tore them apart and some scars are still not able to be healed. She wants Theo to help her secure transit papers for a young refugee named Kee(Clare-Hope Ashitey). Julian offers money to Theo who reluctantly accepts this offer despite having long ago vowing never to return to any form of activism or help of another. Things become more volatile and the stakes are raised when Kee reveals that she’s heavily pregnant( the first person in 18 years to become so), which puts her in a truly precarious position. It also soon becomes clear that some of The Fishes, in particular the beguiling (Chiwetel Ejiofor) and angry, short-tempered (Charlie Hunnam) have less than altruistic motivations for taking an interest in Kee and if the government discovers the pregnancy, it could spell danger and near death. Aided by loyal former midwife Miriam(Pam Ferris), Theo and Kee escape and head towards The Human Project; a scientific group who some believe are just legendary but who may be able to help Kee and her baby, as well as possibly having the cure for infertility. It soon comes down to Theo, who genuinely begins to care for Kee and her baby , to help her carry the fate of humanity and get her to safety before anything more brutal can stand in their way.

Alfonso Cuarón is at the peak of his directing powers here, fashioning a startling thriller and drama of the last hope for humanity in a world that’s in essence dying. infuses the material with imagination and heart, while never shying away from the brutality of what happens society is in free fall. Co-scripting with other talented writers, Cuarón brings out themes redemption, faith and hope when it seems that the world has truly gone insane. And thankfully, these themes don’t fall into the overly preachy category, instead settling for genuine what if possibilities and how when there is something to live for, it can truly inspire even the most reluctant of us. Interestingly as well, the government is portrayed as corrupt but so are the alleged freedom fighters. This adds more to the danger of how skewered the world can be when there isn’t a clear cut, black and white situation at hand and once again feels rather prescient given the current world climate. Children of Men is probably most famous for its visual style and for very good reason. The long takes that Cuarón and talented cinematographer Emmanuel Lubezki use are simply exquisite in positioning us right at the centre of events, most prominently in a car scene that turns brutal and a climactic running battle that Theo and Kee find themselves in. Scenes like this and the technical wizardry and panache are why Cuarón and Lubezki make such a fantastic team; they obviously have a very fine understanding of each other’s styles and how to really craft something that looks highly innovative. I can’t wax lyrical enough about how Children of Men looks and how this plays into the overall feel of the movie which is rather prophetic of certain situations occurring right now in the world. A few parts lag but the vast overall impact of Children of Men more than makes you forget them and focus on the sheet excellence throughout . A well chosen soundtrack compliments the movie, as does pieces of heavenly voices that hint at redemption and some light in the darkness that are tempered by a certain ringing whenever something bad is about to happen.

Clive Owen takes centre stage in what is one of his best performances. He starts as a wounded man who doesn’t believe in sticking his neck out for anyone to reluctant protector regaining humanity. Owen owns the part of reluctant hero with his fair share of damage who genuinely goes through a journey in treacherous territory. Owen’s weary and cynical face speaks volumes in his silences, chipping away at a man with no hope who rediscovers his ability to fight and be someone of help when salvation seems at its lowest ebb. In short, Clive Owen is a compelling lead in both terms of action and emerging heart. Julianne Moore, in a short but excellent performance, functions as the propeller of narrative as she is the one who instigates the main undertaking. Considering she’s only on screen for a short duration, the always credible Moore brings gravitas, steel and a sense of lived invulnerability to the part in customary sublime fashion. The same can be said for Michael Caine who turns in memorable, scene stealing work as an ageing hippy who grows marijuana and provides Theo with some sort of family and love. It is Caine who provides some levity to the oppressiveness of things but also has enough subtle shading to also aid the gravity of the situation. Caine wisely underplays the part, never going over the top as a lively, funky old dude with wisdom and playing him with a careful balance of humour and seriousness. Like Moore, Caine isn’t onscreen for a long time but also like Moore, he makes his presence felt. Chiwetel Ejiofor and Charlie Hunnam are both very effective as respectively a ‘freedom fighter’ whose ideals are skewered beneath seeming kindness and a dreadlocked, trigger happy backup with a bad, surly attitude to most things. In the very important role of the first pregnant woman in 18 years, the young and very talented Clare-Hope Ashitey  portrays vulnerability, feistiness and attitude ensuring her character is far from a victim even though everyone is either out to kill her or use her. Pam Ferris beautifully plays the former midwife who tries to remain grounded through spiritualism and has a calming, maternal effect on the characters and the viewers. Watch out for an eye catching turn by Peter Mullan; here playing a sadistically unbalanced guard who seems to help Theo and Kee but whose unpredictable nature and habit of speaking in the third person set your nerves on a knife edge.

Powerful movie making that delivers on the thriller good as well, Children of Men is an unforgettable movie with the sensational Alfonso Cuarón at the helm and boasting credible performances, stunning cinematography and intense but human thematic value. 

Donnie Darko

Tags

2000's, Beth Grant, Donnie Darko, Drama, Drew Barrymore, Holmes Osborne, Jake Gyllenhaal, Jena Malone, Katharine Ross, Maggie Gyllenhaal, Mary McDonnell, Noah Wyle, Patrick Swayze, Richard Kelly, Science Fiction, Seth Rogen

Director

Richard Kelly

Starring

• Jake Gyllenhaal
• Jena Malone
• Mary McDonnell
• Holmes Osborne
• Katharine Ross
• Beth Grant
• Patrick Swayze
• Drew Barrymore
• Noah Wyle
• Maggie Gyllenhaal
• Seth Rogen

A genuine cult film that defies being boxed into a specific genre, Donnie Darko is a mind bending film, that’s layered with thematic material, a biting edge and eerie ambience galore.

Donnie Darko(Jake Gyllenhaal) is a suburban teenager in the 1988 who is prone to sleepwalking and disturbing thoughts. He’s a charismatic, smart but troubled young man who seems to delight in challenging authority whenever he can. His parents ( Mary McDonnell and Holmes Osborne) and sisters (one being Gyllenhaal’s real sister Maggie) are confused by him and don’t know how to react to him. On medication to combat his anti-social behaviour towards others and what is seen as paranoid schizophrenia , he one night starts hearing a voice telling him to come outside. Once he gets there, he discovers the voice comes from a frightening looking, six-foot tall rabbit named Frank. He is informed that in twenty-eight days, six hours, forty-two minutes and twelve seconds, the world will end. After waking up far from his house, once he returns he finds that a jet engine crashed into his bedroom. This further highlights the weirdness in Donnie’s life and functions as another indicator of potential doom for everyone. Donnie starts to attend a psychotherapist(Katharine Ross), who tries to fathom what’s going on in Donnie’s mind, but has extreme difficulty opening it up. Most adults seem to act unusually around Donnie, which aids his further alienation from life. Some however seem to understand like the rebellious English teacher Karen Pomeroy (Drew Barrymore), her boyfriend/ fellow professor of science Kenneth Monnitoff( Noah Wyle)and new girl Gretchen( Jena Malone). But then there is the over zealous and devout gym teacher Kitty Farmer(Beth Grant) who is buttoned and wants everyone to follow her lead and slimy motivational speaker Jim Cunningham( Patrick Swayze). As Donnie’s doomsday visions become more frequent and he is driven to commit violent acts by the spooky rabbit, Frank’s mention of time travel sends his mind reeling about what the visions represent. Picking up a book from his professor on the subject, Donnie dives into discovering how he fits into this apocalyptic vision. Is the world really going to end? And if so, what is Donnie supposed to do to stop it?

Richard Kelly made his debut with this film and though his output since has been mixed( though I did like the often maligned and misunderstood The Box), at least he can be remembered for creating this iconic and complex movie. Kelly transports us into the strange world of teenage years and what was going on in the 80’s, but amps it up with the theme of time travel and cause and effect. You just know from the question raising opening that you’re in store for something very unusual and far from conventional. The script, written by Kelly,  is unnerving, caustically funny and highly imaginative, which is a bonus for someone who enjoys all those things when done right . It fleshes out a mystery in the film and creates a fine character in the form of the title anti-hero. He’s disturbed there’s no doubt about it, but he speaks quite a lot of sense when others won’t. And at first we aren’t sure whether what he sees are hallucinations or not, but you definitely know they point to something extremely ominous in the future for everyone. Coming of age is a big theme here and one can view the film as an analogy of puberty and adolescence, as it’s often a time associated with change and something pulling us in a specific direction. And the countdown motif telling us how many days until Armageddon is a real nerve shaker.

Believe me, you’ll find yourself thinking about Donnie Darko a lot after viewing it. The enigmatic story which has a lot of layers and ideas on its mind engages the brain, but refuses to give cheap, easy answers. It’s too smart for that and instead functions as ambiguous and challenging. Whichever angle you want to view the film from, there is something here for everyone to sink their teeth into and think of their interpretation of it all. You can see it as a biting satire in suburbia and conformity, with the disturbed Donnie being the one who fights back against it, coupled with social drama. Or as a sci-fi flick about time travel and how events play out differently because of change. I’d say the film is both of these things and that’s partly why I love it so much. It plays by its own rules and doesn’t try to be like everything else, something which I applaud. I mean you know a film is challenging and complex when there are thousands of websites dedicated to deciphering the many meanings of it. From a visual standpoint, Donnie Darko is extremely atmospheric and immersive thanks to creative camerawork such as slow zooming shots and a gloomy yet strangely majestic colour in cinematography, occasionally punctuated by brightness. Music plays a key role in Donnie Darko; exemplified by the 80’s heavy soundtrack( filled with Tears for Fears, Echo and the Bunnymen and Joy Division) and unusual, distorted thumping of the score that keeps going with alarming intention. One of the best uses of music is the cover of ‘Mad World’ which is stripped back and haunting as it plays over panning shots of all the people impacted by Donnie in a masterful sequence.

In the role that really announced him as a major acting talent, Jake Gyllenhaal is simply put excellent as the main protagonist. He has to go through so many changing emotions, often very quickly and he does it all without missing a beat. The sly, sardonic smile that reveals his disdain for others, the intense stare of alienation and disillusionment and a certain nuance to the mercurial mood swings are all embodied to a strangely charismatic height by the greatness of Gyllenhaal. It is the definition of a star-making role that Gyllenhaal made the most of and clearly shows him as one of the best actors of his generation. Jena Malone boasts a haunting quality as his love interest, who wrestles with her own demons during the course of the movie. Mary McDonnell and Holmes Osborne both make impressions as Donnie’s parents who are bewildered and bemused by his behaviour, as does Katharine Ross as his psychotherapist. A major standout is the scene-stealing Beth Grant. Playing someone whose vicious, unapologetic antagonism is disguised as righteousness is both a hoot and something alarming. She scolds, lectures but never seems to be able to understand others thanks to her bigoted ways and watching her come apart, especially as a result of Donnie, is a sight to behold. And also really standing out is Patrick Swayze; filtering his natural charm offensive into something more charlatan and far from what it first appears. It’s one of the most interesting and different roles Swayze ever took and it shows off his considerable talent. Drew Barrymore has the right rebellious but dedicated attitude for her part of a teacher, persecuted for trying to engage with her students in a way that contrasts with the conservative approach of others. Ably supporting that feeling of challenging conformity is Noah Wyle, who opens Donnie up to the idea of time travel. Maggie Gyllenhaal makes her present felt, with her sparring and jabs at her brother and especially in the later half in emotional fashion. Plus, look out for an early role from Seth Rogen.

A hypnotic, unusual and engaging story of creepy certainty and eerie atmosphere, twined with fine acting and ambiguity, Donnie Darko is simply a must see.

Dogtooth

Tags

2000's, Angeliki Papoulia, Anna Kalaitzidou, Christos Passalis, Christos Stergioglou, Dogtooth, Drama, Foreign Language Film, Mary Tsoni, Michelle Valley, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Christos Stergioglou as Father
• Michelle Valley as Mother
• Angeliki Papoulia as Eldest Daughter
• Christos Passalis as Son
• Mary Tsoni as Youngest Daughter
• Anna Kalaitzidou as Christina

Dogtooth marks my first introduction to the work of Yorgos Lanthimos and man is it one hell of an intro to this idiosyncratic film maker. Here he creates an unnerving and provocative portrait of parenting gone off the deep end and the weirdness of it all. You won’t be sitting in a comfortable position or thinking of pleasant things once Dogtooth has finished.

In a house in the Greek countryside that is sealed off like an army compound, a Father and Mother raise their three children, a boy and two girls who are never named. Yet the children( who are clearly nearing their 20’s) are treated like they are much younger and we are soon witness to their strange existence. Father and Mother have kept them inside the house their entire lives, with none of the children venturing outside into the big, wide world. They are taught the incorrect definitions of words. They believe they have a brother who lives on the other side of the high garden wall. They believe that cats are fierce man-eating beasts that lie in wait if they should exit their home. They are awarded stickers for good behaviour and violently berated if they don’t fall in line with the rules set up. They are told that they are only permitted to leave when a canine tooth falls out. To say it’s an extreme situation that the kids except as just normality is putting it mildly. The Father works at a factory and is the only one to ever leave the fortress he has made. The only contact with the outside world comes in the form of security worker Christina, who works in the same place as the Father. He enlists her to satisfy the raging hormones and sexual needs of the Son, but this introduction brings with it consequences. Once the other daughters meet her, the Eldest Daughter barters with Christina for first a headband and then video tapes in return for favours. These end up setting off a chain of events that threaten to tear apart the mendacious world the Father and Mother have created for their offspring.

Yorgos Lanthimos as director has this innate ability to make things seem surreal but with some semblance of reality, albeit one that has gone awry. It’s a strange but arresting gift to posses and Lanthimos sucks you in with how he presents such an unusual situation to the audience. It’s the type of place that looks at first idyllic, depending on your viewpoint, before smatterings of violence and graphic scenes appear unexpectedly. It might not be classified as a horror movie, but Dogtooth certainly has its fair share of shocks and squirms. And while Dogtooth is largely disquieting, there are slithers of jet black humour to be found here which is surprising to say the least. But that also gives Dogtooth another edge as you never know just how off kilter things will go. I mean how are you supposed to react when the Son finds flowers in the garden and exclaims “Mum, I’ve found two little zombies?”. I was between shock and giggles by this moment. As written by Lanthimos and fellow screenwriter Efthymis Filippou , Dogtooth is unusual in the extreme yet for all its weirdness, retains the attention with the eerie and often downright cryptic way the dialogue is presented. Even the most absurd moment is delivered with a deadpan seriousness that I wasn’t expecting in the least, but further fans the flames of an already head-scratching experience. Some will scoff at the story and say that there isn’t actually a lot of action, but that is to miss that Dogtooth is aiming to show us just how ordinary this strange world that the parents have made seems to their children. They have no knowledge of outside the house and the compound like structure they call a home, so they have literally been fed manipulative and oppressive lies. The activities they partake in are kooky and absolutely mind-boggling(not to them), but we can’t help but watch how stunted and sheltered they are.

It all crafts something particularly disturbing and like a stone in your shoe, it’s hard to get to the bottom of and shake once there. Which is mainly the point I think; ambiguity holds sway in the world that Lanthimos has presented us with leaving it up to us to decipher our various questions. We may wonder why the Father and Mother have raised their children this way? This is the most burning question of all but one that we ourselves must figure out and put our own meaning on. Dogtooth has that kind of power to make you think and not be spoon fed every single answer or have it tied up with a big, finishing bow. And from a visual standpoint, it’s a massive highlight of Dogtooth. Lanthimos chooses to shoot a lot of scenes with unusually, static wide angles that frequently cut people out of the frame with disorientating effect, further giving us cause to sit up and see where the film will journey to next. Cinematography as provided by Thimios Bakatakis has a harsh and brightly lit quality that bathes events in a sea of white, making the sudden bursts of violence just that little bit more shocking. It also serves as a bitter irony of how the world looks here and what is underneath and about to be thrown out of sync.

All the actors of the film are excellent at getting across the absolutely barmy and creepy nature of proceedings. Christos Stergioglou excels at showing stern and overbearing tendencies that are utterly horrifying from such a parental figure. He plays his role extremely well. The same goes for the rest of the cast who are exemplary, especially Angeliki Papoulia as the Eldest Daughter. She’s given the most to do and her reactions to the outside world creeping in are startling and revealing. What most helps is that they are clearly in tune with the direction of Lanthimos and his crazy, unpredictable vision of helicopter parenting.

A superb entry into the work of Yorgos Lanthimos, Dogtooth is not for all tastes but is horrifyingly compelling throughout. Believe me when I say, it’s got plenty of bite and shock to it and make no mistake about it.

Doghouse

Tags

2000's, Comedy, Danny Dyer, Doghouse, Emil Marwa, Horror, Jake West, Keith Lee-Castle, Lee Ingleby, Neil Maskell, Noel Clarke, Stephen Graham, Terry Stone

Director

Jake West

Starring

• Stephen Graham as Vince
• Danny Dyer as Neil
• Noel Clarke as Mikey
• Lee Ingleby as Matt
• Keith Lee-Castle as Patrick
• Emil Marwa as Graham
• Neil Maskell as Banksy
• Terry Stone as Sergeant Gavin

A horror comedy that has as much blood and chaotic antics as it does salty and sometimes questionable aspects, Doghouse never fails to entertain in what it provides.

Vince is feeling low after his recent divorce. His friends- cocky Vince, geeky Matt, henpecked Mikey, harangued Patrick, Graham, who is openly gay and lay about Banksy – organise a lad’s weekend in the English country for him to help him get over it mainly through booze. Neil is the main organiser who likes to think he’s irresistible to women and he has heard through Mikey that the village they are to visit has a large population of women. On a mini bus, the group travel, though is late and has to make his own way. Things could be looking up for Vince, but that is soon not the case once they arrive in the sleepy destination. A biological weapon test has caused every woman to turn into a vicious, man-eating predator who attack on sight. It’s becomes a race of survival as the lads are joined by an army sergeant who knows about what’s going on. Now they are faced with the marauding town of zombie women who all want a piece of them, just not in the way many of them would have hoped.

Jake West has a quickness of pace that speeds the film along while leaving time for outlandish enjoyment to be had. Along with his skills in editing, the laddish banter and camaraderie shines as the often idiotic characters have to survive a living hell that is something of payback at the same time. What’s noticeable is how Doghouse manages to incorporate some thoughts on sexism into the prism of a horror flick. Doghouse may not be going for making massive sweeping statements on society and attitudes towards women, but it definitely and in a satirical manner has a blast with the zombie version of the battle of the sexes. It sails close to being misogynistic, but the canny script steers the ship and allows for things to be subverted a little more than usually permitted in some genre outings. And on the gore front, Doghouse delivers by the bucket load as the outnumbered blokes fear for their lives as limbs and blood go flying. It’s an imperfect film and doesn’t rival Shaun of the Dead for the zombie horror comedy crown, but it’s still a blast.

The main group of guys are good at playing somewhat idiotic but amusing men st the mercy of their worst fear. Stephen Graham is the most subdued in a surprising performance, that gathers steam as it goes along. He’s probably the most relatable guy here and the one who shows the most common sense, though the others have their moments. Danny Dyer is his usual cheeky geezer self as the main lad of the group, who believes women are simply there for his pleasure. The rest of the guys all have good personality and the way they interact is very fun in the long run.

While it won’t be to the tastes of everyone, Doghouse is a diverting way to spend an hour and a half with gory thrills and humour to boot.

Party of Five Season 6

Tags

1990's, 2000's, Jacob Smith, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 6, Paula Devicq, Scott Grimes, Scott Wolf, Wilson Cruz

And here it is, my review of the final season of Party of Five. I must say its been quite an experience watching this family drama and observing the ups and downs of the Salinger Family. Here I am at the final stage, bidding farewell to the moving drama and characters I’ve come to feel for and enjoy the company of. Be warned, spoilers will follow in this take on the last season of Party of Five.

We rejoin the Salinger’s as Charlie(Matthew Fox) and Kirsten( Paula Devicq)are about to tie the knot. After numerous slip ups and hiccups, they finally marry, overcoming much adversity and obstacles that have stood in their way. Though Kirsten never thought she could have kids, with advances in research she decides it is time to start looking into IVF. It will be a trying time for them especially with young Owen(Jacob Smith) and baby Diana to look after, but they are willing to ride it out in the hopes of a positive outcome. Daphne is still around and has employed the help of nanny Victor(Wilson Cruz)to help with Diana when needed, he soon becomes a close family friend to the Salinger’s. Griffin(Jeremy London) is also very much a presence in their lives, particularly when he is involved in a motorbike accident and they cover his insurance to help him out. Bailey(Scott Wolf) is busying himself with things and not communicating with Sarah(Jennifer Love Hewitt). The strain on their relationship since she turned down his marriage proposal in Season 5 grows bigger and ultimately Sarah breaks off their romance. She decides that she wants to find herself and promptly leaves behind their relationship once and for all. As he feels he’s got no one to rely on or something to fix( plus an intense and ill advised rebound relationship), Bailey’s desire for alcohol comes back. Thankfully he is aware of it and decides to sort himself out rather than spiralling out of control like the last time. 
Julia(Neve Campbell) is offered a book deal that puts pressure on her to dig into her life and examine the painful times. She’s determined to do it, though it will prove difficult to assess all she has been through in such a short space of time. Claudia(Lacey Chabert) continues to grow into a mature young woman faced with the beckoning responsibilities and confusion of adulthood. She is nearly forced upon by a drunken classmate and it forces her to retreat into herself. It’s only with Julia’s help that she opens up again and tries to get back to her usual searching self again. In the end, the Salinger’s must decide how to move on with their lives and in what direction it is best to go in.

The main theme running through everything in this last season is moving on. Each of the Salinger’s has to contend with the possibilities of the future and what may lie ahead. More issues and moving moments ensue in this final season, rounding out the impressive arcs of the characters. There’s the peer pressure for Claudia, Bailey’s lapse into alcohol again and Julia’s journey of writing a memoir. Some story lines don’t quite add up or work(anything to really do with Daphne and Bailey’s relationship with a girl name Holly drags), but the vast majority of things compensate for that. Certain ones are hard to ignore, though we can still watch and be entertained by the various events the characters find themselves going through and their choices. What’s made the show one that I have enjoyed is the relatability. Every character is flawed and yet likeable in their own way and that’s been a consistent strength in Party of Fve during its run.

Major episodes that stand out are Griffin’s accident bringing everyone together, showing Party of Five at what it does best; emotional drama. The following episode gamely explores how the Salinger’s banding together to help Griffin in a way we are accustomed to seeing. One of the finest is titled What if and is a look at what life may have been like for the Salinger’s if their parents hadn’t died. It occurs following Bailey crashing his car and it examines the way in which lives can play out not according to plan or sometimes go another way. It’s a very strong episode that really reflects on how much they’ve all grown up in the years since their parent’s death and it’s neat seeing various ways that characters may have interacted if not for that one critical event. Season 6 may not be the best season of Party of Five( that honour goes to Season 3), but it signs off very credibly and emotionally in a way befitting of what’s come before it. What’s best about it is how it ties everything together and concludes the journeys of the Salinger’s in heartfelt fashion. The best episode is the last one that shows all of the characters letting go of the past, keeping their memories of good times and finally moving on with their lives. It’s a pleasing, emotional episode as Bailey, Julia and Claudia all accept scholarships, internships and a chance at college while Charlie, after reluctance, gives his blessing. What’s most moving is the selling of the Salinger home, which has experienced just about every event known to man. The episode finishes with the characters saying goodbye to the house and finally letting their wings fly. And if you don’t have tears in your eyes, there is seriously something wrong with you.

By this point, the main cast is completely in tune with the characters they’ve played for years and still doing a hell of a good job at. Matthew Fox is ace as the oldest Charlie, whose life has been eventful and a complete roller coaster just like his siblings. Fox has grown into the part and has shown the progression from slacker and selfish to mature and authoritative. He’s finally become someone selfless, hard-working, dependable and happy about it. Scott Wolf is fine once more, alternating between cheeky and fun loving and desperate to stay afloat. Bailey has beaten his demons before and with Wolf understanding it, that makes his recovery all the more well played and realistic. Neve Campbell’s mix of assurance and vulnerability is wisely kept intact with Julia as she matures and has to dig deep for some inspiration of what to do next in her life. In a similar vein, Lacey Chabert, with her combination of innocence and attitude, gets to the emotionally confused centre of Claudia in a time where she is confronting things she doesn’t want to, yet planning her future at the same time. Paula Devicq is supportive and caring as Charlie’s wife Kirsten, who more than anything would love a child of her own. It’s very nice seeing her and Charlie finally together for good. It’s been an extremely rough road for the pair along the way, but thankfully they have come through as they belong to each other and always have. Jeremy London appears as Griffin who is also looking to the future and grateful to the Salinger’s for everything they’ve done for him. Jennifer Love Hewitt, who appears only briefly before leaving is still effective as the conflicted Sarah, who needs some answers and assurance in her life. Scott Grimes returns again, playing Bailey’s best bud Will with a real enthusiasm and supportive nature in times of need for Bailey. Wilson Cruz is fine as the new addition of Victor, someone who is both fair and loyal to the family and little Jacob Smith is growing fast as the youngest sibling Owen.

A fine send off to a quality show that brought emotion and honesty to the issues faced by young people, Season 6 of Party of Five rounds things off in respectable and excellent fashion. I hope everyone has enjoyed my reviews of this show, as it’s been a ride of emotions for me and I’m happy I discovered Party of Five. I will definitely miss this show now that I’ve finished it, but I can bid farewell happily too.

Red Eye

Tags

2000's, Brian Cox, Cillian Murphy, Rachel McAdams, Red Eye, Thriller, Wes Craven

Film Title

Red Eye

Director

Wes Craven

Starring

• Rachel McAdams as Lisa Reisert
• Cillian Murphy as Jackson Ripper
• Brian Cox as Joe Reisert

Wes Craven takes to the air for this suspenseful little thriller that is lean, mean and nail-biting stuff. Red Eye, with many a Hitchcockian element to it, doesn’t aspire to be something brand spanking new; its main objective is to thrill and that’s what it does.

Lisa Reisert is a hotel manager whose life is all about dealing with tough customers and complaints. We pick up with her in Dallas, where she has just attended the funeral of her Grandmother. She’s not the biggest fan of flying, but is going to catch the red-eye flight back to Miami. Unfortunately, her flight is delayed and she has to wait around for a little while. It’s here that she meets the polite and handsome Jackson Ripper, who engages in friendly talk with her. When the flight is ready, they are happy and bemused to see that they are sitting next to each other on the plane. Though he keeps Lisa calm, there’s something not quite right about Jackson which becomes abundantly clear to us and her. What started as flirting and charming conversation soon turns to something very sinister as the plane takes off. Jackson admits to being part of a terrorist organisation that needs Lisa’s expertise in a deadly plan. You see the Deputy Secretary of Homeland Security is staying in the hotel Lisa works in and the people Jackson works for are planning an elaborate assassination for him. They just need Lisa to switch his room for it to be successful. As leverage to ensure she takes part, Jackson informs the terrified Lisa that her father will be killed if his demands aren’t met. Faced with precious time that is ticking away, Lisa digs into her resolve in order to not buckle under the shock that befalls her. But just how long can she hold the evil and ruthless Jackson off before death begins to occur?

Red Eye benefits from the sure hand of Wes Craven in the directing chair. Having been one of the kings of the horror genre, his skills at inducing tension and terror are utilized here in this tightly compact suspense thriller. He gets over a real claustrophobia and paranoia that seeps into every frame, especially the main chunk that is airborne and the most unnerving. Red Eye isn’t aiming for immense originality or to be a game changing suspense movie; its most concerned with offering up something nail-biting and with more than a couple of jolts of unpredictability. economical running time makes sure that we are on the edge of our seats and no flab is seen leaking in Red Eye. The last half hour goes a bit overboard, but the build up and the tightness of most of it makes it easy to ignore and still a well constructed thriller with excitement and a whole lot of tension. The pacing is mainly where the movie is at, cleverly getting to the point after a short but bracing warm up before a white-knuckle intensity covers it splendidly. The mid-air game of sinister cat and mouse is sustained through effectively up close camerawork and  Marco Beltrami, who previously scored the haunting music for Craven’s Scream, is ace at filtering an electronic pulse into Red Eye. He starts with little drops of suspense, before cranking up the action and drama for something quickening and growing in volume.

Rachel McAdams and Cillian Murphy are the main players in this movie and they are talented performers. McAdams is a kind of actress who keeps things grounded and her part sympathetic and resourceful. She’s no screaming victim and though under duress, she makes her part one of both believable smarts and vulnerability. Cillian Murphy, with his intense stare and icy blue eyes, is superbly cast as the seemingly charming man who is anything but. Nastiness is his middle name but you can also sense some form of desperation to get his job done no matter what from the always watchable Murphy. Together, both are engaged in a deadly hunter and prey routine that is extremely entertaining. Although his appearance is rather sporadic, it’s always good to see Brian Cox in a movie and he is worth the watch no matter how small the role.

A tense and efficient thriller, Red Eye shows Wes Craven directing with great economy and style to give us a cracking suspense thriller.

Hostel

Tags

2000's, Derek Richardson, Eli Roth, Eyþór Guðjónsson, Horror, Hostel, Jay Hernandez, Jennifer Lim

Film Title

Hostel

Director

Eli Roth

Starring

• Jay Hernandez as Paxton
• Derek Richardson as Josh
• Eyþór Guðjónsson as Óli
• Jennifer Lim as Kana

With it being October and Halloween just around the corner, I thought it well to focus on some horror movies. I chose to review Hostel, the infamous shocker that I will admit I couldn’t finish all of upon first viewing. Now being older, I decided to get a spine and finally watch it all. I have to say that watching it now it deserves its reputation of being a horrifying and stomach churning movie, but also has some rather surprising parts to it. Anyway, back to my review.

College buddies Paxton and are backpacking through Europe in search for ladies, drugs and all time partying. They are joined in Amsterdam by Icelandic Óli, who is similar in interest to them and more than happy to tag along. Around this time, in between excessive sex and drug use, the trio encounter a young man with an intriguing offer. He informs them of a hostel in Slovakia that will make all their debased and carnal fantasies come true. Being horny and only concerned with having a good time, the three friends head to the hostel in Slovakia. Gorgeous ladies, drugs and partying awaits them on arrival and it seems like the perfect time for all of them. Yet it is all too good to be true as the first indicator of something amiss is when Óli goes missing. Later on, Josh also disappears and the people around the hostel are very evasive over what they know. It is left up to Paxton to discover what sinister things are transpiring around him. Searching for answers, he stumbles upon a twisted society of torture that is gleeful in its torment. Paxton is ultimately put into this nightmarish situation and must fight in order to survive the onslaught of perverted brutality.

Eli Roth writes and directs Hostel; clearly having a sort of twisted fun with the set up and then the unleashing of horrifying content. His sense of pace is very well established with how the terror unfolds for us and the characters. A slow burn covers the first half of Hostel, with events playing as a frat brother’s hedonistic dream that will soon become a nightmare. There’s boobs, boozing and all these guys could ask for. The main characters are not the most likable bunch, but they conform well to the overall Jock stereotype Roth is going for. We are given hints of something untoward going on, with the opening titles depicting something murky that will become prominent. Hostel in itself is not a very deep movie, and yet it manages to have some commentary on the gullibility of tourists in an unfamiliar place. Plus, there are many self-referential anecdotes and instances of other horror movies coming into play in an assured way, especially at the start. The last forty minutes of Hostel are a relentless excursion into jaw-dropping horror, with no let up for breathing chiefly through the graphic and gruesome depictions of torture. A strong stomach is needed for Hostel’s brutality, though it is hard to turn away despite the horror on show. Gore is the order of the day and in high supply, with Roth obviously enjoying grossing the audience out with what he depicts. It’s not all mean-spirited, just rather nasty in its unapologetic refusal to compromise on the blood. Twisted is the best word for Hostel, with many of its scenes cutting close the bone(literally and figuratively). One particular scene involving tendons is bound to induce feelings of sickness, along with the appearances of feral children who want more than money from you and will turn violent if you don’t provide it. And while it’s a horror, various thriller elements are on call for a tense finale that is gruesomely and shockingly satisfying( if that is the right word for it.) The visual style, that progressively becomes bleaker as the picture goes on, excellently mirrors the descent into depravity experienced by the characters, and chiefly us. Suspense is handled by the music, that knows how to ratchet up the atmosphere.

The cast is competent and works well within the framework of Hostel. They aren’t there to be the deepest characters going, but once the horror starts you do feel something for them. The three main men at first blend in together because of their attributes, but later one emerges in particular as very effective. Jay Hernandez is given the most to do here as the main frat boy falling into a horrific situation. He starts out as a lady-mad guy with only one thing on his mind, but once the terror hits, Hernandez finds a desperation and determination to survive the torturous world he’s thrown into. Derek Richardson is well used as the not so convinced of the journey member of the group, while Eyþór Guðjónsson lives it up as the Lothario with the gift of the gab. Jennifer Lim, out of the women in Hostel, has the most to do as the rather unfortunate traveler who also falls prey to the horror.

A movie of extreme violence and horror, Hostel is worthy of shocking credentials and title as a work of twisted depravity. Not for everyone, but a memorably brutal movie nonetheless.