The Company of Wolves

Tags

1980's, Angela Lansbury, David Warner, Fantasy, Horror, Micha Bergese, Neil Jordan, Sarah Patterson, Stephen Rea, The Company of Wolves

Director

Neil Jordan

Starring

• Sarah Patterson as Rosaleen
• Angela Lansbury as Grandmother
• Micha Bergese as The Huntsman
• David Warner as Father
• Stephen Rea as Young Groom

A visually arresting and thematically rich dark fairy tale from the pen of Angela Carter and immense craftsmanship of Neil Jordan, The Company of Wolves sucks you right into its world of haunting dreams and metaphors that will be impossible to shake once you’ve viewed them.

The Company of Wolves takes place almost exclusively in the dreams of a young girl by the name of Rosaleen. She dreams of living long ago in a village, surrounding by a foreboding forest. Her older sister is killed by a wolf, sending the village into shock. Her Grandmother, who is wise and filled with stories, arrives and begins informing the sheltered Rosaleen on dark subjects. She explains that her sister wasn’t taken by any wolf, but a werewolf. She goes on to warn her granddaughter of not straying from the path in the wood and keeping distance from men whose eyebrows meet in the middle. Grandmother also gifts Rosaleen with a red shawl, which she almost always wears. At this time, Rosaleen is fascinated by the stories, which include one about a husband going missing. When he returns, his wife has remarried and his rage comes flying out in the form of a transformation into a wolf. Despite the warnings from Grandmother about wolves and that many of them are hard to tell in human form, Rosaleen can’t help but be curious about the opposite sex and alternates between running from growing up and grasping for it. One day, she is sent to visit Grandmother meaning she must take the path through the forest. Let’s just say things get interesting and many things Grandmother told her come into fruition once she meets a mysterious and most unusually seductive Huntsman.

Neil Jordan is the perfect director for The Company of Wolves, due to his skill with visuals and also haunting atmosphere. Both are very much in evidence here as is his wise decision to focus on story rather than just scares. Don’t get me wrong, The Company of Wolves is most certainly an adult horror, but it has more thoughtfulness going for it than you’d think. In short, Jordan is at his best with this movie. The Company of Wolves chock full of symbolism and Freudian overtones, plunging us further into the mind of a young girl who is both excited by and terrified of her own burgeoning sexuality. Carter, adapting from her own spin on fairy tales that was entitled ‘The Bloody Chamber’ and collaborating with the visually inclined Neil Jordan, are a dream team at incorporating the sense of innocence being lost and the feverish emotions of puberty, when the world seems alien to a person. As a viewer, you are taken on quite the experience that slowly intensifies and gathers staggering momentum in terms of thematic material and. The sexuality angle and subject of changing is never far from the screen, with lycanthropy standing for the body altering as you grow up and the way that Grandmother warns of not leading the path( in other words, straying into sin).  It’s not a movie for everyone as the narrative and structure may confuse certain viewers. But for those willing to see a dreamlike horror fantasy that covers curiosity, sexuality and darkness, you should be in for a treat. The effects, mainly in the transformation scenes, use animatronics which might not have the smoothness of CGI, but at least have something more unusual and downright creepy to them. I found myself getting very unsettled as people morphed into werewolves and screamed out in pain as their bodies underwent a severe transformation, which contains all member of messages and interpretations. The eerie sets resemble something from a Hammer Horror and are accentuated by a red heavy colour palette, combining danger, passion and death into an already heady cauldron. A spooky and bubbling score from George Fenton further amps up the unsettling nature of the stories and the dreamlike way they are presented to us.

Young Sarah Patterson possesses a radiant innocence and naivete that is played well and you can see her mind in overdrive as the temptation of adulthood comes calling to her. With her soft voice and angelic face, she is an ideal vision of Little Red Riding Hood in this passionate and very dark fable. Angela Lansbury is on scene stealing duty; capturing a loving kindness and uneasy creepiness of the wise Grandmother who is full of story and warning. Lansbury is a pro in every sense of the word and I loved her eccentricity and slightly off kilter appeal in The Company of Wolves. Micha Bergese has this downright slippery and creepy vibe that is employed to fine effect as he slinks his way around Rosaleen and tempts her. It’s all in the voice and the eyes with him. David Warner is the young girls father in a supporting role, while Stephen Rea makes his story undeniably unnerving and spine-chilling. But by far the biggest star is the atmosphere of it all.

A dark and menacing variation on Little Red Riding Hood and a commentary on reactions to coming of age, The Company of Wolves spins a compelling web of creepy fairy tales and evocative material that you’ll find yourself thinking over for a long time.

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Aladdin

Tags

1990's, Aladdin, Animated, Disney, Fantasy, Gilbert Gottfried, Jonathan Freeman, Linda Larkin, Musical, Robin Williams, Scott Weinger

The quite fabulous and ever so lovely Gill and splendid Crystal asked me to partake in a blogathon to honour the talents of Robin Williams. I simply couldn’t refuse this offer as I’m such a huge fan of Williams. For my choice, I decided to review the wonderful Disney flick Aladdin.

Film Title

Aladdin

Directors

Ron Clements and John Musker

Voice actors

• Scott Weinger as Aladdin
• Robin Williams as Genie
• Linda Larkin as Princess Jasmine
• Jonathan Freeman as Jafar
• Gilbert Gottfried as Iago

A joyous and energetic take on Arabian Nights from Disney, Aladdin is chock full of stuff to enjoy and be a part of.

In the streets of Agrabah, Aladdin is a young urchin who along with his monkey sidekick Abu, must steal to survive. Although he must rob, he is an inherently decent person just attempting to make it from one day to the next. His life is about to get a whole lot more eventful very soon. He meets Jasmine; a spirited girl who is actually the daughter of the Sultan and therefore a Princess. She has run away from home because according to a law, she must be married to a prince very soon. So far, she doesn’t like any of the suitors that have been selected for her. She feels stifled by royal protocol and wishes to marry for love. On their brief meeting, Aladdin falls in love with her, but fate has other plans.  Also involved is the villainous adviser Jafar, who wants to have power and never-ending domination over everything. He has identified that Aladdin is the person who can get him what he wants. That would be a magic lamp hidden within a magical cave. After imprisoning Aladdin, Jafar disguises himself as someone else to lure him to the place in the sands that is known as the Cave of Wonders. Inside, Aladdin and Abu accidentally upset the order of things and end up trapped. Upon rubbing the lamp, an energetic and fast-talking Genie emerges, ensuring Aladdin that he has three wishes that he can grant. There are limitations to what he can wish for, though Genie and Aladdin develop a friendship and Aladdin promises Genie that he will set him free as a final wish. Helping them out the cave and with Genie’s help, Aladdin masquerades as a famous prince in order to woo Jasmine and ultimately stop Jafar in his evil tracks.

From the opening of swirling sands, Aladdin looks gorgeous and magical. The vivid colours used in the animations are something to marvel at as Aladdin finds himself in an adventure and fantasy. The visuals are all in place for us to admire as well as many other key ingredients that make Aladdin a great movie. The briskness of pace bring out the fun right from the start, never letting any flab or dull moments sink in because of its fastness. The humour and adventure appeal to both grown-ups and children because it covers a wide range of styles. This is especially prominent once Genie enters the picture and all the great pop culture references and nods are in full abundance. The music is another ace high point of Aladdin with many numbers standing out. The sublime and romantic ‘A Whole New World’ is a great match for the visuals of Aladdin and Jasmine taking a magic carpet ride, while the bombastic ‘Prince Ali’ and ‘Friend Like Me’ are a perfect summation of Genie and his antics.

The assembled voice actors do extremely well with the characters they have and are all well-suited. Scott Weinger has the right amount of fun and charisma for the title character, which goes a long way with how much we like Aladdin and his journey. But its Robin Williams and his voicing of Genie that truly makes Aladdin that something to treasure. His endless impressions, vocal acrobatics and wildfire delivery are scene-stealing in a completely amazing way that is very much to Williams’ style of comedy. Genie is a character who brings an already great movie into the levels of excellence it achieves. With Williams the man behind it, it is quite impossible to not laugh along with Genie as he helps shape Aladdin with his wisdom and zany antics. It simply wouldn’t be the same movie if Williams wasn’t a part of it. Linda Larkin has a sweet but strong voice that is just perfect for Jasmine, while Jonathan Freeman is appropriately slimy and nasty as the main villain of Jafar. His voice is very snake-like, which comes in handy with such a foul and evil character. Just as Aladdin has a sidekick in Abu, Jafar has the loud-mouthed parrot of Iago, voiced with relish by Gilbert Gottfried.

A bundle of hip fun for all ages, Aladdin is dazzling movie making from the animation, music and voice acting. But best of all, it’s a showcase for the talents of Robin Williams and a special one at that.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Ghost

Tags

1990's, Demi Moore, Drama, Fantasy, Ghost, Jerry Zucker, Patrick Swayze, Romance, Tony Goldwyn, Whoopi Goldberg

Film Title

Ghost

Director

Jerry Zucker

Starring

• Patrick Swayze as Sam Wheat
• Demi Moore as Molly Jensen
• Whoopi Goldberg as Oda Mae Brown
• Tony Goldwyn as Carl Bruner

A hybrid of romance, supernatural and thriller, Ghost still entrances audiences with its emotional heart. And while it would be easy to write it off as just another generic weepy, its heartfelt impact can’t be denied, as can’t find work from the cast, including an Oscar-winning Whoopi Goldberg.

Sam Wheat and Molly Jensen are a couple are madly in love with each other and living in Manhattan. Life is good for them as Sam is a successful banker and Molly enjoys her work as an artist. That is until their bliss is shattered one night. Coming home from a play , they are accosted by a thug and Sam is fatally shot. Yet while dead, his spirit doesn’t move on to the afterlife. Unfortunately, though he attempts to communicate with Molly, he can’t. Molly retreats into grief following his death and shuts herself away. After much shock has settled in, Sam slowly finding his footing as a spirit and how he can impact on Molly’s life and clutch tight their bond. Sam also discovers that his death was not just some random mugging gone wrong but part of a dodgy scheme that he’d inadvertently stumbled into earlier in the film. It was organised by Carl Bruner, who he considered a friend but is revealed to be a contemptible weasel. Realising that Molly is now in danger, Sam frets about how he can help his beloved. His possible answer comes in the surprising form of Oda Mae Brown, a fake physic who ironically can hear him. Oda Mae is reluctant and startled by her gift, which she never actually realised was there as she’s faked being a psychic for money. Yet after much persistence, she agrees to help him reach Molly. The trouble is proving to the grieving young woman that Sam’s spirit is still there. Time is soon ticking for Sam as he attempts to warn the devastated Molly of her impending danger and to finally move onto the next life knowing that she is safe.

On directing duties is Jerry Zucker, who brings considerable skill to Ghost. He really finds so many angles and different genre elements to contend with and he largely gets it right. Ghost at its heart is a romance with immense spiritual overtones to it. Yet it also boasts many moments of fine humour and even has thriller elements that are surprisingly strong and boast some unexpected tension, complete with some detours into the spooky realm. It’s a credit to Zucker that most of the hoops keep spinning in sync with each other, only occasionally stumbling in steps that can be easily forgotten given the rest of the picture. Overall, Ghost is definitely a memorably moving movie that knows the ways to get you deeply involved with the immensely heartfelt story at play. And it’s impossible to forget the justifiably famous scene of Molly and Sam at the pottery wheel that develops into a sensual encounter. It is so sexy and romantic, along with changing the way audiences would see pottery forever. Though it’s been parodied to death, the original scene still holds a special place in cinema as a most sexy and tender scene of two people genuinely in love with each other. Sure Ghost works on your emotions, but it gets right to the heart of the theme of love transcending all that it’s hard to really fault as it sucks you in. If you’re not flowing with tears by the end, you mustn’t  have a sensitive bone in your body. For Ghost beautifully and often poignantly highlights that love is in fact eternal and that the feeling of a loved one never leaves, whether they be alive or dead. And I for one bought into it, along with the various melding of genres that I mentioned earlier. Ghost may run a little too long, but that can be papered over given the investment and impact of the movie in general. Maurice Jarre is the man behind the sincere, romantic and frequently atmospheric score of Ghost, that goes a long way to accentuating the themes of love overcoming all and still burning.

Patrick Swayze has the right physicality and decency for the part of the Sam, whose desire and love for Molly is what keeps his spirit alive after he is killed. The part could easily have been bland or boring, but Swayze raises it up to a respectable level and adds his own spin on it that ensures we buy into his mission to save his beloved. Demi Moore, who has never looked more beautiful than she does here, also sells the desolation and passion of her character. And man is she damn effective in the emotional scenes, her tears cause you to shed them too. Standing out the most in proceedings is the scene-stealing Whoopi Goldberg, in an Oscar-winning performance. It is her who injects a lot of humour into the film and gives it yet another dimension. Acting as Sam’s often hilarious and sassy voice piece, Goldberg creates a character of high energy and care. It will be impossible not to laugh at just how funny she is here, being the memorable comic relief yet also finding some soulful honesty too. Rounding out things is Tony Goldwyn; appropriately nasty and sly as the backstabbing man whose actions lead to Sam’s murder. It’s a credit to Goldwyn that you really wish his character the worst and hope he gets exactly what’s coming to him.

A memorable romance that combines other genres like fantasy and sometimes tense thriller into the mix to a largely pleasing and arresting effect, Ghost will both warm and break your heart. So grab some chocolate, get the tissues at the ready and watch this romance that retains a sensitive and soulful presence today.

Matilda

Tags

1990's, Danny DeVito, Embeth Davidtz, Fantasy, Mara Wilson, Matilda, Pam Ferris, Rhea Perlman, Roald Dahl

Film Title

Matilda

Director

Danny DeVito

Starring

• Mara Wilson as Matilda Wormwood
• Danny DeVito as Harry Wormwood
• Rhea Perlman as Zinnia Wormwood
• Embeth Davidtz as Miss Honey
• Pam Ferris as Miss Trunchbull

A glorious fantasy of a young girl discovering her talent for turning the tables on the unfair grown-ups in life, Matilda gets the right amount of dark humour and inspiring fun of kids taking control that Roald Dahl had in his book. This review will most likely be biased as I adored this movie growing up, but that’s why it’s perfect to review.

Matilda Wormwood somewhat stands out from her unappreciative and neglectful parents. Being a very bright girl with knowledge far beyond her tender six years, she craves learning and understanding. Unfortunately, she is cursed by a family of barbarians who don’t care about her; crooked father Harry, shallow mother Zinnia and utterly bratty brother Michael. They are addicted to television and their own selfishness to not notice the precocious daughter they have, leaving her to find company in books and knowledge from around the age of two. Out of anything, Matilda definitely wants to go to school. Yet upon finally attending school, she realises the unfairness of those older doesn’t just end at home. The principal Miss Trunchbull, is a monstrous bully who brutally keeps children in check with force, abuse and terror. Thankfully for bright Matilda, she meets the inspiring and lovely teacher Miss Honey, who understands her and treats her fairly unlike every other adult Matilda has encountered thus far. With Miss Honey in her corner and becoming something of a surrogate mother, Matilda blossoms. Yet Miss Trunchbull is having none of her spirited nature and takes it upon herself to especially humiliate Matilda. But lately, the wise and precocious girl has discovered that she possesses certain supernatural abilities that come into practice when she’s belittled or challenged by nasty adults. Soon, she finds a way to harness these powers to turn the tables on Trunchbull and her parents once and for all.

Danny DeVito utilities a sprightly and darkly mesmerising touch to the film, having a wide range of unusual angles place us in the position of children. Everything is rendered intimidating and strange by DeVito, which ties in with the story as it reaches magic levels of Matilda finally standing up for herself. this fun for kids to see a young person growing and getting her own back on those that have mistreated her and equally as entertaining for grown-ups to observe the gleefully dark and not sugar-coated content, which is faithful to the spirited imagination of Roald Dahl. While it deals with the feeling from children that adults don’t understand or respect them, Matilda fantastically exaggerates this(in keeping with the twisted fable from Dahl) which is satisfying and fits into a story of self-worth and having the power to manage some control and decision. I mean who wouldn’t want to get revenge on a bullying headmistress whose hobbies include throwing children over the garden fence for wearing pigtails, forcing them to gorge on an impossible cake or locking them in a nail filled cupboard known as The Chokey?. It’s the very oddball essence of Matilda that makes it such a good film; it often goes in different directions than you’d think for a film aimed at children and is very mature in passages. Matilda has humour, some frightening moments(make that all that involve the harridan of Trunchbull) and heart, best envisaged by the sparky and gifted protagonist whose powers lead to amusing and revenge filled mischief of the best kind. As I previously referenced, I had a big love if this movie as a kid. Visiting it as someone older, it still retained the kooky charm which I fondly remembered. A spirited score is just the ticket for the madcap content of Matilda, with unpredictable rhythms and puckish movements.

Mara Wilson is sublime as the special title character, whose vast intellect and power cause her to emerge as a likable lead and mature presence. Despite her tentative years, Wilson beautifully gets across Matilda’s love of learning, the wanting for someone understand her and her helpful and plucky personality that comes into play in nice fashion. I really can’t think of another person except Mara Wilson playing the role of Matilda so well and with such spirit. Danny DeVito also stars as Matilda’s low life father, with oily charm and rat like sneakiness. Complimenting him is his real life wife Rhea Perlman who is fabulously trashy as the bingo obsessed mother. Embeth Davidtz successfully makes Miss Honey a beacon of hope, yet never slips into overly saintly, due to a feeling of buried strength and having experienced the hardships of life. Yet the best performance in Matilda is the one given by Pam Ferris as the nasty Trunchbull. Ferris sinks her teeth into the part and brings it to furious and villainous life; making for a terrifying antagonist that everyone would fear if they were in her presence. There is a gleeful horror to Miss Trunchbull that Ferris plays to perfectly, ensuring that you really hate this woman and hope she gets some form of poetic justice at the hands of Matilda and her growing magical powers.

A fun and enjoyable not afraid to be dark and unusual, Matilda is a magical movie about how we can all be special and find a power within ourselves in life.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.

It’s a Wonderful Life

Tags

1940's, Christmas, Donna Reed, Drama, Fantasy, Frank Capra, Henry Travers, It's a Wonderful Life, James Stewart, Lionel Barrymore, Thomas Mitchell

Film Title

It’s a Wonderful Life

Director

Frank Capra

Starring

• James Stewart as George Bailey
• Donna Reed as Mary Hatch Bailey
• Lionel Barrymore as Henry Potter
• Thomas Mitchell as Uncle Billy
• Henry Travers as Clarence

A movie that practically defines the term life affirming, It’s a Wonderful Life is a beautiful hymn to the spirit of community and the difference of one person on so many others. A perennial Christmas movie, it earns all of that adulation through the story, moving direction of Frank Capra and the lead performance from the iconic James Stewart.

George Bailey is a dreaming young man who has always wanted to travel and explore. Unfortunately, fate has had different plans for him which leaves him forever in his hometown of Bedford Falls. As he is a kind-hearted man, over the years he has had to make multiple sacrifices to help others. The biggest one was foregoing an education after his father’s death,  so he could take over the building and loan business. This is largely due to him not wanting the sly and crafty banker Henry Potter to take advantage of the small town, as he is known for trampling all over anyone who gets in his way. George gets some respite from his troubles thanks to his lovely wife Mary and their young children, but even then George starts to feel like he hasn’t achieved anything and has constantly put his life on hold. Events come to a head on Christmas Eve when his Uncle Billy, who works with his nephew, loses a large sum of business money that secretly falls into the hands of the wicked Potter. Terrified of the potential scandal on his business and how it will affect all of those closest to him, George is beset by suicidal thoughts. While George is contemplating killing himself, prayers from many have reached the heavens and a bumbling angel by the name of Clarence appears to George. Clarence is there to persuade George that he should continue with life(in return he will receive his wings), even though George dismisses his ideas. Seeing no other option and throw his powers, Clarence shows George what life would have been like if he hadn’t existed, hoping it will bring him back from the brink and notice how valuable he is.

Frank Capra’s direction is one that touches the soul deeply and never rings false with any of the emotion displayed. With gentle humour and careful insight, he conjures up the importance of being there for others and while life can be unfair to us, we can be rewarded for our good deeds with the respect of others. While It’s a Wonderful Life is known for its sentiments and uplifting story, it also manages to temper this with the possibility of what if, as a despairing George comes to see how much he has influenced everyone and the deeply felt love they have for him. Even when there are melancholy moments, the glimpses of hope are never very far and this film balances both joy and bittersweetness in peerless fashion. It’s a Wonderful Life splendidly poses the notions that even when it is a dark time, there is always something out there to pull you back up again. I particularly love the framing device used in the film. We begin with two angels(represented by flickering lights in the sky) explaining about George and what he plans to do. Clarence joins and is given his task to help poor George see that life is worth living and then we get the vignettes from George’s life to explain just why he is contemplating ending it all. In the second half of the picture, the narrative catches up with the present and the mystical and divine intervention takes the film to soaring heights of finely felt emotion and morality. I don’t know why the structure of the film appealed to me, but I think it had something to do with how it fleshed out George as a character and made us all see the doubt that was creeping into him. A suitably twinkling score, laced with the festive cheers bubbling underneath it, evocatively brings forth the observation of how one person can have a big impact in the grand design of things, without actually realising just how cared for they are. Simply stated, you can’t help but be pulled into this lovely film in all its moving and specially magic glory.

James Stewart is what truly makes It’s a Wonderful Life such a favourite of many. His intrinsic ordinariness and relatability are ideally found in the part of George Bailey, along with the nagging self-doubt that plagues him. Stewart excels at making the part one of humility and altruism, yet never falls into soapy melodrama because of how grounded he makes the role. We can all relate to someone like George, who has worked hard and had to sacrifice to help others, and Stewart’s heartfelt delivery is the winning key to it. Donna Reed stunningly supports him as the caring and giving wife, who sticks with him through thick and thin. For this kind of story of the individual making the difference against something, you need a good villain and Lionel Barrymore more than fits that bill. His part of Potter is a nasty piece of work in the boo/hiss variety and the presence of Barrymore infuses him with the villainy needed. Thomas Mitchell and Henry Travers practically light up the supporting characters; Travers in particular is ideally cast as the guiding angel sent to help George in his time of need.

A film that will warm the heart and soul, as well as make you laugh, cry and be happy, It’s a Wonderful Life encompasses such a range of feelings and messages that it can’t be forgotten because of its care and deep soul. And who doesn’t love breaking this movie out for Christmas time?

Just Like Heaven

Tags

2000's, Dina Spybey, Donal Logue, Fantasy, Jon Heder, Just Like Heaven, Mark Ruffalo, Mark Waters, Reese Witherspoon, Romantic Comedy

Film Title

Just Like Heaven

Director

Mark Waters

Starring

• Reese Witherspoon as Dr. Elizabeth Masterson
• Mark Ruffalo as David Abbott
• Jon Heder as Darryl
• Donal Logue as Jack
• Dina Spybey as Abby

As predictable as some of it gets, Just Like Heaven at least distinguishes itself from other romantic comedies by having a fantasy element and being able to earn our sympathies as a metaphysical relationship is sweetly but movingly played out.

Elizabeth Masterson is a supremely dedicated and caring San Francisco physician, who as events open is completing a marathon twenty-six hour shift. The hospital is Elizabeth’s whole life and she has little time for anything else. Her superiors tell her to go home and rest and after much resistance she does. Though on the way home where she is to go on a blind date set up by her sister, Elizabeth’s car collides with another in an accident. Three months later through happenstance, David Abbott; a landscape architect still grieving for the death of his wife two years prior moves into Elizabeth’s apartment. What he gets is a real surprise when Elizabeth appears and begins telling him that he is trespassing in her apartment. Bewildered and shocked by the fastidious woman telling him that the apartment isn’t his, David is in for even more of a surprise as he comes to see that Elizabeth is in fact a spirit who only he can see and seemingly communicate with. The pair is then at each other’s throats about this as confusion takes centre stage and David remains puzzled on how this apparently supernatural turn of events unfolds. On the other hand, fussy Elizabeth is convinced she is not a spirit of someone recently deceased even though there is a lot of evidence to suggest this( she can walk through walls and appear and disappear at will). She also has gaps in her memory and call only recall her name. David enlists the knowledge of Darryl, a young bookshop worker who has an unexpected gift of being able to sense cosmic and spiritual energy. Over time, Elizabeth and David’s animosity thaws as they grow closer and Elizabeth manages to get David to open his heart once more after keeping it guarded for so long following his wife’s death. Yet as they begin to warm up to one another romantically and assemble some of the fragmented pieces of why she is a spirit and only David can see her, unexpected circumstances threaten them. Can the growing love between them conquer an uncertain future for the unusual union?

Mark Waters makes proceedings a mixture of humorous and emotional, letting the two main characters work through their differences which are anything but ordinary. A sensitivity is generated throughout the film which sets it apart from most romantic comedies that often have no real depth to them. And yes Just Like Heaven has its amount of sugary moments that you’d probably expect, but the soul of the film permeates through with effervescence. The brisk pace makes the movie sprightly and full of moments of comedy; most of the humour stemming from situations in which David talks to Elizabeth, who often disagrees with him and other people think he’s either crazy or hallucinating about something. San Francisco shines in sun dappled glory, pervading the film with a loving sense of magic that comes from the two principal characters. It must be said that Just Like Heaven is in my view a very underrated film that not enough people talk about. If it’s a romantic comedy with a supernatural twist, this movie is the ticket and provides something a little different from the ordinary. A tender score accentuates the growing attraction of the two main characters and the subject of fate which seems to play a part.

Reese Witherspoon is engaging, funny and moving as the dedicated Elizabeth, whose predicament of whether she’s alive or dead takes centre stage. Witherspoon positively glows in an ethereal way in a part that displays her deft comedic timing and soulful emotions. Equally as good is Mark Ruffalo in the part of the grieving David, at first shocked at the appearance of Elizabeth and then slowly given parts of his life back as he develops romantic inclinations for her. Mark Ruffalo really shows a different side to his acting here, showing a gift for physical comedy underneath a veneer of wounded seriousness. In an exceptionally hilarious performance as the chilled out psychic Darryl, Jon Heder makes a marked impact on the film whenever he graces the screen in this engaging supporting turn. The guy is just hysterical because as helpful as the character is, he’s often so laid back he could fall over. Donal Logue as David’s concerned friend and Dina Spybey as Elizabeth’s sister help complete what is already a lovely film.

A funny but very touching romantic comedy/fantasy, Just Like Heaven is a heartwarming film, given a gentle core and an amusing top, along with lovely work from the two leads that bring a touch of magic to the underrated film.

On a Clear Day You Can See Forever

Tags

1970's, Barbra Streisand, Fantasy, Jack Nicholson, Larry Blyden, Musical, On a Clear Day You Can See Forever, Romance, Vincente Minnelli, Yves Montand

Film Title

On a Clear Day You Can See Forever

Director

Vincente Minnelli

Starring

• Barbra Streisand as Daisy Gamble/ Lady Melinda Tentrees
• Yves Montand as Dr. Marc Chabot
• Larry Blyden as Warren
• Jack Nicholson as Tad

An unusual and visually opulent musical/ romantic fantasy, On a Clear Day You Can See Forever is an oddity, but a visually entrancing one that has a dream like effect and Barbra Streisand to boot.

Daisy Gamble is a scatterbrained, kooky New Yorker who seems to possess strange gifts. For example, she can tell when a phone is about to ring and can cause flowers to grow wildly. Though because she is more than a bit absent-minded, she puts these powers down to nothing and doesn’t give them much thought. While Daisy is slightly zany, she has a priggish fiancée named Warren who always wants to make an impression and chides Daisy for some of her behaviour, particularly her chain-smoking. He suggests she find someone to help curb her habit before an important party they must attend. One day she wanders into a lecture on hypnosis by Dr. Marc Chabot and is herself briefly put under it. Chabot grows curious about Daisy and is interested when she comes to him to help with her habit. He organizes to see Daisy but what he finds while she in under hypnosis is more than he bargained for. Daisy regresses back to what appears to be a past life of hers; Lady Melinda Tentrees, a coquette in 18th Century England who used her charms to climb the ladder and was later put on trial for her supposed misdeeds. At first, Marc thinks that these talks of a past life are fabricated, but soon begins to come around to the idea. Marc doesn’t tell her about what she has said and due to his skill with hypnosis makes sure she doesn’t know about her talks of this past life. Could Daisy genuinely be a reincarnation of Melinda? And what about the complicated feelings that both Marc and Daisy develop? These emotions are given added strangeness by the fact that has been bewitched by Melinda and Daisy becoming attracted to.

Vincente Minnelli exudes his customary and exceptional meticulousness in the director’s chair, particularly when it comes to the dreamlike fantasy aspects of this movie. He’s a director whose work comes alive with colourful plushness from every angle. Minnelli excels best in the regression sequences, accentuating colour with expressive camerawork and eye-catching movements. It’s impossible not to watch open-mouthed at the decorative splendour, embodied through luscious lighting and  beautiful costume design. One special costume deserves considerable mention; a lovely bejeweled gown with a matching headdress that is captured in splendid beauty by the cameras and direction. And the film is given a boost by the fact that Minnelli having had experience in musicals before, is a natural when it comes to the music numbers, which are done with pleasing panache. The standouts are the title song played over psychedelic visuals, the alluring ‘Love With all the Trimmings’ sung by Streisand in her marvellous voice and ‘Come Back to Me’ which Marc sings when he finds his worlds merging with Daisy’s and her past lives. On a Clear Day You Can See Forever has its fair share of flaws though. Some of the techniques used seriously date the film and become jarring as it progresses. The film could have been could a bit more coherent and sharper as the second half gets very bogged down with explanations, too much finery and needless scenes that fail to give a grasp to the blooming romances. Also, the sub plot of Marc’s talks with Daisy getting public notice and provoking controversy is a pretty needless avenue to go down. Despite these flaws, On a Clear Day has enough unusualness and style to appreciate it and forgive the sometimes wayward editing and choppy pacing that show the film’s age .

Barbra Streisand showcases her talents for both singing and acting here, and boy does she know how to put a show on. In this film, she really displays her gifts for entertaining with a set of performances that are funny, charming and kooky. And the fact that Streisand plays two distinctly different characters( a free-spirited and strangely dressed young woman and an elegant, beguiling flirt who rose through English society) so well, is a big sign of her undeniable talents as a performer and actress. Streisand is one of On a Clear Day’s biggest attributes and she is hard to forget. Yves Montand has the necessary bewilderment and curiosity for his role as he finds his views on reincarnation altered drastically. Yet Larry Blyden is introduced to late as Daisy’s pushy fiancée to really make a mark on the story. Movie buffs should look out for a young Jack Nicholson as Daisy’s laid-back step brother. It’s a small role, but any Jack Nicholson is better than none.

Flaws aside regarding the pacing and slow second half, On a Clear Day You Can See Forever has plenty of flourishes from director Vincente Minnelli and delightful energy from the indomitable Barbra Streisand to make it a strange but intoxicating musical fantasy.

Woman on Top

Tags

2000's, Fantasy, Fina Torres, Harold Perrineau, Mark Feuerstein, Murilo Benicio, Penélope Cruz, Romantic Comedy, Woman on Top

Film Title

Woman on Top

Director

Fina Torres

Starring

• Penélope Cruz as Isabella Oliveira
• Murilo Benicio as Toninho Oliveira
• Harold Perrineau as Monica Jones
• Mark Feuerstein as Cliff Lloyd

A curiously slight and immensely flawed romantic comedy that brings in an attempt for magic yet doesn’t really work as everything feels tired, Woman on Top is sadly lacking in the story department and suffers. Save for the beautiful incandescence and considerable charm of Cruz , Woman on Top is a rather tepid and uninteresting romantic comedy.

Isabella Oliveira is a beautiful woman from Brazil who has been cursed all her life with motion sickness. The only way for her to control it is to take the lead or be on top with most things. She is married to the macho restaurant owner Toninho, who serves out front while she acts as a chef. This is where Isabella’s gifts truly lie as her cooking has a hypnotic effect on people, but especially men as it weaves an unexplainable magic spell on the senses and the heart. The trouble is arrogant Toninho takes all the credit for everything while Isabella slaves away unnoticed. When Isabella discovers that Toninho has been cheating on her because he feels so emasculated by her always being on top, she flees to San Francisco devastated by his betrayal. She moves in with childhood friend Monica Jones, who is a transvestite and someone she deeply trusts. Trying to get her mojo back but constantly reminded of Toninho, she makes an offering to a Brazilian sea goddess that the village she once lived in worshiped to make her forget him. It appears that the prayer is answered as Isabella starts to get more confident and sexy. She sets about looking for a job as a chef, seeing as it is her deepest passion. Surely enough, her bewitching personality and magical gifts with cooking attract the attentions of struggling television producer Cliff Lloyd, who is bowled over by her. He persuades executives to give Isabella her own TV show, which emerges as a major success. Meanwhile, Toninho is remorseful and deducing where his wife is travels to San Francisco, followed by his loyal band of musicians. He tries to win Isabella back, but she isn’t interested thanks to her newfound personality and the intervention of magic. Much confusion rises as Isabella pursues Cliff but is hounded by Toninho, despite the fact that she turned to magic for help in forgetting her cheating spouse.

Fina Torres in the directors seat does have some stylish touches to add to the film, but can’t quite bring the elements together in good harmony. It’s as if she’s trying to throw in all these things, such as comedy, romance, the seductive art of cooking and mystical magic and expecting them to work. Unfortunately for Torres, the parts don’t gel at all well and Woman on Top falls flat rather than rising high. A film like Woman on Top promises to be sultry and sexy, yet not much of that transfers from the screen due to the stilted vision and the only thing contributing anything earthy is Cruz. Though it is supposed to be a comedy, there are nary any real laughs to be found in it which is a major disappointment(a running gag of Toninho serenading Isabella at every given chance becomes very numbing and tiresome) considering that it doesn’t deliver on what it was supposed to be. And any attempt to introduce conflict, such as Isabella’s dissatisfaction with the machinations of the network just emerge as hollow and hackneyed. Some pleasure can be heard and enjoyed in the smooth Bossa Nova soundtrack that is relaxing and injects some of the sensuality that Woman on Top sorely lacks in almost every area.

The biggest asset of Woman on Top and bringing out a much-needed sexiness is a delightful Penélope Cruz, who is as engaging as ever. Cruz is clearly too talented for such slight material, but she manages to overcome all the flaws and display a dazzling array of sensuality, vulnerability and heart as the conflicted Isabella. She is clearly the main reason to continue watching Woman on Top even as it becomes over clichéd and something of a tired exercise. When you’ve finished this film, it will be the lovely Penélope Cruz that you will remember as her star appeal and talents emerge unscathed. Murilo Benicio, while possessing the overly macho personality of Toninho, is not given a role with enough scope to register which seriously doesn’t help the film considering he’s one of the romantic leads. Harold Perrineau is another excellent standout playing Monica with a heart and sassy humour that bounces off Cruz very well. Perrineau and Cruz make for a good team in this film so it’s something of a shame that they couldn’t have had a better movies worthy of their talents. Mark Feuerstein however charming and bumbling, just can’t bring the dull role of Cliff to life as it is so poorly written and just not at all interesting.

Woman on Top just becomes a forgettable movie that had some interest, partly due to the sensual presence of Cruz, but can’t recover from an overly recycled story and a strange lack of feeling to it all.