The Lost World: Jurassic Park

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1990's, Adventure, Arliss Howard, Jeff Goldblum, Julianne Moore, Pete Postlethwaite, Peter Stormare, Richard Attenborough, Richard Schiff, Steven Spielberg, The Lost World: Jurassic Park, Vanessa Lee Chester, Vince Vaughn

As the sequel to the gargantuan blockbuster and game changer Jurassic Park, The Lost World: Jurassic Park has big footsteps to follow. And while it’s impossible to compare to the classic that was the first movie as the magic has worn off quite a bit, The Lost World still has moments of awe and thrills to keep you entertained in this adventure.

Following the events of the first film, survivor and chaos theorist Dr Ian Malcolm( Jeff Goldblum) has been written off as a lunatic after he spoke about the devastation and horror of the botched attempt at opening the park. Interestingly, the sarcastic Ian is summoned by the billionaire John Hammond(Richard Attenborough) , the man behind the original park. It transpires that there was a second island where the dinosaurs where bred by the InGen company, that was abandoned following a hurricane. The species of prehistoric creatures where set into the wild and have been living there ever since, despite originally being programmed to not live long due to a build in deficiency. There are no cages or fences on this island so the genetically modified dinosaurs roam free. Hammond is in a pickle as the company he owns is under scrutiny and his leadership is being undermined by his own nephew Peter Ludlow(Arliss Howard), a most weaselly and greedy upstart who has a flagrant disregard for the feelings of others  . After a young girl was savaged by some dinosaurs on the island after her family docked there , an investigation was launched into the area . Hammond wants Ian to travel to the island and with a crew document the creatures in order to rally some public support and stop the evil takeover planned by .  For wishes to make money off the dinosaurs on the island. After discovering that his girlfriend, the impulsive palaeontologist Dr Sarah Harding( Julianne Moore) is on the island, he decides to go even though he isn’t thrilled with the idea. Joining him are the photographer and part time environmentalist Nick Van Owen(Vince Vaughn) and equipment specialist and engineer Eddie Carr(Richard Schiff) . Once they meet up with the promising Sarah, they discover that Ian’s estranged daughter Kelly( Vanessa Lee Chester) hid away in the travel so she could tag along. This doesn’t bode well for Ian who is often at loggerheads with Kelly as they argue over how much he is away from any parental responsibility. Such disagreements are put on hold however once Ian realises that they aren’t the only humans on the island. Around this time another team soon follow with the hunter Roland Tembo(Pete Postlethwaite) at the helm and with a desire to capture a Tyrannosaurus. He is alongside the slimy Ludlow, whose plan is then revealed as one that involves taking the remaining dinosaurs and creating something of a zoo in San Diego.  Attempts by Malcolm and his group to help the dinosaurs are thwarted and with the other group with mercenary intent in mind, it inadvertently causes chaos as the prehistoric beasts begin a vicious attack against the humans. Now it’s another fight for survival against the creatures, from T-Rex to velociraptors. Everyone on the island is at risk as the rival groups have to band together in an escalating battle to make it out alive.

The shadow of Jurassic Park is still over this movie( I mean how could it not be?) and the movie somewhat stumbles as it reaches for impossible heights. But as I’ve grown older, I’ve discovered that The Lost World is rather underrated and I’ve began to reassess it. Admittedly it’s still flawed and doesn’t quite have that snap of its influential largely down to a long winded plot and how it moves a bit slower than it should, but it doesn’t mean that the film isn’t at least thrilling and watchable in large stretches once the action kicks into high gear. The Lost World has always been the entry of the series that I’ve been in two different mindsets on and I still am in both. It just seems that now I view it with a more positive outlook than before while still seeing that it’s definitely not as magical as it could be. Steven Spielberg is once again on directing duties and shows his immense skill in many a set piece.  The Lost World feels quite a bit darker and there is more than a bit of grisly savagery that’s surprising yet jaw dropping( watch out for a ripped apart death scene, onslaught on a hunter who soon regrets his treatment of the Compys.) And not forgetting the intelligent and stealthy raptors sneaking up on people in the long grass in a sensational sequence and a waterfall stained with blood after the giant T-Rex has snacked on a terrified victim. This is backed up by some moody cinematography set mainly at night and impressive camerawork that puts us at the heart of adventure.

Spielberg displays a fantastic knack for entertaining an audience and making sure that no nail is left not bitten. Case in point is the scene in which the two big T-Rex come looking for their infant. Although Sarah helped nurse it following its brutal treatment, the dinosaurs don’t take to anyone messing with their offspring. Attacking the trailer that houses, it leaves the terrified trio on a precipice quite literally as the trailer is forced halfway off a cliff. Sarah falls inside the trailer and her plunge is stopped by a sheet of glass. The only thing is that once she comes around the glass begins to splinter slowly underneath her. It’s heart-stopping stuff as she attempts to remain still and not allow the glass to break any quicker, which would result in her death. You’re seriously holding your breath as the scene plays out and it’s the main set piece of that sticks in my memory from The Lost World. Other sequences like the attempted capture of dinosaurs by the evil company that resemble a wild safari are stunningly action packed, but the glass scene is where it’s at for me as I’m a sucker for suspense. When it comes to the effects, the film does deliver the goods. And though some of the novelty and magic has worn off , it’s a thrill to see many return as well as some newer ones. There’s the diminutive but vicious Compys, that stun prey before devouring it, huge Stegosaurus that Sarah photographs and it’s a thrill to see the velociraptors back and as cunning as ever. The effects are still of a high standard and further enhance the adventure aspect of this sequel. John Williams aids events with a thundering score, with a heavy percussive feel that fits the jungle setting and the rising tension with rattling drums. The music bristles with excitement and menace, both things that Williams truly excels at providing us with.

While the characters aren’t quite as compelling as before and are sometimes rendered as not the sharpest in terms of brains, the handsomely assembled cast still does very good acting with what they have to work with. Jeff Goldblum, who is always a fun actor to watch, plays the sarcasm and cynicism extremely well. Goldblum balances both humour and a feeling of seen it all weariness that suits the film down to the ground. Julianne Moore, who many readers will know is one of my favourite actresses, has some great moments as the main female in the film . Her character isn’t exactly written with much in the way of depth, but the always talented Moore imbues her with wits, impulsive curiosity, terror and fun that’s nice to watch. Vince Vaughn has a sense of action and humour to him as an activist not afraid of a fight. Pete Postlethwaite is one of the big standouts here, essaying the role of game hunter who is seemingly singled minded but has his own set of scruples that make him more complex. The part could have just been one dimensional but the gifted Postlethwaite infuses it with a certain level of depth, gravitas and experience. Arliss Howard is a slithering presence as the nasty Peter Ludlow; a smug, self satisfied man with no compassion or sense of decency in his body. Howard plays this villain for all its worth, backed up by the scene-stealing Peter Stormare as a vicious hunter who is bad to the bone. Vanessa Lee Chester is saddled with the typical role of kid in danger and isn’t required for much else. She even gets the films most eye-rolling moment that just feels so out of place. Richard Schiff is nicely understated as a courageous member of the team who puts his life on the line. Richard Attenborough, though appearing briefly, is still effective at showing how John Hammond has changed from eccentric billionaire with grand ideas to a man making amends for what he’s done. As previously mentioned, the characters can come off as holier than thou but most of the acting rises above that.

So it’s not rivalling it’s predecessor on the epic front and it isn’t a masterpiece, but The Lost World: Jurassic Park has grown on me a bit. I can accept it’s flaws in the development department, as there are quite a lot of moments that do stand out in this sequel that treads familiar ground. Though it does this it still knows how to push many of the right exciting buttons for the audience and keep you entertained.

Children of Men

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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. 

What Is Your Favourite Julianne Moore Performance?

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Favourite Performance, Julianne Moore

Today I put the spotlight on the always watchable and convincing Julianne Moore. If you ever want someone to really get into a complex character and express deep emotion, Moore is your woman. Such moving and frequently revealing performances have made Julianne Moore an actress I can never tire of watching. She never seems to go for the easy option, instead delving into characters that are multi-faceted and show off her considerable abilities in daring ways. So which of her many roles is your favourite?

Crazy, Stupid, Love

Tags

2010's, Analeigh Tipton, Comedy, Crazy Stupid Love, Drama, Emma Stone, Glenn Ficarra, John Requa, Jonah Bobo, Julianne Moore, Kevin Bacon, Marisa Tomei, Romantic Comedy, Ryan Gosling, Steve Carell

Film Title

Crazy, Stupid, Love

Directors

Glenn Ficarra and John Requa

Starring

• Steve Carell as Cal Weaver
• Ryan Gosling as Jacob Palmer
• Julianne Moore as Emily Weaver
• Emma Stone as Hannah
• Kevin Bacon as David Lindhagen
• Marisa Tomei as Kate
• Jonah Bobo as Robbie Weaver
• Analeigh Tipton as Jessica

A very disarming romantic comedy, that brings in touching drama effectively, Crazy, Stupid, Love guarantees laughs and sympathy with a big heart and fabulous cast. This is for my money, one of the better romantic comedies in years.

Middle-aged Cal Weaver’s life looks like it’s going swimmingly; he’s long time been married to high school sweetheart, has two children and a good job. But this is about to take a sever nosedive as Emily reveals that she has cheated on him and now wants a divorce. Dejected and shocked, he drowns his sorrows at the bar. While there, resident Lothario Jacob Palmer takes sympathy on depressed Cal and offers to help him turn his life around. Cal accepts and smooth-talking Jacob soon has him growing more confident with a makeover and tips regarding the dating scene. Cal finds that after getting awkwardly to grips with dating, he can be quite a guy and a real charmer with the ladies. Yet while gaining confidence and his mojo back, Cal can’t help but feel that something is missing and that he may have to confront the feelings he still has for Emily. Meanwhile, Jacob finds himself falling for law student Hannah, who initially rebuffed him but wants some excitement in her life after feeling that her steady but dull boyfriend is not what she was looking for. Because he has always been the player, Jacob doesn’t know how to approach the possibility of love. Also feeling the pangs of love is Cal’s son Robbie, who has a hopeless crush on his pretty 17-year-old babysitter Jessica( who it transpires has feelings for Cal herself). Much hilarity and unexpected results abound as a result of love.

Directors Glenn Ficarra and John Requa really know what they’re doing with this kind of project and ensure that the laughs flow just as much as the drama of it all. By far the largest and best thing Crazy, Stupid, Love has in its artillery is a snappy script. There is a devilish and side-splitting back and forth there;particularly in regards to the Cal and Jacob parts of the movie( the makeover of Cal is a very hysterical part), as well as a good few cynical jabs at pop culture’s idea of romance. What set apart from many other film of the crowd, was that it let the characters be flawed yet likable. With too many comedies, it becomes a case of us always having to like the characters all the time. Crazy, Stupid, Love does things differently by equally making time for the humorous aspects of the players and blending with the touching insights we get to them, expressing their insecurities and desires. The movie never ceases to be hysterically funny and irreverent, but the added parts of drama give it a lot more impact and made it a better movie that what I expected it to be. And rather than be overly predictable, there are some extremely well-timed surprises along the way, bolstered by a genuine heart and sympathy. Love and relationships are depicted as funny, complex and unexplainable, but always there no matter what. A gentle and amiable score perfectly matches the events on screen in a very accomplished way that doesn’t overstate things. The only niggle I found was that the film was a tad too long, but honestly that was the only thing in a very funny and satisfying movie.

A winning cast is the proverbial cherry on top. Steve Carell is inspired casting as the hapless Cal, who doesn’t know what to do with his life after discovering the infidelity of his wife. The required awkwardness, every man quality and emotion is glimpsed, but Carell succeeds the most at displaying his sense of humour once Cal gets a new lease of life. Some of his facial expressions are just so funny and equally touching, often in quick succession and it is hard not to want to reach through the screen and tell this guy that things will work out for him. Ryan Gosling plays remarkably well off the straight-laced and sympathetic Carell with his matinee idol image of a stud put to great use. Yet while his good looks and charisma are all there, he also gets the opportunity to reveal a bit more than just the standard role of the playboy wing man. Both men take up a lot of the story and have a blast doing so. The rapport between them is one of those winning combinations that benefits the other and ensures that the laughs and good nature of Crazy, Stupid, Love come percolating through. The distinctively emotional and expressive delivery of Julianne Moore is very well suited to the part of conflicted Emily. We witness how she begins to rue her decision to ask for divorce, despite being involved with someone else. As usual, Moore is terrific. Emma Stone is a vibrant flash of energy and has some sparkling chemistry with Ryan Gosling, alongside humour to burn. Laughs are also guaranteed courtesy of Marisa Tomei, playing the schoolteacher who sleeps with Cal and then becomes neurotic over him not bothering with her because of his new lifestyle. Her scenes are a real hoot and though the part is small, it’s well-played and memorable. Kevin Bacon has probably the least developed part of the man Emily cheated on Cal with, but has fun with it anyway in the way that he knows how. Jonah Bobo, despite his young years, comes off incredibly confident and mature when playing the young boy mooning over his babysitter crush, while also dispensing advice about love to grown ups. The lovely Analeigh Tipton sweetly portrays the longings of a girl near womanhood and the confusion of it all, very perceptively and honestly.

In fact, it must be stated that Crazy, Stupid, Love features such great chemistry from each cast member, it’s positively infectious.

A simply wonderful and warm slice of romantic comedy-drama, Crazy, Stupid, Love is the kind of the film that will leave you with a massive grin on your face.

A Single Man

Tags

2000's, A Single Man, Colin Firth, Drama, Julianne Moore, Matthew Goode, Nicholas Hoult, Tom Ford

Film Title

A Single Man

Director

Tom Ford

Starring

• Colin Firth as George Falconer
• Julianne Moore as Charley
• Nicholas Hoult as Kenny
• Matthew Goode as Jim

An emotionally rich and soulful debut from fashion supremo Tom Ford, A Single Man is a film not to be missed, as it delves into themes of grief, contemplation and love.

It is 1962; George Falconer is a gay British professor living in California, who lost his partner Jim to a car accident eight months ago. His grief is very strong and he just attempts to get through the days, which is becoming more and more difficult as life without Jim is completely unbearable in George’s eyes. A Single Man unravels across a sole day in which George is faced with a decision that could be final. George is so haunted by the memories he shared with this soul mate that on the day in which the film takes place, he is contemplating suicide to end his suffering. Throughout the day, he comes into contact with many people who populate his life and could potentially sway his decision of committing suicide. There is his boozy friend Charley, who he once had a relationship with but she is now somewhat lonely and craving any sort of attention and love. We also have Kenny, one of George’s students who pines for his professor’s attentions after hearing him give a rousing lecture which is different from his usual style of teaching. Through these respective meetings, George starts to see things differently for possibly the very first time since losing Jim. But will any of these encounters or events truly persuade George that he should go on with life, instead of ending it all?

Tom Ford, in what was his debut as a director, suffuses A Single Man with both beauty(gorgeous black and white flashbacks of happier time with Jim ) and wealth of emotion(George’s morning routine of putting his clothes on in an armour like fashion, while he narrates his struggle of presenting himself). Ford is a visionary to be sure, but his greatest talent lies in his exploration of the central character’s journey and seating us right at the heart of it, giving us the full clout of it all. Also worthy of note is the way that sexuality is resented in A Single Man. The setting is the 60’s when homosexuality was still a taboo and while there are coded references to this knowledge, the character of George is presented in a very matter of fact way. His romance with Jim is shown with the respect and love of any other relationship in movies, which is how it should be. Kudos to Tom Ford for displaying he relationship like this and not sensationalizing it. The premise of A Single Man sounds like a real downer and yes it does have an air of sorrow throughout, but it also feels very alive and vibrant as George considers opening up to possibilities and beauty in the world, just as he does battle with thoughts of ending it all. The stupendous cinematography clearly enriches this, capturing the grey parts of George’s world that quite literally become golden when he opens his eyes to life’s possibilities the last time in his life. Colour is key is this film and it just adds another layer of sophistication and beauty to this moving story that refuses to let go of you once it has pulled you in. The visuals have to be some of the best that I’ve seen in a movie for a while, because of powerfully they accentuate the narrative and drive the events along with scrupulous depth. A powerful music score evinces the emotions at play with degrees of shaded nuance to them. The score is sublimely conducted and matches events with nary a wasted note present.

Colin Firth is astonishingly fantastic in a role that fits him like one of the character’s suits. He is a master of restraint and burrows quietly into the devastation and contemplation of George. He is put quite simply, a marvel in the part of stoic sadness and rumination that reveals so much with the tiniest of gestures. Firth has rarely been better than he is here and this for me is a defining role for him that I won’t forget in a hurry. Julianne Moore provides sterling support acting as the drunken party girl, who covers her crushing loneliness with bravado while still carrying a torch for George, despite knowing that nothing will come of it. Nicholas Hoult sensitively stars as the love struck student who wants his professor to open up more and makes the character quite sweet and supportive in the long run. Matthew Goode plays the deceased partner of George’s in vivid flashbacks with a charm and ease that it isn’t hard to grasp why George’s world is falling apart without his shining light.

A deeply moving and sensuous piece of cinema, A Single Man brings out a whole array of thoughts that leaves you feeling so many different things. Anchored by the composed work of Colin Firth, A Single Man is a beautifully rendered and haunting film that grips and moves you in every conceivable way.

Laws of Attraction

Tags

2000's, Frances Fisher, Julianne Moore, Laws of Attraction, Michael Sheen, Parker Posey, Peter Howitt, Pierce Brosnan, Romantic Comedy

Film Title

Laws of Attraction

Director

Peter Howitt

Starring

• Julianne Moore as Audrey Woods
• Pierce Brosnan as Daniel Rafferty
• Michael Sheen as Thorne Jamison
• Parker Posey as Serena Jamison
• Frances Fisher as Sara

This romantic comedy never quite hits the mark that it is going for in trying to emulate classic battle of the sexes movies, but thanks to good chemistry from the leads, Laws of Attraction is at least an entertaining way to pass the time.

Audrey Woods is a successful divorce lawyer in New York who does things by the book and studiously, which pays off as she has never lost a case. That is threatened however by the recent arrival of the irascible Daniel Rafferty, another divorce lawyer who boasts a similar reputation, but different methods. While Audrey is the analytical and slightly prim one, Daniel gets by on luck and charm. They find themselves continually pitted against the other and this is where a sexual tension builds. Audrey, who has all but given up on the dating scene, has no interest in a relationship after seeing so many just wither away. Daniel on the contrary is extremely attracted to her and wants something genuine out of it, much to Audrey’s chagrin. Yet these feelings may go on the back burner when trashy couple of rock star Thorne and designer wife Serena head to the divorce court. Audrey and Daniel continue to clash in and out of the courtroom, especially when they must visit the couple’s castle in Ireland that both of the squabbling parties wants for themselves. Yet after one specific event during an eventful night for Audrey and Daniel, things between them could very well change, even though each is on the opposing side. The gloves are off as battle commences, yet will the undeniable spark that sizzles between them thaw out or ignite into something else?

Peter Howitt and his direction are passable, but not really setting the world ablaze. Regardless, he displays some talent for humour, despite the slim pickings and silliness of some of the content present. Laws of Attraction isn’t what you would call compelling viewing, and yet there are some good points that can be combed from the mess. It amounts to a pleasing diversion if nothing else, but you are left with the feeling that more could have been injected into the film somehow. The script was amiable and had moments of good banter between the feuding lawyers, but it never had that snap of the romantic comedies of old that it was trying to reference. Undeniably, it has a few laughs in there that occasionally hit the mark very well that I simply can’t deny. But judging the overall experience, there is definitely something curiously uneven about Laws of Attraction that drag it down in my estimations. The chemistry of the leads makes up for some of this, raising the film to a watchable level. There is the glossy style of the film that carries a certain kitsch and archaic quality to it, plus the locations of New York and Ireland are quite stunning. The music provided is pleasing to the ear and more than a little playful. And I did enjoy the retro infused title sequence that is one of the better attempts in the film to have an old-fashioned sense of celluloid. But considering there are good elements in Laws of Attraction, one can’t help but feel there is a void there that needed to be filled.

If anything saves Laws of Attraction from being dull and a complete washout, it has to be most of the cast, in particular the romantic leads. Julianne Moore is one of the most versatile actresses out there and here she shows a whole new different side. Vastly sailing above the by the numbers material, she displays some deft skill at comedy by playing career woman Audrey with a neurotic humour and heart. The tough outer steel of the character is a mask that slips to reveal insecurity and a want for love, all of which is embodied with ease by Moore. She really made me laugh in parts of this film with her quick talking antics and smart yet desperate yearning. It’s hats off to the delightful Julianne Moore in another great performance. Pierce Brosnan plays the rakish sparring partner and love interest. Portraying suave and smooth is nothing groundbreaking for him, but as it is his strong suit, he uses it well in the part. The same can’t be said of Michael Sheen and Parker Posey, who are basically thrown into the mix as a plot device and nothing else. I respect and enjoy watching both actors normally, but the sheer lack of any decipherable role is unfortunate for both of them. The film could have at least called for them to do more as the trashy couple going through the acrimonious divorce. Frances Fisher is the best in the supporting cast. As the Botox-loving, cocktail swigging mother of Audrey, she registers the most laughs in her attempts to be young again through any means possible. Whenever she is on screen, Fisher is a comic delight to be enjoyed.

It never ever reaches full potential and more than often feels rushed, though the acting is fine from Brosnan and Moore. I just wanted something more out of Laws of Attraction, which winds up with me seeing it as a mixed movie.

 

Which Actors and Actresses Seem to Get Naked A lot on Film?

Tags

Ewan McGregor, Helen Mirren, Julianne Moore, Kate Winslet, Matthew McConaughey, Nudity

I recalled the other day that my last post on movie nudity got a lot of attention and interesting opinions. So I decided it would be good to delve into the subject of cinematic nudity once. This time around, I’m asking which actors and actresses appear to strip off a lot in their movies? If I had a body like some of the top stars, I’m sure I’d be fine getting naked on screen. But I digress, I will now mention the stars that in my opinion, seem very comfortable in taking it off for the screen.

Ewan McGregor:

This guy appears very at ease with his body and is more than willing to be seen on celluloid in the buff.

Julianne Moore:

The beautiful and hugely talented Miss Moore is also comfortable on doing nude scenes with a tastefulness and honesty.

Kate Winslet:

Elegance, supreme acting chops and confidence fill Kate Winslet, who has done many a nude scene and had no difficulty shedding clothes for the camera.

Matthew McConaughey:

I’ll admit if I had a body like this guy, I wouldn’t feel the need to wear a shirt ever. I mean just look at the guy.

Helen Mirren: 

A classy lady and marvellous actress, Helen Mirren has never shied away from going nude, only recently saying she’s retired her body from the screen.

So do you agree with my choices? Or do you think there are other stars who parade on screen in the buff.

The Hunger Games: Mockingjay Part 1

Tags

2010's, Action, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Liam Hemsworth, Natalie Dormer, Philip Seymour Hoffman, Sam Claflin, Science Fiction, The Hunger Games: Mockingjay Part 1, Woody Harrelson

Film Title

The Hunger Games: Mockingjay Part 1

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Julianne Moore as President Alma Coin
• Philip Seymour Hoffman as Plutarch Heavensbee
• Donald Sutherland as President Snow
• Jeffrey Wright as Beetee
• Sam Claflin as Finnick Odair
• Natalie Dormer as Cressida

The third film of the franchise, Mockingjay Part 1 emerges as a more subdued sister than its previous installments. At times it does feel a bit slow and devoid of action, but at the same time it’s interesting to watch this gathering calm before the storm as it explores political upheaval and the growing sense of rebellion.

Katniss has been saved after destroying the Games in the last movie. Scared and wracked with nightmares, she is taken underground to District 13. After her act of defiance, her district was destroyed and acts of protest against the corrupt Capitol have been ever-present. The enigmatic Alma Coin and political propaganda expert Plutarch Heavensbee sees Katniss as the poster girl for a full-scale attack on President Snow and his barbaric forces. The wounded Katniss is very reluctant at first to strike back as she worries about what happened to Peeta. But after seeing the destruction of her district and the sheer cruelty of Snow which includes having a brainwashed Peeta as the spokesman to talk down rebellion, that inner fire inside of her begins to burn and she becomes the face of resistance in this time of political strife and corruption. Yet with Snow using his choke hold of tyranny against the districts, it is going to be dangerous for all involved. But the newly resurfacing of Katniss is returning and she will spearhead this campaign to bring down the corrupt powers that be, aided by good friend Gale and bands of rebels wanting to be free from oppression.

As I previously mentioned, Mockingjay Part 1 is the slow build up kind of movie. For times in the film, it works very well in capturing the machinations of political rebellion and the waiting to strike. I did however find parts of it a bit dull and craved a bit more action than what was shown. Yet this doesn’t make it any less effective as a movie, it’s just slightly different from the last two entries. Francis Lawrence crafts this engaging story with a certain topicality in the politics and propaganda used featuring Katniss as the face of resistance. Even though this film is set in the future, many of the issues it deals with are very present in our current climate which adds a further dimension to this series. Mockingjay may be the slow burner, but it has a personal and more intimate feeling to it. It may be risky to have a sci-fi/action movie that only has sporadic moments of action, but I liked the way in which Mockingjay showcases how wars can be waged with the power of words and imagery rather than just violence. An effectively bleak visual style gives voice to the darkness and terror felt by the people under the rule of President Snow. An evocative and building score helps give tension and personal feeling to Katniss as she regains her steel and prepares to fight for the people. The scene of Katniss singing ‘The Hanging Tree’ and it acting as inspiration and a call to arms is an excellent example of this as the melody flows through with urgency.

Jennifer Lawrence rivets the attention from beginning to end as the emotionally tormented heroine Katniss. Embodying rage, pain and steel, she is a strong-willed character who can make a difference in a world of barbarity. With deep clarity, selflessness and toughness, Lawrence is a marvel to watch as the resilient and purposeful warrior due to her mature performance and sheer amount of talent. Josh Hutcherson, although seen quite sporadically this time, is strangely different as the Peeta who has been tortured and brainwashed. Liam Hemsworth contributes the mix of caring emotion and earnestness, while Woody Harrelson continues to be a hoot as mentor Haymitch. I liked seeing Elizabeth Banks as the now dressed down Effie, once the glory of the Capitol and now an ally with freedom. Julianne Moore encompasses the cold, detached persona of President Coin, while the late Philip Seymour Hoffman brings a considerable presence to his part as the propagandist. Hoffman is still missed now and this movie is a reminder of his talent and skill even in a small role. Donald Sutherland is still as menacing and commanding as ever as the despicable President Snow, who is not tolerating rebellion against his tyranny. Jeffrey Wright, Sam Claflin and Natalie Dormer in supporting roles at least make an impact, despite somewhat limited screen time.

Mockingjay Part 1 emerges as a thought-provoker rather than an action blockbuster which may disappoint some, but is still very effective in the way it is gearing up for the next part.

 

The Forgotten

Tags

2000's, Alfre Woodard, Anthony Edwards, Dominic West, Gary Sinise, Joseph Ruben, Julianne Moore, Linus Roache, Psychological Thriller, Science Fiction, The Forgotten

Film Title

The Forgotten

Director

Joseph Ruben

Starring

• Julianne Moore as Telly Paretta
• Dominic West as Ash Correll
• Gary Sinise as Dr. Jack Munce
• Alfre Woodard as Detective Anne Pope
• Linus Roache as Mr. Shineer
• Anthony Edwards as Jim Paretta

A potentially intriguing premise descends into confusion and disjointed genre melding in The Forgotten, which despite the talent included comes out as a weak and unmemorable movie. Only for a strong turn from Julianne Moore and a suitably eerie score, The Forgotten remains partly watchable.

Telly Paretta is trying to survive the grief of losing her young son Sam in a plane crash fourteen months earlier. No matter how hard she tries, she is haunted by the pain of loss and sadness at losing her beloved son. Her husband Jim thinks it is time that she moves on, but Telly thinks otherwise and continues to cling to the memories of her little boy who was tragically taken from her all those months ago. Then one day Telly wakes up and the strangest thing has happened. The photographs of her and her son are gone. All the tapes of him are blank. And everyone who Telly comes into contact with, even her husband, tells her that they have never heard of her son and that she is delusional. Her psychiatrist Dr Munce explains that Telly has fabricated these memories of ever having a son. Everything that she has experienced up to this point has been a dream or fantasy, according to everyone surrounding her. Bewildered and shocked, Telly knows that she had a son and wants to prove that she is not slipping into madness, despite everyone around her questioning that her boy ever existed. Telly soon finds something of an ally in Ash Correll, who she says had a daughter who died in the same crash. At first, the miserable alcoholic dismisses her claims and won’t listen, but he comes to see that she is right about the whole thing. Now with Telly and Ash searching for the truth, they find mysterious government agents on their tail. And that’s not all, a strange and unexplained force seems to be after them as well. What will be unearthed in Telly’s quest for answers?

Director Joseph Ruben knows how to direct a thriller, but none of that skill is evident here as he tries to straddle the stands of psychological thriller and sci-fi into one. The whole tone of the film suffers and is hellishly disjointed, coming off as a directionless thriller and an X Files reject . This is a shame because the opening sets up what could have been an interesting story, that is wasted and falls short in almost every category there is. The whole basis of a mother searching for her son could have provided a lot of deep emotion here, yet The Forgotten squanders most of the impact. The Forgotten aims to be unpredictable and unexpected, but the script is weak and as the story plods on, it becomes to ludicrous to take seriously. The visuals of moody blue and grey are actually quite well done, but can’t make up for the shortcomings of the film. An ominous and melancholy score, with an underlying electronic edge, adds some much-needed suspense and eeriness to the proceedings.

The saving grace of The Forgotten is the ever-reliable and excellent Julianne Moore. Rising above the multitude of flaws in the story, she invests Telly with emotional clarity and tenacity in her attempts to prove she is right and hopefully discover the truth. Moore is the reason to watch this film as she shines in the part and brings emotive depth and conviction to a hollow film. Unfortunately, none of the other parts are interesting or particularly well-written. Dominic West, Gary Sinise, Alfre Woodard, Linus Roache and Anthony Edwards all have great talent, but the material they are given to work with is abysmal so none of them can make any impact in such sketchy roles.

So except for some striking visuals, melancholy score and Julianne Moore’s performance, The Forgotten should be exactly what the title says.

 

Body of Evidence

Tags

1990's, Anne Archer, Body of Evidence, Erotic Thriller, Jürgen Prochnow, Joe Mantegna, Julianne Moore, Madonna, Thriller, Uli Edel, Willem Dafoe

Film Title

Body of Evidence

Director

Uli Edel

Starring

• Madonna as Rebecca Carlson
• Willem Dafoe as Frank Dulaney
• Joe Mantegna as Robert Garrett
• Anne Archer as Joanne Braslow
• Julianne Moore as Sharon Dulaney
• Jürgen Prochnow as Dr Alan Paley

It was meant to be an erotic thriller with an added dash of courtroom drama but from watching the critically derided box office bomb that is Body of Evidence, it becomes abundantly clear that is neither erotic or thrilling. With Madonna in a weak performance and the talents of good actors wasted, Body of Evidence represents what can only be described as a train wreck of a film.

In Portland, Oregon, a wealthy old man by the name of Andrew Marsh has been found dead after suffering a fatal heart attack while restrained to his bed with handcuffs. At the time of death he was watching a home movie and the police believe that the girl in the film, Rebecca Carlson, a beautiful art gallery owner and Andrew’s much younger lover is connected in some way to the death of him. Rebecca is arrested and put on trial, where her adventurous and unusual sex life is brought up as a means for her to kill her elderly lover. Representing her is Frank Dulaney, who tries everything he can to clear Rebecca’s name and counteract everything said by the opposition of Robert Garrett, the ambitious defense attorney on the trial. Garrett believes that Rebecca used her seductive charms and vigorous bedroom activities to murder Andrew, as the man had a debilitating heart condition and was set to leave his young lover $8 million in the event of his death. Yet as the trial goes on, the married Frank becomes increasingly entranced by Rebecca and throws professionalism out the window to pursue a torrid and unusual love affair with his client. Rebecca dominates Frank with her sadomasochistic tendencies in the bedroom and firmly sets herself up as the one in charge in the strange game of pleasure and pain that she plays. But sooner or later, Frank is left questioning whether or not this seductive woman was capable of cold-blooded murder with the use of her more than sensual body and is he really defending as well as sleeping with an avaricious lust murderer?

The whole set up of Body of Evidence just seems so ridiculous and one can’t take it seriously. The film itself tries to be serious in the court room scenes and surprising with attempted red herrings but it just ends up being completely laughable. Director Uli Edel tries to take the material seriously and does give the movie some good visuals such as billowing MTV see through curtains, candles flickering and sinister shadows, but even that can’t save this movie from inevitable disaster. The score manages to give the film some of the eroticism it sorely lacks with twinkling percussion and seductive guitar forming the backbone. Those two points about the visuals and the music are two of the only things that I can think of that can be praised in this weak film. Marketed as an erotic thriller, Body of Evidence falls short in both departments. The sex scenes between Rebecca and Frank are supposed to be eye-opening and titillating, with the femme fatale Rebecca introducing her dark world of pain and pleasure to the wide-eyed Frank, but the scenes( including the use of candle wax, restraints and an unusual encounter in a parking lot) end up feeling boring and not all erotic in the slightest. The writer tries to incorporate thrills into the story and make us guess whether Rebecca is guilty or not, but with the weak script we really don’t end up caring about whether Rebecca committed the crime.

Chief among the problems of Body of Evidence is the decision to cast pop superstar Madonna in the lead role. She’s never going to go down as the best actress in history, but at least in past movies such as Desperately Seeking Susan and A League of Their Own she was watchable enough and wasn’t a complete disaster. Here her delivery of lines is stilted and unconvincing as her character is accused of using her sex life to kill her old lover. Everyone knows that Madonna can be sexy( hell if anyone knows that sex sells, it has to be Madonna), but that is all she brings to the part and nothing else. Willem Dafoe is wasted as Rebecca’s lawyer Frank, who enters into an illicit relationship with her. Joe Mantegna and Anne Archer don’t fare much better in their poorly written roles as district attorney and secretary for the deceased. And Julianne Moore is just wasted here as Frank’s wronged wife and it really is a shame to see one of my favourite actresses having to slum it with this weak film. Even an appearance from Jürgen Prochnow as an unreliable witness in the case can’t bring anything that great to this mess of a movie.

Unconvincing and not remotely as thrilling or sexy as it wanted to be, Body of Evidence is a weak film that seemed destined for the critical drubbing it received and with good reason.