Reviews

Plodding and ponderous dialogue dominate as we skate through what is probably a highly sanitised version of De Gaulle's life.

The characters communicate in rousing epithets, ladling on the patriotism by the bucket load.

I'm sure that De Gaulle loved his country, his wife and children very much, and that's a good thing, but the ham fisted focus on his struggle, despite his doubts about the rightness of his purpose, just makes this too much of a hagiography for my taste.

In the end, it probably gives an ok précis of his life and no doubt enormous achievements, but seriously suffers from lousy writing.

I won't waste words. This is one of the most poorly conceived, poorly written, poorly directed and poorly acted movies I have ever seen. What were they thinking? How could they have squandered the talents of such a great cast so manifestly? I give it one star only for the sets and costumes, and Having Romola Garrai in it!

What overblown, melodramatic nonsense. Paint by numbers plot and characterisations straight from the book of cinematic clichés. I can't imagine why anyone would think Glenn Close's performance award-worthy, let alone Oscar material. It reminded me of an exaggerated heroine's mugging from the silent movie era. Jonathon Pryce's performance was far more nuanced, Christian Skater was notably sleazy and in your face as Nathaniel, the would-be biographer, and I can't help feeling very sorry for the poor actor who had the drippy, whiney son's role. Avoid!

Not much to say about this one except the sets, costumes and general art direction are nice. As for the rest, this is a real stinker. Predictable melodrama, with a rediculously unbelievable plot and a clunky script that gives the attractive leads nothing to work with. Ben Kingsley must have gritted his teeth and focused on his pay check as he tried to negotiate the agonies of his cliched character. Do not go here

There's not much to say that hasn't already been said in the previous reviews posted here, but I can't believe that some are claiming no plot or narrative! They can't have been watching the same film as me, because this wonderful movie propels the narrative in images, in grunts, in glances and set pieces of clever dialogue. This is a film that uses art to make its point and tell its story - the art of the image and the art of the actors, the art of the direction and the art of the cinematography.

Enough said though and it will take an almighty performance from another actor to deprive Timothy Spall of a richly deserved Oscar.

This is a powerful piece of film making on a very important story which could have been great. Unfortunately, it falls into the trap that seems to be a bit of a pitfall for many dramatisations of real events - the dialogue is overused for exposition. One can only assume that this sometimes makes realistic delivery of the scripted lines too much for actors and director alike.

It also tends towards hagiography in drawing Dr Wainer's character, despite making a few lacklustre attempts to paint him as flawed.

These quibbles aside, the acting is mostly very strong, particularly Susie Porter and William McInnes, and the overall pacing and direction is first rate. It's a story that should be told, and you walk away from this film exhausted by the gripping tension that has been created.

How many clichés can you cram into one film? How many plot contrivances? I felt sorry for the actors having to pretend that someone had written them real lines, although the wooden performances, especially from Jennifer Connolly, made it seem that they didn't really care anyway. As for any sign of electricity between Jennifer and Leo - it wouldn't fire up an LED! The only reason I gave it 5 points was because of the nice sets and because some of coincidences that kept the plot on track and the characters in touch with each other were so silly that I actually laughed. As for Leo's wandering accent .......... the less said the better. Complete and utter rubbish.

Despite the clichéd, somewhat melodramatic plotting, the characterisation, performances, photography and sets of Caterpillar Wish make this an absorbing and entertaining film about the complexities of life and relationships in a small coastal town. The characters are inflicted with some degree of inarticulateness about their feelings and an inability to acknowledge the big issues in their lives and, although this device can be a bit obvious, the film skillfully builds its dramatic tension from this base. Victoria Thaine is wonderful as Emily, the only person willing to seek a solution to her emotional dilemmas, whatever the cost, and Susie Porter turns in another great performance as her mum, scarred by her past. The photography is beautiful, making the most of the rugged coastal setting and successfully captures the ambiance of small town Australia. I guess this film just struck an emotional chord with me when it could have easily slid into overthetop melodrama or saccharine pap. You could argue that the ending is a bit neat and cheerful, but I'm not adverse to a happy ending from time to time.

This movie just goes to show that good writing, good characters, tight direction and a little bit of magic and romance can produce something that far outweighs big name stars and wham bam action. Add to that a set that isn't on a backlot in Hollywood, but a real streetscape and you've got something that is a bit closer to all our lives.

The Magdalene Sisters, if it's not remembered for anything else, should be remembered for the stunning sequence of the rape and it's aftermath at the wedding, creating tension and drama through brilliant camera work and the intensity of the soundtrack which builds to a devastating crescendo in this almost dialogue free scene. This alone is great film making.

However, there's too much to like about this movie to cover here, so just go along for the harrowing ride. Watch for a fantastic performance by Eileen Walsh as the hapless and helpless Crispina. BAFTA for best supporting actress?