Reviews

TheFanCarpet.Com - Initial Reaction

Take a Chance... It's Surprisingly Brilliant!

While the majority of the film is brilliantly silly, Meryl Streep gives us an emotional show stopping performance of 'The Winner Takes It All. Who wouldn't pay to see James Bond singing 'SOS'? Pierce Brosnan was humorously over-emoting everything but it worked perfectly within the context of the film.

Donna and Sophie (Mother and Daughter) are perfectly cast with an uncanny similarity in both looks and personality. Julie Walters almost steals the whole show, sorry I mean film, with her performance of 'Take a Chance on Me'.

It does take you about 20 minutes to settle down from the excitement of this outstanding cast singing their hearts out. I'm not the biggest 'movical' fan but if go in with an open mind and a bunch of people and you'll leave uplifted and pleasantly surprised.

A disappointing adaption of the Jumper novel by Steven Gould. The creative team behind the 2005 action hit Mr. & Mrs. Smith, which brought Brad Pitt and Angelina Jolie together to the tune of $186 million. Director Doug Liman, who started out doing indies like Swingers and Go, made waves in 2002 with his update of Robert Ludlum's The Bourne Identity.

Jumper is an exciting concept of rich young man with unimaginable possibilities, known as a jumper he has powers of teleportation. Yes! It sounds exciting but unfortunately felt more like a television episode with a large budget rather than a feature film with a beginning, middle and end. One thing I can't complain about are the special effects, they're indeed very well done.

Jumper isn't the type of action film that relies on its stars, none of them are really mentioned in the trailer and it becomes more evident when you realise that a major star like Diane Lane, who usually headlines a film, is taking a smaller secondary role. Hayden Christensen and Rachel Bilson produce some-what adequate performances but it's Jamie Bell that brings along a refreshing welcome of madness. One might think that Samuel Jackson's track record might help get people to see it, since he's starred in a lot of big film, yet he still has to prove himself as a box office draw on his own, as recent high-profile attempts like Snakes on a Plane and Black Snake Moan have failed to bring in the audiences expected.

I felt this film had such potential but unfortunately the final piece just didn't come together as well as I'm sure everyone involved would have hoped. The competition is high this week with the release of There Will Be Blood and National Treasure: Book of Secrets still playing. I will be keen to see how well the film does. No doubt it will draw in some younger fans thanks to its ultra-cutie Rachel Bilson and the surprisingly sexy Hayden Christensen. It's not all bad, but I was expecting something better.

Director Paul Andrew Williams wanted to "write a film that cost no money and was all set in one place". And the first sixty or so minutes stuck to this agenda pretty well; Two brothers kidnap the daughter (Jennifer Ellison) of a wealthy man, he sends out two crazy Chinese guys to kill them, nerdy brother Peter (Reece Shearsmith) looses the all important mobile phone and older hard-man brother David (Andy Serkis) swears a lot, all in the confines of a deserted cottage. The dialogue is just about snappy enough to keep this interesting. Not much to be said for the camera work – but it does kinda add to the atmosphere. And then they end up in another cottage and the blood bath begins.

It's pretty obvious why they cast Ellison: she has big bouncy boobs and her harsh liverpoodlian accent is juxtaposed perfectly with her blonde hair and Barbie doll face. No one really cares that her script rarely ventures beyond words too rude to publish here – the camera generally focuses on her chest/backside with the occasional headbut thrown in. Shame really; I was hoping she'd amaze us all with her diverse acting talent, but I guess it's a case of you can take the girl out of Brookside but you won't get an amazing actress out of a soap star.

Serkis in undeniably the star of this film. The perfect gangster with a heart, his sincerity and charm kept me watching throughout. I'm not entirely sure why he chose to do The Cottage – perhaps, like me, he was hoping this would be one of those rare things; a funny independent British comedy. But unfortunately it just felt like Williams had taken The Chain Sore Massacre and Hot Fuzz, cut out the best bits, stuck the leftovers in a blender and then forgot to cook it properly.

By all means go see this if you like blood, guts and rolling heads, just don't expect any intellect in the script.

Tim Burtons adaptation of the Broadway musical thriller "Sweeney Todd" is nothing short of genius. Johnny Depp scowls, sings, and slashes his way stunningly throughout. Whilst Helena Bonham-Carter as Mrs.Lovett provides the perfect delusional partner in crime, disposing of his victims by baking them in pies and serving them to the unsuspecting London public, for love.

Stephen Sondheims masterpiece first opened on Broadway in 1979 starring Angela Lansbury and Len Cariou. Audiences were stunned and thrilled by the ground breaking score and titilated by the gruesome story based on the old London legend of "Sweeney Todd, The Demon Barber of Fleet Street". The films main cast are not Broadway vocalists, however this does not detract from the work, indeed it suits it well in this form as not to put off anyone not familiar or comfortable with "muvicals". The young supporting cast Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener and Ed Sanders do have theatrical voices however which brings a nice touch to the more tender if uneasy moments of the story. Alan Rickman and Timothy Spall are delightfully demonic and loathsome as the villains who are responsible for Sweeneys cataclysmic character change into the murderous revenge seeking barber. I particularly liked the extra scene (not in the stage production) written for Judge Turpin ( Rickman) which enphasizes his black hearted villainy. Sasha Baron Cohen will surprise many with his fleeting and nearly scene stealing appearance.

This film is truly a work of art on all levels, and one can feel the loyalty to Sondheims creation throughout. Purists of the stage production may well miss the material that has been left out, but I'm sure they will also agree that for Tim Burtons vision of the terrible tale, the focus needed to be fixed on the main characters and peripheral choruses would detract and not enhance on film. This is a bloody terrific and terrifying treat for anyone over 18 ( and not squeamish!).

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I'm confused. What exactly was the point of making this film? Epics such as Apocalypse Now informed and intrigued while comedies like Good Morning Vietnam brought some humanity to an otherwise horrific historic tragedy (though tragedy is clearly an understatement). The Valley of Elah, meanwhile, focuses on a disaster still very fresh in out minds: Iraq.

The importance of the American flag may hint at patriotism, but Director Paul Haggis' interpretation of the US Army proceeds to squash any notion of pride. Over 121 minutes I was continuously reminded of all the evil going on in the world; war, death, torture, inequality. The clever use Hank Deerfield's (Tommy Lee Jones) AWOL son's mobile phone footage allowed very real and disturbing war images to regularly take over the screen. As if we haven't seen enough real evidence of the corruption and inhumane treatment during "the war on terror" – or what ever excuse they're using these days.

You'd have to be severely cold hearted not to shed a few tears – but rather then the result of superb directing or intricate insightfulness mine were because I was reminded of how much unimaginable suffering the war has caused to millions. Personally, I'd rather spare myself the anguish.

That's not to say the cast were anything but great. Charlize Theron's well practiced strong woman character, Emily Sanders, was as believable as ever while Jones was perfect as the all-American ex-Army dad. Susan Sarandon didn't disappoint either, though it's a shame we see so little of her. And a fantastic performance by the relatively unknown Wes Chatham as Corporal Steve Penning and Jake McLaughlin as Spc. Gordon Bonner. It's just a shame that this film doesn't really know its purpose. I doubt it's trying to encourage new recruits, nor did I feel inspired to try and stop the fighting.

If Haggis wanted to show things as they really are then I'm afraid his timing couldn't be worse. Wait until the troops have left, let us heal a little, before attempting to analyse and interfere.

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A severely dysfunctional family, an interesting mix of cast (Jack Black opposite Nicole Kidman?!) and the critically acclaimed director Noah Baumbach, best known for his art-house offering The squid and the Whale, got me excited about this "family drama". Unfortunately that excitement soon wore off.

The story focuses around a family reunion. Margot (Nicole Kidman) and her quickly maturing son Claude (Zane Pais) return to the family home to attend Margot's sister's (Jennifer Jason Leigh) wedding to Malcolm (Jack Black). Of course there's endless room for clashes; Margot is a neurotic New York City writer, ever critical of her pseudo bohemian sister, and openly disapproves of her fiancé, a beer swigging, severely unstable out of work artist. Jealousy is rife, and with that comes plenty of childish back stabbing, though the cause for this is never clear. On top of that, it seems that Margot's real reason for attending the wedding is to promote her book and spend time with her lover (Ciaran Hinds), while her husband (John Turturro) attempts to re-ignite the passion with a gift of slippers. There's also some neo Nazi neighbors and the totally un-sexy baby sitter, whom nevertheless all the men are crazy about - presumably because she's not quite as messed up yet.

All this sounds like a recipe for an insightful indie flick, exploring what motivates people to badly hurt those we love the most, right? But unfortunately all these relationships never develop past innuendo, and the characters are so unlikable you don't really care what happens to them. Thank goodness for the mostly superb cast, who despite the script's lack of depth managed to make me believe that they really were all part of the same screwed up family. Go see this for the refreshingly bleak yet sharp cinematography, but be warned: it will grate on you in all the wrong ways.

For forty years Bob Dylan has refused to allow any dramatic documentation of his life. As with his career as a singer, writer and artist, he did not want to be pigeonholed. But with director Todd Haynes he seems to have met the perfect match.

Rejecting the conventional style of biography, Haynes discards chronology in favour of an abstract and experimental work of art. His decision to cast seven actors to portray the various aspects and influences of Dylan's life is ingenious. Throughout the film, a dream-like atmosphere is maintained, sending the audience on a roller-coaster ride that whilst confusing feels authentic and invigorating.

The most remarkable performance is by Cate Blanchet, who plays the unpredictable and tormented Dylan during his 60s tour of England. The puzzle of Dylan's life is never solved and it's this illusiveness that that makes this production unforgettable.

It comes as a given that the soundtrack is noteworthy. However, it's the use of Dylan's seldom known tracks instead of well established hits that complements this daring 135 minutes. The title itself is that of an unreleased song.

I don't want to, but if I had to find a fault it would be Richard Gere's performance as Billy the Kid. It felt strained and didn't gel quite as flawlessly as the rest. Then again, it may be yet another ingredient in this creative conundrum.

Weird doesn't begin to cover it, but wonderful does. While it may not be to everyone's tastes, I personally think everybody can benefit from seeing I'm Not There.

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This is one of my favourite Disney productions for a long time. And how could it fail? Enchanted takes all the most magical ingredients of a fairy tale and mixes them with a few modern truths like divorce, dirt and OTT publicity stunts.

Sparkling Amy Adams easily steals the show. A princess, she is pushed down a well by her evil soon-to-be stepmother (Susan Sarandon) and finds herself in the heart of New York City. As she searches for her Prince Charming in Manhattan's grimy streets she never stops smiling and makes friends – and dresses- along the way.

Far from being nauseatingly smiley, Adams is utterly believable and had a room full of critics laughing throughout; and even prompted applause at the end. My favourite part has to be the Marry Poppins inspired cleaning scene, where cute bunnies are replaced by urban rats and cockroaches! Being from the generation of 'Who Framed Roger Rabbit' and given the advancement of special effects, I found the occasional animation somewhat unnecessary. However, I have no doubt that director Kevin Lima has created a movie that will put young and old under a glorious, candy floss spell, restoring everyone's belief in happily ever afters.

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Take three brothers. Put them on a train in India. Add a girl, a snake and a tragedy. The result; yet another beautiful and insightful work of art by Wes Anderson.

The plot is without a doubt masterful and intriguing. The eldest brother, Francis (Owen Wilson) has an epiphany after suffering a near fatal motorbike accident. Ever the controlling of the trio, he books them onto the luxury Darjeeling Limited to resurrect their brotherly bond. And soon confiscates their passports to prevent any unscheduled escapes.

Meanwhile, Peter (Adrien Brody) and Jack (Jason Schwartzman) cope with the death of their father and disappearance of their mother by consuming copious amounts of prescription medicine, meditation and childish tale-telling. Their antics inevitably have consequences, and soon they find their rigorously controlled adventure take an unexpected turn that definitely wasn't on the laminated itinerary.

But it's the composition and perfectly seamless acting that really makes this movie stand out. The exquisite soundtrack combines modern tunes with traditional Indian song, while the colours, chaos and spirituality of India make this one of the most intensely stunning pictures I have seen all year. A cult movie in the making.

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Two men; one old but rich, the other young but poor. Both in love with the same woman. Trapped in the millionaire novelist's house, the two play out the ultimate crime-writers' fantasy; an (almost) real-life murder mystery, in a bid to each prove themselves worthy of the woman.

The entire film revolves exclusively around two characters, Andrew Wyke (Michael Caine) and Milo Tindle (Jude Law), and within one location; an old country mansion. In fact, the lighting and cinematography manipulate the dramatically modernised interior in such a way that the house is brought to life, almost feeling like a third character. I applaud the camera and lighting crew, whose work perfectly complements the actors and gives the film its emotional intensity.

Law excels at his seemingly unique talent to be at once unbearable yet utterly compelling. As the duo continuously switch the rules and try to out-bluff each other, Law moves seamlessly from victim to maniac to adoring lover, fuelling Wyke's fantasy just enough to gain his trust, only to exploit and humiliate him later.

Caine starred as Milo Tindel in the original release of this film in 1972, opposite the late Laurence Olivier. I haven't seen the original so can not compare Caine's performance; however I felt that he portrayed the role of the jealous, conniving and manipulative husband superbly. I watched the majority of the film holding my breath.

Although the film draws to a satisfying conclusion, it's left up the audience to decide who has the final laugh. As reality is mushed up and trust boundaries pushed to their limits to attain the ultimate revenge, you'll undoubtedly leave the cinema unsure of what is real and who you can believe.

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As the credits rolled, I sat in my seat feeling very surprised; surprised at how much I loved this film! There I was, thinking we were about to watch a mediocre kids film, showing off Julia Roberts' young niece Emma Roberts as some girl detective from a book I'd never even read. And instead I got everything; love triangles, abduction, deceit, ghosts, adultery, brilliant acting...and an amazing wardrobe! Nancy Drew, our sassy 16 year old heroine, and her father Carson (Tate Donovan) leave mythical Midwestern River Heights for glamorous but dangerous Los Angeles. Fearing for her safety, and longing for her to be "just a normal teenager", the widower begs Nancy to stop sleuthing. Little does he know that she's already embarked on her next case; in the very house that they've moved into. Eager to please her dad, Nancy makes an effort to fit into her uber-cool new school. But with her penchant for 50s fashion, academic excellence and pro-active attitude, she only alienates herself further. Not one to succumb to peer pressure or Tinseltown glitz, she instead focuses her attention on solving the great mystery surrounding the late Dahlia Draycott, and inevitably makes friends along the way, most notably love struck Corky (Josh Flitter) and single mum Jane Brighton (Rachael Leigh Cook).

It's been a long time since a film provoked so many emotions from me. I jumped, hid behind my hands, laughed out loud and even welled up at the end, where an overly sentimental ending could've easily ruined the magic built up in the previous 90 minutes - but somehow Director Andrew Fleming and the cast managed to make it work. In a world where everything is so complicated and unpredictable, the simplicity of Nancy's universe is just what you need. If only I'd had Nancy's courage and wisdom - it's easy to see why this role model character has survived since the 1930s! I have no doubt that children and adults alike will enjoy this mystery tale.

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So what would it take to turn a happy 30-something New Yorker, in love with her city and her fiancée, into a cold blooded murderer? How about being attacked and brutally beaten in Central Park by a gang of thugs, then waking up in hospital only to find out that the love of your life has been buried while you were in a three week long coma.

The Brave One takes you on a journey of what it means to loose everything, to become a shadow of yourself, propelled by a very strong performance by Jodi Foster as Erica Bain. We watch as she finds herself crippled by fear, unable to step over the threshold between her home and the city she once felt safe in, now turned against her. When she does find the strength to leave, she's caught up in a convenience store shooting and surprises herself by killing the attacker. And so begins her mission to take the law into her own hands, killing those who abuse, taunt and betray, yet always remaining the victim of violence On the way, she catches the attention of NYPD Detective Mercer (Terrence Howard), the lead investigator in what becomes known as the "vigilante killings". They form a close bond, though the basis of it is not always clear. It's a pity that so much of the film's focus is on the murders, preventing the audience from exploring Erica's character deeper. You wonder why she has no friends and what her logic is for not seeking help when she is clearly loosing her mind. However, what the narrative may lack depth and dimension is balanced out by the cinematography, most notably the artful juxtaposition of tender love making and gory violence to signify her pain. And while the ending may feel like somewhat of an anti-climax after spending the past two hours jumping out of your seat, it never the less brings the journey satisfyingly full-circle.

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In one word: predictable. I'm sorry, I really did want to like this. After all, the Chinese Director - Wong Kar Wai – is famous in the world of independent World Cinema and this has been his long awaited first English language film. And of course the cast is both extremely beautiful and undeniably talented – just not at working opposite each other.

It has to be said: when Jude Law is good he's mind blowing, but when he's bad he's unwatchable. Unfortunately these days, more often then not, I cringe when he comes on the screen. It's such a shame, especially as he's so nice to look at, but rather then growing as an actor he seems to be becoming a caricature of himself. I mean, his character Jeremy is supposed to be a Mancuniann in New York – but he can't even pull that off believably! I was curious to see what Norah Jones would be like on the big screen. My verdict: stick to the singing. The first half an hour was painfully forced and not helped by Law's dry performance. It did get marginally better as Elizabeth (Jones' character) leaves Jeremy's blueberry pies behind and goes on a self-discovering journey across America, though this might be more due to a wonderful performance by her co-stars.

David Strathairn especially deserves recognition. His portrayal of alcoholic cop Arnie is superb. Unable to accept that his marriage to Sue Lynne (Rachel Weisz) is over, he befriends Elizabeth when she takes on two waitressing jobs in his local bar and dinner. An argument with devastating results ensues, and we see Weisz at her best – ruthless and sexy yet vulnerable. Natalie Portman's performance as a crazy gambling addict is equally great, although her acting opposite Jones never felt comfortable.

Finally, Wai is renowned for his creative cinematography, and at least in that respect My Bluberry Nights didn't disappoint. Maybe if you watched this with the volume set on mute you'd see this as the masterpiece it's trying to be. But while tension can enhance a film, I felt like this was just full of confusion. Artistic indie flick or traditional Hollywood blockbuster? Well, neither really, just a lot of unnerving insecurity.

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