7 stars

Proposition, The

The Proposition

dir: John Hillcoat

I still have the soundtrack by Warren Ellis and Nick Cave ringing in my ears. For in truth that is probably the most successful part of the film.

This so-called Australian “Western” has little going for it except lovely postcard visuals, a melancholy tension, people with bad teeth giving good performances and a hell of a lot of brutality.

Let’s face it, the starting point of British colonialism in this country was anything but auspicious or pleasant for any of the people involved. The town of Banyon serves as the “hell” in the line uttered by one of the film’s many characters, “What fresh hell is this…”, though he is in fact talking about all of Australia.

Though the land has its empty natural beauty, it looks like what much of it is: hostile and inhospitable. Of course the film plays this up and makes it look like the first whities here must have been insane to stay. As well as being very dirty all of the time.

Many people star in this flick, many people were involved, and so it comes with many expectations. Maybe a stack of people are going to think it’s the bee’s knees. For me it was more like the flea’s disease.

Rating: 
7 stars

Jarhead

dir: Sam Mendes
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This is a film about war without an actual war in it. It’s akin to make a porno without having sex in it.

There are movies like that. On cable, Showtime (channel 3), on Friday nights, plays these flicks which I am guessing are American pornos. I don’t actually know for sure, because the films have most of the nudity and all of the sex cut out of them. It begs the question as to why anyone would then want to watch them, considering the main attraction is now absent. It’s not for the scripts and the acting, which are teeth-grindingly bad. You wouldn’t watch a football game on the jumping box, the pictocube, I mean the telly, if they cut all the actual football out of it. And the sex as well.

Jarhead’s point is to give us a window into the experiences of a young marine trained and amped up for war, alongside his equally hyper macho brothers in arms, prior to the first Gulf War. It starts with scenes those of us who routinely watch war films would be familiar with (boot camp, having superior officers hurl abuse at newbies, small acts of rebellion against authority), but doesn’t have the general payoff that you get from the other flicks (trial by fire in wartime conflict, personal cowardice and courage, blowing people’s heads off).

Rating: 
7 stars

Paradise Now

dir: Hany Abu-Assad
[img_assist|nid=918|title=Blue skies, happy days|desc=|link=none|align=right|width=270|height=400]
How excited are you about reading a review of a film about two Palestinian suicide bombers? Thrilled, I imagine. As the eyes gloss over, and you open another browser window in order to check out the latest news on some celebrity’s sex scandal shocker, you’ll admit to yourself that sometimes it’s all right, but generally, worthy cinema about the world’s problems bores you to tears.

And who can blame you? The world is filled with such terrible occurrences on a second-to-second basis that it’s hard not to say “Fuck it, I can’t care anymore, I’m having another shot of whisky and another toke on the dutchy” which, as anyone who remembers the 80s knows, should always be passed on the left-hand side.

So maybe a story told from the point of view of two potential suicide bombers isn’t going to be your cup of tea. And if you do see it, it’ll be to impress some earnest and hot international student at your uni who you want to leave with the significant impression that you’re switched on about big worldly issues and therefore eminently fuckable.

For my money, this low budget but well put-together film was an interesting way to spend my Wednesday morning. Shot in Nablus and Nazareth, for a work of fiction it looks horribly real.

Rating: 
7 stars

Good Night and Good Luck

dir: George Clooney
[img_assist|nid=929|title=Edward R. Murrow, where are you when we need you? Oh, that's right. Dead.|desc=|link=none|align=right|width=450|height=343]
The most important aspect that a period piece has to get right is to evoke a sense of place and time. Depending on the time it is set in, an essential part of that is representing just how different that time and place were compared to the present day equivalent. It’s also handy when you can illustrate what hasn’t changed at all, no matter how much time has elapsed between drinks.

Good Night, and Good Luck goes a long way towards setting itself properly just through the use of black and white film. It not only convinces us straight away that we are looking at a slice of the past, but it also ‘colours’ the content, so to speak. Since the film deals with the medium of television as a newborn child, the era itself is defined by its limitations and the remnants we have left of their broadcasts in shades of stark light and dark.

Rating: 
7 stars

Constant Gardener, The

dir: Fernando Meirelles
[img_assist|nid=932|title=Before the fall|desc=|link=none|align=right|width=416|height=300]
A diplomat’s wife is raped and murdered. The diplomat is given an explanation, which seems entirely plausible, considering his wife and where it happens. He doesn’t believe it, though, and neither do we.

No, this isn’t a film about White People in Trouble in Dark Places. This isn’t a culture clash about the first world versus the developing world. It is a film about a quiet and harmless bureaucrat who wants to find out who his wife was, and wants to understand how and why she died.

Of course then it does become the Little Guy versus The Man, but any story of this nature needs someone we care about (our Hero) versus someone who doesn’t like them very much (the Baddies). This is a simplistic but believable take on what a spy / government thriller could be like in the real world we live in beyond the cinema screen. This world, this hallowed world with its constant conflicts of interest and its negation of the worth of human life, especially amongst those whose standard of living doesn’t match our own. Also, they look different from us and are therefore kinda funny.

There is always the risk of something like this being preachy, or looking like a begging charity ad headed by some well-fed and well-groomed actors, using their Compassion face, telling us ‘Every three seconds, a child dies in Africa. You can make a difference.’

Rating: 
7 stars

Little Fish

Little Fish

These drugs turned out nowhere near as fun as the film claimed

dir: Rowan Woods

Each year they keep talking about the film that’s going to launch the renaissance of Australian cinema, and each year the call goes ignored and unlamented by Australian audiences.

It’s the unpopular kid at school who throws a big birthday on the Saturday afternoon, with the best party pies and those frankfurters on tooth picks, but no-one comes. The kid is left there crying, heart-broken, vowing to join the Liberal party at the soonest opportunity in order to exact revenge upon the world.

This is the latest flick to get touted as the be-all and end-all. And the call is still going to go unheeded. It’s a decent flick all the same.

It’s too downbeat. It’s too angular and deliberately unsatisfying, and incongruous. In fact, you’d wonder who thought this was really going to have any mass appeal. Sure, I saw it in a totally packed cinema, but that was on a Monday afternoon. Monday afternoons at the Nova mean you get to see any flick for 5 bucks. Every old person and their maiden aunt descends upon the Nova from every corner of the inner city, to the almost musical accompaniment of their creaking walking frames.

It will still get the lion’s share of the critical plaudits, at least, even if it doesn’t achieve box office magic. With the AFI awards becoming one-horse races, this will probably win everything next year from Best Film to Nicest Boots.

Rating: 
7 stars

Joyeux Noel

dir: Christian Carion
[img_assist|nid=934|title=War bringing people together|desc=|link=none|align=right|width=450|height=306]
I would not have thought a war film set during the Great War could bring me to tears. I would not have thought a war film could possess such gentle humour, genuine humanism and have such an uplifting message.

And I was right. This flick hasn’t got ANY of that shit.

Just kidding, it has some of that and more in sheer coruscating abundance.

For all my enjoyment of the film, don’t get all confused and assume it’s the flick of the year. It’s pretty simplistic, sentimental and should have been in desperate search of a better ending. But for all its faults (and unbelievable aspects), it is still a strong film saying something many of us can understand: most soldiers from different countries don’t really like killing each other that much.

They don’t get a lot out of it, and it’s murder on your laundry.

But someone benefits from war, and it’s never the guys at the front. And someone must be ‘inspiring’ these people to go to war, for whatever noble or ignoble reasons.

This is most chillingly asserted at film’s beginning, where we watch three children, one after the other, recite propaganda poems from the era in their respective languages advocating the absolute extermination of their enemy down to the women and children. And why the hell not…

Rating: 
7 stars

Enron - the Smartest Guys in the Room

dir: Alex Gibney
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Based on the book The Smartest Guys in the Room: The Amazing Rise and Scandalous Fall of Enron by Bethany McLean and Peter Elkind, this documentary tracks the rise and fall of one of the most fraudulent and corrupt companies in corporate history. That we know of.

Enron’s existence and eventual demise is an incredibly powerful modern tale about the poisonous organisational culture that can exist under the gleaming PR-heavy corporate exterior, the laxity of corporate governance in contemporary business, the ‘embedded’ and tame nature of business journalism, shameless dishonesty and personal hubris.

But it’s also an ode to human stupidity. That so many could be sucked in by such an obvious, nonsensical scam is an indictment of contemporary society. And it makes modern civilisation look dumber as a consequence.

How did it happen? Perhaps people were so completely blinded by greed that they were happy to believe anything as long as the company’s share price kept going up.

The business reporters who would have ordinarily sniffed out and exposed such a fiasco were captive, collaborators in the system, which only seems to keep chugging along if journalists keep quiet about all the glaring illegalities they must surely know about or suspect.

Rating: 
7 stars

Charlie and the Chocalate Factory

dir: Tim Burton
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When I heard the film was going to be remade, I had a sick feeling in my gut. When I heard Tim Burton would be the one helming it, that sick feeling grew to full blown, explosive nausea.

Maybe it was the hangover, maybe it was the dodgy curry. I don’t know, I’m not a doctor. But I can say that see the finished product was a decent cure.

It is a good film. It’s not great, but then having seen the original a few weeks ago as well, neither is that one. Johnny Depp is no Gene Wilder as Willy Wonka, but then again clearly no-one wanted him to be.

Instead of going down the track of trying to replicate that experience, Burton has done to this what he mercilessly did to Planet of the Apes: he’s “re-imagined” the character of Willy Wonka. Instead of being a mysterious Wizard of Oz type, eccentric aristocratic figure such as in the book and (to a lesser extent) in the first film, here Wonka is just an out-and-out freak.

Much has been made in the press of the idea that Wonka as played by the deathless and ageless Depp is reminiscent of Michael Jackson and Peter Lorre (the bug-eyed German actor from such classics as M, Casablanca and The Maltese Falcon). There’s none of the former and more of the latter, in my estimation.

Rating: 
7 stars

Assault on Precinct 13

dir: Jean Francois Richet
[img_assist|nid=948|title=Howdy pardner|desc=|link=none|align=right|width=234|height=308]
I wouldn’t have thought that a remake of a John Carpenter classic could have worked, but it has. Let’s face it, it’s a good thing that Carpenter himself wasn’t involved, because everything he’s touched in the last decade has turned to shit. Although, now that I think of it, he did already remake Assault on Precinct 13. Except he called it Ghosts of Mars, and we all know how well that turned out.

This is good stuff, though. It’s never going to have as many fans as the 70s classic, and I’m sure many people are going to avoid it like it’s a stinky nappy in a swimming pool just because it’s a remake. But they’d be missing out on a decent B movie if they did.

This isn’t a life-changing experience; it isn’t visual poetry or Dostoevsky debating the Dalai Lama and Deborah Harry whilst covered in baby oil and wrestling at the same time. It’s an action movie where a bunch of people are trying to kill another bunch of people, and the ones that are going to survive are the ones who want it the most. It doesn’t wuss out on the violence, and maintains a relentless, dark tone throughout.

Rating: 
7 stars

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