FILM CHALLENGE: 55) Greenberg

55) Greenberg

Director: Noah Baumbach

Year: 2010

Plot Summary: Roger Greenberg is a former LA musician now living in New York and working as a carpenter. Following a breakdown, he has been invited back to LA to housesit the handsome home belonging to his hugely wealthy and successful brother Phillip while he and his family are in Vietnam. There, he falls for his brother's young assistant Florence.

It's uncommon in the comedy genre to find movies with so much meaning and depth, however, Noah Baumbach has a great ability for being able to pull it off. His breakout debut, The Squid And The Whale, is one of the most intelligent yet touching comedies that I have ever seen and his writing for The Fantastic Mr. Fox excelled the movie from being a children's crime caper to being a brilliant examination of mid-life crisis and the American family. Greenberg, however, may be his best work yet.

It's easy to imagine that the usual Ben Stiller crowd who are looking for a simple, mindless laugh-a-minute will find it boring and slow-paced. But the subtle nature of Greenberg is what makes it so brilliant. Every line of dialogue, every tiny emotion from the actors and every little moment, as ordinary as it may seem, provides a fascinating insight into the world of Roger Greenberg.

For example, his refusal to accept that he's a middle aged man now and the possibilities of his teenage years have disappeared are perfectly symbolised by subtle moments like, a) how he plays music from a happier period of his life, b) how he declares that he's just "trying to do nothing" reminiscent of a student, c) the way he is an outsider as his friends all find themselves in marriages and raising kids, and d) how he refuses to commit to a relationship. The only relationship he commits himself to, even if he doesn't see it at first, is the one with the 20 year old Florence. Their relationship is an awkward one though. After all, she is a representation of his former self who is now gone: She is a singer and could easily find herself a record deal with her talent, something Greenberg did at relatively the same age she is, but he let it slip away.

The study and observation of Roger is one that is rich and full of depth, but he's not the only one who comes under this scrutiny from Baumbach. Every one of the main characters in this comedy is well written. Whether it's the aforementioned Florence who has found herself in a quarter life crisis and wants something more than just sex, or whether it's Greenberg's best friend Ivan who has been able to let go his and Roger's shared dream of being in a famous band and is now working as a computer technician, but still feels a sting of sadness when he sees the success other people have had.

For a comedy it's very upsetting and, as a 19 year old teenager, there's a something incredibly moving about knowing that I will very likely grow up to be like Greenberg; someone who is desperately trying to clutch onto my childhood and the refusing to let my dreams let slip away into hopelessness. However, the sadness is also somewhat inspirational for teenagers and young adults as Greenberg leaves you with the determination to go out and follow those ambitions and not let yourself become like the protagonist; someone constantly looking backwards.

Funny, moving and beautifully observed, Greenberg is Noah Baumbach at the top of his game.

4/5

By Daniel Sarath with 3 comments

Pixar's Six Greatest Moments

It doesn't take a genius to notice my current obsession with Pixar movies, and here are the six scenes that stand out to me as their greatest moments. Yep, that's right, they're just too good for five.

06) Toy Story 3 - Opening Scene

It's over the top, frantic and wild, but this opening scene, set within a young Andy's imagination, brought tears of nostalgia to my eyes. As I watched it, I remembered those times when I played alone in my room as a child enacting similar scenarios with my toys.

NOTE: This video cuts off the ending of the scene. As the YouTube clip ends, the film should cut to Andy playing in his bedroom with the toys as his Mum films him through a video camera. A montage then begins of Andy, done in the style of a home movie, as he plays with said toys and grows into his teenage years.

05) The Incredibles - No Capes

Black comedy in a kids film? That's not a exactly common thing. However, in this hilarious and satirical scene from The Incredibles which pokes fun at the superhero genre, Brad Bird manages to pull off one of Pixar's most witty moments.

04) Toy Story 2 - When Somebody Loved Me

If you aren't in tears by the end of this, you need to check your pulse. This scene is a beautiful and heartbreaking look at growing up and leaving your childhood behind set through the eyes of a girl's favourite doll.

03) Ratatouille - Anton Ego's Review

It's rare that a villain in a children's film is as complex as Anton Ego. Unlike the usual black and white nature of the genre, in Ratatouille you witnesses the menacing Ego return to a poignant moment in his childhood that became an important part of who he is. In these few seconds, Ego transforms from the story's evil villain into an everyday human being, and what follows is poetic, touching and beautiful.

02) Wall-E - Define Dancing

The scene that made me first realise Pixar's genius back in the summer of 2008. Not only is it a satire on what the future may be like, but it's also one of the most tender moments shared by an on-screen couple ever. The colour, the music, the sound, the writing and the animation all come together here to celebrate the love of Wall-E and Eva and how their adoration for one another rises above the dystopia surrounding them.

01) Up - Married Life

The first time I saw Up, this scene made me cry for a good fifteen minutes. My two greatest fears in life are dying without fulfilling my ambitions and losing the people I love, therefore this scene affected me in a way that very few things ever have. Reminiscent of the finale of Six Feet Under in its style, this may be one of the most heartbreaking moments in cinema. But, from a technical point of view, it's also a fantastic way to make you care about Carl; no matter what happens after these opening 10 minutes, the little old man will have both your heart and your love.

By Daniel Sarath with 1 comment

FILM CHALLENGE: 54) Ratatouille

54) Ratatouille

Director: Brad Bird

Year: 2007

Plot Summary: A rat named Remy dreams of becoming a great French chef despite his family's wishes and the obvious problem of being a rat in a decidedly rodent-phobic profession. When fate places Remy in the sewers of Paris, he finds himself ideally situated beneath a restaurant made famous by his culinary hero, Auguste Gusteau. Despite the apparent dangers of being an unlikely - and certainly unwanted - visitor in the kitchen of a fine French restaurant, Remy's passion for cooking soon sets into motion a hilarious and exciting rat race that turns the culinary world of Paris upside down.

My film comparisons seem to evoke shock and confusion more regularly than they do enlightenment. Earlier in this blog I compared Singing In The Rain to Italian film Cinema Paradiso and, furthermore, my belief that Mary Poppins and The Exorcist are almost identical is usually met with horror. Well, here's another one for you: I feel that Stanley Kubrick's 18th century epic, Barry Lyndon, and Pixar kids film about a cooking rat, Ratatouille, are both birds of the same nest. No, that's not to say there are any talking rats in Stanley Kubrick's classic, nor is there any child abuse, attempted suicide or challenges to duel in this Oscar winning animated flick. However, both of them are movies that are best appreciated if you overlook the flaws of the narrative and focus on how the atmosphere, tone, colour, and the emotions they provoke.

Barry Lyndon has constantly received praise for its gorgeous tone which evokes the same kind of feeling one would get from standing in an old palace. Every frame is like an old, handcrafted painting and its flow is breezy and make it easy to immerse yourself in the drama despite the lack of a strong story. Ratatouille is much the same. Sure, there's enough comedy and action here to keep you amused and entertained throughout, but the real magic comes from the film's light, relaxing, elegant tone. It's the kind of movie you'd probably enjoy best with a glass of fine wine it's so joyously beautiful, graceful and exquisite.

This is a daring feat for a children's film and it's certainly not the only thing. Like Bird's former work with Pixar, The Incredibles, it tackles some very complex ideas that I'm sure many of the younger viewers wouldn't quite understand such as the dilemma between the pursuit of excellence and family ties. Moreover, these characters are far more complex than we usually see in this kind of movie; while Skinner and Ego are the villains of the piece, they are both also given moments of breathtaking pathos. Especially Ego, who has one of the greatest scenes in any Pixar movie; a wonderful flashback followed by an intelligent discussion of what being a critic means. Well, it's not quite as good as that opening scene from Up, but what is?

This kind of thing might leave young viewers a little bored, so it's a good thing Bird continually dazzles the eyes with vibrant imagery and heart-stopping action. Also, kids won't miss the film's main point that we can't change nature, that change is nature, and that it's up to us to choose to move forward. But then, that's an important message for all of us.

When I turned it off, I decided that Ratatouille deserved a 4/5 review. But already I can feel myself wanting to watch this film again and, over time, I can Pixar's 2007 Oscar winner becoming one of my favourites in their illustrious catalogue of work.

4/5

By Daniel Sarath with 3 comments

FILM CHALLENGE: 53) Wild At Heart

53) Wild At Heart

Director: David Lynch

Year: 1990

Plot Summary: Lula's psychopathic mother, Marietta, goes crazy at the thought of her daughter being with Sailor, a man who just got free from jail. Ignoring Sailor's probation, the two set out for California leaving their past behind. However, Marietta hires a killer to hunt the ex-convict down and bring her daughter back to her.

Describing a David Lynch movie is about as difficult as playing I-Spy with Stevie Wonder. They are always so imaginative, artistic and are bursting with a flurry of themes, motifs and symbols. He's, to me, the true definition of an auteur: Everything that he's made could only have been made by him - if you turned on your TV set and Lost Highway, Blue Velvet, Mulholland Drive, etc. was showing you'd instantly recognise that it's a David Lynch film - and his unique style is impossible to recreate.

In anyone else's hands, those aforementioned movies would very likely be an unwatchable mess, but Lynch has a wonderful gift of somehow making them work. Wild At Heart is no different. After all, it's a hybrid of both a romance and a road movie influenced by the work of Shakespeare and featuring hit men, witches and private investigators. Not only that, but it's also a sort of remake of The Wizard Of Oz only with a lot more sensuality and gore. This ambitious concept screams of bizarreness, but while it is a twisted, strange little picture, it's also an entrancing work of brilliance.

Of course, it's the farthest thing from reality you will find, but as always, Lynch's weird, dark world in is one of the most fascinating things about the film. Unlike Badlands or Bonnie And Clyde, it takes its protagonists’ twisted, perverse subconscious as its reality. However, behind the surrealism, violence and sex, Wild At Heart is a story of redemption as Sailor attempts to reconcile himself for the things he saw as a driver for crime lord Marcelles Santos who killed Lula's father. The main heart of story is Sailor's personal quest to find, as he puts it, that somewhere over the rainbow.

So, what's with all the Wizard Of Oz references? In fact, what's with all the pop culture references? One of the themes of David Lynch's Cannes winner seems to be about to diversity of music as different genres work their way bizarrely into Wild At Heart. There's metal music during the opening scene of violence, there's classical music in a disturbing scene near the end and the main character even sings Elvis songs. Whatever it all means, it seems to add to the nightmarish atmosphere of Wild At Heart in the way they contrast each other with the aural collage of a crackling fire and the cold laugh of the wicked witch.

The two leads are played tremendously by Nicolas Cage and Laura Dern. However, it's Harry Dean Stanton who steals the show as always. His character is only a small part in the narrative, but he played beautifully here. The subtle way he shows his affection for the menacing Marietta helps to make the film's villain even more evil and when he meets his demise at the hands of her, his heartbreak is very touching.

Moreover, while his style, tone and approach to cinema is what is always discussed about Lynch, it's rare that he's given credit for his amazing script-writing talent. The way the narrative throws us into the road trip and only uses flashbacks to recount the events that have preceded it make the movie very involving and gripping right from the word 'go'.

It has to be seen to be believed really, so I would encourage anyone who is curious about Wild At Heart after reading this review to rush out and find a copy. It doesn't meet the standards of Mulholland Drive or the jaw-dropping Blue Velvet, but it's unlike any road movie you will see in your lifetime.

4/5

By Daniel Sarath with 5 comments

FILM CHALLENGE: 52) Insomnia

52) Insomnia

Director: Erik Skjoldbjaerg

Year: 1997

Plot Summary: A police detective is sent from Sweden to investigate the murder of a teenage girl in Norway. However, he accidentally shoot his own partner when trying to apprehend a suspect. Instead of admitting his guilt, he covers up the truth.

This is the original foreign language version of Christopher Nolan's remake which I reviewed here:

http://dansarath.blogspot.com/2010/06/film-challenge-28-insomia.html

There are many similarities so please read that prior to this review.

Insomnia may be one of the very first times I've seen a remake which has improved on the original version.

While, of course, Erik Skjoldbjaerg must be given a lot of credit for creating the original idea, I believe Nolan's version worked a lot better in capturing the protagonist's sleep-deprived state with the jump cuts, the quick flashes and the disorientating camerawork.

Moreover, the remake had a lot more depth and was far more engrossing as it had the extra sub-plot about the Internal Affairs investigation which is occurring while the main character is on his assignment. This sub-plot also helps to make the Alaskan location in the remake resemble a purgatory-like state where Pacino's character is stuck while he revisits the guilt of this actions. It also helps to add to the reason why he shot his own partner: Was it malicious or was it because of a lack of sleep?

That's not to say the original version isn't worth watching though. There are a number of things that are far more admirable in this Norwegian and Swedish co-production.

First of all, unlike the American version, it allows the audience to think for themselves as to why certain events take place. They aren't explained unrealistically for the viewer's expense. Furthermore, there is a constant over-exposure in the cinematography that helps provide an interesting twist on the usual noir genre conventions: instead of the use of shadow and darkness to represent the sordid narratives, here it is something that is prayed for instead of the searing light.

Most of all, it was much darker in its tone than the American version. An interested contrast between the two is when the main character shoots a dog and cuts it open to get the bullet back and, therefore, plant evidence. In the remake, the dog is already dead while it's still alive in the original, Even more so is the scene in which the detective drives the deceased's friend to where the body was dumped. In this version, he actually gives in to the girl's seduction instead of ignoring it in the American version. Maybe it's because of these darker themes that Stellen Skarsgard's performance is much more fascinating that Al Pacino.

However, if I had to choose between watching one or the other, controversially, I would actually choose the American version. I know, I feel disgusted with myself too, but I think Nolan does a superb job of taking a fantastic concept and a decent movie and elevating it to the standards of a classic Hitchcock thriller.

3/5

By Daniel Sarath with No comments

FILM CHALLENGE: 51) The Incredibles

51) The Incredibles

Director: Brad Bird

Year: 2004

Plot Summary: Mr. Incredible and his wife Elastigirl are the world's greatest famous crime-fighting superheroes in Metroville. Always saving lives and battling evil on a daily basis. But fifteen years later, they have been forced to adopt civilian identities and retreat to the suburbs where they have no choice but to retire of being a superhero and force to live a "normal life" with their three children Violet, Dash and Jack-Jack. Itching to get back into action, Bob gets his chance when a mysterious communication summons him to a remote island for a top secret assignment. He soon discovers that it will take a super family effort to rescue the world from total destruction.

On this second watch, I have decided that The Incredibles may even be one of the best animated movies of all time.

Despite what the plot summary may suggest, to call The Incredibles a superhero movie, as though it was just another men-in-tights adventure of the '00s, would be crudely reductive. It's about family and how a middle-class suburban unit comes back together after having slowly drifted apart through boredom.

Set in what seems loosely like the 1960s, we have the Parr family: father Bob, mother Helen, teenage daughter Violet, preteen son Dashiell, and baby Jack-Jack. They are like a great many American families of that era when the Eisenhower years were mutating into the Space Age. Bob doesn't like his job, but bottles that up because he has to be a good provider, Helen loves her family and children but they're not as fulfilling as her life when she was young and single, and so on. But unlike most American families of that time, they're also all superheroes!

Their powers are a tribute to that of the Marvel universe, but they are also a clever extension of their personalities as members of the Parr household: Bob as the strong, infallible protector, Helen as the homemaker who has to be everywhere at once to keep things together , Violet as an easily-embarrassed teenager who just wants to disappear and Dash as a kid with way too much energy for his parents to keep up with.

How these characters develop and learn to accept both their family and themselves makes up the heart of the story. Particularly touching is the change Violet makes. At first she feels outcasted because of her powers; in one scene she hides, invisible, right in front of a teenage boy and later sighs "he looked at me". However, by the end of the movie she blossoms into a confident girl who is happy with who she is, beautifully symbolised by how she ties her hair out of her face.

It's also, as you'd expect from Pixar, amazingly well made. From the opening gag, a vintage interview that introduces our main characters, Bird's command of pacing and structure is fantastic, propelling us through the movie's 115 minute running time. Moreover, the dramatic elements and the action scenes are perfectly balanced, allowing the audience to care about the characters' fates during these big set pieces. Bird knows that the most important elements are story and characters, and he never lets either get lost in the astonishing visuals.

Speaking of astonishing visuals, the film's design is jaw-dropping, at once evoking both the over-the-top spy movies of the period and the physically-impossible look of the period's great pulp comic books. And let's not forget Michael Giacchino whose delightful score resembles like a lost James Bond theme written by John Barry, without ever once directly quoting Barry's work.

But the most brilliant feature of this film, and any film from this studio really, is just how clever and witty the whole screenplay is. There are superheroes getting sued for damages, little nods to other superhero stories such as the famous scene in Spider-Man 2 when he stops a train from running off the track and a funny yet touching moment when Dash enters a race and his family scream "Faster! Faster!" only to remember his powers and shout "Slow down a bit! Go for a close second!". But, of all of these little moments of genius, the most hilarious is the gag about superheroes capes as a fashion designer speaks of various caped crusaders who have had them caught on rockets, propellers and in tornados.

It's a perfect entertainment that never lets up and never treats its audience with any condescension, and never lets spectacle overwhelm its humanity. In fact, The Incredibles is full of compassion for human kind and is so packed with heart and soul that you can feel it becoming a classic as you are watching it. Altogether, a fantastically fun movie with brains and a heart. If that's not the very essence of Pixar, I don't know what is. Incredible!

5/5

By Daniel Sarath with 2 comments

Edinburgh Film Festival

I've had the pleasure of attending two film festivals since my obsession with movies began: London and Edinburgh. Despite the fact that London generally has the more popular films, showcasing everything from The Road and The Fantastic Mr. Fox to Oscar nominees A Serious Man and Up In The Air last year, I will always prefer the Edinburgh Film Festival.

After all, while it's great to see a huge film for the first time in the UK, like the experience I had with Slumdog Millionaire in 2008, there's nothing better than discovering a little independent movie which will later go on to be huge. Edinburgh was, for example, the first place in the UK to show The Hurt Locker last year, it also premiered the modern classic Let The Right One In in 2008, and brought Oscar winning documentary Man On Wire to the attention of film fanatics worldwide in 2007.

Sure, not everything you see will go on to be a classic, but there's also something wonderful in seeing a great little movie that may never see the light of day. Last year, one of my highlights was a New York set, low-budget film noir called The Missing Person. However, it never got a cinema release and is only available on limited DVD release in America.

Moreover, a film festival, in my opinion, should celebrate the art of making films. Edinburgh understands this and, therefore, not only offers viewers the chance to meet the directors, stars, producers, etc. following the screenings, but also offers them the opportunity to attend film-making courses, discussion events and animation training. This year, for example, there was a special event with various homegrown film-makers about British cinema and two years ago I myself participated in a similar thing with cinematographers Seamus McGarvy and Roger Deakins.

Lastly, unlike London, Edinburgh is a film festival for the fans. While London sold out last year before the tickets even went on sale to the general public - they were swept up instead by journalists, BFI members and corporations - Edinburgh allows anyone with an interest to attend their films. When I saw Toy Story 3 just a few days ago, I was delighted to see the screening was full of children and families. After all, these are the people who will see the movie when it hits cinemas, so why should they be denied to chance to go?

In the words of the great John Huston: "Edinburgh is the only festival worth a damn!"

By Daniel Sarath with No comments

FILM CHALLENGE: 50) Police, Adjective

50) Police, Adjective

Director: Corneliu Porumboiu

Year: 2010

Plot Summary: The movie focuses on policeman Cristi, who is investigating a teenage boy who has been smoking hashish. Over time, Cristi begins to question the ethical ramifications of his task.

Police, Adjective begins as one of the most painfully slow-paced movies I have ever seen. There's a ten minute sequence of Cristi watching the front of a house, a scene in which we see the policeman eating a full meal for what seems like an age and an excruciating amount people being followed. This sparked a few people to walk out of the cinema within the first hour and - in all honesty - I can see the reason why they would. However, in the film's second half, this Cannes winning police drama becomes a very intelligent study of modern Romania.

The film poses the question: Is it moral to follow the laws of the country whatever they may be, even if that means putting a fairly innocent young boy in jail for 7 years? Or is it moral to stand up to the system and let something that, although illegal, is very minor slip past? Two key scenes towards the end of the film complement this idea. Firstly, there's a scene as Cristi's wife argues with him about a song's lyrics, announcing that he should look under the surface and see what they are trying to say. And secondly, the closing scene in which Cristi is confronted by the head of the police and is forced to read out the dictionary definitions of 'moral', 'law' and 'police'. It entices the audience to think about whether it's better to follow the poetic or the literal meaning of the words.

Despite the fact that Police, Adjective is quite clearly a statement about some of the ridiculous laws in Romania which contrast heavily from anywhere else in Europe, the film is fairly universal in its message. After all, we all face similar choices in out every day lives in regards to what is right and wrong. Therefore, it's easy to relate to Cristi's dilemma. However, having said that, the character really doesn't make any kind of change in the films 2 hour running length. From the very first scene, we understand that he is unsure about what he should do, avoiding his boss for as long as he can. Only at the end when his job is put in question does he have any kind of development.

The film's style is equally admirable and frustrating too. The long takes with a single camera that remains still make it very realistic. But, on the other hand, it's almost so realistic that it becomes monotonous and, well, boring. Furthermore, despite the complex themes there is a natural humour in many of the scenes that adds to the movie.

It's not a film I'd ever choose to sit through again and it truly does movie at an infuriatingly slow pace, but if you're a fan of Romanian cinema and have the patience to indulge in a police drama, then I guess Police, Adjective is worth a watch. After all, it is a very intelligent and strikingly original little movie about moral choices.

3/5

By Daniel Sarath with No comments

FILM CHALLENGE: 49) My Son, My Son, What Have Ye Done?

49) My Son, My Son, What Have Ye Done?

Director: Werner Herzog

Year: 2010

Plot Summary: Based on a real events, Brad has murdered his mother with a sword and barricaded himself inside his house. With the help of his friends, neighbours and fiancee, the cops piece together the strange tale of how this nice, young man arrived at such a dark place.

Say what? A darkly comic Greek tragedy set within the genre of a murder mystery? Well, it could only mean one thing: David Lynch and Werner Herzog have finally worked together as a producer and director team. They are two of the most creative, intelligent and fascinating film-makers in the industry today and this is among both of the outlandish auteurs' most convention-busting work to date.

From the opening few minutes, it becomes clear that this isn't your usual true crime story as the demented Michael Shannon, sipping from a large coffee cup, approaches a homicide detective to say: "Razzle them, dazzle them, razzle dazzle them!" Nope, if you're looking for twists, turns and action, you have come to the wrong place. What you get here is a surreal, bizarre journey deep into the mind of someone who was driven to murder. There are scenes of stampeding ostriches, Michael Shannon finding God on a can of oatmeal and even a possessive, jello obsessed mother to boot.

It all sounds very odd, and it certainly is, but these mind-bending visuals actually complement the story beautifully. After all, Herzog and Lynch aren't interested in plot and character development here nor are they really that bothered about explaining the exact nature of Brad's actions. Their intention here is to throw you into the shoes of someone who is inches away from breaking point. Whether that's because his friends died in a rafting accident, because his mother refuses to let him grow up, because of a distorted reality, because of some new found faith or even because of some unresolved father issues is entirely for you to decide. Herzog always allows his audience to figure things out for themselves. Just like Lynch, he regards the viewer as mature and cine-literate, able to read the film on a number of different levels, throwing us enough lifelines to ensure we get hooked in.

One of the truly unique things I adored about My Son, despite the fact I haven't got a clue what it meant, was how the story had a modern setting but had an ancient and mythical quality to it as well. Maybe it's got something to do with the aforementioned theory about Brad's distorted reality. After all, lots of the films flashbacks involve him preparing for a play in which he plays a character who slays his mother with a sword. Another thing I found fascinating, with regards to the distorted reality argument and how it's visualised by Herzog, is that fact that the acting was very theatrical. For the majority of the time, it seemed intentionally overdone and melodramatic in a way that I've never seen in cinema before.

However, it's not quite pretentious as it may sound thanks to some brilliant moments of dead pan comedy in My Son, My Son, What Have Ye Done?. Furthermore, I defy anyone not to be astounded by Peter Zeitlinger's jaw-dropping cinematography regardless of your opinion on the film as a whole. If there's any justice, there should be an Oscar nomination coming his way. But, most of all, the movie just confirms that Shannon is one of the most underrated actors in cinema at the moment with this funny, over-the-top and dramatic performance that is equally uncomfortable, haunting, powerful and frightening.

In an age when most movies deliver varying levels of predictability, it is refreshing to see both David Lynch and Werner Herzog remain abstract and continue to take risks. I can't wait to watch this again.

4/5

By Daniel Sarath with 2 comments

FILM CHALLENGE: 48) A Bug's Life

48) A Bug's Life

Director: John Lasseter and Andrew Stanton

Year: 1998

Plot Summary: Every year, a bunch of grasshoppers come to the anthill and eat what the ants have gathered for them. One day in spring, when the preparations have just been finished, Flik, unliked inventor ant, accidentally drops the whole offering into the river. The grasshoppers come and, upon seeing what has happened, threaten the ants, giving them only one more chance to collect the food. Flik sets off to find bugs that are willing to fight the grasshoppers and win back their freedom.

A Bug's Life is possibly the lowest point in Pixar's career. However, that feels like a criminal thing to say because, despite the fact it doesn't reach the level of creativity and inventiveness of their other work, it's still far better than most of the kids films you'd find from any other studio.

Sure, the story is obvious and predictable from the very first moments of A Bug's Life. And sure, it isn't able to push the boat out in terms of its style in the way that Up did with its heartbreaking opening sequence or the way Wall-E did using only images and no dialogue for almost 30 minutes. But, having said that, there are still the usual laugh-out-loud moments of ironic humour, quirky little characters who will have you smiling, fun little nods to other genres and cliches, and enough action throughout to keep you glued to the screen.

It also features, for my money, one of the best voice acting performances that I've heard in an animated feature: Kevin Spacey as Hopper, the head of the grasshopper gang, who seems to fill the room with his presence and leaves you wanting more of him by the time the credits are rolling. I'm no actor, but to do that with just your voice seems pretty impressive to me!

If you're looking to see the magic of Pixar then you should start with the likes of Toy Story, Monsters Inc, The Incredibles, Wall-E or Up. But, nevertheless, it's still a fun little kids film.

3/5

By Daniel Sarath with 3 comments

FILM CHALLENGE: 47) Se7en

47) Se7en

Director: David Fincher

Year: 1995

Plot Summary: A deranged serial-killer chooses seven victims who represent egregious examples of transgressions of each of the Seven Deadly Sins. He then views himself as akin to the Sword of God, handing out horrific punishment to these sinners. Two cops, an experienced veteran of the streets who is about to retire and the ambitious young homicide detective hired to replace him, team up to capture the perpetrator of these gruesome killings. Unfortunately, they too become ensnared in his diabolical plan.

Se7en is an infuriating movie. Not in the way that the pretentious Inland Empire or The Science Of Sleep is, but in the sense that it is both breathtaking and disappointing at the same time. While it's a fantastic movie, the infuriating thing about Se7en is that it could have been something spectacular.

Before I go onto that though, it's important to mention just how great the concept of the movie is and how Fincher's style perfectly captures the story. It's very fast paced all the way through and, despite it's long running length, you'll wonder where the time went. Moreover, his brilliant use of colour, lighting, etc. helps to give Se7en an eerie, nightmarish, chilling, grimy atmosphere that complements the narrative spectacularly. It's not got the scope or the ambition of his later work, but it really shows just how talented he is as a director.

Moreover, the use of contrast between the young, naive Mills and the old, cynical Somerset, who are brilliantly captured by Brad Pitt and Morgan Freeman, is something that has always blown me away with Se7en. This contrast is enforced by how Somerset wants to escape from the hellish urban city in which the entire film is set to the countryside. Mills, however, does quite the opposite. Moreover, the contrast of the characters is brilliantly symbolised by the peaceful metronome in Somerset's apartment that helps him switch off to the noise of the city which has corrupted his innocence. It shows that he is used to this place and the evil that lives there. Mills, on the other hand, lives in an apartment right beneath a subway line almost foreshadowing that his naivety about evil - he lives under the impression that everyone who murders like the villain in Se7en is insane, for example - is about to be challenged.

It all sounds brilliant, right? Well, it should be, but like I said... the infuriating Se7en is that it could have been something spectacular, yet it's only something great.

While Andrew Kevin Walker has written a unique and amazing neo-noir narrative which is snappy, has great themes, an impressive structure, etc. his screenplay is let down by the terrible TV soap opera like dialogue. For example, the aforementioned moments in which Mills describes the killer as insane are vital to both his character and the whole idea of Se7en, but surely, Walker could have thought up better lines than "Right now he's probably dancing around in his grandma's panties rubbing peanut butter on himself" and the mocking impression of "The voices made me do it, my dog made me do it, Jodie Foster made me do it!" It's as cringeworthy as something you'd hear in an episode of Miami Vice.

Moreover, while, at times, the characters complement the narrative brilliantly, there are equally as many occasions when they slide into cliche. The way they speak, the whole good cop/bad cop routine and the conventional "why did you become a cop?" and "have you pulled your gun on anyone?" drama finds its way unnecessarily into what is otherwise a daring, edgy thriller that excels everything you'd expect in the police genre.

Lastly, Se7en is almost completely ruined with the far too predictable ending. Sure, it works with what the film-makers are trying to achieve, but because you've guessed it minutes before it happens, you are spared the gut-punching effect it should have.

By no means is it a bad movie - for a police story it's one of the best you'll find from this generation of cinema - but with a little bit of work, this could have been a masterpiece. One thing is for certain though, if there's one person to thank for this brilliant piece of work it's David Fincher because Se7en wouldn't have been this good in anyone else's hands.

4/5

By Daniel Sarath with 5 comments

FILM CHALLENGE: 46) The Wages Of Fear

46) The Wages Of Fear

Director: Henri-Georges Clouzot

Year: 1953

Plot Summary: An oil company hires four men from the slums of a South American jungle to drive two trucks carrying dangerous nitroglycerin needed at a remote oil field. With their cargo ready to explode at every jolt and jar on the bad roads, the drivers are gambling with their very lives for the opportunity to earn enough money to escape their sordid environment.

Who'd have thought that an old black and white foreign film about how America exploits the poor could be so suspenseful? After the first 30 minutes, every second of The Wages Of Fear will have you on the edge of your seat, biting your nails as the trucks hit every bump and encounter every obstacle. Sure, it's a simple idea for a story and one that doesn't really require a focussed attention, but nevertheless, the film-makers never let it lose its grip on you for the entire two and a half hour running length. At no point does it become monotonous or lose it's tone.

One of the ways they are able to do this is by creating characters who you have strong feelings for. Therefore, even if none of them are particularly likeable, you watch on with the need to know what fate lies in store for them. Moreover, the way the characters and their relationships with one another develop over the course of their mission excels The Wages Of Fear from being just a simple suspense movie to a brilliantly told character drama. While I found the first act of the movie slow paced, in retrospect, it's the perfect way to bring you into this story as you are familiar with the main characters and understand completely why they put their lives at danger for £2000.

Unlike similar Hollywood movies such as Speed, The Wages Of Fear is, furthermore, able to keep the tension at a high because the audience knows that situations like this are not uncommon. Western companies paying poor foreigners to do unsafe work to save money is something that is very familiar and, unfortunately, is something that happens every day. It's impossible to shake the feeling that this is something that's currently occurring while watching this BAFTA winner.

Maybe now that I know how the story plays out, the next time I see it will be underwhelming. But, as of this moment in time, I think it's fair to say that The Wages Of Fear is one of the finest foreign films in cinema.

5/5

By Daniel Sarath with 2 comments

FILM CHALLENGE: 45) The Runaways

45) The Runaways

Director: Floria Sigismondi

Year: 2010

Plot Summary: A coming-of-age biopic about '70s teenage band The Runaways.

The Runaways is nothing more than a painfully bland, completely average and totally forgettable music picture that doesn't do anything that hasn't been done a million times before.

I went into the film knowing little about The Runaways other than a few songs, but about ten minutes in I could already tell exactly what was going to happen. Will they, by any chance, go from being ordinary girls to rock stars? Could their fame be ruined by a singer who turns to drugs or alcohol? One member couldn't possibly get jealous of another because of their attention and, as a result, break up the band, could they? Well, it all happens in The Runaways.

It likes to think that it's fresh and original, but what the filmmakers don't seem to realise is that this narrative could be applied to thousands of bands. Even the style is so predictable that I found myself cringing at times!

The thing that perfectly sums up this movie is the reaction of the couple sat in front of me who, at one point, turned to each other with a confused look on their faces as if to say: "What is the point of all this?" And that's exactly my problem with this film. There's nothing about The Runaways' story that needs to be told.

However, I do respect the fact that it had a cast of strong, tough female characters who took on the boys at their own game and that it's got a good message about how women can do things just as well as men. But, unfortunately, nothing really develops from there and, by about the halfway point, I found myself resisting the temptation to stand up in the middle of the packed cinema and shout "WE GET IT!"

Moreover, Kristen Stewart shows that she does have the ability to act unlike her appearances in the Twilight Sage and Michael Shannon is as great as always. Plus, if it is able to turn a lot of teenage girls onto the amazing music of The Runaways then I guess it's not a total disaster. But that's really all the positive stuff I can find to say.

Pointless, predictable and one to miss.

2/5

By Daniel Sarath with No comments