FILM CHALLENGE: 103) Bottle Rocket

103) Bottle Rocket

Director: Wes Anderson

Year: 1996

Plot Summary: Upon his release from a mental hospital following a nervous breakdown, the directionless Anthony joins his friend Dignan who has hatched a hare-brained scheme for an as-yet-unspecified crime spree that somehow involves his former boss, the supposedly legendary Mr. Henry.

Wes Anderson's feature length debut doesn't have the off-beat charm of his following releases, but is, nevertheless, an unconventional and entertaining hybrid of crime and comedy.

The story focusses on a trio of friends who attempt to escape from their suburban boredom through a life of crime. However, to use the word 'story' is maybe a little misleading as Bottle Rocket has a very loose narrative style reminiscent of Mean Streets or Easy Rider. Instead of the crime, what really captures your interest are the aforementioned characters. Despite their motives, the characters are loveable and innocent, but because of these qualities you also watch Bottle Rocket with a cringed expression, knowing that they won't be able to pull of the big heist they're building towards.

And what is this big heist? Well, that's a good question. The prospect is mentioned within the first five minutes but it's not actually elaborated on until the film's last ten. This, to me, enforces the idea that what they actually steal is of no importance to these man at all. What is important is to them is that they have some excitement in their lives.

Anderson's direction isn't quite as developed as it is in Rushmore or The Royal Tenenbaums and none of the performances are particularly note-worthy, but for a 90 minute film, the subtle humour of the screenplay, which Anderson co-wrote with Owen Wilson, will have you smiling the entire time.

An enjoyable but fairly forgettable watch.

3/5

By Daniel Sarath with 1 comment

FILM CHALLENGE: 102) Confessions Of A Superhero

102) Confessions Of A Superhero

Director: Matt Ogens

Year: 2007

Plot Summary: Chronicles the lives of four mortal men and women who work as characters on the sidewalks of Hollywood Boulevard.

For many people, the actors who stand on Hollywood Boulevard in California dressed as superheroes are the subject of mockery and laughter. However, this documentary shows who the people behind the masks really are.

Hollywood is a place where dreams can come true. It's where musicians will travel to in order to be discovered by some major label. It's where writers will go to on the off chance that someone will stumble on their script. But, most of all, it's where actors go to get their big break. Success stories that have developed from these scenarios can be found anywhere you look. Whether it's a screenwriter like Diablo Cody or whether it's an actress like Hilary Swank. But for every success story, there's one of failure. In a town with that many aspiring stars, it's inevitable that many of them will never make it. These are the people that Confessions Of A Superhero explores. Therefore, the documentary, produced by Morgan Spurlock of Super Size Me, is surprisingly upsetting.

Moreover, the imagery is spectacular in the film as it contrasts the actors in their superhero outfits as they participate in every day things. The image of The Hulk leaving his dilapidated apartment and Batman going to his psychiatrist on the way home from his work on Hollywood Boulevard are strangely haunting.

Unfortunately, the movie doesn't quite tackle how the Hollywood dream has broken these people as much as it could have and Confessions Of A Superhero is more of a life story of these individuals. Sure, it's still interesting seeing these complicated, messy lives behind the masks but, personally, I'd have liked to see more about what drove them there.

Nevertheless it's still a fascinating documentary that will leave you thinking about it for weeks after watching it.

3/5

By Daniel Sarath with No comments

FILM CHALLENGE: 101) How To Train Your Dragon

101) How To Train Your Dragon

Director: Dean DuBlois and Chris Sanders

Year: 2010

Plot Summary: A hapless young Viking who aspires to hunt dragons becomes the unlikely friend of a young dragon himself, and learns there may be more to the creatures than he assumed.

Pixar have the monopoly of animated cinema and have done since the mid 90s. But now, seemingly out of nowhere, something has come along that rivals even the very best of their work: Dreamworks' most recent release How To Train Your Dragon.

Technically, the animation is right up there with the likes of Wall-E and Finding Nemo. The rich textures give even the most cartoonish character designs a sense of reality I almost lost count of how many times I marvelled at the depth of field in the setting. The sunset, the fire, the lightning, it's all so gorgeous that you'll simply be left stunned.

The most impressive aspect of the animation, however, is the silent dragon Toothless. He doesn't have a line of dialogue but has just as much of an effect on you as any of the voice parts. His slick design in comparison to the zany look of the other dragons makes him intriguing and appealing while the facial movements make you side with him and empathise with him.

But, of course, it's the story that counts the most, and How To Train Your Dragon doesn't fall short on this aspect whatsoever. The main character, Hiccup, is someone you immediately adore from the moment you hear Jay Baruchel's voice - a huge distinction from the strong, brave, courage filled voice acting of the rest of his Viking tribe. But, what I loved most about him was not his underdog nature, but how instead of using his gift to fit in with the rest of his tribe like you'd originally expect in the opening scenes, he used it for invention. Knowledge is power in How To Train Your Dragon and that's a message that I would want my children to learn from. Moreover, this is a pro-empathy and anti-violence story and we could always use more of them in such a violent era of children's cinema.

But none of the morals or politics affect the storytelling at all as they're interwoven into How To Train Your Dragon so effortlessly. Therefore, this keeps it as entertaining as any animated flick you'll have seen in recent memory as, underneath the morals, there's laughs, there's action, there's drama and there is romance.

It's not just aimed at young ones either; adults too will be equally swept along for the ride too. Sure, it might feel a bit predictable to the older audience members, as are any movies aimed at audiences this age will be, but nevertheless, as you watch Hiccup try to teach both his village and his ignorant, violent father of the discovery he made and the peace that can be sought with the dragons, you'll feel warmed, excited, tense and even occasionally moved.

Right up to the bitter-sweet climax, How To Train Your Dragon is the very definition of entertainment. Pixar, look out.

4/5

By Daniel Sarath with 4 comments

FILM CHALLENGE: 100) The Kids Are All Right

100) The Kids Are All Right

Director: Lisa Cholodenko

Year: 2010

Plot Summary: Two children conceived by artificial insemination attempt to bring their birth father into their family life.

The Kids Are All Right is a classic portrait of a modern American household touching on many of the issues that families have to deal with: Trust, appreciation, independence, togetherness, etc. It doesn't matter that the couple depicted is a pair of lesbians, each with her own teen birth-child from the same anonymous sperm donor.

This is one of the greatest things about the script: The film has gay themes, of course, but not those that show how the gay characters suffer because of their sexual identity. Instead, Nic and Jules are just normal people who face the same kinds of problems that any couple, regardless of orientation, would have to deal with. Sexuality doesn't change the fact that we are all so very human in our strengths as well as our failings. It's taken a long time for this kind of depiction to arrive in cinemas and, personally, it fills me with hope and joy to see it.

Aside from it's politics though, The Kids Are All Right is just a perfectly written comedy. The characters are almost impossible to not relate to in some way. Whether it's the daughter's struggle for independence and to be treated as an adult now that she is 18 and about to leave for college, whether it's the disillusioned son who is trying to find who he is and who he wants to be, whether it's Paul's realisation that he's no longer a young boy, or whether it's Nic and Jules themselves as they find themselves strained by their marriage and how separated from each other they feel.

Moreover, they are all brought to life by some outstanding performances. Annette Benning and Julianne Moore are certainly looking at Oscars for their two roles here. As is Mark Ruffalo who, in my opinion, gives the finest performance of his career here.

It's definitely a poignant film, , but it's also one that is very, very funny. My screening last night had people howling and cringing with laughter. But, amazingly, the humour is never forced and feels completely natural to the characters and the family that is presented in The Kids Are All Right. This, I guess, is a testament to the screenplay by Lisa Cholodenko which is by far and away the best that has been produced so far in 2010.

The Kids Are All Right has pretty much everything I look for in a movie and, therefore, being part of this family's life for two hours was thoroughly entertaining. I loved this film.

5/5

By Daniel Sarath with 1 comment

FILM CHALLENGE: 99) The Tillman Story

99) The Tillman Story

Director: Amir Bar-Lev

Year: 2010

Plot Summary: Pat Tillman never thought of himself as a hero. His choice to leave a multimillion-dollar football contract and join the military wasn't done for any reason other than he felt it was the right thing to do. The fact that the military manipulated his tragic death in the line of duty into a propaganda tool is unfathomable and thoroughly explored in Amir Bar-Lev's riveting and enraging documentary.

Pat Tillman, who gave up a professional football career to defend his country, lost his life in the line of duty after sacrificing himself to save his fellow soldiers. It's a true, patriotic, American story. There's only one problem: It's not true. The true nature of his death was covered up by the American government to use Tillman as a propaganda tool.

This terrific documentary exposes the family's fight against the military, the supreme court and even the US government to find out what really happened to their son in order to let him go and move on. It's not only a tribute to a family who put everything into searching for the truth, but it also exposes just how broken and corrupt the American system is. As you'd expect, therefore, it's a harrowing ride and one that leaves you shaken to your core.

Unfortunately, while it's a story that certainly deserves to be told, the documentary struggles to find enough to fit into the 90 minute running time. The first act and final act are as engaging as anything you'll see in 2010, but the middle, which tells the background of Pat Tillman and his brother feels a little long and overly fleshed out. Moreover, aspects of The Tillman Story aren't particularly well put together, in my opinion, and ruin some of the pace and suspense of the story.

Nevertheless, it's a film that should be seen by everyone because, despite the small faults in the actual filmmaking, nothing takes away the fact that The Tillman Story is a riveting, absorbing, shocking and heart-stopping work of non-fiction.

4/5

By Daniel Sarath with No comments

FILM CHALLENGE: 98) Away We Go

98) Away We Go

Director: Sam Mendes

Year: 2009

Plot Summary: A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family.

After the harrowing and heartbreaking Revolutionary Road, Sam Mendes followed it up with a movie entirely on the opposite end of the spectrum: Away We Go. Touching, funny and as sweet as a two-dozen Krispy Kreme doughnuts, it's a very enjoyable watch that never requires you to use your brain and will leave you with a a huge smile on your face.

Dave Eggers and Vendela Vido co-wrote the script that sees Burt and Verona travel across America looking for a home while they expect their first born child. As they travel from coast to coast they learn lessons about what makes a family and a home through various encounters with an assortment of old friends and relatives.

These encounters remain engaging because of the pair's strong, sharp writing and, even more, the performances by the whole cast. Most impressive, of course, are the two leads: John Krasinski and Maya Rudolph. It's impossible to think of any other two performers who could pull of these protagonists better than these two. Their comic timing, warmth and chemistry is so perfect that it makes Away We Go such an entertaining and watchable comedy.

One thing I was very impressed with, furthermore, is how unconventional the character development is in Away We Go. At no point does Burt become scared of his impending fatherhood, nor does Maya question the relationship in the way that characters in Knocked Up, Juno, etc. all do. Their biggest issues revolve around Burt being worried about Maya's breasts shrinking and the only resemblance of an argument between the two comes from Burt talking too loud. Instead, we see an honest and ordinary couple who are simply preparing for the life ahead and, seeing that in itself, is heartwarming.

Sam Mendes' direction is also as excellent as it always is and it seems that the Oscar winner is unable to do wrong. Every shot is gorgeously framed regardless of how brief it is and every scene is so wonderfully composed. Alexi Murdoch's warm and simple acoustic music is also impressive, complementing the entire tone of the picture perfectly.

Unfortunately, on a second watch, because there's so little character or plot development, it's not quite as enjoyable a movie and there are some gaping plot holes that let down the story. Nevertheless, if you want something that, for 90 minutes, will make you smile and laugh, it'll meet your expectations and more.

3/5

By Daniel Sarath with No comments

FILM CHALLENGE: 97) Get Low

97) Get Low

Director: Aaron Schneider

Year: 2010

Plot Summary: A movie spun out of equal parts folk tale, fable and real-life legend about the mysterious, 1930s Tennessee hermit who famously threw his own rollicking funeral party while he was still alive.

Get Low is about as faultless a movie as you'll find this year. Okay, it may not challenge cinema in any way and it doesn't do anything remarkable you won't have seen before, but it's as well-made, well-written and well-acted as any motion picture I've seen in the last 8 months.

Opening with a shot of a house, isolated on a hill and wreathed in flames, Get Low grabs you from the very first shot as a man emerges from the fire running for his life. From here on, it settles into a slow paced, subtle character study of an old man who has isolated himself from humanity for 40 years, but what keeps you enthralled is why this man chose to live the way he did: What actually happened in that opening scene.

It's not the most gripping narrative that's ever been conceived, but it remains involving throughout thanks to the spectacular performance by Robert Duvall. If there's one reason to go to your nearest cinema and fork out £5 to see Get Low it's him. At 79, he still manages to give one of the most subtle and understated yet heartbreaking and affecting performances I've seen in a long time.

Also worthy of note are Sissy Spacek who, despite her small role that really only exists to explore Felix's nature a little further, gives her character an incredible depth, and Bill Murray who is as funny, scheming and charming as he always is.

But the acting by this ensemble of actors never overshadows the minor features of Get Low. The directing, while simplistic, has the quality of an old-fashioned Hollywood drama. Instead of being overly cinematic, it allows the actors to explore their characters and allows the writing and storytelling to come to the foreground. And how is the writing? Well, let's just say it's a shoe-in for Best Original Screenplay come awards season. Perfectly balancing the absurdity of the story with the universal ideas of guilt and shame and the laugh-out-loud humour with the tear-jerking moments of sadness, Chris Provenzano and C. Gaby Mitchell do a great job.

4/5

By Daniel Sarath with No comments

End Of The Month Review - July To August

Top 10 Films Of The Month

10. 2001: A Space Odyssey

Director:

Stanley Kubrick

Year:

1968

My review:

"Way ahead of its time, it's a movie that will continue to inspire debate and stun viewers for years and years to come."

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09. Let The Right One In

Director:

Tomas Alfredson

Year:

2008

My review:

"Let The Right One In manages to craft a brutal, dark and haunting vampire story that remains true to its roots, while also being a touching and often moving tale of adolescence."

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08. Rushmore

Director:

Wes Anderson

Year:

1999

My review:

"A poignant, funny and fresh comedy that demands a viewing."

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07. Zodiac

Director:

David Fincher

Year:

2007

My Review:

"A unique, ambitious and very realistic retelling of a murder case which is both gripping and terrifically well made."

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06. Lebanon

Director:

Samuel Maoz

Year:

2010

My Review:

"One of the most powerful, disturbing and memorable movies this genre has ever produced."

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05. Moon

Director:

Duncan Jones

Year:

2009

My Review:

"Moon is a science fiction flick that, instead of being heavy on the special effects and the action, is carried by an intriguing mystery and a fantastic study of isolation and loneliness."

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04. The Squid And The Whale

Director:

Noah Baumbach

Year:

2010

My Review:

"It's a realistic family drama that is fresh, funny, smart, touching and, well, simply an outstanding piece of work."

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03. Happy Go Lucky

Director:

Mike Leigh

Year:

2008

My Review:

"Happy Go Lucky is an underrated masterpiece that makes me proud of British cinema."

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02. Dog Day Afternoon

Director:

Sidney Lumet

Year:

1995

My Review:

"Dog Day Afternoon is everything you could want from a movie and is one of the highlights of the 1970s."

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01. The Conversation

Director:

Francis Ford Coppola

Year:

1974

My Review:

"A minor masterpiece from Francis Ford Coppola who has created a brilliantly unconventional thriller that is anchored by a subtly brilliant character study and continues to resonate with modern times."

By Daniel Sarath with No comments

FILM CHALLENGE: 96) Sid And Nancy

96) Sid And Nancy

Director: Alex Cox

Year: 1986

Plot Summary: Morbid biographical story of Sid Vicious, bassist with British punk group the Sex Pistols, and his girlfriend Nancy Spungen. When the Sex Pistols break up after their fateful US tour, Vicious attempts a solo career while in the grip of heroin addiction. One morning, Nancy is found stabbed to death and Sid is arrested for her murder.

Sid Vicious is one of punk rock's most iconic figures and his band The Sex Pistols are similarly legendary. Whether it's spitting at fans or their infamously foul-mouthed TV appearance, both of them will have a place in history for their anarchic assault on 1970s Britain. Therefore, it's such a shame that Sid And Nancy is unable to capture this energy or spirit.

In its style, Sid And Nancy feels like your run of the mill romantic drama. The camerawork is very still, the editing is smooth and the score, aside from a few Pistols songs, is very forgettable. The writing does at times have that rebellious fire that the both Vicious and his band are infamous for, but mostly it feels like it's written by an outsider looking into the world of punk rock, rather than someone who really understood or experienced it. In many ways, this is punk rock from the eyes of the middle class.

Moreover, while the death of Nancy and Sid Vicious' involvement is one of rock and roll's most famous stories, it doesn't deserve cinematic treatment. Yes, the scenes towards the end are compelling and interesting but very little is unearthed if you already know the story and the events leading up to it, really, aren't of much interest. It's the kind of tale that'd best have been saved for a newspaper article, not a two hour feature length movie.

Aside from Gary Oldman as Sid Vicious, who gives an incredible performance that is one of cinema's finest, most of the casting and acting is, frankly, pretty terrible. Chloe Webb is annoying and loathsome as Nancy and her character is as lifeless as they come. And particularly horrible is Andrew Schofield as Johnny Rotten. Not only does he look nothing like him, but Schofield never captures the essence of Rotten for a second.

Vicious's character and Oldman's performance saves it from disaster, but Sid And Nancy is an extremely overrated drama that, really, doesn't need to exist.

2/5

By Daniel Sarath with No comments

FILM CHALLENGE: 95) Lebanon

95) Lebanon

Director: Samuel Maoz

Year: 2010

Plot Summary: June, 1982 - The First Lebanon War. A lone tank and a paratroopers platoon are dispatched to search a hostile town - a simple mission that turns into a nightmare. The four members of a tank crew find themselves in a violent situation that they cannot contain. Motivated by fear and the basic instinct of survival, they desperately try not to lose themselves in the chaos of war.

Setting a film entirely within the constraints of a tank is a brave move from filmmaker Samuel Maoz. Yet this claustrophobic view of the war between Israel and Lebanon is one of the most powerful, disturbing and memorable movies this genre has ever produced.

The film not only explores warfare from the viewpoint of those who are within the tanks and the day to day struggles that these men are forced to live through. It's more of an examination of how these how young men are suddenly thrown into battle and now hold the difference between life or death at their fingertips. The main drama in Lebanon is not its action or its enigmas, it's watching these young men make unthinkable decisions and the moral dilemmas that they suffer from as a result of this. You will watch it with your heart in your throat as they have to decide whether to pull the trigger on a van driver who may or may not be innocent, have to whether to kill an entire family being held hostage in order to stop a firing gun man or have to disobey commands in order to protect themselves.

Setting it entirely inside a tank means that there are no distractions from the soldiers and their moral issues. There's no explosions or gunfire to take your mind away from them, there's no exploration of the reasons why they are even there. Lebanon shows you with little subtext just how awful being a soldier really is. How these are human beings with families, personalities and real lives who are forced to live every day like it could be their last and who are forced to, when the time comes, end someone else's life.

Therefore, it's one of the most powerful anti-war statements that has ever been made. And, let's face it, Maoz is someone who clearly knows that he's talking about in that respect. Lebanon, after all, is very much an autobiographical piece of work.

The characters and how much of an effect they have on you is thanks to both Maoz and his terrific writing and the entire cast who make their characters so believable. There are moments, in fact, when you almost forget that Lebanon is a fictional film they are both so good. When the final scenes roll around therefore, in which the tank's driver, Yigal, cries for his mother and the group's commander reminisces on high school memories, it's impossible to feel anything other than sympathy and heartache for these soldiers and any others who are currently fighting a war somewhere in the world.

This, in fact, is another strong point about Lebanon: While it's set in the 1980s in the war between Israel and Lebanon, this story could be set in any conflict in any era and still have the same story. It's universal message enforces the fact that, regardless of what you're fighting for or who you're fighting against, it's real human beings who, in the end, have to suffer.

It also contains one of the most breathtaking moment in any film you'll see in 2010 as the tank's sight examines posters in a crumbling travel agency of London, Paris and Los Angeles.

It'll leave you split in two, but Lebanon a war movie that demands, no, needs to be watched.

5/5

By Daniel Sarath with 3 comments