Cuban jazz still seems to hold a place in many music lovers’ hearts. Buena Vista Social Club are still riding high and Cuba’s influence on the world of jazz is undeniable. Fernando Trueba, who previously directed the documentary on Cuban musician Bebo Valdes, is well versed on the topic and so is able to put his own musical spin on the romance genre. We’ve all seen romances based around music: High Fidelity, Singin’ In The Rain and so on, but there’s something electric about a romance centred around jazz. Within seconds, you are able to flick between different emotions in one song and, just like the relationship between Chico and Rita throughout the film, it remains captivating until the end.
The script is not fantastic. It’s very predictable, unless you haven’t seen many romance films which I doubt is many people, and flows exactly how you would expect it to. But, just like High Fidelity, it’s the love of music that drives this film. The soundtrack is perfectly done so as to accompany the emotions of the two characters. A heartfelt ballad after a disagreement between the two or an intense samba when emotions are running high.
The animation too is something to note here. Mixing together a hand inked style with CG in the more actiony scenes, it manages to make these characters seem human whilst also using the ability to manipulate the colours in subtle ways to convey deep emotions. The streets of Havana look lush and rife with activity, whereas wintery New York, accompanied by the separation of Chico and Rita, looks cold and almost emotionless.
A tale of love, loss and betrayal it pretty much follows the romance book to the letter, but the gorgeous art style and the prevalent use of Cuban jazz adds to what would have otherwise been quite a tepid story.
4/5
24 November 2010
Harry Potter and the Deathly Hallows, Part 1 by Jessica Cree
Harry Potter and the Deathly Hallows, Part 1 (2010)
Director: David Yates
Duration: 146mins
Rating: ****
This, the penultimate episode to the Harry Potter volume, is scarier, darker and more magical than any of the preceding films; a needed boost from the perhaps somewhat duller Half-Blood Prince.
This edition sees Harry, Ron and Hermione set out on their challenge to find and destroy the four remaining Horcruxes - which each contain a part of the Dark Lord’s soul - to be able to diminish his increasing power and ultimately rid the wizarding world of his evil. A large part of the film is spent with the trio on the run from danger after Bill and Fleur’s wedding, which was dramatically gatecrashed by Death Eaters searching for Harry. Whilst this part does seem slightly dragged out, as none of them have any idea where they are headed, I agree with Yates’ decision not to cut any parts as despite being slightly padded out, they were beautifully shot, in great locations and helped to add to the brewing tension in the group.
The film, as well as being the spookiest volume to date, does have some rather touching moments including a dance between Harry and Hermione, which was not in the original book, and the untimely death of one of Harry’s sweetest friends. The viewers were left gasping by the cliff-hanger ending and on leaving the cinema I heard one fan declare that they couldn’t believe that they had to wait until July next year for the final chapter.
Before the film began, staff at the MetroCentre IMAX gave a special announcement explaining why we were not given our fetching 3D glasses. Warner Bros, despite having a reported budget of $250 million, decided to cut filming in 3D part way through, as they didn’t believe the quality was good enough. This is something that I personally hope will be rectified for the final instalment, as there were some scenes, which had evidently been intended for a 3D screen and would have caused extra shocked screams from the audience!
3D or not, this film is the best yet in the series and a must see for Harry Potter geeks like myself or for those wanting a magical night at the cinema.
Director: David Yates
Duration: 146mins
Rating: ****
This, the penultimate episode to the Harry Potter volume, is scarier, darker and more magical than any of the preceding films; a needed boost from the perhaps somewhat duller Half-Blood Prince.
This edition sees Harry, Ron and Hermione set out on their challenge to find and destroy the four remaining Horcruxes - which each contain a part of the Dark Lord’s soul - to be able to diminish his increasing power and ultimately rid the wizarding world of his evil. A large part of the film is spent with the trio on the run from danger after Bill and Fleur’s wedding, which was dramatically gatecrashed by Death Eaters searching for Harry. Whilst this part does seem slightly dragged out, as none of them have any idea where they are headed, I agree with Yates’ decision not to cut any parts as despite being slightly padded out, they were beautifully shot, in great locations and helped to add to the brewing tension in the group.
The film, as well as being the spookiest volume to date, does have some rather touching moments including a dance between Harry and Hermione, which was not in the original book, and the untimely death of one of Harry’s sweetest friends. The viewers were left gasping by the cliff-hanger ending and on leaving the cinema I heard one fan declare that they couldn’t believe that they had to wait until July next year for the final chapter.
Before the film began, staff at the MetroCentre IMAX gave a special announcement explaining why we were not given our fetching 3D glasses. Warner Bros, despite having a reported budget of $250 million, decided to cut filming in 3D part way through, as they didn’t believe the quality was good enough. This is something that I personally hope will be rectified for the final instalment, as there were some scenes, which had evidently been intended for a 3D screen and would have caused extra shocked screams from the audience!
3D or not, this film is the best yet in the series and a must see for Harry Potter geeks like myself or for those wanting a magical night at the cinema.
Secret of Kells by Marcus Bryan
Animated films should cater for children before adults, at the very least presenting adult themes behind a thick veil of childish wonders. They should concern themselves with talking animals and princesses, not Celtic pagan mythology and periods of Irish history that would seem obscure even to the older sections of their audience. They should be focused on entertainment before artistry. They should, more often than not, contain a comedy sidekick. It’s probably for these reasons that The Secret of Kells grossed less than £700,000 in its original cinematic run, pocket change in comparison to the mountains of cash raked in, year on year, by the Pixar and Dreamworks juggernauts. It is also for these reasons, though, that it’s hotly-tipped to finally lift Pixar’s stranglehold over the Best Animated Feature Oscar. The most immediately striking thing about The Secret of Kells is the style of its animation. The staccato movement and the way the film blends foreground and background, characters and scenery, into larger patterns may seem bizarre initially, but soon the striking visuals become compelling in their oddness, and show themselves to be inseparable from the story the film is trying to tell. The plot revolves around the creation of the Book of Kells, a 1200-year old, hand-scribed and lavishly illustrated Bible, one of Ireland’s greatest historical treasures, but the film is, at its core, about the conflict between art and politics. The precocious Brendan rebels against his Uncle, who is preoccupied with the more practical task of building a wall to protect Kells from Viking invaders, by venturing into the forest with the enigmatic fairy Aisling, and spending his time helping the visiting Brother Aiden complete his unfinished manuscript. This short summary does not do justice to the effect of the film, however, which confounds the viewer’s expectations at every turn. It’s obligatory duel with a monster takes place in a strange realm outside of time and space, and the climatic battle is played for melancholy rather than exhilaration. Though it may not be to everyone’s taste, those who occasionally worry that Michael Bay is slowly killing off intelligent cinema will find their remedy with The Secret of Kells.
03 November 2010
Fifth Element by Callum Sibley
Last week I attended a free viewing of Fifth Element as part of the Tyneside Cinema’s Free Film Night in their bar, which is a weekly occurrence showing classic films from action to sci-fi. Before I begin my review of the film itself I would like to take this opportunity to mention what a beautiful venue the Tyneside cinema is and a must visit for all. Now back to the review at hand...as a film Fifth Element has everything that a film needs to be entertaining. It has action provided by Buce Willis, love interest provided by Milla Jovovich and comedy provided by Chris Rock. The Basic plot is that some aliens leave a weapon on earth, called the fifth element, which will be needed in the future to protect the universe from Evil. Fast forward a few thousand years Evil has appeared and the Fifth Element must be awoken. Much to everyone’s surprise the Fifth Element turns out to be a naked Milla Jovovich, who must be protected at all costs. After freaking out and running away she fortunately falls into the lap of ex-special ops soldier Bruce Willis who is now a taxi driver. They together must find some special rocks, stop Gary Oldham as the evil Zorg and eventually stop Evil from killing everyone.
As ridiculous as the film sounds on paper I would say that this is an amazing film. There is enough tension to keep you on the edge of your seat but also the action and romance break it up nicely so as to not allow it to get boring. Bruce Willis is brilliant at poking fun at himself as a tongue in cheek version of John McClane. Arguably the best role Chris Tucker has played in a film, I won’t give away his character or how he enters the film but it is hilarious. Milla Jovovich is very good as the Perfect human Leeloo and Gary Oldham as per usual is faultless. All in all I think Fifth Element is a great movie that must be seen even if it’s just for the costumes and visuals. I think the majority of people will like it but obviously there are the few who do not appreciate Sci-Fi films. So due to this I give Fifth Element.... 4/5
As ridiculous as the film sounds on paper I would say that this is an amazing film. There is enough tension to keep you on the edge of your seat but also the action and romance break it up nicely so as to not allow it to get boring. Bruce Willis is brilliant at poking fun at himself as a tongue in cheek version of John McClane. Arguably the best role Chris Tucker has played in a film, I won’t give away his character or how he enters the film but it is hilarious. Milla Jovovich is very good as the Perfect human Leeloo and Gary Oldham as per usual is faultless. All in all I think Fifth Element is a great movie that must be seen even if it’s just for the costumes and visuals. I think the majority of people will like it but obviously there are the few who do not appreciate Sci-Fi films. So due to this I give Fifth Element.... 4/5
Carlos by Chris Taylor
Carlos
Olivier Assayas’ superb look into the life of infamous Venezuelan terrorist, Carlos the Jackal, is proof enough that quality cinematic entertainment can be found beyond the silver screen. Originally a miniseries for French television, the UK theatrical release has received a significant edit whilst not skimping on detail. What was a lengthy 5 and a half hours has been cut down to a manageable 2 and a half, whilst losing none of Edgar Ramirez’s mesmerising performance Ilich Ramirez Sanchez aka Carlos. It’s just a shame that its small screen origins don’t allow him for a Best Actor nomination because his performance is up there as one of the best this year. The story focuses on Carlos’ most famous years, including the infamous hostage taking at the OPEC HQ. That section takes up at least an hour on its own and never dips in tension. From preparation to aftermath, it’s edge-of-the-seat viewing. Despite its length, Carlos never feels like it hits a low point. Unusual editing which makes it seem as if important detail is being skimmed past can occasionally falter the progress of the story but as much is expected when editing down a miniseries for theatrical release. The miniseries no doubt fleshes out numerous areas of the story, but the characters and tension is nearly every scene is enough to keep you sticking with it throughout its entire run time.
4/5
Olivier Assayas’ superb look into the life of infamous Venezuelan terrorist, Carlos the Jackal, is proof enough that quality cinematic entertainment can be found beyond the silver screen. Originally a miniseries for French television, the UK theatrical release has received a significant edit whilst not skimping on detail. What was a lengthy 5 and a half hours has been cut down to a manageable 2 and a half, whilst losing none of Edgar Ramirez’s mesmerising performance Ilich Ramirez Sanchez aka Carlos. It’s just a shame that its small screen origins don’t allow him for a Best Actor nomination because his performance is up there as one of the best this year. The story focuses on Carlos’ most famous years, including the infamous hostage taking at the OPEC HQ. That section takes up at least an hour on its own and never dips in tension. From preparation to aftermath, it’s edge-of-the-seat viewing. Despite its length, Carlos never feels like it hits a low point. Unusual editing which makes it seem as if important detail is being skimmed past can occasionally falter the progress of the story but as much is expected when editing down a miniseries for theatrical release. The miniseries no doubt fleshes out numerous areas of the story, but the characters and tension is nearly every scene is enough to keep you sticking with it throughout its entire run time.
4/5
13 October 2010
A Town Called Panic by Rose Spittles
Essentially, this is what happens when you make an incompetent, plasic cowboy, Indian and horse make their own barbeque in a world where jumping down a hole can take you on a hilarious journey to the centre of the earth and beyond. This animation incorporates laugh-out-loud slapstick with complete and utter randomness that would only occur if you combined Wallace and Grommit and postman pat at a party on speed. And these guys certainly know how to party! I've never been to a plastascine horse's birthday bash, but I'm desperate to go to one now. The naive animation (the characters look like cheap plastic figurines) just adds to the charm, and the sound track was a winner too. Despite the comedy of the film, there are definite moments of peril, such as when the team get sucked inside a giant penguin and have to find their way home! This is a journey of epic proportions, as far as plastascine models go. And amidst all this chaos, poor Horse is trying to juggle his piano lessons! Barking mad, but definitely worth seeing.
The Town by Simon Howard
4/5 Stars
125 mins
Ben Affleck stars, writes and directs in this hard-hitting crime thriller, adapted from Chuck Hogan’s novel ‘Prince of Thieves’. The film was a No.1 smash in the States, and is based around the Boston neighbourhood of Charlestown, where we are told ‘over 300 bank robberies take place each year’.
As he plans his next job, Doug MacRay (Ben Affleck) falls for a bank manager (Rebecca Hall) who he took hostage in a previous heist, as well as trying to keep one step ahead of the FBI agents aiming to bring him and his team down.
The film contains many powerhouse performances, including a surprising turn from Gossip Girl’s Blake Lively, who plays ‘Krista Coughlin’ a hooker with a 19-month old daughter. Pete Postlethwaite also appears as ruthless crime lord Fergie, who will not accept Doug’s refusals to carry out more robberies when he tries to move away from his life of crime.
The film moves at a great pace, and its gritty feel is a triumph. The Boston setting is used to great effect with several beautiful shots of the skyline. The lack of special effects gives a very realistic feel to the film, and the car chases and bank heists (of which there are several) are both exciting and superbly executed. All the characters are extremely credible, but some could have perhaps been expanded further. The twists and turns are not wholly unpredictable either, but still give the film a tense and edgy aspect.
Bottom Line- Ben Affleck proves himself as a director to be reckoned with in this riveting thriller. Intriguing characters populate ‘The Town’, but it lacks a knock-out dramatic punch and resolution which would have made it 5*.
See this if you liked:
The Departed (2006)
Gone Baby Gone (2007)
Simon Howard
125 mins
Ben Affleck stars, writes and directs in this hard-hitting crime thriller, adapted from Chuck Hogan’s novel ‘Prince of Thieves’. The film was a No.1 smash in the States, and is based around the Boston neighbourhood of Charlestown, where we are told ‘over 300 bank robberies take place each year’.
As he plans his next job, Doug MacRay (Ben Affleck) falls for a bank manager (Rebecca Hall) who he took hostage in a previous heist, as well as trying to keep one step ahead of the FBI agents aiming to bring him and his team down.
The film contains many powerhouse performances, including a surprising turn from Gossip Girl’s Blake Lively, who plays ‘Krista Coughlin’ a hooker with a 19-month old daughter. Pete Postlethwaite also appears as ruthless crime lord Fergie, who will not accept Doug’s refusals to carry out more robberies when he tries to move away from his life of crime.
The film moves at a great pace, and its gritty feel is a triumph. The Boston setting is used to great effect with several beautiful shots of the skyline. The lack of special effects gives a very realistic feel to the film, and the car chases and bank heists (of which there are several) are both exciting and superbly executed. All the characters are extremely credible, but some could have perhaps been expanded further. The twists and turns are not wholly unpredictable either, but still give the film a tense and edgy aspect.
Bottom Line- Ben Affleck proves himself as a director to be reckoned with in this riveting thriller. Intriguing characters populate ‘The Town’, but it lacks a knock-out dramatic punch and resolution which would have made it 5*.
See this if you liked:
The Departed (2006)
Gone Baby Gone (2007)
Simon Howard
The Girl who Played with Fire (2009)
Rating: 3/5.
Subsequent to the events that transpired in the previous instalment, computer hacker Lisbeth Salander is accused of three murders, whilst magazine journalist Mikael Blomkvist attempts to uncover a human trafficking ring with his colleagues, whilst frantically trying to prove Lisbeth’s innocence.
The Girl who Played with Fire is the second chapter of the Millennium trilogy, adapted from the literary phenomenon from Swedish author, Stieg Larsson. Both Noomi Rapace and Michael Nyqvist return as the two protagonists, Lisbeth and Mikael, but this time round Daniel Alfredson takes on the role of director, in place of Niels Arden Oplev, who helmed previous instalment, The Girl with the Dragon Tattoo.
Unfortunately the film does not resonate the brilliance it predecessor did, being less believable, and not as foreboding, albeit the ever-present violence, sex, and rape.
The Girl with the Dragon Tattoo was one of the best films of 2009, and gave a fresh if not visceral renovation to the modern thriller. This is where the Girl who Played with Fire differs, in that it lapses into an inconsistent and unbelievable follow up. The trademark shock makes a triumphant return, but is used incorrectly, and in some cases unnecessarily. On top of this, the new additions to the cast are ever so slightly ridiculous, such as a hulking hit man, who must have got lost on the way to the latest James Bond film auditions.
Coupled with an inconsistent narrative, and an ending which disappoints, The Girl who Played with Fire is a far less superior part to the trilogy. The film has a tendency to drag as well, and magazine journalist Mikael doesn’t meet our bike riding, bisexual, computer hacker Lisbeth until the end of the film, their stories feeling awkwardly separate. On the other hand, it was interesting to delve further into Lisbeth’s back-story, and the film does have entertaining moments to it, as well as a handful of decent thrills.
In terms of how the film is shot, there are no complaints really, which is by far the best thing it has going. The shots are nicely mixed, occasionally throwing us into the fray, and sometimes making us watch from a distance, cleverly manipulating how we perceive the film.
Overall The Girl Who Played with Fire is hit and miss. It feels rushed, and thus suffers the consequences, as opposed to living up to the expectations of its predecessor. It’s not all bad though, and certainly packs a punch when it wants to, but unfortunately, not as much as it should.
Review by James Turnbull.
Subsequent to the events that transpired in the previous instalment, computer hacker Lisbeth Salander is accused of three murders, whilst magazine journalist Mikael Blomkvist attempts to uncover a human trafficking ring with his colleagues, whilst frantically trying to prove Lisbeth’s innocence.
The Girl who Played with Fire is the second chapter of the Millennium trilogy, adapted from the literary phenomenon from Swedish author, Stieg Larsson. Both Noomi Rapace and Michael Nyqvist return as the two protagonists, Lisbeth and Mikael, but this time round Daniel Alfredson takes on the role of director, in place of Niels Arden Oplev, who helmed previous instalment, The Girl with the Dragon Tattoo.
Unfortunately the film does not resonate the brilliance it predecessor did, being less believable, and not as foreboding, albeit the ever-present violence, sex, and rape.
The Girl with the Dragon Tattoo was one of the best films of 2009, and gave a fresh if not visceral renovation to the modern thriller. This is where the Girl who Played with Fire differs, in that it lapses into an inconsistent and unbelievable follow up. The trademark shock makes a triumphant return, but is used incorrectly, and in some cases unnecessarily. On top of this, the new additions to the cast are ever so slightly ridiculous, such as a hulking hit man, who must have got lost on the way to the latest James Bond film auditions.
Coupled with an inconsistent narrative, and an ending which disappoints, The Girl who Played with Fire is a far less superior part to the trilogy. The film has a tendency to drag as well, and magazine journalist Mikael doesn’t meet our bike riding, bisexual, computer hacker Lisbeth until the end of the film, their stories feeling awkwardly separate. On the other hand, it was interesting to delve further into Lisbeth’s back-story, and the film does have entertaining moments to it, as well as a handful of decent thrills.
In terms of how the film is shot, there are no complaints really, which is by far the best thing it has going. The shots are nicely mixed, occasionally throwing us into the fray, and sometimes making us watch from a distance, cleverly manipulating how we perceive the film.
Overall The Girl Who Played with Fire is hit and miss. It feels rushed, and thus suffers the consequences, as opposed to living up to the expectations of its predecessor. It’s not all bad though, and certainly packs a punch when it wants to, but unfortunately, not as much as it should.
Review by James Turnbull.
Made in Dagenham by Rosie Libell
Rating – 4.5
‘Made in Dagenham’ is a tribute to the women who changed British society in the late 60s and 70s by fighting for equal pay. The film shows the incredible journey of the small group of machinists from the Ford factory in Dagenham that brought a major change for all women in the years to come.
The film boasts a great cast, including Sally Hawkins playing the main character Rita, and Bob Hoskins playing much-loved Albert, who helps in the women’s fight. The film was directed by Nigel Cole, who also directed ‘Calendar Girls’.
The film was inspiring, not just because it’s an issue close to every female’s heart, but also because it shows the sheer determination of the women to fight for what they believed in, which achieved major changes in not only British society, but across the world. The knock-on effect on their personal lives is shown, like the struggle of juggling married life and children with their commitment to the strike. We also see how the timid Rita, an ordinary seamstress, could build the confidence to lead the strike.
Because it is based on a true story, we get a real sense of the politics behind the issue of equal pay. It portrayed the hesitant Harold Wilson, who was the Labour Prime Minister at the time and Minister of Employment, Barbara Castle, who was an integral part of creating legislation for equal pay. The film also explores other issues like the problems with the Trade Unions, as well as showing that equal pay was an issue that every woman believed in, regardless of their class.
Despite the serious references, the film is kept light-hearted with its humour, particularly when the women are protesting in London with a banner that hasn’t been put up properly and reads “We want sex”, and hiding the final word ‘equality’!
It’s a brilliant film and I would recommend it to anyone!
Rosie Libell
‘Made in Dagenham’ is a tribute to the women who changed British society in the late 60s and 70s by fighting for equal pay. The film shows the incredible journey of the small group of machinists from the Ford factory in Dagenham that brought a major change for all women in the years to come.
The film boasts a great cast, including Sally Hawkins playing the main character Rita, and Bob Hoskins playing much-loved Albert, who helps in the women’s fight. The film was directed by Nigel Cole, who also directed ‘Calendar Girls’.
The film was inspiring, not just because it’s an issue close to every female’s heart, but also because it shows the sheer determination of the women to fight for what they believed in, which achieved major changes in not only British society, but across the world. The knock-on effect on their personal lives is shown, like the struggle of juggling married life and children with their commitment to the strike. We also see how the timid Rita, an ordinary seamstress, could build the confidence to lead the strike.
Because it is based on a true story, we get a real sense of the politics behind the issue of equal pay. It portrayed the hesitant Harold Wilson, who was the Labour Prime Minister at the time and Minister of Employment, Barbara Castle, who was an integral part of creating legislation for equal pay. The film also explores other issues like the problems with the Trade Unions, as well as showing that equal pay was an issue that every woman believed in, regardless of their class.
Despite the serious references, the film is kept light-hearted with its humour, particularly when the women are protesting in London with a banner that hasn’t been put up properly and reads “We want sex”, and hiding the final word ‘equality’!
It’s a brilliant film and I would recommend it to anyone!
Rosie Libell
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