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
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