The Curious Case of Benjamin Button

"They said I was gonna die soon but, maybe not."

Written by: Eric Roth

Directed by: David Fincher

Starring: Brad Pitt, Cate Blanchett

My rating: 4/10

I cannot understand how such an accomplished group of filmmakers can take such a magical and potentially profound story as this and make it so contrived. It boggled my mind as I was sitting in the cinema how this mess of sentiment and dullness could have come from such talented people. It struck me that maybe they got carried away with the notion that this was such a great premise that could couldn't mess it up...but they did. Thinking about it, I suppose the magic that this film needed was a different sort of magic to the magic David Fincher works; technical magic. This film needed an injection of luciousness and beauty and poetry and, I suppose, heart. A romance is created with little more than the assumption that the leading man falls for the leading lady. Nothing is built up and therefore, there's nothing to care about. Also, apart from being a nice guy, Benjamin Button had no character. He wasn't given a whole lot to do except experience experiences.

The film has a lot going for it though, Cate Blanchett shines particularly brightly in this one. She is stunningly beautiful and elegant and gives the character the kind of light she needed. Her distraction with getting old and losing her gift for dance was well played and gave the film an emotional boost. Brad Pitt's performance was sufficient but all of his best work came at the start when he was playing a young boy in an old man's body, everything after that felt like autopilot. In fact, the best of everything came early. All the thought-provocation came early, all of the imagination came early and up to a certain point there was a lot of humour and brain candy to enjoy. When Benjamin grew up, however, it focussed on the love story which, in my opinion, held no water and felt as flat as a pancake.

Technically, the film is brilliant. Like, proper brilliant and will stand the test of time no matter what comes after it. The ageing make-up and even more so, the youth-enhancing make-up was spectacular. It was so good it wasn't even distracting. Both stars looked like themselves, only softer and more graceful. This element is stunning and as far as direction goes, Fincher doesn't miss a beat. I think his biggest problem is that he isn't Tim Burton and couldn't give the audience the spectacle and imagination the film so badly needed.

The most important thing about this film is the questions it should have asked about life and it's structure, but it shied away from those in favour of a sappy love story which is a shame and didn't do the story justice. In the hands of a less technical director, the film might have been more about the backward clocks and the man being hit by lightning and less about domestic issues and lost love.

Check it out if you want a standard Hollywood weepie, but don't go in hoping to be inspired, it seems they lost their passion halfway through.

- Charlene Lydon 12/2/09

Revolutionary Road

"No one forgets the truth Frank they just get better at lying"

Written By: Justin Haythe

Directed By: Sam Mendes

Starring: Kate Winslet, Leonardo Di Caprio, Michael Shannon

My Rating: 9/10

Adapted from the notoriously cynical novel by Richard Yates, Revolutionary Road is a powerful dissection of the tendency that life has to tear people apart. The story follows Frank and April Wheeler, two smart and cultured young people who fall in love and agree that life holds something special for them. She gets pregnant and they move temporarily to the suburbs while Frank works his way up the corporate ladder. As he climbs, April is drowning in a desperate sea of frustration. Her life is empty. She hates the suburbs, she resents the people who live there and mostly she resents herself and her husband for being there. However, she refuses to give up and convinces Frank to use their savings to move them and their two children to Paris. She will be a secretary and he will have time to find himself. As it becomes clear that suburbia is not quite ready to let them go April and Frank start to resent each other and things fall apart.

This is not a film for everybody. It is intense, dark, and slow. One may be forgiven for disliking the two main characters. They are selfish and spoiled in a lot of ways. However, they are also fresh, smart and clearly wasted on the lives they inhabit. It is hard not to understand their frustrations. The sparks between Kate Winslet and Leonardo Di Caprio are vibrant. They feel very much like a couple in love and when we see them in the good times it is clear that love isn't the problem. They have a mutual respect and admiration for each other in many ways and it is not for lack of love that things start to fall apart. It is a realistic dissection of what can happen when one refuses to give up dreaming. The fight sequences are long and intense and there is some truly amazing dramatic acting from both leads. However, the only Oscar nomination for acting went to Michael Shannon who plays the neighbour's mentally ill son. His role in the film is as the only person who is not afraid to speak aloud in any situation. Their first ancounter with him gives them hope and inspires them to break free of their life. However, as their plans start to disintegrate, his honesty forces them to face up to realities that they are not ready to acknowledge. The role is small but brilliantly portrayed and so visceral that its importance to the plot and the film's threatening tone cannot be underestimated.

It is an unusually unsettling film to sit through. It reminded me throughout of another Oscar favourite House of Sand and Fog from 2004. Both films have very grey morals, a very dark tone and a brutal honesty from the actors that can't help but tug at the heartstrings. It also has the feel of a Douglas Sirk melodrama, except in this day and age, the darkness can be fully explored and not implied.

Although this may not have caused as much of a stir as Sam Mendes' breakthrough film American Beauty, it has just as much to say and is just as accomplished. A wonderful screenplay, brilliant performances and a sickening knowledge that this is not going to end well kept me hanging uncomfortably at the edge of my seat throughout.

- Charlene Lydon 12/2/09

Appaloosa

"Life has a way of making the foreseeable that which never happens... and the unforeseeable that which your life becomes."

Written by: Robert Knott, Ed Harris

Directed by: Ed Harris

Starring: Edd Harris, Viggo Mortensen, Renee Zellweger, Jeremy Irons

My Rating: 8/10

Appaloosa might not be the best film ever made, or the most original story ever told, but it sure is buckets of fun. If you enjoy a good western you will certainly enjoy this. It's slow and methodical, as has been the trend in recent years (almost every western I can think of since Unforgiven), but has a great sense of humour and colourful characters.

The story follows two hitmen, Virgil (Harris) and Everett (Mortensen) who work on the civilised side of the law, who arrive in Appaloosa to kill ruthless gang leader Randall Bragg (Jeremy Irons). Along the way they meet vulnerable widow Ali French (Renee Zellweger). This causes complications as women tend to do and the three battle it out against the gangsters, and must face questions of future and growing out of gunslinging.

As we have previously seen in David Cronenberg's "A History of Violence" Ed Harris and Viggo Mortensen have wonderful chemistry together. They are both powerful actors and both seem to have enormous respect for each other. These characters suit each actor perfectly, giving Ed Harris plenty of screen time for his steely glare and giving Viggo a nice change of pace in a very humorous role. He doesn't say much but his performance is wonderfully full of character nonetheless.

Supporting roles from Jeremy Irons and Renee Zellweger are strong but please someone put some makeup on that poor woman. She never fails to look haggard in everything lately, despite her beautiful face. It's also nice to see veteran gravel-voice Lance Henrickson return to our screens in a proper movie. His disposition is so suited to Westerns, I've decided to lobby for his inclusion in all future productions set in the wild, wild west (though as long as there's still hope for a Millenium movie, I will want to keep his schedule somewhat clear).

The film rambles along, keeping the story simple and amusing us with it's nice characters, interesting relationships and subtle humour. It's a really sweet little film which showcases the talents of all involved. Ed Harris tries out his directing chops here and keeps it slow and steady enough to prove he's got skills on both sides of the camera.

I definitely recommend checking this one out. Don't expect to be blown away with plot twists but just enjoy it as a pleasant little ramble through the genre.

- Charlene Lydon 10/2/09

Hunger

Written by: Steve McQueen, Enda Walsh

Directed by: Steve McQueen

Starring: Michael Fassbender, Liam Cunningham

My rating: 5/10

OK, I know I am the first person in the world to have not liked this film. But I really did not like this film. That's not to say it isn't a beautifully shot, very ambitious film. It is. There are some admirable scenes and the slow pacing was nicely even. Also, the performances were superb right across the board. A huge problem I had with it was the film's failure to give any information or background to any of the characters. What little nuggets we got were rare and meagre. Not only does this isolate the audience from connecting with any historical framework, but it isolates them from the characters. If you aren't going to give us a political context, then at least give us characters we can feel for!

Michael Fassbender gives us a clearly well researched and physically demanding performance, but due to a lagging script, it felt dead and pointless. No motivation, no characterisation. An encounter with Sands' priest begging him to stop the hunger strike is moving and informs the audience of the unflinching determination he has, and some of his reasons for doing what he is doing. Here, Michael Fassbender earns his stripes with a restrained discussion, veering wildly away from any kind of melodrama. This was a nicely written scene, a 20 minute scene, mostly shot from one angle and involving just two men. More of this would have been nice.

I hate to whine, especially when the film is receiving such acclaim, but it frustrated me to see the message and motivations behind such a tragic story lost in a sea of pretentiousness. The horror and sympathies are left behind due to the insistence of the filmmaker to show the monotony inside the prison. I appreciate the reasons behind the slow progression of the film, and I can appreciate a slow-moving story. However, I don't think this should leave a film feeling hollow, and that is exactly what happen to Hunger.

On a positive note, it is an interestingly shot film, admirably edited and worth a look in terms of art direction. Also, this is not for the faint-hearted. There are some truly horrific scenes of agony and squalor throughout that would make any man cringe.

- Charlene Lydon (09/02/09)

The Wrestler

"I'm an old broken down piece of meat and I deserve to be all alone

Written by: Robert D. Spiegel

Directed by: Darren Aronofsky

Starring: Mickey Rourke, Marisa Tomei, Evan Rachel Wood

My rating: 10/10

Perfection!

Ok, so a part of me really loved Rocky Balboa for it's sensitive treatment of the ageing sports legend but part of me knew it was a chickenshit movie and due to a lazy ending, only mediocre. The Wrestler is what Rocky Balboa could have been if Stallone had the balls that Mickey Rourke and Darren Aronofsky have. The Wrestler follows the flagging career of an ageing, you guessed it, wrestler. In his prime Randall "the Ram" Robinson was a true wrestling star, complete with Nintendo game and action figures. However, 20 years on he is still competing in matches with younger men and pumping himself full of steroids in order to keep up. His body is giving up and he is coming to terms with his limitations, giving the impression that this is the first time he has ever had to consider such a thing.

To say that Mickey Rourke puts in the performance of his career is an understatement. He puts in one of the greatest performances anyone has ever given. Due to the obvious parallels to his own life, it is insanely brave to take on this role with the passion and vigour that Rourke goes for here. His crumbling exterior, his grotesquely bulky body, it all seems like Rourke is taking a long hard look in the mirror and coming to terms with what he has become.

The film deals with so many issues that we have seen onscreen before, but Aronofsky is a deft hand at revitalising stories with his kinetic camerawork. A completely new style for the director, the stripped-bare, warts n all cinematography is just as intense as his usual fast-paced, punchy style. In fact, it seemed he learned a lot of lessons from his overly-ambitious last film "The Fountain". His latest film is personal and intimate, yet no less involving.

When I heard the Oscar nominations this year, I was shocked to find that this wasn't nominated for a screenplay award. Actually, I was disgusted. The dialogue in theis film is so streamlined and natural that it nicely covers how deliberate and important every single word is in giving the audience a sense of a man living forever in his glory days. His refusal to listen to anything post-Cobain, or to play video games that aren't Nintendo are little illustrations of his tendency to live in the past.

This film is a tragedy, an epic tragedy that doesn't over-indulge in melodrama. It actually goes so far as to bring the story to the point of melodrama, then fade to black, leaving the devastated adience to deal with their feelings themselves, without the help of closure or sad music (although Springsteen's beautiful theme song, The Wrestler is aptly heart-wrenching).

I cannot recommend this film highly enough. It is beautiful, eloquent and inspiring, with superb performances and I must say it's worth watching just to see what came of Aronofsky's makeover from flashy to verite!

- Charlene Lydon (25/1/09)

Synecdoche, New York

Written By: Charlie Kaufman

Directed By: Charlie Kaufman

Starring: Philip Seymour Hoffman, Michelle Williams, Emily Watson, Samantha Morton, Tom Noonan

My rating: 7/10

Charlie Kaufman, the most twisted, sincere, crazy, heartfelt writer in Hollywood is allowed to direct his own crazy vision. Good thing? Bad thing? I have to say I am a true believer in the role of the studio bigwigs in reining in directors and saving them from themselves. Give an auteur too much power and sometimes they go crazy and just make a load of drivel (see Woody Allen back catalogue from the past 15 years). Unfortunately, Synecdoche, New York is a prime example of this. It is a film so vast in it's thesis that it could only be pulled off with strict and delicate discipline. I really felt that Kaufman went a little bit haywire and destroyed his potentially profound masterpiece.

The story is about a theatre director, Caden Cotard (Hoffman) who decides to embark on a project which is based on his current life, a sort of ongoing play which twists and turns with his life. He casts actors as himself and as the women in his life. However, as life and the play begin to intertwine the play takes on a life of its own and the line between reality and fiction are crossed and crossed and crossed.

The concept of the film is wonderful, and brilliantly pulled off. The development of the story and the ease with which the craziness is created is really admirable. Every single actor in the film is wonderful and their characters are brilliant, particularly Samantha Morton as Caden's true love.

The main problem with the film is that Kaufman doesn't stick to a realistic craziness, he adds a few moments of magical weirdness which, to me, upsets the story and takes the audience out of the illusion of Caden's life-play. There's Hazel's house which is constantly on fire. Literally. Then there's Sammy, a mysterious man who follows Caden around from the start. His reasons, when they are revealed, are also a bit silly. Think how the second season of Twin Peaks got silly for the sake of silly, unlike the first season that gave the audience enough reality to stick with it. That's the feeling I got from this movie. When a plot is so outlandish, it needs to keep it's feet on the ground and I really think this was Kaufman's fatal flaw. This is where studio bigwigs may have actually been helpful for a change. I believe he was given too much creative control for such an immense project.

Negative aspects aside though, this is an amazing film in many ways. The scope of it, and the depth of it reaching unimaginable proportions. Just thinking about trying to put this film together is enough to make your head spin. Kudos must go to the entire cast and crew of this film for giving it socks in every way. Hoffman was his usual sad-sack self and really gave his character, em, character, if not likeability. Michelle Williams absolutely glows as the actress Caden falls for and the casting director gets serious slaps on the back for casting Emily Watson as Samantha Morton. They're identical, who knew??

This is a difficult film to recommend to people. It is his most challenging film to date, and unfortunately, his most pretentious.However, it is enjoyable and certainly profound. The end of the film pays off as it starts to get back to the heart of the characters and this is definitely where Kaufman prevails. Nobody does love like Charlie Kaufman. It's tragic, it's full of mistakes and regrets and it's all-consuming. See it if you feel like a challenge but beware, it's a tough one.

By Charlene Lydon 05/01/09

Seven Pounds

Written By: Grant Nieporte

Directed By: Gabriele Muccino

Starring: Will Smith, Rosario Dawson, Woody Harrelson

My Rating: 8/10

Seven Pounds is one of those films that seems to divide people dramatically. It may be called emotionally manipulative, unrealistic and overly sentimental. It may also be called profound, Shakespearean, and an interesting examination of the human spirit more in-depth than most other films dare to go. It seems to me that all of the above are true. The film is overly sentimental and tries its damnedest to make you cry every 15 minutes or so. However, it is also a really beautiful story based around a man’s search for a redemption he can’t ever really give himself, inspired by Shakespeare’s “pound of flesh” in Merchant of Venice (hence the title).

It is difficult to describe the plot without giving too much away. Will Smith plays an IRS worker named Ben who appears to be visiting random people and testing them emotionally. The audience pieces together over the course of the film exactly what Ben is doing and why. This all builds to a wonderful denouement which will either make you queasy or deeply moved.

There is an argument to be made that the premise is a bit silly and could never really happen in real life but isn’t this why we go to the cinema at all? Gabriele Muccino has that European lack of respect for reality and I truly believe that if this had been a foreign language film, its outlandish premise would be less jarring for the audience. Muccino seems to have found his perfect partner in Will Smith. In their previous film together, The Pursuit of Happyness, they also managed to make an utterly schmaltzy and unabashedly emotionally distressing story into something that seemed to touch people deeply. With Seven Pounds, I felt that they had achieved their goal of telling the story, making it a character study, a love story and a thesis on human guilt and frustration. Will Smith goes darker here than he’s gone since Six Degrees of Separation and it suits him. He and Muccino must be commended for making his relationship with Rosario Dawson’s character so desperate and unsexy and tragic. It really adds to the frustrated mood of the film and the slow and awkward build-up of the relationship was brave, knowing that the box office won’t like that both stars look like death, even at their most radiant.

This is a daring film, an interesting film and if you let yourself get swept away in the story and try to remain uncynical (easier for some than others) you will certainly get something from it, especially towards the end where there is one of the most chilling suicide scenes ever committed to celluloid. It’s probably not for everyone but it is a skilfully made film with yet another great Will Smith performance. Give it a chance.

Charlene Lydon 01/01/09

Brideshead Revisited

Written By: Andrew Davies & Jeremy Brock

Directed By: Julian Jarrold

Starring: Matthew Goode, Ben Whishaw, Hayley Atwell

My Rating: 5/10

Brideshead Revisited is a British costume drama in the vein of the Merchant Ivory Productions of the 80’s and 90’s. It is sweeping, elegant and sexually charged, but keeps so many things withheld that it is difficult to connect with the characters at all. I know this is representative of what the restraints of society forced people to withhold but this film doesn’t allow you to get to the heart of the story or characters simply because the filmmakers don’t seem to have the skill to represent emotion in such a subtle way.

The story is told from the point of view of Charles (Matthew Goode), a poor working class man who goes to Oxford and falls in with the very rich Sebastian Flyte (Whishaw). They begin a relationship of sorts and Sebastian takes Charles to his home, Brideshead, where he meets his sister Julia (Hayley Atwell) and his commanding, devoutly Catholic mother (Emma Thomson). As the story unfolds it becomes apparent that this woman’s strict enforcement of Catholic guilt has destroyed each of her family members who can’t seem to forgive themselves for any indiscretions and therefore hate themselves.

Charles acts less as a typical protagonist but more as a catalyst for the events that transpire. The film is at its best and it’s darkest when it explores the fall of each individual character due to their mother’s successful attempt to make them fear their God. For a film whose basis is a homosexual relationship, I think this relationship could have been explored a bit more. The TV miniseries on BBC in the 80’s had an excuse for shying away from the homosexual elements, but in this day and age I would have thought that it could be explored more fully and that sexual tension could have been heightened to more than the odd, awkward kiss on the lips.

While the performances were all perfectly fine, there was an overall lack of charisma onscreen, even in the presence of Emma Thomson who was flaunting her thespian ways but not really achieving anything. The direction and pacing were uninspired and at no point did it rise above feeling like television. It is difficult not to be pulled into the scandaliciousness of it all but that fizzles halfway through and leads to an ending that leaves the audience to shrug their shoulders and wonder why they bothered at all.

To the uninitiated (like myself) into the world of Evelyn Waugh’s novel, there’s plenty here to entertain. The story goes along well and the performances are enjoyable. I imagine fans of the book would balk at the mediocrity of the film. It isn’t an entirely unpleasant film to watch but ultimately there’s just not enough of an ending to warrant what comes before, main characters just fall by the wayside and the final scenes feel very tacked on.

Charlene Lydon 28/12/2008

Bedtime Stories

Written By: Tim Herlihy & Matt Lopez

Directed By: Adam Shankman

Starring: Adam Sandler, Keri Russell, Guy Pearce

My rating: 6/10

It’s hard to believe that nobody thought of this before; Adam Sandler doing Disney movies. It makes perfect sense really. There’s something so over-the-top about Adam Sandler’s presence that children would easily enjoy him. He obviously likes the gimmicky comedy and he did well in his previous foray into what was kind of a children’s movie Click. The Sandler-Disney dynamic actually seems to work very well. Finally, he’s forced to make a film that’s not interrupted by very jarring Sandler wit. There is still the obligatory Rob Schneider cameo, but it is not allowed to destroy the flow of the film. Bedtime Stories is a straight up Disney movie. It’s big-budget, heart-warming, full of special effects and big characters.

Bedtime Stories tells the story of Skeeter (Adam Sandler), who works as a handyman in a hotel which, according to a promise made long ago to his father, he should now be running. He is looking after his sister’s (Courteney Cox) kids for a week and while telling them bedtime stories, the stories start to come to life. No scientific explanation necessary or, indeed, attempted. Skeeter uses this to help him overcome the snooty hotel manager (Guy Pearce), find love (with pretty teacher Keri Russell) and discover what’s truly important in life.

This film is very fun and full of the trademark Disney magic. It reminded me a lot of films like Jumanji or Night at the Museum but unfortunately it fails to provide the action-packed fun of those films. There are surprisingly few action sequences in the film. Each time a bedtime story is told, there’s a fun little fantasy in which Sandler becomes a cowboy or a chariot racer. These are really silly and ridiculous and fun. It’s nice to see Sandler’s humour used for kids. I think it really works and it’s just a pity that there aren’t enough of these sequences.

The supporting cast were pretty lacklustre. It seems Courteney Cox has had so much botox she can no longer speak properly or move her face. Russell Brand plays Skeeter’s wacky best friend. Reminiscent of Ricky Gervais’ forays into Hollywood, his performance feels awkward and contrived, an imitation of himself almost. Guy Pearce plays against type as the villainous hotel manager. He seems to have a lot of fun with it, all false tan and pink lip gloss, and it’s nice to see such a serious actor have a bit of fun. He even treats us to a song and dance number.

Bedtime Stories has a cute post-modern vibe but a very predictable plot. The Sandler-Disney team has potential though and his humour works in the context of a children’s film. It’s definitely just for kids, there’s not much here for grown ups but it’s the kind of big-hearted, magical film that are few and far between.

Charlene Lydon 28/12/2008

The Top of the Stairs...Reaction

So,we had The Top of the Stairs screened in The Revue cinema in Toronto as part of their Drop Your Shorts short film night. Some kindly person took a shine to it a wrote this blog about it. Have a read. It'll warm the cockles of your heart...it sure warmed mine :)

...Oh and sorry that I haven't been very bloggy lately. I've been caught up in the trans-Atlantic move and a trip to Portugal. Soon...very soon, I promise.

- Charlene Lydon 3/12/08

The Top of the Stairs

Here is me n Bren's "experiment in terror" :) We decided to see what would happen if we made a film completely with just the two of us. We shot, acted, edited, make-upped, musicked and directed it with just one camera and two people. To be fair, I did little more than act in it. It's Bren's baby.

It's only intention is to give a bit of a scare. Hope it works...let me know, leave a comment.

Charlene

Me and Orson Welles

"You know what I see when I look in your eyes...I see images of magnificence"

Written by: Holly Gent Palmo
Directed by: Richard Linklater
Starring: Zac Efron, Christian McKay, Claire Danes

My rating: 8/10

OK, I am totally weak for films that are fictional but based around true events. I love that. Films that could very well be true, but aren't, necessarily. Me and Orson Welles is a wonderful story of a young boy whose only acting experience is in high school musicals (ha! See what I did there) who manages to get a small part in Orson Welles 1937 production of Julius Caesar. The film follows the volatile relationship between Orson and his company. He is a madman, a selfish, arrogant user and an absolute genius. He knows how the politics of showbusiness and he knows people, and how to play them. However, for all his antics, he is powerfully charismatic and it seems generally accepted that he is a genius.

Christian McKay's performance here as Orson Welles is wonderfully broad as he goes through every one of Orson Welles personas with equal relish. He is snappy and arrogant but at the same time warm enough to earn some affection so when he lets a character down, you feel just as played yourself. The rest of the cast were great too. Zac Efron has been getting a lot of flack for being dull, but I personally thought he was solid and likeable, with just enough of a sparkle in his eye and just enough skill to keep it there after his inevitable fall from grace.

Overall this film has a charming, if predictable, story, a very strong cast and most importantly a sweet disposition that left me smiling for a good half hour after the credits rolled.

- Charlene Lydon 6/10/08

Rue Morgue's Festival of Fear

Me and Brad Dourif



Being a fan of the horror genre for years and years, I was very excited to hear about Rue Morgue's Festival of Fear. Not only do I love horror but I'm also a fan of all things cinematic so the fact that entry to the Festival of Fear also gives you entry to the entire Hobbystar Fan Expo meant I would get to experience the sci-fi side of things too.

The whole weekend was really fun and informative so I thought I should give it some space on my blog.

First off, Friday evening I arrived at the convention and not only is the place full to the brim of crazy costumed nerds, but it's bleedin' massive! Seriously this place is enormous and full of nerd stalls where you buy nerd things and people going around in costumes and nerdy people duelling with light sabers and whatnot. That evening I just wandered and checked out which celebs were signing and took sneaky pictures of Fonzie who was charmingly doing his coin trick from Click with a little kid (anyone not familiar with Click, see my review). There were no screenings or Q&A's that day so it was basically wandering. I checked out this exhibit on Death Photography which was a really interesting phenomenon in the late 19th century where people would photograph their dead loved ones, propped up, pretending to be alive. This was because photography was just coming into its own around this time so people had no photos of their loved ones so in desperation they would do it after they died, as it was their last chance. Really interesting, if horribly morbid, stuff. The photographs are really REALLY weird. That evening, after the convention ended there was a screening of Faster Pussycat Kill Kill. John Waters says it's the greatest film ever made. I say it's up there. The screening was wonderful. Russ Meyer's beautiful (and not celebrated enough) black and white cinematography looked fantastic on the big screeen and watching that movie with the right audience really makes you appreciate the great comic lines and the richness of the delivery. There's definitely somehting special about it that sets it apart from other trash classics and it's certainly the jewel in Meyer's crown.

The lead actress and burlesque icon, Tura Satana was at the screening and gave a bit of a chat afterwards which was really nice. She was fascinating a spoke a lot about the background of making the movie. She's a tough girl and spoke a little about her rape-revenge gang days (I shit you not). It was pretty harrowing. She's certainly learned to deal with her anger though because the woman on that stage was a bubby, charming woman, not the scowlingly sumptuous villainess we know and love from the movies.

Next morning I had to get up bright and early for a screening of Black Christmas (the 1974 Canadian film, not the shit remake from last year). I had never seen it and I was pleasantly surprised to find that it's actually brilliant, like seriously BRILLIANT and pre-dates Halloween by 4 years making it the king of the stalk n slash genre, also it predates Halloween's use of the killer POV camerawork. Hmmm, tell that to those history books. There was a panel discussion later that day with three of the films stars, its cameraman and composer. That was fascinating and it was nice to see John Saxon who you may know as Nancy's cop dad in A Nightmare on Elm Street and Art Hindle who was in one of my favourite Cronenberg movies, The Brood. So, that was a treat. Although the cast and crew have gone on to bigger and better things since the film was made 35 years ago, they all had lots to say about it and it ended up being a really interesting panel. Interestingly enough, there is one shot in the film of the killer, he is shrouded in shadow and difficult to recognise. It seems nobody knows who played him. Everyone seems to forget and peoples guesses are all conflicting. I kinda like that. Gives it a bit of mystery, oooooh!

After that was a Q&A with Wes Craven which I was very excited about but I was kinda disappointed in. I dunno, he was just a bit closed and not that interesting. He did tell a wonderful story about the man who inspired the creation of Freddy Krueger...a creepy man standing outside his bedroom window. When the man saw Wes looking at home, he caught his eye, gave a really horrible grin and walked into his building..little Wes freaked out and got his brother to go look outside the apartment with his baseball bat. Creepy imagery. He spoke a little about the folding of New Line into Warner Brothers and the implications of that regarding the remake. Basically that nobody has much of a say in the matter. He spoke highly of the remake of Last House on the Left. He said it was really well-recieved in the first screenings. I'll reserve my judgement until I see it but I'm wary to say the least.

After that (actually during that, I had to leave early) was a Q&A with Brad Dourif. This was the event of the weekend for me. It's so amazing hearing him talk cos he's got That Voice He's a man with some interesting stories indeed, not least a great story about Werner Herzog and Klaus Kinski (they're always good stories) and a wonderful one about Christopher Lee but they're too long to go into here, and I couldn't tell them nearly as well as he could, so what's the point? What's great is that when he's telling a story and gets all excited he starts to sound like Chucky. Little bit of back story on me; I've been in love with Chucky movies since I was about 7 years old and was OBSESSED with Child's Play 1 and 2 well before Jamie Bulger happened. Then I wasn't allowed anymore. That just made Chucky even cooler. Anyhoo, he spoke a little about what it was like working on One Flew Over the Cuckoo's Nest and Lord of the Rings and Deadwood. It was very exciting and he speaks really well about his craft. He loves his work (not so much the Chucky movies, but he's damned territorial about him).

On Sunday, the final day. Again, I up early for a Q&A with Italian horror director Ruggero Deodata. I'm sure you've all heard of the notorious video nasty Cannibal Holocaust, well this was his film. A very very sick and controversial film, with a lot to say about the dishonest nature of the media and misrepresentation of the truth. It's a tough one to watch, but ultimately very worthwhile. He spoke very little English so that was kind of annoying because there was a translator. But he was interesting and it was great to hear about the film's release and notorious court case. This involved an actress who had been impaled on a stick in the film. She disappeared after the film wrapped and the scene was so convincing that the filmmakers were arrested on suspicion of actually killing her on set. They eventually found her and all was well. It's a great effect though. I can see why the judges were so convinced of its authenticity. He then talked a little about The Blair Witch Project, which is very similar in presmise (and in my opinion, in premise alone) to Cannibal Holocaust. As soon as he heard about it he got on the phone to his lawyers and tried to sue them for $2million. Seems a little harsh if you ask me. It feel through in the end though, at least there's some justice in the world.

After Ruggero Deodata I wandered around the shopping stalls and I went and got my Brad Dourif autograph and that would have been nice if I wasn't such an awkward eejit and vomited nonsensical words at the poor man. But anyway, he was nice and he signed my Chucky photo. After that I watched a documentary about Ted V. Mikaels who is a trash (oooh, he doesn't like that word!) filmmaker who I'd never heard of but am now very interested in. He made films such as The Corpse Grinders and Astro Zombies...yes, he's THAT kitschy It was interesting but I left early to go see Sean Astin, Samwise Gamgee himself. He didn't have a moderator and actually just stood in front of a room of thousands and nattered for an hour. Seriously, this guy can talk. When we were outside waiting to go in, he happened to be standing beside me. He looked at the long queue and said to the guy next to him "Are all these people here to see me? Awww". Aww, indeed, Sean. Anyway, he had a lot to say about Lord of the Rings and The Goonies and working with Adam Sandler. He's an interesting guy. Then last but not least I went to a Q&A with Sid Haig who I pretty much only knew as Captain Spaulding in House of 1000 Corpses. I'm not a fan of the Rob Zombie films but I do like that guy. He's a great character actor. Anyway, he was really cool and told some great stories about life as an indie actor and passing up on the MArcellus Wallace role in Pulp Fiction. He cried too, telling stories about his grandparents. Not a guy you'd expect to see shedding tears so that was interesting.

Sunday night then was the big event. The screening of The Texas Chainsaw Massacre with Tobe Hooper. We got to see it on this great mucky print on a big screen. And Tobe Hooper talked for over an hour afterwards which was cool. Like Wes Craven, I didn't find him all that interesting. He answered questions in circles and didn't really say much of anything despie talking for ages. But it's always a treat to hear a filmmaker talk about their art. He did mention that his next project is an adaptation of Stephen King's non-horror From a Buick 8. That's exciting given the wonderful job he did on Salem's Lot.

All in all, it was a great weekend. I'm suffering from something very similar to music festival fatigue at the moment but I had SUCH a great time, I'm thinking of flying back for it next year.

Nerds are funny...seriously.

- Charlene Lydon 24/08/08

Tropic Thunder

"I don't read the script, the script reads me"

Written By: Ben Stiller, Etan Cohen, Justin Theroux

Directed By: Ben Stiller

Starring: Ben Stiller, Robert Downey Jr, Jack Black, Jay Baruchel, Brandon T. Jackson, Matthew McConaghey, Tom Cruise

My rating 8/10

As far as stupid blockbuster comedies go, the only thing this film is missing is Will Ferrell. As close to perfect as big dumb summer movies get, Tropic Thunder is refreshingly disrespectful, delightfully satirical and a wonderful load of fun! With it's stupidly talented cast, I have to admit, my expectations for this film were sky high from about 6 months ago when I first saw the trailer. I wasn't disappointed, except perhaps with Tom Cruise's much-lauded role a s foul-mouthed movie producer Les Grossman.

Tropic Thunder is not only a brilliantly written, brilliantly acted film. It is also a fun action flick with plenty of explosions and gore. The film follows a bunch of vacuous Hollywood stereotypes (and one unpretentious up-and-comer, nicely played by Jay Baruchel) as they trek through a real-life drug war, unaware that the gunfire and explosions are anything more than guerilla filmmaking. Tugg Speedman (Stiller) is trying to come to terms with a flailing career, Kirk Lazarus (Downey Jr.) is a blonde Australian Oscar-winner taking "the method" too far, playing a black sargeant and in the process driving the actually black rapper-turned-actor Alpa Chino (Brandon T. Jackson) crazy with his refusal to come out of character. Jack Black plays Jeff Portnoy whose fart-filled movies are losing him the respect of his peers. He has also just lost his heroin stash to a rogue bat and is going through serious withdrawal when they come across the heroin processing plant. All of these characters, and all of the supporting characters are wonderfully simple and therfore easy to just sit back and enjoy.

Similarly to Stiller's earlier genius comedy, Zoolander, this movie hits all the scathing marks it aims for. Matthew McConaghey is brilliant as Cruise's agent who is desperately trying negotiate Tugg's TIVO, as stipulated in his contract, meanwhile being blissfully unaware of how far beyond contract things have actually gotten. His encounters with corporate slimeball Les Grossman (Tom Cruise) are funny and at times Cruise's performance is wonderful, let's not forget, he's still one of the greatest actors of our generation no matter how nuts and possibly evil he is. However, the performance takes a downturn into desperation as he moves into Goldmember territory with hip hop dance routines. It's a extremely cringe-worthy and it's a bit too clear how much Cruise is banking on this cameo to ensure his return to "hip with the kids" status. Hmmmm...didn't do it for me.

Anyway, as the story progresses, knocking down retards, blacks and fat folks as it goes, it becomes an action-packed extravaganza, but never forgets it's comedic responsibilities. I loved it! I loved it's irreverence for everything, it's sharply observed characters and it's brilliant, brilliant performances. Forget the Joker, my vote's for Kirk Lazarus "the dude playing a dude disguised as another dude".

Go see this movie, it's just simply a good movie. You'll enjoy it. And don't be a sap and get offended. It plays the South Park card and offends so many types of people that it therefore offends no-one.

- Charlene Lydon 14/08/08

The Orphanage

Directed By: Juan Antonia Bayona

Written By: Sergio G. Sanchez

Starring: Belen Rueda, Fernando Caya, Geraldine Chaplin

My Rating: 8/10

When a famous director "presents" a movie it generally means it's a bad b-movie. Wes Craven, Quentin Tarantino and Tobe Hooper deserve a good finger-wagging for the crimes against audiences that they have endorsed. Guillermo Del Toro, however, has proven himself to be a somewhat more trustworthy advocate. The Orphange is a wonderfully eerie and tragic tale about a woman who buys her old orphanage to turn into a home for sick children. After her son goes missing mysteriously, she tries to find him with the help of the ghosts from her past.

As the film starts it has the air of a tragic tale from the outset. Laura's adopted son is very ill, suffering from HIV. Not the start of you typical horror movie. The orphange itself holds many secrets and there is a creepy old lady pretending to be a social worker lurking around. The film is unsettling from the start, if a little standard. As it progresses however, it becomes more apparent that there is a thin line between ghosts and hallucinations. However, the film never really confirms either reality.

Much like Del Toro's Pan's Layrinth and The Devil's Backbone (to which this film owes a tremendous debt), the filmmaker never takes the side of supernatural or craziness. This makes for a nice comfort zone of believability and adds layers to interpretation to every incident in the film. There are a lot of questions left unanswered, but the film has a satisfying, if tragic denoument that really sets it apart from other creepy haunted house movies.

Definitely check this out. It is creepy, but ultimately a delicate human tragedy of madness and guilt.

- Charlene Lydon 11/08/08

The Lost Boys: The Tribe

"Who ordered the stake?"

Directed By: PJ Pesce

Written By: Hans Rodionoff

My rating: 3/10

Ok, Buffy can say "Who ordered the stake" and get away with it...Corey Feldman cannot!

I'll be honest and admit that I only rented this movie out of divilment and never thought for a second it would be anything more than something to make fun of. Unfortunately for me, it didn't fall into the category of "so bad it's at least entertaining". It took itself quite seriously and was just so heart-wrenchingly standard it was almost upsetting. However, if you're one of those people who just like horror movies and you'll enjoy nearly anything, then this will satisfy. It's got some nice gore and it has some nice vampire ladies for the boys! For fans of the original, this film will disappoint. The first movie was cheesy, yes. But it was delightfully innocently cheesy and it also had a genuinely clever script. This film is just medicority embodied.

The plot follows newcomers Chris (Stifler's Brother from American Pie: Band Camp, hmmm) and Nicole (replacement Mischa Barton from The O.C.), brother and sister who have more sexual chemistry than acting skills, which is disturbing. Apparently, according to interviews with the crew, these kids are supposed to be Michal and Star's children. This is never referenced and is just silly. Anyway, they come to town and are seduced by vamps. Chris must save his sister from a life of goth-hood. That's about it. Oh and the head vampire is played by Kiefer Sutherland's half-brother. I guess that could be called a nod to the original.

The Frog Bothers are now the Frog Brother, Edgar (Corey Feldman). The other Frog Brother is not referenced (until briefly at the end, we'll get back to that). Edgar is pretty much the same character as he was in the first one. To be honest, you hardly even notice that he's a grown-up now. He's still as deep-voiced and vicious as always and this character works, for the most part, but as per my first remark he really should lay off the cheesy slayer-speak. The end of the movie is a brief, pointless reference to the other Frog brother, and Sam, our teenage hero from the first movie which suggests some sort of mythology the audience is not aware of. Why? I dunno! Makes little sense! Why not just make a movie about what happened to Sam and the other Frog brother? Be sure to check out the alternative endings on the DVD, they make waaaaay more sense than the endings they used.

This is a silly little horror film, and all references to the original genius Lost Boys movie are purely cosmetic. Nothing sets this apart from any other straight to video horror flick...but curiosity killed the cat as they say, so if you must rent it (like me), don't get your hopes up too high.

- Charlene Lydon 11/08/08

Step-Brothers

"You're a big, fat, curly-headed fuck!"

Written By: Will Ferrell, Adam McKay

Directed By: Adam McKay

Starring: Will Ferrell, John C. Reilly, Mary Steenburgen, Richard Jenkins.

My rating: 6/10

The set-up for Step-Brothers involves Nancy (Mary Steenburgen)and Robert (Richard Jenkins) an older couple who fall in love, get married and try to prepare to spend their retirement days living on their boat. Trouble is, both have brought a 40 year-old son who refuses to grow up into the marriage. Will Ferrell and John C. Reilly play these new step-brothers and "play" is the operative word here, as they let totally loose and have an enormous amount of fun with these characters. Although both are well capable of playing serious roles, they have both made goofy over-acting into a lovable art-form.

The set-up for Step-Brothers is definitely one of the most tantalising I'd heard in ages and ages. The second I heard about the general idea I thought to myself that all is forgiven for Talladega Nights and this pairing of Ferrell and Reilly as infantile brothers was the greatest stroke of genius ever. As predicted, this pair are great together and they bounce off each other really well. Although they play really similar characters, they both have their own personality that they bring to the film.

However, it's hard not to be a bit disappointed with how the film turned out. Similarly to Talladega Nights, the creative team seem to get a bit caught up in having fun with improv and it all gets a little lost in the mayhem. I like dick and fart jokes as much as the next guy...but certainly not as much as THESE guys. Not to be a prude or anything, but there's just too much of it here. They start to get unfunny after a whole. And who wants to see Will Ferrell's ball sack rubbed all over a drum set. No-one!

Step-brothers is by no means more disappointing than Talladega Nights which was downright retarded, but it's slightly too over-the-top for it's own good. However, I dare you not to howl laughing at certain points in the film. It's difficult not to join in with the enthusiasm shown by the actors involved. Kudos must be given to Adam Scott who plays Will Ferrell's brilliantly awful brother who is, I guess, the villain of the piece. He's a smug, horrible guy who we just loooove to hate. His performance was great and I seriously felt like punching him throughout the movie...a sign of a job well done.

So, to sum up, this movie is good, way better than Talladega Nights, but suffers a little from "coulda been" syndrome. It let itself go a little too wild, not grounding itself in reality, which lessens the impact of two such crazy lead characters. It's fun, you'll laugh, but it's a pretty standard film from what could've been a classic.

- Charlene Lydon 11/08/08

You Don't Mess With the Zohan

"I just want to make people silky-smooth!"

Written by: Adam Sandler & Robert Smigel

Directed by: Dennis Dugan

Starring: Adam Sandler, John Turturro, Rob Schneider.

My rating: 5/10

I can't help it. All film lovers, no matter how well educated have their downfall. It seems mine is Adam Sandler (I have many, but he's a serious one). I have loved him since The Wedding Singer and have sat through some of the worst movies of my life because of him. But I always forgive him and I always see the best in them. After all, one thing you have to say about Sandler is that he seems like a pretty genuine guy. Thats why his films wind up being so crap a lot of the time, fun in favour of quality. That has to count for something right? Right? Anyone?

Well, You Don't Mess With the Zohan is something of a comfort zone for me. It's not a great movie but it doesn't offend me with it's crapness. Unlike I Now Pronounce You Chuck and Larry or Little Nicky which I found offensively bad. Zohan is too juvenile to loathe. It follows military hero Zohan (Adam Sandler) as he fakes his own death to ditch being a national hero in Israel and moves to New York to be a hairdresser armed with a fab new bouffant and a Paul Mitchell hairstyle book from the 1980s. Unfortunately, he doesn't know that the hairdressing world has moved on. However, he find his niche in a small hairdresser and falls for the owner who hates him (surprise! I wonder will she come round...). Things are going well until his Palestinian arch-nemesis Phantom tracks him down.

Zohan will probably not make you fall off your seat laughing but it will probably make you smile. Adam Sandler is his usual goofball self and his usual motley crew of character actors help to make this movie work. It's dreadfully silly, some people are offended that the politics are being brushed over/made fun of. I think it's charming. Leave your brain at home and maybe you'll get a few laughs out of this one!

- Charlene Lydon 31/9/08

Vicky Cristina Barcelona

Written & Directed By: Woody Allen

Starring: Javier Bardem, Penelope Cruz,Scarlett Johanssen, Rebecca Hall

My rating: 9/10

I have been a huge Woody Allen fan since the day I saw The Purple Rose of Cairo back in the early 90's. His sharp dialogue, complex relationships and really cool characters living where I want to live and having careers that I want. What's not to love about Woody Allen movies? The problem is, the past few Woody Allen films, actually anything after Bullets Over Broadway have made me feel a bit empty afterwards. Usually they're enjoyable enough (The Curse of the Jade Scorpion excluded) but afterwards there's just a feeling of lack of effort or that Woody Allen has forgotten how to be Woody Allen. Vicky Cristina Barcelona is the first time I've really felt a spark from him in well over a decade.

Set in sunny Barcelona, the film has a warm, enticing glow to it that is rare in Allen's dreary, New York-set films. This seems to rub off on his characters because they all seem to be a little bit sunnier than his usual characters. Not that there isn't darkly complex human emotion going on here, it's here in spades.

Vicky (Rebecca Hall) and Cristina (Scarlett Johanssen)are on summer holidays in Barcelona, staying with Vicky's aunt. Vicky and Cristina, the narrator points out, could not be more different when it comes to men. Vicky needs stability and Cristina prefers grand romantic love affairs that always end abruptly and badly. When the pair meet sexy painter Juan Antonio they are both eventually seduced by his passion and his seemingly genuine romantic heart. As Cristina enters into a relationship with him, his ex-wife, crazy genius Marie-Elena (Penelope Cruz) comes back into his life and they live together and bond together as a threesome in love, finally giving Cristina a passionate realtionship and also making Juan Antonio and Marie-Elena's relationship work. In the meantime, Vicky marries her fiancee, boring Doug who seems to only talk about the house they're going to buy when they get home. Vicky, swayed and confused by the temptation of loving someone with passion and charisma but who will surely hurt her must struggle with her feelings as the events of the summer play out.

The reason why this film works is because each character is written in the most truly animated way. They are neurotic and playful and fascinating. Everyone here deserves credit for their performances. They are all wonderful and the chemistry between all the leads is electric. Woody Allen's sharp dialogue harkens back to when he was the top of his game. Lately, he may be accused of being a bit too Woody Allen but missing the mark but here his banter is perfectly scripted and his characters are full of life. I found it marvellous how he captured the essence of a generation of women that must be alien to him, at his age. He portrays Vicky perfectly and her conflict between passion and stability and I loved his willingness to make fun of Cristina's pretentiousness and lack of interest in anything other than the cool bohemian lifestyle.

A lot has been made of the love scene between Scarlett Johanssen and Penelope Cruz. I hate to burst anyone's bubble but you pretty much see most of it in the trailer. However, the film bursts with sexual energy throughout which is a credit to the enthusiasm of its cast. Penelope Cruz gives a truly standout performance here. Babbling in Spanish about love and art and craziness, she is on fire in every one of her scenes and she and real-life lover Javier Bardem are great together onscreen. Hopefully she won't be denied an Oscar this year after the Academy failed to reward her for her wonderful work on Almodovar's Volver.

I highly recommend this film. If you're a Woody Allen fan, it's a refreshingly upbeat (if ultimately as pessimistic as his other films) film that truly modernises his original brilliance and remind us why we loved him in the first place. If you're not a fan of Woody Allen, there's enough here to entertain you anyway. It doesn't parade his stamp around like many of his films do. It's an enjoyable comedy/drama about the nature of passionate love and asks whether it exists at all and if it does, can it ever survive?

- Charlene Lydon 31/07/08

Son of Rambow

"This has been my best day ever!"

Written & Directed by: Garth Jennings

Starring: Will Poulter, Bill Milner, Jessica Stevenson

My Rating: 4/10

If there's one thing that really gets my goat it's films selling themselves as the next big indie thing and it turns out its a marketing ploy and its not actually that indie at all.
Son of Rambow is directed by Garth Jennings of such "indie" favourites as The Hitchhikers Guide to the Galaxy. Oh come on! The way people went on about this film, I was expecting handheld camcorder and a thousand pound budget. It is nothing of the sort. Like last year's Juno, it is directed by a pro who has proven he can make a glossy big-budget Hollywood film. I know its immature to dog a film for this reason but I can't help it. It's downright infuriating.

Ok, all that aside, it's an ok movie. It's very Hollywood, it's very standard and didn't have half the charm or sweetness I'd envisioned. The story revolves around bad boy Lee and good boy Will who is part of a religion that does not allow television. So when he sees a pirate version of First Blood he sets about helping Lee make a movie, Son of Rambo (the "w" in the Rambow of the title is added for copyright reasons. What a world we live in!). The usual trials and tribulations occur and there's the obligatory happy ending. Forget the annoying marketing for a second, there's just nothing memorable about this film. It's pretty run-of-the-mill. It's funny, and enjoyable (though it drags a little in parts) but its got nice performances and a good deal of imagination.

I guess all you need to know about Son of Rambow is that there's nothing very offensive about it, but then again, there's not much to love either. See it if you're bored on a saturday night. You'll have fun.

- Charlene Lydon 28/7/08