Enter the Void

Directed by: Gaspar Noe  

Written by: Lucile Hadzihalilovic, Gaspar Noe  

Starring: Paz De La Huerta, Nathaniel Brown, Cyril Roy.

Rating: 7/10

In a nutshell, Gaspar Noe's often exasperating but always visionary Enter the Void follows a man on his journey from his last hours on earth, through his death and his journey into the afterlife. The first twenty minutes or so follows Oscar as he takes a hit of DMT (a very potent hallucinogen) and goes on a visually arresting, if slightly over-long trip. He then leaves his house to give his friend a stash of drugs he owes him only to be chased and shot by police when he gets there. From there, his death and afterlife mirrors the philosophies behind the Tibetan Book of the Dead which theorises (I’m sure I’m putting this very crudely) that one's soul floats around, watching the world without them until they figure out how to leave their old life behind and move on. To recommend this film to audiences is perhaps a wrong turn, as it is bound to strike most as indulgent, immoral, needlessly vulgar and uncomfortable (particularly in Oscar's tendency to watch his sister having sex whenever possible). However, with suitably forewarning, this is a film that any self-respecting cinephile should make a point of seeing, and especially on the big screen.

Noe proved with Irreversible that he was a technical genius and that his eye for original visuals knows no bounds. He also proved that he wasn't afraid to shock his audience and has quite the nasty streak running through his stories. In both visual content and shock factor, Irreversible was merely a precursor to his magnum opus Enter the Void. With an endless stream of nasty images and depressingly dead-eyed unpleasantness, it is difficult to feel anything for any of the characters, but none of this dampens the impact of Noe's probing, soaring, spectral camera as it floats in and out of lives and deaths. I don't know if it has ever been done before but the camera-as-spirit conceit is  highly effective and one which puts a very interesting moral spin on the voyeurism of this film. Noe takes voyeurism to extreme, as Oscar's spirit jumps in and out of bodies in often very unusual and even shocking circumstances.

The trouble with Enter the Void is that it is difficult sometimes to know whether to laugh or be shocked. Some of the content is pretty outrageous and even quite silly. However, for every roll of the eyes, there is a gasp of astonishment in terms of the intensity of the cinematic experience. Having now seen this film twice (it premiered at JDIFF 2010 in February), I must say I was pleased to see some superfluous scenes towards the end cut out, giving the film a somewhat more streamlined effect.

Your tolerance for Noe’s self-indulgence will most likely decide your level of enjoyment of this, a film I imagine will very much divide audiences, but it is at the very least a visual milestone that should be seen on as big a screen as possible (though somehow I can’t see this one gracing Screen 1 in the Savoy anytime soon). A flawed piece, but one flooded with moments of genius.

 - Charlene Lydon (from: www.filmireland.net)

If you want an idea of what to expect check out the TRAILER and for a taste of the manic energy, here's a clip of the opening credit sequence which suitably sets the tone for what's to come.

The Girl Who Played With Fire

Written by: Jonas Frykberg

Directed by: Daniel Alfredson

Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Yasmine Garbi.

My Rating: 4/10

The first film of the trilogy The Girl With the Dragon Tattoo premiered at this year’s Jameson Dublin International Film Festival in February to a warm reception proving to be a highly enjoyable and very accomplished murder mystery. Noomi Rapace embodied the character of Lisabeth Salander (the titular tattooed “girl”) magnificently and was certainly the high point of the film. Although not quite a classic, I’m sure the fans of the novel feel it was faithful. The second film follows just six months later, The Girl Who Played with Fire, and unfortunately it isn’t half as entertaining as the first film. In fact, it is alarming how inferior this film is to its predecessor.

The Girl Who Played With Fire sees Lisabeth accused of a double murder that just so happens to involve the Millenium publication that Mikael Blomqvist work with. She and Blomqvist have not kept in touch since the events of the last film but they both separately pursue the villain in this film in order to clear her name. The dynamic of two heroes searching for the same villain but not coming into contact until the final minutes is ambitious, but it unfortunately leaves the film feeling a little heartless. Michael Niqvist is painfully dull as Blomqvist, as he was also in the first film and makes it almost impossible not to find yourself wishing away most of the film, waiting for Lisabeth to get more screen time. It is clearly her film and Noomi Rapace tears up the screen every time she appears. The character of Lisabeth is the heart and soul of the story and as we peel back the layers and get to know more about her, the more interesting she becomes. I would go so far as to say that this character is the only thing that prevents this film from being a very mediocre thriller.
The Girl Who Played With Fire stretches your credibility to the extreme. As far-fetched as the first film was, this one will undoubtedly have you raising your eyebrows more than once. The final act is particularly ridiculous and although some might enjoy the bloody endgame (I did!), there are a lot of plot points that are difficult to buy into.

This is a standard murder mystery which is poorly played out, but is strengthened by another incredible performance from Rapace. The story is not half as classy as the first film, but it’s worth a look if you like a tantalising mystery.

 - Charlene Lydon (from: www.filmireland.net)

The Hole 3D

Written by: Mark L. Smith

Directed by: Joe Dante

Starring: Chriss Massoglia, Haley Bennet, Nathan Gamble, Teri Polo, Bruce Dern

My rating: 8/10

The Hole 3D (not to be confused with the Thora Birch vehicle of the same name from 2001) is a good old-fashioned horror yarn for youngsters. No gore, no nudity, just good scares! A grumpy teenager and his little brother move with their single mother to a small town. They soon befriend the beautiful girl next door and they happen across a giant, ominous hole in their basement. The hole is seemingly infinite as the boys conduct a series of experiments including lowering a night-vision camcorder down and throwing a handful of nails in (to tremendous 3D effect, as you can imagine). What they don’t discover over the course of these experiments is that the hole, once opened, lets loose your greatest fear which then proceeds to stalk you. A simple setup, but it is used very well, not only for thrills but as a sometimes thought-provoking look at the fears that you don’t realise you have.

The very obvious but extremely effective “evil clown doll” is great for scares and a hammy throwback to old-school horror of The Twilight Zone or The Outer Limits. The other “fears” are somewhat more cerebral and as the film progresses, some of the fun tends to get lost in the family issues storyline. However, it is a well-written piece and the script reveals drips of information at a suitably subtle pace. The young cast do very well in roles that should have been very annoying and there is an element of class to proceedings overall. While this is certainly not by any means an important or a very original film, it is great to see films aimed at kids that refuses to condescend to them. The Hole plays it for scares, and isn’t afraid to do just that. Children will be terrified and delighted in equal measure. The 80’s gave us kids’ adventures that dripped with real danger like The Goonies or Labyrinth, and of course Joe Dante’s Gremlins movies. These films were quite nasty, and unlike most of the saccharine rubbish kids are dealt these days, they are quite menacing. The Hole is a worthy successor to these films and isn’t afraid to push your nerves just that little bit further than you might expect.

From the poster and trailer I expected a tween adventure with a supernatural twist akin to Are You Afraid of the Dark or Goosebumps? To my delight, this was far more enjoyable than just a silly kids’ film. It is certainly directed towards young teenagers but the great thing about The Hole is that it is actually scary!

This film is full of menace but keeps the tone light enough to maintain the element of fun. Dante keeps you on the edge of your seat with constantly mounting tension and silly jumps that make the audience giggle as much as scream. This is as fun as horror gets and for once the gimmick of 3D is used as just that... a gimmick.

Certainly not high-brow but lots of fun and scarier than you might expect!

The Runaways

Written & Directed by: Floria Sigismondi

Starring: Dakota Fanning, Kristen Stewart, Michael Shannon

My Rating: 7/10

The Runaways tells the story of the now relatively obscure band that began the career of the now legendary Joan Jett. The Runaways may be obscure now, but they made quite a splash in their day. Joan Jett and Cherie Currie were international icons and the concept of an all-female punk-rock band was unheard of before them. Their songs were simple and not exactly profound but the girls’ raucous joie de vivre and Cherie’s tendency to “flaunt her wares” ensured that they became an overnight sensation.

The film tells the girl’s story from just before they met. Joan (Stewart) was a tearaway, teenage punk who liked men’s clothes and loud electric guitar. Cherie (Fanning) was a good girl gone bad who cut off her long, angelic, blonde hair and performed at her school talent show miming David Bowie in spandex and face paint. Joan meets legendary manager Kim Fowley outside a club and begs him to listen to her band. He instantly sees the potential marketing sensation and he and Joan handpick Cherie randomly from the crowd to become their singer.

The rest, as they say, is history. We’ve all seen this film before. It is your typical biopic, all sex and drugs and rock n roll, and then the inevitable fall from grace. I don’t judge biopics for being formulaic. It’s very difficult to deviate from the conventions of the genre. So, conventions aside, this is a decent film that works in what it sets out to do: give a snapshot of the world The Runaways came from. The visuals, the colours, the costumes and the music are all vibrant and exciting. The girls are sexy, spunky and fearless in their performances and the chemistry between the two leads is perfect. The relationship that is built between Joan and Cherie is both intimate and awkward. Neither girl quite understands the other but both are swept away in the excitement of their friendship and the whirlwind of their new-found fame. Of course the sex and drugs that were once so enticing soon become a problem, especially for the naive and bratty Cherie.

The appeal of the sweaty, sexy, exciting club scene is what makes this movie stand out. However, it loses its way somewhat towards the end as the band’s downfall is handled lazily and feels a bit tacked on. If you like your girls slutty, your music trashy and your clothes held together with safety pins then this movie is for you. However, if you’re looking for a profound analysis of the music and historical context of The Runaways, you’ll come away disappointed.

 - Charlene Lydon (from: www.frankthemonkey.com)

Scott Pilgrim Vs the World

Written by: Michael Bacall & Edgar Wright

Dir: Edgar Wright

Starring: Michael Cera, Mary Elizabeth Winstead, Kieran Culkin, Brandon Routh, Jason Schwarzman

Rating: 4/5

Scott Pilgrim (Cera) is a 22 year-old geek living in a bedsit with his gay best friend (Culkin) and trying to get his beloved band The Sex Bob-Ombs a record deal. He is dating hyperactive, 17-year old Knives but has recently fallen madly in love with the girl of his dreams, Ramona (Winstead). Not only must he shake off the teenage girlfriend, but he must fight to the death with Ramona’s “Seven Evil Exes”, all of whom are his physical superior.

Lucky for Scott, not only is this film set in a world of videogame logic, but it is also set in a universe where Scott makes the rules. This should have been called “Scott Pilgrim RULES the World”, because he is clearly the master of his own fate, despite lacking in confidence and grace. If Twilight is wish-fulfillment for dull teenage girls then Scott Pilgrim Vs. The World is the same for nice but nerdy young men. Scott’s journey may be filled with Bollywood action heroes, Hollywood action heroes and evil record producers but at the heart of the story it is about one man’s attempt to have enough self-respect to win the respect of the girl of his dreams. This task is harder than it looks, especially considering it takes him 90% of the film to figure out his mission.

This film is so full of hipster aesthetic and attitude that it really should have been irritatingly “too cool for school” and, although it does wander into that territory at times, it is forgiven because of its sparkling wit and its big heart. The story is full of larger than life characters and situations but never falters when it comes to engaging the audience emotionally. Scott fits into his group of friends so intrinsically that their sense of closeness helps the audience to transcend the over-the-top scenarios and feel a sense of danger at the most basic level, not that Scott will be turned into a handful of coins, but that his close-knit group will be torn apart. It is on this level that, for all the silly graphics and too-hip soundtrack , Scott Pilgrim is a successful rom-com.

Adventure, excitement and a campy sense of nerdiness, Scott Pilgrim Vs. The World gives us some hilarious villains, some delightful supporting characters and most importantly, a loveable hero played perfectly by Michael Cera who may be accused of being a limited thespian, but he’s a genius at what he does well! Colourful, unique and limitless in its ability to entertain, Scott Pilgrim Vs. The World is incredibly fun and energetic. Not to be missed, unless you’re a cranky old codger!

-          Charlene Lydon

(For www.frankthemonkey.com)

RIP Patricia Neal

First coming to the attention of the movie-going public as the beautiful, masochist Dominique Francon in the big screen adaptation of Ayn Rand's The Fountainhead, Patricia Neal immediately grabbed the attention of the media with a highly publicised affair with the married and much-older Gary Cooper (she was 21, he was 49). Needless to say, this notoriety followed her and she was treated like a jezebel, thus never getting any of the glamorous studio roles she richly deserved. This did not deter her from becoming a fascinating actress who used her sad elegance to bring a touch of class to a variety of roles.

Her most memorable role was probably in The Day the Earth Stood Still but she also won an Oscar for her role in Hud. Married for 20 years to fascinating literary genius Roald Dahl, Patricia Neal led a somewhat unglamorous life, herself and her children plagued with health problems. Soon after winning her Oscar, she had three strokes which left her semi-paralyzed and unable to speak for a while. She overcame these problems however, and lived a long life, dying yesterday from lung cancer at the ripe old age of 84.

Ms. Neal...you've left your mark!

Recommended watching:
The Day the Earth Stood Still (Wise, 1951)
The Fountainhead (Vidor, 1949)
Hud (Ritt, 1963)
Cookie's Fortune (Altman, 1999)
Breakfast at Tiffany's (Edwards, 1961)

John Hughes RIP - Screen Cinema

Dublin's Screen Cinema is having a weekend tribute to the wonderful John Hughes who died a year ago this week. Kicking off on Friday night with a 35mm screening of The Breakfast Club, then what better way to start your Saturday night than hanging out with Ferris Bueller. Sunday evening sees my personal favourite teen movie of all time, Pretty in Pink. Nobody epitomised 80's fringe culture like Molly Ringwald. Her style, her attitude personified the wildness of the youth of the 80's! But she's not the reason we're here. The reason we're here is one Mr. John Hughes.

After his death last year I posted a very sentimental, very intensely worshippy blog about why the man was a genius and how it's easy to forget why he made such a mark on the world. You can check it out here and decide whether it's worth checking out but I'm telling you now, it totally is!

The Breakfast Club: Apart from having the most 80's soundtrack ever built, the most 80's dance ever danced and the most stinging insults ever slung ("DoesBarry Manilow know that you raid his wardrobe?"), The Breakfast Club is a biting insight into the world of isolation that everyone endures. High school stereotypes provide a microcosm of the human struggle to be recognised for who they are and reinforces the idea that we are who we are inside our own heads, even if the world can't see us that way...it's also a bagload of fun!!

Pretty in Pink : Unjustly seen as a silly rom-com, this mopey teen romance suffers from the same ailment as it's heroine Andie. It lives on the fringes, not mainstream enough to be classic and not alternative enough to be cool. However, it must be said that Pretty in Pink certainly has style! And kudos for not letting Andie end up with Duckie just because we all feel sorry for him. Few films make bold statements about going for someone because it "feels" right, even if the audience doesn't like it. Brave move, and the movie has always suffered for it! Young James Spader proves yet again why he's the greatest villainous actor ever and look out for a young Ellen Tighe for all you Battlestar nerds!

Ferris Bueller's Day Off: What can I say? If good will were hydrogen molecules, this film would be a mushroom cloud! Ferris, Cameron and Sloane take a wild ride from the subarbs to the city with trials and tribulations aplenty. Tremedous fun ensues and treachery comes in the form of the evil Mr. Rooney. Great stuff. come see it!

Anybody convinced yet???!!!

Vincenzo Natali Interview

Vincenzo Natali has spent his career on the line between “acclaimed” and “notorious”. His first film Cube  became an international cult classic and even though he hasn’t officially been given the title of “the new David Cronenberg” it can’t be denied that his latest film fits the term “Cronenbergian”. Splice follows two brilliant scientists whose experiments with genetics result in a super-secret human-animal hybrid, Dren, who they watch grow from an embryo, to a baby, to a girl, to a woman, to a- let’s not give too much away. Totally Dublin spoke to Vincenzo Natali about Splice and his fascinating adventures in the screen trade.

In today’s world of receding economies, if a film isn’t a sequel or a remake it is almost impossible to get funding. Natali’s Splice with all it’s mad science, body horror and corruption of basic human nature must have been a challenge: “It’s a miracle that it got made. And it’s an even greater miracle that it’s received the release that it’s had. I had the first draft written twelve years ago. It has been this very long, fortuitous, process and numerous moments along the way I just thought there’s just no way this is going to happen but somehow it’s like this film just sort of willed itself into existence, despite my best efforts. The good side of a long development is that it becomes very rich, very layered. And I do feel that the film has that quality. There’s a lot of things going on below the surface.”

The film incited major festival buzz when it screened at Sundance earlier this year, however it was not without its detractors who were put off by the film’s mischievous treading of the line between exploration and exploitation. “It’s a very divisive film. There’s one particular moment in the film...I can’t say what it is here...but it’s kind of a litmus test. Some people can take that leap and others simply cannot. That was always part of the design. I was very aware from the beginning that this was going to shock everyone but I also felt that the people who do respond to it will respond to it in a big way. Audience reaction has been amazing and to be perfectly honest I don’t even mind the negative responses.” His lead actors Adrien Brody and Sarah Polley had a lot on their hands in exploring the dark places their characters Elsa and Clive go to. “A lot of aspects of the making of this film were very difficult but the casting of the film went extremely well. I always had Adrian and Sarah at the top of my list. I just thought they would be great and they responded to the script so it was actually a very straightforward process. I didn’t know either of them personally before making this movie but I really enjoyed working with them.”

He admits: “I personally have great affection for Clive and Elsa. When they start off, they’re kind of heroic because they’re risking everything for what they believe. They’re putting it all on the line. They’re genuine. I kind of related to them too because as an independent filmmaker, I’ve been in a similar place. I have these crazy things that I want to do, like Splice and it takes a lot of money and I need the approval of the powers that be and that can be a very frustrating process. That was kind of my emotional entry point for their story. That’s where we meet them at the beginning of the movie. They want to invest in this very progressive experiment but their corporate handlers say “no”. Believe me, I’ve lived that many times before.”

One of the many things that makes Splice such a joy to watch is that it is an effects-heavy film that never forces the audience out of the film’s world because of heavy-handed effects; the creature Dren is a human/CGI hybrid and the subtle adjustments to a brilliant physical performance makes for a very believable monster. Natali calls it; “a great compliment to me, and to the great artists and technicians who made Dren a reality and of course a great compliment to Delphine (Chaneac) and Abigail (Chu) who played Dren as a child. Not to make the comparison too strongly but designing Dren was allowing me to be a mad scientist. It was one of the reasons I wanted to make the movie; I wanted to be able to make this creature. But I wanted to do it in a way that’s very realistic. That was always the prime directive; let’s make this biologically possible. Let’s not just make a movie monster. And so, to that end, we really tried to portray a real physical persona to Dren, even though Dren always has some level of digital augmentation, I felt it was critical to have a real performer. I think the level of believability was really because of that and I really had an amazing effects department.”

Another fascinating project that Vincenzo Natali has on his CV is the group effort Paris Je T’Aime, a film made up of short films about Paris. Some of the world’s most acclaimed filmmakers worked on the project such as the Coen Brothers, Gus Van Sant and Wes Craven to name but a few. Natali’s film stood out from the others because instead of a quirky tale of true love it was a highly stylised, very dark film starring Elijah Wood as a tourist who falls in love with a sexy female vampire. When I asked him what it was like to work on such an adventurous project, he replied; “It was a wonderful experience. The way they structured it. The films were shot back-to-back with mostly the same crews. So, in that sense, it was almost like film school. I was there working on my film at the same time Alexander Payne was working on his film and Wes Craven was working on his film. There was a very congenial attitude but I felt very much like I didn’t belong there amongst all that exceptional talent but professionally it was exciting experience. Being a French production, we had complete creative control. The only boundaries we had was that it had to be a film about love and it had to be five minutes. And you could do whatever you wanted in those 5 minutes.”

Most of Natali’s fame and notoriety rests on his classic sci-fi mind-melter Cube, a film that is so high-concept that sci-fi fans get giddy at the set-up alone. Six people wake up in a cube-shaped room and soon find that outside the room there are more cubes, set with booby traps and they must solve complex mathematical problems in order to finally escape. Despite its seemingly simple setup Cube is not merely a cheap thriller. It has stood the test of time and is still a respected genre piece some thirteen years later, having spawned a sequel and a prequel. Natali explains why the film has survived in a sea of low-budget horror/sci-fi films; “I think these things, when they work, they tap into these very archetypal contexts that are universal and very profound. It uses very mythological archetypes but it is re-cast into a science fiction context so it becomes something new. But basically it is about existence. We’re just dropped into this life. No rules, no concept of why we’re here and yet we have to figure it out. And it is a dangerous road. I think that resonates because it’s about the human condition.  He goes on to explain his mistrust of human nature. “I always believe that the greatest enemy lies within. If you want to face the enemy, first look in the mirror. I think that’s where it comes from. I have a lot of faith in people by the way. If anything it’s myself I don’t trust.”

Although his twelve year journey of Splice is coming to an end, he has recently confirmed that he is currently adapting the previously condemned as “unfilmable” cyberpunk classic Neuromancer. “Yes, it’s confirmed, it’s real, I’m writing it. I don’t have any money yet but I do think it is filmable. I think it’s a very adaptable book. I think any book comes with challenges. I think that comment comes from the fact that William Gibson’s prose is not easily digested. But if you really look at it, Neuromancer is a fairly conventional story. Maybe conventional isn’t the right way to put it but it does have a story and it is quite film friendly. I think the key is not to be too reductive. If you want to turn the book into a film that’s like Star Wars, then you’re going to have a problem because you’re not going to be able to be faithful to the book. But if you believe that Blade Runner for example is a commercial film and a good film then I think Neuromancer is very adaptable. I think you just have to take a more literary approach to the writing. I’ve actually been surprised myself by how easily the adaptation has been going. There only thing that’s challenging is the ending. It doesn’t end in a film-friendly way so that will need some invention.” Let’s hope that this one doesn’t take him another twelve years in the making!

Splice oozes into a cinema near you on Friday 23^rd July. You can read this article in Totally Dublin hitting shelves on 3/8/10

Grown-Ups Premiere!!

No, this is not a review...I was,unfortunately, on the outside looking in for this one. Adam Sandler, Chris Rock, David Spade and Kevin James were in Dublin tonight for the premiere of their new film Grown-Ups. Among the throngs of fans, Jedward-spotters and rude Spanish students with pointy elbows was me with my camera and my beautiful special edition Punch Drunk Love DVD. I know this is a one-way ticket to film critic oblivion but I don't care, I'll admit it loud and clear I love Adam Sandler. He's been my favourite since I first fell in love with him in The Wedding Singer. And no amount of really, really dreadful films can ever change that!

I was uber-excited when I heard he'd be in town and even though I know someday I'll be in a position to interview him for this very blog, I grabbed my Punch Drunk Love DVD and queued and squished and pushed and pulled for a couple of hours and it was totally worth it!!

David Spade arrived first, followed shortly by Chris Rock who seemed unusually subdued. Perhaps his great new documentary Good Hair isn't getting the audience it deserves. Crowds went insane for Kevin James who inconceivably got perhaps more red carpet love than Sandler himself. Do that many people love King of Queens. Hmm...apparently so!

Adam Sandler arrived dressed in what was nothing short of an Adam Sandler costume, backwards cap, scruffy jeans, t-shirt and plaid shirt. He worked the crowd for about 20 minutes before being ushered to the stage to receive his personalised Dublin GAA jersey from 98FM. The boys quickly posed all together then went inside to watch the movie (or hang out till the crowd leave then scarper off to the pub).

Fun was had by all, but especially me because I have such love for Sandler it's ridiculous!

Interview with writer/director Neasa Hardiman

Interview with writer/director Neasa Hardiman

Toy Story 3

Written by: Michael Arndt

Directed by: Lee Unkrich

Starring: Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty

Rating: 10/10

There’s something about the Toy Story franchise that is universally emotive. Presumably that “something” is the fact that everyone had toys as a child. Toys taught us how to love. Not loving someone because they are related to us, or because they live on our street and happen to be our age, but because we feel a connection to them. Now, as grown-ups, we all know that toys are only toys and our love is wasted on them. I suppose that’s what is so haunting about these films. They remind us all of that part of ourselves that left us many years ago, and dredge up guilty feelings about old Rebecca the Christmas Bear who now sits, dusty in the attic somewhere...if she’s lucky.
Toy Story 3 deals with just that idea. It is about what happens to the toys when Andy grows up. The film begins with the toys in a typically epic adventure. It is complex, it involves teamwork and it could be dangerous. As it turns out, the toys are plotting a very complicated ploy to get Andy to play with them. He is 19 now, and headed off to college. The toys have been sitting in their chest for years now, without being played with at all. When a chain of events see the toys accidentally donated to a day-care facility, the race is on for the toys to be reunited with their owner before he leaves for college.
If the first film was sci-fi, the second was a western then this is a prison movie. Their “great escape” is just as exciting and fresh as the previous two outings and certainly just as hilarious. However, what makes this film special is that it balances heartbreak and loss with warm-hearted sentiment so it never feels depressing, but certainly has a sense of tragedy looming throughout. We know there can be no happy ending and that whatever comes our way in the third act will make us sad, but the journey there is so joyous that the tone never gets too blue.
Writing about Toy Story 3 is difficult because it is not about the little bits of clever writing and brilliantly realised characters or perfectly balance sense of humour. This film is so much more than the sum of its parts. It accomplishes what so few children’s films can. It gives equal pleasure to children and grown-ups. It manages to entertain but also make the audience feel truly invested in the fate of these characters...these toys! No easy task!
This is perfect popcorn viewing for all the family and I dare you to sit through this film without at least a small lump in your throat. If this film doesn’t make your heart simultaneously jump for joy and burst with emotion, you’re made of stone!

- Charlene Lydon

Inception

Written & Directed by: Christopher Nolan

Starring: Leonardo Di Caprio, Joseph Gordon-Levitt, Ellen Page, Marion Cotillard

Rating: 10/10

What do we ask for in a summer blockbuster? What is it that incites hysteria this time every year for whatever dross the studios churn out? Epic hugeness? Blowing stuff up? Romance? Action? Heroes? What are we looking for in a blockbuster? I think it all boils down to thrills! Audiences want the thrill of a car chase, the thrill of romance, the thrill of the spectacular! If that is the case, then Inception just might be the greatest summer blockbuster of all time as it also contains something we often don’t look for...brains!

“What is the most resilient parasite? An idea” says Leonardo Di Caprio's character Cobb. Well, Inception is all about ideas. It’s all right there in the title. The film central idea revolves around “Extractors”, who are paid to extract secrets from people’s subconscious minds by sneaking into their dreams, usually for the purpose of corporate espionage. However, when one client asks them to plant an idea in the mind of their corporate rival, “Inception” is born.

The less said about this film the better. It is full of ideas and invention and for each set piece I divulge, a piece of the film’s genius is weakened. This is a film that cleverly and intricately brings the audience through several planes of existence simultaneously but never allows the viewer to feel lost. Such is the power of Christopher Nolan’s script which, I imagine, is likely to get overlooked due to the sheer visual magnificence of his direction. But everything that makes this film so great is in the script...in the ideas! Everything else is just spectacle.

This film bears an uncanny resemblance, thematically, with DiCaprio’s other instant classic this year, Shutter Island. Both films investigate in depth the tricks a traumatised mind can play on the individual. Both films are luscious to watch and both films keep the audience firmly outside the realm of reality. However, Inception is an even more layered film than Shutter Island and I believe the sci-fi genre setting will prove to be less alienating for audiences than the prison noir of Scorsese’s film.

There is not a single dull moment in Nolan’s film. There is style, charm and intelligence in every frame of the film. Every performance is pitch-perfect with some strong support by Ellen Page and Joseph Gordon-Levitt particularly who have grown up right before our eyes into undeniable movie stars. Leonardo DiCaprio gives a typically flawless performance as the muddled, grieving man who we never quite trust to be living in the real world. The best part of Inception is the large amount of effects which were done in camera. While the film does make use of CGI, there are some pretty mind-blowing practical effects which are as simple as the camera telling beautiful lies; a rare treat these days.

This is a blockbuster that ticks all the boxes; smart, sexy (femme fatale, sexy brainy girl, very beautiful men in very beautiful suits) and magical. Inception is the kind of film that reminds me why cinema will never die. Because anyone who thinks it’s ok to watch this film on a laptop or iPad is a fool! This is pure cinema, and proud of it. Not to be missed on the big screen!

Film Ireland "Get Into Film"

Everybody be sure to pick up the current issue of Film Ireland and check out my COVER STORY, Get Into Film, a 5-page argument for why you should go to film school! I also have a review of the very interesting Pyjama Girls and a wonderful little On-Set Horror Story by director Conor McMahon...if you like your stories maggoty, this one is or you!
So pick up your copy before they all get eaten up at the Galway Film Fleadh. Meanwhile here's my ridiculously comprehensive list of film courses available in Ireland:


http://www.filmireland.net/2010/07/01/get-into-film-listings-of-film-courses/

Good Hair

Directed by: Jeff Stilson

Starring: Chris Rock, Rev. Al Sharpton, Nia Long, Maya Angelou

Rating: 5/5

I have to say, the topic of this documentary had me curious from the get-go because I was simply interested to see if it could possibly make a decent documentary. Well, the answer is yes, it most definitely did. Good Hair came to fruition after Chris Rock’s young daughter asked him “why don’t I have good hair?” Being a man, he had no idea how to answer the question but began to ask himself, what is good hair? What does good hair mean to a black woman and what does hair say about African-American identity?

His search brings him to a hair convention in Atlanta, a barbershop in Harlem, a temple in India and many other interesting places. To discuss here what truths Chris Rock reveals in this documentary would ruin the element of surprise, as some of the content is actually quite shocking. However, Rock never attempts to be Michael Moore. The subject is treated with amusement and respect but never over-dramatic or heavy. Chris Rock proves to be a smart, funny guide through the black hair industry and he makes the film a joy to watch at all times. There was not one dull moment in this documentary, every point that is discussed is utterly fascinating and usually hilarious.

There is a sad reality that black women’s sense of beauty is based on Asian and European women’s hair and that these women feel having and Afro is seen as unkempt. There are two popular alternatives. One is relaxant, which straightens black women’s hair. This relaxant is a frighteningly potent chemical which strips the hair and burns the scalp, but it permanently straightens the hair. The other option is a weave, which is a fascinating concoction. A weave is a wig, literally sewn into the hair. It takes hours to fit and they are jaw-droppingly expensive. Rather chauvinistically, but still very interesting, Rock chooses to focus not on the economic ramifications of this constant expense in black women’s lives, but rather the expense on black men. He asks if they worry when they meet a woman, about paying for their weaves for potentially the rest of their lives. He discusses with them the issue of touching the weave. Apparently, this is a big problem between black men and women, one man claiming he hasn’t touched a black woman’s hair since 1986, and he remembers that occasion vividly.

Good Hair is an exceptional documentary which manages to shock, while making you laugh. It is brimming with loveable and fascinating characters and most importantly, it is infused with a sense of fun and good natured curiosity. This is delightfully insightful and incredibly entertaining. I cannot recommend this film highly enough. The random story of black women’s hair is one of the most fascinating stories you’ll see all year. If you don’t believe me, check it out for yourself!

-          Charlene Lydon

The Twilight Saga: Eclipse

Written by: Melissa Rosenberg

Directed by: David Slade

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner

Rating: 3/10

I’m sorry to report that this third installation in the infernal Twilight franchise is disappointingly similar to its predecessors. I had been hoping that director David Slade who is responsible for the fang-tastic 30 Days of Night might have injected the franchise with the dose of blood that it so desperately needs. Unfortunately, it seems he is as sanitised as the others. It is very clear that these film are so desperately in need of the tween audience that the filmmakers refuse to allow any glimpse of gore; even going so far as a focus pull when the villainous Victoria bites someone’s neck and making it so vampires heads smash like glass when they die! No blood n guts here, no sir!

This instalment follows Victoria planning vengeance for her boyfriend’s death at the hands of Edward (way back in the first movie) by trying to kill Bella. Of course this sparks a war between the evil vamps and the veggie vamps. As the evil vamps recruit an army of newborns the veggie’s join forces with the werewolves in a truce formed with Bella’s best interest at heart.

Meanwhile, Bella must choose between the very lovely Jacob who will love and protect her forever and ever and Edward who will make her a vampire and she can fend for herself. Bella’s decision to become a vampire, thus losing her soul, for the love of a boy is made even more troubling by the fact that she seems hardly distressed by the thought of ending her life. Despite pretty much everyone telling her it is a bad decision, she is staunch in her determination to do it. I dread to imagine the suicide tallies in a few years time if this is the stuff that is feeding our young teenagers imaginations.

Although this is certainly the least boring of the three films so far, it is as still almost completely devoid of humour, and the story structure is bafflingly tedious. The problem is that every dramatic setup is merely a way for the audience to gain insight into how much Edward and Jacob love Bella. There’s never a sense of danger, because we know that none of them die and despite the beautifully desolate cinematography (by Javier Aguirresrobe, fast becoming my favourite), there is not enough darkness to ever really thrill the audience. Eclipse tricks the audience into thinking that there is a dark, fearsome story going on but really it is just sanitised nonsense with no bite to it whatsoever. I cried for sex, blood and rock n roll after the first two films and hoped this film might give us some of that but unfortunately it has become clear that this franchise just doesn’t have the balls!

If you’re a Twi-hard you know not to bother reading reviews anyway, but this is definitely the best of the bunch. For those of you who haven’t been seduced, this probably won’t be the one to do it. That being said, Eclipse is shot beautifully, there are topless werewolves aplenty and it is far less boring than the last two films.

-          Charlene Lydon

Woody Allen: When it Works, it Works

Woody Allen's new film, Whatever Works hits screens this week. This enjoyable and heartfelt comedy is one of his more likeable efforts in recent years. Consistency has never been Woody Allen's strong point. His repertoire has certainly had incredible moments of genius but it is also peppered with some unfortunate cases of mediocrity and even some downright terrible films (Curse of the Jade Scorpion, anyone?). In the 50 years or so that Woody has been making movies, the divide between the good and the bad films have grown into canyons. Perhaps the reason for this is that Woody Allen is one of the only directors who has complete and total creative control over all of his work. That luxury is every director's dream, but perhaps it is sometimes more of hindrance than a help.

When watching one of Allen's less successful endeavours one can't help but wonder if the film would have been improved by someone telling him to cop himself on. One of his most notorious commercial failures was the 2007 film Cassandra's Dream starring Colin Farrell and Ewan McGregor. This film is definitely amongst his darker work, a twisted morality tale that balances broad comedy and philosophy very nicely indeed. Cassandra's Dream is a beautiful script with two first-class leading actors. The problem is it feels like it was directed by an amateur. It is an ugly film to watch, with no regard for style or attention to detail. The performances felt somewhat stilted, and despite the best efforts of the cast, the film just felt a little "off". Maybe this script could have become the film it deserved to be if it had a director who put in the effort, or if that director had perhaps had some studio standards to comply with.

That being said, for every Cassandra's Dream, there's a Vicky Cristina Barcelona, a joyous celebration of love and life that proves beyond any doubt that he's still got the skills and they're as sharp as they were in the 70's. Watching Whatever Works evokes questions about the pros and cons of the way Woody Allen makes films. Despite the inconsistency in the quality of his output Allen is still pumping out at least one film a year, sometimes more. Some of them are wonderfully fresh and honest, while others are contrived and bordering on self-parody. Whatever Works is fortunately one of his better efforts. It feels in every way like classic Woody Allen, and Larry David proves to be inspired casting in the leading role. In the film he plays Boris, a grumpy, ageing science genius who embarks upon a relationship with beautiful young bimbo Melody (a wonderful Evan Rachel Wood) and as a result gets pulled into her world and the world of her family. Slowly but surely, Boris' life and attitudes begin to change as he realises that over-thinking things isn't always wise and that life is all about "whatever works".

The charm of this film lies in the simplicity and beauty of its central philosophy. If looked at within that context, Allen's career can be given a brand new perspective. Maybe this is more than just a nice story, maybe this explains a lot about Woody's work in recent years. His films can be seen as experiments, as ideas that he brings to fruition by any means necessary. Some of them become great films, some of them become giant failures, but Woody's intention is to be as prolific as possible in the hope that all of his stories get told, some more successfully than others. It might be said that he believes that, at this late stage in his life, he can afford to take risks and hope for the best. Instead of getting bogged down in trying to find perfection, maybe he feels that it is a case of "whatever works" when it comes to his films.

Woody Allen is one of those rare people in the world who is so ingrained in modern culture that there is nothing he can't survive. He has survived a very public failed marriage, a gigantic sex scandal, and a string of commercial failures. The fact that his films are rarely commercially successful has never resulted in an inability to get more films made. Woody Allen is a legend, and I can't think of another director about whom the phrase "return to form" has been used so much. His audience can rest assured that if he makes a bad movie, chances are, his next one will make up for it. His legendary status allows him the freedom to do whatever he pleases. The idea that Woody is simply trying to get every story he has in his brain on to the big screen is noble enough to forgive any missteps he has taken along the way. At the end of the day, he is still one of the most brilliant filmmakers working today and it is clear that he still has plenty to say about the human condition and the complex nature of love. And let's not forget beneath the clever philosophising, he is a razor-sharp comedian and a genius wordsmith and that will always make a Woody Allen film in some way enjoyable. Despite his hiccups, there are still great moments of brilliance to Woody Allen's career and at 75 years old, the cultural awareness in his films is admirable. It‘s safe to say that although his experiments are not always successful, when it works, it really, really works.

 - Charlene Lydon for Totally Dublin.

Pyjama Girls

Directed by: Maya Derrington

Rating: 7/10

Anyone who frequents Dublin’s inner city knows to whom this title refers; a particular social group who walk the streets wearing obnoxiously brightly-coloured pyjamas. These girls are not from one particular area of Dublin but often seem to be found near Dublin City Council flats. Maya Derrington’s intimate documentary chooses one such girl and follows her for a few months in2009.

The wonderful thing about Pyjama Girls is that it does not try to be shocking, it doesn’t try to attack the culture that bred these girls, it doesn’t try to condescend to anyone; the film merely shows, very personally, the lives that these girls lead. Our leading lady, Lauren, while not always likeable, is brave and honest and clearly never allows the camera to influence her actions and reactions. She proves a perfect subject as she hides nothing, nor is she ashamed of anything. Her reasoning for wearing pyjamas is slightly odd though, as she claims they wear them around “the flats” because they are like one big house and it feels normal to just wear your pyjamas around. So why wear them into town? Who knows? That question was left unanswered, but the film alludes to the idea that society cares little for these girls so they care little for society’s norms.  This may be a rather grandiose claim, but one that may, in some way, be true.

Personally I was expecting a documentary about the phenomenon of the pyjama girls and how widespread it is, but what this film does is far more intimate. Perhaps my questions about these girls who swarm all over my local Spar were left largely unanswered, but the content itself is sincere and touching enough to make up for that and this is ultimately and engaging and enjoyable human drama.

-          Charlene Lydon