Writers note: Due to time constraints forced on me by an up coming holiday I haven't been able to write full reviews of the following films, but felt they were both so good they deserved to have a recommendation post.
Pixar's 'UP' has once again raised the bar for what to expect from an animated film and proved that the films they make should be considered for 'best film' and not just 'best animation' awards at this years Oscar ceromony!
The much hyped opening montage is incredibly moving and wonderfully captures the relationship between Carl and Ellie in a series of timelapsed slices of life, leading up to Carl's desision to fulfill their life-long ambition of flying off to Paradise Falls.
It really is something very special, the way in which it captures human emotion is arguably better than any live action comparison. Although the first act is in a legue of it's own the rest of the film still manages to impress by introducing some of the darkest and funniest moments we've yet seen from Pixar, all of which are perfectly paced. And for every predicable story point you get another joke or visual treat which keeps it afloat.
It has some hilarious moments which include - if you're a dog lover - a laugh out loud instant favorite in talking K9 Doug, roadrunneresque bird Kevin and Wilderness scout Russell who ends up inadvertently joining Carl on his balloon lifted adventure, but all of the characters are well rounded and brilliantly voiced.
****
'Zombieland' is another in a long line of flesh eating tales of survival, although this time the world is set during post-armageddon as we follow earth's last remaining humans as they fight the, what has become, everyday threat of the walking dead!
Jesse Eisenberg is clearly the new Michael Cera and you'd be forgiven for thinking Diablo Cody had something to do with the script, so tuned in as it is to his teenagers way of thinking and constant use of voiceover.
We follow Eisenberg's Columbus as he takes us through his set of paranoid rules which have helped him survive thus far, including 'checking the back seat', 'double tap's' (you know you should always shoot twice right?) and 'avoiding public toilets'. Columbus also shares my deep rooted fear of clowns, but we get our satisfactory revenge in the end!
Although his time spent away from human contact is severely tested when he runs into and teams up with redneck and all round zombie killing pro, Tallahasse (a perfectly cast Woody Harrelson)! It's great to see Harrelson back in a leading role and his cool-as-ice Tallahasse is a brilliant mix of lovable rogue and off the rails maniac.
The duo bump into fellow double act Wichita, played by Emma Stone, and her sister Abigail Brelin. And although both are great to bounce off and up the tension in the group you can't help but feel they are seriously underwitten, which is a shame as both actresses are more than capable of handling more.
Another excellent inclusion well worth a mention is a brilliant cameo from a well known comedy actor, or actress, which is so well timed and executed that it should be one on which all future guest appearances will be judged!
It's a film that choses to focus on fleshing out (pardon the pun) it's protagonist's more than the over-the-top blood and guts often associated with zombie films. And becuase of that it's raised above the norm making it not just very funny, but at times exhilarating too.
This ranks itself among the Romero's and Raimi's of horror films that stand out as more than just throwaway gorefest's.
****
Monday, 12 October 2009
Tuesday, 6 October 2009
Film Review
'Away We Go'
Burt (John Krasinski) and Verona (Maya Rudolph) are expecting there first baby. But when Burt's parents decide to fulfil a 15 year promise to move away from the US the community safety of their current non-descript town falls apart, what follows is a cross country road-trip as the couple search for somewhere to raise their child.
Something is decidedly odd with 'Away We Go', with its low budget indie-style feel and the name Sam Mendes in big bold letters across the screen claiming him to be the director. If you're a fan of Mendes it can take a while to adjust to this new carefree shoe’s off approach to filmmaking after his dark trilogy of ‘American Beauty’, ‘Jarhead’ and ‘Revolutionary Road’, but once you accept the films precious feeling it embraces you like a warm hug from an old friend.
Another decidedly odd turn is that this couple seems to be happy, very happy! Together for years, although never married (Verona keep’s refusing Burt’s offers for decidedly understandable reasons), are about to have a baby and are desperate to find the right environment in which to raise their offspring, somewhere away from the dull and depressing town which they currently call "home".
The only problem with a relationship so perfectly happy – humorous attempts at arguments are replaced by darkly funny discussions which arise for no other reason than to increase the chilled out heart rate of the ever increasing bump - is that it's a hard act to keep up without the expectant obstacles getting in their way to turn things on their heads. Instead of friction generated between the leads most of the dramatics spark from some of the wildest and quirky friends you could ever wish for, all of which offer more than enough damaged energy to bounce off. And what save’s it from becoming overly sweet are the incredibly real and honest leads, both of whom are well written and brilliantly played, offering grounded characters to balance the often exaggerated supporting cast.
So, they decide to trail across the US visiting every friend they can think of that has child raising experience, their journey bouncing somewhere between comedy road movie and deeply moving coming-of-age drama.
Alison Janney as a mother who's idea of good parenting seems to be to mentally torture her kids, and Maggie Gyllenhaal as the worst kind of paranoid, hippy, earth loving lunatic who has an irrational hatred of baby strollers. Pretty much all the friends are mentally or emotionally scared in some way but represent everything Burt and Verona hope and prey not to be eventually leading them to find home where the heart is.
You can imagine Krasinski instantly becoming your best friend as the excellent Burt, but it’s Rudolph that's the real stand out here. Her laconic Verona managing to bring across everything she needs to with each little nuance so perfectly realised and wonderfully natural, it's a spot on performance that just adds to the endless list of engaging elements the film offers.
Although it has a more low-budget feel to it, everything fit’s, it’s beautifully shot with a subtle but memorable score and although some will find it to distant from what we’ve come to expect from Mendes, take it in and you will leave the cinema with a big smile on your face. One of those rare films that I could walk straight back in and watch for a second time!
****
Burt (John Krasinski) and Verona (Maya Rudolph) are expecting there first baby. But when Burt's parents decide to fulfil a 15 year promise to move away from the US the community safety of their current non-descript town falls apart, what follows is a cross country road-trip as the couple search for somewhere to raise their child.
Something is decidedly odd with 'Away We Go', with its low budget indie-style feel and the name Sam Mendes in big bold letters across the screen claiming him to be the director. If you're a fan of Mendes it can take a while to adjust to this new carefree shoe’s off approach to filmmaking after his dark trilogy of ‘American Beauty’, ‘Jarhead’ and ‘Revolutionary Road’, but once you accept the films precious feeling it embraces you like a warm hug from an old friend.
Another decidedly odd turn is that this couple seems to be happy, very happy! Together for years, although never married (Verona keep’s refusing Burt’s offers for decidedly understandable reasons), are about to have a baby and are desperate to find the right environment in which to raise their offspring, somewhere away from the dull and depressing town which they currently call "home".
The only problem with a relationship so perfectly happy – humorous attempts at arguments are replaced by darkly funny discussions which arise for no other reason than to increase the chilled out heart rate of the ever increasing bump - is that it's a hard act to keep up without the expectant obstacles getting in their way to turn things on their heads. Instead of friction generated between the leads most of the dramatics spark from some of the wildest and quirky friends you could ever wish for, all of which offer more than enough damaged energy to bounce off. And what save’s it from becoming overly sweet are the incredibly real and honest leads, both of whom are well written and brilliantly played, offering grounded characters to balance the often exaggerated supporting cast.
So, they decide to trail across the US visiting every friend they can think of that has child raising experience, their journey bouncing somewhere between comedy road movie and deeply moving coming-of-age drama.
Alison Janney as a mother who's idea of good parenting seems to be to mentally torture her kids, and Maggie Gyllenhaal as the worst kind of paranoid, hippy, earth loving lunatic who has an irrational hatred of baby strollers. Pretty much all the friends are mentally or emotionally scared in some way but represent everything Burt and Verona hope and prey not to be eventually leading them to find home where the heart is.
You can imagine Krasinski instantly becoming your best friend as the excellent Burt, but it’s Rudolph that's the real stand out here. Her laconic Verona managing to bring across everything she needs to with each little nuance so perfectly realised and wonderfully natural, it's a spot on performance that just adds to the endless list of engaging elements the film offers.
Although it has a more low-budget feel to it, everything fit’s, it’s beautifully shot with a subtle but memorable score and although some will find it to distant from what we’ve come to expect from Mendes, take it in and you will leave the cinema with a big smile on your face. One of those rare films that I could walk straight back in and watch for a second time!
****
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