Mark1988 Reviews

Australia (2008)

A Film of so Much Promise that I Tried so Hard to Enjoy

[2/10 · 10 December 2008]

I saw this film today with my family. We are all Australian and live in the eastern suburbs of Melbourne. When I go to movies I try and appreciate the movie for what it is, not putting my own prejudice or expectation on the film. After all, who pays for a movie and then purposefully tries to not enjoy it?

Let me give you a quick summary of what happens at the start of Australia without giving away any major spoilers:

This movie starts out like a farce/fantasy. You have this ridiculous, over-the-top characiture of the English aristocrat and the Aussie Drover. There is a pub-brawl, some shots of the wildlife and scenery worthy of a Tourism Australia commercial, a bumbling drunk and a stereotyped bad guy.

So we chuckled away at the stupid cliché's and thought "who cares, this is just a bit of fun. No Australians are actually like this." Then Lurhman sets up the theme of the oppression of the aboriginals and introduces a mystical dream-time theme via two key characters; young Nullah and his grandfather King George. Very politically correct but by this stage we started to think, "ok, this movie is recognizing some terrible injustices that occurred at that time. Good on it." Then the movie morphs into Silverado meets The Man from Snowy River as the team of unlikely heroes attempt to drove a massive herd of cattle to Darwin in order to fulfill a crucial army contract. We all laughed when one of the characters was stampeded by a herd of raging bulls. "Someone had to die and he was the only character expendable to the story". It was so predictable and I was making a conscious effort not to predict what was going to happened next.

By this stage we're about halfway through and I could go on but my point is this: The movie keeps changing gears between Spaghetti Western/Clichéd Farce and Serious/mystical/political drama about the oppression of the aboriginal culture. It's like getting halfway through The Producers only to find as soon as you introduce the Nazi character the film turns into Schindler's List.

It's a shame. A real shame. Most bits of the sprawling plot seemed to work well by themselves but they simply don't mesh together thematically or stylistically. My mum noted in stitches as we walked back to the car, "It was good but they just needed to cut most of it out." Like most people have noted this movie covers its flaws by being so epic, sweeping and melodramatic. But therein lies the problem. It's impossible to take this film seriously because its like a schmaltzy fantasy trying so desperately to be relevant and make a statement about the exploitation of aboriginals. Coversely you could approach this film thinking you're going to see Rabbit Proof Fence only to find it descend into a silly, melodramatic farce.

It seems my theory of putting myself in the correct mindset for a film failed completely. The gear changes in this movie are so very jarring I had to approach it from a different point of view every 15-minutes. As a consequence Australia can't cover its flaws sufficiently. What you end up with is silly, melodramatic, inconsistent and one-dimensional trash.

If you're not from Australia and would like to see a film that reflects our heritage and national identity try Picnic at Hanging Rock, Breaker Morant or Gallipoli.

Memento (2000)

Mind Bending Suspense!

[9/10 · 10 July 2007]

I can't think of a word to describe Memento. What is entirely original and delightfully complicated? 'Intricate' is a complete understatement in the case of this film. Memento simply grabs the viewer by the throat with these two elements. You'll be astounded by the nuances in the plot and puzzled by the unique way in which the story is assembled.

With that aside, Memento is a film in which the more effort you put into solving the riddle the more pleasure you will get in return. The story itself for those who don't already know, concerns a man who suffers a rare form of short-term memory failure ("It's not amnesia!"). Leonard cannot make new memories, however he still recollects who he is and his goal; track down the murderer of his late wife. This setting opens up some interesting opportunities for the superb direction/writing of Christopher Nolan. Leonard can be manipulated easily and must resort to piecing together his puzzling existence using photos, notes and tattoos. His condition makes the entire film feel like an intricate puzzle with plenty of twists and turns. Fortunately Nolan never lets Memento collapse into a stereotypical whodunit style mystery.

The most important technical aspect of the film is without a doubt the editing. Presumably to allow viewers to experience a world where the present isn't in anyway validated by the past, the time-sequence is inverted… kind of. The film presents two stories, one going forward, one backward, one black and white, one color, both involving Leonard while the circumstances in which the two stories take place is left curiously ambiguous. This convoluted structure is the film's greatest asset. This film is nail-biting not because of teenage-fantasy-action but because the fundamental question of 'why did that scene just happen' is never fully answered. The uncertainty and intrigue in every scene is a superb emulation of Leonard's mind-state.

Sound confusing? Good! Memento is a startling original and exhilarating thriller. This movie genuinely deserves its spot in the top-250. The absorbing, troubled and uncertain atmosphere of Memento will definitely stay with you long after the credits roll. An absolute gem.

Picnic at Hanging Rock (1975)

Haunting, Elegant and Incredibly Atmospheric

[9/10 · 31 May 2007]

Having found a video store with a decent amount of Australian cinema, I was very excited to find Weir's 'Picnic at Hanging Rock' in the outlet's excellent collection. The film itself is classic in my country, however I tried not to implant my own expectations on the work, rather attempting to approach it with an open mind.

The story centers on several school girls who go missing while attending a school picnic at Hanging Rock on St.Valentines day 1900. From there, the bulk of the story extrapolates how the friends, teachers and the community adjust to their shocking disappearance. This focus on how people react to the mystery is the film's master stroke. You can't help to be pulled into the mystery as you, like the characters in the film, begin to grieve but also wonder exactly what happened to these lovely young women.

The acting and direction is very polished for a group of -at the time- very inexperienced film makers. All the cast, from the gardeners and maids, through to splendidly cold Mrs Appleyard are perfect. The unlikely friendship between a young English boy and an Australian stable-hand is heart warming and genuine. As much of film focuses on the isolation and emotional abuse of the girls in the school, the entire female cast covey very realistic feelings of angst and grief. Even now, the performances hold up well because of the subtlety and passion of the actors. The many silent sequences around Hanging Rock are evoked very well with all the support cast remaining focused and true to the period in terms of their expressions and demeanor. In addition, Weir's directing is incredible. The trademark focus on atmosphere and character development shines through with mastery in this piece. Considering his lack of experience, it is a remarkable achievement.

The cinematography is also very good. Russel Boyd and Weir use many silent sequences on the Rock itself to help evoke the spooky atmosphere of the location. The sequences are beautiful and almost surreal. The girls seem like angels ascending to heaven as the clamber further and further away from civilization. These scenes are spine-tingling and atmospheric. They will stay with you longer than most of the clichéd "horror" sequences Hollywood churns out.

This film is simply beautiful. It sparked conversation and argument at our dinner table for hours as we bickered over the mystery. No other film as provoked so much discussion, not only in terms of narrative but the chocking atmosphere the oozes through the entire movie. Not for anyone after mindless action but a real classic of Australian cinema.

Close Encounters of the Third Kind (1977)

Should be on the Sci-Fi Throne with 2001 and Star Wars

[10/10 · 17 April 2007]

In 'Close Encounters of the Kind', Spielberg takes a stab at the tried and true movie formula of Aliens visiting planet earth. In his interpretation, he chronicles the weeks leading up to a "Close Encounter with something very unusual" and how this affects the lives of several people. The main focus is on Roy Neary (Richard Dreyfus), a line worker who creates tension within his family as he becomes obsessed with the idea of extra terrestrial life. Gillian's (Melind Dillon) son is abducted by the alien creatures. Consequently she becomes determined to decipher the conspiracy so as to find out his whereabouts. The third story concerns a group of scientists and military commanders who are studying the phenomenon.

'Close Encounters of the Third Kind' (Close Encounters for short) is in my opinion one of the best, if not the best, piece of science fiction in cinematic history. No other film sets your imagination whirling like this film will. It is Spielberg in top form; I personally believe this to be his best film. Close Encounters blends mystery, imagination, drama and a stunning combination of audio and visuals to create a film that is completely engrossing. It is simply impossible to tear your eyes away from the screen such is the absolute bliss this film evokes.

The dramatic element of Close Encounters is perfect. Spielberg has an unfortunate reputation amongst some critics as being simplistic and lacking the skill to make a film genuinely dramatic. Close Encounters completely contradicts this statement. The growing attraction between Gillian and Roy is superb as Spielberg takes the time to establish their ability to empathize with each other's experience. So many filmmakers simply mash a romance together without developing WHY they are attracted to each other. Also of note is the relationship between Roy and his family. The chemistry and dynamics in the family scenes are wholly realistic. I never thought I'd see such delicate film making in a science-fiction adventure. In addition, the scientists also prove dynamic. Lacombe (Francois Truffaut) and the rest of the team show subtle variations in their characters as their life's work comes towards a spectacular climax.

The dramatic subtlety of this film is only outshone by the application of sound and visuals. Emphasis on 'application' not meager eye candy. Close Encounters is one of the most stunning films of all time because of it's cinematography, sound and music. The visuals evoke the atmosphere and mystery of the film perfectly. Of note if the way in which the UFOs are photographed (no spoilers, you'll have to watch it and see!). John Williams plays John Williams to perfection. I need not describe the incredible score he has produced other than to say I have rarely seen a score be so conducive to the film it is written for. The film received a special achievement Oscar for it's sound. The "tonal vocabulary" is an original idea that is brilliantly executed.

Last but certainly not the least is Spielberg's direction and screenplay. Of all his adventure flicks, no other is paced as expertly as Close Encounters. At every turn you find yourself begging to know more. The film is totally immersed in mystery, intrigue and imagination. The combination of suspense and character development elevates this film beyond other special effects laden romps. Spielberg's masterwork.

Close Encounters brings so much to the science fiction genre. It combines compelling drama, imagination, atmospheric sound and brilliant aesthetics to a plot that has been done a million times. Close Encounters deserves a lasting place in film history. A perfectly executed movie.

Predator (1987)

A Perfectly Made Action Film

[8/10 · 13 April 2007]

First to dispel the inevitable confusion about the above rating. How can a film about an alien killing marines in the middle of the jungle afford a "eight"? The answer is not a question of whether the film's premise is worthy of this rating, but whether the film itself is nine worthy. 'Predator' most certainly deserves to be praised. It is one of the best action films ever produced.

This is because within the confines of the action-film genre, Predator fulfills every criterion faithfully.

The first rule of action films, entertain the audience. Predator passes this test with flying colors. It is very watchable and is bound to keep any action fan happy. This film is simply never boring and maintains the tension the entire way through.

The second rule, don't try and overload a story, focus on its execution. This is where the magic of Predator comes to the fore. The audience is kept entranced not because of the film's inherent charisma, but rather the way it is put together. The cinematography and sound is used for suspense rather than spectacle. The film oozes atmosphere and mood to the point where you feel as though you are stuck within the "world of hurt" on screen. This is why this film is just so much fun. It strips away the aspects that make some action films unbearable. 'Predator' is perfectly made. McTeirnan's direction is faultless.

The third rule; have distinct characters that people can still relate to. This is another area where the film strikes gold. The characters are masculine, macho and muscular. They tell dirty jokes and kill things. Yet despite their obvious similarities the entire ensemble seems unique. They are given plenty of screen time before things inevitably start to go wrong. As a result, it is much easier to connect with the marines and the unfortunate situation they find themselves in.

The fourth rule; stage terrific action sequences. The action sequences in this film aren't grand in scale but are dazzling in execution. Completely entertaining despite the film's budget.

Predator is beautifully made from start to finish. It follows every convention within the action genre but is so tightly directed it is still very much worth the effort. Movie Makers take note when producing the next brainless, adolescent-fantasy action romp. If more film's followed McTeirnan's example the action genre wouldn't be so rampantly dull.

The Truman Show (1998)

One of the Most Original Films Ever Made

[10/10 · 9 April 2007]

'The Truman Show' epitomizes strong and original storytelling on screen. This film is emotionally engaging, didactic, witty, dramatic and very unique. For those unfamiliar with the concept, Truman Burbank has never left his ideal home town of Sea Haven. What he doesn't know is that his entire environment is a materialized set and he is the ignorant star of a reality TV show of epic proportions.

Taking this entirely original concept, writer Andrew Niccol and director Peter Wier take the viewer into territory uncharted by anything in film history. Thus, the plot is entirely unpredictable but still flows along expertly. The tightness of the screenplay and the immaculate pacing of Peter Wier contribute largely to this film's brilliance.

The acting performances are amongst the best I've ever seen. Jim Carey is superb as Truman, effortlessly conveying his fears, desires and personality. Ed Harris is excellent as the reclusive creator of the production. In addition, the entire support cast appears synthetic enough to let the audience know they are "acting" for Truman but in some scenes let their "genuine" feelings shine through. The ensemble simply cannot be faulted. Carey was hardly done by not to get an Oscar nomination for his performance.

The music and visuals are top notch. The cinematography has a reality TV feel that is clever but never intrusive. The shot selection is of the highest quality, particularly in the movie's final sequence. Muscially, this film is incredible. Phillip Glass is a dream on the piano, perfectly evoking the mood for each section of the narrative. The two combine excellently during the scene in which Truman breaks his routine for the first time. During the sequence, Truman makes subtle changes to the bland routine he follows compliantly every day. The emotion of the music when combined with the apparent simplicity of Truman's actions makes this scene one the most powerful I'v ever experienced.

This film is an absolute gem. It effortlessly combines everything a classic film should have. It has comedy, drama, strong character development, atmosphere, originality, superb visuals, a superb score, tight writing, raises interesting moral questions as well as providing insight into the human condition. One cannot watch this spectacular film without wondering how a human would react when put in that kind of situation. It touches on our sense of adventure, desire for conformity and the courage we require to question the life we are presented with. 'The Truman Show' does all this in the most accessible and compelling fashion. One of the greatest films of our time.

Hot Fuzz (2007)

True Lies meets Monty Python

[8/10 · 8 April 2007]

Hot Fuzz is quite simply one of the funniest films to come out in years. After seeing it at the cinemas with a few friends we conclusively agreed that we have never laughed so hard in the space of two hours. Yes it's true, Hot Fuzz is absolutely great.

In HF we are introduced a hardened city cop (Simon Pegg) who is assigned to a sleepy country town because his exceptional performance is reflecting poorly on his peers. Upon his arrival it is apparent the town is not only steeped in stupidity but also a close-knit series of conventions shared only amongst the townsfolk. Pegg is an outsider who must try to find acceptance as well as decipher the meaning behind a series of suspicious accidents in the shire.

HF combines clever British-Comedy writing with a completely ridiculous physical violence. The later is very much in the tradition of Die Hard or Predator with extreme gun fights and brutal gore the name of the game. The former is in the vein of the British Comedy Faulty Towers. Some of the situations are predictable but Simon Pegg's displaced city cop is hilarious as he tries to contend with the idiocy on display within his new precinct. Moreover, every scene seems to have a restrained absurdity to it. Not obvious enough to make an audience openly reject the reality on screen, but subtle enough to keep you giggling the entire time. HF shines due to its tight writing and direction and lack of silly, bland sex jokes that seem to litter films these days.

The fighting on display is also hilarious. HF alludes to many classic cop films in its choreography and displaces them into a sleepy English town. The result encompasses obese traffic officers diving for cover and lovable English nanny's touting machine guns in their handbags. It's amazing how the film makes these scenes accessible. The stupidity of the situation is incredibly funny partly due to the deliberately slow pacing of the first two acts of the film. This in turn complements this extreme comedic violence.

Hot Fuzz is a genuine comedy classic. True Lies meets Monty Python is this film in a nutshell. I sincerely hope it attains the cult following it so thoroughly deserves.

Jurassic Park (1993)

Great Fun; Spielberg Creates Prehistoric Magic

[9/10 · 8 April 2007]

Spielberg's Jurrasic Park deserves the cult following it has generated. Essentially the forces of the Jurrasic period are let loose on a team of unsuspecting experts miles away from civilization who must then rely on their cunning to survive the onslaught. Sounds simple but by god is this movie breathtaking.

Jurrasic Park stubbornly refuses to be classified as 'mindless', 'simplisitc' or 'boring'. It isn't high drama or socially relevant but it is entertaining. The best advice you can have for any film is to enjoy and respect what the director is trying to achieve. Spielberg is trying to tell an interesting, if not far-fetched, story hence we are obliged to sit back and enjoy it in all it's glory.

Bearing this in mind, Jurrasic Park is great fun. The acting is subtle and witty, particularly Sam Neil and Jeff Goldblum. The younger actors fulfill their roles very well, a facet of the ensemble which can often destroy a film. Even the support characters with limited screen time are given sufficient opportunity to be developed.

Furthermore, the special effects are unlike anything witnessed on screen. The dinosaurs are stunningly realistic and still hold up 10 years later. The photography is also deployed effectively, only giving little wisps of the more intimidating creatures until a scene's climax. The sound too will make the hair stand up on the back of your neck. The audio and visuals combine perfectly throughout. The scene in which a T-Rex's gait sets off vibration tremors in a harmless cup of water is unforgettable!

Despite these bells and whistles, no film is complete without strong direction. Spielberg displays why he is one of the most famous directors of our time. The dramatic pacing in this film is spot on. Characters are well developed before the inevitable 'something goes wrong and we must now run for our lives' scenario sets in. And unlike some of his other films, Spielberg is not overly dependent on special effects early on, letting the viewer's imagination fill in the gaps.

This is simply a fantastic movie. As far as an engaging and well-constructed adventure goes, Jurrasic Park thoroughly deserves its reputation.

Master and Commander: The Far Side of the World (2003)

A Truly Incredible Adventure Film

[10/10 · 6 April 2007]

After many of my friends labeled this movie as the "most boring thing they'd ever seen" I felt very uneasy. What's gone wrong? Could Peter Weir be capable of producing a "bad" film? After hiring and watching this film I was astounded. M&C is one of the most compelling pieces of cinema I've ever seen. Absolutely absorbing in every respect it affirms Peter Wier as one of the best story-tellers working in Hollywood today.

M&C follows the story of an English Navy vessel as it pursues a far superior French vessel down the South American coast during the Napoleonic wars. But it is not the plot itself that makes this film superb, it's the way in which it is presented.

The film's strength comes from it's blending of adventure, setting and character development. Weir doesn't focus on 'goody ship chases baddie ship' but gives great attention to how the characters react when put under such straining circumstances. Also evident is a genuine sense of atmosphere and setting. The production design, screenplay and acting lend themselves to the period in which the film is set. Consequently, the film strips away much of the more sensational aspects of an adventure flick, making the reality on screen appear entirely credible and engaging.

Every acting performance is spot on. Each minor character is distinctive and stereotypes are completely absent from the film. Russel Crowe is fantastic as "Lucky Jack", superbly presenting the captain's charisma as well as the internal conflict between his ego and sense of duty. However, it is Paul Bettany who shines as Jack's confidant and intimate friend. The best performance of his career.

Praise must also go the cinematography. Russel Boyd's visuals are superb. The film never resorts to extravagant special effects, instead focusing on a realistic and gritty portrayal of life on a navy vessel even during action sequences. The first time a cannonball flies over the bow I felt as though the projectile was about to crash through the screen and into my lounge room. Thank god, the annoying 'hand-held' camera technique is absent. Regardless of this, the sound and visuals are quite evocative.

To appreciate any film, you must appreciate it for what it is, not against a set of preconceptions you have about what it 'should' be like. If like my friends you want mindless action steer well clear. If you are after a compelling, atmospheric and dramatic adventure film, Master and Commander shines above any other.