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mike_2511
Reviews
Prom (2011)
Improves dramatically after a terrible start
How I ended up watching a clichéd Disney produced film at two in the morning is anyone's guess. How I persevered after the first fifteen minutes is an even more puzzling question.
The opening of this film is truly diabolical; bad lines, bad acting, totally derivative, the characters nothing but stereotypes. There's also what feels like dozens of people introduced within the first five or six scenes, which is never good. The hero (anti-hero) was pretty much a carbon copy of Judd Nelson in The Breakfast Club; and of course, the guy from the wrong side of the tracks falls for the rich girl, dad warns him off, but it all comes right in the end.
To my surprise it picked up, and I even had a smile on my face by the end, which is surely the point of these sugary tween movies. The highlights were the two hipster indie kid sophomores, played by the very promising Cameron Monaghan and Nolan Sotillo. The banter was funny, they had great chemistry with each other, they acted great and looked the part. No reason they shouldn't go far in the future, and I believe Monaghan has already established himself in television. The rest of the cast were serviceable if a little less memorable.
As for the plot and writing, it was all of course hopelessly predictable, and some of the lines will have you laughing for the wrong reasons, but somehow it was almost refreshing to watch a film where I knew there would be a happy ending. Grown up Hollywood has a tendency to feel their film won't be considered 'serious' or 'artistic' if they don't end it with tragedy, which leads to many an inane and pointless death to close out a movie. Here, the good guys get together, lessons are learned, and there are enough nice little sweet moments like the candy necklace (no pun intended) to feel your intelligence hasn't been insulted too much by sitting through a movie that really anyone over thirteen will have seen many times before.
It helped that the soundtrack was excellent, especially the M83 and Passion Pit songs. Films like this are a great way for tweens to find music other than what is promoted on the radio or music channels.
There are many worse films than this, although I can't think of many worse opening few scenes.
Spud (2010)
Touching and believable
It's a rare movie that manages to be both cute and naive, mature and interesting; Spud achieves the paradox to perfection. Anchored by the superb Troye Sivian, this is an easygoing, often funny coming of age story set in a South African boarding school. Whilst the issues of the country are referenced, they are not essential to the plot or even the characterization - people from any nationality will be able to enjoy this.
There is a great dynamic amongst the cast of a whole. The boys in the Crazy 8 appear natural, with a great chemistry and sense of fun, which stop the film getting weighed down by the emotional issues encompassing growing up, fitting in and bullying that crop up. Sivian steals the show as the title character, with an astonishingly touching and believable performance that belies his years. He's also beautifully shot, the director capturing the wide eyed wonder of his endlessly expressive face, shy and insecure but growing in confidence. Cleese is the best of the adults, being both understated and moving as Spud's alcoholic mentor. His scenes with Sivian are especially notable, and are really the heart and soul of the whole film.
Thematically this is essentially a piece about both choice and fate - the importance of making the right decision, whilst never losing sight of the fact we can only play the cards that life has dealt us. If this sounds on paper a little heavy for a school drama, it doesn't feel it in practice. There is no philosophy shoved down the viewers throat, and although the film has points to make and issues to explore, it does it in a subtle enough way that it will not hinder the enjoyment of kids and young adults who might want some light entertainment of lesser substance.
The only gripe was the somewhat tragic ending - the death of a character close to the hero is a perennial plot device of scriptwriters and filmmakers, but it is still a very lazy way of drawing pathos and emotion from the viewer. In this case it was well built to but still felt unnecessary. While I'm not suggesting every film should end on unrealistically joyful terms, there are other ways to create sympathy than blunt death, and it didn't seem necessary in this case in relation to the plot, character or tone of the film.
Overall, though, this is a wonderful piece, both funny and moving and engrossing. More people should see it.
Breaking Bad: Hazard Pay (2012)
Impeccable; except for maybe the last five minutes
That was another fantastic episode, and it really kept up the momentum built in episode two, after what I felt was a rather misguided and overblown series opening.
This episode contained two of my favourite scenes they've ever done, both involving movies. The first was when Jesse and Walt were sat watching TV after a cook, and had a semi heart to heart which ended with Walt's rather masterful manipulation. The second was of course Walt, Walt Jr and the baby watching Scarface, and Skylar coming into the room with that shocked, disturbed look on her face, just as Walt soaked up Montana's gun rampage with great enjoyment.
The only thing that disappointed me was the last five minutes. For a program that usually takes reasonable time dragging things out, Jesse breaking up with the girl seemed to jump the gun a little. I don't think he'd go that quickly from being taken in by Walt's sly, subtle maneuvering to ending what seemed to be a pretty deep relationship. Also, the oblique lines by Walt at the end that seemed to be designed to put fear into Jesse seemed a little misplaced. After all, the tone of the episode had been fast moving, almost triumphant at times. The scene with Mike and the distribution of costs was enough to add a slight edge to that at the finale - it didn't need to extra mile of Walt becoming more threatening.
It also damaged the fantastic Walt/Jesse dynamic they built in this episode, with the relationship being put back together and indeed them seeming to come closer than before. They could have waited a while before bringing that down to earth again. Still, this is impeccable television. Any criticisms are only relative to the absurdly high standard the show has set itself.
The Last Waltz (1978)
sharp dressed men, directed fantastically
I won't drag this on long; too many other people have summed it up with sufficient style and meaning for it to require another lengthy contribution. What I will say is that it's the little moments Scorcese captures that make this film for me; Robertson and Danko coming in too early on 'Helpless' much to the amusement of a coked-out-his-mind Neil Young; the little kiss Robbie gets from Joni as she comes onstage; the wide smile of Danko, watching from his drums as Hawkins does a masterful vocal turn on 'Who Do You Love'; the pathos of the second to last scene, talking about those those who the road has taken.
Another stand out feature of this film is how great everyone looks. The drugs slim the band down, Robertson especially, and that emphasizes their features, magnifies emotion. The clothes are simple but fantastic; Dylan looks like the coolest man alive, Ronnie Wood's flamboyant jacket fits like a glove etc, the 70s were great for a lot of fashion and it shows here. Only Van Morrison, fat, drunk and balding in a tatty outfit is immune to the forgiving and flattering camera-work.
Other than that everything people says about this is true; the music is amazing, its beautifully shot, the interludes are cool, it evokes the period, it has sadness and euphoria, its paced perfectly. One of the best films of all time.
Flashdance (1983)
Atmospheric, almost perfect
You know when a work of art just clicks with you? This was one such film.
One an initial level, I admire it immensely artistically – it's beautifully shot, and the lighting is amongst the best I've ever seen, hazy, dim, soft and warm, it really added to the atmosphere. And then there was just the catalogue of amazing scenes, from the strobe dance in the club against the white background (an epileptic fit waiting to happen, I'd have thought it'd warn you on the box), the scene outside the club in the driving rain when she drags out the semi-naked Jeannie, the dance in the spray at the start and of course the final audition.
The acting is great, too, especially Beale, who is extremely empathic whilst remaining feisty and full of character. The story moves quick and visually the film is very distinctive. Some scenes seem pretty risqué for the time, though never forced, and the dialogue is excellent and well delivered.
The soundtrack is pretty perfect too, most of it written by Moroder so that's to be expected. The way the songs connect with every scene is so skillful and understated. They also got all the little things right, such as locations and choice of shot. One of the most perfect films I've ever watched. The only criticism is the ending, which is abrupt. And it also feels very 80s, which I think is a good thing but some may find aspects dated.
Amores perros (2000)
A film of two halves
The first ninety minutes of so of Amores Perros is magnificent. It would maybe even qualify as one of the greatest films of all time. Gael Garcia Bernal is incredible, perhaps his best role, and the cinematography complements the plot perfectly, full of dark and dirty shots. The dog fighting is intense and particularly well shot. The characters are real, the acting is believable and nuanced, the plot goes at a fast pace and I was gripped.
Then the film changes course completely, to a film about a model and her unfaithful boyfriend who get caught up in the car crash. And the film dies right there. It becomes boring, stilted, uninteresting, and I found myself drifting away several times. The characters didn't intrigue me, the storyline was weak, and even when they brought the old man with the dogs and the beard into play it wasn't enough to save it. Watching the model cry 'Richie' over and over again while her dog was stuck under the floorboards bored the tears out of me, and it's a subplot and dialogue line that went on for nearly half an hour.
They had something really special here and ruined it. This should have been edited down and the latter plot lines should have become minor distractions if they were included at all. It's such a waste of the groundwork laid early on; a masterpiece turned into an average film. I only watched on in the hope I'd see the conclusion to the initial plot. Y Tu Mama Tambien, The Motorcycle Diaries and La Mala Educacian are all better than this as far as the classic Gael Garcia Bernal films go.
Skins: Tony (2008)
Bad idea, good execution
This is a pretty divisive episode, what with the pseudo-dream-sequences and unconventional structure. I'm not sure how I feel about it; probably that I didn't particularly like the idea but thought the execution was fantastic.
The filmography is undoubtedly great (iconic images like Tony walking back into the club in the gauze light, showing his fear and desperation and love), and the acting by Hoult especially is excellent, and far beyond anything he achieved in the first season (where he was also pretty damn good, mind).
The bulk of the action is set on a university campus, where Tony goes for an opening day/interview, though you're left wondering how much of it is meant to be real. It's not made at all clear, so it can be taken as a fantasy sequence metaphor for Tony pulling himself together or as at face value.
The main value this episode has for me is for the interaction between Tony and Cassie, with a couple of really humorous, and touching moments. The season's overwhelming sense of melancholy pervades this episode, and it's these two characters who best encapsulate it; Tony for what he's had and lost, Cassie for the really tragic, destructive, unhappy nature of her character. The scene at the end where Tony tells her it's alright with a hug is just beautiful.
Skins: Chris (2008)
Beautifully played
This is a beautiful episode in many ways, the foremost being the scene between Chris and Cassie after they get kicked out of the flat. It's unusual that they're alone on the screen together, and catching both at their lowest ebb (and subsequently seeing their different reactions to a desperate situation) is all the more touching and emotional for it.
I thought they could have ended on that scene, though they chose a happier route, with the scenes with Jal after redemption for Angie and the brilliant scene with Chris and Tony alone at the swimming baths, a scene which encapsulates the friendship and lovingness of the group despite the many things that get in between them all.
The acting is superb throughout, but Joe Dempsie deserves a special mention; he carries this episode with a wonderful young performance, showing Chris' playfulness, unique energy, humour and also the inner pain that is behind his extrovert facade. A top performance.
Skins: Sketch (2008)
Different , not always the most entertaining
This isn't a great episode of Skins by a long shot, but it's certainly intriguing. It revolves around Sketch, a plain girl from an impoverished background who acts as the sole carer to her disabled mother. She's also obsessed with Maxxie, one of the most loved members of the cast, which automatically turns the viewer against her.
Sketch is an interesting character. She's creepy and a lot of her actions are pretty deplorable (especially when against the characters we've come to know and love). Yet should we sympathise with her because of the tough life she has led and continues to lead? This explains her actions; whether it excuses them depends on personal morality. I certainly get the impression that this is a character who could do with help; help caring for her mother, friends who support her, a more positive self image. But I don't like her, even though I feel desperately sorry for her. Which is kind of the point. Average looking, plainly dressed girls with awkward manners like her aren't easily lovable, and that leads to her lashing out against beautiful, popular people who have the life she would love.
I'm not personally convinced that the character should have been written into the show. It doesn't really serve a purpose in the longer arc, and is only a short term distraction, possibly to make a point the writers wanted to make. The time this episode took up could have been used for some scenes depicting fun and togetherness in the group, something the second series lacked a little. They do throw a bit of comedy in along the way, with Chris providing laughs and of course the last scene with Anwar. The best scenes are those between Tony and Michelle, as they struggle to find themselves again. The bathroom scene in particular is excellent.
Still, this isn't one of my favourite episodes of Skins, and it certainly pales in comparison to the next instalment in this particular series. Falls into the category of unique yet skippable.