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Perelandra
Reviews
Heroes (2006)
Sometimes frustrating, sometimes brilliant.
Think 'X-Men' crossed with 'the Matrix', a splash of 'Buffy', a touch of 'Crash', a little bit of 'Lost'... and you still haven't quite got it. Somehow, Heroes manages to come across as refreshing and original, despite the fact that it does NOTHING new! Sprawling interconnected story lines, stopping bullets, superheroes who are regular Joes, persecution of said superheroes, an evil and mysterious corporation... you name it. But there are touches of humanity throughout the show that somehow keep it all from being lame.
The most obvious example of this, of course, is Hiro. His adorably geeky, big-hearted character was my favourite. Claire Bennet was also surprisingly three-dimensional as the invincible cheerleader, and her relationship with her father was sensitively drawn. Micah, the precocious child of two 'heroes', and Niki/Jessica (with some astounding subtleties of acting) were my other reasons for watching the show. For some reason, I never found Peter or Nathan Petrelli too interesting, nor Mohinder, nor Isaac. Sylar frankly annoyed me. He was neither vague enough to be mysterious, nor fleshed-out enough to be interesting. Sorry! Characters aside, the show had its weak points. The immensely long 'Previously on Heroes' voiceovers were obnoxious, and Mohinder's soothing quasi-scientific, quasi-philosophical burblings about 'evolyution' were repetitive to the point of tuneout. The special effects were nicely done, but fairly unimaginative; and there were one too many Neo-esquire bullet-stopping shots for my taste. But my biggest gripe has to be the Season One finale. Very underwhelming! *spoilers* I know Peter was busy blowing up and all, but why exactly did he require his brother to fly him up out of harm's way? He could have done it himself, easily. By the same token, why was Claire so distraught about the prospect of shooting him? He had her ability; presumably he could have 'died', allowing him to calm down and not blow up, and then renegerate moments later. Unfortunately, these aren't the kinds of plot holes which one thinks of six months later. They're the sort of thing you say out loud during the scene, expecting it to be explained or at least addressed... but no. It was a shame, because that really pulled me out of the moment, and made the entire last episode seem rather shoddily-done.
Whether or not I'll continue watching Season 2 is debatable. On the other hand, my husband loved it and couldn't wait to see what would happen.
Open Season (2006)
Ahem.
You know, this is really getting tiring. The collective brain cell of non-Pixar animation studios needs to adapt to a few simple facts: --A buddy movie is not the required format for an animated film, and should that format be used, the concept that the buddies are in fact homosexual need not be presented to the four-year-old target audience in a ratio greater than one joke out of four.
--The remaining three jokes out of four need not involve bodily functions, indeed of any kind.
--Casting animals as protagonists in a story is a time-honoured tradition, although traditional animated deer spend less time making genital-related comments to squirrels, and more time weeping over their deceased parents in a doe-eyed fashion. However, the use of animals in a film does not directly necessitate animating all the human characters in a way designed to put aforementioned four-year-olds off the species for life. Politically speaking, it might be deemed disingenuous to sidestep the carnivorous habits of many of the furry friends while condemning hunters as immoral.
--Female skunks are a cheap shot.
That is all.
The Nativity Story (2006)
Half of heaven, half of hell.
It's very difficult to know what to make of this movie. Religious films can fall into a number of traps--the most obnoxious of which, taking a deliberately controversial and ahistorical approach, The Nativity Story mercifully avoids. Nor does it focus exclusively on 'The Human Element' at the expense of larger theological and thematic meanings. In fact, the attention to historical, cultural and Biblical detail in this film attests that it was made by someone who cared. Unfortunately, this film got snared by one of the more irritating traps--iconography. While the scenes of daily life in Nazareth were wonderfully gritty and tactile, many of the key moments in the film were marred by Christmas-card cheese. Gabriel's scenes were cringeworthy, and the stable worship scene (which dragged) was despite itself far too pretty and Stille Nacht not to remind me of every medieval painting I'd ever seen.
On the bright side, it could have been a lot cheesier. Avoiding iconography the film did not, but it did avoid Hollywood. Mary's situation was subtly played as a love story, but neither in a smouldering-passion way or a feisty-rebellious-girl way... thankfully! I liked the film's take on Joseph, who could easily have come across as grotesque or unsympathetic. And contrary to many reviewers here, I liked Mary's portrayal as well. Keisha is a sensitive actress who took Mary to be a very private person (with some Biblical justification; 'Mary treasured up all these things in her heart'). She gave great subtly and depth to Mary's many wordless scenes, and the few clunky moments, notably with Gabriel, were the fault of the script. Moreover, even in her most iconographic moments Mary was never depicted with idolatry. Her childbirth hurt, and she was human, fallen and accessible throughout the film.
Herod's subplot did seem unnecessary, and neither menacing nor compelling; and the Wise Men were a jarring note as comic relief! Still, these flaws were outweighed for me by some of the subtle Biblical details present in the film. Joseph's comment that the Temple 'used to be a holy place' was a nice touch of foreshadowing; the look the Wise Men gave each other as they offered myrrh to Christ sent shivers down my spine; and the children reciting a passage from 1 Kings 19 was both thematically appropriate and homey.
For its many clunky moments and visually cheesy moments, I can't give this film an unqualified rank of 'good'; but as far as Scriptural integrity and subtlety go, it's possibly the best I've seen yet.
Nirgendwo in Afrika (2001)
Beautiful, haunting and memorable
MAJOR SPOILERS HEREIN
I can't believe I almost missed this film! I saw it the day before it stopped showing at cinemas, and was so thankful I hadn't missed it. Because Nowhere in Africa is a beautiful, brilliant film.
The most startling aspect at first glance was the portrayal of Regina, by two identical but differently-aged girls. Both the young and older Regina were played with unbelievable sensitivity, and both interacted with the other's performance so as to create a seamless single character arc. Both these girls must have amazing careers ahead of them, and pulled off the rather risky role of carrying the film all the way.
Likewise, Jettel was a well-acted and well-drawn character. I found it occasionally difficult to sympathise with her racism and unkindness to her husband, but I had to admit it was realistic, and by the end of the film she had won me over! Other characters--Regina's African friends, her father and even the school principal--were well-thought-out and had a good deal of depth and significance to the film as a whole.
The use of nature in the film was also brilliant. Several scenes, such as the beginning of the locust plague and the helicopter shot in which Regina and her father danced on the porch, were instantly classic and beautifully crafted. While not making a clean, sanitised Africa--Toto's body was shown mangled by predators, fried locusts were seen being eaten and so on--the country was so beautiful, so tangible that it was truly heartbreaking when the family left at the end of the film. While perhaps inevitable, I was truly sad as they boarded the train, leaving behind the country I had come to love during the film, for the comparative dullness and loss in Germany (as it was portrayed).
The many themes of betrayal, alienation, growing up, friendship, loyalty, tradition, religion and love gave the fairly stately plot a driving force which more than made up for the lack of action. The film stuck in my mind, remained with me in the haunting soundtrack with its repetitive African theme (the music during the credits, a combination of African and European music), and in the baked, red earth of the country lingered on so lovingly by the camera. I dare to predict that this film will remain a classic, as famous and beloved as its fellow foreign films La Vita e Bella, Cinema Paradiso, Babette's Feast and the like.
Ned Kelly (2003)
Not great perhaps, but very very good.
WARNING: CONTAINS SPOILERS
Well, I have to admit with shame that, despite being Australian, the Ned Kelly legend was no more than fuzzy at best or me before watching the film. I knew about his last words and his tin helmet, but that was more or less it. In terms of my grip on my country's heritage, this is appalling, but in terms of watching the film it was great!
Heath Ledger, who I had only previously seen in A Knight's Tale, proved he could act in this one. Kudos to him for opting for a big, bush-ranger-ish beard which added nothing to his heartthrob image, but certainly brought Ned Kelly to life! I was also glad to see his horse-riding take pride of place in the film--there was no way that could have been done with doubles or special effects, and it added considerable integrity to the film.
Second up was Orlando Bloom, who was truly delightful as a bad, bad man... (Was it just me, or did anyone lese notice shades of Legolas in his character? I mean the alertness, the stillness and so on. I'd be interested to see how he'd play a really flamboyant character--Pirates, perhaps?).
The other members of the gang failed to be quite as heartwarming as they could have been, but I suspect their performances will be appreciated more on subsequent viewings. Geoffrey Rush's character was nonexistant, and Julia Cook (although she never existed) added a nice, slightly Hollywood-esque touch to the film. Good Thing? Bad Thing? I'm not sure...
As for the story itself, once the plot got going the film was fascinating. The sense of tightening doom was well portrayed, and at several points I found myself with a lump in my throat, really hoping that he would escape in the end, no matter what history said! The shootout scene, with the Gang in armour, was truly a work of art--unfortunately, I felt the deaths of Joe and... those other two... weren't, somehow, as heartbreaking as they were meant to be. Yes, it was sad--yes, it was a horrible situation--but something was lacking. It's a pity, because the scene was still very well executed and could have been absolutely brilliant.
The Australian scenery was absolutely gorgeous; the scene where the men drank their horse's blood reminded me very much of Seven Years in Tibet; Heath Ledger's horror when he killed his first (?) man was brilliantly done; the scene where Ned dictated that angry letter with the help of the townspeople was perfect.
The high point, however, was at the end of the film, when Ned Kelly's voice-over ended with a resigned, defeated 'Such is life'. And then when we found out he was only twenty-six! Wow. It really hit home then what a hero he is (well, alright, maybe), and how important he was.
So, now I'm a confirmed Kellyphile! And in case you're interested, my family's claim to fame is that once, long ago, one of my ancestors saw Ned Kelly hanged. How amazing is that?!
The Magdalene Sisters (2002)
Graphic and haunting, a film everyone should see
WARNING: REVIEW CONTAINS SPOILERS
The Magdalene Sisters is a moving and heartbreaking account of the lives of four girls, incarcerated in a convent run by nuns of the Magdalene order in Northern Ireland. I have seen this film several times and am more impressed at each viewing with the quality of the directing, the integrity of the performances and the realism and depth of the film.
The greatest strength of the film is the richness of its portrayal. It is textural and tactile. The deep-coloured wood of the girls' bathroom can almost be felt under cold bare feet; the cold sun of Ireland and the coarseness of the girls' clothes seem to infiltrate the cinema. The costumes were obviously designed to hide the girls' figures, not enhance them. This lack of glamorization helps make the film believable. Even in a scene where a row of women are shown naked, they are portrayed as objects of pity and not of desire. The nuns, likewise, are presented neither as cardboard villains, nor as models of piety, but a mixture of each. Repeated viewings reveal a backstory or character behind each nun-for example, the young Sister Jude, who never quite fits in with her colleagues and is always ill at ease.
The quality of the acting is overall superb. In a cast of unknowns, Dorothy Duffy as the gentle Rose and Nora-Jane Noone as the hard temptress Bernadette are particularly stunning. The most brilliant performance of all is perhaps Eileen Walsh as Crispina-a simple but friendly girl who, under the harshness of the nuns' treatment and sexual abuse by a priest, ends up in a mental institution before dying of anorexia at the age of 24.
Horrific though the treatment at Magdalene was, it is given greater power by being portrayed both subtly and boldly. We see much of the horror through the innocent eyes of Rose, who never quite comes to term with any of it. Bernadette changes from a likeable, attractive girl into a hard, calculating girl whose determination does, however, eventually lead to her escape. The character of Margaret also changes-no-one can remain unaffected in such a hostile environment.
Interestingly, however, as the film condemns the practices of the Catholic Church, Rose is said to remain a devout Catholic all her life. There is a hint of hope shown as she manages to separate the real truths of the Bible from the evil around her, which somehow changes this film from depressing to uplifting. The Magdalene Sisters is still a tragedy-the film's final shot shows Crispina, not freeze-framed like the other girls but still staring into space mumbling as her history is relayed. Before the final credits roll, the screen fills with row upon row of girls' names. Each has a story; some perhaps ended happily, most in despair. Even the victory gained by Margaret as she leaves the home in the custody of her brother is turned into defeat, when she kneels in terror before a nun lest she be sent back.
Mention should also be made of the beautiful soundtrack, which incorporates the haunting Irish sound flawlessly, and of the muted scenery which was used sparingly but effectively. Peter Mullan's directing gave some scenes particular brilliance-the short, one-shot scene after Bernadette's hair was cut, for example, and Crispina's You're not a man of God!' scene which turned the ridiculous, incredibly, into the sublime. Whether The Magdalene Sisters will prove successful at the Oscars due to the controversy surrounding the film is doubtful; it is, nonetheless, one of the most moving films of 2003, surpassing even The Pianist in terms of the portrayal of human suffering.
The Truman Show (1998)
Oh, wow. Oh, no. Oh, help.
(Possible Spoilers)
How they did it I do not know, but The Truman Show is practically perfect. From the opening credits where the members of the 'cast' discuss their 'roles', to that unforgettable scene where Truman walks across the horizon, to the very end (not telling, go see it!), it captures you. Jim Carrey is wonderful and Ed Harris is perfect, and I love all the special camera angles from unlikely places (ie. Truman's rear-view mirror and people's buttons). The amputation scene in the hospital, the scene where Truman stops the traffic (wow!) and the love scene between Truman and Sylvia are all totally captivating. In fact, the more I remember it the more things I know I'll never forget.
"What are you gonna do- grate me, slice me or dice me? There are sooo many choices!" Or how about the lines of villagers marching through the town searching for Truman? Who could forget, "Cue the sun!"? Or the scene where Truman is reunited with his father, with appropriate musical score, lighting and camera work for the viewers' benefit? What about the women's magazines and the badge with "HOW IS IT GOING TO END?" on it? Or the posters on the wall of the flight centre?
A great achievement of the movie is that it made you think. In fact, you CAN'T ignore it. As well as going around for a week thinking you're on candid camera, you'll find yourself wondering more and more about Truman. What happened to him? Did he and Sylvia find each other? How did they manage to build such a large set in the first place? Was the marriage to his wife legal? Did she audition, did she get time off? Why did Marlon's parents let him act in the Truman Show ever since he was small? How did they make him keep it secret? Did he even know right from the beginning? Did Truman's mother really love him? What if a tornado had knocked down the set? Did Truman have a chance to learn religious education? Did they ever make it rain on the day of the school picnic? What technique of discipline did his mother use as an example to the world, and did it work?
You know, that kind of thing.
The scariest part of The Truman Show, however, is that the movie is very nearly coming true. Watch it, and you'll never be able to watch Temptation Island or Flatmates or Big Brother again- unless you are absolutely beneath contempt, of course...
Fantasia (1940)
Not quite as thrilling to modern eyes, but still as magical
Can't remember the first time I saw this, but we own it now. And I must say that it's the prettiest, ugliest, darkest, most innocent, boring, fascinating piece Disney's ever produced. I do remember that when I used to watch it my mother would fast-forward over that devil sequence, and I never fancied the dinosaur thing either (partly because I'm a creationist, partly because it was a little too scary for my tender sensibilities at that age). Those two sequences continue to be my least favourite, and The Sorcerer's Apprentice (although very well done) I don't like much either. Maybe because I can never get that jolly music out of my head afterwards? The Nutcracker segment, though, is gorgeous- lovingly coloured and with those rather beautiful spiderwebs, and my favourite bit when the fairies dance on the ice and leave patterns. And who can forget those dancing mushrooms?
The segment I like best, though, is the Greek mythology sequence. From the flying horses to the cupids and centaurs (and don't forget Bacchus), and the beautiful, pastel-coloured landscape, it's a place you want to be. I loved the way the female centaurs beautified themselves with the help of doves and cupids, and I loved watching the baby Pegasuses slide down the rainbow into the water. It's a treat to watch and I always feel afterwards that this was the way things were meant to be. Disney would never get away with naked centaurettes today, but still...
And the hippo/ostrich/alligator/elephant sequence was rather nice as well. Must go, thank you for reading, donations willingly accepted, compliments likewise...
Sarah.
Deep Impact (1998)
Shh... I liked it
POSSIBLE SPOILERS
Yes, it's one of those movies I hate to like- unlike Life is Beautiful or something really classy which you tell everyone you adore. Because quite frankly, Deep Impact wasn't very good. I saw it on TV, principally because after The Fellowship of the Ring I was eager to see some of Elijah Wood's earlier work. And yes, it was Frodo's film. The relationship between Elijah and Leelee Sobieski was beautifully done, and I couldn't bear it when they left the screen. From the very first moment when they were murmuring "Yes it is," "No, it isn't" at each other through their telescopes, they acted brilliantly and I liked the idea that young love can be not only moral and true but be real LOVE, as in marriage. Was that garbled? Forget it.
Tea Leoni also wasn't bad, although the stepmother thing was a bit cliched and she didn't make a terribly good news presenter. And the special effects weren't terribly good, and it was definitely a TV-movie and not designed at all well for a movie-movie.
Oh, and I'm a sucker for mass-disaster movies. Even the terrible Countdown to Chaos appealed to something in me that likes a lot of Americans running around screaming... Is it just me? Deep Impact at least posed some interesting moral questions about the over-fifty people not being selected for survival. Then again, if you're looking for interesting moral questions you could probably find something much more worthwhile to watch!
Thank you, Leelee and Elijah.
That Thing You Do! (1996)
Held my hand, holds my heart
That Thing You Do! is the ultimate feelgood film, with myriad happy moments, great humour and not too much nasty philosophy! Tom Everett Scott is immensely likeable, Liv Tyler does well in a role that's not too difficult for her to manage, and the others, whose names I forget, were good as well. The songs are great -I've got the soundtrack, and 'Hold my hand, hold my heart' is one of my favourite songs as well as providing a gorgeous moment on screen. After watching this I was more pleased with Tom Hanks than I have been before or since, and although his more recent dictatorial series 'Band of Brothers' wasn't my favourite (what I saw of it), That Thing You Do! is a joyous milkshake of a film which he can be proud of. It's pretty clean, which is nice for a change, and did anyone else recognise Guy's father as someone you've met before? Actually his part and all the other small parts, like Del Paxton and Diane Dane, were what carried the film. The way Hanks created a whole time-capsule of famous songs that didn't really exist was great.
Watch it sometime to cheer yourself up, and if you don't like the title song the first time it plays, you will by the end!
Shadowlands (1993)
A Grief Observed
Warning- possible spoilers
Shadowlands is one of my favourite films. Anthony Hopkins, although not as quick and witty as the real C.S. Lewis, portrayed Lewis' grief so well that you hurt right along with him. Debra Winger was great as Joy, just like all I've ever read about Joy Gresham, and looked perfect for the part. Visually the film is gorgeous, from Douglas playing in the snow to the very end of the film where C.S. Lewis walks away, and the music is excellent. The part where Douglas tries to enter Narnia from the wardrobe in Lewis' attic is heartbreaking. As a long time fan of nearly all Lewis' works, I could not be more pleased and moved by the film. Watch it and then read A Grief Observed, C.S. Lewis' diary after Joy's death. But watch it, it's magic.
Gallipoli (1981)
Not a war film
WARNING: Possible spoilers!!
Gallipoli is not a war film. It is a film about two boys. And because of this, Peter Weir takes the time to develop their characters, forming the solid friendship theme which is absolutely beautiful, and doesn't sacrifice this for hours and hours of explosions and special effects. Not that Gallipoli is slow and boring- the ending had me writhing in suspense- but the point isn't the war, it's the characters. That being said, Gallipoli certainly highlights the stupidity and accidents of war. I put Gallipoli in my top twenty film list (not that I HAVE a top twenty film list, but if I did it would be in there!), and it also has the dubious distinction as being the only R16 movie I've ever seen-- I think. The rating is way off, though, it wasn't that graphic except for at the very end, which was one of the best movie moments I've ever cried at. And the Australian accents were refreshingly good.