Jojo Rabbit (2019) film review

Year: 2019
Running Time: 108 minutes
Director: Taika Waititi
Writers: Taika Waititi and Christine Leunens
Cast: Roman Griffin Davis, Thomasin Mackenzie, Taika Waititi, Scarlett Johansson, Sam Rockwell, Rebel Wilson, Alfie Allen, Stephen Merchant

Jojo Rabbit is now showing in cinemas everywhere thanks to 20th Century Fox. 

The concept of Jojo Rabbit as an anti-hate satire is proving to be a hard one for many people to grasp. Despite this being the categorisation given to the film by it's filmmaker, Taika Waititi, it is perhaps not the best choice of words as it implies that we should be seeing something as awful as Nazi occupation in Germany as being funny. Thankfully, this is not what Waititi is attempting to achieve despite his choice of words.

Jojo Rabbit is an incredibly moving coming of age story that takes place during one of the darkest times in history. It is a tale of savouring the innocence of youth in Germany during the second World War, when boys were forced to be men and girls and women alike were forced to abandon their hopes and dreams. Jojo Rabbit draws extraordinary comparisons to 1940's The Great Dictator, another film which was criticised for it's controversial subject matter by many and praised by others for it's brilliance.

In 1940, Charlie Chaplin released The Great Dictator, his film which announced in spectacular style that The Little Tramp was no more. Chaplin not only directed the film, but also starred in the film as two characters who were victims of mistaken identity. One of these characters was a dictator of a fictional country, Tomania and was named Adenoid Hynkel, a character that is unmistakably based on Adolf Hitler. As the film was released before World War II, Chaplin received an incredible amount of criticism for not only making fun of, but also demonising a world leader in a time when Hollywood was quick to blacklist outsiders. Chaplin himself identified as an atheist, but Sydney, his older half-brother whom he was very close to, was Jewish. However, The Great Dictator was nominated for 5 Academy Awards, including Best Picture and Best Actor in A Leading Role, and received wide acclaim, as well as the intense criticism.

Fast forward to 2019, Taika Waititi's Jojo Rabbit is met with much of the same reception as The Great Dictator, although Waititi is far less subtle in his portrayal of Hitler than Chaplin was. The film has rattled those who feel that nothing about World WarII was comical, and that it should not be portrayed that way. This could not be more true, making light and encouraging an audience to laugh at one of the worst time periods in the modern world would be a terrible idea for a film. However, Waititi is certainly not asking you to do this. The eccentric filmmaker is himself of Jewish descent on his mother's side, so it is highly unlikely that he would be wanting to make Hitler or life in Germany during the war humourous.

Jojo Rabbit is a view of Nazi Germany through the eyes of a ten-year-old, an age where boys and girls tend to start trying to prove they are older, but still have the mind and wonder of a child. Roman Griffin Davis gives a magnificent breakout performance as Jojo, a young boy in Germany who's family has been torn apart by the war. At such a impressionable age, he has been conditioned to believe that the Nazis are the true heroes of the war and that Jews are a type of otherworldly evil. Jojo is really just like every other ten-year-old, and particularly one who does not have a male influence in his life as he is being raised by his mother, Rosie (Scarlett Johansson).

His hero is Adolf Hitler, who he constructs in his mind to represent everything he is missing in his life as a result of missing his father and brother. Hitler (portrayed by Waititi as a middle finger to the long deceased dictator, who would be turning in his grave knowing that a Polynesian Jew is playing him) becomes his imaginary friend. He is playful, comical, supportive and comforting, things which children crave in their life. History tells us that Hitler was not any of these things, but all he is the visualisation of Jojo's imaginary friend, as he was a type of untouchable celebrity to German children growing up in the occupation. It would not be too far-fetched to believe that there were many children during this time who were just like Jojo and seeing Hitler as their imaginary friend.

The darkly comical side of Jojo Rabbit is not just reflected in Hitler, but also in the characters who are part of the Nazi regime. In particular, Captain Klezendorf (Sam Rockwell), Fraulein Rahm (Rebel Wilson), Finkel (Alfie Allen) and Deertz (Stephen Merchant) are all given humourous qualities and are found in comical situations. It is here that Waititi has taken on a practise that is not uncommon to Quentin Tarantino. In his films such as Inglorious Basterds, Django Unchained and Once Upon A Time in...Hollywood, Tarantino takes on history and adds his form of black comedy to these villains to expose the nonsensical nature of their evil. Waititi has done this with the Nazis in Jojo Rabbit. He, like many others, sees this group of people as being idiotic as well as evil, and relishes in the chance to expose them for what they are/were. Another point that is to be made where the comedy in Jojo Rabbit is concerned, is that it is important to understand Waititi's brand of humour. The filmmaker has had an incredible career thus far due to his very specific and original brand of comedy that resonates through his films. It is unlikely that if you are not a fan of his previous work, that you will enjoy this satire.

Something else which Waititi is an expert at in his films, is the theme of family. In Jojo Rabbit, he once again takes on this subject with an endearing combination of love that is as whimsical as it is heartbreaking. Jojo Rabbit is classified as a comedy, but it absolutely does not shy away from the harsh reality of the time. It addresses the loss of innocence in the children, grief, terror and unrelenting frustration felt by families during the time period.

Like The Great Dictator before, Jojo Rabbit is a wonderful achievement in film-making. However, it is important to understand where Taika Waititi is coming from to be able to completely recognise that we are not being asked to laugh at Adolf Hitler and Nazi Germany to lessen to severity of the war. We are being asked to see World War II through the innocent and untainted eyes of a child.

9/10

"Last Christmas" (2019) film review

Year: 2019
Running Time: 102 minutes
Director: Paul Feig
Writers: Emma Thompson (story and screenplay), Greg Wise (story) and Bryony Kimmings (screenplay)
Cast: Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh, Lydia Leonard, Boris Isakovic, Peter Mygind

Last Christmas is now showing in cinemas everywhere and is distributed by Universal Pictures.

Paul Feig's latest, inspired by George Michael's Christmas anthem, Last Christmas, may be as cluttered as an over-decorated Christmas tree. It is as predictable as a holiday movie can be, but is nevertheless a fun, uplifting, and heartwarming addition to the genre.With the exciting combination of Feig's direction and Emma Thompson's screenwriting, Last Christmas delivers everything a Christmas film promises with it's story, themes, music and visuals all in the holiday spirit.

Last Christmas is an interesting take on a Christmas film, as it attempts to blend the stereotypical features of such a film with social issues and themes that are not so typical. The film tries hard to do perhaps too much and is very busy as a result, though it is still admirable how much it gets done in it's 102 minute run time. Of course, the film ticks every box of a Christmas genre film and how comprehensively this task is completed will strike many as completely tiresome, though it will be a Christmas lovers delight.

Our down-on-her-luck heroine, Kate (Emilia Clarke) is living a destructive lifestyle while begrudgingly working in a London Christmas store as an elf. While attempting to chase after her dream of being a singer with no luck or great commitment, she meets a charismatic and mysterious stranger, Tom (Henry Golding) who helps her see the magic in life and inspires Kate to turn her life around. It's a story which we have seen many times before in countless rom-coms and Christmas films alike. Although the story itself isn't at all unpredictable or exhilarating, it is executed in such a way that it still manages to hit the mark and be uplifting, inspirational and moving.

At the Sydney Premiere of Last Christmas, Feig spoke of the unquestionable star power of Emilia Clarke and that is exactly what she exhibits in the film. Kate takes the leap from being an unlikable character to one that the audience completely falls and feels for, especially when it comes to her relationship with Golding's Tom. Yes, the screenplay plays you as it wants you to connect and relate to Kate, which can feel manipulative and irritating. However, in the holiday spirit it is forgiven and it is a credit to Clarke's performance that she is able to create a warmth to her character. Golding, who is the picture perfect love interest, lifts his performance to meet Clarke's and the two have great chemistry which adds to the audience's emotional investment in the film.

Despite the constant onslaught of fairy lights, colourful tinsel, disturbing Christmas tree decorations sold by Santa (Kate's boss hilariously played by Michelle Yeoh) and expected festive music, Last Christmas does try to be more than a holiday film that ticks all the boxes. The film is not only based on the 1986 Wham! classic that is played in every shopping outlet approximately 500 times during every holiday season, but it is a tribute to George Michael and his musical legacy. Last Christmas features not only the song it takes it's name after, but also many of his hit singles and a newly released song never heard before. There are also several Wham! and George Michael Easter eggs throughout the film, making this film a less obvious cinematic tribute to the man who passed three years ago this Christmas.

The film also touches on, but does not venture too far into, the effects of immigration, health problems and homelessness (an issue that was close to George Michael's heart) on families. With Kate's family moving from Yugoslavia when she was younger to escape the war, her family still struggles with adapting to a new life in the United Kingdom. Her father cannot find work in the profession he was trained in and her mother (played by Emma Thompson) struggles to let go of her old ways, both which are having a negative effect on their family. Emma Thompson convincingly plays the eastern European mother, taking quirks that many will recognise from their own mothers and turning them into comedy.

Last Christmas does unfortunately not get to the true heart of any of it's more serious themes. The reason behind this is that it really does try to do too much. The screenplay brings us to the brink of these more serious issues (especially the homeless epidemic), and then pulls us back so that we remember that this is first and foremost a Christmas film. This is the greatest downfall of Last Christmas. It really tries to be a Christmas movie to set it apart from other Christmas movies, but instead it just becomes a very, very busy Christmas movie that tries to say more than it does.

However, the bottom line is that Last Christmas really is an enjoyable and uplifting film for the holiday season that will be a staple for December viewing for many years to come. It is evident that Paul Feig and Emma Thompson have really tried to bring more to the table with this comforting reminder of how wonderful it is to be alive, but it is simply a case of trying to do too much and ending up with too much noise playing alongside the Christmas carols.

6.5/10

Zombieland: Double Tap (2019) film review

Year: 2019
Running Time: 99 minutes
Director: Ruben Fleischer
Writers: Dave Callaham, Rhett Reese and Paul Wernick
Producer: Gavin Polone
Cast: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Zoey Deutch, Rosario Dawson, Luke Wilson, Thomas Middleditch, Avan Jogia
Zombieland: Double Tap is now in cinemas everywhere and is distributed by Sony Pictures.

Zombieland: Double Tap is exactly the type of movie needed if you, like so many others, need the right amount of silliness and apocalyptic zombie violence to get you through the annoyance of the world in the current state it is in. Never taking itself too seriously and having a clear sense of what it is, the sequel to 2009's Zombieland is a complete riot and brainless fun. Pun intended.

The horror sub-genre of zombie films has become overly saturated in recent years, and one would be forgiven for wondering why and if we really needed a sequel to Zombieland. The truth is that we never needed Double Tap and there is really no reason at all it had to be made as it doesn't offer anything new or different to either the genre or the first film. However, in the name of ridiculous and ludicrous fun, it is definitely not a crime against humanity that it exists. Zombieland: Double Tap offers up a form of violent and often random comedy with plenty of action-packed horror sequences that makes it entertaining and enjoyable.

Taking place a decade after we first met Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone) and Little Rock (Abigail Breslin), the four are still surviving the zombie apocalypse and have arrived at the home to beat all homes, the White House. Their new place of residence is an amusing choice to have as in Zombieland's alternate universe (which would be our current reality), nothing happening in the White House is comical. So using this opportunity to lighten the tension felt towards American politics and turn it to laughter through this film is a blessing. The Double Tap screenplay really does not have much to offer that is different to the first film or unpredictable. It is another tale of survival in a world that has been taken over by the undead, while trying to maintain the need for regular human needs and wants and social interaction. As expected, the two often collide with each other. Breslin's Little Rock, in particular, struggles with still being the baby of the group, although she is now an adult and wants to have experiences typical to her age.

The film completely delivers on it's promise of action with various spectacular and gory forms of zombie death at the hands of Columbus, Tallahassee, Wichita, Little Rock and the fiery and heroic Nevada (Rosario Dawson). Double Tap also delivers on the promised laughs, but is still not immune to several attempted jokes falling flat, including the needless and ridiculous post-credits scene. Harrelson and Eisenberg deliver many of the laughs with their wit, as does Stone with her brand of sarcasm. While Breslin, unfortunately, struggles to keep up with the comedic ability of her co-stars with her character being completely bland and uninteresting.

Yet, it is Zoey Deutch as clueless Madison who steals the show in every scene she is in. Madison is stuck in the image of the late 2000's then Hollywood It girl, Paris Hilton, but is light years more hilarious than anything that was seen on "The Simple Life". The character is one that shouldn't work and would be painful and offensive if anyone else but Deutch had played her. Instead she adds to the hilarity and fun of the film, which is a credit to Deutch as a comedy actor.

It is true, Zombieland: Double Tap doesn't need to exist. However, a film that is as mindless as this with its thrilling action and comedy is a great thing to have exist in this world whether it is needed or not.

6.5/10

The Trip to Spain (2017) film review

Year: 2017
Running Time: 115 minutes
Director: Michael Winterbottom
Cast: Steve Coogan, Rob Brydon, Claire Keelan, Marta Barrio

The Trip to Spain will be released in Australia on August 3 (Madman Films) and the United States on August 11. 

As the third film in Michael Winterbottom's television-turned-film series, The Trip to Spain delivers exactly what it promises- more glorious food, stunning locations and hilarious celebrity impersonations.

The great thing about walking into The Trip to Spain is that you know exactly what you are expecting, as long as you have seen 2010's The Trip and 2014's The Trip to Italy. Britain's favourite comedy duo, Steve Coogan and Rob Brydon once again set off on another culinary tour, which this time takes them to Spain. Their latest venture is an absolute delight in the same nature as it's predecessors, with the exception of it's extremely odd and disappointing finale.

The Coogan and Brydon films are all edited from their original form of a six episode series made for British television. The films have never really been about the plot and while this may be a monstrosity in most feature films, it is an accepted and celebrated part of Winterbottom's films. There are themes and sub-plots moulded into the film which are welcomed and push the film along, but they are not the focal point of the film.

That being said, it does not excuse the extremely bizarre ending to this film. The unexplained last scene is so left-field and far removed from the tone of the rest of the film that it gives a sour last impression. This is such a shame as for the other 110 minutes, The Trip to Spain is as much fun as Coogan and Brydon have over their enviable lunches.

The partnership of Steve Coogan and Rob Brydon is, once again, comedic brilliance. The chemistry between the two is so natural and their conversational humour (which is largely improvised) is witty, smart, hilarious and completely unforced. As both The Trip and The Trip to Italy became infamous for the celebrity impressions Coogan and Brydon so frequently and accurately do, The Trip to Spain is stacked with these impressions. While many celebrities make appearances in the men's conversations that have previously been there (including Michael Caine, Anthony Hopkins and Roger Moore), there are some new additions that are just as funny such as  Mick Jagger and Ian McKellen among others.

The culinary delights and stunning Spanish landscapes are also highlights of the film. The six restaurants the two men visit all have incredible cuisine which photograph so well that they easily induce hunger in the viewer. The beautiful urban and rural Spanish towns which they visit are also shot beautifully and capture the charm and intrigue of the country.

The Trip to Spain is incredible fun and a delight to the senses. The hilarious conversations are memorable and do not lose their amusement long after the film has been seen, but in the same way the confusion and distaste for the finale also lingers.

7.5/10

Rough Night (2017) film review

Year: 2017
Running Time: 101 minutes
Director: Lucia Aniello
Writers: Lucia Aniello and Paul W. Downs
Cast: Scarlett Johansson, Jillian Bell, Kate McKinnon, Zoe Kravitz, Ilana Glazer, Paul W. Downs

Rough Night is now showing in cinemas everywhere and is distributed by Sony Pictures.

Designated chick flick Rough Night takes obvious inspiration from a host of other party comedies so much that, not surprisingly, it struggles to find it's own personality and original laughs. Yet, the film has some hidden gems which should not be ignored and should be celebrated.

Party films are almost a comedy sub-genre of their own. With the number of bachelor and bachelorette party films we have seen in the past decade, it is no surprise that Rough Night looks and feels a little familiar. Taking it's inspiration from films such as Bridesmaids, The Hangover and Weekend at Bernies (though not of this decade), the story of five women who travel to Miami for a bachelorette weekend is painstakingly predictable. Every turn their journey takes is unoriginal as are the accompanying jokes.

For the large part of it's 101 minutes, Rough Night throws around obvious situational gags with a painful sense of desperation. Yet, it does not completely fail to generate laughs, there is just perhaps less than there really should be. There are certainly some very funny moments throughout Rough Night, many of which come courtesy of Kate McKinnon, who plays Australian girl, Pippa (with a very interesting accent that often sounds as though she is part Kiwi...which is unintentionally amusing as this is one of the running jokes). McKinnon steals every scene which she is in as  her comedic timing is unrivalled by any other cast member.

However, there is much about  Rough Night that should be celebrated. Despite is downfalls, the film is a strong female driven piece of work that does more than just place five females as the protagonists of the film. From the outside, it may not seem that Jess (Scarlett Johansson), Alice (Jillian Bell), Blair (Zoe Kravits), Frankie (Ilana Glazer) and Pippa are strong female characters, as the plot calls for them to go a little crazy and get a bit messy. One must remember that this is a bachelorette weekend and it's naïve to think that girls would act any other way on such a night.

Yet, once mayhem enters the scene, it becomes obvious that the male characters are the weaker link. Scarlett Johansson's Jess is the strong centre of the film. She is obviously the one who wears the pants in her relationship and in the middle of a political campaign that demands her attention. Her to-be-husband, Peter (who is played by co-writer Paul W. Downs) is aware of the lower ranking he holds in the partnership and is nothing but supportive of his fiancé's decisions to work on her career rather than romance...whether he likes it or not. Their relationship very much represents a new-age marriage in which the woman is ambitious and the man is the unwavering support. The non-platonic rekindled love affair between Blair and Frankie is also refreshing.

The theme of female empowerment we obviously see here also includes the importance of females empowering one another. Women can be nasty creatures to one another and Rough Night demonstrates how horrible women can be to each another, but also how working together produces amazing results.

Rough Night is not a triumph of it's genre and it is a shame that a film with a positive message for women will likely be forgotten within months of it's release.

6/10

Sydney Film Festival: Brigsby Bear (2017) film review

Year: 2017
Running Time: 97 minutes
Director: Dave McCary
Writers: Kyle Mooney and Kevin Costello
Cast: Kyle Mooney, Mark Hamill, Jane Adams, Matt Walsh, Michaela Watkins, Greg Kinnear, Beck Bennett, Andy Samberg, Ryan Simpkins, Jorge Lendeborg Jr., Alexa Demie

Brigsby Bear is part of the 2017 Sydney Film Festival program and will showing on Thursday June 8 (Event Cinemas George St) and Monday June 12 (Event Cinemas George St). For times, tickets and more information, please see the Sydney Film Festival website.

Brigsby Bear is a wonderfully lovable, off-beat comedy that is driven by the power of creativity and passion. It seeks to remind us that while originality is a dying concept, it is still greatly craved and celebrated...particularly in film and television.

The originality and creativity that we speak of here works in two ways when it comes to Brigsby Bear. Firstly, it is a major theme of the film. We are living in an age where differences are celebrated and original content through any medium is desperately needed. Authenticity is something which is admired and people are drawn towards creativity, especially when there is passion involved.

This is what is celebrated in Brigsby Bear. Despite his obvious eccentricities that come from his extremely sheltered upbringing, James Pope (portrayed by Kyle Mooney) is a breath of fresh air for his biological sister, Aubrey (Ryan Simpkins) and her friends, especially Spencer (Jorge Lendeborg Jr.). Spencer immediately befriends James as he is inspired by his passion for television character, Brigsby Bear and finds the whole concept thoroughly intriguing. Brigsby Bear takes on a life of his own when Spencer loads James' videos onto YouTube and the life-size bear becomes something of a cult figure with a devoted following.

To the residents of this small Utah town, both James and Brigsby are as exciting as each other. Brigsby is not your typical fictional character and the fact that he is something new and imaginative makes people excited. There is also the excitement attached to James, as he is unlike anybody else in the town. This excitement is representative of the way we feel when we find something different and original as it enriches our minds and our lives.

This is the same effect that Brigsby Bear has on it's audience. The joyous, feel-good film's originality is a feature that cinemagoers are currently craving, especially when our multiplexes are cluttered with sequels and remakes. Kyle Mooney and Kevin Costello's heart-warming screenplay is off-beat and quirky (much like Mooney's brand of comedy), but is universally entertaining, sweet and endearing. There are scenes throughout the film that come dangerously close to being cliché, such as the party scene...because it would be so obvious to have a teenage party scene with James having his first experiences with alcohol, drugs and girls. Yet the film takes this and other scenes and puts an unique spin on them.

Kyle Mooney spreads his wings to not only co-write the screenplay, but also play the film's lead. He is a character who, just like the film, is out of the ordinary with his overwhelming passion for a fandom, but at the same time exhibits many characteristics of Stockholm Syndrome. Mooney plays the character with perfection. He is naïve and unworldly, yet not in an exaggerated or stereotypical way. The audience comes to care for him and believe in what he is hoping to achieve with Brigsby. His passion is truly infectious.

Brigsby Bear does something special. It's story pays tribute to all things creative and passionate, but remembers that the film has to also be these things or the theme becomes redundant.

9/10

Snatched (2017) film review

Year: 2017
Running Time: 90 minutes
Director: Jonathan Levine
Writer: Katie Dippold
Cast: Amy Schumer, Goldie Hawn, Christopher Meloni, Ike Barinholtz, Bashir Salahuddin, Wanda Sykes, Joan Cusack, Tom Bateman, Oscar Jaenada

Snatched is now showing everywhere and is distributed by 20th Century Fox.

Snatched is the Mother's Day movie of 2017...and that is not a compliment.

As is the case with Christmas and Valentine's Day, Mother's Day provides an excellent opportunity for distributors to release an event film. Here, it is a film that is an excuse to have a girls day/night out for mothers and daughters to celebrate Mother's Day. That film this year is Jonathan Levine's Snatched, the film that's star power duo of Amy Schumer and Goldie Hawn is not enough to distract from the lunacy of the story and overpowering lame attempts of comedy.

The basis for Snatched isn't as ludicrous as the film itself. It shines a light on the tourists (especially women) being preyed upon by human traffickers when travelling in a foreign and unfamiliar country. Katie Dippold's screenplay combines this social issue with the age old theme of family reconnecting, with Schumer and Hawn playing polar opposite mother and daughter pair, Emily and Linda. Despite the dark undertones, the film plays to Schumer's strengths by being a comedy and making light of the situation.

Dippold's screenplay is incredibly disappointing. The path the story takes is ridiculously far-fetched with numerous inaccuracies (such as the locations and distances between them) and gaping holes (including Emily and Linda having all their belongings taken, but are somehow able to make phone calls and know all the numbers they need off the top of their heads). Snatched attempts to be not only funny, but also touching in that chick-flick kind of way...which it fails at miserably as there is nothing to be felt for any of the characters at any time besides irritation.

The first ten minutes are perhaps the best of the film before all goes downhill. The scene between Schumer and Randall Park (who plays her boyfriend Michael) indicates that there may be some great laughs to come with the witty, natural comedy employed in their conversation. The Facebook conversation between mother and daughter is also hilarious. However, once Emily and Linda arrive at their resort destination in Ecuador, the film takes an awful turn. The bright sparks of comedy we see in the first act fade dramatically.

Schumer's usually impeccable comedic timing is lost in this film, as it becomes uncharacteristically irrelevant and overly random (especially her tendency to include a crude sexual joke). As Schumer's last film, 2015's Trainwreck  was an incredible success, one can make the assumption that she works better with her own material and in a more urban setting rather than rural, as we see in the wilderness set Snatched. Her co-stars do little to lift the amusement of the film with Wanda Sykes and Joan Cusack portraying pointless characters, Ruth and Barb and Ike Barinholtz's Jeffrey being painstakingly unfunny. In what is Goldie Hawn's first film in 15 years, her performance isn't particularly memorable and it seems as though she coasts through it a little too easily.

Snatched is a terrible attempt at comedy that relies purely and unsuccessfully on the star power of Amy Schumer and Goldie Hawn to make any sort of an impact.

2.5/10

Rules Don't Apply (2016) film review

Year: 2016
Running Time: 127 minutes
Director/Writer: Warren Beatty
Cast: Warren Beatty, Lily Collins, Alden Ehrenreich, Matthew Broderick, Annette Bening, Candice Bergen, Martin Sheen, Haley Bennett, Taissa Farmiga, Ed Harris, Alec Baldwin, Steve Coogan, Oliver Platt

Rules Don't Apply is now showing in selected Australian cinemas and is distributed by 20th Century Fox.

In his long awaited directorial return, Warren Beatty commits the ultimate filmmaking sin with Rules Don't Apply...he makes known his obsessive hero worship for his leading man who he is, not surprisingly, also portraying.

According to the 2010 biography "Star: How Warren Beatty Seduced America" by Peter Biskind, Beatty has long been an admirer of Howard Hughes and his legacy, as he claimed that he saw much of himself in Hughes. The prospect of a film based on Hughes' life has long been a dream project for the Oscar winning director and with Hollywood's ongoing obsession with the eccentric billionaire, the film was always been on the cards for Beatty. Rules Don't Apply is a different take on the Howard Hughes story and much more of a narrative than a biopic, as his story intercepts with that of one of his contract girls, Marla Mabrey (Lily Collins) and driver, Frank Forbes (Alden Ehrenreich).

The film opens with a direct quote from Howard Hughes himself:-

"Never check an interesting fact"

This is also ollowed by the disclaimer that names and dates have been changed (eg. the dates of Hughes' marriage to Jean Peters and the case of Hughes' against though who claimed to have written an authorized biography). In other words, Rules Don't Apply is fan fiction on a grand scale. What is terrible is that it is blatantly obvious how huge an admirer Beatty is of Hughes. Even without knowing Beatty's background and having prior knowledge that he compares himself in a favourite light to Hughes, his love affair with the man he is playing and directing is so crystal clear that it is actually painful.

In all honesty this is not a delusional thought on his behalf, as there are several similarities between Hughes and Beatty. Hollywood has long had a fascination with Howard Hughes as a result of his eccentric ways, incredible achievements in aviation, obsessive approach to filmmaking and his long list of romantic liaisons with notable Hollywood starlets. These last two points could also be used word-for-word to describe Hollywood's fascination with Warren Beatty. After arriving in Tinsel Town at the tail end of the 1950's (the same time Rules Don't Apply is set) with a bucket load of both talent and good looks, Beatty had a well known reputation that rivalled Don Juan before he eventually settled down with his wife, actress Annette Bening (who also appears in the film as Marla's mother, Lucy). Yet, Beatty has always been a very highly respected filmmaker and actor, who is a complete perfectionist when it comes to his films (hence why Rules Don't Apply was so long in the making).

Despite the fact that there are obvious similarities between the two Hollywood legends, Rules Don't Apply slips past being a passion project and into the realm of a vanity project. Beatty is so thrilled with playing his hero whom he identifies with that the whole film has an annoyingly egotistical glow to it. Not only does it feel self absorbed, but the production itself is in complete shambles. The editing is incredibly choppy leading to irritation and confusion, the mix of archival footage shot on film and newly shot digital footage in the same scene is distracting and the screenplay is nonsensical.

The film is nostalgic as far as the archival footage and costume design goes, but doesn't quite grasp the charm of the 1950's in Southern California nor does it feel atmospheric the way a film like this should be. Beatty makes his own reminiscence for this era known by superimposing photos of his younger self in young Howard Hughes photos and alongside starlets such as Bette Davis and Jean Harlow (another sign of the Hughes story overlapping his own).

To say that this film had potential is an understatement. Everyone was expecting an incredible comeback by Beatty as this is the first feature film he has written and directed since 1998 and it is understood he has been working on this film for even longer. You can see what he is doing, he is putting a different creative spin on the Howard Hughes story. Yet despite the film being primarily about the enigmatic and intriguing Hughes, one finds themselves wanting to watch a film that is more about the young Marla and Frank than him. A film about these two and the dominance that old Hollywood held over their young aspiring stars every action would have been far more interesting and allowed for a more emotional experience. Lily Collins and Alden Ehrenreich are definitely the true stars of the film and often come across a great deal more charismatic and interesting than Beatty's Hughes.

Rules Don't Apply is a grand disappointment. It is completely understandable why Warren Beatty would want to make a film about someone he so greatly admires, but in this case his passion has got the better of him and this is a film made for himself more than anyone else.

3.5/10

Colossal (2017) film review

Year: 2017
Running Time: 110 minutes
Director/Writer: Nacho Vigalondo
Cast: Anne Hathaway, Jason Sudeikis, Dan Stevens, Austin Stowell, Tim Blake Nelson

Colossal is now showing in cinemas everywhere and is distributed in Australia by Transmission Films.

Nacho Vigalondo's Colossal is a great success for what it represents and what is taking place behind the story as it unfolds on the screen. It is a genre-bending, original black comedy that is incredibly clever and challenges everything that it looks like it is at face value.

When Gloria (Anne Hathaway) is kicked out of her New York City apartment by her fed up boyfriend, Tim (Dan Stevens), she moves back to the quiet, uneventful town where she grew up. Things soon take an interesting turn when she is reunited with her childhood friend, Oscar (Jason Sudeikis) and he offers her a job working in his bar. Even more interesting is when a Godzilla-like monster starts appearing, causing havoc and then quickly disappearing in South Korea...and even more intriguing is that this mysterious and catastrophic phenomenon seems to have something somehow to do with Gloria.

Colossal requires a complete suspension of disbelief for it to really work in the eye of the beholder due to the unrealistic nature of the story. Unfortunately, the screenplay is the enemy of the story as it is filled with holes and a whole load of unanswered questions remain at the end. Despite this sounding like all may well be lost with Colossal, it comes as a surprise that you can actually put these rather large faults aside and praise it for the things it gets so right.

On the surface, Colossal looks like just another apocalyptic monster film. Even though it has a rather mediocre execution thanks to the screenplay, it provides something different for the monster/sci-fi genre and it's originality is commendable. Nacho Vigalondo's story may have it's ridiculous moments, but it is ultimately entertaining, unpredictable and intriguing enough to captivate and keep you guessing. It is a quiet, indie film with underlying themes that plays alongside, but at the same time is removed from the blockbuster monster film. This contrast is completely unlike the typical formula we see in such a film and is a refreshing change. By creating this distance between the characters and the actual monster of the film, there is more freedom and opportunity to do something interesting and give the human protagonist more attention.

Colossal captures the nostalgic spirit of old school horror/monster films . These were the films that were set in picturesque small towns that hardly seem sinister to begin with and were as much about the human characters as they were the beast. This film is more about the human protagonists than the actual unnamed monster of the film.

Anne Hathaway, who very rarely puts in an uninspired performance these days, shines as Gloria, who undergoes a transformation during the film from being a broken woman to being extremely strong and capable of anything...clearly. At its core, Colossal is about bullying and how it can take effect on your life in the present and future. Hathaway's Gloria is not only a strong female presence, but the only female character (besides the younger version of herself played by Hannah Cheramy, who has a Drew Barrymore Firestarter moment) and without a doubt the most likable character in the film. She is surrounded by men who take advantage of her by abusing her while she is in her fragile state or are weak and are themselves unable to stand up to those who are bullying them.

Neither Jason Sudeikis nor Dan Stevens play particularly nice characters in Colossal and represent the original bully and the bully that Gloria allows into her life because of the first bully making her believe she doesn't deserve any better. The way the film progresses in regards to Gloria and Oscar is also surprising, as it does not take the usual turn that one would be expecting. When a male and female character meet in a film the way Gloria and Oscar do here in Colossal, it is expected it is to be part of the romantic subplot of the film. However, when it looks as though this is the direction things are heading in, the story is contorted so that it shocks everyone and takes on a completely new life. By the end of the film, the perfect quote that represents Gloria is that which is taken from William Shakespeare's "A Midsummer Night's Dream"......."Though she be but little, she is fierce"

Nacho Vigalondo has refused to abide by any of the rules of the Hollywood monster film genre with Colossal and it is glorious. It uses the genre only to tell an incredibly relevant human story and do so in a creative and thoroughly intriguing way.

7/10

The Edge of Seventeen (2016) film review

Year: 2016
Running Time: 104 minutes
Director/Writer: Kelly Fremon Craig
Cast: Hailee Steinfeld, Woody Harrelson, Kyra Sedgewick, Blake Jenner, Haley Lu Richardson, Hayden Szeto

The Edge of Seventeen is now showing in cinemas everywhere and is distributed in Australia by Roadshow Films.

Kelly Fremon Craig's directorial debut, The Edge of Seventeen is the perfect fusion of wonderful, witty comedy and that type of horror you only get by watching someone who is way too much like yourself or past self that it is frightening.

Nobody knows more about the divide between the cool kids and the rest more than high school junior, Nadine (played by Hailee Steinfeld). While her brother, Darian (Blake Jenner) is the blessed sibling who "naturally excels at everything", Nadine constantly feels like the outcast and even more so when Darian starts dating her best and only friend, Krista (Haley Lu Richardson). Of course, she overdramatically disapproves of the match and without Krista by her side, Nadine's problems seem to snowball. She finds unexpected solace in her classmate, Erwin (Hayden Szeto) and teacher, Mr Bruner (Woody Harrelson), but she first must learn how to live with herself before she can tolerate those around her.

The Edge of Seventeen is incredibly character driven and it is these characters along with the entertaining screenplay and fine performances that take the film from run-of-the-mill teen flick to something with a much wider appeal. Hailee Steinfeld gives an incredibly inspired performance as Nadine, the sassy, but painfully narcissistic teenager. Despite her misgivings and unfavourable qualities, she is such an accurate representation of a girl of her age that it is actually questionable if you cannot see fragments of your old self in Nadine.

Watching Nadine brings out the same sort of thought process one would have when watching a horror or thriller, but instead of saying "Don't go through that door" or "Don't go up the stairs", you are saying "No no no...don't do that!" and "Don't say that!". Then comes the horrible realisation that even though you are watching Nadine and thinking how terrible her lack of judgment is, you are really having an out of body experience watching yourself as a teenager.

There are plenty of things that come out of Nadine's mouth that will stir memories of things long forgotten for the viewer. For example, Nadine is a virgin and really knows nothing about sex, but talks like she does when she clearly has no idea what she is talking about. Something that everyone will be able to relate to is Nadine saying that she would like to believe that her problems are bigger than everyone else's". From the outside looking in, she sounds incredibly narcissistic, but narcissism is part of being a teenager. At that age, life is so confusing and there are so many new emotions to be felt that it is difficult to understand and grasp the concept that we are not the centre of the universe and that others are feeling similar to us or even worse.

However, one thing that is not quite as relatable and is the one thing we can envy, is Nadine's manner of speech. Her dialogue is cutting, witty and hilarious and this is what gives the film such an amusing edge. Steinfeld shows her wonderful comedic timing in her natural and unforced delivery of this wonderful dialogue and steals and dominates every scene she is in. Her Nadine also embodies the idea that the world views us the way we view ourselves. She see's herself as awkward and tells herself to stop acting so, making it inevitable that she will behave more awkward in social situations.

Despite the film being primarily about Nadine, all of the characters are well crafted and incredibly interesting to watch. What The Edge of Seventeen does so well is that it highlights the imperfections in it's characters, but does not substitute this for their likability. These imperfections merely show that as we grow up, we still never quite figure it all out and that we are never completely rid of bad judgement. This is especially evident in Nadine's mother, Mona (played by Kyra Sedgewick), who one cannot help but feel that she is a bad influence on her daughter. Woody Harrelson's Mr Bruner is far from perfect and is blunt and unrelentless, but still remains a lot of fun to watch.

The Edge of Seventeen is so relatable that it would be frightening if it wasn't so hilarious with it's brilliant screenplay and Hailee Steinfeld's craftsmanship of Nadine.

8/10

La La Land (2016) film review

Year: 2016
Running Time: 128 minutes
Director and Writer: Damien Chazelle
Cast: Emma Stone, Ryan Gosling, J.K. Simmons, Rosemarie DeWitt, John Legend

La La Land is now showing everywhere and is distributed  in Australia by Entertainment One.

The exquisite La La Land is a multi-layered, whimsical and truly timeless piece of creative brilliance from Damien Chazelle that is an ode to both old and new Hollywood.

La La Land opens on a busy freeway, a scene which is more than familiar to anyone from Los Angeles. Sitting in this terrible, but expected traffic jam are an aspiring actress who is yet to have her big break, Mia (Emma Stone) and a jazz musician who longs hit the big time and open his own venue, Sebastian (Ryan Gosling). Despite a middle finger salute by Sebastian being their only communication here, fate would have it that these two cross paths a number of times before they fall in love with one another. Their romance is idyllic and uncomplicated, until their dreams start to get in the way of each others.

Timeless is the best way to describe La La Land in one word. Usually when people use the word "timeless" to describe a film, it means that they believe it will stand the test of time and still remain relevant after years go by. La La Land is this, but it is also timeless because it is a story that could be told at any time during Hollywood's history. Not only that, but it contains so many elements from the past and present that you are never quite sure when the film is set. Instead of this being confusing, it is divine.

Chazelle's film is a love letter to Los Angeles (particularly Hollywood) in it's past and present and is a kaleidoscope of nostalgic and modern images and music. At any one time, you can be watching a scene that seems to be taking place in the present, but is surrounded by pieces of 1950's nostalgia and featuring a song such as "Someone in the Crowd" that would not have been out of place in a MGM musical of yesteryear (including such films as Singin' in the Rain, An American in Paris and Swing Time). La La Land does draw great inspiration from these past musicals in the composition, dance routines and cinematography in numbers such as  "A Lovely Night" and the unforgettable Griffith Observatory scene.

La La Land is deceptively complex and it is so in the most beautiful of ways. There are so many layers to the film and so many things to be taken away from it. Some themes will ring true with some viewers more than others, but it is without a doubt that those who have worked or live in the entertainment business will take a great deal away from the film.

The most obvious theme is that of following your dreams. Emma Stone's Mia and Ryan Gosling's Sebastian are our dreamers and they are relatable to anyone who has ever chased after a dream that seems so huge that it is out of their reach. Mia's speech in small town Nevada is particularly moving as she verbalises what anybody who has been rejected and thought of giving up has felt. Emma Stone and Ryan Gosling are both at their most lovely and charming in La La Land. Their chemistry is perfect as they work off each other incredibly well and they too create characters that are a perfect balance between the modern and the old Hollywood starlet and leading man.

The film also has the underlying theme of preserving history, something which is often neglected in Hollywood and it's surrounding areas. Sebastian speaks of jazz as an art form dying and the Rialto Theatre in the film (and real life) is a beautiful old theatre that is closed down. Both of these are signs of how people can often forget about preserving something from another time and ultimately they become lost. However, Chazelle's movie as a whole really is a homage to old Hollywood with the many references that appear throughout the film.  Again, La La Land is reminiscent of golden age of Hollywood films by way of it's musical numbers, but also with it's use of captions and in it's whimsical, romantic nature. In this way, Chazelle is actually doing his part to preserve Hollywood history by paying tribute to it with his film.

It also must be said that Los Angeles looks at it's best in La La Land. Despite having a reputation of a sun drenched Californian city of glitz and glamour, LA struggles to uphold this image in real life as certain areas can look run-down and unpolished. However, it is at it's most beautiful in the film showing many famous landmarks in amazing light and colour. The image of the Los Angeles of La La Land is aligned with the dreamlike atmosphere of the film and almost symbolises the pull the city has for dreamers to flock to this land where magic happens. There are also plenty of in-jokes for those who have lived in Los Angeles.

La La Land is pure, old-fashioned cinematic escapism. It maintains an incredible equilibrium between what is nostalgic and modern and the result is absolutely exquisite.

9.5/10

Office Christmas Party (2016) film review

Year: 2016
Running Time: 105 minutes
Directors: Josh Gordon and Will Speck
Writers: Jon Lucas, Scott Moore and Timothy Dowling (story), Justin Malen, Laura Solon and Dan Mazer (screenplay)
Cast: Jason Bateman, Olivia Munn, T.J. Miller, Jennifer Aniston, Kate McKinnon, Vanessa Bayer, Courtney B. Vance, Rob Corddry, Karan Soni, Randall Park

Office Christmas Party is now showing in cinemas everywhere and is distributed in Australian by Entertainment One.

Josh Gordon and Will Speck's Office Christmas Party is not much more than a stereotypical lewd party comedy with the likes of Santa Claus, a few Christmas trees and fairy lights thrown in to make it relevant to the season.

The holiday season is closing in quickly at Chicago's Zenotek office and morale is low. Things are only set to get worse when CEO, Carol Vanstone (Jennifer Aniston) announces that she will be closing her brother, Clay's (T.J. Miller) branch down. In a last minute attempt to save their office, Clay, Josh (Jason Bateman) and Tracey (Olivia Munn) organise an explosive Christmas party to impress a potential client, Walter Davis (Courtney B. Vance) who could save their branch if he agrees to work with them. What ensues is a night of absolute mayhem which is a throwback to the work Christmas parties of old where anything goes.

Perhaps the most unfortunate thing about Office Christmas Party is that when there is not a party involved, it is actually far from painful. The actual party itself is a colossal mash-up of as much crude humour that could take place at any event where a great deal of alcohol and drugs are being consumed. There is nothing subtle nor even remotely original about the film's attempts at humour during this time and it will take fans with this particular type of humour to conjure up a giggle or two.

Yet, the script and humour involved before and after the party is quite entertaining with some great banter taking place between the main players including Jason Bateman, Olivia Munn, T.J. Miller and Jennifer Aniston. There are deeper themes involved including the ongoing economic worries that plague corporate business, but these more serious plot points are pushed aside so to make way for the grand attraction of Christmas party shenanigans.

It's inevitable that Office Christmas Party will do well at the box office as during the few weeks leading up to the holidays, people are drawn toward seeing films that are in the Christmas spirit. The truth of the matter is that Office Christmas Party is really not much of a festive movie. It's disguised as a festive film by all the things which symbolise Christmas, which also includes the infamous work Christmas party. The screenplay could well exist without it being set during the Christmas season, but it would be unlikely to grasp the attention of the public and unlikely to have achieved the attention of the impressive comedic cast.

It almost feels cliché to say that the cast  (who are all highly respected comedic actors) are all underused in this film. It is completely evident that each tries to do all they can with the material that is given to them, but even those who are especially talented when it comes to improvisation (eg. Kate McKinnon and T.J. Miller) struggle to make something of merit. However, it would be unfair to say that Office Christmas Party is not funny at all if you are not a fan of dirty humour, as there are some moments which are very amusing. All the characters in the film are fairly safe and stereotypical of their surroundings, but each actor knows their character well enough (especially Bateman, Aniston and Karan Soni as Nate) to be able to fit into them comfortably and bring out the best in them.

Office Christmas Party may not be the holiday fix one would like to experience at the cinemas this season, but is entertaining enough thanks to it's talented cast.

5/10

Cafe Society (2016) film review

Year: 2016
Running Time: 96 minutes
Director/ Writer: Woody Allen
Cast: Jesse Eisenberg, Kristen Stewart, Steve Carell, Blake Lively, Parker Posey, Corey Stoll

Café Society opens in Australian cinemas on October 20 and is distributed by Entertainment One.

Woody Allen's 1930's tale of two cities, Café Society lacks the lovely nostalgia that it should have with not only it's lukewarm screenplay and lack of strong plot, but also it's strange choices in cinematography that don't make the time period and locations anywhere near as exciting or wondrous as they should be.

In 1935, young and naïve Bronx native, Bobby travels cross-country to try his luck in the glamour town of Hollywood. He is employed by his uncle who is one of Hollywood's leading agents, Phil Stern (Steve Carell) and has one of his uncle's office girls, Vonnie (Kristen Stewart) show him around town. Bobby is instantly besotted with Vonnie, but she is already in a relationship with a mystery man who is already married. However, Bobby and Vonnie's story doesn't end there and spans over time and the two cities of Los Angeles and New York City in one of their most exciting times.

Looking at Café Society from the viewpoint of a fan of the golden age of Hollywood, the film does not hit the heights expected from the exciting prospect of Woody Allen making a period piece about the earlier days of the film town. Allen did such a great job with Midnight in Paris in 2011 with reconstructing Paris in the 1920's complete with personalities such as F. Scott and Zelda Fitzgerald and Ernest Hemingway that one would expect a film set in the 1930's with such a strong film basis to be successful. However, Allen does not do this period justice. Not only are there several historical inaccuracies (including architecture and costume design), but the screenplay features famous names from the time period such as Judy Garland, Errol Flynn and Joan Crawford being thrown around for the sake of it rather than to move the story along. While Café Society is also supposed to be equally focused on the New York City scene, it feels more focused on Hollywood and the New York world which the film's title is named after is left rather unloved.

While his films can often leave people trying to figure out what their point is, the usual consensus is that it doesn't matter if there was a greater meaning just as long as you were entertained and enjoyed the film. Café Society has no real direction, a tedious story and we can only have a guess at what Allen was trying to tell us as an audience, but not with any great confidence. It may be that the person we don't want to be is the person we are really longing to be inside, or it could be the idea that circumstances change us and our views on the world. However, it does really feel as though Allen wanted so greatly to make a film about this time period that the story wasn't as important as the visuals.

Yet the visuals are not as striking as they possibly could be. The type of lighting used throughout the film mirrors what the lighting would have been like in such a location, but on screen it can look particularly unattractive at times, especially in Phil Stern's office. The production design for the outdoor locations is really quite lazy. Old Hollywood enthusiasts love seeing old venues recreated for the screen, don't expect this to be the case in Café Society. All the locations appear the same as they would if you visited them in Hollywood yourself today and no effort is made to show locations that once existed and now do not. The Hollywood history film is almost a sub-genre in itself and Café Society is a particularly weak member.

Jesse Eisenberg does fine in the lead role of Bobby and is enjoyable and charismatic. However, it is obvious that Allen has once again directed his leading actor to be a clone of himself. Once upon a time when Woody Allen was playing himself in his own films, it was nowhere near as tiresome as it now is watching a series of films with big name actors giving their best Woody Allen impression. On the other hand, Allen's female characters remain as diverse as ever. Kristen Stewart is luminous as the woman everyone is falling for, Vonnie. Stewart continues to impress with each film she is in and show how versatile an actress she truly is. However, she has little chemistry with Steve Carell. who is her primary love interest of the film.

Café Society is an incredible shame of a movie. Woody Allen could have done so much more with the film by way of screenplay depth and got really inventive and gritty with the time period, but the film feels lazy and uninspired.

4.5/10

Ghostbusters (2016) film review

Year: 2016
Running Time: 114 minutes
Director: Paul Feig
Writers: Kate Dippold and Paul Feig (written by). Dan Aykroyd and Harold Ramis (based on the 1984 Ghostbusters written by)
Cast: Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones, Chris Hemsworth, Neil Casey, Andy Garcia, Cecily Strong, Charles Dance

Ghostbusters is now showing everywhere and is distributed in Australia by Sony Pictures.

Just when I was becoming truly tired of watching and writing about unworthy remakes and sequels, along comes the 2016 revamp of Ghostbusters. Filmmakers take note...THIS is how you do a remake and THIS is how you make an empowering female driven film. While Ghostbusters on a whole may not be flawless, what it does right it does flawlessly and makes this a fun and worthy sister piece to the 1984 original.

In a matter of days, New York City has became a very spooky place to live. Dr Erin Gilbert (Kristen Wiig) abandoned her fascination in paranormal investigation to be taken seriously scientifically at Columbia University, but with this rise in ghostly activities across the city she is thrust back into exploring this strange world with her old friend, Abby Yates (Melissa McCarthy) and the eccentric Jillian Holtzmann (Kate McKinnon). Their team is complete with the addition of the street smart Patty Tolan (Leslie Jones), and even though they are successful in their ventures, still struggle to be taken seriously and acknowledged for their hard work. However, the girls have their work cut out for them when they uncover evidence that a terrible event is about to tear the city apart and nobody believes their warnings.

Admit it, when you heard that there was going to be a Ghostbusters remake you weren't impressed, were you? You'd be forgiven too given the state of remade films today as they are normally made as a result of thinking "we can do better now" and/or lack of an original, but bankable idea for a screenplay. Many of these remakes are just modern versions of the original with no real point of differentiation that have movie lovers everywhere screaming 'What was the point of remaking that?!?!"

The 2016 Ghostbusters gives us a great gift...faith in the remake. Paul Feig's film does something different to the original and is by no means a carbon copy of it's predecessor, yet still has some wonderful cameos and thrilling Easter Eggs to delight long time fans. Despite what could have easily been assumed, the film is not a carbon copy of the original with women thrown in to make it seem different. The screenplay written by Kate Dippold and Feig is a different story to what was previously told by Dan Aykroyd and Harold Ramis with the only similarities feeling as though they are respectfully paying homage to the original. While Ghostbusters is completely and unsurprisingly far-fetched as well as quite silly, it has a self-awareness that makes this acceptable, highly enjoyable and wildly funny.

However, what is perhaps the greatest thing about Ghostbusters is that Feig knows the difference between a film with women in it and a female empowerment film. So many filmmakers believe that just having a female with an action woman's body and commanding manner of speaking empowers women and even as a society we are usually happy to settle for this. Yet, Ghostbusters is truly the ultimate female empowerment film.

Each of the characters portrayed by Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones have extremely admirable qualities...they are all very intelligent women who are comfortable with who they are and in a profession where they are being ridiculed and oppressed, but passionately believe in what they are doing so much that they are doing it either way. None of them are the traditional vision of an action woman, but they are all strong in mind and matter with their own distinguishable personality that makes them unique. Wiig, McCarthy, McKinnon and Jones all give great performances of their well-rounded characters, but McKinnon and Jones shine the greatest. McKinnon's crazy but lovable Holtzmann provides many of the biggest laughs and Jones gives a standout performance as the down-to-earth Patty. Not surprisingly, any 'Saturday Night Live' fans will love the brand of comedy the girls bring to the screen.

The screenplay allows for a reversal of the usual gender stereotypes found in film, especially considering it is the girls saving the boys. The role of the secretary, Kevin played by Chris Hemsworth is the perfect example of this reversal. A secretary is traditionally a female occupation, but here we have an attractive, but incredibly dumb and goofy male who is splendidly portrayed by Hemsworth who must've had a ball during filming. Another worthy point to make is that all the girls are single and while it is great that this shows that a woman doesn't need a man, the best thing about each of the girls being single is that it isn't even a matter that is talked about in the film because it isn't an issue whether they are attached or not....as should be the case in real life too.

Ghostbusters is exactly what film goers have been needing and craving in 2016. With the tidal wave of remakes and sequels flowing through cinemas in recent times, Ghostbusters proves that you can really do something great with a remake and make it memorable and loved in it's own right.

8/10

Sydney Film Festival: Elvis & Nixon (2016)

Year: 2016

Running Time: 86 minutes

Director: Liza Johnson

Writers: Joey Sagal, Halana Sagal and Cary Elwes

Cast: Michael Shannon, Kevin Spacey, Alex Pettyfer, Johnny Knoxville, Colin Hanks, Evan Peters

Elvis & Nixon screened at the 2016 Sydney Film Festival on Thursday June 9. For more information on the Sydney Film Festival, please see their official website.

Elvis & Nixon is a highly fabricated recount of the meeting between one of the world's biggest pop stars and the President of the United States which is a whole lot of fun and embraces it's permission to be over-exaggerated and incredibly goofy.

In December 1970, a meeting took place in the Oval office between then and not yet disgraced president, Richard Nixon (as portrayed by impression extraordinaire Kevin Spacey) and Elvis Presley (Michael Shannon). The photograph of the two that was taken on this occasion is the most requested in the National Archives. However, the transcript for what actually took place during that meeting does not exist so writers Joey Sagal, Halana Sagal and Cary Elwes have taken the liberty of inventing the comical turn of events leading up to and including the dramatically less than ordinary meeting between the two.

Elvis & Nixon has been granted an incredible privilege which barely any other biopics receive as due to the blurry nature of the event, they are given free range with their screenplay. There are several of truths in the story as approved by Elvis' close friend, Jerry Schilling (played by Alex Pettyfer in the film), but much of the film is exaggerated for comedy value. Elvis did indeed want to obtain a badge as a Federal Agent at Large and hand-delivered a letter to the White House where he was able to meet with the President later that day, but these events are built on and enhanced comically for pure entertainment value. Elvis did not attempt to take firearms into the White House and he most definitely would not have got away with it, nor would he have shown his karate moves to or take part in a hand-slap game with the President.

Everything about Elvis & Nixon is exaggerated. This exaggeration is the main source of humour, especially when it comes to the characters. Both Elvis Presley and Richard Nixon have well known and recognisable personality traits that everyone knows so these are exaggerated for comedic value, but not in a disrespectful fashion. This is particularly true of Elvis who is constantly walking around in his stage attire looking more like an Elvis impersonator rather than the man himself and always met with girls falling over themselves squealing. It is not only the characters that are exaggerated in the film, but also the production and costume design and hair and make-up. If this film was a drama or run of the mill biopic, this would be considered irritating and rather goofy, but considering Elvis & Nixon is a comedy it is all forgiven and accepted with open arms.

Despite the over-exaggeration of his character, Michael Shannon gives a solid performance as Elvis Presley. While respectable, it isn't particularly heart-warming nor does it make one feel like they want to revisit any of his music or concerts in a hurry. It feels as though one tender moment where he talks to himself about his twin brother who died at birth has been just thrown in for good measure, but it occurs too late in the film to make any sort of emotional impact for the character.

On the other hand, Kevin Spacey does a fine job as Richard Nixon. Spacey has an infamous knack for impressions as well as being a superb actor so it is with these two qualities that he brings Nixon back to life in a way that is both natural and humorous at the same time. Colin Hanks as presidential aide, Egil 'Bid' Krogh and Evan Peters as Dwight Chapin are also subtly amusing and solid.

Elvis & Nixon avoids the expectations placed on movies that are based on real life events by adopting a comedic persona rather than one which is serious and dramatic and what results is a film which is fun, enjoyable and comfortable in it's exaggeration.

7/10