Irrational Man (2015) film review

Year: 2015
Running Time: 95 minutes
Director and Writer: Woody Allen
Cast: Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley, Tom Kemp

Irrational Man opens in Australian cinemas on August 20 and is distributed by Entertainment One. Now showing in the United States and opening in the United Kingdom September 11.

Irrational Man sees the return of Woody Allen's cynical and intriguingly morbid screenwriting that comes with a pinch of black humour and has divided audiences for decades, but with weak underlying themes which do not inspire nor provoke. Professor Abe Lucas (Joaquin Phoenix) arrives at his new Rhode Island college in a flurry of gossip, rumours and female admirers. Despite how many people welcome Abe with open arms, he remains dissatisfied with his life and struggles to find meaning or any sense of optimism in his daily activities. However, a chance encounter by he and his love and star struck pupil, Jill (Emma Stone) allows him to find the enjoyment in life that he has been missing by taking a stranger's matters into his own hands.

With Irrational Man returns Woody Allen's evil streak that comes hand in hand with his flair for black humour, which is often lost on many. Allen's film making style is often referred to by many as an acquired taste, but one does not feel the true extent of his talent in Irrational Man. The film seems to be Allen's take on sadism in his storytelling, where one feels pleasure because of another's pain, as well as imposing the moral question of whether inflicting pain or death on another is ever justified. While the lead character of Abe is obviously a damaged human being, the side of the argument he represents is not strong enough to make one contemplate this notion once they leave the cinema.  The story itself is intriguing and also unpredictable which makes for a film that is watchable, but with underlying themes that remain weak.

Despite the label of black humour being attached to Irrational Man, it is very hard to categorise the film as a comedy, yet it is too light-hearted to be seen as a drama. It relies more on situational humour rather than verbal humour, but this is still not overtly evident. The film could be categorised more as amusing rather than comical and it is this with it's quirky screenplay. Visually, it is rather a beautiful film with the Rhode Island scenery on show. Full use is made of the New England landscape as well as the towns architecture and gives the film a peaceful and serene front to it's evil narrative.

Joaquin Phoenix and Emma Stone work well together on screen and have a great deal of chemistry, despite some flimsy dialogue spoken between the two to each other. Phoenix is a chameleon by nature so he has the ability to switch from damaged and self-destructive to likable and charismatic in the film and be both characters wonderfully. Emma Stone is also very good as Jill and towards the end of the film her performance gets radically stronger. However, both Phoenix and Stone are given dialogue which is not particularly strong (but still remains Allen-esque) and makes their performances seem a little forced.

Despite being entertaining and unpredictable, Irrational Man is not one of the Woody Allen films that will be worth coming back to over time. It is a film that is trying to be a lesson in morality, but gets lost within itself too easily.

5.5/10

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

Aloha (2015) film review

Year: 2015

Running Time: 105 minutes

Director/ Writer: Cameron Crowe

Cast: Bradley Cooper, Emma Stone, Rachel McAdams, John Krasinski, Danny McBride, Bill Murray, Alec Baldwin, Jaeden Lieberher, Danielle Rose Russell, Bill Camp

 

Director Cameron Crowe made his latest film Aloha as a love letter to Hawaii and it is just that. A love letter to a beautiful part of the world which silently tells his audience that he was just desperate to make a film there and it didn't matter what sort of film. Aloha is a fine example of how trying too hard and not enough is possible in one film. Military man, Brian Gilcrest (Bradley Cooper) returns to Hawaii after more than a decade away and reconnect almost immediately with his now married ex-girlfriend, Tracy (Rachel McAdams) who he stood up in a most cold way. He is teamed up with Hawaiian born, Allison Ng (Emma Stone) who opens up Brian to a world he had neglected and helps him find happiness. He finds that old ghosts catch up with him quickly here and old acquaintances are not easy to forget.

 



Aloha is a wonderful travel advertisement for Hawaii. Cameron Crowe's love for the 50th state comes across loud and clear in this film so much that it feels as though everything else besides the visual representation is done at a mediocre level. The story is incredibly predictable and although there are some elements of originality in there, there is too much going on to pay attention and appreciate the creativity of one storyline when several unoriginal ones are also taking place at the same time. Likewise, it is hard to feel any connection and emotion in any of the film's sub-plots as they are all happening simultaneously and with little time and effort put into each one. This isn't helped by the characters being badly written so that no one can sympathize with them as they never truly feel as if they know them.

 

 

Everything in Aloha points to the explanation that Crowe was just desperate to make a film in Hawaii and that means any film. It feels as though he was so set on writing a film that is set in Hawaii that he only half developed everything else, including the depth of the characters and screenplay. Visually the film is very pretty, which is a feature that many will find attractive and be drawn to the film because of. It is rather atmospheric, but only in relation to the way white people are living there. The way the natives live on Oahu is not represented in a favourable light when it is seen in the film, which is seldom and although Crowe tries to work them into the film it does not seem like nearly enough.

 

Bradley Cooper has had a stellar run of film roles in recent years thanks to the wonderful scripts that have come his way. It will come as no surprise that Brian Gilcrest in Aloha is not one of these roles. Cooper does all he can, but Brian is such a badly written character who at the end of the day really has no idea who is so how is the audience expected to understand him or connect with him? He swings from being arrogant and obnoxious to being goofy and playful with no warning and although his background he should indicate a significant amount of depth, it is hard to take him seriously. Yet, the final scene is such a fine piece of work by Cooper and is his redemption.

 

Perhaps the biggest talking point of Aloha is the casting of Emma Stone as Allison Ng, the quarter Hawaiian and quarter Chinese love interest of Brian. Stone is a fine actress and has the quirky, but relatable personality which is highly marketable and cherished in Hollywood at this point in time. One cannot blame a film maker for wanting her to be in their film, but was Crowe craving her so much that he had to place her in a role that clearly wasn't meant for her? Performance-wise Stone does cross the line into the territory of over-exaggeration in an attempt to maintain her quirky comedic style so many have come to love. However, even if she was spot on it is incredibly hard to take her seriously when she talks of her heritage and her passion for the land and their customs because of her physical appearance.

 

The stand out among the performances is that of John Krasinski who plays Tracy's husband, Woody. The surprising thing is that Krasinski says only a handful of words throughout the whole film, but he is truly hilarious and proves that actions speak louder than words.

 

It is hard to decipher whether Aloha has the potential to be a better film than what it is. Cameron Crowe certainly has the ability to be a better film maker and the impressive cast have given much better performances in the past. Overall it is a mere disappointment, but the last ten minutes is a gem. It is just a shame you have to wait so long for it.

 

2.5/10

 



Magic In The Moonlight (2014)

Year: 2014
Running Time: 97 minutes
Director: Woody Allen
Writer: Woody Allen
Cast: Colin Firth, Emma Stone, Marcia Gay Harden, Simon McBurney, Jacki Weaver, Erica Lershen, Eileen Atkins

Magic in the Moonlight has all the cinematic elements one would expect to find in a Woody Allen film, yet the magic promised in the title is not quite present. Allen's latest does give out sparks with it's beautiful panoramic shots, exquisite costume design and entertaining and witty performance by Colin Firth, yet as a whole remains rather unremarkable and forgettable. It's a screenplay filled with the promise of a comical and joyful scenario, but falls into the unfortunate trap of coming across as ridiculous rather than charming.

Stanley Crawford (Colin Firth), an Englishman who's alter ego is the Chinese magician, Wei Ling Soo, makes it his duty and takes great pleasure in exposing frauds who claim to be psychic mediums. Following a tip from his long time friend, Howard Burkan (Simon McBurney), Stanley travels to the Cote d'Azur where a young woman who claims to be a medium is staying with the wealthy Catledge family. When Stanley meets the woman in question, Sophie (Emma Stone), he finds it hard to put a finger on her methods and starts to wonder whether there is really more to this life than what he has always believed.

With it's interesting and seemingly original subject matter, Magic in the Moonlight very much feels like it is Woody Allen's exploration of the Science vs. Spirituality debate. It is unfortunately not a thoroughly executed theme as it is strong to a point, and then starts to lose it's importance drastically towards the end of the film. The lead character of Stanley Crawford makes it clear that he believes everything has an explanation and that there is nothing more to this world than what we see. However, when he meets Sophie and cannot understand her ways, he starts to believe that his beliefs may not have been valid. As the film progresses, there is a great deal of going and back and forwards before the film arrives at an ending which doesn't say anything clear about the point Allen is trying to make. Has Allen just constructed a story around this theme so that his audience can make their own conclusion, or is there a point he is trying to make there which is just unclear?

However, without looking into Magic in the Moonlight with too much depth, it is an entertaining and fun piece of work. The dialogue is particularly Allen-esque and wonderfully executed with some very funny moments, particularly by Colin Firth. However, the ending does go off on a tangent to make the finale seem highly unrealistic and quite ridiculous. One might believe that this was an attempt to have an old fashioned, romantic ending to a nostalgic film, but is more mindboggling than anything else. Overall the film is pleasantly nostalgic and visually a treat. Magic in the Moonlight is set in 1928 and the way in which it recreates this time period in the south of France is perfect. The production design is well reminiscent of the 1920's and the costume design is absolutely stunning. The "hot" music that is played when dancing is also perfectly suited to the time period and very fun. The Cote d'Azur is beautifully captured on film with gorgeous panoramic shots of the seaside and mountains.

Colin Firth is the absolute standout of the cast. He has exceptional comedic timing and delivers his witty and sarcastic dialogue so naturally which makes him an absolute joy to watch. Emma Stone does well in her role as Sophie individually, but together Firth and Stone have very little on screen chemistry. Not only do they not visually fit together, but there are no sparks between the two at all and this makes it very hard to believe that one could feel anything romantically for the other.

Magic in the Moonlight is a beautiful nostalgic trip, but it's fun story is not a strongly executed one. Unfortunately, Woody Allen's latest film is one of his more forgettable ones.

6/10

Easy A

Easy A
Year: 2010
Director: Will Gluck
Cast: Emma Stone, Penn Badgley, Amanda Bynes, Stanley Tucci, Patricia Clarkson, Alyson Michalka, Malcolm McDowall, Lisa Kudrow, Thomas Haden Church

In My Own Words
Some of the things I hate when I am in a movie cinemas-
1. People texting during a film in a cinema
2. People commentating the film in a cinema
3. People talking about something else during the film in a cinemas and then asking their friends what is happening in the film
4. People talking on their phone during a film and then giving you a dirty look when you say something about it!

Obviously this was my experience while watching “Easy A”. I don’t understand why people do these things in the movies. If you were going to talk to your friends the whole way through or look at your phone, then why purchase a $10 movie ticket when you could just do that at home for free? Maybe I get too fired up about it...but one more thing I don’t get. I saw the new Harry Potter trailer today (something I am VERY excited about and went home to watch “Harry Potter and The Prisoner Of Azkaban to celebrate seeing the trailer!) and the group of teenage boys and girls killed themselves laughing whenever any emotion was shown in the trailer and when the sentence “The Motion Picture Event Of A Generation”. This also happened when I saw “Harry Potter And The Prisoner Of Azkaban” at the cinemas when it first came out. A group of teenagers killed themselves laughing when Harry cried. Is it really that cool to laugh at Harry Potter? Is it taboo for some teenagers to like Harry Potter and will they really be social outcasts if they do? I actually know plenty of teenagers who like Harry Potter and plenty of adults as well. I am probably over-analysing.

I suppose this is just what you are going to experience when you go to see a “teen flick” like “Easy A”. I am getting cynical in my old age. Or has anyone else noticed this?

These are my own words and here is my review.

Review
“Easy A” is just a load of fun. One would think that with a subject matter such as this, a film would be crude and dirty. However, there is an evident lack of obscenity in this film that makes it a film that a wider audience can enjoy, rather than just the hormonal teenage crowd. The quick witted humour, well written script and the leading lady make this film a breath of fresh air and a pleasure to watch. Olive (Emma Stone) was to invisible to ever have any type of reputation until the day that she makes up a tale to get her out of spending the weekend with her best friend, Rhiannon’s (Alyson Michalka) crazy parents. Before she knows it, the school’s rumour mill is in over drive and Olive is the subject. Rather than publicly deny the rumours, Olive decide to use her promiscuous reputation for good by making people believe that she has slept with the school’s bullied to ironically better their reputation. Before she knows it, she is in too deep and she has no idea how to climb back out.

It is the simple but smart humour which makes “Easy A” a winner. It is a stereotypic al teen movie which, like a good genre film should do, breaks past the target audience and is a film that many people will enjoy. One would expect the topic of a girl pretending she is having sex with all these guys to lead to jokes of a sexual nature, but the jokes and humour is very tame. The one-liners are especially funny and credit must definitely be given to the script writers. “Easy A” is not a tear jerker or in any means is very deep, but it is a great film to watch without having to think too much. There is nothing really spectacular about the directing or the cinematography. It’s a film that relies more on the script and the wording than anything else. It is a very simple comedy.

The other big thing that makes “Easy A” work is Emma Stone. She is absolutely perfect as Olive and is just hilarious. She is witty, sarcastic, clever and insane all at the same time. Minus the fact that she is lying and pretending to be a floozy, she is the way you would have liked to have been in high school. Well, maybe not the way you would have liked to have been, but definitely someone you would’ve liked to have known as there would be a laugh a minute and never a dull moment. It is a credit to both her acting and Will Gluck’s direction that she is such a great character. Stone stands above all the over young actors as they all give rather mediocre performances in which nothing is really special about their roles in this film. Stanley Tucci and Patricia Clarkson are both hilarious as Olive’s parents. They don’t have much chemistry between them on screen, but the laughs they create make up for it.

“Easy A” is far off being a contender for an Oscar. It is not overly fantastic, but the humour just allows for good movie viewing. The quick banter and witty one liners make this a movie which people who aren’t in their teenage years can enjoy. It may also give teenage girls the idea that if they think they are an outcast because they are a virgin, it is far worse being an outcast because you are the complete opposite. And there is nothing wrong with knowing that.
7.5/10

The Help review- Is it wrong for a serious matter to be beautified?

Year: 2011

Director: Tate Taylor

Cast: Emma Stone, Viola Davis, Octavia Spencer, Bryce Dallas Howard

In My Own Words

                Ron Howard has got one talented daughter.

                Don’t get me wrong, I think all the actors in The Help are very talented women and I have a tremendous respect for each one of them, but Bryce Dallas Howard is one actor I have kept my eye on for the past few years.

                I know M. Night Shyamalan’s The Village has a lot of haters, but I didn’t mind it. It was one of those films people went into expecting a horror film with a lot of blood and guts, monsters and ghosts. So if you were expecting that and weren’t open to anything else, then yes, you would be disappointed. I liked it because it was actually a really good period piece film and it had a difference to it. And Ms Howard’s breakout performance as the blind, wise girl was extremely memorable.

                Since then, I have been waiting for another performance like that from her. Manderlay and As You Like It weren’t bad, as wasn’t The Loss of A Diamond Teardrop. However, I had been waiting for her to take on meatier role to show her true talents. In The Help, she does a great job at the sweet but evil Hilly Holbrook and I was so pleased to see her in this role. I still believe she has more in her than what we have seen though. Get her in the right role and she is one of the future Academy Award winners. How’s that for a big prediction?

                These are my own words and here is my review.

Review

                If you want to see how perfect character development in films should be done, it is right here in The Help.

                The characters in The Help are so well constructed that you as the viewer truly feel as though you have made true friends and enemies in the space of 146 minutes. The acting is brilliant, as is the background of the south in the early 1960’s. The only drawback is that it can be a little bit too pretty at times for a film which has very serious undertones. It isn’t all doom and gloom though.

                Eugenia “Skeeter” Phelan (Emma Stone) is an aspiring writer in 1960’s Jackson, Mississippi, a time when women weren’t supposed to want a career, just a husband. After approaching, the maid of one her friends, Aibileen (Viola Davis) for help with her column, she realises how much Jackson’s help has to tell. Skeeter undertakes the ambitious and dangerous task of writing a book from the point of the Help about the white families they work for. The further Skeeter explores, the more she sympathizes with the Help and realizes the evil that is all around her in Jackson.

                Kathryn Stockett’s novel is brought to life in brilliant fashion. The time period of the 1960’s in the south is very well represented. It is startling revelation to many that this time of unease and cruelty was not so long ago. There are some startling and very emotional moments throughout The Help, but also some comedic and triumphant moments. The script provides some memorable moments as well, particularly when the Help are telling their stories.

                Visually, the film is rather gorgeous. The town of Jackson is picturesque and the town’s milk bars make you long for that part of the 60’s with the music of the times blaring while you drank your milkshake. The classic Cadillacs are a novelty and the costumes for the women are stunning.

The only problem is that these things can make the film a little too pretty. The poster for The Help is bright yellow, which is a funny colour the make a poster of a film where the main subject is the cruelty towards the coloured Help, as yellow normally symbolises happiness. The lives of the white women in Jackson come across as enviable as visually everything looks so perfect and fun and pretty for the female audience. It turns The Help into a chick film based purely on the visuals. It does seem strange for Tate Taylor to make a film with content like this so pretty, but it does open it up to a larger audience of females of all ages by doing so. However, making the film so “pretty” does take away the seriousness of the full picture.

                The characters are wonderful. The best thing is you know exactly who all the characters are and where they have come from. Viola Davis and Octavia Spencer give tremendous performances and they are so real. You know the background of each of the characters and you feel connected to the two of them and feel everything they go through.

                Emma Stone does well in a role that is unlike her comedic roots. She has one very touching moment when she finds out the truth about her old maid. Bryce Dallas Howard is great as the sweet and sour Hilly Holbrook. Her character is the type of person every fears, the one people feel they have to be friends with because otherwise they will tear you to shreds. Both her and Stone are completely natural in their roles.

                Jessica Chastain, who plays Celia Foote, does well at times, but her character does come across as a bit too silly and plays the dumb blonde stereotype a bit too over the top. The small roles in which the men of the film have portray the white men of Jackson to be just as much dumb blondes as what Chastain’s character is.

                Enjoyable and visually fun, but is it wrong for something of such a serious matter to be visually fun?

7/10

               

               

Birdman or (The Unexpected Virtue of Ignorance) (2014) film review

Year: 2014
Running Time: 119 minutes
Director: Alejandro Gonzalez Inarritu
Writers: Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo
Cast: Michael Keaton, Edward Norton, Emma Stone, Naomi Watts, Andrea Riseborough, Zach Galifianakis, Amy Ryan

Birdman or (The Unexpected Virtue of Ignorance) will open in Australian cinemas on January 15 and is distributed by 20th Century Fox. Now showing in the United States and United Kingdom.

Michael Keaton playing an ex-superhero actor in Alejandro Gonzalez Inarritu's Birdman or (The Unexpected Virtue of Ignorance) sounds like it could well be autobiographical. However, that it isn't and that's a beautiful thing. Birdman is a remarkable cinematic experience that showcases exquisite cinematography and editing, wonderful performances and a highly entertaining screenplay, which all show beyond doubt the filmmaking brilliance of director and co-writer Inarritu. Though the film is mostly bleak in it's outlook of life and love, it does have it's underlying uplifting themes hidden in it's black humour and slight surrealism.

Riggan Thomas (Michael Keaton), the film actor who's most memorable role is that of superhero Birdman, is trying to make his acting comeback on the stage by directing and starring in an adaptation of 'What We Talk About When We Talk About Love". He puts everything on the line for this play including his finances and reputation, but also his relationship with his daughter, Sam (Emma Stone) who is fresh out of rehab and acting as his PA. Riggon can't seem to catch a break on his stage with the actions of his erratic actors (especially the unpredictable latecomer Mike (Edward Norton)) and mishaps stopping the company from having a perfect run through before opening night and making Riggan believe that maybe he really is just Birdman.

Birdman is absolutely superb film making. The screenplay is incredibly detailed and unpredictable with colourful dialogue that is witty, hilarious and entertaining. Riggan's story treads the line between realism and surrealism which could make it hard for some to figure out, but is an unique method of ensuring the films unpredictability. Inarritu ensures that the characters of Broadway and their situations are realistic to those of the world theatre world, but has fun in letting anything go with Riggan and his Birdman alter ego. The relationship between Riggan and Birdman is a particularly interesting one. Like many actors who are typecast as a result of an iconic role they have played, Riggan is trying to be rid of the Birdman persona he is known by and the voice of the character who has become a part of him in his head. However, it would seem that Riggan cannot be separated from Birdman so the two are actually one in the same. What the film is saying here is that rather than be ashamed of the past, one needs to take the best of what the past gave you and believe that you are special for it and only then will others believe that you are special. Birdman does this in an extremely innovative, memorable and unexpected way.

Birdman's brilliance is not at all limited to it's screenplay. Inarritu's piece of cinematic art plays with the technical side of the form and makes the film visually captivating. The impression is given that Birdman is filmed in one shot, but it is the incredible use of sly editing which makes this possible. The camera produces what seems to be one long tracking shot, in which characters are followed by the camera to where the next scene takes place. This was extremely ambitious, but executed so well that it is genius. It feels as though the camera is a living being running after each of the characters and moving from side to side with haste as if listening to and watching characters address each other. The musical score is also unique with the large majority of it being primarily percussion and this fits right in with the Broadway atmosphere. Although the majority of the film is set inside the St James Theatre in New York City, when the characters step outside one can feel the cool city air and the bustle of being on the ground or the feeling of freedom being removed when looking down on Times Square.

With this role, Michael Keaton completely reinvents himself. No one ever doubted Keaton's ability as an actor, but with his portrayal of the desperate Riggan he undoubtedly gives the best performance of his career. It would have been expected for his character to be distraught about not being able to break free of his Birdman persona and although there are hints at this annoyance, this is not what his performance is about. It is about a man who is desperate in every area of his life and who's life keeps intercepting with the role he is playing on stage. Keaton has many shining moments and his Riggan is a character which the viewer truly cares about and connects with.

Emma Stone, like Keaton, gives the best performance of her career. She gives a controlled but evolving performance throughout the film, though she has one truly spectacular scene with Keaton filmed in close up in which her dialogue is brilliantly delivered but her expressions speaks louder than words. Edward Norton is also very good as Mike, an actor who relies greatly on the practise of method acting and struggles to understand who he is away from the stage as a result. Norton captures the notion of being confidant in not knowing who you are perfectly. Naomi Watts, Andrea Riseborough and Zach Galifinakis all also shine in their roles.

Birdman is a cinematic triumph in so many areas. Inarritu has not only brought out the very best in all of his actors, but has also created a fine piece of cinema artwork.

9/10

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

What to Expect From The 87th Academy Awards

 

What can we expect from the 87th Academy Awards this coming Sunday?

Although first time host Neil Patrick Harris has this week been confessing to media outlets that he is unprepared and full of nerves, there is no doubt that he will deliver plenty of laughs and entertainment on the night. Harris, who has hosted the Tony Awards four times and the Emmys twice, is no stranger to this type of gig and as a triple threat with his acting, dancing and vocal talents he is sure to delight and have plenty of surprises up his sleeve.

If Harris does feel the nerves, he has plenty of company that will be joining him on stage to share the duties. Among the presenters of this years awards will be Terence Howard, Felicity Jones, Jason Bateman, Idris Elba, Ben Affleck, Viola Davis, Nicole Kidman, Ansel Elgort, Liam Neeson, Jessica Chastain, Kevin Hart, Shirley Maclaine, Cate Blanchett, Matthew McConaughey, Lupita Nyong'o, Jared Leto, Marion Cotillard, Scarlett Johansson, Jennifer Aniston and more.

One thing we will be expecting is a song and dance number early in the piece by Harris. The question remains, will this be an individual, joint or group effort? Past Oscar winner, Jennifer Hudson has been named as a performer, as has Anna Kendrick, Jack Black and Lady Gaga. The five songs nominated for Best Original Song will also be performed live on the night by John Legend and Common, Maroon 5, Tim McGraw and Tegan and Sara and The Lonely Island.

The red carpet fashion is always a talking point, but promises to be incredible this year with some of the most fashionable actresses gracing the carpet. The ones to watch as they arrive are Marion Cotillard, Felicity Jones and Emma Stone, and although Keira Knightey's style at the Golden Globes has been scrutinized, she has since been forgiven and is sure to dazzle on Sunday night.

Now for the actual Oscars predictions. What to expect in regards to the best performance Oscars are no surprises. Attempting to predict the recipients of the acting awards this year is particularly easy as all four of the predicted have scooped up every award on the way that would point to a golden man victory. However, it is the Academy Awards for Best Film and Best Director which are the talking point this year and the awards which people are most interested in due to the unpredictability involved.

Best Motion Picture of the Year
American Sniper
Birdman
Boyhood
The Imitation Game
The Grand Budapest Hotel
Selma
The Theory of Everything
Whiplash

 

Our prediction- Boyhood

It seems to be a race to the finish for Best Picture with the frontrunners being Alejandro Gonzalez Inarritu's Birdman and Richard Linklater's Boyhood. Things have been made interesting with Boyhood winning the highest award at the Golden Globes and Birdman winning big at the Screen Actors and Directors Guild Awards. However, Boyhood is still the frontrunner in our eyes for the fact that it has a greater universal appeal. It is true that the members of the academy are all involved in show business and many may relate to Birdman greatly, but the wonderful thing about Boyhood was that everybody could relate to growing up as seen through the eyes of a child. The film which is revolutionary in it's style and mode of storytelling is a loving tribute to the life itself.

Our Runner Up- Birdman

 

 

Best Director

Richard Linklater- Boyhood

Alejandro Gonzalez Inarritu- Birdman

Bennett Miller- Foxcatcher

Wes Anderson- The Grand Budapest Hotel

Morten Tyldum- The Imitation Game

 

 

Our prediction-Alejandro Gonzales Inarritu- Birdman

The Best Director battle reads much the same as that of Best Picture as it is between Richard Linklater for Boyhood and Alejandro Gonzalez Inarritu for Birdman. Yet this time we can see Inarritu taking the Oscar for his direction. Again it is very close as Linklater won at the Golden Globes and Inarritu won at the Directors Guilds, but considering it was him who won at the Guilds and many of the same people will be voting in this category at the Oscars a victory for him seems likely. However, Linklater really is not very far behind. This is certainly going to be an interesting moment of the night.

Our Runner Up- Richard Linklater for Boyhood

 

Best Performance by an Actor in a Leading Role

Steve Carell- Foxcatcher

Bradley Cooper - American Sniper

Benedict Cumberbatch- The Imitation Game

Michael Keaton- Birdman

Eddie Redmayne- The Theory of Everything

 

 

Our prediction- Eddie Redmayne for The Theory of Everything

Eddie Redmayne has won every major award leading up to this which is as good an indication as any that he will be the winner of this most coveted acting award, but one has only to watch the five performances nominated to realise that he is miles ahead of his competition. This is no light statement, as this category is perhaps the strongest of all the acting fields for the night. All five performances are terrific and had Michael Keaton or Benedict Cumberbatch been nominated in another year, either of them could well have been certainties. However, Redmayne's performance as Stephen Hawking is one of the best in years and wonderful on so many levels that he is about to turn his first Oscar nomination into his first Oscar win.

Our Runner Up- Michael Keaton- Birdman

Best Performance by an Actress in a Leading Role
Marion Cotillard- Two Days, One Night
Felicity Jones- The Theory of Everything
Julianne Moore- Still Alice
Rosamund Pike- Gone Girl
Reese Witherspoon- Wild

 



Our Prediction- Julianne Moore for Still Alice
With her fifth Oscar nomination, it seems as though Julianne Moore will finally make the conversion from nominee to winner. Nobody else's name has even been mentioned as a true contender in this category and Moore has won every award leading up to the Oscars so there is really no doubt that this is her year. Moore's performance spoke to those touched by a disease that is often ignored in popular culture and is receiving a hero's reception as a result of her superb performance.
Our Runner Up- Felicity Jones for The Theory of Everything

Best Performance by an Actor in a Supporting Role
Robert Duvall- The Judge
Ethan Hawke- Boyhood
Edward Norton- Birdman
Mark Ruffalo- Foxcatcher
J.K. Simmons- Whiplash

Our Prediction-J.K. Simmons for Whiplash
Much like the rest of the categories, there has only been one name uttered for Best Supporting Actor. J.K. Simmons is in a field with some fine performances, but his performance as the formidable music teacher, Fletcher in Whiplash had everyone talking. His character was the man that haunts you in your nightmares because of his unpredictability and damaging style of motivation. Simmons has, like our other predicted winners, won all the awards leading up to the Oscars and it will be a huge surprise to hear someone else's name besides his called out on Sunday night.
Our Runner Up- Edward Norton for Birdman

Best Performance by an Actress in a Supporting Role
Patricia Arquette- Boyhood
Laura Dern- Wild
Keira Knightley- The Imitation Game
Emma Stone- Birdman
Meryl Streep- Into The Woods

Our Prediction- Patricia Arquette for Boyhood
Patricia Arquette has become the crowning glory performance-wise of Richard Linklater's Boyhood. Arquette played Olivia, the woman so many mothers could relate to and so many children could see their mothers in. It was a fine performance and that along with the twelve year commitment factor look to have secured her her first Oscar.
Our Runner Up- Emma Stone for Birdman

An interesting point is that if our predictions are correct, we will have a pool of first time winners and more than half of the winners will be winning with their first nomination.

Join us in the days following the Oscars for our recap of Oscars week in Los Angeles and of the night itself and it's winners!

Happy Oscars everyone!

Top 10 Films of 2016

So here we are at the end of another year!

While 2016 has been a year that many of us would rather forget for many reasons, film has not let us down. As we once again head into awards season, we are reminded of how much beauty there is in the escapism of cinema and that this art form is one that remains a comfort in the hard times. Of course each year sees the release of some terrible films, but we will always remember the year for the amazing films that were released rather than the downright awful.

So as always, my top 10 for the year is based on the Australian release schedule. So one film in particular that I have seen that will not feature in my list is Pablo Larrain's Jackie, as it will be released in Australia on January 12 2017. I am absolutely besotted with this film and there is no doubt that I would be in my top 5 if it was to be released in 2016.

Also, I have found that this year that my top 10 reflects my personal taste more than any other year. I recognise that many will not share my enthusiasm for a few of the films in my list, but I have reasoning behind each of these films and stand by them.

So let's start off with number 10 and count down....

10. Zootopia
Directors: Byron Howard, Rich Moore and Jared Bush
Writers: Byron Howard, Rich Moore, Jennifer Lee, Josie Trinidad and Jim Reardon (story), Jared Bush and Phil Johnston (story and screenplay), Dan Fogelman (additional story material)
Cast: (voices) Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Nate Torrence, Bonnie Hunt, Don Lake, J.K. Simmons, Octavia Spencer

When Disney talks, the world listens. Zootopia's timing this year was absolutely uncanny. It was exactly what the world needed to see at the time of release and still is nine months later. Disney once again turned to their winning concept of talking animals (which always delights the younger audiences), but there were underlying themes there for both young and old. On top of that, the film was a whole lot of fun with a witty sense of humour that played on words and the stereotypes of animals, as well as loads of film and Disney related Easter Eggs.

9. Oasis: Supersonic
Director: Mat Whitecross
Cast: Liam Gallagher, Noel Gallagher, Paul Arthurs, Paul McGuigan, Tony McCarroll, Mark Coyle

So this is one of the films that slipped into my top 10 because of what it meant to me, but I know I am not the only one out there who feel's so passionately about Mat Whitecross' Oasis: Supersonic. This music documentary about the Gallagher brothers' hugely successful British band is such a treat for fans as it is reminiscent of the band's glory days and gives us much needed hope that there may be a reunion one day. Yet, it does not sugar-coat nor defend anything the band did and is unapologetic as it tells things for how they really were. Seeing the infamous Knebworth concert on the big screen and hearing their music in a cinema was quite the experience.

8. Trumbo
Director: Jay Roach
Writers: Bruce Cook (book), John McNamara (screenplay)
Cast: Bryan Cranston, Diane Lane, Helen Mirren, Michael Stuhlberg, Louise C.K., Elle Fanning, Dave Maldonado, John Goodman, David James Elliot, Alan Tudyk, Roger Bart, Dean O'Gorman, Christian Berkel

You can all have your Walter White, but this is my favourite Bryan Cranston performance. Trumbo is a stunning and riveting portrait of old Hollywood which brings to light the extreme injustice inflicted upon important and talented members of the filmmaking community out of fear of their conflicting political beliefs. Cranston was astonishing as Dalton Trumbo and it was a well-earned Oscar nomination for him. Helen Mirren was also perfect as Hedda Hopper, the woman with balls of steel who could make or break anyone in Hollywood. Despite having a serious undertone about a dark period of Hollywood history, there was still something so much fun about this piece of movie nostalgia. 

7. Brooklyn
Director: John Crowley
Writers: Colm Toibin (novel), Nick Hornby (screenplay)
Cast: Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent, Fiona Glascott, Julie Walters, Eileen O'Higgins, Jessica Pare, Emily Bett Rickards, Eve Macklin, Nora-Jane Noone

Brooklyn is just downright sweet and beautiful. Every part of it. With it's glorious sense of 1950's nostalgia, it is almost surprising how relatable the story and themes in John Crowley's Brooklyn are to the modern woman in it's heart-warming story of personal growth and love. I saw a lot of myself in Saoirse Ronan's Eilis and with how much women are encouraged to go out into the world and find a new life these days, I know I am not the only one who did. The production design of 1950's New York and the exquisite costume design made Brooklyn extremely easy on the eye.

6. Hacksaw Ridge
Director: Mel Gibson
Writers: Robert Schenkkan and Andrew Knight
Cast: Andrew Garfield, Teresa Palmer, Hugo Weaving, Rachel Griffiths, Vince Vaughn, Sam Worthington, Luke Bracey, Luke Pegler

Mel Gibson's Hacksaw Ridge is frightfully graphic, violent and confronting, but ultimately life-changing in the most beautiful of ways and an absolute triumph in filmmaking. People talk of how some war films are frightfully beautiful, this is one of them. The cinematography and special effects of Hacksaw Ridge are just so incredible, but they also make the film a very hard watch and it takes a lot not to look away during some of the combat sequences. However, the story of Desmond Doss is overwhelming in the best possible way and Andrew Garfield an unforgettable performance.

5. The Revenant
Director: Alejandro Gonzalez Inarritu
Writers: Michael Punke (based in part on the novel by), Alejandro Gonzalez Inarritu and Mark L. Smith (screenplay)
Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, Paul Anderson, Forrest Goodluck, Luke Haas, Grace Dove

The Revenant just snuck into Australia's 2016 release schedule as it was released on January 7 and I could not neglect it. Alejandro Gonzalez Inarritu's The Revenant is the perfect hybrid of exquisite beauty and graphic brutality in it's story of human survival in the unforgiving wilderness which is enhanced by it's superb performances by it's stellar cast. The film will always be remembered primarily as the film that Leonardo DiCaprio finally won an Oscar for and there is no denying that it was a well deserved win. However, the film as a whole deserves more respect than that. Brutal, but visually exquisite.

4. La La Land
Director/Writer: Damien Chazelle
Cast: Emma Stone, Ryan Gosling, J.K. Simmons, Rosemarie DeWitt

Damien Chazelle's La La Land is getting a lot of love in the form of Oscar buzz at the moment and I am all for it. The film a love letter to both old and new Hollywood and to the city of Los Angeles, and the city hasn't looked this good on screen in a long time. La La Land is so multi-layered and says so many things in the most creative of ways with beautiful song and dance sequences. Emma Stone and Ryan Gosling are both wonderful as the dreamers we all wish we were. The fact that I love old Hollywood and Los Angeles didn't hurt the growing love I felt for this film when I saw it in the cinema.

3. Hail, Caesar!
Directors/Writers: Joel and Ethan Coen
Cast: Josh Brolin, George Clooney, Tilda Swinton, Ralph Fiennes, Scarlett Johansson, Alden Ehrenreich, Channing Tatum, Jonah Hill, Frances McDormand, Alison Pill

When I first saw Hail, Caesar! back in February, I was almost positive I had seen the film that would be my number one film of 2016. Joel and Ethan Coen penned the ultimate love letter to old Hollywood with Hail, Caesar! The film is a masterpiece in the eyes of those who are fascinated with the golden age of Hollywood, but with it's entertaining screenplay and stunning visual production can be enjoyed on a much larger scale by all audiences. Being an old Hollywood buff myself, the Coen brothers' screenplay blew me away because of how much it interlocked several pieces of Hollywood history. I know those who know only bits and pieces about the days of the Studio System would not pick up as much, but for those who are it is just glorious and so much fun.

2. Hunt For The Wilderpeople
Director: Taika Waititi
Writers: Barry Crump (based on the book by), Taika Waititi (screenplay)
Cast: Julian Dennison, Sam Neill, Rima Te Wiata, Rachel House, Taika Waititi, Tioreore Ngatai-Melbourne, Rhys Darby, Oscar Knightley, Stan Walker, Mike Minogue, Cohen Halloway

I loved Hunt for the Wilderpeople when I first saw it in the cinema, but after I bought it on the first day it came out on DVD, I have come to love it even more with each rewatch. Taika Waititi's new take on the self discovery adventure film is incredibly charming and effortlessly funny with a view of New Zealand that has never been seen in cinema before. There is so much beauty in this film both in the visuals and in the subtly heartfelt performance by Julian Dennison and Sam Neill as the lead characters, Ricky and Hector. Waititi's direction is currently going from strength to strength and his cameo as the priest is a hilarious highlight.

1. Ghostbusters
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

So....Ghostbusters is my number one film of 2016 and believe me, no one is more shocked about this than me. If someone had told me this time last year that the female led Ghostbusters remake was going to be my favourite film of the coming year, I would have asked what drug they were on. Now, I am obsessed with this film and it will come as no surprise to those who know me that it tops my list.

So hear me out. Yes, I love Ghostbusters because it makes me laugh every time I watch it (and I have watched it at least 20 times since I bought it on DVD) and Kate McKinnon's Holtzmann is my spirit animal, but there are some things I feel this movie did brilliantly. Firstly, this year and last year has seen the bombardment of remakes and by July this year, I was completely over going to see remakes, origin stories and sequels. From the outside, Ghostbusters purely looked like just another remake with females in the lead to make it look different. This film gave me faith in the remake. The Paul Feig and Kate Dippold written screenplay merely used the 1984 film as inspiration while it created a whole new story, but was still completely respectful to the original film.

Secondly, THIS is how you do a female empowerment film. So many filmmakers think that female empowerment in film is merely just putting a woman in their film or an action woman kicking butt. The four women in Ghostbusters are the ones girls should be looking up to. All smart women who are doing what they want in life, despite what people are saying. Nothing is talked about in regards to their appearance or their relationship status. Yet they do all kick butt in the name of science and because they are all smart and streetwise women.

And now I will go and watch this film for the 21st time.

Honourable mentions.....

The Big Short

Spotlight

Janis: Little Girl Blue

Whiskey Tango Foxtrot

The Hateful Eight

The Jungle Book

The Beatles: Eight Days A Week- The Tourimg Years

The Witch