wgamador
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Mini-Review of the Month Presentation February '09 Hello fans and media members. Welcome to the 2009 Mini-Review Oscar Awards. Enjoy the winning nominees and dont forget to make yourself eligible next year. Without any more delays lets do this thing. .....and the Oscars go to:  Oscar for Best Review: Amelie_Scotland ......Pages 61 Amelie's Oscar Season Review Post! Well, it's that time of year again in the movie calendar. Armed with my student discount card and several packets of Digestive biscuits I watched 7 films over the past two weeks that have been nominated for Oscars. Here are those reviews, with pictures stolen from Livejournal to jazz things up. Doubt (John Patrick Shanley - 2008) 
In a church run school in 1960s New York, Sister Aloysius (Meryl Streep) the headmistress is uniformly terrifed by all. She runs the school with an iron grip and strict rules. She is suspicious about the parish priest Father Flynn (Philip Seymour Hoffman) and instructs her fellow nuns, including the wide eyed Sister James (Amy Adams) to look out for any incriminating evidence against him, leading to an accusation of molestation against the only black boy in the school.
With a cast like this (3 Oscar wins and countless nominations) and the prestige that precedes the play (a Pulitzer prize winner) you'd be forgiven for thinking that the Oscar voters had put it on their ballots before even seeing the film. I'm led to believe this more after seeing it myself. Shanley is a stunning writer but his directorial skills leave a lot to be desired. His only previous experience behind a camera was in the film Voe Versus The Volcano, not the best example. There are far too many uses of jaunty camera angles which adds nothing to the atmosphere of the film (thank the genius Roger Deakins for that) and the examples of imagery are as subtle as a brick. He's a man used to the stage and the main problem with adapting theatre to film is the difficulty of opening the story up to a wider audience without the constraints of a stage.
His direction does ultimately effect the quality of the performances. Meryl Streep could rest on her prestigious acting laurels but I admire her for continuing to seek meaty roles, such as the one of Sister Aloysius, but she doesn't fully succeed in bringing the needed uncertainty to the role. Aloysius is portrayed as a complete ogre for the first half of the film. She seems to be going after Father Flynn for the sole reason that she doesn't like him. Streep inhabits her character with too many ticks and scornful looks. She is much better in the second half but her final line is delivered in such a ham fisted way, any meaning it had just floats away. Hoffman, another great actor, is good but he's been so much better. He brings a lot to Flynn but once again, we need the doubt and it isn't quite there. Sister James is supposed to be a naive but well meaning woman who cares for her class and the truth. I can understand what Adams was trying to do with the role but, dear god, she acted like a squirrel! I was convinced she'd walked straight in from Enchanted, put on a black dress and bonnet and continued. She laid it on too thick and it was a little weird to watch. She fares better in some scenes (like getting serious with her class) but it's a low point for Adams. In her 5 minute scene, Viola Davis gives the film it's much needed doubt and finally gets you thinking about what the film wants you to think about. In her role as the possible victim's mother, she sets the screen on fire and brings even more questions into the equation. I'm glad she's been recognised for this role, as small as it is. She even gives Streep a much needed bounce and there's a wonderful sparring of words between the pair.
The strength of the film lies in Shanley's script. Adapted from his own play, it's a battle of honesty and lies. You just don't know who is telling the truth. Accusations are made, lies are told and the basic belief in God is questioned. It's a stunning tale. But the weak direction really hinders it. The performances, predominantly Streep, needed to be reeled in and the simple rules of directing needed to be obeyed. A much better, more experienced director, could have done wonders with this tale. His adaptation could have done with some work too to keep it from being too 'stagey.' Some of these lines ask to be bellowed out in front of a crowd and that doesn't translate well to a screenplay. There is a wonderful film here, it's just gotten lost amongst the mess.
Revolutionary Road (Sam Mendes - 2008) Frank and April Wheeler (Leonardo Di Caprio and Kate Winslet) had big dreams for their futures. But several years down the line they find themselves stuck in the typical suburban mould with a house in a nice neighbourhood, two young children and Frank stuck in a job he loathes. They come up with a plan to move to Paris and be free, but it seems that they make fall apart before they get that chance.
It's been 11 years since Winslet and Di Caprio had that romance on the boat called Titanic and it's wonderful to see them together again. Sadly the romance here isn't as sweeping and beautiful as Jack and Rose's. April and Frank are deeply unhappy with the routes their lives have taken and have begun to take that deep hatred out on each other. Love does exist between the pair but the dissatisfaction of their present and future is too much to contain. Mendes captures the unhappiness of not just the Wheelers but the entire cast of characters. People have dreams and they are often left to turn to dust, instead returning to the monotony of their actual lives. It's also a rather harsh dissection of marriage and it's pitfalls. The scenes of life in the 50s are wonderfully shot and rather beautiful. If you liked Mad Men you'll love this. The constraints that family life placed on April and Frank evoke both pity and a little anger in the viewer. April in particular is rather unlikeable. The main problems with the script, adapted from the novel by Richard Yates, lie in the unanswered questions about why they are unhappy. The monotony is understandable but her constany belief that they are somehow special is grating. The mentions of the dullness of family life don't make much sense when the kids appear so little as well.
Performance wise, I can't fault anyone. Di Caprio has a sensitivity hidden underneath his character's anger that makes him easy to pity. He knows how to make a devastating impact and I applaud him for that. Winslet is also brilliant. It's been a great year for her. April often isn't easy to understand or even like but she fills her with such pain and confusion that it helps in your understanding of the suburban housewife. The battle between husband and wife is like a car crash, one that we all fear. Their emotions flicker and change so often, you wonder how things are going to change with every scene. They are often cruel and it's wholly depressing to watch but both actors bring everything they've got to the roles. How refreshing to see another Titanic star, Kathy Bates back on screen in a role worthy of her talents. Her character isn't in many scenes but she is superb. The only cast member to be acknowledged in the Oscar nominations is Michael Shannon, as Bates' mentally ill son. In two scenes, he unleashes an acid tongue and brutal honesty on the Wheelers, letting them know just how bad their lives are. Nobody else will say what they really mean in the film and it's left to Shannon to address the problems. It's a stunning performance that may have been overlooked because of the bigger names in the film, but I'm glad it wasn't.
It's a darkly pessimistic tale that suggests your dreams will never win over reality. Watching the Wheelers fall apart at the seams even as they fight the inevitability of it all is heartbreraking. It's compelling stuff but don't go in expecting Titanic 2. Some questions go unanswered and it's not an easy watch but it's wonderfully directed, acted and told. Frost/Nixon (Ron Howard - 2008)
In 1974, the Watergate scandal was revealed to the world. leading President Richard Nixon (Frank Langella) to resign from office. 3 years later, top British television star David Frost (Michael Sheen) puts together the possibility of an interview with the now reclusive Nixon, thinking it will lead to stardom in America. With no money, no network support and a group of cynical yet eager investigators supporting him (Oliver Platt and Sam Rockwell), the interviews go ahead, with the hopes of a confession being extracted. But Nixon begins to live up to his Tricky Dicky nickname more than they had thought.
David Frost and Richard Nixon are two men you couldn't create yourself. At the time, Frost was a charismatic, if slightly slimy, TV star who enjoyed the public eye and many women in brought to his feet. Nixon, now a common figure of ridicule and caricature (see Futurama), was responsible for one of the biggest crimes in US history but clung to the stubborn idea that what he did was the right thing. Both had big ambitions they could have gained from the interviews and they both fought for them, turning manipulation into a fine art. It's apt that Howard directed Cinderella Man because the battle here is much like a boxing match. The opponents take each other's verbal punches and aren't afraid to get a little dirty. Howard is a director I can usually take or leave and I find he can often be a little over sentimental but he is at his finest in this film. Part mock documentary, you get a chance to see the inner workings of the interviews and their organisation but it never feels cloying or fake. With some great close ups and constant tension throughout the interviews, it's stirring stuff. When the camera zooms in on both interviewer and interviewee's faces during that climactic moment, you see the truth burst through.
Both Sheen and Langella originated the roles on stage but Langella was the one who received the lion's share of praise. His Nixon is an excellent imitation and he fills Richard with an unusual ambiguous feeling. He nails the all to easily mocked grumbles but very occasionally slips into parody. He can do a lot with a simple look but there's not enough of these moments for him to shine as Nixon the person, not just Nixon the figure of hate. However, Sheen gets it perfect. He has done so well playing real life figures, from Kenneth Williams to Tony Blair, and his Frost is right on the money. He plays the role with different parts - playboy TV darling to mocked dreamer to interrogator. One can't help but wonder why he hasn't become world famous yet. Bring on The Damned United and his well deserved Oscar nomination! The American cast amply support the heavyweights of the title, from Oliver Platt and Sam Rockwell as the investigators for the interviews to Kevin Bacon as Nixon's supremely loyal aide. Rebecca Hall, the only real female role of the film, is underused but lights up the screen.
What surprised me most about the film was the wit in the script. Peter Morgan adapted the story from his own play and keeps the verbal sparring as potent as possible. There are some very funny moments too which I didn't expect. The energy is high throughout and enhances the feelings of the US public at the time. People were crying out for Nixon's head and due to the pardon he received from President Ford, he would never stand trial for what he did. Morgan infuses his script with the regret and desperation people had, especially highlighted in Rockwell's character. It's an excellent piece of work.
Consistently exciting, a real return to form for Howard and hopefully the film that will catapult Sheen into superstardom, Frost/Nixon could be the dark horse of the Oscar race. It's a riveting story worthy of your time and hopefully Oscar's too.
Milk (Gus Van Sant - 2008)  Harvey Milk (Sean Penn), sick of being in the closet, moves to San Francisco with his lover Smith and open up a camera shop in the Castro district. As the area, a haven for openly gay people, begins to be effected by the bigotry of the police force and locals, Milk decides to run for city supervisor, becoming the first openly gay man to do so. He wants to make changes but with opposition in every corner, it becomes clear that he is severely outnumbered. Usually a more avant-garde filmmaker, Van Sant is strangely conventional with Milk but it works to his advantage. He avoids the overused elements of film-making and sticks to a simple story, with the help of documentary footage, lots of colours and an occasional narration from Milk. It's not a story that needs to be dressed up in unnecessary stylistic direction, it's potent enough on it's own and still feels important in the 21st century, especially with the vote in California to uphold Proposition 8. Milk was a man that inspired hope in thousands and still does to this day. He wanted gay people to be able to walk freely in the street without fear of attack and he fought for the rights of his friends and the millions that were oppressed around the country. During his many attempts to be elected, the anti-gay campaigner Anita Bryant (seen in the film through real news footage) was fighting for dismissal of all gay teachers in America. Watching the footage of her is haunting stuff and adds an extra element to the story. As Milk, Sean Penn is the best I've ever seen him. With a heart of gold and desperation for change, he leads the masses with a strong desire for a different world. He is perfection in the role, pure and simple. You never doubt his pain or his power. Sign me up for Team Penn. James Franco is also excellent, putting to rest any concerns that his acting is wooden, as seen in Spiderman. The young cast is full of wonderful actors, such as Emile Hirsch and Diego Luna, but the supporting gem is Josh Brolin. Securing an Oscar nomination for his portrayal of Supervisor Dan White, he is a frightening example of pent up rage and discrimination that ultimately results in tragedy. It could have easily fallen into pantomime villain waters but Brolin keeps it subtle. Danny Elfman's score is one of my favourites of the year, helping to keep the emotions flowing. I think I cried on three separate occasions during the film, much to my own embarassment. The story is inherently melodramatic but avoids the typical biopic pitfalls in favour of something more authentic and ultimately effecting. The screenplay by Dustin Lance Black dives head first into the issues that surrounded Milk and doesn't shy away from the uncomfortable moments. For such a heartbreaking story, there is a lot of joy in Milk. The joy lies in the hope and the realisation that one man can make a difference. You cry at the shocking injustice of one man ruining so much but the power that one man caused was enough to change so much and you cheer for Harvey. One of the best films I've seen in a long time, Milk is a heartfelt movie with a staggeringly good leading performance and enough power to make you want to change the world. The Reader (Stephen Daldry - 2008) Michael Berg (Ralph Fiennes) is a top German lawyer who reminisces about his youth (the teenage Michael is played by David Kross) in the 1950s and a passionate affair he had with an older woman (Kate Winslet) which involved him reading aloud to her. Several years later, Michael attends the trial of several female Nazi war criminals who are being convicted of 300 deaths. One of the criminals on trial is his former love, Hanna. The film that might just get Kate Winslet her severely overdue Oscar is an admirable piece of work, but not a great one. The direction is so stagnant and there were so many scenes crying out for more attention that just wasn't given. It leaves you cold and the ambiguity is far too much. Some scenes are pretty but never spectacular like you'd expect from Roger Deakins. Daldry has done so much better. The main problem I had with the movie was that it felt like two different tales stuck together - the sexual awakening tale of Michael and the moral courtroom battle regarding the holocaust. It may work as a novel but as a film, it feels awkward, especially with such ridiculously hot sex scenes taking up the first 45 minutes of the story. The relation between Hanna and Michael is the most interesting aspect of the story. Hanna takes control of everything, deciding when they shall make love and when he shall read to her. The books are like foreplay for her as she devours each tale he tells her. She is like a colder Mrs Robinson, taking charge of a young boy's life and ultimately affecting him in the future. Winslet is terrific, but then again she is never anything else. 
Hanna is a tough character - we never really learn anything about her but she begins to need Michael on more than just a sexual level and she's difficult to understand. Winslet can bring a lot to a role without even trying, and she gives the role the performance it deserves, even when naked. David Kross is a face to watch in the future and Fiennes is morose and confusing but you understand why. The German cast includes Bruno Ganz and Alexandra Maria Lara, all underused but good.
The theme that I did enjoy in the film was the importance of reading. Words are as important a character in the story as Hanna and Michael. They tie characters together, reveal the truth and destroy lives. In many ways, books propell the characters' decisions and lead them to do things they'll soon regret. As an avid reader and English literature student, I felt the strength contained in the stories Michael read to Hanna, as well as the book written by a holocaust survivor that leads to Hanna's trial. Sometimes the theme is laid on a little heavily but overall it's the element in the film that really saves it from total averageness.
As a total Winslut, I shall be openly screaming for Kate to win the Oscar for her terrific performance but in the other categories I can't help but feel The Reader is in a position of undeserved acclaim. Unaffecting and often strangely empty, it's admirable in it's attempt to dissect a topic like the holocaust but doesn't succeed. It's a shame to use the term generic but it definately applies.
Slumdog Millionaire (Danny Boyle - 2008)
The Indian police arrest Jamal (Dev Patel) after he reaches the final question on Who Wants To Be A Millionaire. He is one right answer away from winning 20 million rupees, but the police refuse to believe that a lowly team boy and slumdog could know all the answers. After torturing him for a confession doesn't work, Jamal tells them his life story, and how the answers were written into his past.
Ignore the backlash and listen to the cries of acclaim. Slumdog Millionaire is, and I do not regret saying this, the best movie out of all the ones I've seen these past few days. How odd that a tale that contains a game show I cannot stand (Anil Kapoor is wonderfully sneering as the Indian equivalent of Chris Tarrant). The game show isn't the film's centre though. What Boyle is really interested in is India itself. Although the film doesn't shy away from the extremities of the country and it's harsh conditions, it's clear that the film loves India deeply. Filmed with urgency and brightness, it's a country of colours and full to the brim with life. Using handheld cameras, Boyle throws you right into the middle of the action and doesn't stop for breath. The score is equally exciting and features an excellent use of Paper Planes by M.I.A. You don't stop moving, just like Jamal.
It's really an ensemble piece, with 3 actors playing the 3 main characters of Jamal, his brother Salim and the love of his life he spends years looking for, Latika. If I had to pick a standout piece of acting, then the honour would fall on Dev Patel. Previously best known as Anwar from Skins, he has a wonderful ability of appearing to do nothing yet being completely grabbing. I hope this leads to big things for him.
The story is contrived but you really don't care. There's a Capra-esque joy in the story and the direction that Jamal's life takes in the pursuit of love. It's an old fashioned tale of the underdog, one you want to get the money and the girl. There are some wonderfully funny moments, such as Jamal's attempts at being a tour guide in the Taj Mahal. Don't go to the film under the impression that it's the feelgood film of the year like it is advertised. A film that opens with police brutality and features orphans being blinded and prostitution isn't your happy-go-lucky sort of viewing experience. The final 10 minutes are pure gold though, including the best dance sequence you'll see all year. The romance is of the fairy-tale variety but no less enjoyable. Frieda Pinto is very underused, though she is incredibly beautiful.
Slumdog Millionaire is an odd film but it's one of the most enjoyable experiences I've ever had at the cinema. I laughed, I cried, I sat on the edge of my seat with awe and I loved every second of it. Ignore the haters and hope that the Academy make the right choice because this is the best film of the year.
Vicky Cristina Barcelona (Woody Allen - 2008)
Two best friends - the careful and cautious Vicky (Rebecca Hall) and the footloose and fancy free Cristina (Scarlett Johansson) take a holiday together in Barcelona. Vicky is engaged to be married to the nice but dull Doug and is studying Catalan culture while Cristina is confused about her life and recovering from another break-up. During their visit they meet painter Juan Antonio (Javier Bardem) who invites them both to a weekend of sex and food. The pair soon become messed up in the lives of Juan Antonio and his mentally unhinged ex wife Maria Elena (Penelope Cruz).
The thing I loved most about the movie was it's views on sex and relationships. It's so refreshing to see a story where women can openly have sex without being looked down upon. The girls, including Vicky's distant relative (Patricia Clarkson), are intelligent woman and make decisions based on their desires as well as their better judgements. Vicky is sensible in her life, picking a lovely fiance and good life, but her desires for Juan Antonio surprise her while Cristina is happy to experiment with whatever life throws at her. Juan Antonio himself is a definite lampooning of the archetypal Latin lover, even down to the red silk shirt. Bardem is clearly having a lot of fun playing the seductive painter. It's an incredibly sexy film - with a cast that gorgeous, how could it not be? Seduction and sex are important to the story and show how big a part they play in the building and destruction of love. Fidelity and commitment are ignored in favour of living for your emotions. Not a concept I particularly agree with but it makes for interesting viewing.
Rebecca Hall gets all the good lines, the sort Allen would usually reserve for himself. They're so much funnier when said by a level headed and usually careful woman. Johansson isn't an actress I particularly like, she has never done anything to back up the praise she has received over the years. She is beautiful and does Cristina's fickle desires well but compared to Hall, who shines, there's not much to say. The real star of the show is the scene stealing Maria Elena, played with feverish panache by Penelope Cruz. Her moods change at the flip of a coin, she is highly unpredictable but wholly sexy and seductive. Cruz doesn't so much set the screen on fire as flamethrow it!
Filmed through a tourist's eyes, Allen's 4th film outside of USA and his first in Spain delights in capturing the Spain you see on postcards, with particular concentration paid to Gaudi's architecture. He knows beauty when he sees it. The narration is pretty annoying, though I see why it was used. It speeds things along and lets you get to the good bits. It's not a serious movie, although Allen occasionally slips in his philosophising about relationships. It's fun, frothy and sexy.
For an interesting take on relationships, I'd definately recommend Vicky Cristina Barcelona. Cruz's turn is definately Oscar grabbing stuff and for sheer beauty, you can't beat it.
Tally:
Nominations:
Slumdog Millionaire - 10
Milk - 8
Frost/Nixon - 5
The Reader - 5
Doubt - 5
Revolutionary Road - 3
Vicky Cristina Barcelona - 1
My choices:
Best Picture - Slumdog Millionaire
Best director - Danny Boyle (Slumdog Millionaire)
Best Actor - Sean Penn (Milk)
Best Actress - Kate Winslet (The Reader)
Best Supporting Actor - Heath Ledger (The Dark Knight)
Best Supporting Actress - Penelope Cruz (Vicky Cristina Barcelona)
Best Original Screenplay - Wall-E (Andrew Stanton, Jim Reardon and Pete Docter)
Best Adapted Screenplay - Slumdog Millionaire (Simon Beaufoy, based on the novel Q&A by Vikas Swarup)
Best Animated Film - Wall-E.
------------------------------------------------------------------- Oscar for Best Supporting Mini-Review: Homersimpson_esq .............Page 62 [Contains Spoilers]
[Preamble]
I was ambivalent about seeing this initially, despite the obvious attraction of seeing Winslet in the buff, but its several Oscar nods coupled with it actually showing at a local cinema pushed me into seeing it. At an afternoon showing, amidst a sea of grey hair from the blue rinse brigade (and appropriate gasps at key moments), I was somewhat glad I did see it. The film stars the aforementioned Kate Winslet as Hanna Schmitz, a mid-thirties tram ticket inspector who embarks on a questionable affair with the young Michael Berg (David Kross - Ralph Fiennes plays the older incarnation). Her dark past is not mentioned at all until an hour into the film, whereupon it transforms into a courtroom drama, and then a prison movie.
[minus]
The first hour is sadly devoid of focus. The film cuts clumsily from the older Michael in the 1990s to his younger self, as he disembarks from a tram in the 1950s. Throwing up in a doorway he is helped by Hanna, who takes him home. Some weeks later, having recovered from Scarlet Fever he goes and finds Hanna. The scenes between Winsley and Kross suffer from a poor script and directionless, um, directing. Events transpire to force the two together unnaturally. To whit, Hanna peremptorily sends Michael to fetch some coal and, upon his return seeing his face covered in soot, demands he take a bath. Surely a wash would have sufficed? There was also something slightly unseemly about this mid-thirties woman having an affair with a 15 year old, despite Kross looking older (he was 18 at the time I believe). It became more clear when one changes the genders around - a mid-thirties man and a 15 year old girl is all kinds of wrong.
The story meanders along, with little happening other than a series of explicit encounters that see Michael become more and more infatuated and in love with Hanna, and Hanna unmoving, her character arc oddly static. Here is the titular reading, whereby before or after their amorous encounters, Hanna has Michael read to her. It seems a curious request, but Michael is more than happy to acquiesce if it made her happy too. There are moments with Michael's family that are never developed beyond a few encounters and it seems they are extraneous to the plot, and one wonders whether they could have been excised completely. As the summer wears on, Michael wants more of the relationship, Hanna not so much. Eventually the romance fizzles away. This first half of the film adversely affects the whole, and it is impossible to consider the film as great because of it. I have no problem with the explicit detail, as this is necessary to demonstrate the extent to which Michael has been utterly affected by Hanna. But it is the unfocused directing that creates a poor first half.
[plus]
The good news is that things improve drastically when we jump from the 50s to the 60s. The film metamorphosises from a summer-in-love film (if that's even a genre) to a courtroom drama. Michael is now a law student and he and his four classmates are taken to see a landmark legal case - the trial of Nazi war criminals. Following publication of a book incriminating several female Nazi concentration camp guards, they are arrested and sent to trial. This is what Michael is attending. For the first time we discover that Hanna was one of these guards, and the conflict on Michael's face is palpable. Betrayal? Anger? Love? Regret? These all pace over his features and more.
The courtroom scenes are taut and well-executed. There is a real presence of tension as Hanna's fate is meted out across the courtroom. When a key piece of evidence hinges on Hanna's fellow guard's accusation that it was Hanna who wrote a damning report, we know it is over for Hanna. It becomes obvious (to those of us who, like me, didn't realise earlier) that Hanna cannot read. She had Jewish prisoners read to her, just as she had Michael read to her. But her shame at her illiteracy is not enough to save herself from a lifetime in prison and she effectively condemns herself. Torn with emotion, even Michael cannot bring himself to see her to presumably ask her to tell them she could not have written the report.
The film cuts across the decades as the older Michael returns home, discovers one of the books he read to Hanna, and decides to tape himself reading them and send them to her. It is this simply human expression that is Hanna's one contact with the outside world and through it she not only lives through prison, but teaches herself to read. It's emotive stuff, and it's handled well. (Glimpses of Michael's diary as an older man shows us lists of meaningless numbers whose meaning is revealed later in the film.)
From a faulty start The Reader manages to redeem itself, barely, with a well-handled, if slightly temporally-jumpy second half. Earlier elements garner greater significance in the latter half to great effect. I can't help wondering if perhaps it might have worked better had it started at the trial, and interspersed the earlier scenes as flashbacks. Certainly it would have tightened up the narrative and given greater contrast between the facts of the trial, and the explicitness of the earlier scenes.
[to sum up]
The Acting - 7/10: Ralph Fiennes does well with relatively little to work with. David Kross as the young Michael Berg makes little impact early on, with awkward scenes between him and Winslet creating little on-screen chemistry. He is slightly redeemed come the courtroom section as he manages to get across the conflicting emotions.
The Look - 7/10: It's a period film, so it's going to have a strong look to it. Coming from the theatre, Daldry was always going to have a strong eye for visuals (cf: Sam Mendes) and he doesn't disappoint here.
The Sound - 6/10: Nico Muhly's music was emotive and haunting, although ultimately it hasn't left with me any great memories (unlike, say, the brilliant score to Australia).
The Story - 6/10: Poor first half, great second half.
Success of Intent - 7/10: As much as I enjoyed the second half, which left me leaving the cinema in a good mood, the first half did let the side down, so to speak.
Overall - 33/50, or:
66%
--------------------------------------------------------------------  Oscars for Best Original Mini-Reviews: Matthewforan and Deviation Milk ................Page 63
Directed by Gus Van Sant
Written by Dustin Lance Blank
Starring: Sean Penn, Josh Brolin, James Franco, Emile Hirsch, Diego Luna, Alison Pill, Victor Garber
Plot
In the true story of a young gay man uprooting from his home in New York to San Francisco Harvey Milk (Penn) sets about to change the way cops, politicians and the vicious right wing of American politics treat him and other homosexuals. He and his friends are treated like second-class citizen; he decides to lend his voice to the cause by setting about to change their lives from within the administration. After many failings he finally sets about getting a team together to finally nudge his way into office. If he does he'll be the first openly gay man elected to office but many will do anything to see that he doesn't but many will rise with him to fight.
One question must have gone through writers' Dustin Lance Blank's mind who will play his leading man after all the movie business has really yet to have a hugely successful gay man to take this film and make it their own. Of course not to long ago it was African Americans that had this problem then along came Sidney Poitier, Will Smith and of course the always charismatic and charming Denzel Washington. But in Sean Penn they have found an actor who has probably just had his role of a lifetime, a really fantastic performance by a man whose career is full of them.
He is joined by some other marvellous performances, although the Academy seems to have singled out Brolin for a Best Supporting Actor role yet again I'm in disagreement as both Emile Hirsch who plays activist Cleve Jones and James Franco playing Milk's ex love interest are superb in their roles. The both of them take on not only Brolin but they don't look at all out of place next to Penn especially Hirsch.
Along with the cast, other departments really have to take a bow, both in the art direction and the director himself. Van Sant might even have gone one better that Good Will Hunting and knowing my love for that movie that praise isn't dished out easily. His choice of bringing in archive footage really gives you a small insight into the country that America was at that time. When right wing politicians didn't hide anything, they knew what they were against and they said so. Some of the footage is very scary but it is the darkness to the film that is needed so you really appreciate the good.
During the scenes when Harvey and his friends are finally able to celebrate their triumph I don't believe I've eve experienced a moment in film where I've been that happy for someone. Yes even the moment when Red and Andy finally meet again. But I honestly think that no one will not shed a tear of joy when they see when Harvey is finally elected to office. But don't let this fool you there are some incredible dark moments in the film, since I don't know if people have already seen the movie and it's based on a true story I really don't want to spoil anything but it's safe to say that more than a couple of people will be shedding tears at a few points in the film.
I'm not going to lie, I knew nothing of Harvey Milk before seeing this film. I'm a fan of Sean Penn and that's basically what got me to see it and I've been thankful for it everyday since. Because Milk is a superb and uplifting story, it has much the same effect as the Shawshank Redemption, not a subject that you'd find yourself feeling that way but you do. It is put together by the great feel of Van Sant's directing, the authentic look of San Francisco and some truly wonderful performances Milk will be a film you remember with fond thoughts for a long time to come.
Verdict 93% ----------------------------------------------------------------------------------- CRIES AND WHISPERS.................Page 61 Directed by Ingmar Bergman Till now, I still haven't seen a Bergman that is below greatness. Did Cries and Whispers break this chain of great films by Bergman? Absolutely not. It's not perfect, but it is still a good film. However, I think I prefer his earlier work, not because his later work is poor, but because of the themes he used and the way he examined them. His later works, or at least the ones I've seen, seem to cover people and their relation to the members of their family, while his earlier covered issues involving faith and the relation of man to God. Family was always a common theme in Bergman, but in his later works, it became a more central idea.
Cries and Whispers focuses primarily on the relation between three sisters, Agnes who is dying of cancer, Maria and Karen. As Agnes' condition deteriorates, so does the relationships between the sisters as fear, distrust, jealousy and resentment start to surface. Agnes is abandoned by her sisters, with her only comfort being Anna, her maid. The is one of Bergman's bleakest stories, not as sad as Autumn Sonata or Winter Light (one of my favourites of his), but still quite depressing. However, unlike those films I mentioned, this was somewhat a cold experience. Not saying it is not a work of genius, but somewhat it didn't feel as emotionally touching or draining as his other films. However, the way it represents its themes elevate it as high as those films.
Red, there is a lot of that colour in this film. From the opening we know we are about to see something special. It is masterfully filmed, and the cinematography is stunning. Red dominates the picture, creating a stark contrast with the other colours. The walls of the room are red, the floor is red, it looks like a painting. The other colours like white or black just fit in the picture perfectly without looking out of place. They are saturated colours, giving an effect similar to a chiaroscuro one. The costumes and colour look beautiful. Sven Nykvist deserved that Best Cinematography Oscar, his work here is incredible. Red is here for a reason, it reinforces a theme. Red is the characters feelings, those that are kept inside, those hidden in the walls of the mansion and those they keep secret from each other. When they show them, this crimson colour is shown on their dresses or their faces, whenever the film will tell us something about these characters.
The film is a bit similar to The Silence in terms of themes, the lack of communication and hiding of feelings between the family, and the effects of when they are released, also seen in a later work, Autumn Sonata. What it separates it from these two is the focus on how the characters react to the presence of the death in the mansion. Men, or their husbands are not much in the film, they are both detached from the audience and their wives. There is a lack of real relationships in the film, the only real affection shown here is between Anna and Agnes.
Acting is great, Bergman regular Liv Ullman gives another great performance here, Ingrid Thurin is quite creepy in this, while Harriet Anderson does a good job convincing that she is suffering from a cancer. The minor characters like the priest and the husbands are also well performed and hold the film well. Kari Sylwan gives the most human and compassionate performance here, being the heart of the film, considering the other performances required a cruel coldness. That said, this is a cold film. There is a distance between audience and characters, and when the audience gets to know these characters, they are hardly that worth our empathy. We also have the most shocking moment in a Bergman film since The Virgin Spring, when one of the characters puts a piece of broken glass into her vagina. This all benefit from a mature and well written script. It is very well edited and the pacing and narration is one of Bergman's finest
It was also one of those rare foreign films nominated for Best Picture. It might be too cold to be emotionally engaging, but it is a very well made film... so an 9.1/10 or an.............
A
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Great reviews! Brilliant work!
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< Message edited by wgamador -- 20/3/2009 11:07:07 PM >
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