Beginners ****

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Posted: 09/08/2011

We’re all searching for our purpose in life, a place where all the pieces of the puzzle fit together, and this is what resonates loudly from Mike Mills’s bittersweet and profoundly sincere dramedy, Beginners, with anyone pondering over their current lot. Starring a wonderful pairing of Christopher Plummer and Ewan McGregoras father and son, Hal and Oliver, the non-linear narrative moves between poignant periods of the family’s life to highlight pivotal moments in a saddening but witty manner to trace how Oliver has become. However, it simultaneously and intentionally seems lost in direction at times to reflect Oliver’s (McGregor) desperate search for fulfilment.

Only child Oliver appears to have been in his enigmatic parents’ shadow all his life, and after the death of his eccentric mother (played by Mary Page Keller), his fragile world is rocked again by his father, Hal’s announcement at age 75 that he is gay – and has known this since the age of 12 – and that he has terminal lung cancer. Struggling to cope with new events, Oliver has also met a potential love of his life in mysterious and independent French actress Anna (Inglourious Basterds’ Mélanie Laurent’s first English-speaking role). Can ever-woeful Oliver allow love and contentment into his life?

Mills’ film never feels deeply intense, spiralling into blackening despair and self-indulgence, or lacks gravity of a situation, feeling frivolous. Mills’s meticulous balance of emotions keeps the story rousing and engaging, as the Cinéma vérité style plays down any melodrama and keeps the characters as real as possible. It also reflects Oliver’s numbing mood as he floats through his existence, coming alive when Anna offers him some promise of ‘normality’. Intriguingly, although he wants happiness and control, as soon as he has these things and ventures out of his parents’ hold, his self-destructive nature denies them. Here, is a new battle he must acknowledge and tackle if he is to survive.

McGregor gives one of his career-defining performances as Oliver. His is the emotionally-layered character in the film that alternates throughout, expressing the reactions to Plummer’s playful and inspiring actions, and is always on the verge of slow-burning meltdown, but finding a release through drawings and momentary explosions of ‘civil disobedience’ graffiti. McGregor plays down Oliver, never allowing him to become neurotic and ungrounded. This is further expressed by the Fonejacker-styled narrations of periods in his history, as well as subtitled conversations with his father’s pining dog, Arthur, who provides a lot of light and welcome relief throughout.

Plummer is simply delightful as Hal, as though in his element in a new defining role in his prime at 82. Again, although Hal is boisterous and borderline-camp, Plummer never allows him to become a gay caricature, managing to capture Hal’s adventurous new lifestyle, but acknowledging the sobering terminal restraints after he has found the freedom and contentment he’s craved. There are some harrowingly tender moments between father and son as they begin to understand each other once time is running out. The mischievous side of both actors compliments their more sensitive expressions, resulting in some memorable scenes.

In addition, Oliver and Anna’s odd bittersweet meeting and unconventional relationship gives greater scope for McGregor to portray Oliver’s destructive side that moves full circle – nurturing then spurning Anna when she gets too close. Even his mother mentions that black or Jewish music ‘is the deepest as they suffered the most’, engraining at an early age in Oliver that to be in pain at least means you are alive. At the same time, Laurent keeps Anna as an enigma, a lost soul with an equally needy parent – providing some insight into her nomadic and unattached lifestyle, but showing her faults, including commitment issues of her own. Through their relationship, Mills questions our sense of normality and what’s deemed right and wrong in society.

Throughout Beginners, there is a sense of captivating innocence; of never really knowing it all in life as the playing field can change at any one moment. It’s this constant look at rebirth and starting over, as well as Mills basing this story on his own father’s ‘coming out’ experiences that gives Beginners a refreshing vitality and sense of hope amidst a challenging story of embracing change, as and when fate comes knocking, to find purpose.

4/5 stars

By @FilmGazer

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WATCH THE TRAILER HERE

Cars 2 (3D) ***

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Posted: 09/08/2011

If crazy animated antics are not your bag, look away now: Lightning McQueen gives the road over to his trusted but goofy pal Mater this time in the sequel, Cars 2. It seems Lasseterand co have gone back to the original plot of the evils of gas-guzzling cars in an environmentally-conscious world, with this story’s ‘hero’, Mater, triggering a possible future series of film adventures about McQueen & Friends saving the planet.

This story follows racing star car Lightning McQueen (voiced by Owen Wilson) and tow-truck pal Mater (voiced by Larry the Cable Guy) who head overseas to compete in the World Grand Prix race, but fall out over trivial things. But the road to the championship becomes rocky as Mater gets caught up in an intriguing adventure of his own that involves international espionage.

Although the characters will never be a patch on the charming Toy Story ones – as emphasised by Pixar’s short animation before the main feature rolled, Cars 2 offers more exciting international appeal in its Bond-style, globe-trotting adventure. As a sequel in itself, it’s certainly an improvement in terms of storyline, but its success still depends on whether the talking cars captured your heart in the 2006 film. They can be taken on first-time face value and got on-boarded with, with their lessons of friendship and family values echoing many a good Pixar tale. Indeed, with years of inanimate objects sporting life-like faces, like Thomas The Tank Engine, there’s some endearing spark going on under the many colourful bonnets.

The further draw is two new characters that even out the US-centric narrative of the first film in special Brit agents and slick sports cars Finn McMissile (voiced by Sir Michael Caine) and Holley Shiftwell (voiced by Emily Mortimer). Both Caine and Mortimer breathe sturdy personality into their metal bodies, as the original characters fret and fuss over spiralling events. McMissile and Shiftwell are the voices of reason behind the chaos that keep the story on track to find the ultimate motoring villain. However, a Mater overload is on the cards, and much as the new characters add some dimension, it’s still a Mater-McQueen show, essentially.

For all its lush, vibrant colour and slick Pixar polish, too, the wizards behind the animating giant still fail to wow us with a true 3D spectacle. It’s debatable whether – like so many other films of late – the 3D added any significant value, especially as there are no defining scenes that spring to mind to warrant recommending seeing it in anything other than 2D. As with most 3D films, the technology offers greater depth of field, and it certainly compliments an animation such as Cars 2 that’s concerned with filling each frame with as much detail as possible – as in the landscaped racing scenes. As for the action that plays out in wide angles, with fast and furious camera whips, the 3D is rendered redundant – as expected.

Lasseter’s new film ignites a new pioneering spirit in his old cars and gives them a proper adventure that still involves a spot of racing and a big lesson in morality. It even flags the fossil verses alternative fuels debate in a fun way to get youngsters onboard at an early age. Even though Cars 2 raises the franchise’s profile, it still requires our empathy with the motorised characters, and after the fast-burn of Route 66 mayhem of the first, it’s down to whether Mater mattered, as well as the thought of him being a Yank out of water in the bigger, badder world as to whether you’ll buckle up for the global ride this time – just don’t bother with the inflated 3D price of doing so, and go 2D class.

3/5 stars

By @FilmGazer

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The Big Picture ****

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Posted: 09/08/2011

Rugged French actor Romain Duris came to international attention as charismatic professional relationship hacker Alex Lippi in Heartbreaker, opposite Vanessa Paradis last year. The unconventionally handsome actor has found a cheeky charmer niche it seems as lawyer Paul Exben in Eric Lartigau’s adaptation of Douglas Kennedy’s novel The Big Picture, a drama rather than a comedy this time that allows him to tap into a more serious acting side.

Paul Exben (Duris) is a success story – partner in one of Paris’s most exclusive law firms with respected Anna (Catherine Deneuve), big salary, big house, glamorous wife and two sons. But when he finds out that Sarah (Marina Foïs), his wife, is cheating on him with Grégoire Kremer (Eric Ruf), a local photographer, a rush of blood provokes Paul into a fatal error. Standing over the corpse of his wife’s lover, Paul knows that his perfect life has gone for good. But by assuming the dead man’s identity and fleeing for an isolated part of former Yugoslavia on the beautiful Adriatic coast, Paul gets another shot at being himself and, at last, seeing the big picture.

Even though very European in nature, the first irony is this is an adaptation of a US novel, rather than the other way around – as is more often the case. It’s evolved into an engaging, volatile French tragedy, a love triangle that breathes joie de vivre, passion, dark secrets and impulsive actions. But what starts out as playful and decadent, with Duris very comfortable in the ‘amicable fool’ role we are more familiar with him in, turns into something darker and uglier as forced self-reinvention changes the path of the narrative, which is beautifully paced to take in the stunning scenery – the big picture – along the way.

The second irony is untrained Duris was also on a different life course when director Cédric Klapisch discovered him in the street one day, and cast him in Le péril jeune in 1994. Like his character in this, who takes another’s identity, Duris as Exben as Kremer finds great, overnight success. The bittersweet plight is Exben as Kremer cannot afford to revel in it, for fear of his real identity being exposed. Duris, on the other hand, will find nothing but praise as Exben as he expresses the full, tortured emotions of being in such a dilemma, but with practicality, rather than melodrama, and never allows us to forget Exben’s inner turmoil of the family life lost, or our empathy would also diminish.

This is not a thriller like The Fugitive, but a taut, semi-crime drama about one man’s choices and second chances that is meticulously planned out to cover all possible slip-ups. Hence, when Exben as Kremer hits the road, the journey is as a yet-unknown fugitive going with the flow – not running from the law. There is only one meeting with the police, which is done as a nice twist. Do not expect a Hollywood-style action-mystery. This is not Bourne, but more Michelangelo Antonioni’s The Passenger, starring Jack Nicholson, about one man grabbing a chance opportunity to survive the way he feels he should. Events that happen to Exben as Kremer evolve naturally.

The only slightly uneven part of the whole affair is the ending that makes sense in allowing Exben to remain as Kremer, but seems like a totally different film conclusion bolted on. It’s only because we have been pre-conditioned to all Exben’s traits and skills and still see him as a man who has turned bad luck into good that it remains somewhat believable. Indeed, it does allow the Exben film saga to continue – should that be an option.

This is a fitting second film for Duris that expands his acting arsenal, showing him in a tenser scenario, but still allowing that boisterous nature to shine through at moments. The lure of Deneuve in a supporting role, after the raging success of last month’s Potiche, will ensure Duris gets far more deserved attention – and rightly so, as he’s fast proving he has the star quality to carry a film title alone.

4/5 stars

By @FilmGazer

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Just Do It: A Tale Of Modern-Day Outlaws ***

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Posted: 09/08/2011

Award-winning documentary film-maker Emily James’s latest ‘window on life’ comes at a very appropriate time when most of us are feeling rather impotent and disillusioned at the way modern-day existence is heading, what with global capitalism ruling the planet and banks (and newspaper organisations) pulling the strings of those in power.

Just Do It and its band of environmental activists echo that private and public sentiment, and even painfully admit to feeling their actions are often futile. But what James’s film does is bring hope to the rest of us that there is still a sizeable resistance out there – present-day ‘outlaws’ who know that rather than do nothing, they have to do something to make their voice heard. In a way, although such a film is meant to inspire other groups to sprout up and unite, if not quite ready to take the tent on the road, we’re happy to know that there are others willing to take up the fight and tussle with the authorities in our name as we stay inside in the warmth.

Just Do It gives an insight into an assortment of activities and campaigns led by green activists – both public and secret, from charming, tea-making eccentric Marina to young hands-on activist Roman – by focusing on members of Plane Stupid and Climate Camp. Emily points her camera at events over the course of a year to understand their motivation and passion that include breaking into power stations and bank RBS’s HQ, to attempting to stop a third runway being built at Heathrow and disrupting world leaders’ G20 Summit in Copenhagen in 2009.

James captures an inner Brit fighting spirit by following a select bunch of backpacking activists resembling ‘privileged’ middle-class students to frustrated mothers. As ‘protest’ becomes more acceptable language in contemporary British society after recent global capitalist atrocities, so James’s authentic piece of film-making enhances this people power change, rather than probing what actually motivates some to leave ‘normal life’ behind and travel the globe to take action. Indeed, more questions like, “Are you doing any good” addressed to quirky tea lady Marina would have gone further to win more dormant supporters of ‘civilised disobedience’ rather than just household recycling. In a sense, all those interviewed on film are highly articulate and could have given a more convincing argument for their way of doing things.

At times, the film simply feeds stereotypes that it feels like it’s adding nothing new to what we already think we know. But it does surprise and shock still – such as Danish Police’s illegal caging of protesters at G20 caught on a mobile phone recording and their ‘Marshall law’ ways. In other moments it cynically feeds some of the tax-paying public’s perceptions of law-breaking, non-working trouble-seekers whose actions spurn public condemnation, but those ideals bring a deep-seated respect, if we’re honest, for what they believe is their job at hand; helping save the planet. This is evident with the conflicting feelings felt by some of the police officers featured, and the transforming of derelict greenhouses in communities blighted by proposed plans of a third runway at Heathrow.

In the end, armed with the website (justdoitfilm.com) and a strong message to ‘get involved’ and start your own group, the film leaves it up to us to judge, with some encouraging results, including proposed plans for a new E.ON power station and Heathrow’s third runway dropped, and Danish courts ruling that police methods were illegal during the 2009 Summit. Without a doubt, Just Do It inspires a whole new ethic when we feel our hands are tied on a daily basis. But however outraged we might feel, is it enough to turn outlaw – all depends on your situation in life, but you will have a strong opinion either way after watching.

3/5 stars

By @FilmGazer

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WATCH THE TRAILER HERE

Harry Potter and the Deathly Hallows: Part 2 ****

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Posted: 09/08/2011

It’s the battle to end all battles, the finale to end all finales after a successful ten-year film run, with a cast who have grown into their roles and made the J.K. Rowling characters their own. A lot of the emotion felt whilst watching Part 2 of the Deathly Hallows stems not only from events whipping you up into a frenzy for the ultimate standoff – Potter verses Voldemort, but also because it slowly hits you that it’s an end of a era that has shaped lives of all ages. Only fans will get the full impact – anyone else just wouldn’t contemplate watching it, unless forced to. As for the 3D, it adds very little to the overall viewing pleasure, almost hindering it in places because it’s a converted 2D film (and shows in areas), so you don’t need to fork out more to gain any added value. Enough said there, really.

The forces of good and evil clash at Hogwarts School of Witchcraft and Wizardry, turning the much-loved school into a battleground, and putting all in danger. The pupils rely on Harry Potter (Daniel Radcliffe) to lead them to victory, but are tested to their limits, emotionally and physically, by Voldemort’s (Ralph Fiennes) advancing army that lies in wait for attack. But it’s Potter who may be asked to make the ultimate sacrifice as he attempts to kill the Horcruxes and Voldemort, with the final one possibly leading to his own demise.

Director David Yates, who brought the last two Potter films to the big screen, does not disappoint at all, giving us what we’ve waited for; a highly emotive, moody visual action spectacle as the dark clouds draw over the battleground that’s full of witches, wizards, werewolves, dragons, stone armies, tolls etc, resembling the deeply turbulent battle scenes from LOTR: Return of the King. He has us zooming in and out of the action and flying objects, barely allowing pause for thought in some cases. The sheer destruction is striking, but the overwhelming camaraderie and love delivered by the characters making their stand stops you weeping into your popcorn at the cherished institution’s crumbling demise. Some panoramic wides do allow you a proud moment of reflection though at what you have been party to all these years, bringing Rowling’s pages fully to life.

But long before the clouds form over the school and the Potter Army reject Voldemort’s chilling demands, we have a brief catch up with the current situation of our three heroes; Harry, Hermione (Emma Watson) and Ron (Rupert Grint) that reconnects us with the actors after last year’s more subdued and very lengthy Part 1, and vitally re-establishes the importance of obtaining the last of the Deathly Hallows – the Elder Wand to take Voldemort out.

Yates instantly sets the trio on the trail of the last couple of Horcruxes, which includes a fascinating imitation by Helena Bonham Carter of Hermione/Watson as Bellatrix in Gringotts Bank. We are then treated to Indiana Jones and the Temple of Doom escape ride through the cavernous vaults of Gringotts Bank that sets the epic stage for the action to come.

It’s obvious that Yates and co are keen to get to the Horcrux if the story, so the whole of Dumbledore’s (Michael Gambon) back story about his estranged relationship with his brother Aberforth (Ciarán Hinds) and sister Ariana (Hebe Beardsall) and his dubious past antics are briefly touched on but not explored, either because it would delay the finale, or it just didn’t work well on film. Some fans may be disappointed that they don’t get to experience elements of Dumbledore’s darker side in this, and it doesn’t really adequately explain Aberforth’s sudden change of heart and defiant appearance in the grounds of Hogwarts, fighting with Potter.

In fact, the film shows each character’s good and bad points, which is important in the soul-searching conclusion. The most fleshed out is the story of Professor Severus Snape (Alan Rickman) and his vital memory that makes the big reveal of Potter’s purpose. Thankfully, the filmmakers do not dwell visually on Snape’s death, but it doesn’t make Nagini’s attacks any less frightening, so some children may have trouble watching these – hence the 12A.

Watson and Grint fans get to see their heroes embrace and snog in what feels like their last hours, but both are more supporting cast in this episode, like Potter backing players, once they get to Hogwarts. The Weasleys’ time is also played down – including the Molly (Julie Walters)-Bellatrix clash – as to not overshadow the plethora of other characters and their importance in the saga, perhaps?

Yates and team do well to give each of their characters the screen-time deserved to round off their journey, and for us to say goodbye, and each learns the valuable lesson of love and family coming first, including Draco Malfoy (Tom Felton) who is pulled every which way, emotionally, allowing Felton to give some fine moments.

As for the Potter-Voldemort confrontation of wands, it’s a magical show of lights, sounds and engaging camera-angles, offering an incredible wow factor, but interrupted by a couple of important celestial scenes with some crucial Potter supporters.

Those left in mourning at the end of the film can be buoyed with a renewed sense of hope by the final scenes that stay relatively faithful to the written word of the book. And it’s a great sense of hope and affection that you’re left with in the end, regardless of J.K. Rowling’s recent hints of an eight book on the cards. Let’s hope she gives in to writing temptation as there is a sense that this could go on and on with a new generation characters and fans.

4/5 stars

By @FilmGazer

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Watch highlights from the World Premiere HERE

Cell 211 ****

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Posted: 09/08/2011

Prison dramas are abundant, as are TV series depicting life behind bars that continue to fascinate audiences as they depict a pressure-cooker microcosm of life. So making a drama that stands out internationally is a tall order. But something quite unique about writer/director Daniel Monzón’s adaptation of Cell 211 (Celda 211)is the marriage of sheer viciousness that is never glorified with a very real and touching bromance that blurs our perceptions of good and bad, automatically and subconsciously draw at the start.

Cell 211 is the story of a two men on different sides of prison life, a newbie guard called Juan Oliver (Alberto Ammann) and a murderer/lifer called Malamadre (Luis Tosar), who find they are in the same situation when a riot breaks out at Spanish prison. To survive the revolt, Oliver – known as ‘Calzones’ or ‘underpants’ after being forced to strip on their first encounter – must pretend to be an inmate. But as the situation escalates into an international media frenzy Oliver finds it harder to tow the moralistic and law-abiding line in his pretence, and after a personal tragedy, visits demons he never knew existed.

The casting of Ammann is strong enough, but Tosar is the film’s greatest success. The actor is exceptional portraying Malamadre as a human being with nuances, rather than a feared caged animal. Obviously, the dangerous thin line that Oliver treads with him needs to be re-emphasised throughout with punctuations of bloody violence, but their understanding of each other’s passions and curious bond is a striking one, and the film’s pivotal lifeline. As the other characters’ allegiances waver and falter on both sides of the law, there is a certain respect upheld for Oliver and Malamadre who just want a fair and justice existence and treatment when the event is over.

The shocking twist comes with Oliver’s actions, after his primal urges take over his sound-minded ones. Even so, the catalyst is understandable in the circumstances, as are Malamadre’s feral instincts, which are compellingly and finely balanced between nurturer-attacker that make for engaging dramatic play, as you wonder where his reactions will lead next. This heightens a sense of imminent danger throughout.

The greater depth this Spanish prison drama offers is due to the prison environment being more of a side issue or trapped setting for the crux of the developing relationship between two very different men, who with social status stripped away, have the same life values.

Monzón’s Cell 211 speaks on many levels about the nature of man and his passion for life, regardless of being incarcerated, translating well in any language. It will be interesting to see what Crash director Paul Haggis produces in the Hollywood remake – hopefully less ‘Die Hard in prison’, and not forgetting the dramatic emotional swings in this. Catch Monzón’s version first, though.

4/5 stars

By @FilmGazer

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Holy Rollers ***

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Posted: 09/08/2011

As plots go, Kevin Asch’s one in Holy Rollers seems far fetched to say the least; an Orthodox Jew becoming an Ecstasy dealer and getting involved with an Israel drug cartel – sounds like the director was on drugs himself. But it also serves as one of the most compelling and unquestionably original ones to date, and is inspired by a remarkable true story.

Cashing in on the awards nods to Jesse Eisenberg from The Social Network fame, Asch’s film serves as an intriguing next step in Eisenberg’s career, bolstering the talents of this fine actor, who gives another impressive, understated and cerebral peyot-wearing performance in the lead. Eisenberg’s brand of banter is explorative and engaging in itself, and gives his character, Sam Gold, more than an ounce of credibility.

However, much as the film’s concept has a lot of depth and endless possibilities, it all feels like a slightly underdeveloped insight into the dramatic choice between an insular or conformist lifestyle and reasons for the subterranean activities of a few in the Jewish faith. There are never any satisfactory explanations of why Hasidic Jew Gold, Yosef Zimmerman (Justin Bartha) and others become so disillusioned with their religious existence, except to fall back on the easily accepted ‘being led astray’ by contemporary pleasures, or being spurned. It could have been more rounded a film to further explore the conflicts of the two worlds colliding, through the experiences of Sam.

In addition, although highly atmospheric with some mood-inducing cinematography and smatterings of dark humour, Asch’s film has no defining moments to pinpoint the change in Sam’s shaky belief system, other than a constant rebel streak bubbling away on the surface that never leads to any explosive reveal. It just feels content to glide along, hoping to engage its audience, and if it wasn’t for Eisenberg being his usual quirky and mildly entertaining self, would feel uneven with its polar locations and rather erratic.

As novel as the material seems, Eisenberg fans will gain the most from watching Holy Rollers. Therefore, as a coming-of-age character piece of fine acting that the actor is famed for and excels at, it serves its purpose. As an informative real-life crime tale on a fascinating piece of publicly unknown history, it leaves you seriously wanting.

3/5 stars

By @FilmGazer

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The Tree of Life ***

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Posted: 09/08/2011

Film-maker Terrence Malick is an enigma, much like his films. With secrecy and speculation surrounding his latest ‘creation’ at Cannes this year, the industry prepared itself to be in awe of another Malick abstraction. And it didn’t disappoint Robert De Niro and jury, as The Tree of Lifewon the coveted Palme d’Or.

Opening with a quotation from the Book of Job, when God asks, “Where were you when I laid the earth’s foundation … “, the story is an impressionistic one that refers to the concept of a multi-branched tree, where the idea that all areas of life (theology, philosophy, mythology etc) are interconnected. The tree also acts as a metaphor for the human spirit. The story then follows the origins of life and its creation and meaning through the experiences of one 1950s Texan family – headed by strict patriarch Mr O’Brien (Brad Pitt) – that suffers a tragic personal loss in the process. In the present day, one of the three sons, Jack (Sean Penn), still struggles to come to terms with his loss and his father’s influence on his character.

The Tree of Life is yet another meticulously crafted and richly depicted Malick signature piece, full of the wonders of nature, the power of lone narration and emotive music, and fond memories of yesteryear. However, this time, it feels like the elusive film-maker has become more indulgent than before, using less subtle musical emphasis and being almost subversively disparaging to those who embrace and take comfort in nostalgia, as he allows his fragile screen family life to unravel and never reach a comforting conclusion.

There is a lot of extravagant visual padding, which Malick fans will embrace, such as the celestial lights hinting at a greater being and our maker (look closely at the very last illuminated image, in particular), and footage of the earth ‘being born’ and evolving. There are even spurious dinosaur scenes, like something from BBC’s Walking With Dinosaurs that just need an Attenborough narration over them to make them complete. However, non-Malick aficionados may take umbrage at all this lavishness, seemingly superfluous nature-cosmos trail, expecting more screen time for their buck with the film’s top-billed names, Pitt and Penn.

It is the family dynamics that are the main crux and interest of the whole evolutionary story of how children copy habits from their elders and form personalities through a range of influences, almost pre-conditioned by the time they’ve even had a stab at independence in the adult world. It’s this head-spin – triggered by bad news – that sends Penn’s character Jack into near meltdown, allowing Malick to visualize this with some stunningly constructed and contorted shots, before Jack is ‘comforted’ by a higher presence. However, moving backwards and forwards in time gets very confusing, and merely emphasizes how overly long the film is – even allowing for pause for thought and time occurrences.

In terms of the acting, Pitt, Penn and the rest of the cast, including highly impressive newcomer Hunter McCracken as a young Jack are top of their class, as though Malick has painstakingly given them as much guidance and encouragement to draw the best out of them. McCracken is reminiscent of a young River Phoenix as his performance echoes scenes like those in the iconic, 1986 coming-of-age drama, Stand By Me. As in that film, there is a timeless, dreamy quality at moments, when we try to pointlessly slow down the rapid loss of youth, innocence and adventure.

Very much ‘poetic art-house meets mainstream’, The Tree of Life moves in and out of time and space to prove how small we are in the greater universe, how our predisposition is either governed by ‘nature’ (hardwired, like Jack and his father) or by ‘grace’ (carefree and creative, like Jack’s brother). It’s the connections between our vulnerable mindset and the universe’s many elements that make for compelling post-debate, but are portrayed by an almost perfectionist cinematic artist, whose vision is certainly an acquired taste.

3/5 stars

By @FilmGazer

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Transformers: Dark Side of the Moon 3D ****

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Posted: 09/08/2011

Director Michael Bay’s 3D battle is finally upon us this week, as Autobots and Decepticons clash once more in one almighty final confrontation on Earth – well, Chicago, actually. After being rather impressed by Paramount’s recent preview of an assortment of 15 minutes worth of 3D footage from the film and its trailer, there was some intrepidation and a lot of cynicism about how the rest of the film would fair. Rest assured though, as this reviewer stands by her previous comment: Bay has tamed the 3D beast to his advantage, and used it to distinguish the bots in the visual eyeball assault that his previous efforts were guilty of. Transformers: Dark Side of the Moon 3D also has a credible plot this time, too – which is more than can be said for Victoria’s Secret’s model Rosie Huntington-Whiteley’s acting abilities.

In this episode, the Autobots learn of a Cybertronian spacecraft hidden on the Moon that holds the key to rebuilding their planet. However, it’s a space race against sworn enemies, the Decepticons to reach it first. But the problems really begin once Optimus Prime unlocks the secret on Earth, and must rely on human friend Sam Witwicky (Shia LaBeouf) to help save his Autobots and the human race from destruction.

The film’s 3D works for two main reasons. First, Bay slows the pace down enough for the audience to decipher a scene’s action moments – although Transformers 3D still suffers from the occasional carnage overkill at times. Second, Bay uses a lot of depth of field in his shots, and the technology emphasises this well, producing a detailed composition of foreground, middle-ground and background detail, right into the horizon in some cases. In fact, it’s the first film this reviewer would recommend seeing in 3D, just to draw the bots out of the scenery as the fights commence.

Gone are the whip-pans of Bay’s past films as he concerns himself with immersing us fully into the frame, and hence setting up the situation before imposing the action on us in the impatient fashion of past. That said his jumpy editing style is still evident, and parts of the film don’t quite marry together, with others seemingly pointless – such as his parents’ daft arrival in a Winnebago (like something out if Meet the Fockers), purely to tell Sam to hold onto his girl and make the usual inappropriate and embarrassing parental comments about his love life.

The long-awaited ‘squirrel-suited’ skydiving marines chase scene in full doesn’t disappoint as they plunge headfirst into the city below. But it’s the soaring chase set pieces as the flying mechanical enemy fire at the marines that are truly spectacular on the 3D big screen, and can only be watched for full effect in this way. The crumbling building moments that are reminiscent of Roland Emmerich’s apocalyptic 2012, but also benefit from a 3D injection of enveloping dimension to relay the full vertigo effect.

As for the characters, no Transformers film would be complete without LaBeouf as Sam defying all sharp flying objects and incredible odds to save the day – along with lean, ever-ready fighting machines Josh Duhamel and Tyrese Gibson. LaBeouf has grown into the hero role and brings a more compelling and mature Sam to the table in this, without losing any of his cheeky side.

Nevertheless, there are a whole bunch of completely zany and quite eccentric new characters this time, including The Hangover’s Mr Chow, Ken Jeong as Jerry, a scientist of sorts who is woefully underused, John Turturro returning as a wealthier Simmons, totally deranged and with German superstar sidekick, Dutch, played by Alan Tudyk, and Frances McDormand as the slightly unhinged Secret Service head, Mearing, who all gleefully play their roles with a sizable portion of hammy theatrics and lunacy. It feels like a blend of superhero comic caricatures at times, before you return to events concerning the metal alien friends, who humbly share the screen with these larger-than-life humans. However, the biggest head-scratcher is the use of John Malkovich as Sam’s yellow-loving boss, Bruce Brazos, a Zen freak with pearly-white nashers who mysteriously disappears from the picture without any explanation at all.

The annoyance factor this time comes not in the form of headache-inducing special effects, but Huntington-Whiteley. Admittedly, you can appreciate a very attractive female set against a throbbing motor in a film. But Bay squeezes out every last drop of his Brit acting protégé to the point of insanity, as Huntington-Whiteley as Carly, Sam’s new girlfriend, pouts for England, like one long commercial, silhouetted against the glowing haze for all to see – yet again, and again, and again. Megan Fox was also hired for eye candy purposes, but at least the opinionated former Transformers’ starlet could ‘act’ (in the loosest sense, of course). Huntington-Whiteley is appalling – far worse than expected for such an easy-on-the-eye role in an action film, like she’s in constant catwalk mode. Once you’ve seen Bay’s lingering shots up and down her figure a few times, there’s very little else going on behind those glazed doe eyes for film purposes. In fact, there isn’t the same spark with LaBeouf as with the Foxy One, up to the point that we really don’t care if Carly survives or not, any more than we do about ‘throwaway character’ Dylan, played by Patrick Dempsey, her suave boss who sides with the Decepticons.

For big-screen entertainment value, you can’t go wrong with the third in the series. Dark Side of the Moon is designed to be cooed at in 3D and give you a thrilling alien battle on Earth, with one momentous face-off at the end. With lots of nods to other legendary sci-fi films – listen out for a classic Dr. Spock line, TR3 is still an overly-lengthy feature, but is by far the best Transformers film to date, and the first 3D film to get excited about.

4/5 stars

By @FilmGazer

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WATCH THE TRAILER HERE