Big Hero 6

    "This may undermine my non-threatening huggable design."

Another year, another superb Disney Animation. Big Hero 6 strangely emerges as Disney's response to the critical and commercial successes of The Lego Movie and Guardians of the Galaxy, and steals the hearts of audiences in the post-Christmas movie release boom.

Hiro Hamada is a techno-genius 14-year old high-school graduate making a bad reputation for himself in the underground robot fighting circuit of San Fransokyo, a Japan-ified interpretation of San Fransisco. After being arrested for his behaviour, his college-age elder brother Tadashi attempts to coerce Hiro to enroll at his college by showing him the laboratory he works in. Hiro is amazed by the amazing inventions that his brother, his friends and mentor all create, and is inspired to join the university's science department. After meeting the sweet Honey Lemon, independent GoGo, excitable Wasabi, man-child Fred and the supportive Dr. Callaghan. Tadashi then introduces Hiro to his latest robot, Baymax, a white, inflated humanoid balloon surrounding a robotic skeleton that is built as a cuddly all-in-one medical unit. In an attempt to impress Dr Callaghan at a science fair and gain admittance to the university Hiro develops a horde of micro-robots controlling by a neural headband and after a magnificent performance is approached by both Callaghan and technological magnate Alistair Krei. After rejecting Krei's offer the building is set alight and Tadashi dies attempting to rescue Callaghan from the fire. In a grief-stricken state Hiro discovers Baymax in his brothers room and the two investigate the fate of Hiro's microbots and Tadashi's death. After they are confronted with a Kabuki-masked villain who is controlling the micro-bots, Hiro forms a superhero team by adapting the technologies that his brothers friends were developing, and employing them onto his team.

In typical Disney and Pixar style, the film is directed by a duo, Dom Hall and Chris Williams, whose work at Disney is most prominently as writers for many of their traditionally animated films, though Williams also co-directed Bolt. Being a Disney animated film, Big Hero 6 is fast, witty and vibrant in colour and design. The film works as an excellent slap-stick comedy wherein Hall and Williams, and their editor Tim Merterns (Wreck-It Ralph, Tangeled) display an enviable taste for comic timing with lingering shots repeatedly used for outstanding comic effect, and Baymax rivaling Dave Bautista's performance in Guardians as a hilarious comic foil through his literal interpretation of the world around him. The characters, both main and support, are all wonderfully animated and voiced, with Baymax, Tadashi and Aunt Cass emerging as crowd-pleasers. The action is fast and frantic, but always clear and precise, with appropriate attention given to each hero. The villain and his plot, while certainly nefarious, are nevertheless lacking the depth seen in the rest of the film, as their motivation is nearly absent for three-quarters of the movie and their deisgn is minimal.

Much like the popular Guardians of the Galaxy from earlier this year, Big Hero 6 is an even looser adaptation of an obscure Marvel comic about a superhero team, and they do battle against a horde of what amounts to be semi-sentient Lego blocks, so in some ways the films intentions are fairly unsubtle. In contrast, the internal themes of the film are revenge and grief, and how they shape the actions of people who are lost in those emotions. Hiro is absolutely lost in grief in the wake of Tadashis death and as such, when given the opportunity for revenge, he is as single-minded. The film at times addresses this as a side-effect of puberty, but overall it presents a neat and practical character arc for Hiro because these emotions change him, as well as other characters. The film's dynamic and diverse cast also set it aside from other animated features, with three Asian-American major characters, one black and one possibly Latino (at least the voice actress is) in a city depicted in a cultural mash-up. This shows a maturation of design for Disney that probably has nothing at all to do with appealing to the fastest growing cinematic audience in China. It's a good thing likely done for the wrong reasons.

That being said, Big Hero 6 lacks the thematic and tonal depths that'll resonate with adult audiences in the way that Pixar films like Up!, Finding Nemo, and The Incredibles do, but instead teenaged audiences should walk away supremely satisfied, as will kids.. While the villain is quite flat, the setting, animation, and character arcs are pretty excellent, the action and comedy live up to the high standards of these films, and it's impossible to walk away from this movie without a smile plastered on your face. Big Hero 6 leaves itself open to sequels and they would surely be welcome.

War Movie Month: Empire of the Sun (1987)

The Japanese invasion of China is an oft-forgotten aspect of WWII, but when you think about the idea of the small island empire invading its larger neighbour, you can definitely see how big the undertaking was. Combine this with Steven Spielberg's epic style of film-making and you get a pretty big and exciting film.

Jamie Graham (Christian Bale) is a privileged English boy living a life of luxury with his family in Shanghai, where his father owns a corporation. Soon after the Japanese attack Pearl Harbour, they invade Shanghai, leading to the separation from his parents. Left wandering around the city after leaving his home due to starvation, he is saved by Basie (John Malkovich), an American sailor. They are both eventually captured by the Japanese and sent to Soochow Creek Internment Camp. Jamie, now named Jim by Basie, finds a father figure in Dr. Rawlins (Nigel Havers) and runs a successful trade network that even includes some of the Japanese officers.

Spielberg's bigger picture really does come into play here. There are many scenes with hundreds of extras that blow my mind away. They're definitely something that doesn't get done today, massive groups of extras would just be added in digitally in contemporary films. There are also some great aerial battles, albeit watched from the ground through Jim's youthful eyes, and these are a wonder to watch.

I'm a little disappointed that treatment of the people living in the internment camp isn't something that is covered too much in this movie. Japanese camps were well known for not having the best living conditions, but again we watch this movie through the eyes of a 12 year old boy. Anyway, this is something that Spielberg portrayed much better in Schindler's List. Spielberg does also throw in a small group of scenes with young Japanese pilots training for kamikaze missions. These culminate with a scene of Jim singing the Welsh lullaby Suo-Gân as they fly off on their mission.

Christian Bale is more known for his roles as Batman and Bateman, but his skill as an actor started at an early age. He was 12 when he got this part, he came recommended by Spielberg's then-wife Amy Irving. Young Bale had a certain innocence that was perfect for role and was capable of showing terror when it was needed. John Malkovich isn't as scary as he would become later on, such as his role in Being John Malkovich, and I find it weird that his character is revealed in a way as though we'd be surprised that it's him. He has a pretty distinctive voice and we hear him talk a fair bit before we see his face.

Supporting roles from Nigel Havers and Miranda Richardson help aid the main stars, but they're not entirely memorable. One of the better smaller roles is Dainty, a gang member of Basie's and played by a young Ben Stiller. In fact it was on this movie that he got the idea that would eventually become Tropic Thunder.

Verdict: A fantastic war film and a great introduction to Christian Bale.

War Movie Month: Schindler's List (1993)

"Whoever saves one life, saves the world entire"

Unless you've been living under a rock for the past 75 years, you're probably quite aware of the Holocaust and the horrific events surrounding it. However, you may not be aware of the story of Oskar Schindler, a rich industrialist that used his production empire to save the lives of some 1,200 Jews from certain death. His astounding work is the focus of Steven Spielberg's film, Schindler's List.

At the beginning of World War II, in the Kraków Ghetto, Oskar Schindler (Liam Neeson), a businessman and member of the Nazi Party, opens an enamelware factory, hiring Jewish workers because they are cheaper labour. He appoints a local Jewish man Itzhak Stern (Ben Kingsley) as his managerial assistant, all the while, Oskar maintains his links with local officials and members of the SS, bribing them to allow his workers to stay. A notorious womaniser and drinker, Oskar maintains a high profile and lavish image whilst many of his workers struggle to survive.

With a new concentration camp to be constructed in Kraków, SS member Amon Goeth (Ralph Fiennes) is put in charge of the project. Goeth is relentless in his anti-Semitic actions, often referring to the inhabitants of the Ghetto as "rats" and executing people randomly for his own amusement. When Schindler meets Goeth, he forms a pseudo-friendship with the man, in the hope that he will prove useful down the line. Indeed, towards the end of the war, when Goeth is ordered to send the remaining Jews for extermination, Schindler is able to bribe him into letting him keep his workers. The names of these workers and their families, compiled by Schindler and Stern to send to Goeth, would become known as "Schindler's List".

The film was finally made, largely thanks to Holocaust survivor and 'Schindler Jew' Poldek Pfefferberg, who had been attempting to get the Schindler story made into a film for years with no success. That is, until he met Australian author Thomas Keneally. Keneally wrote the Booker Prize-winning novel Schindler's Ark, which inspired Spielberg to make Schindler's List. Keneally said that what drew him to the story was Schindler's flawed nature,"the fact that you couldn't see where opportunism ended and altruism began". Schindler is portrayed by Neeson as complex and difficult to read, but undeniably charitable. Whether his plan was always altruistic, or simply due to the transformative experience of a country deep in war, his actions permeate a sense of hope from a dark period in history and are presented through Spielberg's poignant biopic.

Presented almost entirely in black and white, the colourless imagery of Schindler's List depicts a low point in recent human history. Spielberg and his regular cinematographer, Janusz Kamiński felt that the black and white gave the film a documentary style, which they tied together with plenty of handheld shots, making it less subjective. However that doesn't make it any less of an emotional viewing experience. Certain elements of shots, including the flame from candles and the red coat worn by a little girl, were left in colour. This involved a painstaking process where the colour shots had to be greyed out, frame by frame, leaving just the desired colour. The result, given the symbolic nature of these moments, is really very moving. The musical score by, you guessed it, John Williams (Spielberg's go-to composer) seems very fitting for the sombre tone of the film and won Williams an Academy Award, one of seven awarded to the film. Schindler's List sends you through a barrel ride of emotion, and much of this is down to its superb presentation.

Spielberg couldn't have chosen a better cast with the then relatively unknown (now major action star) Liam Neeson leading the way as Schindler. Neeson's performance is crucial in creating a character that isn't simply a messiah, but rather has uncertain goals and personal demons to grapple with. Kingsley is astoundingly good as the intellectually brilliant Itzhak Stern, his performance is honest and often touching. Fiennes is very fierce as Goeth, which must have been an emotionally exhausting character to play given his horrific and heartless actions. Supporting them are Caroline Goodall as Schindler's wife Emilie, Jonathan Sagall as Poldek Pfefferberg and Embeth Davidz as Helen Hirsch, the Jewish girl that gained Goeth's admiration's whilst working as his maid.  

Schindler's List is an honest look at the Holocaust, and the man that combated it with his power. Through all the haunting imagery rests a positive message of hope that leaves you both ready to mourn history's victims and celebrate those that try to make a difference. A movie for humans.

Night at the Museum: Secret of the Tomb

Part of me is glad that they have finally put this franchise to rest. Some of this has to do with the fact that it has become a bit stale, there's only so much you can do when a museum's exhibit's have the ability to come to life. The other and more major thing is that it wouldn't be the same without Robin Williams (this is the final onscreen performance he did before his death).

After a disastrous dinner planned at the Natural History Museum of New York, where all the exhibits have gone haywire, night curator Larry (Ben Stiller) discovers that the magic that keeps the exhibits alive is fading fast and journeys to the British Museum to find a solution. He is joined by Theodore Roosevelt (Robin Williams), Ahkmenrah (Rami Malek) and the others to help. Once there he is confronted by Sir Lancelot (Dan Stevens), who believes the magic tablet to be the Holy Grail.

A lot of the jokes in this movie are subpar, if not complete repeats of jokes from the previous movies. Robin Williams, the most seasoned comedian of the group provides the most jokes, even referencing his Oscar winning role in Good Will Hunting ("Once more unto the breach, dear friends"). There are some historical jokes as well, which may float above younger audiences heads. A great example of this is a reference to the Egyptians owning many Jewish slaves, to which Larry replies that they weren't too happy about it.

Apart from Robin Williams, there are no real standout performances. Ben Stiller does his thing, but it just felt like he was recycling his role in The Secret Life of Walter Mitty. He was humourous as the caveman Laa, but this character wasn't exemplary. Rebel Wilson has a small role as the night guard of the British Museum, but I found her over the top English accent unbearable. Skyler Gisondo plays Nick, Larry's teenage son, and I felt like the character was just annoying and unnecessary.

The movie's cameo's are probably more rewarding than the lead roles. Dick Van Dyke makes a small appearance as Cecil, the former night guard, along with Mickey Rooney, who died not long after this film. Hugh Jackman appears as himself playing King Arthur along with Alice Eve as Guinevere. Ben Kingsley plays Ahkmenrah's father, but doesn't stick around too long.

Verdict: Slightly funny, but if you've seen the first one of these films, then you'll know why this one seems redundant. It's very sad and poignant that Robin Williams' final line is "Farewell, good friend".

St. Vincent

In recent years, Bill Murray has become an unlikely folk hero, travelling around the United States imparting wisdom at bachelor parties, being a guest bartender at random bars and just doing things Bill Murray would do. His recent Renaissance has given his career a new life other than just being remembered for 80s comedies. This latest film (and debut from Theodore Melfi) may not exactly be a career defining film, but it certainly cements his position as both a comedic and dramatic actor.

Vin (Murray) is ageing war veteran retiree who lives in Brooklyn and spends most of his days drinking or cavorting with Russian prostitute Daka (Naomi Watts). One day, single mother Maggie (Melissa McCarthy) moves in next door with her young son Oliver (Jaeden Lieberher). Vin becomes Oliver's babysitter when Maggie fails to return home after work one day and the two begin an unlikely friendship.

Although Melfi's script is a little predictable at parts, there are some surprising moments of sadness and comedy littered throughout and these are aided along by the entirely convincing performances from both Murray and Lieberher. The moments of sadness and heartbreak that come are touching but also do a fantastic job in building the character of Vin.

Murray's career spanning four decades has given him the skills to be able to alternate between comedy and drama with ease, so it's hardly surprising that he is a wonder here. But the true star is young Jaeden Lieberher, who doesn't have all those years of experience. His character of Oliver has a certain naïvety that soon drops once he begins to spend time with Vin and I can't help feeling that that has something to do with the chemistry between Murray and Lieberher.

The supporting cast acts as a great backup to these two mains. Melissa McCarthy's recent string of films has really worn on me and I don't find her coarse comedy funny at all, but here she has wound it all the way back and isn't searching for or stealing the spotlight, instead becoming a part of a fluid machine, thus becoming more enjoyable to watch. Naomi Watts is another actor who has never really grabbed me, but her gruff portrayal of a pregnant Russian stripper and prostitute is great to watch. As always, Chris O'Dowd is fantastic in a comedic role that isn't Roy.

Verdict: While it may not be a fantastic comedy or drama, St. Vincent is a great movie to get you through a quiet afternoon.

Trailers Week 25: 28/12/14

Woman In Gold

An Austrian woman enlists the help of an American lawyer to retrieve a portrait of her aunt taken from her family by the Nazis. It stars Helen Mirren doing another awful accent, Ryan Reynolds, Daniel Brühl, Charles Dance and Katie Holmes.

Entourage

Mark Wahlberg's hit TV show has gotten a movie. The boys have made a movie and it doesn't look like it's going to perform the way the studio wants it to. Starring Jeremy Piven, Adrian Grenier, Kevin Connolly, Jerry Ferrara, Kevin Dillon, Billy Bob Thornton and, of course, Mark Wahlberg.

Americons

This indie movie is about a young man who gets caught up in chasing the American Dream. Of course everything is going to come crashing down on him because that doesn't exist. Starring Beau Martin Williams, Matt Funke and Trai Byers.

To Write Love On Her Arms

A movie about a girl with bipolar disorder, her life and how she sees the world. Starring Kat Dennings, Rupert Friend and Chad Michael Murray.

The Longest Ride

Oh yay, another Nicholas Sparks movie about a girl who falls in love with a rodeo rider and starts talking to an old man with Alzheimer's. Is it just me or are all these movies the same. Starring Britt Robertson, Scott Eastwood and Oona Chaplin.

War Movie Month: The Crazies (1970)

In 1969, George A Romero and Image Ten Productions revolutionised the horror genre with the reinvention of a classic movie monster. Following the eventual success of their indie film, Romero endeavoured to continue to make other small independent films of various genres, though in 1972 he revisited horror in a slightly different manner. Zombies embody one side of social horror, though Romero made a film wherein the military and even one's next door neighbour was just as frightening. Unfortunately, it was also a critical and commercial flop that was even remade by Brett Ratner in 2010.

The Crazies is set in Evans City, a small town in rural Pennsylvania, and opens on two young children watching their enraged father tear up and then proceed to burn down the family home while they and their recently murdered mother are trapped inside. Local firemen David and Clanker arrive with their retinue to subdue the blaze and they see the father handcuffed in the back of a police car, still muttering and mad. David and Clanker are both Vietnam veterans, though David served in the Special Forces Green Berets, and the two attempt to escape town with David's pregnant nurse wife Judy and a few other residents. Political and military leaders are concurrently arguing at how to contain the outbreak of a bio-chemical weapon after a military plane crashed near Evans City.The name of the chemical agent is Codename: Trixie and it drives the residents into a murdering frenzy, and so martial law is declared and a military force wearing white military hazmat suits invades and surrounds the town in an attempt to quarantine the effect of Trixie. Inevitably and violently, the infected residents fight back.

The Crazies is a not so much a war film in content, but in context. Vietnam was the first televised war, and took place right in the middle of two vital decades of social and cultural revolution in the West. But incidents such as the Kent State massacre, where the United States National Guard (a volunteer military force for deployment on US soil) shot at unarmed college students in Ohio, killing four, exacerbated matters domestically. Scenes such as this involved the first deployment of US troops against its own citizens and using deadly force in a century and had long-lasting cultural impact.  The Crazies is one of the first films to depict the American military in combat against its own civilian population as a large body, as opposed to individual villains. In particular, one scene involving a shootout between the military and enraged citizens of Evans City on a grassy hill next to a small woody area is particularly comparable to footage from Vietnam, sans the woman sweeping the grass with a broom.

Additionally, the film contains several scenes of the military violently and carelessly raiding congregations of people in churches, dance halls and even in their homes. In a montage of these moments, the soldiers detain a family including their crying infant. These scenes are undeniably stressful and act as an early incarnation of the infamous "Ghetto Holocaust" scene at the beginning of Romero's classic Dawn of the Dead. Viewing it from 2014, these raids is repeated in real life time and again, but in scenes such as the infamous photo of Elian Gonzalez, it's particularly evident. It's this imagery, with the argumentative and eventually ineffectual nature of the government within the film that makes Romero's film so effective as a searing social commentary. And ultimately, the film leaves the viewer unable to distinguish just who the Crazies are, the military, the infected or both.

The Crazies is full of flaws in only the way that a film made in small-town Pennsylvania, on a budget of $275,000, and involving dozens of non-professional actors, including the leads, can be. But no-one does this kind of social horror like Romero, and each scene is underrated in its iconography. There are some awful sound issues, that may just be because of the time and the equipment, but nevertheless it creates an awful jumbled mess, that can and does work at times. And the less said about the acting, the better, though two of the actors appear in later Romero films (Richard Liberty as Artie in The Crazies and Doctor "Frankenstein" Logan in Day of the Dead, and Richard France as Doctor Watts and Doctor Rausch, respectively). This is a lost classic in the canon of Romero's films, though it certainly is rough going. But it is very easy to see George Romero's talent and his limitations in making this film.

The Water Diviner

An Australian film that mostly takes place in Turkey, directed by and starring Russell Crowe, 

produced by the Seven Network, and executive produced by James Packer and Brett Ratner. The Water Diviner causes doubts before it's post-Gallipoli drama even begins, so how is it after the opening credits roll?

Crowe plays Joshua Connor, a Victorian farmer looking for water during a dry spell in 1919. After striking a new well, he returns home to his wife who is both grief-stricken and in denial since their sons were reported Killed In Action on the shores of Gallipoli four years earlier. The next day, she drowns herself and Connor vows to bury their sons bones next to her. He embarks a ship bound for Constantinople/Istanbul, and through a series of official refusals, cultural misunderstandings and morbid determination he meets Ayshe (Olga Kurylenko), a widowed hotel owner who refuses to accept her husbands wartime death to herself or her son,  Yilmaz Erdogan's Major Hassan who was the man in charge of the defence of Gallipoli from the ANZAC's and is forever haunted by the devastation of the war, and Jai Courtney's diplomatic Lieutenant Colonel Cyril Hughes, who is charge of the Australian military grave detail and determined to run things as smoothly as possible. During his travels to and beyond Gallipoli, Joshua reminisces about his sons childhoods and imagines their battles and fates away from him.

                              

                                               "Where I come from hope is a necessity."

The Water Diviner is not a bad film, not by any stretch. In fact, it's portrayal of the experiences of the ANZAC's and Turkish soldiers of Gallipoli is brutal and brilliant, and of enemies becoming friends is undeniably heartwarming. It's clear that Crowe's more than 25 years of experience with a wealth of talented local and international filmmakers has given him a leg-up of knowledge as he sits in the directors chair, and he has a lot of potential in this role. The lion's share of fault lies with the script, and some poor decisions in the direction. Connor's wife (Jaqueline Mackenzie) has four lines before she commits suicide, and most of them are non-senisical ramblings from a distraught mother. Additionally, Arthur is the only of the son's ever given more than one real scene in the film. One is shown more as a corpse than he is alive, and the other is only really present during one of the most dramatic moments. The pace at which the moments of establishing a connection not just between the Joshua and his family, but the audience as well, is brief, rushed and often involves poor or cliched dialogue. The film's title leaves much to be desired but it's near-magical tones relate to a frustrating and over-looked aspect of Crowe's character. Connor's love and determination manifest in moments of character development or plot advancement that border on literal magic. We see the tools he uses to find water at the beginning, but when he later describes the process to the young Orhan (Dylan Georgiades) the dialogue is muted and the scene becomes a slightly absurd moment of amusement, and when he searches for his sons, his dream and his intuition lead him to know where they are and it is constantly question and never explained. It could be implied that it's a fathers intuition, but it's more like the character just read the script.

The last scenes of the Water Diviner are by far the most disappointing, after a strong opening and engaging second act. It can really only be described as a okay-enough anti-climax followed by a sweet and happy ending with the weakest performances so far by the male actors. Corr is utterly underwhelming and devoid of all the charm or personality of  the rest of his performance, and it is just indicative of a poor choice. He's injured, though not particularly shell-shocked by his experiences so it makes little sense for his character to be so devoid of emotion, but perhaps a scene was cut. And his father is more emotionally affected at being reunited with Ayshe than he is his own son, though the love story angle between these two widowers is far too forced to begin with. His wife commited suicide weeks earlier and Ayshe cannot admit to her son, her brother-in-law, Connor or even herself that her husband is dead, and yet soon falls for Connor, a man old enough to be her father and who shows little interest in her romantically.

However, the film itself is beautiful to look at, and as an actor-director Crowe gets some very good performances. Jai Courtney puts on one of his best performances seen so far, and Turkish actor Yilmaz Erdogan may only have one emotion (somberness), but he plays it well. His Sergeant and companion played by Cem Yilmaz is much more of a rounded character who may or may not have fought directly against Connor's sons. Crowe as Connor is not any kind of badass or genius, but simply a determined man who occassionally employs some kind of magic. Whilst the pace was often too fast, the first act of the Water Diviner is excellently arranged, beginning with the retreat of the ANZAC's from Gallipoli from the Turkish perspective and then changing to Connor digging a well in the bush in Victoria four years later. Cinematographer Andrew Lesnie (LOTR & The Hobbit films, The Lovely Bones, Bran Nue Dae) captures some gorgeous and harrowing cinematography, at times utlising birds-eye-view shots to great effect. The battle scenes often disrupt moments of quiet reflection for Connor, haunting him. This effect of editing, and the scenes themselves are simply brilliant. The fights are full of heroism and brutality, though with little to no gore, and focus primarily on the brothers. Whether they're harrowing or heroic, these are the best moments in the entire film.

As much as this is a film about and dedicated to the ANZAC's, it's mostly about the mending of pains and grievances after a war. There's a focus on the occupation of Turkey and the late addition of Greek antagonists that certainly cause sympathies as it is comparable of the carving up of Germany post-World War Two. There's careful respects paid to the dead of both sides (though obviously Australia with more reverence) but the film is not afraid to meet the honouring of Australia's dead with the reminder that many Turks were defending an invasion. Upon reflection, most real malice, hatred or blame is relegated within two minor characters on either side. This emphasis on healing wounds in a post-war period is another area where the film shines, and leaving some of these conflicts unresolved is oddly satisfying.

Featuring some excellent shots, a genuinely fascinating and relevant social context. mostly good performances and a surprisingly effective debut from it's director, The Water Diviner is a good way for Australian cinema to finish in 2014. It's high-range of emotions, brilliant battle sequences and spirit of forgiveness are reinforce it's colourful and diverse visuals and politics. The Water Diviner is worth the watch before New Year's.

Mr. Turner

Movies about artists don't move me much. They just generally show how difficult their lives were, between brief interludes about the inspiration behind the art and then some scenes of that art being produced. Then the idea of this type of film being set in the 19th Century just makes it seem as though it will be terribly dreary. 

However, Mr Turner has none of this dreariness. Although it's not as exciting as some of the other big films that come around at this time of the year, it is still a driven piece, mainly by it's superb characterisation and performances. It recounts the final years of the Victorian master painter J.M.W. Turner (Timothy Spall) as he loses his health and his standing as a once great painter.

The film really does revolve around Spall's amazing performance. To look at the portrayal of the man, you would think that he doesn't belong in high society, as he grunts and groans responses at any sign of conversation. He is also light and fun, however, and the film is hardly as stuffy as you would expect of a Victorian era movie, with lots of jokes that are subtle and funny.

Victoria Atkinson plays his ailing housekeeper Hannah Danby, who really loved the painter, despite the fact that he exploited her sexually. She gives a fantastic performance, done mostly through furtive glances, smirks and body language. Marion Bailey plays Turner's seaside mistress turned wife who cares for him in his final days.

The movie has some amazing landscape set pieces that are almost as jaw dropping as the scenes that Turner paints. At many times when there was a cut from a painting to one of these amazing shots, I wondered whether it was just another painting, only to find Spall marching through the scene. These shots are accompanied by a rousing and wailing score from Gary Yershon, which suited them perfectly.

Verdict: A great performance piece from Spall that will definitely get him some recognition come awards season.

War Movie Month: The Great Escape (1963)

"We have in effect, put all our rotten eggs in one basket, and we intend to watch this basket carefully."

No film conjures up as much cheery, yet suspicious whistling as the classic John Sturges war film The Great Escape, based on the mass escape of British and Commonwealth prisoners from German POW camp Stalag Luft III.

The year is 1943, and the German High Command have build a specialised POW camp to house the most troublesome prisoners, namely those that are constantly attempting to escape. As the senior British Officer, Grp. Captain Ramsey (James Donald) says to the Commandant, Colonel Von Luger (Hannes Messemer), it is the men's duty to try to escape and that is exactly what they plan to do. The men spend the first few days trying different escape methods, which only result in the American Captain Hilts (Steve McQueen) "Cooler King", and the short Officer Ives (Angus Lennie) the "Mole" being sent to the Cooler, which they both seem quite proud of. After the arrival of Sqn. Leader Roger Bartlett (Richard Attenborough) "Big X", a meticulous plan is designed to take out 250 men underground, one of the most ambitious escapes ever attempted.

The Great Escape has become a seminal Christmas movie in Britain, despite having little to nothing to do with the festive season. Perhaps it's the British spirit and camaraderie which they want to be reminded about as they all sit down to relax. It manages to keep you interested all the way through, despite the nearly three hour running time. The intricate details required to complete the escape, from the forged documents, to the civilian clothing, will please even the most reformed of obsessive viewers, and the methodology and planning behind the whole project is beautiful to watch unfold. Even just the activities going on around the POW camp when they're not trying to escape, like when Hilts and the other Americans ferment potatoes into alcohol to celebrate the 4th of July with the other prisoners. It's a detailed and compelling look into the life of these men and their eagerness to get back to fighting the war.

Of course, this is a war movie, and despite being from an era before the true anti-war films, it can't avoid the tragedy and bloodshed behind the events that it follows. Without spoiling the ending, it's no surprise that not all the men gain their freedom, despite their valiant efforts. Much debate has raged about the historical accuracy behind the film, particularly how the men that were recaptured were treated. Inaccuracies aside, the often tense and severely bittersweet implications behind who survives and who dies serves to remind the viewer that this is a war, and not everything can be enjoyable banter and good old fashioned British ingenuity. 

The Great Escape could never be anything other than an ensemble piece, and whilst everybody remembers it as that Steve McQueen movie, all the performances are phenomenal. Attenborough is especially good as the cunning yet cautious Bartlett. As is Charles Bronson as the claustrophobic Danny Velinski, Angus Lennie as Ives and of course, Steve McQueen as Hilts.

The Great Escape is one of many great films by John Sturges, and was made in an era when Hollywood produced some adventurous yet honest war films such as The Bridge on the River Kwai. Its portrayal of these men and their boundless spirit will bring you back to view it again, and again.

The Hobbit: The Battle of the Five Armies

Opening where the second film left off, Smaug’s attack on Laketown, The Hobbit: The Battle of the Five Armies is the last (as far as we know) of Peter Jackson’s Middle Earth fantasy films. The Second in the series of incredibly long names (with running times to match), The Desolation of Smaug, was infinitely better than the first (despite the unnecessarily-long barrel sequence) but stretching an epic trilogy out of a book shorter than any of the Lord of the Rings novels has always been a concern. Now, with the blockbuster release of the third Hobbit, it’s up to Jackson to tie it all together. 

Jumping straight into the action, the dragon, Smaug (Benedict Cumberbatch) inflicts brutal destruction on Laketown as the residents flee, with only Bard (Luke Evans) left to fight the beast. Up at the Lonely Mountain, the leader of the dwarves, Thorin (Richard Armitage) is inflicted with Smaug's "dragon sickness", a powerful urge to find the Arkenstone, which is affecting his sanity. Bilbo (Martin Freeman), who is aware of Thorin’s state, continues to hide the Arkenstone from him. Gandalf (Ian McKellen) remains imprisoned by the Necromancer (Also Benedict Cumberbatch) in Dol Guldur, until Galadriel (Cate Blanchett), with help from Elrond (Hugo Weaving) and Saruman (Christopher Lee), frees Gandalf. Whilst others are gathering their forces to raid the Lonely Mountain, Gandalf rushes back to warn of the approaching Orc army. The battle for Smaug's lair of gold is about to begin.

Epic in visual scope, The Battle of the Five Armies is, as the name would suggest, brimming with action. The battle sequences which dominate the second half of the film are impeccably choreographed and are exceedingly stunning, with effects-heavy visuals that justify the $250 million budget. However, whilst these sequences do try to draw some points about the lives lost in the useless battle for gold, they are basically just excessive battles. This is where the flaws of the trilogy format slide through the cracks. What could have been two very solid movies, have been extended to three, and whilst the running time of this third instalment is blissfully shorter at a not-unreasonable 144-minutes, there doesn't seem to be enough plot left to justify a full movie. This sees much of the second-half of The Battle of the Five Armies stretched out into an unnecessary display of mindless battling, only marginally justified by the strong first half of the film.

Whilst the already well-established characters don't exactly require much more development, the strained story would certainly benefit from it. Thorin is the only one that really evolves in any way, inhibited by his changing states of sanity. However it must be said that the performances certainly stand up to the calibre of the first films (as well as the Lord of the Rings trilogy for the characters that appear in both). Freeman is very good as Bilbo, although he doesn't get as much screen-time as I would have liked. Richard Armitage shines as Thorin, and it's always fun to see the 75-year old Ian McKellen and 92-year old Christopher Lee involved in some battles. The only real issue with the characters is in the various death scenes (which you ought to expect in the final instalment), which are heavily clichéd, with slow motion and somber music that somewhat undermines the emotions that are being put forth. 

The Hobbit: The Battle of the Five Armies finally wraps up a trilogy that should really have been concluded in two films, and hence there are certainly some issues with stretching it out into a third. But it does seem, in many ways, a fitting conclusion for the series, with big-budget action and strong performances. I'm sure that long time fans will enjoy this film.

War Movie Month: Joyeux Noël (2005)

Historical war films, like Lawrence of Arabia or Bridge on the River Kwai, use the specific stories that they are based on to tell a story. Sometimes these films can be accused of being full of inaccuracies of what did or didn't happen. I think that's why films about widespread events appeal to me so much, no one can come along and say that didn't happen.

Joyeux Noël tells a fictionalised account of the Christmas Truce of 1914. During the stalemate that is happening on the front line, soldiers from the German, French and Scottish armies decide to take part in a ceasefire that lasts into Christmas Day. Among the soldiers is German tenor Nikolaus Sprink (Benno Fürmann), his wife Anna Sörenson (Diane Kruger), Scottish priest Father Palmer (Gary Lewis) and French Lieutenant Audebert (Guilliame Canet). During the ceasefire, the men play football, share stories and drink with one another.

While troops across the Western Front all did enjoy a ceasefire on Christmas Day 1914, this particular story does have a tiny bit of truth to it. Crown Prince Wilhelm of Germany did send a tenor to the front to cheer up the troops and the French did applaud his singing, but that's about as far as the reality stretches. The battle scenes early on also do capture the futility of trench warfare.

This movie isn't really a performance driven film, instead focusing on the breaking down of barriers during wartime. That doesn't mean that there aren't standout performances, however. The three leaders of the troops, Alex Ferns, Guilliame Canet and Daniel Brühl (the German lieutenant) all give stellar performances, as does Gary Lewis and Dany Boon, who gives some much needed comic relief.

Verdict: If you're going to watch any Christmas movie this year, I would suggest you do away with watching Die Hard, Christmas Vacation or even The Muppets Christmas Carol and watch a movie that has some feeling to it.

War Movie Month: Jarhead (2005)

"You are no longer black or brown or yellow or red. You are now green! You are light green or dark green, do you understand?"

War is boring as hell. It consists of masturbation, dehumanising an unseen enemy, the fear of what those left at home are doing, more masturbation, cleaning your weapons, endless uncertainty and waiting. Jarhead is a film about war with very little combat and it is also about the mind of a soldier. It is a film resplendent in Sam Mendes' quiet artfulness and Roger Deakins' colourful, handheld cinematography, and a script about people who volunteer to become psychologically damaged, with absorbing performances from its leads.

 Jake Gyllenhaal plays Private Anthony Swofford in Sam Mendes' adaptation of the memoirs of the real life Swofford, a veteran of the first Gulf War. Swofford's uncle and father both served in Vietnam, and the vast gulf of difference between his experiences in the Marines and those of his family comes as a great shock. However, Jamie Foxx's Staff Sergeant Sykes soon recruits both Swofford and Troy (Peter Sarsgaard) to become Scout Snipers. Swofford is consumed by the power and prestige of being a sniper, and captivated by the philosophy of the one perfect moment when an enemy in his cross-hairs. After the Gulf War is declared, his unit is sent to defend oil reserves in the Saudi desert, though the lack of combat and formidable desert climate begin to take their toll on the young men.

Jarhead's world of over-whelming ultra-masculinity and reshaping of language into military distinctions contributes into its message about how war changes people, specifically in a war that's unlike many others. It establishes and reinforces that the psychological effects of war on soldiers goes beyond just the brutality of battle and a hostile training regime. With few fronts, and an almost inhospitable setting, the realities of the Gulf War clash tremendously with the expectations of the recruits, and the results of their training. Swofford is obviously influenced by the romantasiced Great Wars, and by the Vietnam War, which had an entirely different enemy, motive, and result. The Vietnam War was also the first televised war, and one where the transformative psychological impact of the conflict because common knowledge, whether that was the training methods, the combat, the weapons used, or the reception when Western soldiers returned home. In contrast, the characters of Jarhead are almost convinced that by waging war against a despot, they can win a romantic war with the modern attitude of a post-Vietnam United States Army.

.But the uniqueness of their situation becomes increasingly blatant, as the advanced state of the American war machine in contrast to the war in Vietnam puts a new burden on the men. As Sarsgaard's Troy says "This war is going to move too fucking fast for us. We can shoot a thousand yards. To go that far in Vietnam, it'd take a week. In World War One, a year. Here, it's gonna take about ten fucking seconds! By the time we have our rifles dialed the war is gonna be a mile down the road." The film makes the point that men are changed not just by the war itself, but by the lifestyle of being a soldier. Language changes, the consistensies of home change, the very land you live on changes, all at a moments notice, They are mentally and physically separate from the people they are defending, and the pain this causes can be justified if they can kill the enemy. Swofford poetically evokes this with the narrated line "The man's hands remember the rifle." And a state of absurdly overbearing  masculinity becomes the social norm in the separate world. Fitness, aggression, semi-mocking homo-eroticism, and all-consuming phallic power are the tenents of this war's culture. These are men who have had all of their desires pinned onto a single act, the act of killing the enemy. Any time they are denied that, their worth is diminished, and with it their psyche.

                                       
                                          "Every war is different. Every war is the same."


In Jarhead, music is used less often to fill the sound of scenes but rather to bridge them in concert with the editing. This is a technique that gives a timeless quality in direct contrast to the titled "Time in desert" that appears on-screen.  Roger Deakins most often uses steadicam that, alongside the direct though poetic narration, implants the audience as a silent accomplice to the madness on-screen. Mendes first gained notoriety for his artful tale of suburban lusting American Beauty, but in 2012's Skyfall he also showed that he can take a film that usually exists within a certain style or genre and recontextualise it into a something more directly colourful, artistic and psychologically dense. Though Jarhead is more comparable to David O'Russell's Three Kings in setting and colour grading, the use of lighting, psychology and visual metaphors for mentally broken men creates a bridge between two of Mendes' most mainstream and action-filled films. And William Broyles, Jnr's script helps in no small part. Gyllenhaal ranges from dead-eyed detachment to horrifically honest breakdowns that really show his ability, at a time when he was still a rising star. Sarsgaard and Sykes certainly rise up in great support of Gyllenhaal's lead, but the three are certainly distinct from their enjoyable, though one-note support cast. One's an arsehole, one's a dork, one's a Latino family-man, and none are surprising.

Jarhead is perhaps a forgotten gem in the wake of countless 21st century war dramas that are set in the Middle East, but there is certainly plenty to be found. A good script, some excellent performances and direction, and even effective use of Kanye West's music.

War Movie Month: The Deer Hunter (1978)

Post traumatic stress disorder is one of the side effects of war that can destroy people's lives (that's not including death, destruction of property and pure terror that are also products of war). Michael Cimino's war drama The Deer Hunter is a film that succinctly looks at the trauma (albeit fictional) that soldiers go through to end up with PTSD.

The movie follows three Russian-American men, Michael (Robert De Niro), Nick (Christopher Walken) and Steve (John Savage), all from the same small West Pennsylvania steel mining town, who go off to fight in the Vietnam War. Whilst there, they are captured and made to play Russian Roulette. They escape and Michael returns to America to find that Steve has been terribly injured and Nick is nowhere to be seen.

Michael feels distant and removed from the town he has come back to. This is something that a lot of soldiers have reported feeling once they return from a warzone. This is nothing compared to how the character of Steven feels. Not only is he mentally scarred from the torture that he went through, but he is ashamed of the injuries that he sustained during the war; the loss of both legs, and refuses to see his wife. Nick becomes so unstable that he is unable to recognise Michael when he finds him in an illegal betting ring where the contestants play Russian Roulette.

One of the most remarkable things about this movie is that it was shot all on location. The small mining community of Clairton is comprised of many mining communities in the US and the Vietnam scenes were shot in Thailand, the first movie to shoot a Vietnam War film in that country. Probably one of the most amazing set pieces is the first act of the film, which is Steve's wedding. This was shot in St. Theodosius Russian Orthodox Church using an actual priest. This first act goes for an hour and does an amazing job at setting up the characters.

Robert De Niro is as exceptional as you would think in this movie, being on top of his game in the 70s. But his performance is hardly the most captivating. Christopher Walken winning an Academy Award might seem a strange and humourous idea for modern audiences, especially when all you can picture is his strange and signature style of talking, but back in 1978 he didn't really speak like he does now, well not as much. He gives a haunting performance as Nick (short for Nikonar) and is truly deserving of the award he won. The film features a young Meryl Streep who is nearly unrecognisable and this is John Cazale's (The Godfather, Dog Day Afternoon) final film before succumbing to cancer, which he had during shooting.

Verdict: The Deer Hunter is a long slog of a movie, but is very rewarding in many ways. Fantastic performances from both De Niro and Walken.

War Movie Month: Grave of the Fireflies (1988)

The effect of war on a civilian population, particularly children, is a difficult, yet  important subject and, one which is explored in Isao Yakahata's Grave of the Fireflies, A Studio Ghibli classic.

Seita (Tsutomu Tatsumi) and Setsuko (Ayano Shiraishi) are siblings living in Kobe towards the end of World War II. After the U.S firebombs the city, much of Kobe is left in ashes. The children's mother (Yoshiko Shinohara) is horribly burnt in the attack, and soon the children are left on their own in the world. They live with an aunt (Akemi Yamaguchi) for a while but after she accuses them of not pulling their weight, they move into an abandoned shelter by themselves. Whilst the war continues around them, they scavenge together what food they can find, and light the cavernous shelter with fireflies. 

When picking out films to review for the war month, Grave of the Fireflies didn't immediately stand-out. But the effect of a Total War such as WWII on civilians, many of which were caught up in the almost-necessary patriotism of the time, is just as important as those fighting on the front, but unfortunately not many films attempt to tackle with the issue. Grave of the Fireflies, however, doesn't hold back in this respect. The tale of this brother and sister, stuck in the middle of a war, with just each other, remains one of the most moving stories I've encountered in a film, especially in animation.  It's an emotionally challenging film to watch and as such, has a profound effect on each viewing.

Artistic styles in animation, particularly anime and the works produced by Studio Ghibli, differ greatly, and are not necessarily the most ideal medium to deliver an honest look at the horrific nature of war, but with Grave of the Fireflies, there's a certain gracefulness to the scenes, that connect the characters with the audience on an emotional level, and in turn, make the story of these two lovable siblings, attempting to survive in the most trying of scenarios, just that much more heart-breaking.

Having only ever viewed Grave of the Fireflies in Japanese, which sadly, I don't understand (thank you subtitles!), it's still easy to appreciate the nuances of the language, particularly when applied to these two innocent children. Tatsumi brings a boyish charm to Seita which draws attention to the fact that he's really still just a kid, but is left responsible for his fragile little sister, and Shiraishi (herself only six when making the film) perfectly emphasizes the tragic purity of Setsuko.

Grave of the Fireflies is simple in form, but delivers a beautiful and harrowing tale, a heart-breaking eye opener to the substantial effect of war on civilians, and as such, ranks highly in the great anti-war films. It is, in my opinion, the greatest work produced by Studio Ghibli thus far, and is certainly a contender for the most powerful animated feature ever conceived. A truly moving piece of cinema.

Critic Roger Ebert shares his views on 'Grave of the Fireflies'

Trailers Week 24: 21/12/14

Kill Me Three Times

I don't know one person who could not be brimming with anticipation for this Aussie comedy/thriller starring Simon Pegg as a hitman who is hired by a man to kill his wife. Also starring Sullivan Stapleton, Teresa Palmer and Callan Mulvey.

Knight Of Cups

It's a well known fact that we're huge fans of Terrence Malick at the blog, so we are super excited about the fact that there will be two Malick films released in 2015. The first one of these is Knight of Cups, a movie where Christian Bale plays a man who is tempted by excess and vice. Also starring Natalie Portman, Cate Blanchett, Wes Bentley and Jason Clarke.

Kumiko, The Treasure Hunter

Rinko Kikuchi is a great Japanese actress known for her roles in Babel and Pacific Rim. Here she plays a lonely Japanese woman who believes that the Coen Brothers classic film Fargo is a treasure map that will lead her to a hidden wealth.

True Story

Jonah Hill and James Franco star together in this serious drama about a reporter investigating a murderer, who said he was the reporter when he was captured. Hill and Franco have done serious roles before but never together, which might confuse some audiences. Also starring Felicity Jones and Ethan Suplee.

Get Hard

Will Ferrell plays a millionaire who gets charged with fraud and sentence to 10 years in San Quentin. He hires Kevin Hart to train him to be tough enough for when that time comes. Only problem is Kevin Hart is quite tough enough. Also starring Alison Brie.

War Movie Month: Bridge on the River Kwai (1957)

The Second World War is one of the most revisited and re-imagined real-life scenarioes in human history and with the benefit of hindsight, the Greatest of Wars inherently tells stories of the best and worst of humanity, heroes and villains, the destruction of Europe before it rebuilds itself for the second time in half a century, the destruction and rebuilding of Japan in the wake of the single most devasting weapon ever created, millions dead and injured, and the restructuring of Western society and its norms.  Bridge on the River Kwai is an essential piece of cinema, has been for nearly 50 years, and it tells of a bizarre story of heroism and pride that is emblematic of the British spirit, and how that pride can blind as well as give strength.

In the Pacific Theatre, Veteran British Officer Lieutenant Colonel Nicholson (played by Sir Alec Guiness, in his most famous role outside of the robes of Ben Kenobi in Star Wars) leads his troops into the Japanese-run Burmese prison of Saito (Sessue Hayakawa). Saito is a spiteful, proud and foolish warden, easily insulted and easier mocked, and as was the reality of the Pacific War, was incredibly cruel to his prisoners. As Nicholson's men arrive at Saito's prison camp they are all ordered to work on the construction of both the Burma railway and a bridge for said railway over the Kwai River. Nicholson refuses to include his officers in this manual labour and Saito forces them to remain standing at attention for a full day in the intense tropical heat before confining them to small and restrictive huts. This causes unrest among the prisoners and longtime US Navy prisoner Shears (William Holden) uses this as his opportunity to escape the camp. As Shears is later coerced to liberate his comrades from Saito's prison camp and destroy the bridge by the British authorities in the area, Nicholson intends to use the bridges construction as a tool to maintain his men's pride, morale and cohesion as a unit. But in doing this, Nicholson himself becomes so enamoured and proud of their work that he becomes oddly protective of his precious bridge, a change that brings his downfall.

Based on the novel of the same name by Pierre Boulle (who also wrote the Planet of the Apes novel), Bridge on the River Kwai is one of the most influential films by the legendary David Lean (director of Lawrence of Arabia, Doctor Zhivago, Brief Encounter). The film captures the dangerous, though gorgeous jungles of South Asia (filmed in Sri Lanka) in stunning wides and its nearly omniscient presence in mediums, in no small part because of Jack Hildyard's cinematography. The film covers the threat, horror and humanity of war with little to no actual battle sequences, though the few moments of action and violence are both thrilling and engaging. Sir Alec Guiness is the perfect vehicle for the phrase "the pride before the fall", as his stoicism, defiance, and his"stiff upper lip" is beyond endearing through the tortures he experiences under the cruel and vain Saito. His war of the wills with such an authoritarian as Saito is made that much more bold by usurping the Japanese captains authority from such a state of physical inferiority, literally commanding respect, and later the Japanese soldiers in addition to his own.

Bridge is slow and deliberate, in its pacing, in its performances, and quietly charming, with director Lean and actor Guiness both at the top of their game. Bridge on the River Kwai is certainly and rightfully the classic war film it is claimed to be.