August: Osage County (2013)

7.1/10

Violet Weston: I'm so glad one of my girls stayed close to home. In my day, family stuck together.

Tracy Letts wrote a story about a family; a disfunctional family, a normal family. Something that resembles very close to home for anyone with a big family. Drama is of course a key ingredient, especially when you have family coming over. Do you want shouting? You got it. Do you want lying? You got it. Do you want deep dark family secrets? You certainly got it. Do you need excellent acting skills? You have it even before you think it. This film is a family symphony gone bad. 

The story is a look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them. (source: www.imdb.com)

Much to our anticipation, the films starts somewhat off beat introducing us to the characters one by one, and their little quirks, up until the big family gathering at a funeral table. What a sheer delight that was. What every person is looking forward to when getting together with family after a long time. Of course script and play writght, Ms.Letts, does so brilliantly keep us entangled in each story line, reminding us, that this could easily be our family or the family next door. 

Staring from the spectacular, if not inconceivable, Meryl Streep, leading a cast that one can only but dream to see all gathered up, she portrays the matriarch of the family, the one who always survives, the grumpiest of them all, the oldest psyche that never ceases to be the sting that starts up everything. She is the core of everyone, and ultimately their destruction. 

Her wonderful cast of fiction siblings include actors such as Julia Roberts, Ewan McGregor,Juliette Lewis, Sam Shephard, Chris Cooper, Dermot Mulroney, Abigail Breslin, Benedict Cumberbatch and Margo Martindale. As would anyone see, we're talking about an incredible line-up of actors who not only surpass the audience's expectations, but come to make justice to the originality of the characters from the play as well. 

However, and as truthful as we can be, as the plot thickens, and the best kept secrets are slowly being revealed, the film oftentimes feels to become strenuous and dragged on. The absurdity in which the family dialogue operates tends to strech past its supposed duration time, thus making the viewer lose even the slightest inclanation to what's going on in their drama. For this reason, we can easily pin-point from the beginning that the film tends to feel more like a dramatization of a stage play than a film altogther. 

The juice in the story is how vulnerable every character is, and the mutliple layers that they keep deep beneath. As soon as the yelling gets going, there seems to be a flare for the overexaggerated plot twist; the siblings who have fallen for each other. Oh the hubris. It happens in the best of families. Only with this one, the deterioration comes slowly and painfully at hand. But what a delight it is to see that life is so unprogrammed, that even the best of people can lose their way at some point.

One should definitely watch it with his folks, or spouse, or children, at that, and remember how it feels to not be able to stay away from your own blood, no matter the heartache and the traumas. 

Not much intented to say regarding the technical particulars, just to point out that the locations make it all too real to be in their family territory. Pulitzer winner playwright Letts, offers us a truly dynamic family drama that resonates for everyone who's ever been part (or even a hint) of dysfunctional in their household. Not the best drama out there, but definitely passes across some powerful messages regarding family bonds. 

          

August: Osage County

Philomena (2013)

7.7/10

-Philomena: And after I had the sex, I thought anything that feels so lovely must be wrong.
-Martin Sixsmith: Fucking Catholics.



There's always something heart-warming when you sit down to watch a film about self-discovery and atonement. And it's always equally surprising when you enjoy the film more than you initially anticipated.

'Philomena' tells the real life story of Philomena Lee, who after years of keeping mum, she went seeking for her long lost son. When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs challenged. (source: www.imdb.com)

Steve Coogan (Tristram Shandy: A Cock and Bull Story, Hot Fuzz, In the Loop, Tropic Thunder), who co-wrote the script with Jeff Pope, also stars as the gifted yet misunderstood journalist who is trying to find himself after his horrendous dismisal from the BBC. Coogan has proven time and time again what a brilliant comedian he is, but with this one he goes one step further in showing to the wide audience that drama suits him equally well. 

The sensitivity and the humanity in which both Coogan and Dame Judi Dench treated Lee's real life story is extraordinary. Two very un-similar characters onto a journey of soul searching. The humourous blends ever so subtly with the dramatic, keeping the viewer to sympathize even, with what the characters are going through. Who said that drama can't be hilarious? This film proves that even evil nuns can have their funny side. 

In all seriousness though, the genious behind the film is truly owed to the evocative story of the real Philomena Lee and the man who sought out to make her story be heard. Coming to add a little bit more of his genious is Oscar nominated director Stephen Frears (The Queen, High Fidelity, Dangerous Liaisons), who makes sure that his audience does not fall into the trap of the melo-drama, but instead builds up the suspsense in sweet down-to-earth agony of where this story could end. 

The film is beautifully shot in locations between Ireland, England and the United States, giving the viewer a travelling feast between the then and now moments, whilst at the same time raising some serious fundamental issues regarding religion and faith. Cleverly so, the writers implemented their stories with philosophical and moral questions such as 'Is there God?' or 'Should one believe in God?' or 'How do you keep your faith, even after the nuns sell your child to the Americas?'. Coming back to an age where a good Catholic girl should be pious and pure, Philomena Lee had sinned, and for her mistake, she was punished rightly so, by having her son taken away from her. 

The humanity and the empathy in which Dench operates as Philomena is remarkable. Her humility and her strength to forgive makes us realize that there are greater things to hold onto nowadays than the anger that we are taught not to let go in modern day society. This wholesome feeling of faith is what truly inspires audiences and what makes them connect to Philomena's story.

A very heart-warming film that it is definitely worth a watch. Albeit nominated for Best Picture as well, it rightly deserves its place in the list. 








           

Philomena

The Hunt aka Jagten (2012)

8.4/10

Theo: The world is full of evil but if we hold on to each other, it goes away.

You know, I''ve often thought that the melancholy and the angst which the Scanddinavian films offer no other cinema will be able to surpass them. "Jagten" is no excpeption. 

The story follows a teacher, who lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie. (www.imdb.com)

The film starts off like a serene symphony, slowly leading you into the events that are about to unravel. And just like that, without the viewer's keen or suspectful eye you begin to sympathize the lead character within those first few minutes into the film. 

The brilliance in the script, co-written by Tobias Lindholm (The Hunt, Sumbarino, A Hijacking) and Tomas Vinterberg (The Hunt, Festen, It's All About Love) - also the director of the film - offer a subtle exammination into the human relationships and their limitations. As the plot thickens, and the chracters are left with all those harrowing feelings to deal with, we are also being asked  ever so quietly to answer questions such  as - How far are you willing to go for the people you have loved all your life? How much do you trust them? How much are you suppose to trust them, and love them? How much are you suppose to know about your neighbour? How much gravity are we suppose to give in a child's words? How are we raising our children to behave and act? Where are we going as a 'free' society? And ultimately, how accepting have we become? 

So many philosophical enigmas all thrust within this film, that one cannot but commend the excellence of how both script writers decided to approach the themes and questions being raised above. 

However, the key in most films is the performances, and Vinterberg is still a winner with this one; like his so far biggest film success, 'Festen', the line of actors he chose to cast was with precise consideration and precision. First up, the best Danish export in acting for the past few years - Mads Mikkelsen (Casino Royale, A Royal Affair, Hannibal, After the Wedding). A proper A-lister master of seductory acting, Mikkelsen, not only charms and engages intensely, but he also makes sure you understand the full reasons why you should side with his character. His powerful resilience as the scorned teacher, deflects the viewer from conlcuding into the most crude and vulgar assumptions of what really might has happened, and instead focusses in presenting us with the real issues that should be of our concern; how we treat people within a society, how far will our social norms allow us to accept people. Mikkelsen, is a mastermind in not losing our trust throughout the film, thus not letting us lose our way on where also the director wants us to go as well.

In regards to directing, Vinterberg is a glorious architect of the human psyche. He ever so subtly let us eavsdrop in the lives of a small Danish society, and he presented us with the issue: now it's up to us to decide how we would choose to solve it. Would we choose to solve it? Vinterberg uses long atmospherical moments to transport this eerie brokenness  that the modern society is facing, the evolving deterioration of a hypocrital society and the need to trully believe in human goodness. Whether we choose to believe that there's still such a thing or not, it's not up to the characters to solve. It's up to us, yet again.

It's only worthy to note the excellent collaboration of Vinterberg and Thomas Bo Larsen (previously collaborated in 'Festen' - with similar thematology) in the supporting role; a character who chooses to believe society's opinions rather than be willing to believe a different reality. Larsen is such an evocative actor that demands your attention whenever he's present on screen, he's not an actor to turn to violent mockery to pass on the massage of sheer hopelessness and devastation in his eyes. He's there, full on, battling with his volcanic emotions which will ultimately lead him only to a silent desperation in his approach to his dilemma; a friend or a foe. 

This film is breaking boundaries, is willing to break social norms and is not shy to give it to us as realistically as it possibly can; how open minded are we after all? How accepting are we with one another and how far are we willing to go to co-exist. It raises some fundamental issues that were constructed to build this modern society, which Vinterberg once again chose to show us, even in a society in Denmark - which is known to be one of the most evasive and fastest evolving societies in the world - even in a small little town, how people are still reacting and thinking in terms of sexuality and what is constituted as right and wrong. 

All these Vinterberg elaborates into his long eeries shots in the forest or even in the momentous silences between the actors' interactions. 

In my opinion this film surprasses any of this year's Oscar nominations - I shall carefully analyze in other posts as well this opinion - and it most definitely would be a worthy winner for Best Foreign Film .

Watch it with a tranquil mood, ready to feed your mind with questions and let the characters touch and humanize your soul.

             

The Hunt/ Jagten Trailer

Amour (2012)

8.4/10

Georges: Things will go on, and then one day it will all be over. 

'Amour' tells us the story of Georges and Anne, who are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested.(www.imdb.com)

So, I'm gonna get right to it. 

Austrian filmmaker Michael Haneke (The White Ribbon, The Piano Teacher) comes to us once again with a film so subtle in its approach and treatment of the issues expressed. Besides my initial indigestion to even comprehend this film, I am inclined to admit its sublimity and its raw uniqueness. Heneke is hardly the man to tell beautiful stories, but he never lies to its viewer either. His narrative is strong, empathetic, filled with raw emotions and harsh truths. He lets the silence do most of the talking through his lense. He does not stall or play around the bush. He has something to say, he has a simple story to tell but he manages to tell it with so much raw passion, if ever that's possible, that you can't help but stay glued to the screen for the two hours of his film.

With this film, I had my reservations. Having witnessed Haneke in action in his previous films, I went into this film with half a heart, hoping that his reality this time would not be so upfront and harshly told. He did not dissapoint though either. His dialogue was scarce but to the point, the music minimal, his actors like life-like gargoyles, the story line was simple and yet so immensely powerful. 

It took me a while to be sucked into his rhythms, but eventually I did. Mostly by the engrossing performances of the two protagonists. I would like to stay on this for a while. The actors. I do praise quite often in films the actors, but with this one Haneke took things into a whole other level. The actors expressions' on any film is what makes all the difference. Here, Haneke let his actors react to each other and feed of each others' reality. Especially the role of the stricken wife. Emmanuelle Riva. Nothing but awe for this actress. Given the role of the woman who is befallen a major attack, nailing her to the bed and ultimately giving in, it was one of the hardest things to watch in a film in the past year. Her physicality and the mental state of the character she managed to portray was unbelievably horrifying, cruel enough to make you stay and watch her, raw enough to make you engage with her reality and touching enough to make you cry. Also it would be a big foul of me not to equally extol Riva's co-protagonist, Jean-Louis Tritignant, who showed a remarkable tenacity as a  thespian and was equally powerful in his portrayal of the husband, who's left behind to pick up the pieces.  

This is not a film easy to the eyes, and certainly not most people's cup of tea. I completely understand now though the 'why' the Academy chose to include this film for Best Picture and for Best Actress award. It is a very powerful and moving film. Real enough for those who dare to experience raw truth through the camera lense for a subject so fragile and above all, human. 

I will not say that I was immediately stricken with awe with this film, well not even by the time the end credits started rolling. However, it did leave a bittersweet feeling to my heart, it made me think about it, and come back to it with a fresher more intimate approach in my second screening. 

Outstanding piece of filmmaking, worth the while. Do not dismiss it right away and patience is a key with this one. 

Silver Linings Playbook (2012)

8.3/10

Tiffany: I was a slut. There will always be a part of me that is dirty and sloppy, but I like that, just like all the other parts of myself. I can forgive. Can you say the same for yourself, fucker?
Can you forgive? Are you capable of that? 

Five minutes in watching the 'Silver Linings Playbook' and this film had me guessing what it was all about. Given the very unique cast, I've decided to keep an open mind about this 'social drama'-look alike film and give it a go. After all, that is what a true film lover does.

The story tells us about Pat Solatano, a young man who lost everything - his house, his job, and his wife. He now finds himself living back with his mother and father after spending eight months in a state institution on a plea bargain. Pat is determined to rebuild his life, remain positive and reunite with his wife, despite the challenging circumstances of their separation. All Pat's parents want is for him to get back on his feet - and to share their 
family's obsession with the Philadelphia Eagles football team. When Pat meets Tiffany, a mysterious girl with problems of her own, things get complicated. Tiffany offers to help Pat reconnect with his wife, but only if he'll do something very important for her in return. As their deal plays out, an unexpected bond begins to form between them, and silver linings appear in both of their lives. (www.imdb.com)

What intrigued me about the story first and foremost was the delicate approach of how the creative team decided to treat and pass on a story about people who suffer from OCD (Obsessive Compulsive Disorder) or Bipolar Disorder or even Sex addiction. Very sensitive matters to deal with on screen and to try to make people understand or even sympathize with the characters, unstable at times, emotional journey. Yet, screen writer/director David 
O. Russell managed not only to create a stabilized chemistry between his actors but guide them through this process steadily and with an open mind on what they were trying to get across. 

David O. Russell made sure to give his characters multiple sides to them, both good and bad, without though eliminating any ethical emotional ups and and downs out of the right-wrong equation. This served well in the atonement of the two main protagonists most of all; is Pat really ready to rebuild his life with his ex wife, do we side with him in this obsessive journey of rekindling his marriage, do we criticize Tiffany for her addiction, how do we see her approach towards Pat and do we really condone with their odd, yet profound, 
bond between them. But hear lies the rub; David O. Russell manoeuvres carefully the plot so that we can digest first the problems of each character, absorb them and then sets us free to distinguish our emotions, whether that is pure abhorrence or pure wholesomeness. 

Onto the actors now; quite admittedly I was not too enthused to see Bradley Cooper (Limitless, The Words, The Hangover, He's Just Not That Into You) as he predominately comes from more of a comedic background. With this one I had my reservations. I am glad to say I was happily surprised that not only he manages to make me sympathize such an sardonic character but also develop an emotional bond with his character. He is an odd character to play, but his struggles become sort of his personal confessions to the viewer.He leaves you the space and the time to understand him, hence empathize with his actions as well.

Jennifer Lawrence (The Hunger Games, Winter's Bones, X-Men: First Class) on the other hand comes up abruptly, like a hurricane, and blows your mind. She is the twister in the story but also the cherry on top. She does not want you to like her, well at least not right away. But she intrigues you. She lures you in, to question where is she going, what does she want and how deep her wounds are. She portrays a very dynamic character, full of zest and pain, but does not let any viewer linger from her side. She demands attention, with her bizarre actions and her very secretive sensitive nature. Once again, she is up for an Academy Award nod for Best Actress. Quite deservedly, as she does a superb job in her portrayal of Tiffany.

Needless to mention the astounding performances of Robert DeNiro and Chris Tucker. They both bring vibrant and exuberant performances to the whole story line, as they enhance the main protagonists' with layers to their personal drama but also a more humane aspect of their daily lives. 

Technical aspects of the film are smooth paced, cinematography registers the events in shaky rhythms and more steady tones whenever needed. Music composition offers a beautiful combination to the story line. All in all I believe this film is very sensitive. It touches and delves with very precise matters, trying to make people who are even unaware of how to distinguish people that are going through such issues and make them more sensitive and
understanding towards them. All I know is that, alone the fact that David O.Russell drew from his personal experiences to create this film, makes you choke more than once throughout the film. 

Well worth the time to sit down to watch. Sweet little story with multiple messages. 

Enjoy! 

The Impossible (2012)

8/10

Henry: But you know, you know, the most scary bit for me? Thomas: When the water hit? Henry: No. After that, when I came up, I was on my own. That was the scariest part. And when I saw the two of you climbing to the tree, I didn't feel so scared anymore. I knew I wasn't on my own. You see? 

Another big contender for this year's Academy Awards. This film had me pondering from the first time I saw the trailer, whether I should watch it or not. The reason being is that, I knew, from beforehand, that this was going to be an extraordinary story, based on true events; events that happened not so long ago, to a family just like any other family. 

'The Impossible' tells the story of a British family on Christmas holiday at a beach resort in Thailand is torn apart when a deadly tsunami devastates the area. The film follows the seriously wounded Maria and her eldest son Lucas as they struggle to safety,not knowing whether Maria's husband and their two younger sons are dead or alive. (www.imdb.com) 

The story starts off beat, just your average family going abroad for holidays when disaster strikes; the deadly tsunami. I shall be honest, I was not prepared to see what followed. It's not so much the fact that nothing like this has ever been made on film or TV, but more of the fact that this really happened, this family really did live all this chaos and devastation. 

Up till the very end, I was very unsure of the outcome that this disaster would have on this family. All this major drama, would not have been made possible if it wasn't for the compelling script of Sergio.G. Sanchez (El Orfanato). He guides you through with such horrified sentiments that it takes a lot not to be touched or empathize with the people's drama. 

The camera work and special effects take on a vital role in this film as they journey with the viewer through the disaster and the aftermath of the characters' survival. 

For me this film worked in so many levels, not only because of the reality of this disaster, but because of the actors. Seeing Naomi Watts (Mulholland Dr., King Kong, 21 Grams, The Ring)  undergoing the traumas and seeing her so gruesomely wounded, unable to go on, but still wanting to be there for her only son left, it is quite simply tearful. 

A very emotional performance goes out to Ewan McGregor (Trainspotting, Moulin Rouge!, The Island, Big Fish) also, the father who would do most about anything to find his wife and eldest son. McGregor gives a tantalizing performance when he breaks down and bursts into tears, days after the deadly tsunami, and in the company of strangers, promises to his family back home that he will do anything in his power to find the rest of his family and he will bring everyone back home safe and sound. 

All of this of course, is a result of the tremendous achievement of the director, Juan Antonio Bayona (El Orfanato). Alongside, script-writer partner, Bayona, a Spanish director, manages only to grasp every viewer's attention for these earth-shuttering events, but also transmit the pain, the actual raw physical and emotional pain that his actors were experiencing. 

This film is a well deserved one, worthy not to be snob-ed by the masses or the critics and it is definitely one of this year's must-see's. Albeit it may not be up for Best Picture or Best Direction, it did get a Best Actress nomination nod, something which is well deserved, as Watts delivers a role so human that has you gasping for air yourself.

Definitely worth a look!

50/50 (2011)

Rating: 7.3/10

"Adam: A tumor? 

 Dr. Ross: Yes. 

Adam: Me? 

Dr. Ross: Yes. 

Adam: That doesn't make any sense though. I mean... I don't smoke, I don't drink... I recycle..."

 It is a pleasant delight to stumble upon films that not only have brains put into them but lots of heart and love. '50/50' is just that! A film with heart.

It's inspired by a true story and it's a comedy that centers on a 27-year-old guy who learns of his cancer diagnosis, and his subsequent struggle to beat the disease. (www.imdb.com)

A story that seems to be quite popular nowadays, but with this one script-writer Will Reiser managed to put a lot of bittersweet moments in, just to spice things up. Given the fact that this is his first proper try out for a tragi-comedy, '50/50' is one of those films that will have you pop between laughs and tears. The very fact that Reiser managed  to establish 'cancer' as something so not bizarre to happen to a 27-year-old, makes you sit down and pay atttention; what in the world would a 27-year-old healthy (presumably) young man do if he found out he had cancer?

The answer comes in the main lead, who is none other than the Indie-actor favourite over the last decade, Joseph Gordon-Levitt. He might first popped through our screens from a mid 1990s TV Show about aliens ('3rd Rock from the Sun'), but over the years he has performed in a swirl of excellent indie films thus reaching a point of his life to be the young prince of the Indie Film Industry. In this film, he was both effortlessly funny and dramatically brilliant, that gave the viewer all these emotional stages to juggle through during the film. For me, this actor is heading to a thespian super-stardom.

Co-staring along-side the brilliant Gordon-Levitt, is the up-coming and Hollywood favourite comedian, Seth Rogen.  Since Rogen is seen in most films these days, I won't say his the most brilliant comedic out there, but he definitely grows on you both as an actor and as a comedian. He has that spark that makes you want to laugh and enjoy his jokes in every film he does. And '50/50' is no exclusion. He is the comedic relief, truth be told, but he does his part so very well, as the best friend of a cancer-patient, that he makes you feel his humane side as well. Look forward in seeing him excel in the near-future.

Of course the film would be altogether a nuisance without the presence of up-coming star-ladies Anna Kendrick and Bryce Dallas Howard, who are both serious and comedic actresses to come in a total completion of this fun-loving cast. But the real gem is Gordon-Levitt's on screen mother, Angelica Huston, who with her warmth and tenderness extends her love to every mother who's child has been struck with cancer of any form. She gives, as always a superb and touching performance, and makes her every on-screen second count.

This film is a small gem for me and recommend it to everyone. It is warm, and touching and has some really sweet, tender moments about family, friendship and above all about the hope to live.

Hope you get to enjoy it!

50/50 (2011)

The Graduate (1967)

Rating: 8.4/10

"Mrs. Robinson you're trying to seduce me, aren't you?"

'The Graduate'. This is the film that made it all happen for newly seen actor back in the day, Dustin Hoffman. He was a shooting star when this film came out. But let's not get carried away shall we? Let's talk fimmaking first.

'The Graduate' is on of those films that made history. Not so much about the story but about the revolution that its themes started. The film centres around a recently college graduate Benjamin Braddock, who is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.(www.imdb.com)

This is perhaps the film that started the whole the cougar-is-the-best-around theme that has been going on, especially during the last few years in pop culture. The slinky plot-line, the witty dialogue, the brooding/atmospheric music ('Sound of Silence')of one of the most well-known Brit duos back then 'Simon & Garfunkel' and the eerie direction are a few of the ingredients that make this seemingly shallow film work into a classic.

The delight comes from within; acting being a craft in the hands of the two main protagonists, Anne Bancroft and the new-kid-in-the-block-then Dustin Hoffman. They might have seem an odd pair to match but their precise movements and mannerisms in the filmic made both of them sultry and easy to watch. Their affair might not be presented in all the conventional terms, but this is exactly why it still manages to hold the audience's attention so many years later.

In my opinion, what really did fascinated me from the very first time I sat down to watch this film was the brooding melancholia it was transmitting towards me. All those idle moments of Hoffman's character, the need to find something pure and honest, the need to escape the conventions of the elite status of his parents were examples of the modern-man wanting to break free, to escape from the chains of the suburban way of living. Just like so many young people in the late 1960s wanted to break free and see the world with open eyes, so did this film wanted to transmit; the courage to go beyond social convention and give a taste of the "new", the forbidden, the "future".

Stylistically this film has a lot to offer in terms of originality and scripting. At moments it can be both hilarious and at moments desperately dramatic. It swindles you both ways but in all sense at the end makes you understand that love is all you need to prevail. Mike Nichols, the director knew well how to set-about with the themes he wanted to leave his audience with, since he cleverly took us from a very long-lost-suburban-graduate to a rebellious-young-man-who-can-do-most-anything, thus giving the audience back then to believe in the future, in their power to choose and try things.

Understandably this film is considered a classic and still manages to warm up the audience's heart. Witty, smart & sexy, this film has a lot to offer than just a naughty cougar; brains to match it as well.

Hope you enjoy the film!

The Graduate (1967)

La Vita è Bella aka Life is Beautiful (1997)

Rating: 8.8/10

"Buon giorno, Principessa!"

He came, he saw, he conquered. That's what exactly Roberto Benigni did. He had a fantastic film idea. He saw it through. He conquered Hollywood. And after that the Foreign Press Association and the Academy  Awards created the Oscar for Best Foreign Film category so that the Europeans wouldn't come and take their awards away. (just kidding) And here's when we say Viva Italia!

All joking aside Roberto Benigni wrote and directed this wonderful film that talks about a father's will to protect his song against the Nazis no matter what the cost. The plot goes like that:

"In 1930s Italy, a carefree Jewish book keeper named Guido starts a fairy tale life by courting and marrying a lovely woman from a nearby city. Guido and his wife have a son and live happily together until the occupation of Italy by German forces. In an attempt to hold his family together and help his son survive the horrors of a Jewish Concentration Camp, Guido imagines that the Holocaust is a game and that the grand prize for winning is a tank." (www.imdb.com)

Roberto Benigni casted his real life wife, Nicoletta Braschi, as his on screen wife something which really vented on well as these two actors have chemistry both on screen as well as off. Benigni's secret ingredient though was the hilarious and at the same time outrageous comedic lines in the script. Benigni's character is somewhat of a goof-ball what we'd call but he still is smart enough to make all the right moves and still win his audience's hearts.

But I simply cannot stress this enough, this film is so touching and heartwarming that simply will melt even the most demanding viewers. The plot stars off very light-hearted almost  like a romantic comedy with that European light-hearted style and somewhere along we meet the German occupation in Italy and its harsh consequences. Begnini's imagination knows no boundaries in this film as he manages to combine both drama and comedy all into one-film without this feeling awkward or too excessive. He balanced everything just about right for the viewer to follow the plot and have a good time, even with an anti-war film. I gotta handed to the unbelievable acting of Benigni, who simply astounds audiences as he managed to get people from across the world to cry and be moved, as well as feeling a sense of appreciation of everything that one lives for.

One of the true memorable elements in the film, besides the exquisite acting and dialogue is the music, by Nicola Piovani. I'm sure that many people out there will have heard this piece before. This is truly one of the best well-composed musical scores and in all honesty the Academy Award was well-deserved.

Without wanting to spoil too much this touching film, I'll simply say watch it with your family, with your loved ones and I promise you that immediately after watching it you will venture on to your father (or father figure) and go hug them, for this shows the true meaning of flawless family love.

Buonna notte principessi e principi!




La Vita e Bella (1997)

Finding Nemo (2003)

Rating: 9.2/10 

"'Marlin: I can't read human.' -'Dory: Then we need to find a fish that can read this. Hey, look! Sharks!'"

'Finding Nemo' is one of Pixar's masterpieces. And I will tell you just why. It is Disney with balls, and much more heart and brains. This is not a story JUST for children but for adults as well.

The story is about a father and a so; "A clown fish named Marlin living in the Great Barrier Reef loses his son, Nemo, after he ventures into the open sea, despite his father's constant warnings about many of the ocean's dangers. Nemo is abducted by a boat and netted up and sent to a dentist's office in Sydney. So, while Marlin ventures off to try to retrieve Nemo, Marlin meets a fish named Dory, a blue tang suffering from short-term memory loss. The companions travel a great distance, encountering various dangerous sea creatures such as sharks, anglerfish and jellyfish, in order to rescue Nemo from the dentist's office, which is situated by Sydney Harbor. While the two are doing this, Nemo and the other sea animals in the dentist's fish tank plot a way to return to Sydney Harbor to live their lives free again." (www.imdb.com)

The actors who lend their voices to the animated characters are both brilliant and spot-on the comedy tricks. Some of these actors is Albert Brooks, Ellen DeGeneres, Allison Janney, Willem Dafoe, Brad Garrett and the new talent in the block who so brilliantly voiced the character of little Nemo, Alexander Gould.

This film is so heartwarming, moving and at the same hilariously funny that any viewer (and I bet my credibility as a film junkie) will not be taken by the story and the characters. Two times Academy Award Winner Director Andrew Stanton ('Wall-E'), in collaboration with Lee Unkrich, did a remarkably superb job not only in terms of how to make the narration both speedy, comedic enough and also dramatic but was very attentive to the way he chose to create the world down under, something which was not tried ever since 'The Little Mermaid' popped through our screens back in 1989. A great achievement for a director to make both children and grown-ups around the globe to embrace and relate to the story of Nemo and his dad, and also a very witty way to get moral messages across on when parents should let their little ones on their own.

This for me was not only one of Pixar's greatest achievements but also a ground-breaking films to show the world how animation can be just as an equal contender as a dramatic film in terms of getting a film done and bringing people in the theatres to enjoy this film.

Albeit having a limited expertise on animation, it is my personal belief that this film will be a classic and it will hit the cinema history books to come as it offers a blend of various elements that constitute good filmmaking; not only it surpasses the challenged of creating a truly enjoyable plot but also the graphics and the music, which was composed by world-known music composer Thomas Newman, accordingly make for a wondrous spectacle for any viewer that generously sits down to watch it. It does not play on children's gimmick jokes just to make it comprehensible for them, but instead has a very serious adult-tone to it, thus making it more approachable for a wider audience to watch, unlike quite a few animated films that tone-down their level to be appreciated by the younger crowds.

For those who appreciate fell-good animated films, this will not only surprise you by its wit and charisma but also move and engage you to a level you will not be expecting. A film I strongly suggest by any film-goer to screen, this is 'Finding Nemo'.




Finding Nemo (2003)

The Sound of Music (1965)

Rating: 8.7/10

"The Von Trapp children don't play. They march."

The ULTIMATE feel-good family-movie!

How can anyone review a masterpiece such as this film?!? Not only this film is the ultimate classic, it surpasses anyone's expectations when we look at today's musicals.

'The Sound of Music':

The story involves some nuns, a governess, a captain, some Nazis and a large family of kids that sings and dances. Pretty straightforward story: "A young woman trained to be a novice, leaves an Austrian convent to become a governess to the seven children of a Naval officer widower." (www.imdb.com)

I'm sure there's plenty of governesses stories out there, although this one is slightly different. There is indeed a lot of singing involved and quite a bit of dancing, as there is a lot of pranks and heartfelt performances. This film is a special treat for the whole family, because it takes you step by step into this gloomy household and its transformation into a house of laughter and singing. Imagine a more mature Mary Poppins type of film.

The newly-Academy-awarded Christopher Plummer and the always astounding Julie Andrews give a bedazzling performance and really pour their heart and soul into bringing their characters to life. Although rumours may suggest what a struggle it had been for Plummer to really connect with his character, having to do all that singing, he found it a sheer joy to be pummeled day in and day out with the passion and the stamina of Andrews. Their on-screen chemistry as master and governess at the beginning and their growing likeness towards each other as the film progresses really give the audience feel at ease and  joyful to watch this on-screen couple. Both actors apply the performing girth into full gear, especially when it came to their vocal numbers they leave one breathless with their heartfelt emotion that they put into their songs.

Of course the key ingredient in all of this is the music, and the children. Nothing would have been made possible without these two elements. A combination that truly makes any family member involved. Each vocal number for the children was definitely a challenge but all seven of them did a superb job with both their hilarious acting as well as their singing. Considering that for some of these kids, this film was their debut into the acting world, one can't help but admire their fantastic energy and enthusiasm that they bring in this film. But like I mentioned before, nothing also would not be the same without the exquisite original music score of Irwin Kostal, who has the audience still singing the songs of the film forty-seven years after its making. What a wonderful achievement that must be for a music composer.

This film would be suggested mostly for the families, the people who love musicals and singing in general, but I would recommend it to people who enjoy a good performance, a good subtle story of an estranged family and people who like to relish on classic cinematography. I mean look, the shot of having Julie Andrews at the beginning of the film singing in the Austrian mountains (which I've checked it's quite real I guarantee you) is one of the most unique shots in all of cinema history, and that's not an exaggeration. I mean beat that today, without any visual effects and CGI. Very few can!

This film is full of heart and soul, and above all some exquisite, original, authentic music!

Enjoy the VonTrapp family my lovely cinema-goers!


The Sound of Music (1965)

The Artist (2011)

Rating: 9.2/10

"Perfect. Can we do it one more time?" - "With pleasure!"

Probably one of the most talked-about films of the year, if not the decade! 'The Artist' is the most recognizable silent films of the 21st century!

A lot has been said and written on this film, and my review will not be the exception of the majority of what's been said. This film is quite the accomplishment for writer/director Michel Hazanavicious. Although this is hist first transatlantic endeavour, Hazanavicious did wonders. He simply proved to every active director out there that simple is best!

He managed to get people from around the globe into the cinema theatres to watch a silent film; in our day and age when people are more and more driven to words and blabbering on screen, Hazanavicious was capable of mesmerizing the cinematic audience with no words, no dialogue, simply image, music and sound.

The story in brief: "George Valentin (Jean Dujardin) is the king of silent movies in Hollywood in 1927. Audiences just adore everything George is a part of. Along comes Peppy Miller (Bérénice Bejo) who you just know is going to be a huge star some day. George and Peppy work together on one film as George not only takes her under his wing, but an undeniable spark develops between the two. Over the course of the next few years, silent movies fade into obscurity as talking pictures or "talkies" explode onto the scene. George finds himself struggling for not only work, but a purpose to live as Peppy becomes the next big thing overnight." (www.imdb.com)

Hazanavicious innovative idea of shooting this film silent, black and white but also in a 1:37:1 aspect ratio has literally and figuratively brought Hollywood and the rest of the world by surprise, as it not only dares to experiment on a very unique film idea but also make the world experience cinema like the old days. He asks of his audience to relive the golden glory of the silent film era; an era full  of romantic ideals and enthusiasm for what was to come in the future.

The absolutely vital ingredient for this film's success though lies in the protagonists; Jean Dujardin and Berenice Bejo. A match-made in Heaven. In cinema heaven. These two actors,  bring the enthusiasm, the energy and the passion needed to carry through the narration of the story. Their merge is astonishing, as the freshness in their performance, is able to magnetize every viewer on the big screen. An amazing pairing in my opinion, that manages not only to captivate and engage the audience with their very heartfelt performances, especially Dujardin who holds the lead role, but also both actors are able to let their faces light up on screen, thus reminding to the audience how powerful the face of an actor can be on camera.

Russian director Grigori Kozintsev once said "what would be the point of  setting-up a camera to shoot anything, if that camera does not manage to capture the facial expressions of the character's emotional journey". And this is what exactly this film is about. It has the courage and the guts to remind us what we, as an audience, forgot nowadays; to pay a little less focus on the visual and a little more attention to the character development.

A worthy mention to the cameos and non-cameos of veteran actors such as Malcom McDowell, John Goodman and the always warm James Cromwell, as well as actresses that have many-a-time been underestimated by Hollywood producers Missi Pyle and Penelope Ann Miller, are few of the names that simply add to this cinematic recipe of success.

The costume and production design certainly must have been an overwhelming task for the production team to fulfill but it accomplished to transfer us for an hour and a half back in the late 1920s with such ease, it made the make-belief all the more easy to buy in and get sucked in the feeling of the era. So wonderfully designed and mastered!

And it would be a tremendous error of me if I wouldn't praise the music design in this film. The soul and heart of this silent 'picture'. Ludovic Bource. A true artist who I do hope his name will echo loud and clear this coming Sunday evening at the Academy Awards Ceremony for the Oscar for Best Original Score, since to say that he did a superb job in the musical enhancement would merely be an understatement on my part. Thumbs up for the brilliant work he did!

This film is not just a brilliant masterpiece made for the wider audience to enjoy; it is an experience that everyone who loves and appreciates good cinema should indulge in! It is the wonders of all wonders of filmmaking, and it came from a very unknown background, and not a mainstream filmmaking co-operation that just wanted another blockbuster hit, but instead wanted to make magic on the big screen. And that it does.

Just to clear the air of a myth though. The film is not entirely in silence; and for those who will endeavour to watch this film, they will understand why I'm saying this.

I do urge people to go and watch this film. Support it, love it, and simply enjoy the ride!

Sound rolling. Camera rolling. Aaaaaaaaaand.....Action!!!

'The Artist' (2011)