Time Lapse ✪✪✪✪✪

Opens in Australia:               No release as yet

USA: 27th August, 2014 (Portland International Film Festival)               
UK:No Release as yet.

Other Countries:                   Release Information 

I'm championing this film because I'm an independent author, just like the filmmakers of Time Lapse are independent filmmakers. When you are out there on your own, sometimes, just knowing that there are a few people that really get what you are doing, gives you such a boost. I've had that thrill with wonderful reviews for my books from complete strangers, and so I like to pay it forward.  I apologise ahead of time that I am going to whet your appetite for a film that you may not be able to easily catch at your local cinema. Time Lapse is doing the rounds of the international film festivals, so if you are lucky enough to have it in your city, DO NOT MISS IT.  Otherwise, go to your local cinema and ask them when it is showing and they may contact the distributors and see if they can get a cinema release. Now to the review...

Time slip is one of the toughest genres to pull off. There are so many tropes around this sci-fi sub-genre that writers can easily fall into a plot-hole black hole from which their story cannot return, and they will be criticized for its implausibility. Time travel is implausible, but it holds so much opportunity if written right that we are happy to go along for the ride. Usually, though, the studios worry little about these issues when it comes to the latest science fiction offerings, casting mega-stars, spending a fortune on special effects, and little on the script. Then they blitz with a twelve month pre-launch marketing campaign, and we go along expecting “wow” and, instead, receive “woe” for our box-office dollar.

So you wouldn’t expect that a small indie release would blow you away with its script and originality, but that is exactly what happened at the Revelation Film Festival in Perth, Australia when viewing Time Lapse, a film directed by Bradley King and produced by BP Cooper, both of whom wrote the script. Think classics like Memento, Triangle, and Donnie Darko, where the story twists your mind with its complexity, and the minute you’ve finished you want to rewatch to spot the clues. Time Lapse is currently doing the rounds of film festivals, and winning awards at them. It may not be at your local cinema yet, but keep looking and asking for it.

Three friends (Danielle Panabaker, George Finn, Matt O'Leary), living in and managing an apartment complex, stumble upon a strange machine in a mysterious neighbor’s home. It’s pointed at their large living room window, and they realize that, somehow, it takes photos 24 hours into the future exactly at 8pm. Posted around the machine’s room are hundreds of photos of them. Initially, the machine provides a prosperous opportunity as they send messages, to their 24 hour earlier selves, on horse race winners. However, things turn dark and sinister quickly when they start to believe that they need to perfectly recreate the scene in the photograph the following day or face dangerous consequences and possibly death.

It’s one of those films that you wish would go on forever. With each new photograph revealed, you’re thinking—just like the characters—what’s the story behind the photo? What’s going to happen in 24 hours to make it come true?

First time director, King, and co-writer Cooper have produced a well-imagined film and worked wonders with a small set and budget. Keep an eye on these two. Something tells me we will be seeing big things from them in the future. Do not miss this film when it comes to your local theatre. It’s a science fiction classic gem.

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Gravity ★★★★★

A perfect space odyssey

Opens in Australia: 3rd October

USA: 4th October  UK: 10th October
Other Countries: Release Information

Gravity is surprising, no matter which way you turn. And there is a lot of turning and spinning, so be prepared if you suffer motion sickness. There is also a great deal of white knuckle, breath holding moments, too.

You could be forgiven for thinking a dramatic space film with Sandra Bullock as the lead wouldn’t work. The staging is so realistic you could, also, be forgiven for thinking it was filmed entirely in space. It was actually filmed entirely at Shepperton Studios in London, England against animated screens. You would also not expect that ninety minutes of slow movement, fifteen minutes of dialogue in the opening followed by mostly silence and monologue, would be so enthralling.

But director Alfonso Cuarón has delivered a film that will grab you by the throat from the beautiful opening scenes, and it will not release you until the end credits. Even then, you will find yourself reliving the moments later because it felt so real.

Dr. Ryan Stone (Sandra Bullock), a medical genius is on her first shuttle mission and effecting repairs on a routine spacewalk. Matt Kowalsky (George Clooney) is on his last mission and, in the magnificent opening sequence, casually zips around her admiring his final view from space. When disaster strikes and their shuttle is destroyed through a collision with hurtling detritus, Dr. Stone must find a way back to earth while her air runs low and she finds herself in an environment for which she is ill prepared.

By all accounts Gravity was a frustrating film for Cuarón to create and he has said he will never venture into space again. Each sequence needed to be digitally created; a two year process before filming began. Most of the technology invented for the film constantly failed up until the first day of filming. Cuarón even kept a diary and talks of fifteen days where they barely achieved anything. The diary was his record for later analysis after what he believed would be his inevitable dismissal when the project fell apart. After the conclusion of principal filming, it was still another year and a half of post-production.

Even the star, Sandra Bullock, described the time she spent in a nine foot cube, created for her shots, as “lonely” and “isolating.” It was so difficult to get in and out of that she chose to remain inside between takes, alone, many times in full astronaut suit.

Gravity has been universally praised by critics, deservedly. We’ve never seen anything like it on the big screen. And since Cuarón has explained that it took him four and a half years to complete, we probably won’t again. But the effort was worth it. It is a haunting, thrilling masterpiece that should be enjoyed on the big screen. We saw it in IMAX in 3D and it is worth the extra dollars to experience the full effect of this extraordinary film.

Here is a great interview with Alfonso Cuarón on GRAVITY

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Disney's Frankenweenie ★ ★ ★ ★ ★

IT’S THE HEART THAT BREATHES LIFE

Australia:  25th October, 2012; USA 5th October, 2012; UK17th October 2012
Other Countries: Release Dates




 

Just when you thought you had seen everything fantastical at the cinema, Tim Burton takes us to another level of superb in Disney's 'Frankenweenie'.  This film is so beautifully crafted I will be seeing it again as I missed so much due to the constant superlatives that spun in my head during my first viewing.

Why is it so good?  It’s foremost an engaging story (screenplay by John August), with incredible stop-motion 3D animation visuals that will have you truly wondering ‘How?’, and the music by Academy Award®–nominated Danny Elfman that is almost a character in itself.  Despite the technology, it still feels like you are watching one of those gorgeous old favourites that had you covering your eyes as the monster lurched after its victims. 

Tim Burton, arguably one of the most creative and eccentric Directors sometimes misses the mark, thanks to his penchant for extreme.  But in 'Frankenweenie' he has not just nailed it (excuse the pun) he has quite possibly created a classic as unique as the original ‘Frankenstein’.

Due to budget constraints the film began its life in 1984 as a live-action short for Disney.    The drawings Burton used in imagining his original characters have been used for this feature-length film alongside new characters.  Film buffs will recognize classic characters as many of the film’s leads are modelled on the look and traits of the memorable 1930 horror characters.  
 

'Frankenweenie' is the moving tale of a young science prodigy, Victor Frankenstein(Charlie Tahan) and his beloved dog Sparky.  Victor attends New Holland Elementary School where he is mentored by the misunderstood Mr Rzykruski (Martin Landau) who teaches him that “science can do both good and bad things and that if a scientist does not put his heart into his experiment, there could be disastrous consequences.” The first sign of trouble is heralded by the class ‘Weird Girl’ (Catherine O'Hara) when she delivers to Victor a prediction that something ‘big’ will happen to him because Mr Whiskers, her cat, has dreamt about him.  How does she know what the cat dreams?  Well, it’s quite imaginative and amusing.  The signs come from the kitty litter.

‘Big’ happens when Sparky is hit by a car and dies.  An inconsolable Victor hatches a plan to patch Sparky together and he then successfully brings him back to life, hiding him away in his attic.  Sparky’s resurrection does not stay a secret for long though and once the school creepy guy Edgar “E” Gore (Atticus Shaffer) discovers the truth, it isn’t long before word spreads amongst the other kids with monstrous results.  Along the way you will be captivated by the myriad of quirky characters voiced by other major talents like Martin Short, Robert Capron, Christopher Lee and Conchata Ferrell.
 

 

It took two years and 33 animators to film the stop-animation for ‘Frankenweenie’.  There are 24 frames per second in the stop motion for the film.  An animator, working usually alone, must stop and reposition the puppet 24 times to get one second of filmed action.  At its 82 minutes that’s 295,200 seconds and 7,084,800 movements.  That’s a study in patience right there.
 

The typical week for a stop-motion animator begins with being assigned a shot. He is then responsible for all the characters in that shot.  An animator must spend hours working with the puppets, tightening screws in their limbs and then placing them to get all of the movement that is required.  On average, one animator can only produce 5 seconds of animation per week.  So when you pay your theatre entrance you are certainly getting your money’s worth.

'Frankenweenie' is filmed in black and white and that choice only adds to the experience.  Parents may have to convince their retina-enhanced iPad children that watching a black and white animated film will be fun. However, from the opening sequence all complaints will be silenced as Burton’s ‘Frankenweenie’ takes parents on a trip down memory lane and introduces the young ones to what we mean when we say, ‘there was something special about those old black ‘n whites’. Just like Mr Rzykruski’s science, it’s not the special effects but the heart that’s put into it that makes all the difference.

 

See this one at the Cinema in 3D or you are really missing out on something special.

 

 

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The Artist ★ ★ ★ ★ ★ Hugo ★ ★ ½

The Artist  Release Dates: Australia  2^ND February 2012
USA 20th January 2012      UK 30th December 2011   Other countries

Hugo Release Dates: Australia  12th January 2012  Other countries

WHEN SILENCE IS GOLDEN

 

A film reviewer is a film lover and we happily take the good with the bad, watching the hundreds of movies a year that our passion demands.  We groan restlessly at the bad ones and buzz enthusiastically when we watch something truly remarkable.

 For many of us, slightly older film buffs, our love affair began with black and whites and—I know I am aging myself—silent films.  After school I would sit enthralled watching the antics of the Keystone Cops and the Marx Brothers—no, I wasn’t born in that era; they were reruns in the sixties.

But as time and technology marches on you expect more from your cinema experience and I must admit I am now a big “Blockbuster” fan with all the technological bells and whistles.

So, this week, I watched both ends of the spectrum dealing with the same subject matter—The Artist and Hugo. The former preview I attended, thinking how can a black and white, silent movie be as good as its PR?  And the latter viewing carried with it great anticipation.  My reaction to both, though was very different.

The Artist, set in Hollywood 1927, written and directed by MICHEL HAZANAVICIUS is the story of George Valentin (Jean Dujardin) one of Hollywood’s reigning silent screen idols.  He is the epitome of gorgeous leading man stardom, carrying the swagger and arrogance to boot.  Early in the story he crosses paths with young dancer Peppy Miller (Bérénice Bejo), and it is clear there is chemistry but circumstances separate them before anything can progress.

 Two years later, talkies are arriving and George sticks his head in the sand as Al Zimmer (John Goodman), head of Kinograph, shows him this exciting technology.  The rest is almost a ‘Star is Born’ story as George’s star wanes just as Peppy’s rises.

In Hugo, directed by Martin Scorsese, and set in 1930s Paris, Hugo Cabret (Asa Butterfield) is an orphan living in the walls of a train station.  He spends his time avoiding the Station Inspector (Sacha Baron Cohen), whilst attempting to solve a mystery involving his late father and an automaton—a kind of a wind up clockwork mechanism robot. With the aid of his new friend Isabelle (Chloë Grace Moretz), he eventually uncovers the secrets of an embittered shopkeeper Georges Méliès (Ben Kingsley).

The film is captured beautifully with superb lighting and rich, deep colours and stunning 3D sweeping views across Paris and through the train station.  The setting is as intricate and detailed as you will see in any film, and the actors would have spent most of the filming before green screens, in order for the digital artists to later weave their considerable magic.

            Without giving too much away the story is really about maintaining the preservation and respect of early black and white film. Hugo is Scorsese’s tribute to the origins of filmmaking, just as The Artist is Michel Hazanavicius’.

              My experience of both films, though, is poles apart and is not due to whizz bang effects.  In the initial twenty minutes of The Artist I felt myself rebelling against the lack of technology.  I didn’t want to watch a film without colour or sound—and try opening a packet of crisps quietly in a crowded cinema during a silent film (not easy). 

              But as the frames flickered by, we the audience were drawn in to this world to the point where you forget there are no spoken words.  All you see is an age old story, superbly acted and crafted, unfolding before you.  By the time it is over, you understand you’ve just participated in something magical.

              The whole family attended Hugo, and despite its mastery of all things film technological, my nine year old’s comment half way through was, ‘Too much talking. It’s a little boring.’  And yes, I agreed.  With everything thrown at it, it failed on the one point which is important to a book or a film; it was too wordy and too determined to prove its point.

              With Hugo’s current, wide release, box office gross only $55 million (USA) against a $170 million estimated gross and The Artist’s current $12 million (USA) against its $15 million estimated gross on limited screen release, I hope a message has been sent to Hollywood.  Tell the story first and use the special effects to supplement.  Keep your scripts tight and show, don’t tell.

              And from  the mouth of a nine year old critic, to those who wield the big cheques, too much talking is boring, no matter how pretty your picture or fabulous your Director.  I realise I am going against critical opinion but Hugo fell far short of its promise and premise and it is not a film for children despite the advertising being aimed squarely at them. 

If you desire a rare treat and want to skip lightly from the theatre with your heart uplifted, I promise you that you will find the silence of The Artist is golden.

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The Girl With The Dragon Tattoo ★ ★★ ★ ½

Release Date: Australia January 12, 2012 Other countries

Rating: MA 15+

Running Time: 158 mins

 The Answer to the Millennium Question?

We serious moviegoers don’t like remakes. Especially remakes of European movies. Hollywood has this thing about underestimating audiences. They think we don’t like reading subtitles.

They take a good story, already successful in a foreign language, cast some big name actors—sometimes not—Hollywoodfy it. And presto, we all have another reason to dislike remakes. We comment to each other, “Did you see the—enter European country of origin here—version? It’s sooo much better.” Then there’s the book conversion film which encourages the same discussion. “The book was sooo much better.”

So, here we go again, this time with ‘The Girl With A Dragon Tattoo’. Unless you have lived on another planet, you will know that it's book one of Stieg Larsson’s Swedish Millennium trilogy, which has sold 65,000,000 copies in forty-six countries, since its publication in 2005.

The Girl With The Dragon Tattoo opens with Mikael Blomkvist (Daniel Craig) in a load of trouble. He works with Millennium Magazine and is convicted of printing a libelous story against billionaire industrialist Hans-Erik Wennerström. There is one bright light for him, though, when one of Sweden’s wealthiest industrialists, Henrik Vanger (Christopher Plummer) hires Blomkvist to discover what really happened to his beloved niece, Harriet, whom he believes was murdered by a member of his large family.

Lisbeth Salander (played by an unrecognizable Rooney Mara), an ingenious researcher, is contracted via Milton Security to investigate Blomkvist for Vanger. Lisbeth is an antisocial, pierced, tattooed, cold personality with a dark past. When Blomkvist moves to the Vanger family property, set on a remote snow swept Swedish island, he begins to unravel, step by step, the forty-year-old mystery of Harriet’s disappearance. Things become explosive when Lisbeth joins him in his quest as together they follow the leads to a most surprising end.

Now for the million dollar Millennium—or entrance price—question…

If you’ve read the book and seen the Swedish film—which I have—is there any reason to see this remake? I pondered this as the lights dimmed and the exhilarating sound track by composer, Atticus Ross (Academy Award® winner for Social Network) began pumping.

The unequivocal answer is YES. It is one of the best thrillers you will see this summer, and worth it, if not just to see Rooney Mara’s habitation of Lisbeth Salander. Director, David Fincher, whose last effort ‘The Social Network’, swept the Academy Awards® last year, teams with Steven Zaillian (co-writer Moneyball) and producer Scott Rudin to bring this story to the screen so dynamically you won’t realise you’ve just sat there for a not inconsiderable 158 minutes.

The only thing that would improve the experience would be to be handed, upon cinema entry, a family-tree card of the Vangers. The relationships are a lot to follow at the cracking pace set by the film—even if you have read the books.

Ultimately, "The Girl With The Dragon Tattoo" contains no big name stars leaping off incredibly tall buildings, amazing motion capture characters, smart spies or Oscar winning performances from actresses seeking more awards. What there is, though, is a group of consummate film makers coming together to create a film that will knock your socks—or tattoos off.

And yes, it’s better than all the books and films combined. And, yes again, films of the other two books in the series will follow. Go see it.

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We Need to Talk About Kevin ★★★★★

We need to talk about Kevin should be called, “We will think about Kevin for a long time.”  Since watching this disturbing movie, scenes from it keep flashing through my mind.

Somehow, I arrived at the preview without seeing a trailer nor reading anything on the book.  As the story unfolded, each moment was a revelation.  This is the best way to see this film, so this review is intentionally vague in plot outline.  I will say one thing; this movie is a horror story.

We need to talk about Kevin is a dramatic thriller based on the award winning 2003 novel by Lionel Shriver.  It follows the relationship conflict from birth between Eva Khatchadourian (Tilda Swinton) and her son, Kevin, played by three different actors Ezra Miller, Jasper Newell as six-eight-year-old Kevin, Rocky Duer as infant Kevin.  The older Kevins’ portrayals are remarkable.  Eva must also deal with her husband Franklin’s (John C. Reilly) unsympathetic views of her difficulties with Kevin.  When Celia (Ashley Gerasimovich) is born, she adds another nail in the family’s relationship coffin.

From the beginning scenes we realize something terrible has happened, over which Eva, now without family and living a struggling isolated life, is guilt-ridden. Her acceptance of her guilt is heart-wrenching. Through well-handled flashbacks, we watch as Eva painfully remembers the key moments which have brought her to this disastrous point in her life.

Eva is a role few actresses could play. Tilda Swinton, gaunt and finely controlled in her emotions, will win awards for her role of the Mother attempting to understand how to love a child who is so unlovable. 

This is dark and gut-wrenching subject matter.  As a parent, I felt every moment of Eva’s confusion and desire to connect with her son, and protect her family.  You need to see this movie because it is a masterpiece of filmmaking and storytelling. 

However, there is a price to pay.  It will haunt you and unsettle you, just as Sophie’s Choice sometimes still crosses my mind thirty years later.  For a little while, I don’t think I will want to talk about Kevin.

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