On Fincher's Version of The Girl with the Dragon Tattoo

In 2005 Stieg Larsson's book The Girl with the Dragon Tattoo was published. Within six years there have been two feature films made of Larsson's book. The first in 2009 directed by Neils Arden Oplev and the second released this year and directed by David Fincher. This proliferation of the same story has resulted in a unusual situation in that both feature films have told the same story and at the same time both been completely enthralling. Fincher's narrative differs little from Oplev, yet Fincher's mise-en-scene is sharper, colder, more stylish and overall more appropriate to this brutal story. The cast is impressive as are their performances, yet as in Oplev's film the role of Lisbeth, this time played by Rooney Mara, stands out for its complicated portrayal of the young woman living on the edges of society. Dragon Tattoo was the first in Larsson's Millennium trilogy. Oplev's second and third adaptations were less well received than the first. It remains to be seen whether Fincher will tackle the other stories and if so, how he will adapt them.

On Something Special in Mission: Impossible - Ghost Protocol

Mission: Impossible - Ghost Protocol is the fourth in the franchise and this time out is directed by Brad Bird who comes with Pixar pedigree. This makes the lack of coherence in the story even more confusing as Pixar films are so beautifully told and structured. This lack of a clear narrative harks back to the first Mission: Impossible (1996) and means that the third, Mission: Impossible III (2006), remains the best of the franchise.

Despite this problem, Ghost Protocol still boasts something incredible. Midway through the film the IMF team must infiltrate the Burj Khalifa tower in Dubai. The tallest building in the world. To do this, Tom Cruise's Ethan Hunt scales the outside, using hi-tech adhesive gloves. This is one of the best uses of special effects seen this year. That is to say, if it is a special effect. The scene is so effective as you watch Cruise climb, run down, fall down and crash into the outside of the tower that whatever (if any) SFX were used are invisible and this is maybe the best use of computer technology in film this year (The Social Network (2010) did the same thing with the 'twin effect'). We can all watch Hugo (2011) or Jurassic Park (1995) and be amazed by the film and the advancement of the technology, but the fact that we are acknowledging it means it is noticeable and this is not a bad thing. But perhaps the greatest compliment that can be paid to Ghost Protocol is that it isn't even clear if special effects have been used. It is well known that Tom Cruise enjoys performing stunts, it just seems unlikely he'd be allowed to do something so dangerous. This set piece, especially in IMAX, is incredible and the Mission: Impossible franchise remains more entertaining than the stale, familiar Bond films, but way off the pace of Bourne.

On the Small Problems in Another Earth

Another Earth is a big picture film. Not in terms of budget, but in terms of concept. Another planet earth is discovered, a duplicate to our own where everyone is identical except for when they first noticed the second planet, at which point their ‘other’ took another life trajectory. This is what the film industry would refer to as a high concept film. And it is this concept and our desire to see its dénouement that keeps us interested. Unfortunately, while being a big picture film, Another Earth often forgets to take care of the little things. The film has the look and feel of a student film; the close ups of people and the lingering shots of dust lack meaning and suggest an inability to form a coherent structure; the acting is also often unnatural when attempting to deal with the bigger themes being exposed. There is also a lack of natural character development and instead the film relies on the second planet, always a present feature in the sky, to fill or distract us from these small problems. However, the film does have a hold over us because it asks one very interesting question and poses it in a unique way. It simply fails to deliver on its concept.

On the Magic of Hugo

Filmmakers have always been attracted to making films about films and the history of the medium. With Hugo, Martin Scorsese, his writer John Logan and the rest of the crew may have created one of the best. There is so much to praise in Hugo, including the 3D (it is perhaps the best use of the technology to date). However, there is one feature that is especially impressive and could only be achieved by a true cine-literate and someone with absolute confident and knowledge of their craft.

As much of Hugo as possible should be a surprise, therefore without going too much into the story, the film looks at some key moments from cinema history (the Lumiere Brothers’ film of a train coming into a station, Melies Le Voyage dans la Lune (1902)) and how the audience responded to what was a completely unique medium. As can be imagined, early audience responses were those of disbelief and edge of the seat excitement. What Scorsese achieves magnificently is when he recreates these responses with a modern audience, aided in no small part by his employment of 3D.

An example: Hugo’s child protagonists are watching an early Harold Lloyd silent film, Safety Last (1923). In the clip we see, Lloyd is forced out the window of a high-rise building and ends up dangling dangerously above the street below. Even for a modern audience this scene is edge of the seat exciting. For a 1923 audience is must have appeared terrifying. Towards the end of Hugo, the titular star must hide from his antagonist by hiding out the window of a tower clock, with the streets of Paris below. In 3D the snow swirls and the streets look hazardously far away as Hugo precariously dangles from the clock hand. We find ourselves having the same reaction that a 1923 audience would have had to Harold Lloyd’s stunt and at the same time we find ourselves admiring this wonderful film for the magic that it pays homage to and creates.

On Moneyball

Moneyball is the second feature from director Bennett Miller who is responsible for the excellent Capote (2005). With Capote, Miller displayed a fantastic ability to evolve his characters through settings. In Capote it was the cramped, artistic corridors of bohemian New York juxtaposed with the wide-open, bleak landscape of middle America. Miller is equally successful with Moneyball, although the landscape has changed considerably and been replaced by the cold, bright sterile walls of a baseball stadium.

Moneyball tells the story of how Oakland A's general manager, Billy Beane, along with an economics graduate in his first job, attempted to even the scales of financial inequality in baseball by turning the scouting system into a statistical process. Unlike other sports films, like Raging Bull (1980) and Ali (2001), Moneyball isn’t about a sports personality, but about sport and this makes it feel fresh as well as fascinating. Even if an audience did not like baseball, the story is relevant across many sports and the excitement generated transcends the sport.

The acting is fantastic and in middle age Brad Pitt is proving one of America’s finest actors. As Billy Beane he is fully rounded and plays the general manager with the right amount of arrogance, anxiety and pathos. Miller’s direction ensures we understand Beane as the man we see through integrating scenes of his youth. Not too mention, Miller has a great eye for how to make a shot stylish.

Considering the subject matter, you would not think that Moneyball would be such an engrossing film, but it is one of the most watchable films of the year.

On Take Shelter

Take Shelter is an American film, written and directed by Jeff Nichols. The film follows the life of a small town family man struggling with a form of schizophrenia that he is acutely aware of but unable to prevent. This level of realism that is applied here makes this story a fresh and fascinating approach to mental illness. The title not only metaphorically refers to the nature in which the protagonist tries to hide from and prevent what he sees as an inevitable fall into schizophrenia (a disease his mother suffered from), but also to the bomb shelter in his back garden, which becomes the tangible object on to which he expends his growing uncertainty. In this case, the uncertainty that plagues the mind of the protagonist is that of a coming apocalyptic storm; again another reference to the title. Even though the film deals with a very specific mental illness that manifests itself in ways that require some special effects, the film is rooted in a realism that spans familial adversity and financial worries, an increasingly relevant metaphor for the coming storm we see in horrifying detail. Fortunately for Nichols, he found two of America’s best working actors to tell this story. Michael Shannon and Jessica Chastain are both incredibly capable of communicating a range of emotions with the slightest of movements. And, with the slow long takes in which Nichols frames his film, his actors are given space and time to grab the audience and drag them into this engrossing story. Take Shelter is one of the finest American film of the year.

On Missing the Target in The Rum Diary

Johnny Depp plays a journalist named Kemp whilst channelling his friend and novelist, the late Hunter S Thompson. The Rum Diary (based on Thompson’s novel) follows Kemp to Puerto Rico and to a failing newspaper. The idea of a newspaper in decline is the first point of real interest that the film deals with on a surface level only in favour of poorly directed jokes about the effects and after effects of drink and drugs. The second point, ignored for the purpose of more bad jokes, is that of the American Dream. In one brief scene Depp’s character and his editor discuss how Puerto Rico, as part of America, is where people come to achieve the elusive and essentially mythic, American Dream. At the same time as rich Americans come in to build the dream, poor Puerto Ricans live in squalor. These two ideas could have been combined with the story of a journalist drawn in by the magic of the dream, only to realise his errors and attempt to uncover the myth and at its core this is what The Rum Diary wants to be. Yet, for some reason, whether in editing or even earlier in pre production, the idea was taken to turn this into a booze and drug fest with the same unamusing joke replayed over and over without any real attempt to adapt it. The Hangover (2009) did this far more successfully and without the pretence of achieving something grander.

On Halcyon Days in Midnight in Paris

Midnight in Paris is the latest film from maybe the most prolific American director, Woody Allen. With this much output, there’s going to be hits and misses. Midnight in Paris is the former. Woody Allen films have a niche audience, with the occasional crossover, such as Vicky Cristina Barcelona (2008). Midnight in Paris seems set to remain within that niche audience of loyal Woody Allen films. Not only does it have the expected collection of neurotic characters, but through its time travelling concept, boasts a list of personalities only a graduate of English literature and art history could recognise; Hemingway, Dali, Man Ray, Fitzgerald. Essentially, without a pretty good knowledge of the Parisian art scene in the 1920s, much of the film’s references and humour will be missed.

Fortunately, the film has something else going on, something universally applicable. The idea of halcyon idyll. What if life in the past was better? This is something many often consider and the film uses its central protagonist to address this well. Allen clearly has an affinity for the past as he makes the present so unattractive, especially the Tea Party Republican parents in law. Yet, Allen also takes care to remind us that living in the past can only be a hobby and that appreciation of the present is the only way to be happy. The idea roots the film and gives it an accessibility that many would struggle to find amongst the art culture name-dropping.

On The Ides of March

The Ides of March is a political thriller the likes of which are not often seen at the cinema in the last two decades. The film does not pander to an uninformed audience, but maintains a superb pace and level of tension so that any audience would be enraptured by this tale of warring democratic presidential nominees.

The biggest coup that George Clooney as director has pulled here is populating his film with an excellent cast. From Clooney himself as the Obama like candidate with a dirty past to the protagonist, Ryan Gosling, the optimistic, young media mind with a ruthless streak, the acting is magnificent. And that is not even mentioning the always fantastic Philip Seymour Hoffman, who here grounds the film from escaping into melodrama with his restrained passion. Paul Giamatti, Evan Rachel Wood and Marisa Tomei, Jeffrey Wright, all excellent.

To strip the film back and just look at the story is to reveal weaknesses. There are some scenes that feel far too contrived and the ending, while appropriately downbeat and ambiguous, still feels unsatisfying. The smaller plot stands prove far more tantalising and offer more affecting twists and turns. The development between Gosling and Giamatti’s character is fantastic and unexpected. Fortunately for the larger story Clooney’s direction is assured and his awareness of audience is second to none. The manner in which the characters lives are allowed to unfold ensures the pace is perfect and the suspense rises and falls, playing the audience like spin-doctors play the voters. Although this should come as no surprise from a director who has given us the excellent, Confessions of a Dangerous Mind (2002) and Good Night, and Good Luck (2005) and the fun, if slightly misjudged, Leatherheads (2008).

The ides of March refers to the day Caesar was murdered by those closest to him. There may be no murder here – not of Caesar, anyway – but there is an inner circle and there is betrayal and this proves a welcome return for the political thriller and makes one nostalgic for the 1970s, a decade which produced such films with prolificacy.

On Making the Most of 3D with The Adventures of Tintin: The Secret of the Unicorn

Just when it seemed that 3D was waning, with a contribution from a string of poorly written, poorly directed and poorly acted films, made strictly because the technology exists (never a good idea), comes a film that uses 3D to its potential. The Adventures of Tintin: The Secret of the Unicorn directed by Spielberg and produced by Peter Jackson, with a script by three British writers, Joe Cornish, Edgar Wright and Steven Moffat. Not since Avatar (2009) has a (non Pixar) film used 3D to its full potential. In addition to the well constructed, exciting action sequences you’d expert from Spielberg, the director uses the motion capture animation, combined with the 3D to create scenes that merge into each other. A puddle on a Belgian street becomes a desert with Tintin and Captain Haddock walking through; a bottle becomes a telescope as past and present stories are beautifully combined. Where The Adventures of Tintin raises the bar is with its well written story and characters worth investing in. It doesn’t have the adult crossover that recent and really great films have had (again, see Pixar), but it does possess a lot of old school style charm that many adults will enjoy. The speed in which the action sequences arrive can be dizzying; there is little time to consider the characters, only enjoy them, but fortunately the story is well delivered and easy to follow, despite the barrage of visual information. The Adventures of Tintin has Spielberg written all over it and there is plenty of promise here to warrant excitement for part two, directed by Peter Jackson.

On an Unseen Killer in Contagion

A horror film where the killer is completely unseen, but without the exploitative violence of the Final Destination series (2000 - 2011), is what Steven Soderbergh’s Contagion succeeds in being. Obvious comparisons will be made with Outbreak (1995), yet Soderbergh and screenwriter Scott Z. Burns have achieved a far more terrifying and realistic portrayal of a worldwide disease outbreak. Even more terrifying with the recent bird flu and SARS scares. The film has drawn together a very impressive task, yet the star of the film remains the unseen killer, which is a shame as the characters and acting are great, but have little space to stretch their legs and become people we really invest and care in. Instead, we leave Contagion scared of touching our own faces, which is still, quite an achievement.

On Questions of Paradox with Pina

Arriving at cinemas not long after Cave of Forgotten Dreams (2010), Pina is another 3D film by a director one wouldn’t assume to embrace the new technology, Wim Wenders. Next up is Martin Scorsese’s, Hugo (2011). The paradox here, as with Cave of Forgotten Dreams, is that the subject matter of Pina is aimed at a very specific, niche audience, yet the technology is primarily used to enhance box office by charging more for cinema tickets and appealing to a larger audience. Pina began life as a documentary about Wenders’ close friend and choreographer, Pina Bausch. Sadly, during filming, Bausch passed away and the film became a tribute to her work, complemented by interviews with the key dancers in her company, reminiscing on their lives with Pina. Without knowledge of dance, or of Pina Bausch, this could have been a difficult film to watch. Attempting to add your own meaning to the dances would prove fruitless and lead to one missing much of the excitement. Yet, Wenders’ skill as a director turns this into an overwhelming experience that should simply be allowed to wash over oneself. The dancing is impressive and the choreography incredibly creative. Wenders’ matches Pina’s creativity with his own and because of this the film, which could realistically be very isolating for some people, becomes a joy to watch.

On Questions of Identity in Les Quatre Cents Coups

Throughout Francois Truffaut’s enduring coming of age classic, Les Quatre Cents Coups (The 400 Blows), Antoine, the young lead is referred to as “the kid” and repeatedly reminded, “Your father gave you your name”. This raises interesting questions of representation and identity (his paternal father, isn’t even his biological father; he remains an unknown). Especially, when we consider that Antoine (also referred to by his surname at school), dresses fairly uniquely ain the academic environment, yet is then later regimented into life at the delinquency school by being forced to dress as everyone else. Essentially taking away Antoine individualism and further reducing his identity. There are many reasons that could be pointed to in an attempt to explain Antoine’s behaviour, but maybe by referring to a separation between individual and name, Truffaut is suggesting that young children, at the time, being pushed through an ineffective academic system and not experiencing adequate support at home, were unable to find a foothold in life from which to propel themselves forward. Therefore, a life of petty crime and inoffensive misbehaviour follows. In addition, where there is a lack of empathy from all levels of authority (parents, teachers, police, politicians) is it any wonder that negative representations of youth abound? It is important to remember that this is also a film that refers to the draft, meaning the French indo-China conflict in Vietnam. This further reinforces the statement that Truffaut was commenting upon the uncertainty faced by young people, especially young boys. By referring to Antoine in the ways mentioned above, is he being unconsciously prepared for a future where he will be another faceless nameless statistic, whether one to do with crime or war? If so, separation from one’s identity is the perfect preparation for such a desolate future.

On the Reverberating Ripples of Tyrannosaur

There are some scenes that will live throughout film history. The tyrannosaurus rex approaching the unprepared visitors in Jurassic Park (1993) is one of them. That this scene would become a pivotal moment of a British social realist film eighteen years later was probably less certain. Tyrannosaur, Paddy Considine’s feature film debut, is a startlingly realistic portrayal of one man’s struggle to contain his rage and of one woman’s experience with domestic violence. When these two characters’ lives are juxtaposed the results are difficult to turn away from and difficult to watch. This film is driven by an appropriately paired down direction and an equally appropriate powerful performance from Peter Mullan. This is not always easy viewing, it challenges the audience, but the results will resonate.

On Style and Violence in Drive

Stylish, violent and terse. Nicholas Winding Refn’s film and his lead protagonist of Drive, known only as driver, are all these things. In keeping with the classic representation of heroic men (brusque, romantic, brave) so common amongst western films, Refn creates a contemporary hero with an added dimension. Psychotic. This extra dimension makes for interesting cinema. The scenes with Ryan Gosling’s driver (excellent as always) work brilliantly; Gosling is able to make the brooding, threatening good guy work. Where the film moves away from Gosling and deals with the external gangsters who threaten his steady existence it struggles. The dialogue feels very clichéd and a return to driver’s actions are badly needed. Yet, overall this strange mix of genres (western, neo-noir, action) works very well and that is mostly down to the superb direction and lead performance.

On Picking the Right Man for the Job in Tinker Tailor Soldier Spy

Few films come with the excitement that has surrounded Tinker Tailor Soldier Spy. This buzz has been mostly generated by the universally positive reviews that seem to focus on the incredible ensemble cast, led by Gary Oldman. And the acting here is superb and Oldman delivers one of many great performances. Tom Hardy is equally excellent as the oppressed spy with a grudge, Ricky Tarr. Yet the greatest piece of casting involved in this adaptation is the hiring of Tomas Alfredson to direct this slow burning thriller.

Alfredson made his mark internationally with Let the Right One In, a film very much of the vampire sub genre, but one that managed to subvert expected conventions and deliver something unique and special. Alfredson has pulled the same trick here, albeit with considerable assistance from John Le Carre’s novel. Everything you’d expect to see in a spy thriller is here: the deceit, the codes, the uncertainty. However, just as with Let the Right One In, Tinker Tailor never panders to conventional audience pressure by giving us too much too soon, or throwing in a car chase or a graphic killing just in case some people are starting to lose interest. This film demands your attention and if you’re unwilling to cooperate, it will leave you out in the cold without a second glance.

The recreation of the early 70s is extraordinary. There is such an atmosphere at work here that we feel grey staleness emanating off the screen. There is an almost constant layer of smoke or dirt surrounding the characters, whether it is the chain-smoking, or the murky windows of Smiley’s hotel, everyone is clouded in a layer of dirt, none of them completely innocent.

Perhaps the most impressive aspect of what is an impressive film in all areas is the way Alfredson weaves the complicated narrative into a film. Cinema has never been able to recreate the intricacies of a novel, but Tinker Tailor comes as close as possible in translating Le Carre’s non linear book into a comprehensible film. Credit must be paid to writers Bridget O’Connor and Peter Straughan. Again though, the story must be given patience. It is confusing. The flashbacks are seamlessly slotted in and to the trained eye will be obvious, but may confuse less frequent cinemagoers. We are offered very little help in deciphering the story and only at the end, as the tension and suspense has built and built for two hours, are we finally rewarded with closure. And the pay off is worth it. We may get lost at some points along the way, but it’s a spy film, and that’s part of the fun, but the film has intelligence and assumes its audience does to and participating in the mutual relationship between film and audience is rewarded at the end.

Tinker Tailor Solider Spy is the anti Bond of spy thrillers. Due to its strong, layered non linear narrative it does not possess that characteristic where one can watch over and over, but it will last and it will be remembered and for years it will be valued.

On Falling Short with The Inbetweeners

Successful TV shows that become films get a bad reputation. It is difficult to make something work over two hours that has previously only had to work for thirty minutes. The Inbetweeners is no exception. A well written, very relatable TV show becomes a laboured film that quickly gets repetitive. There are some outstanding comedy sequences, but outside of these the jokes falls flat. As in the TV show, the four main actors manage to inject their teenagers with a layer of pathos that lies just below the blind bravado. Within the TV show, one central idea can be sustained for thirty minutes, but you can’t do that for a feature. Unfortunately the writers did not seem to see the difference and the whole film works within the restricted limits of a very weak story. Definitley funny, in parts, but the comedy cannot disguise what is a poorly written story.

On Summer Blockbusters: Captain America, Super 8, Rise of the Planet of the Apes and Cowboys and Aliens

Summer blockbuster season is almost at an end and as with many summers, 2011s saw sequels, prequels and adaptations dominate; from Thor (comic book) and Pirates of the Caribbean On Stranger Tides (Sequel) to X-Men First Class (prequel) and Cars 2 (sequel). Harry Potter and the Deathly Hallows Part Two has taken the box office crown, but is far from the best of the summer offerings.

Captain America: The First Avenger, based on the early Marvel character, fails to break the stale Marvel story mould, but has an enjoyable old Hollywood style charm and an ending that, with its slight deviation from previous predictable films, packs a surprising punch. However, as with all recent Marvel outings, Captain America is written and directed towards next summer’s avenger’s film. This desire to produce an endless line of sequels and franchises has led to the recent Marvel canon becoming boring and predictable. Captain America’s charm (like that of the first Iron Man film) raises it slightly above their other comic book adaptations but shows us no sign that Marvel have any intention of taking a risk in the way DC have with Batman. Unfortunately, a line of fantastic box office receipts means that have no reason to.

J.J. Abrams has an impressive CV; he created the enigmatic TV show Lost, gave us the best of the mission impossible series, Mission: Impossible 3 (2006) and in 2009 directed one of the best summer blockbusters of recent years with the reboot, Star Trek (2009). This summer, Abrams offers us Super 8, a monster movie that feels very familiar. Spielberg’s attachment to this film has been well publicised (he is a producer and has allowed Abrams to use his Amblin Production company logo) and it is just as well save Abrams be accused of plagiarism. Super 8 is essentially E.T.(1982) with a bigger budget and a bad attitude. This does not make it a bad film. In fact it delivers some very effective and powerful sequences, especially one involving a train and another with Elle Fanning. It does not marry the personal relationship between youth and alien with the larger military response as successfully as E.T. did, but this is a criticism that only really becomes relevant towards the end of the film. Therefore, Abrams have delivered an entertaining summer movie with heart. The most notable thing about Super 8 is that it feels so much like a Spielberg film, that one wonders where the motive and enthusiasm to make it came from when E.T., Close Encounters of the Third Kind (1977) and War of the Worlds (2005) are already out there.

Rise of the Planet of the Apes gives us the beginnings of the ape saga that began with Planet of the Apes in 1968 and produced several sequels. Set in modern day San Francisco we see the scientific breakthrough, intended to cure Alzheimer’s, which causes the ape revolution. Apes takes its time with the story, building towards a final third where the only real piece of action takes place. As with the other films in this series,the message is that we, the humans, are as barbaric in our actions as we assume the animals to be. There is also a strong message about the morality of animal testing and with this, Rise of the Planet of the Apes is the most thought provoking of the summer's blockbusters, which is reflected in its steady, mature structure that does not placate the audience. The film does lack somewhat when it comes to involvement with the characters and if as much time had been spent developing the humans as has clearly been spent creating the very impressive animals, this may have the heart of Super 8.

Two genres, one film; Cowboys and Aliens is a mix of two long standing genres and makes it work. Unlike the excellent Serenity (2005), which did the same, this is more western than science fiction and manages to bring in all the conventions of the western genre, while also bringing in some pretty serious aliens and technology. Like many western films Cowboys and Aliens deals with the post civil war years and how this has affected those that fought in it, espeically as modernity comes and they no longer see a place for themselves in a changing world. This change is usually signaled by the coming railroad (which gets a nod in the final reel!). Here, the railroad is replaced with aliens and the threat they bring. Harrison Ford is fantastic to watch as a hardened veteran with a tough heart (not unlike an older Hans Sol0) and the rest of the cast work well, too. Although the always great Sam Rockwell is underused. This is not a flawless film (there is a questionable deux ex machina half way through) but it is the most entertaining of the summer blockbusters, combining a solid western film with science fiction seamlessly. There is also a hard edge that may surprise considering the 12a rating, as it also tackles native American racism and doesn't shy away from depicting the violence of the characters.

On Catching Catfish on TV

Without doubt The Social Network (2010) has been the most publicised, most debated and most awards laden movie about Facebook. All this, and it's a great film. Yet, in the same year as Fincher's The Social Network was getting everyone talking, the best film about Facebook begun its quiet ascent to becoming the ultimate water cooler film. That film is Catfish, directed by Henry Joost and Ariel Schulman. Catfish markets itself as a documentary that follows photographer Yaniv Schulman, the director's brother, as he embarks upon an online relationship with the family of an eight year old child prodigy artist. This leads to an online relationship with the eight year olds elder sister and leads to a meeting that is absolutely riveting.

The documentary credentials of this film have been much discussed and debated. The perfect three part structure, the too clean ending and the slightly uncertain 'acting', as if a script hasn't quite been memorised or improvisation is not a skill they've mastered call into question the true documentary nature of the film. The star and directors claim it is 100% real. That the structure and the ending is something that they were very fortunate to fall into as they followed Yaniv's story. Not since This is Spinal Tap (1984) has a film blurred the lines between fact and fiction, forcing an audience into wild debate. The difference with This is Spinal Tap is that the answer is out there, it's just hard to believe. With Catfish, the status of documentary is insisted upon by all involved, yet doubted by many.

Whether it is 100% real, completely fabricated or a mix of both (the latter being the most likely), Catfish is thrilling cinema. It is impossible to take your eyes off the action as the story develops into more shocking turns. Amongst the comedy, the drama, the thrills and the heartbreak this is edge of the seat viewing and the most relevant film about Facebook so far created.

On Closure with Harry Potter and the Deathly Hallows Part Two

Seven books, eight films and ten years later, the Harry Potter franchise comes to a loud expensive conclusion with Harry Potter and the Deathly Hallows Part Two. Bringing together over $6 billion in revenue so far, and counting, the Harry Potter films are the most successful film franchise of all time, even surpassing the twenty two films following the adventures of James Bond. With one very good film in the seven so far (the third in the franchise, Harry Potter and the Prisoner of Azkaban (2004) directed by Alfonso Cuaron) how does the magical money train bow out?

The Deathly Hallows Part 2 picks up exactly where Part One concluded and with some atmospheric, dialogue free shots of Hogwarts and the misery that has overcome the school creates a powerful sense of doom. Yet once the story kicks in the film, as has been the problem with others in the series, becomes bogged down in its multiple narratives. It's hard to feel the emotion aimed for during the slaughter that takes place at Hogwarts when the attack won't focus on any major characters and Harry, Ron and Hermione are off on other adventures. There is much to admire in the cinematography and the set design and Ralph Fiennes at Lord Voldemort is impressive in every scene in which he appears. However the combination of too many characters (towards the end there are reaction shots of just about every character who hasn't died, just to make sure they get in the film) with a slightly ridiculous deus ex machina means that non hard-core fans will find the whole film shallow beneath the surface.

Harry Potter on film does not leave cinemas with the emotional punch that many would have hoped, but instead concludes with a film very much like the last four and as with the last four, there remains a sense of impressive detachment throughout this film.

On The Tree of Life, a Textual Analysis

With a notoriously sparse filmography (five films in thirty eight years), The Tree of Life is Terrence Malick’s fifth feature. ‘It’s unlike anything you’ve ever seen’ is an overused platitude in film criticism. However, The Tree of Life really is unique when it comes to feature length fiction cinema.

Genre has always been something of a loose concept when applied to Malick films. There will be a genre that is more applicable than any other, but his treatment of the genre’s codes and conventions (recognisable features of the genre) negates any serious attempt to make the theory stick. The Thin Red Line (1998) is a war film, yet scenes of warfare are infrequent and the lack of a protagonist to follow is also unusual. Yet, few films capture the beauty and horror of war while making the viewer consider the wider, human consequences. The Tree of Life would best be described as a family drama, yet this does not even begin to summarise this sprawling tour de force of photography and music, with, of course, some family drama thrown in. This is not even a sub-genre or a hybrid. It is even less genre orientated than any previous Malick films. It is a genre unique to Malick, achieved through his incredible ability to juxtapose images with music and the autobiographical characteristics of this story.

Narrative is even more of an opaque concept when applied to Malick films. Narrative theory will tell us that stories follow a recognisable pattern, which allow us to easily follow the story. This is so embedded in cinema that we don’t even notice the familiarity of many stories, yet subconsciously we know when we have moved into the final act of the film and when it is tying things up to come to an end. The Tree of Life follows no recognisable narrative structure. Time is a loose concept in all Malick films, but even more so here. We begin with the death of a nineteen-year-old son, but then never see the son pass the age of ten. The story of the mother is interrupted by a dazzling thirty-minute spectacle recreating the creation of life. The grandness of which adds a greater weight to the personal story of the Texan family. What could loosely be described as the film's chapters are bookmarked by ephemeral shots of dancing colours. In short, this is a film that shakes free the shackles of traditional story telling and delivers an unpredictable narrative with a very relatable story at the heart of it.

Despite its magnificent shots of the natural world shown along side a classical score, the most memorable scenes from The Tree of Life are those of the family and it is this representation of a 1950s Texan family that provide the film with its emotional power. One of Malick's most impressive skills is his ability to communicate three-dimensional characters with little or no dialogue. Therefore, when we see Brad Pitt's patriarch showing his son design sketches and patents and then the next scene him in a courtroom receiving a despondent pat on the back, his character is developed further as an ambitious but frustrated man. This is one of Pitt's finest performances and certainly his best since the fantastic The Assassination of Jesse James by the Coward Robert Ford (2007). Opposite Pitt's tough, but loving father is the angelic mother, played by Jessica Chastain. The naturalness on show here is incredible, highlighted by the fact that it is easy to forget about Pitt's celebrity and just accept the representation on offer. The moments captured of the sons as newborn babies, or those of them playing games or causing mischief in the neighbourhood will immediately bring to mind memories for anyone with siblings. The interactions feel so universal, yet at the same time personal, as if we are intruding, or perhaps more accurately, an unseen member of the O'Brien family.

The audience for The Tree of Life is a difficult thing to pin down. Malick fans will surely see the film (they don't know when there will be another), but the indulgence on display here may be too much even for those who admire his previous films. The film will certainly not play to a traditional weekend audience, yet winning this year's Palme D'Or at Cannes will give it a much needed publicity boost and bring an audience eager to see why it won. The film must have been a marketing nightmare as it is outside the key demographic, but realistically only falls into a very small demographic anyway. The most likely audience is one that is extremely cine-literate. To really get the most from Malick's latest an audience will have to put into the film more than they are given. More than most films, The Tree of Life will speak to people on an individual level, each taking away a lasting image, whether it's an exploding volcano or a baby's foot being gently cradled by a new father.

More than anything, The Tree of Life calls to mind the 1982 documentary Koyaanisqatsi, which was a series of well shot images placed alongside the music of Phillip Glass. This documentary had no plot, yet had environmental leanings. Parts of Malick's film feel very similar, yet he has skillfully measured the grandness of such photography and music alongside a family orientated story of tragedy and happiness and the two together create one of the most strikingly fitting films on the subject of life and death.

On Uncompromising Cinema in A Separation

A Separation is the fifth film from writer director Asghar Farhadi and is the first Iranian film to win the Golden Bear at the Berlin film festival. Within the premise of divorce / manslaughter court cases, Farhadi has crafted an incredibly affecting dramatic piece of work.

The ensemble cast won the major acting awards at Berlin at it is clear why. Each character is brought vividly to life through performances of command and subtlety. Sarina Farhadi as Termeh is especially effective as the young girl trapped in the middle of the adult troubles. The realism and effectiveness of the characters can be attributed to the incredible script. Farhadi has a talent for scripting scenes of incredible power without crossing the line into melodrama. The situation that unfolds throughout the film is extraordinary, but always develops organically. Yet the real achievement here is how the film refuses to comprise. The audience is never offered an easy way out and are forced to make difficult decisions on the events unfolding and the morals of the characters. This is even harder considering the characters all make decisions that seem reasonable and relatable and both right and wrong. In essence, human decisions.

This is surely one of the best films on release at the moment and possibly one of the better of 2011.

On Powerful Cinema with Incendies

Written and directed by French Canadian Denis Villeneuve and based on the play by Wajdi Mouawad, Incendies is cinema at its most powerful. This is the story of a brother and a sister living in Canada who are sent, by letters of request left in their mother’s will, to the Middle East to find the father they thought was dead and a brother they did not know they had. This is high concept cinema and in many hands would descend into melodramatic farce, yet Incendies is a beautiful and powerful film. Villeneuve treats the story with the weight it deserves and draws superb performances from his experienced cast. The film does not shy away from the difficult dramatic scenes, nor does it shy away from addressing the complicated religious war in the area or the violence resulting from this. A scene of terrorism on a bus is particularly harrowing. Yet, Villeneuve has contemporary style to match his ability to handle serious issues. The use of on screen text to highlight people and locations is a nice touch and the soundtrack is surprising yet relevant.

From its commanding opening scene (set to Radiohead) to its unforgettable dénouement, Incendies is necessary viewing.

On a Redeeming Feature with Transformers: Dark of the Moon

The infinite monkey theorem states that, given enough time, a monkey typing at random would, as part of its output, produce one of Shakespeare’s play. That could take thousands of years. Before producing a Hamlet or Othello, the monkey would surely knock out several Transformers films.

Transformers: Dark of the Moon is the third of Michael Bay’s alien robot films, following 2007s Transformers and 2009s Transformers: Revenge of the Fallen. The former was fun and aware of its 80s roots, willing to poke fun at itself as well as deliver in the action stakes. The latter remains not only one of the most blindly created sequels in history, but one of the worst films of the decade. Dark of the Moon is better than Revenge (most things are), but the compliments go little further.

Bay has attempted to inject the seemingly spontaneous humour that made the first film so engaging, but succeeds sparingly. John Malkovich brings a dash of enjoyment, showing up with a fake tan and white teeth. Frances McDormand and John Turturro fail to do the same (is Bay recruiting in the same place as the Coen’s?) Mostly, Dark of the Moon plods along with some horrendous dialogue and a criminally bad middle act. At 154 minutes it is way too long and if the slow motion was cut would probably make it in on the two-hour mark. The music used in the film is heavy handed and poorly chosen; yet a redeeming feature comes in the original score by Steve Jablonsky. The action scenes would be far less tolerable if it weren’t for the score, which often underlines the action with the right amount of gravitas. This is most evident in the films standout scene where three decepticons pursue some autobots along the highway. Unfortunately, Bay shows his hand as a director by choosing to end this affecting scene with a moment of badly timed and poorly delivered comedy.

Dark of the Moon is more proof that the Transformers franchise should have begun and ended in 2007.

On Stake Land

A mysterious nameless stranger. A young, orphaned boy. A desolate and violent landscape. These are the key ingredients of writer / director Jim Mickle’s Stake Land. Stake Land moves along very familiar lines. We join the story when the vampires are already rife and America has already fallen. The stranger and the orphan are trying to make their way North, where the climate makes vampire attacks rarer and a so called Eden has been created in Canada with no vampires (although with added cannibalism, the orphan is warned). They kill vampires along the way and have become figures of stories amongst the small communities trying to survive. Along the way there are moments of joy and hope – a young, pregnant folk singer joins the hunters. Yet, the film rejects these small glimpses of hope, killing the singer and her unborn child and placing the narrative in a despondent mould.

The changing American landscape as the misfit group move North is beautifully shot and frames that linger on snow covered plants offers a peaceful respite from the incarnadine vampire attacks. Stake Land shares much in common with the superb television series The Walking Dead (2010) in its approach to the vampires (although The Walking Dead is zombies), who are driven by bloodlust but far from mindless animals. There are also comparisons to be made with I Am Legend (2007), especially with how the vampire attack is introduced and the glimmer of hope that may exist. Where Stake Land differs is the independent nature of the film. The smaller budget, the lesser known actors allow greater freedom in what could be viewed as a negative approach to issues of religion or American foreign and domestic policy. This is further heightened by the ambiguous ending. Overall, Stake Land offers little surprises for the genre, but delivers a quietly effecting film with the horror genre parameters.

On Mediation with Senna

Within media studies we are told that all texts are mediated. Everything comes with its own messages, its own ideology. This may be clear in fiction cinema. Avatar (2009) hardly tries to hide its pro-environmental message! Documentary cinema is different; it always has a message, but often this message is presented as fact simply because the footage is ‘real’ and the people non-actors. The story also is based on true events. In fact, it is impossible for any medium to ever be entirely free from human influence. Even the most paired down documentaries have still been shot or edited by someone and that person has still made the decision where to point the camera and what to leave out. The fingerprints of their own ideologies, in some way, remain on the media text. Now in some documentaries, such as those of Michael Moore this is not difficult to see. It is even a stretch to rank his films under the genre umbrella.

The opposite of the Michael Moore documentary style is direct cinema, pioneered by the late British director and cinematographer, Richard Leacock. In June 2011s Sight and Sound, Leacock’s importance in advancing the non-interventionist documentary is chronicled.

“Leacock’s mantra was that the documentary should give the audience “the feeling of being there”. The audience should be able to make up its own mind about what it was seeing, without direction imposed by a commentary. Out of this came the Direct Cinema dogma: no tripods, no lights, no interviews, no commentary, no added sound. Of course, much of this was more honoured in the breach that the observance. For example, you weren’t allowed to interview – but you could film interviewers interviewing.”

Few documentaries comply with these strict criteria; yet the article goes on to say how the boundaries have been loosened, even if the ideology remains. A recent documentary that does come very close to achieving true direct cinema is Senna (2010) directed by Asif Kapadia. Senna is the story of formula 1 driver Ayrton Senna from his early go-kart racing days to his success and death in formula 1. Senna is comprised entirely of archived footage. There is no narration, no new footage. The dialogue only comes from interviews filmed at the time and the images are those of home video, news footage or race footage. The director has attempted to remove him presence from the on screen as much as possible. And this has been achieved successfully. The mark of Kapadia’s success is in the feeling of total involvement in the story. Even for non-fans of formula 1 this is an enthralling story and the way the footage has been edited together tells a thrilling narrative.

Yet, as mentioned, no media text, regardless of how ‘untouched’ it appears, and Senna does have that feeling of truthfulness, has been mediated. This remains a story and one that is pro Ayrton Senna. Another documentary could quite as easily present a pro Alain Proust story (Senna’s main rival) without using drastically different footage. This is not a negative comment, Senna is a great film and a wonderful insight into formula 1, but it is important to remember that even the most accurate seeming films reflect someone’s opinion.

On Following Tradition with 13 Assassins

Directed by Takashi Miike and written by Kaneo Ikegami, 13 Assassins is pure cinematic enjoyment. A familiar story of an evil lord raining violence and political disruption on his people and the samurai sent to kill him, the film is split between the recruitment and the action, must like Kurosawa’s Seven Samurai (1954), of which all samurai films must fall in line behind.

Thirteen is a big number when it comes to establishing character and it is no surprise that some are thinly drawn whereas others feel more real and become more memorable. The evil lord, Naritsugu, is rendered pure evil through some distressing and disturbing acts of violence, which he incurs or inspires. These acts ensure we are firmly on the side of the assassins and deeply invested in their success. When the assassins spring their trap on the lord and his soldiers, of which there are approximately 200, the leader of the assassins, Shinzaemon, holds up a note given to him as a description of what the lord previously inflicted upon a village. The note reads, ‘total massacre’ and the violence that follows feels justified and does not sway from the message. This action set piece (it is perhaps more accurate to say several set pieces beautifully shot and edited together) lasts about half of the film’s 2 hour 20 minute running time, but never descends into tedium. This is a gritty, dirty, tiring and emotion battle. Exhaustion soon takes hold and the assassins seem to be running on adrenaline only, desperate to complete their mission.

Despite the similarity to Seven Samurai, of which 13 Assassins must be somewhat of an homage (the film is also a remake of the Eiichi Kudo’s 1963 film of the same name), this film feels fresh and proves that well told stories about revenge will never go out of fashion.

On Genre Surprises with Hanna

Hanna, directed by Joe Wright and written by Seth Lochhead and David Farr, is an out an out action film. A worthy companion to the Bourne trilogy, if Jason Bourne were a genetically enhanced 16 year old girl. Every ingredient of the action genre is here and hard-core fans of the genre will not be disappointed. Thanks to a side story of the government creating a new breed of super soldiers/spies, Hanna is able to kick ass with the best of them.

However, like recent Joe Wright films, Hanna has an unexpected edge. The story and the make-up of the characters may be straight out of 90% of action films, but Wright’s directorial style raises it above our expectations derived from the trailer. This should be no surprise, in 2007 Wright directed Atonement which on the surface appeared to be a typical period drama (much like Wright’s Pride & Prejudice (2005)), but had a dark edge that made it one of the best films of that year. Two years later, Wright’s The Soloist (2009) told the story of a homeless man with incredible musical talent. Wright’s representation of the homeless population of Los Angeles and the issues surrounding the city’s thoughts towards them, gave the film a depth unexpected from watching the trailer.

It appears the moral here is that do not judge a Joe Wright film by the trailer alone, as more often than not, there will be an unforeseen element that will be a welcome surprise.

On Slow and Fast Cinema with Meek's Cutoff and Fast Five

Meek’s Cutoff could easily fall into the recent category of steadily contemplative cinema known as slow cinema. This movement was recently described by Jonathan Romney as a “varied strain of austere minimalist cinema… a cinema that downplays event in favour of mood, evocativeness and an intensified sense of temporality.” Meek's Cutoff is very much concerned with time and the repetition of events that drag time out over the course of a long, arduous journey across America. The natural lighting, under dramatic acting, often difficult to hear, and the square framing (instead of the traditional wide screen) give the audience a sense of being a part of this journey. As the travelling is hard going for the characters, the viewing is hard going for the audience, but it is rewarding. Meek's Cutoff exerts a strange power as you watch, not unlike a tractor beam. There is nothing obvious drawing you towards it, but yet you can't turn away and find yourself part of the characters' experiences. There is clear technical proficiency in front of and behind the camera in all areas and yet the story must have been a hard sell and is unlikely to make a profit, which is unfortunate. This is powerfully subtle cinema.

Not powerful and as far from subtle as you get can is Fast Five. This is the fifth instalment of the Fast and the Furious series (2001 - 2011) and rarely stops for breath. The dialogue is flat, the characters struggle to move out of their one dimension and film is far too long. Yet there is undeniably pleasure to be had in the insane, fantastical action sequences. The film is lifted by the presence of Dwayne Johnson, who has charisma and lifts any scenes he is in and makes the most of the screenplay, which seems to have been written in several sections by different people who didn't communicate. Instantly forgettable, but ridiculously enjoyable.

On the Issue of 3D and Cave of Forgotten Dreams

Up until recently, the majority of 3D films that received nationwide theatrical releases have been mostly family friendly fiction films - Alice in Wonderland (2010) Avatar, (2009), A Christmas Carol (2009). Yet, in the past two months two giants of European cinema have released 3D documentaries that have received more press attention that any previous 3D films that have not fallen into the canon noted above. These films are Werner Herzog’s Cave of Forgotten Dreams and Wim Wenders’ soon to be released Pina. Now therefore feels like a good time to discuss the merits of 3D and its seemingly non-stop advancement into all avenues of cinema.

3D is a tricky concept and divides people on whether it works or not. For some, it is noticeable but not a distraction. For others, it is a major distraction and will never, in its current form, work. Even in the case of Avatar, which surpasses any 3D film to date, with its advanced employment of the new technology. There are many advocators and detractors of 3D. Perhaps the most influential detractor is Walter Murch, one of the most respected film editors and sound designers in modern cinema. Murch acknowledges the problems many may have encountered (darkness of the screen, closeness of the borders) are problems, but ones that can be fixed. The deeper issue, that cannot be fixed, is, according to Murch, the convergence and focus issue. Murch claims that our eyes must converge on an image that is changing direction – is it 10 feet away, 80 feet, 120 feet? – and therefore are eyes are focusing on one distance and converging on another, which defies evolution. As an editor, Murch claims that the technology cannot be compatible with our eyes. The full article by Murch can be read here: http://blogs.suntimes.com/ebert/2011/01/post_4.html

Wenders’ Pina is a documentary that captures some key performances of renowned choreographer Pina Bausch. Bausch had repeatedly asked Wenders to film her work, but he could think of no way to improve on what already existed. Then he saw the advancements that 3D had made and saw an opportunity to do what Baush had always demanded. Of 3D, Wenders says that it allows for the “discovery of space…In 3D there is this other dimension: the film is inside the dancers’ very own realism.” Expect future Wenders’ films to make use of 3D.

Of Cave of Forgotten Dreams this is certainly the case. The 3D does add another dimension to the caves and allows us to get a sense of the depth that 2D does not offer. More importantly for the film, it allows us to really get excited and involved in what the cave’s discovers got excited about. While a 2D image can be interesting and the story behind it fascinating, with 3D we see the contours of the cave, feel the claustrophobia and understand the difficulty in the discovery. As this doesn’t detract from the cultural importance on the cave drawings, it only adds to the effect of the documentary. For those that find 3D a distraction, this obviously is not the case and the 2D film will allow them to experience the full benefit of Herzog’s hard work.

Unlike Wenders, Herzog has not been converted to 3D by his use in Caves, although of seeing the cave for the first time claims “it was imperative to do it in 3D”. Herzog’s main criticism of 3D is worth repeating: “When you see a romantic comedy…we as an audience live and develop through a parallel story – we hope and pray that our young lovers should, against all obstacles, find each other by the end. In 3D you only have what is in 3D and nothing beyond – it’s a very strange effect…you can shoot a porno film in 3D, but you cannot film a romantic comedy in 3D.”

So, as can be seen, the question of 3D’s validity to cinema is not only a question amongst audiences, but filmmakers, too. What is certain is that Cave of Forgotten Dreams is a fascinating story of how culture develops and an incredible glimpse into the life of man 32,000 years ago. The 3D, while far from being hidden, adds to the story, especially those parts within the cave. The film may prove to do more for the advancement of 3D than Avatar did as it expands the technology into new genres.

On Being British in Submarine

There is an expectation that British films about British people, set in Britain will be of a certain kind. This has nothing to do with the incredible creativity that exists within the British film industry and those working in Britain, but instead more with the success of British films overseas that have an amazing ability to go onto define the country and its national identity through overseas success. By overseas success, read North American success. Such films seem to fall into three distinct categories; the British gangster film (Lock Stock and Two Smoking Barrels (1998), Layer Cake (2004)), the British period drama (The Young Victoria (2009)) and the contemporary British romantic comedy (Bridget Jones’ Diary (2001), Notting Hill (1999)) There are good films within these categories. In fact there are great films, yet there is also a lot of films that are not good, but that do very well financially.

British films that don’t fall into one of these three categories (the Harry Potter and James Bond films are a world of their own) seem to get lost in the box office, maybe through a lack of clear identification. Bright Star (2009) is the perfect example; a film that barely registered in North American cinemas and faired little better here, yet is a film of outstanding talent.

There is now a film which it is hoped will become a clear exception to this rule. Submarine, written and directed by Richard Ayoade and based on the novel by Joe Dunthorne is a coming of age tale set in Wales. Due to excellent write-ups and a great marketing campaign, Submarine has proved popular in British cinemas and has been picked up by The Weinstein Company for international distribution (although whether North American audiences ‘get it’ is yet to be seen).

Submarine feels like a breath of fresh air, not just as a British film, but also for film in general. It is a funny, touching film with well thought out characters brilliantly brought to life by some clever direction. In addition to the relatable characters and the comedy, the film owes much to the annals of film history and clearly displays Ayoade’s knowledge of world cinema and marks him as a director to watch. There are references abound to the French nouvelle vague of the 1960s and the more recent canon of Wes Anderson. The seriousness of the subject matter is delicately balanced with the often laugh out loud comedy and although the third acts drags slightly, there is enjoyment to be had throughout. If only there were more money available for scripts and directors like this instead of more predictable London rom-coms and royal dramas.

On the Baffling Science of Source Code

In 2009 Duncan Jones wrote and directed the low budget science fiction drama, Moon. With Sam Rockwell in the lead role, Moon was an intelligent, character driven film that asked challenging questions and felt the more creative for the lack of money.

For his next feature, Jones has adapted a script by Ben Ripley about the trial of a new technology that allows the government to access the last eight minutes of a dead body’s brain. This is Source Code.

Like Moon, Source Code is a science fiction (action) drama. With Jake Gyllenhaal in the lead this is an (fairly) intelligent, (mostly) character driven film that raises confusing questions and with an estimated budget of $32 million has not had to struggle to realise its vision. Source Code follows quickly on the heels of The Adjustment Bureau (2011), another action/drama/romance dealing with the existential. Both of these films were probably rushed into production following the incredible success of Inception (2010). Yet neither matches the narrative intelligence of Inception. Source Code follows Gyllenhaal’s character as he returns time again to a train and the last eight minutes of a man’s life before the train explodes due to terrorism. Gyllenhaal’s character looks and sounds like the man whose body he is occupying, but the brain is his. After eight minutes he is transported back to a strange cockpit like setting where he takes orders over a webcam. His mission is to find the bomber and report his findings over the webcam so they can prevent another expected bombing, which is about to happen in real time. Every time he returns to the train, he becomes more familiar with the setting, gets closer to finding the bomber and falls in love with a female passenger. Yet, we are told, this is not time travelling.

Source Code is a fun, entertaining, well-acted film and for the first 70 minutes it is a thrilling film. However, Source Code cannot escape the baffling science it tries so hard to explain. Rather than except the fact that it is confusing, it tries to do what Inception did so well and integrate it into the story with clarity. But, it simply does not make sense and the end confuses even further and leaves not challenging questions about the value of life, but annoying questions about certain plot details.

On The Adjustment Bureau

Philip K Dick has provided film makers with a lot of material. The latest to mine his archive is the romantic thriller with a twist of fantasy, The Adjustment Bureau. The film, written and directed by George Nolfi, is based on Dick’s story Adjustment Team.

The Adjustment Bureau tells the story of an ambitious politician (Matt Damon) whose fate is in the hands of a mysterious group of men who must keep him on track to fulfil his destiny. When a seductive ballet dancer (Emily Blunt) comes into his life, the adjustment bureau finds themselves battling against chance to keep the politician and the dancer apart, in case their destiny’s be ruined by their romantic involvement. Where the adjustment bureau have come from and how they have the powers they do raise similarities with It’s A Wonderful Life (1946).

There are strong fantasy / science-fiction elements here, but the heart of the story is the relationship between Damon and Blunt. This is exemplified by the handling of the respective scenes. The chemistry between Damon and Blunt feels believable and develops realistically; there is banter, awkwardness and flirting. In contrast, the scenes where the adjustment bureau men attempt to explain what is happening see a shift in the film and there is a slight tone of comedy or silliness as if the film doesn't know how to handle the complication of these scenes in a way that say, Inception (2010) does. Yet, due to a lack of subtlety in the expository scenes, the film allows room for the romance to come to the fore and lead the film structurally and emotionally.

The Adjustment Bureau’s material feels dumbed down to appeal to a wide audience and the questions of individuality, fate versus chance and control of our lives (key themes of Dick’s work) are present, but not explored in great detail. Yet The Adjustment Bureau does something that feels original to the romance genre, does it well and the result is an entertaining romantic thriller, with questions of identity for those who want to look for them.

On Seeing the Skyline in Battle: Los Angeles

In November a film called Skyline (2010) (see 18^th November 2010) opened with a shot of Los Angeles being destroyed by extra terrestrials then flashbacks to twenty four hours earlier. From here we meet a small group of civilians who then deal with the invasion as they try and escape an Iraq style war zone, mostly filmed with a hand held camera.

This month Battle: Los Angeles opens with a shot of Los Angeles being destroyed by extra terrestrials then flashbacks to twenty four hours earlier. From here we meet a small group of marines who then deal with the invasion as they try and escape an Iraq style war zone, mostly filmed with a hand held camera.

Take Independence Day (1996), War of the Worlds (2005) and District 9 (2009) and make sure to include all the clichéd speeches, characters, structure and alien autopsies, but remove any writing talent and you get Battle: Los Angeles. The only difference between this and Skyline is slightly better acting and a refreshing lack of surprise at the alien invasion; there have been so many films about it, it was bound to happen!

It looks like it will be up to Spielberg and Abrams to offer us quality in this genre with the upcoming Super 8 (2011). A trailer for Super 8 can be seen here, http://www.empireonline.com/news/story.asp?NID=30394