This blonde bombshell watches movies and tells you all about them. She also does other things like crochet, read books, dance, bake and drinks cups of tea. Sometimes she even goes to work and exists in the real world.
DIRTY GRANDPA
Director: Dan Mazer
Cast: Robert De Niro, Zac Efron, Zoey Deutch, Aubrey Plaza, Jason Mantzoukas, Dermot Mulroney, Julianne Hough, Jeffrey, Bowyer-Chapman
Synopsis: Uptight lawyer Jason Kelly (Zac Efron) is one week away from marrying his boss's controlling daughter (Julianne Hough), putting him on the fast track for a partnership in his firm. Tricked by his grandfather Dick (Robert De Niro), Jason finds himself driving the foul mouthed old man to Daytona Beach, Florida, for a wild spring break that includes frat parties, bar fights and an epic night of karaoke. While Jason worries about the upcoming wedding, Dick tries to show his grandson how to live life to the fullest.
In a complete change of scene, I took a break from my Best Motion Picture nominee viewings to squeeze in a little bit of shirtless Zac Efron, and while most of the jokes are more cringe-worthy than funny, those that do work will have your crying with laughter. To be honest I was not expecting much from this film, the trailer doesn't do it any favours, nor do the copious amounts of reviews touting it as the worst film of 2016. One reviewer even said "I wouldn't recommend watching this while still alive" or something to that effect. Now, that seems a bit extreme, I mean anyone can tell from the trailer that this is going to be a trashy, b-grade film and with that in mind I think it's unfair to then carry on about how b-grade it is. What did you think it was going to be? The greatest piece of cinematic history that never was? That right there is one of my pet peeves when it comes to reviewers. Not every film is going to be Oscar material, not every film is meant to make you think deep and meaningful thoughts, or question the whole human existence. Some films are meant to be mindless pieces of drivel that let you escape the shitiness of the world for 100 minutes, and that's exactly what DIRTY GRANDPA is. A piece of mindless drivel that let me escape the shitiness of the world for 100 minutes, and honestly, Zac Efron wearing nothing but a hornet plush covering his junk and dancing to the Macarena is everything I could have hoped for and more.
Seriously, what more do you want?
Gif via Perez Hilton
One week out from his wedding Jason Kelly is duped into driving his Grandfather to Florida the day after his Grandmother's funeral because Grandpa can't drive and Grandma would have wanted it. Arriving to pick up his Grandpa, Jason cops an eyeful of his Grandpa doing a 'number 3', and it all spirals downhill from there. With lines like "throw the clubs in the giant labia you drove up in" referring to Jason's fiance's pastel pink mini, you know the direction the film is headed, and it can go one of two ways, you can either resist, or go with it. I recommend going with it, you'll have a much better time of it if you do.
The car that is referred to as a "giant labia" and yes, it is all downhill from there
Image via Lionsgate
Stopping for lunch on the road they run into an unlikely trio of college students, one of whom was in Jason's photography class before he became an uptight lawyer. The magical show stealer is Aubrey Plaza who plays a college girl with a penchant for older men, and her dry delivery makes the ridiculous lines she's been given hysterical. Wrong, so very wrong, but hysterical. The on screen comedic chemistry between Plaza and De Niro really makes this film. It's like Plaza knows she's got a raw deal with her script and De Niro is giving the finger to cinema goers everywhere and it's magical. To be fair, at his age and with his career history, De Niro has earned the right to give us all the finger and do whatever the hell he wants.
As if her face doesn't say it all - magical
Image via Lionsgate
Grandpa Dick makes out like the trip is all about him getting laid now that he's single for the first time in 40 years, but really it's about getting Jason to realise he's about to make the biggest mistake of his life. He's let everyone tell him what to do with his life - his father, his boss and now his fiancé - and he's become but a shadow of his former self. With the help of illicit drugs, frat parties, bar fights, their three new friends and some epic karaoke (Efron singing Celine Dion is magic), slowly but surely Jason finally comes to the realisation that his Grandpa is not a crazy nut bag, he's right. Then, boy chases girl in an ice cream truck, girl says she won't stay, boy goes with girl and everything ends happily ever after.
Not everything about this film works, there are some bits that reached a whole new level of wrong, but there are lines like this; "Where do you get your taxes done? H and R Cockblock?"
And this; "Tell me it was better under Eisenhower"
That had me crying with laughter.
Everyone loves a good selfie
Image via Lionsgate
If you're expecting anything more than mindless drivel, then you will be sorely disappointed. But, if you take it for what it is and don't even worry about it then you might get a few laughs out of it. I know I did. Sure, there are moments that leave you thinking "oh no you di'nt", but there are moments that are truly funny. If you want a good girls night out with a piece of shit film, a glass of wine (ok who are we kidding, a bottle of wine), and a shirtless Zac Efron singing Celine Dion, then go, spend the 20-something dollars and indulge in this guilty pleasure of a film. It's not a great film, he'll it's not even a good film, but I don't feel like I completely wasted my life, I had a laugh and Zac Efron as I mentioned dances to the Macarena almost naked and sings Celine Dion. Win win really.
SPOTLIGHT
Director: Tom McCarthy
Cast: Michael Keaton, Mark Ruffalo, Rachel McAdams, John Slattery, Liev Schreiber, Brian d'Arcy James, Stanley Tucci
Synopsis: When the Boston Globe's tenacious "Spotlight" team of reporters delves into allegations of abuse in the Catholic Church, their year-long investigation uncovers a decades-long cover-up at the highest levels of Boston's religious, legal and government establishment, touching off a wave of revelations around the world.
Well shiiiit. That was some fairly heavy viewing for a rainy Thursday night. I went into the Sun knowing that I was going to see one of two films - the last two available to me on the Best Picture nominee list because Brooklyn isn't out yet because Australia - either SPOTLIGHT or THE ROOM. I knew both were going to be heavy, and I wasn't fussed which I saw so I let the lovely staff decide for me. They chose SPOTLIGHT, so off I went with my coconut choc top (the lactose intolerant person has no regrets, the bloating and cramps are totally worth it) and settled in with my crochet to tick another film off my list. Walking out of the cinema I saw the friendly staff member who chose my film and she asked "how was it?" My reply? "Well shiiiit."
Well shiiiit is exactly what these guys are thinking too let me tell you
Image via eOne Entertainment
Unless you've been living under a rock (no judgements) you will know the story of the Catholic Church and the years of abuse scandals and cover ups and controversy, and you might also well know the story of the crack team of journalists who really brought it to the fore in a Pulitzer winning piece of journalism. I knew what I was in for, but I really didn't think it would hit me so hard. I've read the articles, I'm up with the facts, but holy hell, seeing it on screen like that...I mean wow. It's really screwed up.
The Globe gets a new editor, he wants the Spotlight team to investigate a story about a Catholic priest under fire for abuse. Little did any of them know they would uncover a further 69 priests along the way. The lies, the under rug sweeping of it all really gets my goat, at least it would if I had a goat (I never understood that saying, but I digress). All those years and not one person listened to the few people who tried to say something, the thought horrifies me.
Liev Schreiber as Marty Baron
Image via eOne Entertainment
McCarthy has put together a slow building, meticulous and gripping film that is incredibly sobering. Like a good piece of journalism it gathers tidbits of information and puts them together like a giant puzzle, each piece revealing a little more of the picture, but also revealing that there are more pieces than you thought. SPOTLIGHT has been nominated for 6 Academy Awards this year and I can see why. Best Motion Picture, Best Achievement in Directing, Best Supporting Actor (Mark Ruffalo), Best Supporting Actress (Rachel McAdams), Best Writing Screenplay Written Directly for the Screen and Best Achievement in Editing. SPOTLIGHT is deserving of all of these noms, although the sadly I don't think it will take home the hallowed trophy for any of them.
Let's talk about Mark Ruffalo, underrated and under appreciated for so many years, he was incredible in this film. I don't know much about the real people of the real Spotlight team, but when Mike Rezendes (Ruffalo) dropped his bundle, I dropped mine too. I got really mad right along side him, yet at the same time I could completely see where Walter 'Robby' Robinson (Michael Keaton) was coming from. If that's not a sign of a good script and spectacular acting and direction I'm not sure what is. Sacha Pfeiffer (Rachel McAdams) had the pretty shitty job of interviewing survivors, and McAdams I thought could have done a little tiny bit more - I didn't see her feeling all of the feels, and I wanted to. To be fair, that's not her fault, that's the script and the limitations of time. If you'd seen her feel all of the feels every time it might have killed you and her and it would have made the film about 70 million hours longer. I just wanted a little something extra on that front.
Their faces say it all - when you realise you're going to need a bigger boat
Image via eOne Entertainment.
On a side note, the one person I didn't get enough of in this film is Stanley Tucci, who played Mitchell Garabedian, the lawyer representing survivors in court, no under rug sweeping allowed. I wanted more of that story, but I think that's because I'm partial to Stanley Tucci and the more screen time he gets ever the better off the world is in general. Seriously though, I am going to find out more about that little side plot that we get glimpses of because that man is a hero to many, and I want to know about it. Stanley Tucci made me want to know about it.
Mitchell Garabedian - the lone wolf, the hero
Image via eOne Entertainment.
If you don't mind something heavy and you're prepared to deal with the sobering fact that the world we live in is bullshit and that people are asshats, and to have yourself wondering for hours "how the hell could so many people let this happen" then I think you'll enjoy SPOTLIGHT. It is a beautifully put together film, and the ensemble cast is wonderful - not a bad apple among them. A slow build, but with a driving pace that keeps you locked into the story. Also if you have an appreciated for underrated actors like Ruffalo and Tucci then you'll want to see them in these roles. I even liked Liev Schreiber in this film and that's saying something - credit to Tom McCarthy for that one. Anyway, if you can deal with the heaviness, then I think SPOTLIGHT is worth forking out the 20-something dollars (plus snacks, it's a long haul). "Well shiiiit" is a good phrase to know, becuase there are no other words at least not ones that are appropriate and lady like and your'e going to want to say something.
THE DANISH GIRL
Director: Tom Hooper
Cast: Eddie Redmayne, Alicia Vikander, Amber Heard, Ben Whishaw, Matthias Schoenaerts
Synopsis: A fictitious love story loosely inspired by the lives of Danish artists Einar (to become Lili Elbe) and Gerda Wegner. Einar and Gerda's marriage and work evolve as they navigate Einar's groundbreaking journey as a transgender pioneer becoming Lili Elbe.
The first thing I remember seeing Eddie Redmayne in was SAVAGE GRACE in 2007, I loved him then and I love him even more now. 12 months of the back of his award winning performance in THE THEORY OF EVERYTHING, Redmayne is back with a performance that is equally as good and a transformation that only he could pull off. The true story of Einar Wegner's (Eddie Redmayne) journey to become Lili Elbe in the 20's and 30's and how his wife Gerda Wegner (Alicia Vikander) copes with and assists this transition is tragic and yet somehow awe-inspiring, and Tom Hooper has created a film that evokes similar emotions.
There are small hints of what is to come in the beginning, Redmayne running his hand over a rack of women's clothing, a longing look at a beautiful pair of shoes, but much of the beginning of the film is setting up what a happy and functional marriage Einar and Gerda have. How perfect they are together, how perfect they are for each other, how perfect their lives are. And they almost convince you, but those small subtle hints that something is not quite right has you teetering on the edge of disbelief.
The beginning of the end
Image via Universal Pictures
When Gerda's model cancels a session, she asks her ever loving husband to put on the stockings and shoes so she can finish her work, and holds the dress up against him. That is the moment you see a flicker of Lili in Einar's eyes. Something there that isn't him, yet strangely is. He is christened Lili by their good friend Ulla, and Gerda convinces Einar to attend a party he has no interest in by coming as Lili where she meets, flirts with and kisses Henrik. Something inside of Einar has changed, you can see it in his eyes and slowly but surely the Wegner's lives fall apart. Einar continues to dress as Lili in secret after Gerda begged him to stop playing the silly game they had made up, until he can no longer go on living a double life. Trips to doctors, who mostly call him insane, or gay, fail to make a great change in Einar who now spends more and more time as Lili, and slowly but surely Gerda comes to terms with the fact that the person she married is slowly disappearing. Lili becomes Gerda's muse and her big break in the art world, and Gerda becomes Lili's biggest advocate.
There is significant criticism that Hooper haws played it safe with this film and its subject matter, and while that may be true, I don't think the film is any worse off for it. Carried by stellar performances by Redmaye and Vikander alike THE DANISH GIRL is powerful and it brings on all the feels. Aside from my penchant for Redmayne, who is marvellous in this film, Alicia Vikander is absolutely the one who steals the show here. Her journey through the film is incredible, there isn't an emotion she doesn't feel, and damned if she doesn't make you feel them with her.
Gerda doesn't stop loving her husband or the woman he has become
Image via Universal Pictures
There is something about the chemistry between these two that really makes the film work, the other actors are merely shadows in this film, which is a shame because it's not like they're terrible actors, they're actually quite good. You just don't really notice them or what they're saying and doing. There could have been more to them throughout the film, but it's only upon reflection that I think that. I didn't mind during the film, I was too wrapped up in Redmayne and Vikander to care.
Don't let what the critics are saying put you off, I really enjoyed THE DANISH GIRL and think it's worth the 20-something dollars to see it at the cinema. Yes, it probably doesn't delve deeply enough into the meaty subject matter, and yes, some of the facts are loosely interpreted, but THE DANISH GIRL isn't so much about the transgender transformation as it is about the relationship between Einar/Lili and Gerda and that was magical.
3.5 out of 5
Xoxo
The Blonde Bombshell
PS. If you want to know more about Lili Elbe's story check out this article from The Telegraph
THE REVENANT
Director: Alejandro González Iñárritu
Cast: Leonardo DiCaprio, Tom Hardy, Will Poulter, Domhnall Gleeson, Forrest Goodluck
Synopsis: Inspired by true events, THE REVENANT captures one man's epic adventure of survival and the extraordinary power of the human spirit. In an expedition of the uncharted American wilderness, legendary explorer Hugh Glass (Leonardo DiCaprio) is brutally attacked by a bear and left for dead by members of his own hunting team. In a quest to survive, Glass endures unimaginable grief as well as the betrayal of his confidant John Fitzgerald (Tom Hardy). Guided by sheer will and the love of his family, Glass must navigate a vicious winter in a relentless pursuit to live and find redemption.
Doesn't that synopsis sound like you might actually want to see the film? I thought so. That coupled with it's wins at the Globes, I took myself off with my man to go and catch this much talked about film. Silly me, I should have known better than to listen to all the hype, but the trailer looked like it might be ok and I was pleased for Leo in his Globe win for Best Actor, and was excited to be seeing yet another Academy nominated Best Picture film. Well, let me just tell you that I felt every single second of the 2 hours and 36 minutes that this film runs for. Every. Single. Second. When I looked at the time and realised that we'd only been in there for 30 minutes and still had another 2 hours to go I nearly cried.
Upon speaking to others who had seen the film, I discovered that people were really divided. They either loved or hated it. There was no one who was like "meh, it was ok". Well, let me tell you which side of the fence I was on...I hated it. Every. Single. Second. I appreciate that the story was inspired by true events, but it was so far from believable that I couldn't get involved in the story at all. All I could do was internalise how impossible it was, how ridiculous it was, how highly improbable it was that Glass didn't die at least 75 times in the first 30 minutes.
To me this film was a vehicle to finally get DiCaprio an Oscar, and by God I think they may have done it. He was incredible in the film, but honestly there are only so many close ups of Leo being pained that I can endure.
The direction of the film was really well done, but in my honest opinion the film was at least an hour too long. Some drawn out, slow moving scenes of nothing could have easily been left on the cutting room floor and no one would have been any the wiser. I probably would still have hated every single second, but there would have been less of them for me to hate. Knowing that this film has received an Oscar nomination for Best Picture and CAROL didn't makes me all the more angry about it.
The film was gratuitously violent, which I normally can stomach, but there was plenty in there that I had to half cover my eyes for, so be warned. If you have a weak stomach then THE REVENANT is not for you. Bear attacks, scalpings, wound cauterising by gunpowder and fire, stabbings, rape, horse skinnings and the like, you need to steel yourself for this one.
Glass carrying his son to safety
Image via Fox Studios
The driving force behind Glass' survival is his love for his son and then his desire for revenge to hunt down and kill the man who murdered his son, John Fitzgerald (Tom Hardy). I imagine that is a pretty powerful emotion, but there is part of me that wonders how close to the truth this film is what actually happened. How much of an interpretation have they made of this story? How did he not die the 75 times he should have? I don't know, and frankly even though I could google it and find out, I honestly hated it so much that I don't even care.
I think that there will be no surprises when DiCaprio wins the Oscar for Best Actor and Alejandro González Iñárritu wins for Best Director and THE REVENANT wins for Best Picture, but I honestly don't think it should win. Leo deserves to win, but THE REVENANT sucked and I hated it and I don't want it to win, so that means it probably will. Ugh. If I was you, I would save the 20-something dollars and not bother going to see this film at the cinema. It's nearly 3 hours of your life that you won't get back.
Synopsis: In an adaptation of Patricia Highsmith's seminal novel The Price of Salt, CAROL follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950's New York. As conventional norms of the time challenge their undeniable attraction, an honest storey emerges in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of her marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.
Another Golden Globe Best Picture nominee that I had to wait to see until after the Globes had aired, because Australia. I took myself off to see CAROL in my movie marathon week (5 films in 2 days) and whilst I was expecting it to be good, I was surprised at just how good it was. I love Cate Blanchett, Rooney Mara has been growing on my over the years, and Sarah Paulson and Kyle Chandler are highly underrated in my opinion. The four of them coupled with a glorious screenplay by Phyllis Nagy (adapted from Patricia Highsmith's novel) and incredible direction of Todd Haynes brings about a seriously powerful film, and one of the saddest pieces of cinema I have seen in quite a while.
A chance encounter in a department store changes these women's lives forever
Image via The Weinstein Company
Two women have a chance encounter in a department store that changes both their lives forever. The beginning was a little predictable - Carol (Blanchett) leaves her gloves, Therese (Mara) returns them love ensues. However, after that initial little bit of predictability, I let myself get swept up in the story and I was transported to another world. Todd Haynes has directed an incredible piece of cinema with a lovely crafted script by Phyllis Nagy, I'm intrigued to read to book to see how close to the original text the film is. The pace of CAROL is quite slow, but not in a negative way. It really gives you time to think, absorb and wallow in the emotions of the story as you're being swept away in the lives of Carol and Therese.
CAROL is highly emotional and Haynes has brought out some wonderful performances from Blanchett and Mara. The chemistry between Carol and Therese is palpable if not somewhat disturbing. A young 20 something woman captivated by an alluring older woman, and at first you think that perhaps Carol is taking advantage, but then you see that Carol's feelings are equal to if not more fierce than Therese's. CAROL brings out all the feels, they share a once in a life time love at first sight love with no explanation, but no explanation is needed.
One simple touch can convey so many emotions
Image via The Weinstein Company
CAROL shows the very real power of a mother's love, Carol's husband uses their daughter as a pawn in their relationship, taking her away because of Carol's immoral behaviour. I can't imagine the pain that would bring to someone, but the fierce love of a mother forces Carol to make a choice between her daughter and her own happiness. I was caught up in the sadness of the situation, sympathy and empathy, and the anger and injustice of it all. Immoral behaviour?! What a crock. That was the time I guess...1950's New York, I'm not surprised, but still, what a crock.
Kyle Chandler and Cate Blanchett - one in love and one out of love
Image via The Weinstein Company
CAROL takes you on a journey through love, exploration of self, pain, anger and heartache. I really love the subtlety in this film, the long lingering looks, the powerful underlying score, the incredible cinematography and the exquisite costuming. In fact, there isn't much that I didn't love about this film. There are no surprises to me for the nominations that CAROL has received by the Academy, however I am outraged that it didn't receive a Best Picture nomination, outraged I tell you!!
Blanchett and Mara are both deserving of their nominations for Best Actress and Best Supporting Actress respectively. I would love to say that Blanchett will win, however I think she has tough competition in Jennifer Lawrence and Brie Larson. Only time will tell, as I've yet to see Brie. Larson in her nominated role (bring on next week), but I think that Lawrence did a lovely job in JOY.
Do yourself a favour and hand over the 20-something dollars at your local picture house to see CAROL. It was beautiful, captivating, moving and truly a magnificent piece of cinema. However, if you're opposed to lesbianism like the woman who was sat next to me in the cinema tut-tutting and being generally outraged about it the whole time, then do everyone else a favour and stay home.
THE BIG STORY
Director: Adam McKay
Cast: Christian Bale, Ryan Gosling, Steve Carell, Brad Pitt, Rafe Spall, Hamish Linklater, Jeremy Strong, John Magaro, Finn Wittrock
Synopsis: Four denizens of the world of high-finance predict the credit and housing bubble collapse of the mid-2000s, and decide to take on the big banks for their greed and lack of foresight
I knew nothing of the world of high-finance, or really anything about the collapse of the US economy except that it happened and it was bad and then the whole world economy followed. I am fortunate enough to live in Australia and we weren't hit too bad (at least I wasn't I don't think, what do I know?). I knew nothing much it except who was in it, and believe me when I say that when I hear the words Ryan Gosling, I'm in. Don't really care what the movie is, don't really care who else is in it, Ryan Gosling = I'm going. The rest of the cast line up was actually pretty enticing as well, Brad Pitt (hello), Christian Bale and Steve Carell, I was enticed.
Image via Paramount Pictures
Out of the 4 films I saw last week, this was probably my favourite. Ok it was equal first with THE HATEFUL EIGHT. It was sharp, witty, and downright hilarious. The narrative was spectacular, and I really loved the way it cut between the story and the explanation of what was happening. I particularly enjoyed the cuts to celebs explaining for us plebs some seemingly important details about finance, like Margot Robbie in a bubble bath talking about something that I can no longer remember, but it sure was handy to know it at the time.
Adam McKay and Charles Randolph have done a marvellous job of adapting the book it's based on, although I would imagine that it is quite a loose interpretation. The story bustles along, and it does not feel at all like it runs for the 2 hours and 10 minutes that it does run for. I laughed a lot in the film and I also learned a great deal. The characters in this film are charismatic, fascinating and funny, and you root for them even though you know they are about to get rich beyond your wildest imagination while a whole bunch of other people suffer. That part really sucks, probably not for them, I mean we're talking about besquillions of dollars here people, but it sure did suck for the moron bankers who were duping the American people, and for all the people who lost their homes - mostly for those guys, because no one likes the fat greedy bankers who ruined it for everyone.
The dude is telling the other dudes how they can get rich by betting against the banks
Image via Paramount Pictures
A scientist Dr. Michael Burry (Christian Bale) finds a fault in the housing system and decides to bet big against the banks hoping that they're too stupid or greedy to realise that everything they built was going to collapse, some banker (Ryan Gosling - hello) hears about it and realises that if he can get in on the action he can become filthy rich. He tells some other dude (Steve Carrel) and convinces him to get in on the action which would in turn make them both filthy rich. All the while two young upstarts hear about what's going on, investigate it and work out that it's true and they too try to get in on the action. Unfortunately for them, they're not already rich enough and they don't have enough sway, so they get in touch with an old friend (Brad Pitt) who had given up on the world of investment banking many years ago because it was so corrupt and evil.
As the story goes, time and time again the banks won, revealing layer upon layer of corrupt-ness and dirty lying cheating bastards. Becoming more and more depressing for me, knowing that such greedy asshats are in the world and that they were absolutely getting away with it because money. Vomit-worthy. But eventually the whole nasty web unravelled and they good guys (I use that term loosely because I don't actually think they're really good guys) won and got their money in the end. What made me really mad was that none of the asshat, evil, douchecanoe bankers got into trouble. How screwed up is that? Clearly not surprising, but certainly screwed up.
Christian Bale is Dr. Michael Burry
Ryan Gosling is Jared Vennett banker extraordinaire
Steve Carell is Mark Baum
Brad Pitt is Ben Rickert
Images via Paramount Pictures
THE BIG SHORT has been nominated for 5 Academy Awards this year, and deservingly so. Best Motion Picture of the Year, Best performance by and Actor in a Supporting Role (Christian Bale), Best Achievement in Directing (Adam McKay), Best Writing for a Screenplay Based on Material Previously Produced or Published and Best Acheivement in Editing. Out of the best picture nominees (BRIDGE OF SPIES, MAD MAX: FURY ROAD, SPOTLIGHT, THE MARTIAN, ROOM, BROOKLYN and THE REVENANT), I really enjoyed THE BIG SHORT, It's my favourite of the four I've seen so far. SPOTLIGHT, ROOM and BROOKLYN aren't out in Australia yet so, I can't pass judgement on them just yet.
THE BIG SHORT is a brilliantly made piece of cinema, and I really think you should go out and spend the 20-something dollars on a ticket for it. It's my top pick for January so far, in fact I liked it so much, I'm pretty sure I'm going to go and see it a second time. So go on, do yourself a favour, go and see THE BIG SHORT in the lead up to this year's Academy Awards so you can make an informed judgement.
SISTERS
Director: Jason Moore
Cast: Tina Fey, Amy Poehler, Maya Rudolph, Ike Barinholtz, James Brolin, Diane West, John Leguizimo, John Cena
Synopsis: Two disconnected sisters are summoned home to clean out their childhood bedroom before their parents sell the family home. Looking to recapture their glory days they throw one final high school-style party for their classmates, which turns into a cathartic rager that a bunch of ground-down adults really need.
Let me start by saying that this is the ridiculous trashy rubbish kind of film the trailer makes it out to be, and thankfully it is carried by the chemistry of Fey and Poehler otherwise it would have REALLY sucked.
Fey & Poehler
Imagine via Universal
Poehler is the aptly cast sensible younger sister, Maura. Always doing the right thing and focussing on everyone else's problems so she doesn't have to think about her own. Fey is the reckless older sister, Kate. Still living life as a wild child, with no comprehension of how to adult, or how her lack of adulting ability affects her teenage daughter.
The sisters return to their family home to clean out their bedroom before their parents sell up and they are in a state of disbelief, anger and sadness. I can't empathise with the feeling as I've lived in about 25 houses in 30 something years, but I know plenty of people can. What's the one thing you would think of to do if your parents were selling your childhood memories to a smarmy couple from New York? Through an epic house party of course. Maura has always been the sensible one, the ever sober one, the party mum. This time, Kate agrees to stay sober so Maura can let her freak flag fly. Only trouble is, the party is a bust. I mean let's face it, they are all 40-somethings exhausted from adulting and basically from life. Blah blah blah, inspiring "you deserve to get your party on" blah blah blah + John Cena and his professional dealer kit and you've got yourself a rager.
Let's get ready to paaartay
Image via Universal
The film is poorly written, and directed, and flys on the back of ad-libbing and improv and the chemistry of Fey and Poehler. It seems to have been a "let's just keep it rolling and cut the best together in the editing room" kind of job. There are some seriously funny one liners that had the whole cinema laughing out loud, but there is plenty of cringe-worthy, make-it-stop dialogue as well.
The supporting cast does a great job with what they have, Maya Rudolph is laughable as the high school mortal enemy, John Leguizimo has some super cringe worthy lines and John Cena does what he does best - be John Cena. The love interest Ike Barinholtz is bearable, but with little to no chemistry with Poehler. He does have a tell it like it is character which afford him a few funnies though.
Images via Universal
Overall SISTERS is not a great piece of cinema, but if you're after a trashy bit of fluff and you love Amy and Tina then you will probably get a kick out of it. Take it for what it is, don't expect too much and you will enjoy yourself. If you're after a good quality piece of cinema (of which there are tonnes at the moment) then don't she'll put the 20-something dollars for this one.
THE HATEFUL EIGHT
Director: Quentin Tarantino
Cast: Samuel L. Jackson, Jurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Channing Tatum
Synopsis: Set six or eight, or twelve years after the civil war, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman", will bring Domergue to justice. Along the road they encounter two strangers: Major Marquis Warren (Samuel L Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town's new Sherrif. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie's, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demián Bichir), who's taking care of Minnie's while she's visiting her mother, Oswaldo Mobray (Tim Roth(, the hangman of Red Rock, cow puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eith travellers come to learn they may not make it to Red Rock after all.
Oh. My. Giddy. Aunt. Today was the day folks. The day I got to see the new Tarantino film in glorious Ultra Panavision 70, exactly as he intended it and I've never been happier. Ok, well perhaps I have been happier, but in that moment I was elated. It was exquisite.
For those of you who don't know what Ultra Panavision 70 is, here is a little excerpt from the programme I got when I saw the film today (that's right, it comes with a programme, as well as an overture and an intermission);
Ultra Panavision 70 refers to the very rare and exceptional format that Quentin Tarantino and his team used to shoot THE HATEFUL EIGHT. Panavision's unique anamorphic camera lenses capture images on 70mm film in an incredible aspect ratio of 2.76:1. Almost all films you see today are shot in ratios of either 1.85:1 or 2.39:1. So, to put it simply, Ultra Panavision 70 provides an amazingly wider and more detailed image. Only a handful of films have ever been made in this format, including BEN-HUR, MUTINY ON THE BOUNTY, IT'S A MAD, MAD, MAD, MAD WORLD, BATTLE OF THE BULGE and in 1966, KHARTOUM, the last time a motion picture was made in this format.
Basically it's bigger and better and just generally all round rare and awesome. When I heard that the Sun Theatre were going to be tracking down and installing a 70mm projector for the purpose of screening THE HATEFUL EIGHT, I was delighted, but also concerned about where the hell they were going to find a 70mm projector and all the necessary parts. Particularly given the limited release of the 70mm print, I imagined there would be a mad scramble for bits and pieces that have long since disappeared from most cinemas which are now all running digital.
Tarantino and the Panavision camera
Not to worry though, my old friends fought the good fight for 6 months, collected all the bits, put it together and got it working to be one of only 6 screens Australia wide showing the film in the format in which it was filmed and intended to be seen. They did an incredible job pulling it together, so cudos to them I say. There was an audible sigh of relief when the film started and ran through to the end without a hitch in the first session today. And for me there was something magical about hearing the whir of a projector behind me as I sat my ass down during the overture and got settled in for 3 hours and 15 minutes.
I also snuck a peak in the projection room today and caught a glimpse of the beautiful piece of equipment that is a 70mm projector and chatted to the boys who didn't leave the bio box for the entire first screening of the film, just in case.
The team at the Sun were wrapped (as they should be), and sessions are selling out fast at the Sun as it is one of the few places you can see it in this format. As I said I went to the first session this morning even though I was dog tired having spent the night chatting and doing ridicuous quizzes with the BFF aka The Red Haired Amazona, but I dragged my sorry ass out of bed to be first in line. The film was still in mint condition, however I can't wait to go back in a couple of weeks once it has collected a little bit of dust and gained a bit of character so I can really tell that I am watching a film on film. There's nothing quite like the magic of a film, I know most people prefer the clarity of digital, but I myself can't go past a print with a few marks or scratches, that's one of the biggest things I miss about film.
Anyway, that's enough about that rambling, now onto what I thought about the film. In a nutshell, I loved it. I think I was always going to love it, but sometimes when I think that I end up being sorely disappointed, this time, I wasn't. I've been gearing up for this film since the leak of the script in 2014, and shed a tear when Tarantino nearly abandoned the project until he saw the positive response to the script, so with a few minor changes he pushed on to deliver a film that I think is a standout for the 2015/16 season (it shits all over MAD MAX: FURY ROAD just FYI). Not only that, but I think it is a standout for Tarantino. It will never take the palce of my favourite Tarantino film of all time (RESERVOIR DOGS), but actually it's right up there. I need some time for the film to sink in and for the high to fade before I make the call and place it in rank order , but I think it's going to satisfy die hard Tarantino fans like me as well as the average Joe Bloggs cinema viewer.
Be warned, in true Tarantino style there is some gore. It's not as confronting as DJANGO UNCHAINED, but there's gore. Blood, guts, blown off nut sacks, you name it it's there. It is Tarantino in the Wild West after all, what do you expect?
The film is incredibly shot, the scenery is magnificent, and the wide lens shots the 70mm gets make for a breathtaking setting for the film to take palce. Ennio Morricone is a miracle worker with the score, which is why THE HATEFUL EIGHT won the Golden Globe this year for Best Original Score. It carries the film so well from the overture to the end credits, and sets the tone for the whole thing from the opening note.
The film is a little slow moving to start, but it doesn't impact it in a negative way. I certainly didn't feel like I was sitting there for the longest 3 hours of my life, and to me that's always a good sign. If I'm restless and fidgety and thinking "Oh for Pete's sake I've been watching this film for days" then I know the film is pretty crap, particularly if it's only a 90 minute piece. At over 3 hours, I didn't once feel like I had been there for 3 hours, but I was bloody grateful for the intermission, because I really wouldn't have been able to site that long without a desperate need to pee.
There is a great recap after intermission, which didn't quite fit with the film in my opinion, but will be super helpful to those with the memory of a goldfish who won't remember where they were up to 10 minutes ago. The script is witty and snappy and gives this talented ensemble cast a lot to work with which is a refreshing change.
Image via Entertainment Weekly
There was a lot of secrecy revolving The Chan *sigh* and his role in this film, and it hasn't really been publicised that much, and I'm not going to talk about it that much either because it would give the game away, but what I will say is there wasn't enough of him...I mean look at him in all his cowboy glory;
*le sigh*
Image via Roadshow
THE HATEFUL EIGHT is a very successful single-setting dramedy (drama comedy) in my opinion, and I think that Tarantino fans and the majority of the gen pop will enjoy this film (probably don't take your Great Aunt Mary or anything). I sure did and I actually can't wait to go back and see it again. Just remember that it is an R18+ rating in Australia and that means you must of 18 or over and you will be asked for ID both at the point of purchasing tickets and at entry to the cinema at most locations, so be prepared for that. In my opinion you should definitely spend the 20-something dollars on this film, and I highly recommend that you see it as it was intended in the very exquisite Ultra Panavision 70. You can catch it in Melbourne at the Sun Theatre (my cinema of choice), The Astor Theatre or the Rivoli and in Sydney at the Even on George Street, the Hayden Orpheum and the Randick Ritz.
Alright folks, it's happened, the winners are out, and whilst I didn't get in in time for my predictions post for the Globes, I've got the list of winners along with who I think should have won below. Sadly this year I didn't get a chance to sit down and watch the Globes as it was happening (stupid life and real job getting in the way), but I am going to sit down tonight and feast on the glory that is Ricky Gervais and enjoy the ceremony with a glas of vino (or 7).
Winners are marked in bold;
BEST MOTION PICTURE – DRAMA
a.
CAROL - haven't got to see this yet as it's not out in Australia, but by God am I excited for it!! Based on the reviews, I would have put this as my prediction for the winner
Number 9 Films; The Weinstein Company
b.
MAD MAX: FURY ROAD - I was not as wrapped with this film as everyone else in the world, it was good, but I certainly wouldn't have backed it as a winner
Warner Bros. Pictures / Village Roadshow Pictures / Kennedy Miller Mitchell; Warner Bros. Pictures
c.
THE REVENANT - am off to see this later in the week, so I will offer my judgement then
Regency Enterprises; Twentieth Century Fox
d.
ROOM - I just saw the extended trailer for this last week and I am super keen to see it!
Element Pictures / No Trace Camping; A24
e.
SPOTLIGHT - Australia is so behind...how am I ever meant to work it out when I can't even see the films yet?!
Anonymous Content / Participant Media / First Look; Open Road Films
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
a.
CATE BLANCHETT
CAROL - I would have put my money on Cate for the win here
b.
BRIE LARSON
ROOM - again, I have not yet seen this as it's not out yet, but she looks bloody brilliant in the trailers!!
c.
ROONEY MARA
CAROL
d.
SAOIRSE RONAN
BROOKLYN
e.
ALICIA VIKANDER
THE DANISH GIRL
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
a.
BRYAN CRANSTON
TRUMBO
b.
LEONARDO DICAPRIO
THE REVENANT - so annoyed I haven't seen this yet, but I'm glad Leo won!
c.
MICHAEL FASSBENDER
STEVE JOBS
d.
EDDIE REDMAYNE
THE DANISH GIRL - I would have put my money on Eddie for the win here
5. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
a.
JENNIFER LAWRENCE
JOY -no real surprises here, although in my mind it should have been Maggie Smith! I don't think this is Jen's best work to be honest
b.
MELISSA MCCARTHY
SPY
c.
AMY SCHUMER
TRAINWRECK
d.
MAGGIE SMITH
THE LADY IN THE VAN - I would have put my money on Maggie Smith
e.
LILY TOMLIN
GRANDMA
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
a.
CHRISTIAN BALE
THE BIG SHORT
b.
STEVE CARELL
THE BIG SHORT
c.
MATT DAMON
THE MARTIAN - this is absolutely where I would have put my money for the win. MATT DAMON
d.
AL PACINO
DANNY COLLINS
e.
MARK RUFFALO
INFINITELY POLAR BEAR - a close second for me here, one of the most underrated actors
7. BEST MOTION PICTURE – ANIMATED
a.
ANOMALISA
Starburns Industries; Paramount Pictures
b.
THE GOOD DINOSAUR
Pixar Animation Studios; Walt Disney Studios Motion Pictures
c.
INSIDE OUT - of course this won, it was a freakin' incredible film!
Pixar Animation Studios; Walt Disney Studios Motion Pictures
d.
THE PEANUTS MOVIE
Blue Sky Studios; Twentieth Century Fox
e.
SHAUN THE SHEEP MOVIE
Aardman; Lionsgate / Studiocanal
8. BEST MOTION PICTURE – FOREIGN LANGUAGE
a.
THE BRAND NEW TESTAMENT
(BELGIUM / FRANCE / LUXEMBOURG)
Terra Incognita / Climax Films / Après le Déluge / Juliette Films / Caviar; Belga Films / Le Pacte
b.
THE CLUB
(CHILE)
Fabula; Music Box Films
c.
THE FENCER
(FINLAND / GERMANY / ESTONIA)
Making Movies / Kick Film GmbH / Allfilm; Oy Nordisk Film Ab
d.
MUSTANG
(FRANCE)
CG Cinéma / Vistamar Flimproduktion; Cohen Media Group
e.
SON OF SAUL
(HUNGARY) - none of these I've been able to see yet, so I would have guessed based on trailer alone and it would have been Fencer
Laokoon Filmgroup; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
a.
JANE FONDA
YOUTH
b.
JENNIFER JASON LEIGH
THE HATEFUL EIGHT
c.
HELEN MIRREN
TRUMBO
d.
ALICIA VIKANDER
EX MACHINA
e.
KATE WINSLET
STEVE JOBS - that's a bit exciting! I love Kate. I would have put my money on Alicia Vikander, but that's the only one of these films I've seen so far
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
a.
PAUL DANO
LOVE & MERCY
b.
IDRIS ELBA
BEASTS OF NO NATION
c.
MARK RYLANCE
BRIDGE OF SPIES
d.
MICHAEL SHANNON
99 HOMES
e.
SYLVESTER STALLONE
CREED - absolutely this is correct, but if I hadn't seen it I would have put money on Paul Dano
11. BEST DIRECTOR – MOTION PICTURE
a.
TODD HAYNES
CAROL
b.
ALEJANDRO G. IÑÁRRITU
THE REVENANT - I would have put my money on THE MARTIAN, but I haven't seen THE REVENANT yet, so I may just change my mind
c.
TOM MCCARTHY
SPOTLIGHT
d.
GEORGE MILLER
MAD MAX: FURY ROAD
e.
RIDLEY SCOTT
THE MARTIAN
12. BEST SCREENPLAY – MOTION PICTURE
a.
EMMA DONOGHUE
ROOM
b.
TOM MCCARTHY,
JOSH SINGER
SPOTLIGHT
c.
CHARLES RANDOLPH, ADAM MCKAY
THE BIG SHORT
d.
AARON SORKIN
STEVE JOBS - even though I haven't seen this yet, I would have thought Aaron Sorkin would have it I the bag. His screenplays are always incredible
e.
QUENTIN TARANTINO
THE HATEFUL EIGHT
13. BEST ORIGINAL SCORE – MOTION PICTURE
a.
CARTER BURWELL
CAROL
b.
ALEXANDRE DESPLAT
THE DANISH GIRL - If it weren't for Ennio then I would have put my money here
c.
ENNIO MORRICONE
THE HATEFUL EIGHT - I have so much Ennio Morricone on my iPod people might think I'm a stalker...
d.
DANIEL PEMBERTON
STEVE JOBS
e.
RYUICHI SAKAMOTO,
ALVA NOTO
THE REVENANT
14. BEST ORIGINAL SONG – MOTION PICTURE
a.
“LOVE ME LIKE YOU DO” — FIFTY SHADES OF GREY
Music by:
Max Martin, Savan Kotecha, Ali Payami, Ilya Salmanzadeh
Lyrics by:
Max Martin, Savan Kotecha, Ali Payami, Ilya Salmanzadeh
b.
“ONE KIND OF LOVE” — LOVE & MERCY
Music by:
Brian Wilson, Scott Bennett
Lyrics by:
Brian Wilson, Scott Bennett
c.
“SEE YOU AGAIN” — FURIOUS 7
Music by:
Justin Franks, Andrew Cedar, Charlie Puth, Cameron Thomaz
Lyrics by:
Justin Franks, Andrew Cedar, Charlie Puth, Cameron Thomaz
d.
“SIMPLE SONG #3” — YOUTH
Music by:
David Lang
Lyrics by:
David Lang
e.
“WRITING'S ON THE WALL” — SPECTRE - yeah ok, I can see why this won...I preferred One kind of Love from LOVE & MERCY though
Music by:
Sam Smith, Jimmy Napes
Lyrics by:
Sam Smith, Jimmy Napes
Now, if you'll excuse me, I've got some serious film viewing to do in the lead up to the Oscars this year so I can make some informed choices and also express outrage and disappointment that my favourites didn't win knowing that they were truly the best.
I'll leave you with this clip of Ricky at the Globes this year...people are equally amused and offended, but they keep inviting him back, so they only have themselves to blame. I for one love him, so let's keep him coming back and back and back!
