Baraka * * * * *

Posted in Documentary with tags on February 10, 2013 by Mark Walker

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Director: Ron Fricke.
Concept: Ron Fricke, Mark Magidson.

Released in 1992, it’s took me a while to get around to this one. It’s director, Ron Fricke, had previously contributed writing, editing and cinematography duties on the similarly themed and outstandingly powerful “Koyaanisqatsi” by Godfrey Reggio before embarking on this (his own) journey ten years later.

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I wouldn’t even call this a film. I’d call it more a series of moving images. But what stunning beauty there is to behold here. It was filmed by a five person crew over a period of 14 months in 24 countries across 6 continents and there are a plethora of images that will instil a myriad of emotional responses; they will enlighten and disturb, they will force you to ponder and wonder. In short, they are images of evolution and life and they will leave you in absolute awe of our natural world and the direct involvement we have in it. It explores different cultures and tribal rituals, it marvels at cloud formations and stunning sunsets. This is the flora and fauna of our environment in all it’s most natural beauty. If you can imagine Terrence Malick directing a dialogue free, documentary then you have a idea of what to expect here. It does contain a certain, loose, narrative structure and like the sublime, BBC, David Atteborough nature programs it is stunningly captured and assembled. As mentioned, it contains no dialogue whatsoever, relying solely on sounds and an ethereal music score, featuring the haunting and angelic vocal talents of Lisa Gerrard.

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Anyone familiar with the aforementioned and absolutely amazing, visual documentary “Koyaanisqatsi” or it’s follow up “Powaqqatsi” will know how much of treat they are in for here. If you haven’t seen any of these, then I urge you to do so.

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There isn’t much else I can say to describe this other than… the meaning of the word ‘Baraka’ is an ancient Sufi word that translates to “a blessing, or the breath, or the essence of life from which the evolutionary process unfolds.”
This and the extra photos I include speak a thousand more words that I ever could.

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It simply has to be seen to be believed.

Mark Walker

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The Impossible * * * *

Posted in Drama with tags on February 8, 2013 by Mark Walker

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Director: Juan Antonio Bayona.
Screenplay: Sergio G. Sanchez.
Starring: Ewan McGregor, Naomi Watts, Tom Holland, Samuel Joslin, Oaklee Pendergast, Marta Etura, Sönke Möhring, Johan Sundberg, Jan Roland Sundberg, Geraldine Chaplin.

One of the very best of recent horror movies was “The Orphanage“, released in 2007. As part of it’s marketing campaign it was executive produced by the familiar name of Guillermo del Toro (“Pan’s Labyrinth“). Of course, del Toro wasn’t the creative mind behind the film – little known, Spanish director, Juan Antonio Bayona was. With this follow-up Bayona tackles an altogether different horror in the shape of one the world’s worst natural disasters: that of the Pacific Basin Tsunami of 2004.

Maria (Naomi Watts) and Henry (Ewan McGregor) are a British couple who takes their three sons on a Christmas family holiday to Thailand. Their idyllic setting is soon torn apart when a powerful and deadly tsunami rips through the beach resort. Maria and the eldest son Lucas (Tom Holland) manage to struggle to safety but Henry and the younger boys are separated, leaving them fighting for survival and unaware of each others’ fate.

Bayona starts his film off gently, as he introduces the quaint British family going about their holiday with love and enthusiasm. He takes little time in establishing his characters but takes enough to convey them as a strong unit. When they are separated by the sheer destructive force of the Tsunami, Bayona establishes his skill and deft handling of the disaster in all it’s devastating force. It’s entirely believable and absolutely awe-inspiring as man made structures and natural habitats are swept aside like playthings. On top of this, he gives us a turbulent, first-person point of view of the confusion whilst being churned around in this tidal wave. It’s a cinematic achievement that’s nothing less than impressive. From here, it progresses into a survival story as the separated family strive to find one another and it’s at this point that the film slows down and gets in touch with it’s emotional core. I was actually surprised by it’s level of emotion but that’s not to say that I didn’t like it. It worked primarily because we can identify with these suffering individuals. This is a natural disaster that affected many throughout the world and the loss was practically incalculable. As a result, the film becomes a bit of a tearjerker and some may even claim manipulatively so. I was so unprepared that at several points, I was wondering why I had a lump in my throat and why it didn’t seem to be going away either. Quite simply, the film’s emotional power captured me and refused to let go. Of course, to make this believable, you have to look at the cast members. Each and every one of them were superb; Naomi Watts has been Oscar nominated for her turn but Ewan McGregor can count himself very unlucky not to receive similar recognition. They both deliver outstandingly strong work. Special mention must also go to Tom Holland as the eldest son, who actually carries a large amount of the film of his young shoulders. We could be witnessing the arrival of a very fine actor here. Ultimately, it’s through these performers that we invest ourselves into this tragedy. Surprisingly, the only film that I’m aware of that has touched upon this disaster is Clint Eastwood’s “Hereafter” but it didn’t deal with it to the extent and technical ability that this does.

It’s not often we get such an impressive piece of work that, so easily, tugs on the heartstrings. In fact, the last time I felt this was with Juan Antonio Bayona’s aforementioned “The Orphanage” but to capture such a disaster in all it’s ferocity, reaffirms that the impossible is not so hard to believe in contemporary cinema any more.

Mark Walker

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Silver Linings Playbook * * * * 1/2

Posted in Comedy, Drama with tags on February 6, 2013 by Mark Walker

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Director: David O. Russell.
Screenplay: David O. Russell.
Starring: Bradley Cooper, Jennifer Lawrence, Robert DeNiro, Jacki Weaver, Chris Tucker, Shia Whigham, Anupam Kher, John Ortiz, Julia Stiles, Dash Mihok, Paul Herman, Matthew Russell, Brea Bee, Cheryl Williams, Patrick McDade.

As a personal rule, I normally avoid comedies or dramas that involve romance. I find the formula tedious and repetitive, not to mention, dull. However, director David O. Russell’s material is often interesting and off-beat so I decided that I wouldn’t overlook this one (especially when it features my favourite actor in Robert DeNiro). I have to say, I have renewed faith in the genre when there are talented people involved and it’s futile to resist one with such depth and unpredictability as this has.

Pat Solotano Jr., (Bradley Cooper) is discharged from a state metal health institution after an eight month spell for bi-polar disorder that has led to him violently beating his wife’s lover. When released, he lives with his parents Dolores (Jacki Weaver) and Pat, Sr. (Robert DeNiro) and decides to get himself fit and healthy again to gain back his estranged spouse. While out jogging, he crosses paths with Tiffany (Jennifer Lawrence), a recovering sex addict with mental health issues of her own but as their friendship grows, they realise that they can both help each other to achieve to their goals.

David O. Russell has tackled dysfunctional families before in “Flirting with Disaster” and “The Fighter” and mental health in “I Heart Huckabees” so in many ways, he’s on comfortable ground here and thankfully for us, it shows. He has a complete command over his material and even though you’d be forgiven for thinking that this is just your average, boy-meets-girl, romantic comedy, it isn’t. It teeters on the edge of formula but it also knows how to play with it and never becomes predictable. The ace in Russell’s pack, though, is the immeasurable help by a talented and commited cast. All the performances are absolutely excellent; Bradley Cooper is an actor that was always just been passable for me but here he shows a very impressive side to his acting talents; Jennifer Lawrence has impressed before in “Winter’s Bone” and “The Hunger Games” but this may well be her finest performance to date as she balances vulnerability and strength with ease. My favourite of the bunch, though, was seeing DeNiro finally get a role where he’s able deliver a whole range of emotions. One moment he’s breaking your heart, the next he’s in a fit of rage and also adds a lovely comic touch to things. Although, I was surprised at his Oscar nomination, I also wouldn’t argue with it. It’s great to have him back doing what he does best and hopefully this is the catalyst for bigger and better roles for him. I think we can all admit that he’s deserving of better material than he’s been getting of late. Added to which, apparently, it was DeNiro’s absolute commitment to the film that encouraged the rest of the cast to raise their game. While we’re on the subject of awards, all the leading performers have been Oscar nominated for their turns here (and that includes the great Jacki Weaver) – This is the first time this has been achieved by a cast since Warren Beatty’s political drama “Reds” in 1981. It’s also doesn’t hinder things when the talented likes of Chris Tucker and Shea Whigham are pitching in from the sidelines either. Ultimately, the plaudits must go to Russell for the deft handling of the material, though. Yes, it has generic elements of the genre but by the end, it can’t be pigeonholed and the characters aren’t your average troubled souls that are played for laughs or zaniness. There is a depth and pathos to their struggle and the intermingling of their fractured, dysfunctional obsessions is a hard balance to achieve. Russell manages it with aplomb and every one of his cast do too.

I’ve always been a fan of the off-beat nature of David O. Russell’s work but he has surpassed himself here and delivers an astute, not to mention, very refreshing commentary on mental illness.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on February 5, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: Bill Murray was considered and tested for the role of Sulley in “Monsters Inc.” but the director, Pete Docter, said that when the filmmakers decided to offer it to Murray, they were unable to make contact with him and took that to mean “no”.

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2: Daniel Radcliffe, Shia LaBeouf, James McAvoy, Erryn Arkin and Tobey Maguire were considered for the role of Bilbo Baggins in “The Hobbit“. However, Peter Jackson has said that his first choice was always Martin Freeman. Freeman was initially unable to accept the role, due to scheduling conflicts with “Sherlock“, but Jackson reworked the entire shooting schedule for the Hobbit films to accommodate him.

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3: According to Naomi Watts, the producers of the film “The Impossible” heard an interview on Spanish radio where the real family told their story of surviving the Tsunami and decided from then to adapt the story into a film.

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4: Originally, Richard Donner directed “Superman” and “Superman II” back to back, then cut back on filming the sequel to focus on finishing the first one for a Christmas release. A clash with producers Alexander Salkind and Ilya Salkind over the material led to Donner being fired before he could finish filming the second one and he was replaced with Richard Lester. Donner later estimated that he had directed 80% of the sequel and saw about 50% of his work in the theatrical film.

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5: To enhance the scale of the Space Jockey in “Alien“, Ridley Scott actually filmed his kids in miniature space suits.

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6:Manhattan” is Woody Allen’s least favorite of the movies he has directed. However, it was the most commercially successful film of his career. He said years later that he was still in disbelief that he “got away with it”. He disliked it so much that he offered to direct another film for United Artists for free if they kept “Manhattan” on the shelf for good.

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7: Edward Norton was originally offered the role of Pvt. Ryan in Steven Spielberg’s World War II film “Saving Private Ryan” but he turned it down and it eventually went to his “Rounders” co-star Matt Damon.

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8: Author William Peter Blatty once won $10,000 on the Groucho Marx show “You Bet Your Life“. When Groucho asked what he planned to do with the money, he said he planned to take some time off to “work on a novel.” The novel turned out to be “The Exorcist“.

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9: Viggo Mortensen was originally cast to play John Dunbar (Kevin Costner’s role) in “Dances With Wolves“. Mortensen was also supposed to play the character in a proposed sequel called “The Holy Road“. Costner stated he didn’t want to reprise the character but the sequel has yet to see the light of day either.

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10: Francis Ford Coppola was in the early stages of developing a script for a fourth “Godfather” film with Mario Puzo which was to tell the story of the early lives of Sonny, Fredo and Michael. After Puzo’s death in July of 1999, Coppola abandoned the project, stating that he couldn’t do it without his friend.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.).

Zero Dark Thirty * * 1/2

Posted in Drama, War with tags on February 1, 2013 by Mark Walker

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Director: Kathryn Bigelow.
Screenplay: Mark Boal.
Starring: Jessica Chastain, Jason Clarke, Kyle Chandler, Mark Strong, James Gandolfini, Joel Edgerton, Chris Pratt, Jennifer Ehle, Edgar Ramirez, Harold Perrineau Jr, Stephen Dillane, Mark Duplass, Frank Grillo, Reda Kateb, Nash Edgerton, Jeremy Strong, Scott Adkins, John Barrowman.

So, after the Oscar winning heights of “The Hurt Locker“, director Kathryn Bigelow decides to stick to a winning formula and follow up that success with another war themed drama. Personally, I wasn’t keen on on her previous Oscar winning movie and I’m just as less enthusiastic about this one.

Al-Qaeda leader Osama bin Laden becomes the prime target following the attacks of September 11th, 2001. Heading the search operation is CIA intelligence analyst Maya (Jessica Chastain) who commits ten years to tracking him down, while others around her have their doubts and reservations. In 2011, her commitment pays off as she believes that he has been in hiding in Pakistan and a U.S. Navy SEAL team are sent in to capture or kill.

Beginning with the events of 9/11, the film fast forwards 2 years where it dares to expose American torture tactics to find the culprits of that fateful attack on New York. Although distressing, they are brilliantly and bravely captured which has led to some controversy on Bigelow’s part. The film, basically, doesn’t waste time in getting down to business and although the early stages consist of interrogations, Bigelow does well to maintain interest and tension. After this, the film gets bogged down in an attempt to capture recent events that require much more than a 2 1/2 hour movie to sum up.
Apparently, the script of this film was changed during the filming; the original story was the hunt for bin Laden but his (supposed) capture and death occurred before the film was completed. As a result, we have the ending to this manhunt. Personally, I don’t buy bin Laden’s capture. That’s not to say that I think he’s still roaming the earth. He may well be dead but I just don’t believe that events played out the way we have been told they did. It stinks to me that we are supposed to buy the – almost hush-hush – news coverage of such a high-profile event in current affairs. Sadam Hussein’s death was plastered all over the media but with bin Laden we are to just accept with very little evidence produced. Call me a conspiracy theorist but I can’t (and won’t) readily accept everything I’m told in the media. I believe it to be western propaganda that only serves to instil a belief in people that an end to the conflict is near. People want to believe. People need to believe. Much has been said about the 10-year-long manhunt to capture and kill bin Laden but if, buffoonish, Bush Jr, wasn’t so hell bent on drilling for oil and finishing his dear old pappy’s lucrative business in Iraq then that time wouldn’t have passed.
Anyway, I digress. My write-up is becoming more about my personal beliefs than it is a film review. So let’s get back to the job at hand. This is a film that is, undoubtedly, well structured and captured but I found that it meandered and as a result, I began to write a big “lefty” spiel (which I have omitted here) on my opinion of the conflict that we, as the west, finds ourselves in. And the reason this happened? Frankly, it was because I was bored. It wasn’t until the hour mark that things begin to get interesting but just when it began to look good, it got bogged down in boardroom scenarios and endless eastern locations. I have been a big fan of Bigelow’s previous movies but her recent venture into political events doesn’t cut it for me. She’s a director that has vibrancy and energy that is hard to compete with but on recent evidence, she’s entering into a territory that doesn’t accentuate her skills.
What does work in this, is the performances; Jessica Chastain proves, once again, why she’s everywhere at the moment. Her progression from shrinking violet to doggedly determined shows good range and some supporting actors also deliver solid work; Jason Clarke (“Lawless“) is a standout in the earlier part of the movie and Kyle Chandler (“Super 8“) gets a chance to flex his acting chops in some tense verbal confrontations. James Gandolfini and Joel Edgerton are a couple of late inclusions and it’s only in the last half hour that Bigelow shows her abilities in staging the action set-pieces. By then, though, it’s too little too late. What she does do, in her defence, is portray the actions of soldiers less than heroic. Which is one of the few truths that she shows in the entire film. Another is the ambiguity in the identity of bin Laden. At one point Stephen Dillane’s character says “… bin Laden, do I give up all hope of possibly seeing a photograph of him?” Eh… I’m afraid so. As an audience, we have to, yet we’re still expected to believe that he was identified and located on a farmyard, killed and buried at sea and an agency expert visually confirmed his identity when she hadn’t, physically, ever laid eyes on bin Laden herself.

Gung-Ho, western propaganda at it’s most concentrated. Some of it is impressively handled but ultimately, it’s nonsense that masquerades as intelligent filmmaking. It’s far from it and another blip in Bigelow’s, seemingly, great reputation. As a surfer- dude once said, in her earlier psuedo-spiritual, action pinnacle… “Go back to the valley, man…“.

Mark Walker

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Lawless * * * 1/2

Posted in Crime, Drama with tags on January 31, 2013 by Mark Walker

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Director: John Hillcoat.
Screenplay: Nick Cave.
Starring: Tom Hardy, Shia LaBeouf, Guy Pearce, Jessica Chastain, Jason Clarke, Gary Oldman, Mia Wasikowska, Dane DeHaan, Noah Taylor, Chris McGarry, Tim Tolin, Lew Temple.

The last film that director John Hillcoat and screenwriter/musician Nick Cave collaborated on was the 2005 neo-western “The Proposition“. Four years later, Hillcoat went on to make his adaptation of Cormac McCarthy’s “The Road” (on which Cave supplied the music) but now they are together again with Cave back on screenwriting duties. If you’re familiar with the aforementioned films then you’ll also be familiar with the sark sense of realism that they bring. This is no different and just as good as anything they’ve produced so far.

In Franklin County, Virginia, in 1931, the Bondurant brothers: Forrest (Tom Hardy), Howard (Jason Clarke) and Jack (Shia LaBeouf) run a distillery and bootlegging business in Moonshine. However, the District Attorney decides to clamp down on the bootleggers as Prohibition is introduced. To enforce the law, crooked and unscrupulous, Special Deputy Charlie Rakes (Guy Pearce) is brought in to bring the brothers down but the Bondurant’s refuse to yield.

When the reviews of this film started flooding in, the opinions were less than favourable, leading me to lower my expectations. In many ways, I’m glad this happened as I found plenty to enjoy here and feel that the film may be a little harshly criticised. For a start – as mentioned earlier – Hillcoat has completely captured the gritty realism required. His feel for the time and place and eye for detail is highly impressive and it’s accompanied by an excellently evocative score by Cave and Warren Ellis. From the offset, it establishes it’s methodical and deliberate pace. It builds slowly but assuredly and spends quite a bit of time on character development; LaBeouf impresses with his, runt of the litter, leading role but the standout’s among the cast are a brooding Hardy and an extremely corrupt and unsavoury Pearce. However, this particular path that it treads so well, is also the films undoing. Too much time is spent on some characters and not enough on others; Chastain has little to do but still manages to do well, with what she’s got. The third member of the Bondurant brothers (Jason Clarke) is underwritten but again squeezes enough from the material he’s given and still manages to make an impact amongst a high calibre cast. The most criminally underused is Gary Oldman, though. It builds his character up and then doesn’t let him loose. Oldman is an actor that excels in these type of roles, yet it would seem that most of his scenes were left on the cutting room floor. Regardless of their screen time, everyone manages to pitch in here, though, and if this wasn’t a talented collection of performers, then some would have faded into the background. The fault with this has to lie in the hands of Nick Cave and his patchy, underwritten script. The conclusion is rushed and unsatisfactory and despite promising an enticing confrontation between it’s central characters, it fails to deliver. Maybe this would have led it down the formulaic path but I still would rather have that, than the ending we are provided. That being said, I still found this to be an engrossing, atmospheric and vivid depiction of depression-era times. It definitely does have it’s flaws and if you scratch the surface you’ll find a generic crime film but it’s so richly textured that it’s flaws are, mostly, forgivable.

Much like the old Jalopy’s that they drive, this doesn’t quite have the mileage to see it comfortably to it’s destination but it still a thoroughly involving, if occasionally bumpy, ride.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on January 28, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: In the graveyard scene in “Seven Psychopaths“, the grave that the Jack of Diamonds killer is hiding behind is named “Rourke”. Mickey Rourke was initially cast in the movie as Charlie (eventually played by Woody Harrelson) but dropped out after disagreements with the director.

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2: Al Pacino and Robert DeNiro were Michael Mann’s first choices for the roles Hanna and McCauley in “Heat” but Nick Nolte and Jeff Bridges were discussed as a possible alternative for the two leads.

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3: Terrence Malick wrote a ‘treatment’ for the Clint Eastwood classic “Dirty Harry” but none of his material was used for the final film.

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4: Both Warren Beatty and Kevin Costner were considered for the role of Bill in “Kill Bill“. Both turned it down and it was Beatty who suggested that Tarantino use David Carradine instead.

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5: The “You think I’m funny?” scene in “Goodfellas” was based on a story that Joe Pesci acted out for Martin Scorsese. While working in a restaurant as a young man, Pesci once told a mobster that he was funny and the mobster became very angry. Scorsese allowed Pesci and Ray Liotta to improvise the scene. He did not tell the other actors in the scene what would happen because he wanted their genuine surprised reactions.

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6: Arnold Schwarzenegger, Danny DeVito and Hulk Hogan have all revealed in interviews that Schwarzenegger and DeVito were given the option of doing “Twins” or “Suburban Commando“; had the two chosen Suburban Commando, Hogan and Christopher Lloyd would have done Twins.

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7: John Travolta, Tom Hanks, and Tom Cruise where among the actors that were considered for the role of Sheriff Freddy Heflin in “Copland“. Sylvester Stallone eventually got the role and gained 40 pounds for it by sticking to a diet of giant pancakes.

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8: As roommates, Dustin Hoffman and Gene Hackman would often go to their apartment rooftop and play the drums. Hoffman played the bongo drums while Hackman played the conga drums. They did it out of their love for Marlon Brando, who they had heard played music in clubs. They wanted to be like Brando and were big fans of his.

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9: Director Darren Aronofsky originally envisioned telling the story of “Black Swan” as part of the plot of “The Wrestler” and was actually developing a project that was about a love affair between a ballet dancer and a wrestler, but he realized pretty quickly that taking two worlds like wrestling and ballet was much too much for one movie.

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10: In an interview with ‘Entertainment Weekly‘, Christopher Nolan explained that he based roles of the “Inception” team similar to roles that are used in filmmaking – Cobb (DiCaprio) is the director, Arthur (Gordon-Levitt) is the producer, Ariadne (Page) is the production designer, Eames (Hardy) is the actor, Saito (Watanabe) is the studio, and Fischer (Murphy) is the audience. “In trying to write a team-based creative process, I wrote the one I know,” said Nolan.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

Seven Psychopaths * *

Posted in Comedy, Crime with tags on January 24, 2013 by Mark Walker

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Director: Martin McDonagh.
Screenplay: Martin McDonagh.
Starring: Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, Abbie Cornish, Olga Kurylenko, Zeljko Ivanek, Harry Dean Stanton, Gabourey Sidibe, Kevin Corrigan, Long Nguyen, Brendan Sexton III, Linda Bright Clay, Michael Stuhlbarg, Michael Pitt.

When “In Bruges” was released in 2008 it marked the emergence of Martin McDonagh, a filmmaker that was able to combine a dark crime drama with a real sense for the off-beat and provide unabashed politically incorrect humour. I wasn’t exactly convinced in it’s entirety but it offered something fresh and exciting. The same could be said for McDonagh’s second feature, only this time it’s sense for the off-beat is way off course and it’s elaborate crime yarn, lacks coherence.

Marty (Colin Farrell), has been working for while on a Hollywood screenplay called ‘Seven Psychopaths‘ but he hasn’t got past the first page and has developed a reliance on alcohol to see him through it. His friend Billy (Sam Rockwell) is eager to help, so gives him anecdotes on real psychopaths that he’s aware of. Some of which, include crazed gangster Charlie (Woody Harrelson) who loves his little Shih-Tzu dog, Bonny. It’s only when Billy and his dognapper friend Hans (Christopher Walken) decide to steal Bonny, that Marty finds himself in all sorts of trouble – and inspiration.

The film sets it’s stall up well, as we are introduced to Martin, a struggling, Irish, alcoholic writer with absolutely no creative spark whatsoever. It’s a self-referential premise that has been done before – most notably by the Coen brothers when they wrote “Barton Fink” as a result of writer’s block in trying to finish “Miller’s Crossing“. Only, McDonagh is not a Coen, nor is he a Quentin Tarantino – who he obviously fancies himself as. Those filmmakers have made strong career’s from combining crime and comedy but after this sophomore effort, McDonagh doesn’t match those aforementioned auteur’s of cinema. “In Bruges” was so well received that this film gathered a lot of anticipation and it even allowed McDonagh to assemble a very impressive cast. It had all the ingredients for being another darkly humorous endeavour. Dark it may be, but it’s seriously lacking in the humour department. While I was watching this, I had the feeling that something was just around the corner but when that corner was turned, there was still a vacantness. The jokes were forced and most dialogue and scenes were shoehorned in such a way that it was forcing laughs rather than earning them.
On the positive side, it had plenty of style and the performances, for the most part, were great; Farrell, Harrelson and especially, Rockwell and Walken, all seem to be having fun. There’s also fine support by Tom Waits but the belief that this ensemble have in the material is squandered as McDonagh has no idea what he’s doing. The story-within-a-story concept is nothing original but if tackled properly, it can be a very fulfilling journey and Charlie Kaufman’s “Adaptation” is a prime example of how it should be done. This, however, is an example of how it shouldn’t.

This is a wasted opportunity to create something really good. It’s a clever idea and it could be said that the movie is one big in-joke. Although I’m aware of this, it’s still the very incoherent and lazily written crime yarn that it proclaims to be against.
It thinks it’s smarter and funnier than it actually is and goes down as the biggest disappointment of the year.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on January 22, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: Woody Harrelson, Demi Moore and Robert Redford were the cast of “Indecent Proposal” but it was originally designed as a star vehicle for Tom Cruise and Nicole Kidman, with Warren Beatty taking the part of the millionaire.

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2: After “Indiana Jones and the Last Crusade“, Harrison Ford and Sean Connery passed up three subsequent opportunities to work together. Connery accepted a role in “The Hunt for Red October“, while Ford declined the role of Jack Ryan, which went to Alec Baldwin instead. (Ford later took over the role in “Patriot Games“). Ford and Connery both declined the roles of Alan Grant and John Hammond, respectively, in “Jurassic Park” and Connery declined to return to the role of Henry Jones in “Indiana Jones and the Kingdom of the Crystal Skull“.

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3: After playing Al Capone in “The Untouchables“, Robert DeNiro was looking for some lighter material to do next. Initially, he wanted to play the lead in Penny Marshall’s “Big“, but the studio wasn’t interested in having DeNiro play the role, and it ultimately went to Tom Hanks. He then became involved in “Midnight Run“.

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4: For the Spike Jonze film “Adaptation“, Donald Kaufman was nominated for a Golden Globe with writer Charlie Kaufman, despite being a fictional character. They were also both nominated for an Academy Award and the Academy made it known that, in the event of a victory, the two brothers would have to share one statue.

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5: After she just won her Oscar for “Kramer vs. Kramer” in 1979, during the festivities, Meryl Streep left the statuette on the back of a toilet.

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6: At one point, George Lucas had planned the character of Han Solo to be a huge green-skinned monster with no nose and gills. Then Lucas changed the idea of Han Solo to a black human. He auditioned several black actors and even musicians (including Billy Dee Williams) until finally settling on Glynn Turman. But after this he decided to make the role white. Kurt Russell, Nick Nolte, Christopher Walken, Jack Nicholson, Al Pacino, Chevy Chase, Steve Martin, Bill Murray, Robert Englund, Sylvester Stallone, John Travolta and Perry King were all candidates for the role of Han Solo. George Lucas also wanted to stay away from any actors he had previously used in his films. James Caan, Jack Nicholson, Robert DeNiro and Burt Reynolds turned down the role. Harrison Ford (who had played Bob Falfa in Lucas’s “American Graffiti“) read the part of Han Solo for screen tests of other characters but wasn’t originally considered for the part. During these tests Lucas realized Ford was perfect for the role.

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7: Before becoming an actor Russell Crowe tried a music career as a rockabilly singer sporting a large pompadour hairdo, playing under the name Russ Le Roq. He titled his first single “I Want to Be Like Marlon Brando” but later admitted that he had never even seen a Brando movie when he wrote and recorded the song.

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8: When Steven Spielberg first showed composer John Williams a cut of the film “Schindler’s List“, Williams was so moved he had to take a walk outside for several minutes to collect himself. Upon his return, Williams told Spielberg he deserved a better composer. Spielberg replied, “I know, but they’re all dead.

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9: In 1969, Martin Scorsese and screenwriter Jay Cocks met author Philip K. Dick to discuss the possibility of adapting his novel “Do Androids Dream of Electric Sheep?” into a film, but they never optioned the novel, and the project fell through. Ridley Scott would, of course, turn it into “Blade Runner” in 1982.

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10: There have been many speculations as to the nature of the mysterious glowing contents of the briefcase in “Pulp Fiction” – The most persistent theory is that it is Marcellus Wallace’s soul. The story goes that when the Devil takes a person’s soul, it is removed through the back of the head (this isn’t part of any known religion, though). When we see the back of Marcellus’s head he has a Band-Aid covering the precise spot indicated by his soul removal. Perhaps Marcellus sold his soul to the devil which would also explain why the combination to open the briefcase is 666.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.).

Django Unchained * * * *

Posted in Action, Western with tags on January 18, 2013 by Mark Walker

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Director: Quentin Tarantino.
Screenplay: Quentin Tarantino.
Starring: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L. Jackson, Kerry Washington, Don Johnson, Jonah Hill, Walter Goggins, James Remar, James Russo, Dennis Christopher, Laura Cayouette, Don Stroud, M. C. Gainey, Russ Tamblyn, Amber Tamblyn, Michael Bowen, Robert Carradine, Zoe Bell, Tom Savini, James Parks, Michael Parks, John Jarratt, Quentin Tarantino, Bruce Dern, Franco Nero.

Few director’s can claim such enthusiasm upon the release of their new film but Quentin Tarantino is certainly one of them. There’s always a real buzz and anticipation to see what provocative and sensationalist material he’ll be serving up. So, back he comes and once again he has revenge on his mind. This time it’s not with Samurai’s or Nazi’s but with six-shooter gunslinging as he heads West (or south, as the case may be) to pay homage to the films of Sergio Leone and Sergio Corbucci. This being the most renowned, creative (or plagiaristic) auteur behind the camera, though, he just can’t help himself, and infuses it with all sorts of influences. And the results? The results are highly impressive and thoroughly enjoyable.

In the American South, two years before the civil war, former dentist now bounty hunter Dr. King Schultz (Christoph Waltz) free’s a slave named Django (Jamie Foxx) who will be able to help him track down three outlaws known as ‘the Brittle brothers’. As their relationship develops, Schultz learns of Django’s wife Broomhilda (Kerry Washington) who is now the property of ruthless plantation owner Calvin Candie (Leonardo DiCaprio) and they both hatch a plan to free her.

Depictions of slavery have been commonplace throughout the history of cinema. The television show of Alex Haley’s “Roots” in 1977 was one of the first to have a major impact on audiences and Steven Spielberg gave a harrowing introduction of it in his 1997 film “Amistad“. Despite some distressing early scenes in that film, though, Spielberg decided to focus more on the legal issues involved and it progressed into a courtroom drama. Here, Tarantino chooses differently and doesn’t pull any punches. He depicts the brutality these people faced with daring and damning conviction. As always, controversy has followed. It uses racially aggressive language throughout but although Tarantino isn’t known for his entire commitment to historical events, his attention to detail here is fitting and even though it’s been criticised from others (mainly Spike Lee who refuses to even watch it) it has, in Tarantino’s words, created a “dialogue” amongst people about the seriousness of this dark chapter of American history. If one positive is to be taken from this film, it’s that. These heinous events should be addressed and it would seem that Quentin is the only one willing to do it. Personally, I applaud him.
Like most (if not all) of Tarantino’s films, when the actors are verbalising the work of his quill the results become an oratory dance with dialogue. On the surface, this doesn’t have as many quotable lines as his previous works but where Tarantino has improved, is in keeping a scene running with endless wordplay and skilfully teasing a tentative audience. There are memorable and quotable lines here, for sure, but his maturity now lies in drawing out the almost unbearable tension between his characters. His past movies have always contained riveting dialogues but “Inglorious Basterds” was proof that he’d taken it further and could craft masterful scenes of suspense. This is no different, and it’s helped immeasurably by the actors involved; Foxx delivers some solid work as the titular character but has little to do in the earlier part of the film and, if truth be told, he gets overshadowed by three sublime supporting performances (who incidentally had their roles written specifically for them); Waltz is, simply, superb and a similar breed to his character Hans Landa from “Inglorious Basterds“. He’s just as loquacious but, only this time, more endearing; DiCaprio acts up a storm with a rare villainous role who is prone to fits of sadistic and uncontrollable rage and Jackson is perfectly fitting as his dedicated servant who is a conniving and twisted individual. It’s in these superb actors that most of the enjoyment is found in Tarantino’s latest. Although the subject matter is dark and the violence vividly displayed, the story’s not without humour and one particularly satirical scene involving the Ku Klux Klan and their inability to see through their makeshift hoods is absolutely hilarious. It also looks magnificent with cinematographer Robert Richardson capturing the vast and desolate landscapes to perfection.
Even though they are slight, the film is not without faults. Over-length is an issue with some scenes that could have been trimmed without compromising the overall impact and, at times, there was too much reliance on convenience in some plot developments. Still, when it’s the ingenuity of Tarantino at the helm, these minuscule misjudgements can be overlooked as the journey itself is so enjoyable.

A parody of Spaghetti-Western, with humour, violence and blaxploitation. If anyone can make this work, Tarantino can. And that he does. This is another impressive addition to his canon and even though the “D” may be silent, his artistic voice is, most certainly, not.

Mark Walker

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Killing Them Softly

Posted in Crime, Drama on January 15, 2013 by Mark Walker

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Director: Andrew Dominik.
Screenplay: Andrew Dominik.
Starring: Brad Pitt, James Gandolfini, Richard Jenkins, Ray Liotta, Scoot McNairy, Ben Mendelsohn, Vincent Curatola, Sam Shepard, Trevor Long, Max Casella, Slaine, Garret Dillahunt, Linara Washington.

“I like to kill them softly, from a distance. Not close enough for feelings. Don’t like feelings. Don’t want to think about them”

Back in 2007, Brad Pitt and director Andrew Dominik collaborated, for the first time, on the ethereal western “The Assassination of Jesse James by the Coward Robert Ford“. Five years later, they’re back together again and this time they attempt a crime movie. Now, this runs over an hour less than their previous effort but in some ways it feels just as drawn out. That’s not to say that’s it’s unsuccessful, though. It has received criticism from many corners but personally I think expectations and preconceived ideas have led to a misunderstanding with this one.


Plot: Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a couple of smalltime crooks for hire. They get a job to hold up a high-stakes, mafia run, card game that’s overseen by middle-man Markie Trattman (Ray Liotta). As Markie has openly admitted to holding up a game in the past, he becomes the obvious suspect but something doesn’t quite add up. To clear up the mess, outside enforcer Jackie Cogan (Brad Pitt) is brought in the get to the bottom of it.


Films that fall into the crime genre will always have a certain level of expectation about them. It must be difficult for a director to try and establish a new format when there is a demand that they follow a particular formula. This adaptation of the George V. Higgins novel “Cogan’s Trade” is exactly the type of film that has been criticised for it’s lack of urgency and has suffered in it’s comparison with previous genre classics. Personally, I admire Dominik’s attempt at crafting something different here, and despite a glacial pace, I still found it gripping. This is a film that focuses less on action and more on talking and it’s entirely understandable why some didn’t appreciate it, but for me, the talking was the action and that’s thanks to solid performances from everyone involved. Every actor is as good as the other and it’s through their strong, and lengthy, exchanges of dialogue that each of them are able to shine; McNairy and Mendelsohn carry the weight of the first part of the story with two very different but equally unlikable low-life’s; Liotta plays a perfect, desperate middle-man; Jenkins epitomises the business side of things and Gandolfini is a perfect display of regret and melancholia from a hit-man who’s lost his touch. Ultimately, though, it’s the reserved central performance from Pitt who commands. Arguably, he’s got less to work with but his subtlety is key in expressing the coldness and stark reality of the business that these people operate in.


Of course – as is now expected of Dominik – he doesn’t just deliver a formulaic gangster story. Instead, he infuses it with allegory and makes a social commentary on the financial state of America. Throughout the film there are, ironic, radio and television broadcasts of political speeches and discussions about the economy and reminders of how America is the land of opportunity. It’s a, less than subtle, device but one that worked quite well. On slightly closer inspection, the criminals that roam this underbelly of modern America are no less disingenuous or manipulative than the politicians in office. They just happen to be conducting their business on a lesser scale. At one point Pitt’s Jackie Cogan even describes his cohorts as “Corporate mentality gangsters“. That aside, this is still a crime film and as a result, it’s not adverse to rolling up it’s sleeves and getting it’s hands dirty. There may be only sporadic moments of action but when they do appear they are brutally delivered and some of the violence displayed on-screen is wince inducing.


Much like the aforementioned western collaboration between Dominik and Pitt this film dares to incorporate a sociopolitical commentary throughout it’s genre. It’s unconventional but very effective nonetheless and the last line of the film sums up it’s theme perfectly… “America is not a country, it’s just a business. Now fucking pay me.”


Mark Walker

TriviaIn early negotiations, Ray Liotta was the original choice to play Tony Soprano in the HBO show, The Sopranos. The part was later cast to James Gandolfini. Although they share no screen time, they both star in this film.

TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on January 13, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: According to a biography of Jack Nicholson, producer Robert Evans suggested Nicholson to Roman Polanski for the part of Guy Woodhouse (played by John Cassevetes) in “Rosemary’s Baby” but, after their meeting, the director stated that “for all his talent, his slightly sinister appearance ruled him out“.

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2: During the filming of “The Hurt Locker“, three, four or more hand-held super 16mm cameras were used to film scenes in documentary style. Nearly two hundred hours of footage was shot at a 100:1 shooting ratio – a higher ratio of expended film than the notorious Francis Ford Coppola epic, “Apocalypse Now“.

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3: For the first four days of production on “The Dark Knight“, Christopher Nolan put cast and crew under a movie boot camp comprising eight films whose tone he wanted to emulate. In chronological order, these were: “King Kong“, “Citizen Kane“, “Cat People“, “Stalag 17“, “Black Sunday“, “A Clockwork Orange“, “Heat” and “Batman Begins“.

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4: When the rights for “Life Of Pi” were optioned in 2002 several directors had been attached to direct including M. Night Shyamalan, Alfonso Cuarón and Jean-Pierre Jeunet before Ang Lee took over.

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5: Screenwriter Nora Ephron, who was married to “Goodfellas” writer Nicholas Pileggi, used Henry Hill’s experiences in witness protection as the basis for the Steve Martin comedy “My Blue Heaven” – released only a month after Scorsese’s film. In some ways, it could be considered a tenuous sequel.

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6: Charlie Sheen stayed awake for 48 hours to achieve a suitably wasted look for his cameo as a drugged-up felon in “Ferris Bueller’s Day Off“. (There’s no evidence to suggest he was drinking tiger blood, though) 😉

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7: In “Aliens“, Hicks was originally played by James Remar, but Michael Biehn replaced him a few days after principal photography began, due to “artistic differences” between Remar and director James Cameron. However, Remar still appears in the finished film – but wearing the same armor, and shot from behind, it’s impossible to tell the difference between the two actors.

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8: Billy Crystal was originally offered the role of Woody in “Toy Story” and he accepted. After Tom Hanks expressed a desire to voice the role, they offered Crystal a future role in a Pixar film that they would tailor to his talents. Crystal told them to “do what’s best for your movie and don’t forget me when something good comes around.” They didn’t and offered him the role of Mike in “Monster Inc.

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9: Woody Allen’s “Annie Hall” was intended to be a much darker drama called “Anhedonia” (named after the psychological condition of being unable to experience pleasure). One subplot later became the basis for Allen’s “Manhattan Murder Mystery“.

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10: Throughout the films of John Landis are posters of fictional film “See You Next Wednesday“. The director uses the in-joke from an unfilmed screenplay he wrote as a teenager. We finally see the film – a British porno – in “An American Werewolf In London“.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

Life Of Pi * * * * *

Posted in Adventure, Drama with tags on January 13, 2013 by Mark Walker

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Director: Ang Lee.
Screenplay: David Magee.
Starring: Suraj Sharma, Irrfan Khan, Ayush Tandon, Guatam Belur, Adil Hussain, Tabu, Rafe Spall, Gerard Depardieu.

The amount of times that director Ang Lee has delivered fresh material is testament to his bravery and skill as a filmmaker. He pushed genre conventions with Annie Proulx’s “Brokeback Mountain“, delved into the prose of Jane Austin with “Sense and Sensibility“, as well as, a meticulous take on Rick Moody’s “The Ice Storm” – and these are only his adaptations. He has challenged numerous genre’s from martial-arts (“Crouching Tiger, Hidden Dragon“) through comic-book (“Hulk“) to war and romance (“Lust, Caution“), among others. This time, Lee attempts an adaptation of Yann Martel’s ‘unfilmable’, bestselling novel and it’s another remarkable achievement.

On a huge freighter, leaving Pondicherry, India for Canada, a zoo keeping family are going to sell their animals and start a new life. Pi Patel (Suraj Sharma) is the zoo keeper’s son and after the ship is sunk in a storm, he finds himself adrift on the Pacific Ocean in a lifeboat. He’s not alone, though. He shares the boat with a Zebra, a Hyaena, an Orang-utan and “Richard Parker” – a 450-pound Bengal Tiger. Somehow, he must find a way to survive.

As the film opens we are given glimpses of wild animals roaming around their habitat. Although subtly handled, it works an absolute treat in establishing it’s use of 3D. I’m not a fan of this new viewing gimmick we’ve had thrust upon us but in the hands of Lee it is used to it’s best and fullest potential. Visually it’s astounding (and it only gets better as the film progresses) and along with Martin Scorsese’s “Hugo“, it’s the best use of 3D I’ve seen yet. After this brief introduction, Lee gets down to the story. He builds slowly; introducing his protagonist’s curiosity of life and religious beliefs and does so with a lightness of touch and humour that makes him instantly endearing. Cleverly, Yann Martel’s story makes a point of incorporating many religions. Our protagonist doesn’t follow one particular belief but encompasses many, which is very important for the film to work on it’s spiritual level and not ostracise the audience. It’s these very beliefs that are questioned when the story of survival takes place and it’s here that Lee pulls an absolute mastery in his use of CGI. He skilfully combines the beauty and ferocity of our natural world and even though his palette is vast, he focuses it, mainly, in limited space.
When getting down to the bare bones, this a story about life, spirituality and metaphysics but ultimately, it’s a story about storytelling itself and the infinite possibilities that lie therein. It manages that rare balance of being both literal and symbolic and Lee and screenwriter David Magee’s biggest achievement is immersing the audience into this odyssey and allowing a freedom of choice in how it can be perceived.
Ang Lee has always been a director that has commanded respect but he has surpassed himself here. This is one of the most challenging book-to-screen adaptations ever made and it’s also one of the best.

Wondrous and awe inspiring storytelling is a rarity these days but this film certainly achieves that. Not that I ever really lost it but it has a vibrancy and depth that reaffirms my belief in the magic of cinema. Quite simply, it’s a film that’s bold and breathtakingly, beautiful.

Mark Walker

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The Imposter * * * *

Posted in Documentary with tags on January 9, 2013 by Mark Walker

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Director: Bart Layton.
Featuring: Frédéric Bourdin, Adam O’Brian, Carey Gibson, Anna Ruben, Beverly Dollarhide, Cathy Dresbach, Charlie Parker, Alan Teichman, Nancy Fisher,

Over the last couple of years, there have been a number of sophisticated documentaries which have been structured in such a dramatic way, as to become an exciting new style of filmmaking altogether. Maybe it’s just that I’ve reached an age where I have the patience and can fully appreciate how a documentary plays out but I don’t remember them ever being as gripping as they are now. Either way, this is another one that can be included alongside the recent, impressive likes of “Exit Through The Gift Shop” and “Catfish“.

The true story of Frédéric Bourdin, a lonely but confident con-man who ends up in a Spanish orphanage, claiming he is Nicholas Barclay – a 16 year old Texan boy who went missing three years ago. The Barclay’s are contacted and Frédéric is flown over to meet with his estranged family. The fact that Frédéric has darker eyes, an accent and many other physical differences from the missing Nicholas doesn’t seem to bother the Barclay family; they are happy to welcome him back even though things just don’t add up.

This story unfolds while playing with the conventions of your average documentary. It’s has the obligatory interviews with the real life people involved but also intercuts with reconstructed dramatisations of the events and shapes the story with a film-like narrative. Anyone familiar with TV shows like “Crimewatch” will know what I mean when I compare it to such a style. That being said, it’s a highly effective approach and keeps you thoroughly involved. The biggest involvement comes from the actual events themselves, though. How these events even managed to take place is hard to believe. So much so, that it had me wondering whether this documentary was manipulated, much like the aforementioned “Exit Through The Gift Shop” and “Catfish“. That being said, it slowly reveals it’s darker layers and becomes a classic case of the truth being, most definitely, stranger than fiction. At one point, there is a revelation – which I won’t explore here – where you realise that the very thing you thought to be a hoax is surpassed by an even bigger web of deceit and it’s an absolute punch in the gut. The only issue I had with the film overall, was a lack of probing or further investigation into the startling revelations but this with this, I’m just looking for fault.

An absolutely gripping and frightening docu-drama that manages to create a real sense of unease. What’s more frightening is the unusual behaviour of the so-called ‘innocents’ involved, though.
An impressive piece of work.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on January 7, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: The Wachowski’s were two brothers that were responsible for “The Matrix” trilogy. One was Andy Wachowski and the other was Larry Wachowski. When you see their names on their most recent film “Cloud Atlas“, you’ll notice that Larry has now become Lana. After receiving hormone therapy for 10 years Larry became a female.

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2: The film “American Gangster” was wrought with production problems. The original director was to be Antoine Faqua (“Training Day“) with Denzel Washington and Benicio Del Toro as the leads. Faqua also wanted Ray Liotta and John C. Reilly in supporting roles before Terry George was set to direct the film with Don Cheadle and Joaquin Phoenix. Eventually, Ridley Scott took over and Washington was reinstated as Frank Lucas alongside Russell Crowe as Richie Roberts.

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3: Adolf Hitler grew a Chaplin moustache because he was well aware of how beloved Charlie Chaplin was throughout the world at the time and the reason he grew it was because he thought it would endear him to the people. As it was, Hitler was not at all a fan, he had been misinformed that Charlie was Jewish, and therefore despised him.

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4: Oliver Stone believes he was one of the models for Travis Bickle in “Taxi Driver“, pointing out that he was being taught by Martin Scorsese at NYU film school at the time, and like Travis he was a Vietnam veteran turned N.Y.C. cabdriver and wore his olive drab army coat while on duty.

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5: Dustin Hoffman and Gene Hackman were once roommates together in Hackman’s one-bedroom apartment. Hoffman slept on the kitchen floor. Originally, Hackman had offered to let him stay a few nights, but Hoffman would not leave. Hackman had to take him out to look for his own apartment.

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6: There is a great deal of confusion regarding “The Shining” and the number of retakes of certain scenes. According to the Guinness Book of Records, the scene where Wendy is backing up the stairs swinging the baseball bat was shot 127 times, which is a record for the most takes of a single scene. However, both Steadicam operator Garrett Brown and assistant editor Gordon Stainforth say this is inaccurate – the scene was shot about 35-45 times. Brown does say however that the scene where Hallorann explains to Danny what shining is was shot 148 times, which is a world record.

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7: Although Steven Spielberg wanted Charlton Heston to play Brody (the Roy Scheider role) in “Jaws“, the main reason he decided against casting him was because of Heston’s “saving the day” role in his previous movies, “Airport 1975” and “Earthquake“. Spielberg reasoned that if Heston would have been cast, it signifies to the audience that the shark has virtually no chance against the hero.

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8: The last movie “Nirvana” frontman Kurt Cobain watched before he died was apparently Jane Campion’s “The Piano“.

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9: The first-ever male to hold Jolie in his arms was Charley Boorman. He’d earlier served as a pageboy at the wedding of Jolie’s parents Jon Voight and Marcheline Bertrand during the “Deliverance” shoot (directed by his father John Boorman) and later happened to be present during the delivery of Jolie. Boorman was just 8-years-old and Jolie was but an infant. Today Boorman quips that his epitaph should read: “I was the first man to get his hands on Angelina Jolie“.

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10: Before Al Pacino was eventually cast as Michael Corleone in “The Godfather“, it nearly went to numerous other actors; Martin Sheen and Dean Stockwell auditioned for the role. Oscar-winner Rod Steiger campaigned hard for it, even though he was too old for the part. Warren Beatty, Jack Nicholson and Dustin Hoffman were all offered the part but all refused. Suggestions of Alain Delon and Burt Reynolds were rejected by Francis Ford Coppola. Paramount production chief Robert Evans wanted Robert Redford to be cast but Coppola wasn’t keen on the idea. Ryan O’Neal also became a front-runner, as did James Caan who went on to play Sonny and Robert DeNiro also tested for the role.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

Blog’s 1st Anniversary

Posted in Uncategorized with tags on January 4, 2013 by Mark Walker

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Well, the time has come to mark the one year anniversary of my humble blog. I only started this as I became disillusioned with Flixster (Rotten Tomatoes) who changed their format and ripped the heart out of it’s film going community; something that I, quite simply, wanted to continue. As a result, Marked Movies was born. I struggle to think of the exact date but I think it was January 6th and I also considered many different names for the blog. All of which, I can’t recall as I didn’t really take it seriously to begin with and certainly didn’t expect the blog to take off as well as it has. Over the course of the last year it’s been great getting to know so many likeminded people who share my passion for film and also seem interested in what I have to contribute. For that I have to thank everyone who has paid a visit to my site. I don’t like to single anyone out but I do feel a special thanks has to go to my top five commenters over the past year. They are:

#1: Fernando from Committed To Celluloid.
#2: Ruth from Flixchatter
#3: Andy from Andy Watches Movies.
#4: Eric from The IPC.
#5: Tyson from Head In A Vice.

Many thanks guys and thanks to Dan at Fogs’ Movie Reviews for his generous Follow Friday’s post on me earlier in the year and to Joel Burman at The Lamb for choosing me as Lamb of the Month for October.
With the help and continued support of you all, hopefully I can make this site even more successful and more fun to stop by. I can’t thank everyone enough, who follows, comments, provides links, shout-out’s and feedback. It really has taken me aback and I appreciate it very much.
Onwards and upwards my friends.

Mark Walker

The Experiment * * 1/2

Posted in Drama, thriller with tags on January 4, 2013 by Mark Walker

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Director: Paul T. Scheuring.
Screenplay: Paul T. Scheuring.
Starring: Adrien Brody, Forest Whitaker, Cam Gigandet, Clifton Collins Jr., Ethan Cohn, Fisher Stevens, Travis Fimmel, Lavell “David Banner” Crump, Jason Lew, Damien Leake, Maggie Grace.

Once again, a brilliant foreign language movie (“Das Experiment“) is given an English language remake and once again, it fails to do the original justice in any shape or form. If any positives are to be taken from this, then a major one would be it serving as a reminder of how good director Olivier Hirschbeigel’s 2001 German film was.

Strapped for cash in order to travel to India with his girlfriend (Maggie Grace), gentle mannered political activist Travis (Adrian Brody) decides to take part in a behavioural psychological experiment whereby 20 or so men are chosen to live in a makeshift prison for two weeks. Each of them will assume either the role of guard or inmate but once the doors are locked and they are left to their own devices, things begin to spiral out of control.

The fact that this went straight to the DVD shelf when released says it all really. From the offset there are shades of a made for television appearance. This doesn’t last for the entirety of the film but the standards don’t rise very far above it and the voyeuristic nature of the story will appeal to fans of reality TV shows like “Big Brother“.
It’s strengths, unsurprisingly, lie in the performances; Brody is an excellent leading presence and fine support is delivered by a towering Forest Whitaker but the inclusion of Maggie Grace’s love interest is entirely unnecessary, adding little to no substance to the film and could have been completely dropped without it making any difference whatsoever. In retrospect, it’s a lazily written script that’s the films biggest downfall. Where the original instilled a sense of realism, this version just seems staged. The premise is still thoroughly intriguing though and all the more so, with the knowledge that it was based on a real experiment that took place in 1971 at Stanford University before it all got out of hand.
It’s decent enough to pass an hour an half of your time but don’t expect anything special. It’s the performances that make it worthwhile but overall, it’s just another example of a completely unnecessary remake.

If anyone is unfamiliar with the events or the original German film then this film will go down nicely. However, it’d be wise to seek out Hirschbeigel’s version instead.

Mark Walker

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Point Break * * * *

Posted in Action, thriller with tags on January 2, 2013 by Mark Walker

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Director: Kathryn Bigelow.
Screenplay: W. Peter Iliff.
Starring: Keanu Reeves, Patrick Swayze, Gary Busey, John C. McGinley, Lori Petty, James LeGros, John Philbin, Bojesse Christopher, Lee Tergesen, Julian Reyes, Daniel Beer, Chris Pedersen, Vincent Klyn, Anthony Kiedis, Jack Kehler, Tom Sizemore.

Before the Oscar winning heights of “The Hurt Locker“, director Kathryn Bigelow cut her teeth on some intense and very impressive pieces of work; the brooding western/vampire movie “Near Dark“, the stylish and futuristic “Strange Days” and “Point Break“, the adrenaline filled action movie that proved a female director could compete with any male in the genre – hands down.

A gang of bank robbers known as The Ex-Presidents have been looting the banks of coastal Los Angeles towns. Not much is known about them as they commit their crimes while wearing the masks of presidents Reagan, Nixon, Carter and Johnson. What is suspected is that they are surfers, so the F.B.I send in special agents Johnny Utah (Keanu Reeves) and Angelo Pappas (Gary Busey) to uncover more information. Soon Utah is mixed up with surfing guru Bodhi (Patrick Swayze) and gets drawn into his adrenaline filled, spiritual lifestyle.

This film was a real favourite of mine growing up in the early 1990’s and still ranks as one of the very best of cop/action movies. Quite simply, where it’s strength lies is in some breathtakingly fantastic action scenes and shows that director Bigelow could always compete with the best of them when it comes to staging an action set-piece. The chase scene alone – through the streets by car before going on-foot through alleyways and houses and at one point, the involvement of a pit-bull – is one of the best action set-pieces committed to the screen and Bigelow should be immensely proud. This is also bookended by some excellent close-contact surfing scenes a spot of bank robbery and sublime skydiving. What more could you really want? It’s a film filled with testosterone and macho posturing but it’s unashamed in it’s delivery. It even throws in some light spirituality and Bigelow juggles the elements with a high level of skill. One thing she doesn’t have here is restraint but that’s entirely the appeal. She’s out to set pulses racing and have some fun and that’s exactly what she does. If you give yourself over to it, you will too. Of course, the film’s lack of restraint throws up some moments when it goes way over the top and stretches credulity to breaking point but it doesn’t matter. It’s entirely forgivable due to it’s sheer indulgment and edge-of-your-seat entertainment.

So is the action genre just one for the boys? According to Bigelow, the answer is a resounding… No. She displays such skill and conviction that she crafts one of the most enjoyable action yarns available. It’s tagline is “100% pure adrenaline…” and on the evidence, it’s not far off it.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS

Posted in Uncategorized with tags on January 1, 2013 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: (Courtesy of Tyson at Head In A Vice) There is a legend that Elvis Presley (who died in 1977) makes a cameo in “Home Alone“. Many of those who believe that Elvis is still alive maintain that, the heavily bearded man standing in the background of the scene where Mrs. MacCallister is shouting at the desk clerk (just before she meets John Candy) is Elvis.

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2: Matthew Broderick was offered the role of Johnny Utah in “Point Break” before Keanu Reeves was eventually cast. Others who auditioned were Johnny Depp and Charlie Sheen .

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3: Director Jason Reitman stated that if George Clooney had passed on the role of Ryan Bingham in “Up In The Air“, he would have rewritten the part for Steve Martin. Reitman claimed that the movie would have become “much more like “Lost in Translation” was for Bill Murray.

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4: Terrence Malick originally worked on a screenplay for “Che” which was limited to Che Guevara’s attempts to start a revolution in Bolivia. When financing fell through, Malick left the project, and subsequently Steven Soderbergh agreed to direct the film.

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5: Quentin Tarantino wanted James Woods to play a role in “Reservoir Dogs” and made him five different cash offers. Woods’ agent refused the offers without ever mentioning it as the sums offered were well below what Woods would usually receive. When Tarantino and Woods later met for the first time, Woods learned of the offer and was annoyed enough to get a new agent. Tarantino avoided telling Woods which role he was offered “because the actor who played the role was magnificent anyway”. It is widely accepted that the role that Tarantino was referring to was Mr. Orange (played by Tim Roth).

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6: At the age of 10, Leonardo DiCaprio was advised by his agent to change his name to a more American-friendly one. ‘Lenny Williams’ was the suggestion. Needless to say, he did not follow that advice.

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7:Die Hard” was based on a book by Roderick Thorp entitled “Nothing Lasts Forever” – a sequel to another book entitled “The Detective“, which in 1968 was made into a film starring Frank Sinatra. Because of a clause in Sinatra’s contract for “The Detective” which gave him the right to reprise his role in a sequel, he was actually the first person offered the role of John McClane, even though he was 73 years old at the time.

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8: Christoph Waltz was originally cast as Sigmund Freud in David Cronenberg’s “A Dangerous Method“, but dropped out of the project in order to film “Water for Elephants“. Viggo Mortensen was later cast instead.

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9: The original version of Stanley Kubrick’s “Spartacus” included a scene where Marcus Licinius (Laurence Olivier) attempts to seduce Antoninus (Tony Curtis). The Production Code Administration and the Legion of Decency both objected. At one point, the censors suggested it would help if the reference in the scene to a preference for oysters or snails was changed to truffles and artichokes. In the end the scene was cut, but it was put back in for the 1991 restoration. However, the soundtrack had been lost in the meantime and the dialogue had to be dubbed. Curtis was able to redo his lines, but Olivier had died. Joan Plowright, his widow, remembered that Anthony Hopkins had done a dead-on impression of Olivier and she mentioned this to the restoration team. They approached Hopkins and he agreed to voice in Olivier’s lines in that scene. Hopkins is thanked in the credits for the restored version.

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10: Samuel L. Jackson had just undergone treatment for drug addiction and had only two weeks from his discharge from rehab to the start of filming his role as Gator Purify in Spike Lee’s “Jungle Fever“. Jackson has gone on record as saying that Gator’s ravaged look was not make-up, but actually the result of his own detoxification. As a result of his performance, the Cannes Film Festival introduced the Best Supporting Actor Award specifically to honour Jackson.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

2012 in review

Posted in Uncategorized on December 31, 2012 by Mark Walker

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog.

Here’s an excerpt:

4,329 films were submitted to the 2012 Cannes Film Festival. This blog had 25,000 views in 2012. If each view were a film, this blog would power 6 Film Festivals

Click here to see the complete report.