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Written by Matthew Toomey

Created: 27 December 2004

Meet The Fockers is the 19^th sequel to be released in Australia this year.  That’s the equivalent of one every three weeks.  Are we that short of ideas?  The problem with so many of these sequels is that they are boringly similar to the original.  Instead of breaking new ground, studios take the safe road in search of commercial success.  Well congratulations to shareholders in Universal and Dreamworks because the huge Christmas Day box-office in the States guarantees you a healthy return.

In Meet The Parents, Greg (Stiller) finally won over father-in-law Jack (DeNiro) and mother-in-law Dina (Danner).  Now the time has come for them to meet Greg’s parents.  This is important to Jack because he’s at a time in his life when he wants a “legacy”.  He only wants his daughter Pam (Polo) and her parents-in-law have to live up to his expectations.  Speaking to Greg about the union of the two families, Jack bluntly puts it to Greg - “I don’t want a chink in my chain”.

Greg’s parents are Bernie (Hoffman) and Roz (Streisand) and they will come as a huge shock to Jack.  Bernie is a house-dad and Roz works as a sex therapist for the elderly.  They are also very open about their relationship and love life.  Jack is horrified and as the weekend continues, he starts to have second thoughts about the Focker family.

If you remember from the first film, Greg’s surname is Focker.  They use this joke about 80 times in Meet The Fockers and I could not believe how often the audience laughed.  In all honesty, about 90% of the laugher in my cinema came from this single word.  Does that say enough?  The only other time I’ve seen a joke repeated so often would be amongst very drunken friends.

It’s amusing for a while but overstays its welcome with yet another far-fetched ending.  I am using this criticism for so many films of late and don’t ask me why.  There’s a scene involving a needle and some serum which starts the movie’s slide.  Half an hour later, I just wanted to get out of there.

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Written by Matthew Toomey

Created: 22 December 2004

Out this week are a multitude of children’s flicks looking to satisfy their short attention spans.  It doesn’t take a genius to realise that the school holidays are once again upon us.  Leading the marketing campaigns this September is Shark Tale and we here in Australia are the first to catch its bite since it will not be released in the United States for another two weeks.

Put simply, Oscar (Smith) is a small fish who wants to be a big fish.  Up until now he has followed in his father’s footsteps and worked at the local whale wash.  His best friend is Angie (Zellweger) and the two often talk of adventure and Oscar shares his dreams of being rich and owning the highest penthouse in the reef.

Fate falls Oscar’s way when he is attacked by a killer shark only to evade his capture by a moment of freak chance.  When two jellyfish catch glimpse of the dead beast, they believe Oscar to be the man responsible and he becomes the town’s new hero.  Dubbed the “shark slayer”, he’s got now got wealth, celebrity status and even his own manager (Scorsese).  Unfortunately for Oscar, the shark killed just happened to be the son of Don Lino (De Niro), the most fearsome shark in the ocean, and Don Lino is looking for revenge…

Shark Tale wasn’t a film I found particularly appetising.  With so many more animated films being produced, I think there’s a laziness developing on the part of the scriptwriters.  I know they’re an easy target but I stand by my opinion.  Looking back at the history of computer animation, Toy Story and Toy Story 2 set a benchmark which has not yet been surpassed.  These two films had great characters, many enjoyable jokes and most importantly, a sweet, emotional sentimentality that leaves an impact.  They are films you buy to watch over and over again.

Whilst I chuckled a few times during Shark Tale, it’s not of Toy Story calibre and one you’re unlikely to want to see more than once.  I can’t also ignore the fact the setting is eerily similar to last year’s box-office smash Finding Nemo.  Is there not more diversity we can offer our audience?  This couldn’t be an attempt to cash in again, would it?

It seems to be someone in Hollywood, you have to have done an animated film.  Robert DeNiro, Jack Black, Renee Zellweger, Angelina Jolie and Will Smith can now notch that credit on their resumes.  The most surprising member of the cast would be director Martin Scorsese who has found time between Gangs Of New York and The Aviator to provide his services.  I didn’t find the leading characters particularly interesting but my favourites would have to be the aforementioned jellyfish and a hilarious green octopus.

One strange point I wish to make a final reference to.  Channel 9 newsreader Tracey Grimshaw plays a journalist fish covering news stories.  In every other version of the film screened across the world, this character is voiced by Katie Couric, from the Today Show in America.  The character herself is named Katie Current, in honour of Couric.  Why then was Grimshaw dubbed in for the Australian version?  I see it as a very lame attempt to generate more publicity for the film in this country.  Proof again that a film’s success is not about quality but rather how you market it.

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Written by Matthew Toomey

Created: 27 December 2004

Chicago was my favourite film of 2003 and I loved the way in which director Rob Marshall weaved the story amongst the famous music.  Director Joel Schumacher has not managed to do the same with The Phantom Of The Opera.  It plays out too much like an opera and you almost wish you were in a live theatre to experience it.

For those not familiar with the tale, Christine (played by Emmy Rossum) was orphaned as a youngster and grew up in the dormitories of the Paris Opera House.  Yearning to become a star of the stage, she has been secretly coached for many years by a mysterious “Phantom” (Gerard Butler) who lives deep underneath the famed Opera House.

When her chance finally arrives, Christine wows the audience with a brilliant performance.  It attracts the attention of her childhood sweetheart, Raoul (Wilson), and the two quickly fall in love.  This displeases The Phantom who wants Christine all to himself.  He will not give her up without a fight… 

This marks the first time that Andrew Lloyd Webber’s renowned opera has been brought to the silver screen.  Webber worked with Schumacher is crafting the film’s screenplay.  The sets are beautifully lavish but after the first half-hour, I tired quickly of the whole affair.  Each to their own but I felt it lacked romance and emotion.  The later songs were a bore.

The biggest qualm I had with the whole affair was the obvious lip-syncing.  I understand that you have to lip-sync in a motion picture (due to editing) but the final cut looked unnatural.  At times, the singer’s lips were hardly moving and yet the volume was inexplicably loud.  Say what you will but this annoyed the hell out of me.

There aren’t many big names in the cast but some will recognise Minnie Driver and Miranda Richardson.  I can’t say that any stood out was being impressive.  Although I’ll admit that Emmy Rossum (as Christine) has a beautiful voice.

Tip as an early Oscar frontrunner, The Phantom Of The Opera is fading away as other more worthy challengers are stepping up to the plate.

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Written by Matthew Toomey

Created: 21 December 2004

Each December, I love putting together my top 10 list for the year.  By seeing some 200 films in 365 days, I feel I’ve deserved my right to single out the 10 movies I consider the best of 2004.  There’s a sense of satisfaction too.  Hours and hours and hours of viewing summed up by 10 film titles.

When I look back at 2004, I’m surprised to find 4 documentaries making the exclusive list.  Looking for a reason as to why this is the case, I come back to a quality in filmmaking that has current appeal to me – realism.  The standard comedies, thrillers and romances emanating from Hollywood this year have not won me over.  Instead of letting the story dictate the ending, it seems as if the screenwriters are letting the ending (in most cases a far-fetched one) dictate the story.

Let me say straight out that The Motorcycle Diaries will feature in my top 10 of 2004.  It’s a magnificently uplifting film and I can remember walking away from the theatre with a real sense of pleasure.

In 1952, a 23-year-old named Ernesto Guevara de la Serna travelled with his best friend Alberto across Southern America.  For both, it was a journey they had long planned – the first time that either had left their home country.  Alberto left behind his job as a biochemist and Ernesto took leave from university where studying to become a doctor.  With a rusty motorbike and little cash, they set off.

The trip begins as one of adventure.  Ernesto and Alberto are out to meet people, see the sights and get laid.   As the journey continues though, their eyes are opened to troubles they knew nothing of.  Lowly farmers were being kicked off their own land by corrupt officials who were bribed by the rich.  Medical help was not available to those desperately in need.  Discrimination against native folk was rife.

Ernesto kept a journal throughout their expedition and it is from this which The Motorcycle Diaries is based.  The attraction of this story is perhaps the ultimate outcome.  Ernesto, soon to be known as “Che”, would become a leader in the Cuban Revolution.  The film does not at all look at this later part of his life.  It rightly focuses on the simple journey of two guys learning the lessons of life.  I couldn’t think of a more perfect tagline to describe Ernesto’s journey – “before he changed the world, the world changed him.”

The film has a grainy 50s style to it which is a deliberate decision of director Walter Salles.  It helps set the scene and you sense this isn’t a story which has been glossed up or Hollywood-ised.  Particularly striking was his finale – an array of black and white capturing some of the people Ernesto and Alberto meet along the way.  It all reminded me of another great foreign film Salles recently had a hand in.  Salles helped produce 2002’s City Of God which was nominated for four Academy Awards.

Great performances are delivered by Gael Garcia Bernal as Ernesto and by newcomer Rodrigo De la Serna as Alberto.  Having broken out with his role in the terrific road movie Y Tu Mama Tambien (see my top 10 of 2002) and the soon to be released Bad Education (from acclaimed director Pedro Almodovar), Bernal is a star to watch.

As the pick of this year’s Christmas releases, The Motorcycle Diaries is an inspiring exploration that you should not miss.

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Written by Matthew Toomey

Created: 26 December 2004

Fifteen years ago, Mr. Incredible was the best superhero in the business.  The world was always in jeopardy and his services were always required.  Incredible jokingly compared his work saving the world to that of a maid – “I just cleaned up this mess! Can we keep it clean for... for ten minutes!"

Then came the day when Mr. Incredible saved the wrong person.  A man jumped off a high-rise building and Incredible was there to rescue him.  Unfortunately, this man wanted to commit suicide and on behing rescued, promptly launched a lawsuit against Mr. Incredible.  This sparked a wave of legal action against other superheros of the world.  Soon enough, they were no more.  They had no choice but to cease their superhero activities and blend in with everyone else.

Mr. Incredible, under the name Bob Parr, now works in insurance.  He’s packed on a few kilos, hates his job and yearns to save the world again.  He’s married to another ex-superhero, Elastigirl, who takes care of their three children in their simple suburban home.  The only part of his week Bob looks forward to is Wednesday night – it’s when he sneaks out with friend Frozone to relive his glory days and to rescue a few people.

Sacked by the insurance company for being too soft, Bob is approached by a mysterious lady who knows his real identity.  She represents an unknown employer who wishes to use Mr. Incredible’s services in a top-secret project on a top-secret island.  It’s a dream come true for Incredible (who likes working alone) but it’ll soon lead to a life threatening situation where it’s he who needs to be saved…

Full marks to the great animated team behind The Incredibles.  The film begins with a humorous  interview of the superheros and it’s only the start of what is a very enjoyable motion picture.  Many films make the claim but not since the original Shrek have I seen a film which appeals equally to kids and adults.  The children in my cinema seemed entranced and I’m not surprised given the fantastic action scenes.  Speaking for the adults, there’s some great material including the arguments between Mr. Incredible and Elastigirl.

Writer-director Brad Bird is no stranger to great animation.  He directed the well-reviewed The Iron Giant in 1999 and many early episodes of The Simpsons.  He’s even helped as a consultant on King Of The Hill and The Critic.  I’ve never met Bird but if his previous works are anything to go by, he must have a great sense of humour.

The Incredibles is the best animated film of the year for sure.