Reviews
Swimming Upstream
- Details
- Written by Matthew Toomey
| Directed by: | Russell Mulcahy |
| Written by: | Anthony Fingleton |
| Starring: | Geoffrey Rush, Judy Davis, Jesse Spencer, Tim Draxl, David Hoflin, Craig Horner |
| Released: | February 27, 2003 |
| Grade: | B+ |
Adapted from his autobiographical novel, Swimming Upstream tells the story of Tony Fingleton's childhood and his quest to win both swimming medals and his father's love. Born and raised in Brisbane, Tony (played by Jesse Spencer), and his older brother, John (Tim Draxl), excelled in the swimming pool. Their father, Harold (Rush), was oblivious to their talent as he was either working as a wharfie down at the docks, or getting blindly drunk in a pub somewhere.
On hearing from his wife, Dora (Davis), that they could swim, he suddenly developed an interest in them. He began personally training them but not solely for their own interests. Harold wanted to become someone and this was his chance to live a dream - he could be the father of the greatest swimmer of all time.
The Fingleton's were a broken family where arguments were common and fights usually followed. There was an unspoken division in the family with Harold the primary cause. He developed a favoritism with John since he offered the least resistance. Tony was on the outer and despite developing a loving bond with his mother, was looked upon as dirt by his father.
Both John and Tony would go on to become great swimmers. They would compete in the Queensland titles and Australian titles in the 1950s. But Tony was battling more than just the other competitors. His father was doing everything in his power to make sure John was the better swimmer - he was giving him secret extra training sessions, finding him media exposure, and offering the devoted encouragement that Tony wasn't allowed.
If you’re old enough, you may remember how this story ended but if not, I won’t ruin the experience. This isn't just a sporting flick but rather a touching family drama that will stir emotions. Geoffrey Rush's brings much hate to his character which is just what the story requires - he's a classic bad guy yet somehow realistic. People will recognise Jesse Spencer from Neighbours and he shrugs off his “Billy Kennedy stereotype” by savouring this first opportunity to appear in a noteworthy feature film.
Shot entirely in Brisbane in late 2001, those from the area will identify some of the locations. Director Russell Malcahy’s best scenes are those in the swimming pool with his split-screen camera technique. I first saw the film back in September 2002 when it was screened for Australian Film Institute members. Disappointingly, the film was overlooked in the best picture category but received worthy nominations for actors Geoffrey Rush and Judy Davis alongside a screenplay nomination for Tony Fingleton.
Following the release of Far From Heaven and The Hours, you’ve now got the chance to see three separate films set in the 1950s. As they say, when you hang on to things long enough they come back in style. The nifty fifties have returned.
Chicago
- Details
- Written by Matthew Toomey
| Directed by: | Rob Marshall |
| Written by: | Bill Condon |
| Starring: | Catherine Zeta-Jones, Renee Zellweger, Richard Gere, Queen Latifah, John C. Reilly, Lucy Liu, Christine Baranski, Taye Diggs |
| Released: | January 23, 2003 |
| Grade: | A+ |
The Hollywood musical is back. Moulin Rouge unlocked the door and the genre is primed to bring back memories for generations past and be introduced to those a little younger. Miramax Studios has had an Academy Award best picture nominee for ten consecutive years and the award-hungry company will continue the trend with Chicago having all the qualities of a sure Oscar winner.
After playing as a musical on Broadway for almost three decades, the time has arrived to tell the story to a bigger audience. The theatrical show has been loved and adored by so many but a movie version provided unique opportunities. It allowed every scene to be re-shot until perfected, it allowed bigger sets and real-life locations to be exploited, and most importantly, it allowed varying camera angles to bring razzle-dazzle to the whole production. 42-year-old director Rob Marshall, who has a heavy background in Broadway, has made full use of these opportunities and his direction can only be described as flawless.
There is a perfectly seamless mix between songs and spoken words. The introductions to the songs are remarkably well timed and there are no examples of poorly timed music throwing the audience into a lull. Songs dominate the opening two thirds of the film and once you get past the initial reluctance of having people sing rather than tell this story, you’ll appreciate the words to these songs and the way they shape the story.
If you’re unfamiliar, Velma Kelly (Zeta-Jones) is a nightclub star before being arrested for the murder of her sister and husband. Roxie Hart (Zellweger) is a wanna-be performer who has just shot and killed her lover on discovering he had lied about getting her an act. Both are in jail awaiting trial and the only person who can get them off is the stylish lawyer Billy Flynn (Gere) who’s never lost a case.
After working on Velma’s case and getting her great publicity, Billy performs the same media trickery for Roxie and soon she starts dominating newspaper headlines as a wrongly imprisoned sweetheart who acted in self defence. But there’s only room on the front page for one name and Velma isn’t happy to relinquish her mantle. Roxie is the new star. But both plan on using the press to clear there names and will be prepared to betray each other to do it....
All the main cast members get the opportunity to sing with Zeta-Jones the standout. Zellweger has an annoyingly high-pitched voice and whilst you may hate it, it’s perfectly suited to her character. These musical numbers are Chicago’s heart and it’s Marshall’s direction coupled with the ideal cast that will leave your eyes glued to the screen. It’s a completely original concept - a mix of a people acting in reality with the same people performing on Broadway - and the camera moves back and forth between the two. Don’t ask me how this was visualised on paper but I’m sure Oscar winning writer Bill Condon (Gods & Monsters) was another big influence.
It’s looks a shoe-in to claim the coveted Academy Award and a worthy musical for the honour. That’s Chicago.
Gangs Of New York
- Details
- Written by Matthew Toomey
| Directed by: | Martin Scorsese |
| Written by: | Jay Cocks, Steven Zaillian, Kenneth Lonergan |
| Starring: | Daniel Day Lewis, Leonardo DiCaprio, Cameron Diaz, Jim Broadbent, John C. Reilly, Henry Thomas, Liam Neeson, Brendan Gleeson |
| Released: | February 13, 2003 |
| Grade: | A- |
As the public, we’ve waited over a year, but for director Martin Scorsese, the wait has been over two decades. The film was shot two years ago and was slated for a Christmas 2001 release to secure its best chance at Oscar glory. The film did not male the release date. This sparked a huge media frenzy as to why. There were rumours the film was way too long and a war had developed between Scorsese and the studio over what was to be cut. There were rumours the film was pulled as it would be too difficult for the public to deal with in the aftermath of September 11. There were rumours Scorsese was being a perfectionist and with a blown budget, was taking much longer than expected to put it together. Who really cares what was the truth. What I do know, is that the final product is worth recommending and 10 Oscar nominations is validation.
Set in New York 1863, Gangs looks at the birth of what is now one of the world’s great cities. In a time when the American Civil War as in full swing, there was a quest for power in New York. Politician William Tweed (Broadbent) was trying to rally support for his election and thanks was relying the town’s true leader, William Cutting (Day-Lewis), to get the votes. Cutting, a butcher by trade, had financial control of the town with his gang. As he says “everybody owes, everybody pays”.
Getting on in years, Cutting has taken on an “apprentice” to shape in his mould. He was impressed with the mannerisms of Amsterdam Vallon (DiCaprio) and soon enough, the two have become an entity that all in New York have grown to respect and fear. What Cutting doesn’t know is that Amsterdam has no desire to follow in his master’s footsteps. Sixteen years previous, his father (played by Liam Neeson), was slain by Cutting in a bloody battle and Amsterdam is seeking revenge. With the anniversary of his father’s death imminent, Amsterdam plans on removing Cutting from power and reclaiming the streets in honour of his father’s legacy.
It’s a very deep, complicated screenplay (perhaps too much so at times) and it’s important to focus during the entire 166 minutes. The film begins tentatively, but you soon understand that it’s building, building, building to a grand finale where all will be decided. Scorsese uses modern directorial techniques (such as fast-moving cameras and a bold violin score) to tell this story but isn’t one to rely on visual effects. An enormous set (2 miles long) was constructed and it itself, becomes part of the story. It couldn’t look more real.
Daniel Day-Lewis has been in retirement since his last film in 1997, The Boxer, but was coaxed out by Scorsese for one last chance to work with this master. He delivers the best performance of the year and steals all the limelight from Diaz and DiCaprio, who are both great in their own right. The supporting cast in intently strong with last year’s Oscar winner, Jim Broadbent, the classy John C. Reilly, and the remerging Henry Thomas. There’s not a bad performance amongst them.
After wanting to first make it 20 years ago, Scorsese has finally found the resources (with the help of Miramax Studios) to pull it off. A film true to his heart and you can see the passion come through on screen through the cast and crew. This is a Martin Scorsese film.
Talk To Her
- Details
- Written by Matthew Toomey
| Directed by: | Pedro Almodovar |
| Written by: | Pedro Almodovar |
| Starring: | Javier Camara, Dario Grandinetti, Leonor Watling, Rosario Flores, Geraldine Chaplin |
| Released: | February 13, 2003 |
| Grade: | A |
For any foreign filmmaker, it’s a near impossibility to establish yourself in America. With so much Yankee-product in the market place, foreign language pictures screen only in smaller boutique cinemas, receive no television advertising, and take very little at the box-office. The two exceptions to the rule have been Crouching Tiger, Hidden Dragon and Life Is Beautiful. Both films deserved their success but the primary reason for it was the Oscars. In an attempt to make their awards more international, members of Academy were more than happy to eat up the media blitz surrounding these flicks and shower them with nominations.
Talk To Her hasn’t followed this path. The Spanish film has only made $5m in the States to date and few have seen it outside of its country of origin. Regardless, word has spread of its beauty and the film has just been nominated in the very lucrative categories of best original screenplay and best director for this year’s Oscar ceremony. Both noms belong to writer-director Pedro Almodovar who after the success of his last film, All About My Mother, is finding a platform on the world stage.
Marco (Grandinetti) works as a journalist and falls in love with a female bullfighter, Lydia (Flores). Tragically, she is attacked by a bull in the ring and lies in a coma in hospital with severe brain damage. Waiting by her bedside, Marco meets Benigno (Camara), a male nurse who works there. Benigno has been hired to take care of one patient, a dancer named Alicia (Watling) who was involved in a car accident four years ago and has remained in a coma ever since. The two form a friendship and share their respective stories but the audience will soon learn there are shocking twists in store for them and their patients.
I’m not divulging any more regarding the conclusion but Pedro Almodovar has made another superb film. He writes rich, intricate stories that are a cut above most others. He introduces us to Marco and Benigno by telling us their stories in different manners. We meet Marco before Lydia’s tragedy and follow him through to the hospital. We meet Benigno in the hospital and then reflect back on his own story and how he first met Alicia.
Stunning cinematography and a stirring film score add to this wonderful example of storytelling. A moving drama with an ending to die for.
Just Married
- Details
- Written by Matthew Toomey
| Directed by: | Shawn Levy |
| Written by: | Shawn Levy |
| Starring: | Ashton Kutcher, Brittany Murphy, Christian Kane, David Moscow, Monet Mazur |
| Released: | February 20, 2003 |
| Grade: | A- |
Just Married is one of the best romantic comedy of the last few years. The unlikely stars are Ashton Kutcher (Dude, Where’s My Car?) and Brittany Murphy (8 Mile) and for once, you can actually see chemistry between boy and girl. Possibly, this can be attributed to the fact that both Kutcher and Murphy are deeply in love off the set. But also worth an equal credit is writer/director Shawn Levy’s who’s fast-paced script lays the platform.
Sarah McNerney (Murphy) comes from a very wealthy family but is a lovely down-to-earth girl. Tom Leezak (Kutcher) is a late-night radio announcer who loves his beer and sports. The two meet at the beach when Tom, playing football with his mates, inadvertently throws a wild pass which hits Sarah in the face. Within a month, they’ve moved in together and agreed to get married. True love.
The set off for their honeymoon in Europe and all that was so perfect before wedding turns to ruin. They get kicked out of their castle in France when Jack blows an electrical fuse by trying to stick an American plug in a European outlet. This is just the beginning of their dramas. What is supposed to be the most romantic time of their lives turns to hell with a series of unlucky events.
Back home, Sarah’s family remains disapproving of their daughter’s choice in a husband. They have sent Sarah’s classier friend, Peter Prentis (Kane), to Venice to “coincidentally” stay in the same hotel and help Sarah understand that he is the guy and not Jack. His arrival adds plenty of fuel to the fire but can Jack and Sarah get passed this challenge and resolve the growing conflict between them? Perhaps they did rush into things a little too quickly? It’s a learning experience.
Kutcher and Murphy are a true delight to watch on screen. They take everything very humorously and Murphy spends a lot of time laughing heartedly (and I don’t think she’s acting). It looks real and their improvised style is refreshing. I get tired of the seriousness of most romantic comedies – they are full of clichés and everyone speaks with unnecessary elegance. Another positive is the lack of zany supporting characters – whilst such anomalies do appear, they don’t take the focus away from the leading duo.
Shawn Levy made last year’s Big Fat Liar and has been chosen to make an American adaptation of the enjoyable English flick, Fever Pitch, later this year. He has a distinctive style in Just Married – he skips over many obligatory scenes (such as the wedding preparations and “I do” scene) to keep the story moving. Another tradition not followed is the conclusion’s drawn-out reconciliation scene. Here, things are perfectly apt – short and sweet – roll credits, play song, we’re away.
Just Married is slick, cool, sharp and funny. When going to a romantic comedy, what more do you want?
The Rules Of Attraction
- Details
- Written by Matthew Toomey
| Directed by: | Roger Avary |
| Written by: | Roger Avary |
| Starring: | James Van Der Beek, Shannyn Sossamon, Jessica Biel, Ian Somerhalder, Kate Bosworth, Fred Savage, Kip Pardue, Thomas Ian Nicholas |
| Released: | February 20, 2003 |
| Grade: | A- |
Two years ago, I read a remarkable novel called American Psycho, written by young writer Bret Easton Ellis and first published in 1991. It was an incredible parody of early 80s culture and the those who saw the cinematic adaptation (starring Christian Bale) will have a sense of Ellis’s witty humour. An instant Ellis fan, I was soon attracted to his other works and his 1987 novel, The Rules Of Attraction, was next on my shopping list.
Like American Psycho, Attraction is set in the 80s and a depressingly hilarious look at campus life. Sean Bateman (Van Der Beek) is a womanising, beer-drinking, drug-taking guy. He never attends any classes and primes himself for the campus’s big parties. Of late, he’s been receiving anonymous love letters is his mail box, and the intrigue having an effect on him – he’s developing an unusual feeling of “attraction” to this person even though he doesn’t know who they are.
Lauren Hynde (Sossamon) is more studious that Sean but equally messed up. She’s developed an obsessive infatuation for Victor Johnson (Pardue), another campus party animal. She has pictures of him on her bed-side table and is saving her virginity for him. The trouble is, they haven’t even met. With Victor in Europe on holidays, Lauren’s slutty flat-mate, Lara Holleran (Biel), suggests she move on and Lauren concedes there’s another guy she has an “attraction” to, Sean Bateman.
Paul Denton (Somerhalder) is a stylish bi-sexual who once dated Lauren. Now, he has his eyes on the opposite gender but continues his aimless pursuit of falling for straight guys. His latest “attraction” is Sean Bateman, who he senses isn’t gay, but goes for anyway. Paul and Sean are completely incompatible people but he lives under the warped illusion they would be perfect together.
Director Roger Avary won an Academy Award in 1994 when he co-wrote Pulp Fiction with Quentin Tarantino. As Fiction showed us, Avary has a bold, unconventional vision which makes him an ideal choice to create The Rules Of Attraction. For instance, the film begins with a lengthy 15 minute scene which introduces the characters before the opening credits even roll. This opening is inspired and uses an awesome mix of forward and backward motion. Throughout, Avary is always using fresh ideas, with the best being a split-screen scene involving Van Der Beek and Sossamon. Film aficionados will love it.
James Van Deer Beek chose the role to shrug off the stigma one gets stuck with when starring on a long-running TV series. So too did 7th Heaven star Jessica Biel. Both should be proud of their performances. Against the backdrop of this depressing messed-up characters, Avery finds humour and this is highlighted by two scenes (one in a hotel room and one in a restaurant) involving Ian Somerhalder and friend, Dick (played by Russell Sams). There’s also an awesome 3-minute montage featuring Kip Pardue in Europe which Avary is going to expand into a full length feature later this year.
After seeing interviews with the crew and cast, this film is an attempt to break away from “safe” teen films. That is, those teen films that are either a light-hearted romantic comedy or gross-out silly comedy. These films have their place in movie theatres but too many of them are produced these days. They are an unrealistic depiction of teen life and their perfection can leave many influential teenagers wondering why their lives aren’t so flawless.
The Rules Of Attraction is a more honest flick but unfortunately, the Australian censors have declared it unfit for a teen audience by rating it R. It’s the ultimate irony. When a guy screws a pie, it’s ok to show but if a guy rapes an unconscious girl (as in Attraction), then it’s not ok. Beats me.