Details

Written by Matthew Toomey

Created: 06 September 2001

The film doesn’t waste time nor propose to be something it is not.  Like Berke’s line implies, this isn’t a film that will win awards or receive acclamation.  It’s aimed solely at a younger audience and all things considered, is worth a look.  It’s a simple story (as I’ve described even more simply above) but it is evident from the start that Tommy O’Haver’s (Billy’s Hollywood Screen Kiss) direction and R. Lee Fleming’s (She’s All That) screenplay bring new elements to the tired genre.

Ben Foster is our leading man and in breaking with tradition, he isn’t the extroverted teen heartthrob.  Foster received much praise for his breakthrough performance in Liberty Heights (unreleased in Australia) but his solemn, laid-back style is quietly refreshing.  For once, we have a character we can relate and sympathise with and Foster deserves credit for changing the mould.

There’s an array of hilarious side-characters but Martin Short is in a class of his own.  As the play’s director, Dr. Desmond Forrest Oates, his stereotyped persona is wildly funny.  Whilst I said that a film like Get Over It will never reach lofty heights, if Hollywood’s heavyweights took the time to actually watch it, Short could easily kick-start a campaign for next year’s Oscars.

Admittedly, it’s tiring to see so many recent teen films borrow heavily from Shakespeare.  Baz Lurhmann started the fad in 1996 with the brilliant Romeo & Juliet (starring Leonardo DiCaprio and Claire Danes) but screenwriters are relying to heavily on the Bard’s works.  Last week in the States, a teen remake of Othello was released (called O and starring Julia Stiles and Josh Hartnett) but the poor box-office take may finally give studio executives the impetus to try something new.

I can’t expect everyone to leave their computers and rush to the latest multiplex to catch Get Over It but with a mediocre crop of titles on offer, it’s something just that little bit different.  And hey, if you don’t like it then tough, get over it.

Details

Written by Matthew Toomey

Created: 23 August 2001

Pelagia (Cruz), a ravishing young lady, lives with her elderly father (Hurt) in a small coastal house with a breathtaking view of the Ionian Sea.  In the quiet community, her heart has been won by Mandras (Bale), a reputable local fisherman who would make a worthy husband.  Seeking the advice of her father, Pelagia is warned of the upcoming war and that marriage shouldn’t be rushed into.  Mandras must go to Albania to fight the advancing Italians but before leaving, makes a vow to marry on his return.

In a fierce battle, the Italians surrender but Mandras is not heard from.  Having written letters every day, Pelagia cannot understand why Mandras does not reply and fearing him to be dead, convinces herself to let go of his love.  Soon after, the Germans join forces with the Italians and Greece is invaded.  Cephalonia is used as a base for Italians soldiers, who despite their enemy status, become an appreciated part of the community with their gentlemanly-like approach.

Captain Antonio Corelli (Cage) is a respected leader of the Italians and takes residence in the home of Pelagia and her father.  Pelagia is understandably cold towards his presence but an undeniable attraction develops between them.  Adding to her already fragile emotional state, doubts flood her every thought.  What will happen when to Antonio when the war is over and what will happen if Mandras should return?

Filmed on the actual island, Captain Corelli’s Mandolin cannot be criticised for its setting.  At times, I felt myself more attentive to the stunning backgrounds than the characters dominating the foreground.  It’s a kind of beauty that has you saying after the film, “geez, I’d like to go there someday.”

The cast deliver strong performances with Nicolas Cage startlingly impressive.  I’ve been critical of him since Leaving Las Vegas but his slow-talking downplayed style suits the role of Antonio.  Penelope Cruz’s starlet power seems destined to keep her limited to romantic roles with Captain Corelli following All The Pretty Horses, Blow and Woman On Top in her quick rise to fame.  Few may not recognise Christian Bale who with a beard and an extra 15kg looks anything but the image of Patrick Bateman we came to know this time last year in American Psycho.

Settings and cast aside, the film falters in its failure to ignite passion.  This is not a story about the injustices of war - it’s a tale of love and how cruel and painful it can sometimes be.  All things given, I felt no emotion towards Cage and Cruz and was more attracted by the stylish introduction and key battle scene.  The final half-hour left me bored stiff as I expected the closing credits to start rolling but was kept waiting and waiting.  Who cared what finally became of Antonio and “poor” Pelagia?

John Madden has directed a well-developed production and credit must be given where due.  I must specially acknowledge composer Stephen Warbeck who’s score captures the feeling of the era with precision.  I own more than one of Warbeck’s soundtracks (Billy Elliot, Shakespeare In Love) and this is another that as of tomorrow, goes on my immediate shopping list.

Despite best efforts, Captain Corelli’s Mandolin just does not effectively translate on screen.  Void of emotion, I don’t expect your attention span will last the distance.

Details

Written by Matthew Toomey

Created: 30 August 2001

When couple Paul and Amanda Kirby (Macy & Leoni) present Alan with a proposition, another nightmare is about to begin.  They offer to make a sizeable donation to his research if he’ll agree to be their tour guide as they charter a flight over the dinosaur inhabited island of Isla Sorna for their wedding anniversary.

An ulterior motive is exposed when the Kirbys break Cuban airspace laws and against Alan’s strong demands, set down on the island.  The plane is destroyed by a large carnivore and after managing to elude his hungry jaws, they’re left stranded with little hope.  It transpires that the Kirbys’ son, Erik (Morgan), and his step-father crashed a parasail on the island eight weeks ago and haven’t been heard from since.  Paul and Amanda have come to the island in a last ditched chance to find their son...

It’s a pretty flimsy screenplay but the cast do hold it together.  There’s some great improvisation between Leoni and Macy and 12-year-old Trevor Morgan shows how talented some youngsters are.  Sam Neill has one too many close ups and one too many tacky lines (such as “you know we’re probably not going to get off this island alive”) but some lightheartness on his part was a nice touch.

The one word I could use to sum up the film is - short.  Disregarding the opening credits, there’s only 80 minutes of film and for a $100m budget, that’s poor.  The ending is terribly weak and I’m sure a longer alternative was left on the cutting room floor.  Most cinemagoers will be surprised by the abrupt finale.

I’ve seen nothing but media reports talking about how realistic the visual effects are and how vivid the dinosaurs seem.  It’s a statement that can’t be faulted but hell, I don’t pay to just see good visual effects - I pay to see a movie and a movie includes a story.  What odds for Jurassic Park 4?

Details

Written by Matthew Toomey

Created: 23 August 2001

Attempting to profit from a jousting contest with fellow peasants, Roland (Addy) and Wat (Tudyk), William’s plans go awry when their experienced jouster kicks the bucket before his final duel.  Desperate for prizemoney and already with an unbeatable lead, the three collude and allow William to mount his horse and replace the deceased.  In medieval times, such contests were the best of three but a competitor is automatically eliminated should he be knocked from his horse.

Unrecognisable under his armour, all William need do is remain on his horse and 15 silver pieces will be their reward.  A harsh challenge for a newcomer but it turns out only to be the start of things to come...

Convincing Roland and Wat to part with their winnings, William’s determination and stupidity develops a belief that he can compete against stronger competition on a wider stage.  Roland and Wat are in it for the bigger prizemoney but William yearns for the glory.  As he says - “I won’t spend the rest of my life as nothing.”

There is a catch.  One must be of noble birth to compete in lucrative tournaments and William is anything but.  Travelling to the first contest, they come across a nude writer by the name of Geoffrey Chaucer (Bettany).  In returns for clothes, his craft with the pen will forge the royal documents that can transform William into the fictitious Count Ulrich von Lichtenstein.

William’s courage makes him successful and his flourishing popularity soon the heart of Jocelyn (Sossamon), a beautiful and respected Danish lady.  Yet with fulfilment in sight, the undefeated French jousting champion, Adehmar (Sewell), will do anything to keep him from both love and glory.  There’s a score to be settled...

At 132 minutes, A Knight’s Tale is lengthy and surprisingly I found myself more entranced by the ending than the opening.  The first three quarters lacked purpose and was little more than a combination of repetitive jousting sequences encompassed by a few jokes and silly subplots.  The jousting itself lacked credibility and I couldn’t understand why the opposing competitor often put up such little challenge.

This is not a film to be taken seriously and the “fairy tale” finale is appropriate given what precedes it.  The intricate dialogue and fluent dance sequences are so perfect, they could be construed as poking fun at the way other films have depicted the 14th Century era.

The film’s spark comes from Paul Bettany, who as Sir Ulrich’s introducer, mouths sparkling pronouncements on his entering of the arena.  Australian Heath Ledger is suitably cast but director Brian Helgeland relies too much on facial close-ups - an obvious attempt to woo a female audience.

Despite reservations, I was left genuinely surprised by A Knight’s Tale.  The film is far from flawless and more could have been made of the modern soundtrack (as it was in Moulin Rouge) but the fierce jousting, light-hearted romance and sweet sentimentality provide the model mix to satisfy an audience’s “escape from reality” desires.  So what are you waiting for?  “Let’s dance you and I.”

Details

Written by Matthew Toomey

Created: 23 August 2001

Spanning from the late 60s to the early 90s, the film is gold for the costumers and make-up crews.  We meet George as a youngster living in a house of poverty with his father (Liotta) and mother (Griffiths).  Dad warns him that money isn’t everything (hint hint) but when George moves to California and hooks up with local drug dealer Derek Foreal (Reubens), a new world opens up.

In an era where demand far exceeded supply, George’s business became a multi-million dollar empire overnight.  Within ten years, George owned houses, boats, airplanes and despite increased government surveillance, was smuggling up to 50kg of cocaine (otherwise known as “blow”) between countries.  He was the man.

Sure enough, it all came crashing down but according to screenwriters David McKenna and Nick Cassavetes, it was everyone else’s fault and this is Blow’s major flaw.  Few performances impress and Depp is a little too cool and glamorous for the role (you’ll see what I mean when you get a look at the real George Jung in the final scene).  Griffiths and Liotta are the cream of the crop but considering Griffiths is five years younger than Depp, is it really appropriate to have her play his mother?  Romantic “cameos” are provided from starlets Franke Potente (Run Lola Run) and Penelope Cruz (Captain Corelli’s Mandolin) but neither is particularly dazzling given the film’s focus is on drugs rather than romance.

The misleading trailers for Blow paint the flick as a slick, hip, comedy.  Yet, the lack of purpose and frustrating monotony have the film share more similarities with a two hour university lecture.  Perhaps the creators were sniffing a lit blow during production.  It would explain a lot but as I keep saying, it’s not an excuse.