Read + Write + Report
Home | Start a blog | About Orble | FAQ | Blogs | Writers | Paid | My Orble | Login

Atonement

March 12th 2009 20:08
I previously had no desire to see the movie whatsoever, because of my irrational hatred of Keira Knightley. However, having now finished and loved the book, I caved and decided to give the movie a shot.
I am glad that I did. It was a lovely movie, very much in keeping with the spirit of the book. Of course there were changes, as there always are when a book is transferred to the screen, and some I very much liked, whilst some I did not. There were also some features of the novel, I found, that loaned themselves very well to a movie, whilst others did not.
One thing that worked very well was the repition of events from various points of view, it was a technique I found trying in the novel (mostly because of my own impatience to discover what happened next), whereas in the movie it was interesting and kept my attention firmly fixed on the screen.

I was rather disappointed at how much had been cut once we moved past part one, though. In particular, I missed the scenes of Robbie, Mace and Nettle marching to Dunkirk. The road to Dunkirk was possibly one of my favourite parts of the novel and I would have loved for it to have been included. I can't really see a reason for it to have been cut, either, apart from, perhaps pacing. Including it would have added to the pity we feel for Robbie - seeing everything that he has to go through in his attempt to get back to Cecilia. Of course, I must admit that when I read about the scene with the Flemish woman and her young son I did wonder how that had been depicted on screen as it could have left people viewing Robbie as a 'bad guy'. I think that they, perhaps, tried to compound the horror and pity we would have felt for him, with the scene where he discovers all the dead children lying under the tree, however I loathed that scene. It felt trite, overblown and I would certainly have preferred just the single leg as it leaves so much more to the imagination. Cutting Briony's time in the hospital was a smart move and I was not disappointed that we didn't get to see that, however, I am slightly annoyed that the Lola storyline is never resolved, and those who have not read the novel do not know who it is who actually committed the crime - although it is relatively obvious.

The ending. Well...like that of the novel, I loved it. I thought that Briony's final exposition was so much more suited to a movie than to a novel as the flashbacks shown during her explanation made it that much more moving and yes, there were more tears. I imagine, though, that her explanation doesn't make a whole lot of sense if you have not read the novel, and so I am very glad that I have done.

Keira still annoyed me but, despite being one of the main characters, she actually spends little time on screen, and so it's easier to focus on the other characters.
47
Vote
   


Baz Luhrman's Australia

December 15th 2008 05:44
Having lived in Darwin for two years (and only having moved away a year ago), it would be an understatement to say I was looking forward to Baz Luhrman's much-hyped Australia. Finally, a film which would showcase the territory's natural beauty. I only hoped that I wouldn't be disappointed. Thankfully, I can report that not only did Luhrman meet my expectations, he left them by the wayside as he flew into the stratosphere. Australia is so many different things all at once it would be difficult to describe in only a few words. A modern epic? Perhaps, but it's a phrase which has been overused in reviews of this film and doesn't quite do it justice. Visually spectacular? Definitely, it's almost impossible to tear your eyes away from the screen during the two and a half hour screening time as the most stunning vistas you're ever likely to see are displayed in all their glory.

There's much more to Australia than the landscape, though (but as the title suggests, the country itself is one of the main characters of this film). The acting, of course, must be mentioned. Nicole Kidman's performance is, unfortunately, one of the few features of the film which just falls short of the extraordinarily high standards. It is a performance we've all seen many times before and, whilst technically very good, there is something indescribably missing. Her leading man, on the other hand, breaks out the big guns for what could possibly be his best performance to date. Recently voted World's Sexiest Man, it's not difficult to see why millions of women (and men) the world over swoon over Aussie hunk, Hugh Jackman. Unlike Kidman's, at times lacklustre, performance Jackman delivers every time; when he cries it truely breaks your heart. David Wenham is fantastically dastardly as the villain of the piece, sans mustache, and, fingers crossed, will introduce a wider audience to this wonderful underrated actor. The real star of the piece, though, is surely young Brandon Walters. Walters plays the Halfcast Aborigine boy, Nullah, in his film debut. With eyes which bore into your very soul and the voice of angel it is hard not to be swept away by the young boy's charm. It might perhaps be a little pre-emptive but a nod from the academy might not be too far in the future.

As mentioned previously, the film lasts an alarming two and a half hours but I urge you not to let this deter you from seeing this wonderful film. With a little something for everyone - love, war, magic and history - it certainly won't disappoint. And I can promise you one thing. Somewhere Over the Rainbow has never seemed so enticing.
54
Vote
   


Easy Virtue

December 7th 2008 13:05
It's six o'clock on the evening of Remembrance Sunday and I'm waiting in a seemingly never-ending queue of families on the weekly foray to the land of the talkies, awkward teenagers hoping for a little back-seat action and groups of friends just wanting to be entertained for an hour or two. After purchasing the requisite family-sized popcorn and coke combo, most of my queue-mates head into cinema one - the largest in our, admittedly tiny, picture house to see the latest installment of Ian Fleming's timeless hero, or into the second largest option, where they were offered two hours of explosions and chase scenes courtesy of Stephen Spielberg.
But not me. I am ushered into a room approximately the size of my living room where a grand total of seven people are sat, staring patiently at a blank screen. Literally seconds after I take my seat the films begins and I am transported into the world of 1920s England.
Easy Virtue, starring Jessica Biel and Colin Firth, is a retelling of Noel Coward's 1924 play of the same name. Given the choice between Daniel Craig wreaking havoc and a period piece about the struggles between a headstrong American newly-wed and her husband's family it is at first easy to understand why so many filed into those other cinemas From the moment the film started, though, I did not regret my choice.
Easy Virtue is sumptuous, charming, witty and dare I say it? absolutely hilarious. The acting is, needless to say, flawless with Firth and Scott Thomas delivering stellar performances. Newcomer Ben Barnes is boyishly good-looking and delightfully charming, practically dancing across the screen - a far cry from the centaurs and armour of Narnia. It is Jessica Biel, though, who is a revelation. The American truly embodies the character of Larita, making her performance fantastically sharp, sarcastic, sexy and, at times, utterly heartbreaking.
Director Stephen Elliot's anachronistic use of modern pop songs (such as Sex Bomb and When The Going Gets Tough as sung by the cast) adds a unique touch which cannot help but bring a smile to your face.
Overall, a delightful, charming and wonderfully frothy adaptation that will live in your heart far longer, I suspect, than the mindless tween flicks and explosive action films also showing.
50
Vote
   


Wanted

December 7th 2008 12:49
Wesley Gibson is a nobody, an invisible drone in an army of mindless workers. Yet locked inside this nobody is an assassin just waiting to be unleashed in order to wreak vengeance on the man who killed his father. A familiar premise, perhaps, but this is not a film you see for the plot. No, it's the cinematography which keeps you watching when the plot leaves you wanting.
As the nobody Wesley, James McAvoy is remarkable in his unremarkabless. He could be any loser you pass on the street and don't spare a second glance, and yet, as 'assassin Wesley' he harbours an intensity which makes him not only believable but also unveils a side of the character which is guaranteed to leave all female viewers just that little bit flustered.
Morgan Freeman, as Sloan, head of the Fraternity of Assassins, adds a touch of class to what could otherwise have been just another ultra-violent gangster-esque film. Making up the numbers and playing opposite McAvoy's Wesley is Angelina Joelie as the aptly named Fox. Unlike McAvoy and Freeman, though, Joelie's performance falls short of her best by a long shot. The problem, it seems, is manifold; Fox is a character created to fill a particular Hollywood stereotype and given a sob-story history we've all heard a million times before (and which was pulled off with much more aplomb by Lucy Liu in Quentin Tarrantino's Kill Bill). Joelie shimmies her way through the film, relying on raw sex-appeal to gain sympathy for her character. It would be a lie to say that the character of Fox is completely unnecessary, however, she is in definite need of a re-edit


[ Click here to read more ]
30
Vote
   


The Dark Knight

December 7th 2008 12:30
With a viral marketing campaign starting all the way back in May of last year, it would not be an exaggeration to describe The Dark Knight as the most anticipated film of the year. The tragic death of Aussie star Heath Ledger in January of this year only added to the hype with rumours of a final Oscar-worthy performance. For once, though, rumours fall short of the final product. Ledger's Joker is a creation of genius: psychotic, unpredictable and utterly compelling - it's near impossible to wrest one's eyes from him.
Like Tim Burton's 1992 sequel, Nolan's second outing in the Batman franchise places emphasis on the villains who have haunted many a childhood. The Joker is the obvious antagonist of the piece although Aaron Eckhart's Two Face is so delightfully tortured that his descent into hell is a pleasure to watch. Cillian Murphy's Scarecrow, who first terrified Gotham City in Christopher Nolan's 2005 Batman Begins, lights up the screen, despite garnering less than five minutes of stage time.
All three are marvellous villains who terrify in their own way, however it is the Joker who makes the real point of the film: one does not have to dress up in a lycra catsuit, paint ones face or wear a mask (or hessian sack as the case may be) to become a villain - it is, in fact, ordinary people acting out of ordinary desires who commit the very worst atrocities, a fact the Joker likes to exploit for his own means. This is perhaps most clearly shown in a scene where he gives the citizens of Gotham the choice between the lives of one man, who was ready and willing to sell Batman out for his five minutes of fame and an undisclosed sum, and a hospital full of innocent people. In a later scene, a climactic nail-biter, in which Bruce Wayne's faith in the people of Gotham is truly put to the test, our smiling friend places the lives of a ferry full of innocents in the hands of a group of convicts and vice-versa


[ Click here to read more ]
40
Vote
   


More Posts
1 Posts
4 Posts
5 Posts dating from December 2008
Email Subscription
Receive e-mail notifications of new posts on this blog:

Danii 1's Blogs

I have no other blogs :(
Moderated by Danii 1
Copyright © 2012 On Topic Media PTY LTD. All Rights Reserved. Design by Vimu.com.
On Topic Media ZPages: Sydney |  Melbourne |  Brisbane |  London |  Birmingham |  Leeds     [ Advertise ] [ Contact Us ] [ Privacy Policy ]