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Streep Deserves the Oscar

December 29th 2011 02:26
Movie trailers have a way of creating great anticipation in film-goers, in a way they can convince you that you will love a movie before you even see it and then in turn it is often difficult to convince oneself that it did not live up to expectations. After viewing Phyllida Lloyd’s ‘The Iron Lady’, this battle of opinions and expectations ensued.

Although a clever attempt to capture the human and personal side to the famed former British Prime Minister Margaret Thatcher, much was lost in the storytelling leaving the audience wishing it had more to offer. The film begins with an elderly Thatcher, portrayed by the talented Meryl Streep, trapped in her home turned compound, filled with personal assistants and security guards. On top of this her husband Denis, beautifully played by Jim Broadbent, who has been deceased eight years, is present only as a figure of Thatcher’s imagination. The film plays on the themes of loss and dissatisfaction throughout and Denis acts almost as a guide taking the audience on a journey of this extraordinary woman’s life. For a Prime Minister of eleven years there were enough experiences and historical narratives to satisfy any audience’s appetite for drama, however, aside from a brief emotional reflection on the Falkland’s War not much detail was given to any of Thatcher’s achievements.

What will keep you seated comfortably for two hours is the electric performance of Meryl Streep. If Streep was considered a great Actress in her early works such as ‘Sophie’s Choice’ or ‘Silkwood’ she can now only be known as the greatest following ‘Doubt’, ‘Julie and Julia’ and now ‘The Iron Lady’. Her career has spanned three and half decades and has earned her 16 Academy Award nominations which will certainly become 17 in the coming months. Streep’s performance transcends acting; she embodies Thatcher’s every move both as a vibrant political powerhouse and as a withering opinionated elderly woman. Not once do you think Meryl is on the screen, only that it is indeed Thatcher. The study undertaken to perfect all idiosyncrasies, vocally, physically and behaviorally would be a difficult task on it’s own but to then transform this into a performance of such a standard is an outstanding achievement and is sure to recognised come award season.

For those that do not know much about Thatcher’s political career you may be disappointed by Lloyd’s approach to this film, however you will not walk away disappointed having witnessed possibly the greatest performance of the year.
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Roman Polanski’s latest contribution to cinema ‘The Ghostwriter’ is an examination of political power, secrets and lies. The film follows the title character, The Ghost (Ewan McGregor), a writer who is coerced into a new role for past British Prime Minister Adam Lang (Pierce Brosnan) who plans to release his memoirs. Lang is still surrounded by security, public relations managers and his edgy, jealous, yet influential wife Ruth (Olivia Williams). It is clear from the moment The Ghost enters Lang’s world he is being lied to, not just about the content of Lang’s book but also the fate of his predecessor. As Lang becomes embroiled in War Crimes allegations his political career is under scrutiny and so is his Ghost. The only friendship Lang can depend upon is the ‘special relationship’ with the USA. It is here where the story leaves its political drama roots and becomes a suspenseful thriller.

McGregor’s performance is relaxed and very natural, his instincts are so true to an everyday man in too deep. The Ghost is the Patsy in a way and it is up to him to investigate and find the truth to save his own skin. Tom Wilkinson makes a welcome addition to the cast late in the film, he is quickly becoming the go–to actor for political thrillers. The set is remarkably supportive of the film’s content. Lang’s retreat on the rugged ocean coast is a cold, dark but luxurious prison. The house in which most of the film takes place mirrors the eerie reality the Ghost is experiencing. Even the maid is off-putting, no welcome feeling, which of course makes the audience trust no one - how very Hitchcock of Polanski!

In the concluding stages of ‘The Ghostwriter’, no one is left disappointed, not only is there a clue filled turn of events but a shock that no one sees coming. Polanski breaks the Hollywood political mould with this film and it is a surprising crowd pleaser. Strong performances by McGregor and Brosnan are complemented with an excellent supporting cast and memorable art direction. The truth of the story is that everyone is replaceable in this high stakes world of Politics and Power, especially a Ghost.
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Call me naïve but I am a victim of Hollywood’s most recent glamorous publicity plot for the new 'Sex and the City 2' film. The trailer, on-set photographs, the new fashion statements and of course the return of the infamous character Aiden has been splashed across entertainment Television, Internet and Magazines providing 'Sex and the City' fans a smorgasbord of exciting expectations.

No matter what the expectation, fans of the Television series have sold out cinema sessions since its release and witnessed the fabulous four, Carrie, Samantha, Miranda and Charlotte leave the bright lights of New York for the exotic luxury of Abu Dhabi. However just as overwhelming as the heat of the Middle East was the films blatant use of the Islamic religion as a continuous strain of offensive comedy. But wait a moment, this is just a chick flick right? One of those empowering feminist stories ending with a fairytale romance and ever binding friendship isn’t it? Well, my own fabulous four girls and I were still cringing and squirming in our seats that those usually enchanting moments were lost on us completely.

Michael Patrick King returns to direct the girls he made superstars in 1998 and the film uses the same camera technique he has always done, perhaps that is the one element of the series that maintained itself through this film. Just as the actresses themselves have aged and moved on with their lives, so have their characters. Carrie is now a ‘comfortably’ married woman missing the excitement of her more social, younger years. Samantha continues her shameless use of younger men even though she declares she is well into her 50’s (and you could tell), Miranda is having a ‘relationship with her blackberry’ as the career-focused character lets her job take over her life, and Charlotte who we have watched struggle to get pregnant and find the perfect husband now can’t cope with her children – even with a Nanny!
They have become a pitiful bunch.

If King wished to show his audience that his characters are no long the spunky young successful trendsetters they were in 1998 he certainly succeeded. Not even a statement karaoke performance of Helen Reddy’s ‘I am Woman’ was going to convince me that these were the girls who once upon a time didn’t need men, were independent and hungered for more in life.

Now, don’t get me wrong I certainly had my share of laughs, the wedding of Stanford and Antony was most suitably designed. The Broadway show that was the reception provided some comic relief that perfectly reflected the characters, and how could you go wrong with Liza Minnelli performing ‘Single Ladies’. However the move to Abu Dhabi was dangerous territory to cover. I never thought I would see Carrie Bradshaw giggling at a woman eating under her Burqa and latter adorning the all-enveloping Muslim cloak to escape the clutches of angry men after a foul outburst of Samantha’s promiscuity. Perhaps we have become too politically correct, but over the last ten years the world has learned a lesson in respect, when you travel to a country you follow their rules, not mock them.

After this particular visit to the cinema my fabulous four and I desperately needed a cosmopolitan cocktail and a girly gossip, perhaps those are the original elements of 'Sex and the City' we will cling to.

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The Blind Side Delievers

March 31st 2010 23:29
It is not uncommon for Hollywood's ‘feel good’ films to fall through the cracks, however due to an outstanding Academy Award winning performance by Sandra Bullock, ‘The Blind Side’ has received the attention it deserves.

This is the true story of NFL star Michael Oher’s tragic upbringing in the drug fuelled violent projects of Memphis, Tennessee, a world that is emphasised in the film with dark lighting and a chaotic set design. Michael’s saviour comes in the form of a rich white housewife Leigh Ann Tuohy (Sandra Bullock). Her impulsive act of generosity and the realisation of Michael’s traumatic past, leads to her family’s acceptance and love for the gentle giant Michael. The Tuohy family’s encouragement of Michael’s abilities along with his own courage propels him into a world of knowledge and eventually professional football


[ Click here to read more ]
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