The Awards Season: The Trailer Race Begins

Even before the Oscar’s red carpet has accumulated a little bit of dust, discussion has already begun around the potential Oscar hopefuls for the 2011 awards season.

Without boring you with a list of names and possible films that could clean sweep this awards seasons (lists which are available online if it tickles your fancy), I thought I would post three trailers that I have viewed over the passed couple of weeks that I believe scream Oscars potential.

Ironically, two of the trailers are for comedy movies which may mean that the Academy is going to have to lighten up this year if they want to honour the BEST and not just the best dramatic film. But with the Oscars not until late February 2012 a lot can happen. Still have a look at the trailers, discuss, critique and evaluate because either way these films still look great!

Tree of Life (2011)

Director: Terrence Malick
Cast: Brad Pitt, Sean Penn
Release: Cannes Film Festival Premiere (May) and Australian release on June 30th

Synopsis:

The Tree of life traces the evolution of an eleven-year-old boy in the Midwest. At first all seems marvelous to the child. He sees as his mother (Jessica Chastain)does, with the eyes of his soul. She represents the way of love and mercy, where the father (Brad Pitt) tries to teach his son the world’s way, of putting oneself first. Each parent contends for his allegiance, and Jack must reconcile their claims. The picture darkens as he has his first glimpses ofsickness, suffering and death. The world, once a thing of glory, becomes a labyrinth.

Framing this story is that of adult Jack, a lost soul in a modern world, seeking to discover amid the changing scenes of time that which does not change: the eternal scheme of which we are a part. When he sees all that has gone into our world’s preparation, each thing appears a miracle — precious, incomparable. Jack, with his new understanding, is able to forgive his father and take his first steps on the path of life.

Malick’s elusive Tree of Life (2011) was set for an awards season release last year, but the business heads at Fox Searchlight saw logic in a 2011 release date. Hopefully the wait has been worth it and from the look of this early trailer it possibly will be. The film appears stylish and deeply moving, something the Academy loves and honours regularly. If their performances are as stellar as they appear, both Penn and Pitt could be looking at some award season recognition. However, my only concerns are around its release date being so far out from the actually awards season that it may get overlooked. But with 10 films being nominated, more films from the middle of year are seeing an increase in awards season presence (i.e. Inception (2010), Toy Story 3 (2010) and Inglorious Basterds (2009). Whether nominated or not this film is still a must see!

Crazy, Stupid, Love (2011)

Directors: Glenn Ficarra and John Requa
Cast: Steve Carell, Ryan Gosling, Julianne Moore, Emma Stone, Marisa Tomei and Kevin Bacon

Release: July 29th, 2011 (USA)

Synopsis:

A father’s life unravels while he deals with a marital crisis and tries to manage his relationship with his children.

This looks like 2011’s The Kids Are All Right (2011) – minus the lesbians and sperm donation. Its a story about families, relationships, love and all that crazy extra stuff that we buy with it. The cast looks great, especially Carell who appears enjoyably natural and Stone is as hot as ever), and the overall story seems like it will be very fun, moving and truthful. Having been dubbed as a ‘dramedy’ (hybrid of a comedy and drama) puts this film in a good position for the awards season, with previous successful dramedies including Juno (2007), Up in the Air (2009) and The Kids are All Right (2010).  If the early reviews are positive (which I hope they are) we may be seeing this film’s name on a couple of the Oscar nominees lists.

Midnight in Paris (2011)

Directors: Woody Allen
Cast: Owen Wilson, Rachel McAdams, Marion Cotillard, Adrien Brody, Kathy Bates, Michael Sheen and Carla Bruni

Release: Cannes Film Festival Premiere (May) and May 20th, 2011 (USA – Limited)

Synopsis:

A romantic comedy about a family traveling to the French capital for business. The party includes a young engaged couple forced to confront the illusion that a life different from their own is better.

Just the title gets me excited about Woody Allen’s new European travel piece. The story looks interesting and the characters also appear very enjoyable. Wilson does have the tendency to over act in comedies but here he appears, a bit like Carell, subdued which is good to see. This is another stylish film from a very stylish director. Not since Vicky Cristina Barcelona’s (2008) best supporting actress win for Penelope Cruz have any of Allen’s recent films seen much love from the Academy, and with this film it appears he may be ready for some more. The ensemble cast look sensational and I am especially excited to see what Bruni brings to the film. Who knows, we may be seeing President Nicolas Sarkozy on the Oscar’s red carpet. Stranger things have happened.

In Honour of a Dreamer: The Legacy of Walt Disney and His Animation Empire

I was 3 years old when it first happened. My parents told me it would be a fun experience, if only they had known what they were unleashing. I remember walking into a large foyer with people everywhere, shining lights, long queues, the smell of what I later learnt was popcorn, the buzz of excitement around me as a man took small pieces of paper from my parents and directed us down a dark corridor. I can still see those weird short films, all tagged with the words ‘COMING SOON’. And I definitely remember that large screen, that all encompassing screen that I swore was going to eat me alive. But I didn’t know what was happening, nor where I was. I was sitting in this large room, crammed full of other kids and their parents, wondering what was going to happen. And then I saw this:

From that moment on I have been stuck.

To say that The Lion King (1994) ignited my love of films is understatement. The Lion King (1994) not only showed me, a shy 3 year old boy, the creative power of the cinema but it exposed me to the beautiful world that is Disney animation.

I can safely say that Disney animations played a major part in defining my childhood. I would watch Aladdin (1992) on repeat until my parents could nearly act out the entire film. I fell in love with the colourful characters and gothic yet magical settings of Beauty and the Beast (1991), while joyfully singing ‘Be Our Guest’. I believed that maybe gorillas and humans could live together in harmony, after I watched Tarzan (1999).  And yes, I was stupid enough to think that maybe my toys did come alive when I left the house after experiencing the wonders of the digital animation through Toy Story (1995).

Its now 17 years later and I am still obsessed with Disney animations and the way they made me feel as a child. However, these movies and memories would never have been possible if it wasn’t for the amazing legacy that Walt Disney created and inspired throughout this lifetime of work within the animation genre. But why has Disney been so successful in creating animations that engaged and connected with audiences the world over?

To understand why we need to look at the man behind the mouse ears. And to learn about Walt Disney you need to go back to where it all begun, back before animations were released every summer for mass consumption. Back before animations were really appreciated for the artworks that they are. Back to 1928

Walt Disney begun his animation career with classic short silent films, such as ‘Plane Crazy’ (1928) and ‘Steamboat Willie’ (1928) which introduced the world to his delightful brainchild Mickey Mouse, a character now universally recognized and loved all over the world. These simple animations were created on a shoe-string budget and engaged audiences for a mere 5-10 minutes before the real feature begun. However, they were still able to engage and inspire audiences, through their ability to create worlds and stories that illustrated true creativity.

Even though these short films were adored by audience members, they were still only viewed as a side attraction to the main feature. It was not until Walt Disney made the ambitious move to turn the beloved Grim Brothers’ fairy-tale, ‘Snow White,’ into the world’s first feature animation that audiences and studios begun to view it as possible feature film projects.

Though the film was continually marked with problems, including a three year delay due to financial problems which almost sent Disney into bankruptcy. Studio executives begun to believe that maybe Disney’s dream of a feature length would be nothing more than a fairy-tale. However, Disney never gave up on his dream and, eventually, after much passion and determination Snow White and her seven little friends came to live at the Carthay Circle Cinema on December 21, 1937:

Snow White and the Seven Dwarfs (1937) blew audiences away, making $8 million dollars at the US box office in 1938 and becoming the most successful movie of the year. From that moment on audiences and cinema executives everywhere saw the power of animation and the was changed forever.

In Walt Disney’s own words:

“Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world”

This became the mantra for Disney and his animation empire, as he developed stories and movies that is entertained and educated audiences simultaneously.

In the 30 years after Snow White, Disney worked as the creative genius behind numerous classics, including Cinderella (1950), Alice in Wonderland (1951), Lady and the Tramp (1955) and Sleeping Beauty (1959), that engaged audiences worldwide with their unique characters and symbolic interpretations of life and its various meanings. Even before his death from lung cancer in 1966, Disney continued working to create new and creative stories that would be loved by millions of people. The last film that he was involved in turned out to be timeless classic The Jungle Book (1967).

Even though his tragic death may have limited his creative potential, it was his belief in the power of animation that allowed new animators to step forward into the Disney empire, creating stories, characters and music that have defined movie goers for generations.

When looking back over my own experiences with Disney animations, I can’t help but think about the timeless lessons that I have learnt and continue to learn through the tales of romance, friendship and self belief that these films all embody.

Beauty and the Beast (1991) taught me the importance of inner beauty and the power of true love. Aladdin (1992) showed me that everyone makes their own lucky (but it helps if you have a Genie). The Little Mermaid (1989) and The Lion King (1994) conveyed the importance of believing in yourself and following your own destiny, regardless of what the world is telling you.

Even more recent Disney animations have retained Disney’s central ideology that these films must entertain and educate audiences. For example, Pixar’s Up (2009) confronted the issues of grief and loss, after its lead character, Carl, loses his wife to old age. Even this years Academy Award winning Toy Story 3 (2010) entertained audiences with classic Disney Pixar characters, while showing theemotional side of growing up and moving on.

Disney films have always had the ability to generate films with so much heart and soul that you forget what you are watching was either drawn by hand or crafted on a computer screen. For the 90 minutes for which you are in their world, they are real. And I think that is why Walt Disney and his empire has remained so international successful and engaging for adults and children. Disney films are about transporting audiences to worlds and locations beyond their wildest dreams, while confronting issues that can be related back to their own lives.

Walt Disney’s legacy has defined the childhoods of millions of people around the world, and is something that cannot and should not be forgotten. I think every person owes a great deal of gratitude to Mr. Disney, because if it was not for his unique ambition and innovation then we would never have seen the true influence and beauty of this genre.

So when the time comes for me to take my (now non existent) children to the cinema for their first movie, I can comfortably selected a Disney animation and know that my children will be given the same experience I was given back in 1994. Disney animation has evolved and developed, but the deeper messages behind these films has remained constant since ‘Steamboat Willie’ (1928). Walt Disney wanted to entertain and educate children and now, 80 years later, his empire and legacy is still doing just that.

 

The Death of an Icon – Elizabeth Taylor (1932-2011)

The Hollywood community and movie-lovers everywhere have been devastated this morning by the death of screen icon Elizabeth Taylor at the age of 79.

Ms. Taylor had been suffering from congestive heart failure for years, eventuating in her hospitalisation at Los Angeles’ Cedars-Sinai six weeks prior to her death.

Michael Wilding, Ms. Taylor’s son, spoke fondly of his mother as he told the press that she died with her loving family around her.

“My mother was an extraordinary woman who lived life to the fullest, with great passion, humour and life.”

No truer words could be spoken of this talented Welsh born actress, who begun her acting career at the tender age of 10 in the American movie There’s One Born Every Minute (1942).

Her status as a star did not truly begin, however, until she was casted as Velvet Brown in the classic film National Velvet (1944). This was her third feature film and saw her acting alongside screen legends Mickey Rooney and Anne Revere (who won an Oscar for her supporting performance as Velvet’s mother in the acclaimed film).

Taylor’s performance was well beyond her years. She successfully conveyed the mature determination of her headstrong young character while retaining a youthful innocence, shown through Velvet’s touching relationship with her childhood horse.

It was this early performance that not only illustrated Taylor’s true raw talent as a leading actress but allowed her to establish her own unique film presence, defining her career that spanned over five decades and two Academy Awards.

While I have never been lucky enough to view either of her Oscar winning performances in BUtterfield 8 (1960) and Whose Afraid of Virginia Woolf? (1966), I will never forget her sheer brilliance as Maggie ‘The Cat’ in the classic Cat on a Hot Tin Roof (1958), where she crossed vicious words with the equally talented Paul Newman.

When I first watched this film, on an international flight from Abu Dhabi to Paris, I was blown away by Taylor’s ability to capture the feminine vulnerability of a wife struggling to hold onto her husband and the lifestyle which she had become accustomed to. It was raw, layered and utterly believable, complemented by her unique natural beauty and strong screen presence. Taylor developed a character that was incredibly hard to ignore.

And It was in this dimly lit aircraft that I fell in love with Elizabeth Taylor. And when I heard the tragic news of her passing I remembered that flight, that film and that performance.

But today as the world remembers the illustrious career of a woman dubbed “the last of the great screen legends,” it is humbling to know that she will remain immortal forever through the memories of everyone who was ever been touched by her. Touched by her talent, her grace, her beauty and her life.

Rest in Peace.

Getting Animated…In a Whole New World

To give you all the heads up on my next upcoming post I thought I would drop a couple of friendly hints (through the wonderful world of YouTube) as to what I may be dissecting. Take a look at these trailers and take a guess:

The Little Mermaid (1989)

Beauty and the Beast (1991)

Aladdin (1992)

Toy Story (1995)

Shrek (2001)

Happy Feet (2006)

Toy Story 3 (2010)

How to Train Your Dragon (2010)

If you didn’t pick the theme up by at least Aladdin (1993) then to keep you a breast, I’m dissecting the animation film genre. This emerging and highly advanced form of cinema has taken on a whole life of its own, telling stories either not possible or not believable in any other format. Since a little kid I have been mesmerised by the bright colours, surreal characters and unbelievable magic of this genre. And as I have aged I have watched it become so advanced that I forget that some classic films, like Beauty and the Beast (1991), and are actual in the same category as new epics, including How to Train Your Dragon (2010). In my next post I want to examine what it is that connects these films together besides the label of ‘animated’, as I examine the rapid development that has shaped an entire genre.

Has this genres evolution been for the better or worse? Do modern animations lack the heart of their predecessors? And what is it that makes these movies so enticing for, not only children but, millions of people the world over?

So while you’re pondering those questions think about your favourite animated movies of all time and let me know! I’d be interested to hear which characters, stories, adventures and musical numbers have tickled your fancy throughout animations history. Hopefully through our dissection we will be able to view animation in a whole new world.

From Silent Heroes to Memorable Moments: My Top 5 Motion Picture Musical Scores

Following on from last nights post, ‘The Silent Hero: A Tribute to Film Music’, I decided that today I would begin my first Top 5 list with a tribute to my favourite motion picture scores of all time. Before I being I would like to clarify a couple of issues of contention that may arise from my selection.

Firstly, these are my personal selection and I do not intend to argue that they are the best of all time (but of course they are to me). These are the scores that inspired and moved me. They remind of a time in my life when I was growing up watching and be inspired by films for the first time. When it comes to favourites everyone has their own personal opinion or sentimental reasoning and I would like you to consider that when you hear my five.

Finally, the majority of these films come from the 21st Century or the 1990s. Seeing as I was only born in 1991 you may need to cut my some slack on this front. Hopefully one day I will hear a lot more incredible and creative musical scores from previous decades but for now I will stick with what I have heard and loved.

So without boring with more mindless rabble I give you my top 5 Motion Picture Musical Scores of all time. Listen, discuss and let me know your thoughts. I would love to hear other people’s favourites so don’t be afraid to comment or critique. Just remember any opinion is a worthy opinion (if it is relevant).

5. The Dark Knight (2008): Hans Zimmer and James Newtown Howard (Composers)

The creative collaboration of Hans Zimmer and James Newtown Howard is phenomenal in the 2008 blockbuster The Dark Knight. Capturing the sterile and metallic settings of Gotham City and Hong Kong with the dark and epic undertones of the Joker’s emerging anarchy, the two composers create sheer musical brilliance. Their music covers the story’s arch so successfully, denouncing every emotional decision, explosion, confrontation and epic chase while never overshadowing the film’s intriguing story and memorable performances. It is a good example of how effective music can be in successfully complementing the various elements that comprises an outstanding film. On a personal level, to this day I still remember the goose-bumps I got from the above music (‘Aggressive Expansion’) when it was first utilised in promotional trailers for the film, and upon seeing the movie the same thrill I got from hearing the entire piece in context. If you haven’t heard the music I am talking about then you must hit play, because as a cinema enthusiast you are most definitely missing out.

4. Avatar (2009): James Horner (composer)

To be honest I didn’t really like Avatar as a complete movie. It was visually engaging and revolutionary but the story and acting were very average and uninspiring. However, James Horner’s musical score saved this film from entering my below average list and if a score can do that for film than it definitely deserves recognition. Incorporating both the futuristic musical tones, that have become synonymous with the science fiction genre, with the operatic melodies of the natural world, which reflected the colourful world of Pandora, Horner’s music shines highest above all elements in this movie (well for me at least). Especially the above section entitled ‘War’, his score could be seen as a separate artwork weaving its own story and characters without the necessity of complementary visual elements. This is a score that I love to listen to when studying or inspiring myself because it is in itself inspirational. Horner has created a timeless opera that illustrates the beauty of nature, the violence of technology and the devastating consequences that the two have when their worlds collide. Forget the oversized Smurfs when listening, just close your eyes and enjoy the music’s natural beauty.

3. Babel (2006): Gustavo Santaolalla (Composer)

Gustavo Santaolalla is one of few film composers who have gone onto win two consecutive Academy Awards for their achievements within the category of Best Original Score. In 2005, Santaolalla captured the essence of forbidden romance within the American south in the Academy Award winning ‘Brokeback Mountain’. However, it was his 2006 work that blew critics and audiences away (especially me) with his original, cross-cultural score for the critically acclaimed Babel. His work in Babel is nothing short of spectacular, as he effectively conveyed the culturally specific musical differences that exist between the films four focal countries (Mexico, America, Morocco and Japan) while still retaining a universal emotional connection with the human characters at the heart of this international drama. What I loved about this composition, and the clip above, is its ability to flawlessly incorporate numerous international instruments into the one score with natural ease, as if to say that this is exactly how international music should be played. Santaolalla’s score symbolically reiterates the message at the heart of the film that the power of music, like language, is universal if you stop and listen closely enough.

2. Titanic (1997): James Horner (Composer)

Call me nostalgic but I actually love everything about Titanic (1997), especially its well crafted musical score composed by James Horner (who has now made this list twice for his collaborative work with director James Cameron). When I hear the upbeat melody from the above clip ‘Southampton’ I automatically remember that excited feeling I got when I first watched Cameron’s masterpiece and glimpsed that porcelain princesses of a ship for the very first time. And that’s exactly why I think I love this score so much. Horner’s epic compositions effectively captured the emotion at the heart of the story so well that you (as an audience member) even felt like you were there alongside Rose and Jack as they entered the body of this damned ship. And it just didn’t end there. I remember the adrenaline that was racing through everyone as the ship started sinking, I remember the emotional anguish I felt when Jack died and he drifted (quite cliché like) down to the point of the sea and I remember feeling a sense of peace when Rose died and was finally reunited with Jack on their own ghostly love-boat. To this day, whenever I hear Horner’s score, I remember exactly how I felt just as if I was there back on April 10th 1912. Its grand, its tragic, its beautiful and its epic. It was everything the Titanic was and more. It was perfect.

1. The Hours (2002): Philip Glass (Composer)

Original Composition

The Composition in the context of the film

Number 1 was not a hard choice for me at all, as I have never heard a musical score that not only captures the true tone and essences of the film but also sounds like it is replicating life itself. The opening title scene – featuring the beautifully crafted ‘Morning Passage’ (above) composition by Philip Glass – is nothing short of masterful, capturing the excitement and also banality of starting a new day while also subtly conveying the struggle that a new day brings for the films three lead women. Above are two links, one of the instrumental composition for the ‘Morning Passage’ and the other is the same composition but in the context of the film. To understand its effectiveness I recommend you watch both and then you will hopefully see why this is my favourite musical score of all time.

Glass is able to effectively convey the ups and downs of life through his simple piano based composition that makes the music feel almost timeless. I remember when I final saw The Hours and upon hearing the accompanying music I just thought to myself how this music could be played over my life. Watched in context it is the most effective combination of image and music in modern cinema but also listened to separately and it is still universally profound. Through depicting the decisions, fears, anxieties, joys, loves and hopes of these three characters Philip Glass replicated life in music. Yes the music isn’t epic or big band-esque but that’s not life. Life is a series of ups and downs, joys and pains, decisions and triumphs. Its complex yet beautiful at the same time. And that is exactly what Philip Glass has composed.

The Silent Hero: A Tribute to Film Music

The famous American film director Stanley Kubrick was once quoted as saying:

“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings.” – Stanley Kubrick (1928-1999) When I first read this quote I was blown away by how profoundly correct it was in both its depiction of incredible film-making but also the importance of musical scores in the storytelling process. Utilised as the only tool for effective storytelling in the silent cinema era of the early 1900s, music was the single most important film technique for engaging an audience on an emotional and personal level. Charlie Chaplin (silent cinema comic icon and film industry pioneer) in his first feature-length silent film ‘The Kid’ (1921) developed a musical score inspired by Tchaikovsky’s 6th sympathy to help the audience grasp the humourous and emotional story of an orphan boy who develops a fatherly relationship with Chaplin’s iconic ‘Tramp’. Without the musical accompaniment this film, and many others during this era, would have been completely unmarketable to the mass public. In the years before dialogue, music was the only voice a film had. And then in 1927 that all changed, when Warner Bros released its first talking motion picture ‘Jazz Singer’ (1927), where Al Jolson said the first lines in cinematic history: “Wait a minute, wait a minute, you ain’t heard nothin’ yet” Al Jolson, The Jazz Singer (1927) And he was right, we hadn’t. But that wasn’t just from a dialogue perspective. Some of the greatest musical scores ever written have come from films outside of the silent cinema era, where composers were faced with the challenge of writing music that effectively complement the complex levels that films could now cover through the use of sound and dialogue. Gone with the Wind (1939), for example, challenged its musical composer Max Steiner to find creative ways to convey the epic nature of the American civil war while continually emphasising the personal pleasures and pains that the film’s lead heroine, Scarlett O’Hara (Vivien Leigh), was experiencing throughout the course of her life. As our films have become more multilayered, through realistic visual effects, three-dimensional characters and breathtaking cinematography, film composers have been forced to develop musical scores that can carry the complexity of the story in an immersive and emotional way. When I think about my own movie experiences, some of my fondest memories are of musical scores that have catapulted me into the emotional centre of the story from the very first note, even before a single word has been spoken. Musical scores such as Out of Africa (1985), Titanic (1997), The Lord of the Rings Trilogy (2001-3), Babel (2006), The Dark Knight (2008) and most recently Inception (2010) have all illustrated the sheer brilliance of music/film collaborations within our modern era. Each composer has devised a score that conveys the truth and purpose of the story while also characterising the unique settings and personal influences that encompasses the films overarching plot. It is musical moments like these that can take your breath-away and stay with you long after the movie has concluded. Such film scores can even evoke emotions and stories of their own, acting as reminders of a time in your life when you saw or experienced their beauty for the first time. Whenever you hear that soothing piano or heavy metal drum sound playing through your headphones, you can find yourself being transported back to a cinematic world that you only thought existed “Once in a lullaby.” So after this first dissection, it is clear that music was once and still is an important part the film-making process and it is important to remember that when we watch and enjoy films. It is an aspect that can regularly go unrecognised outside of the awards season, but is an element so important that no successful film can survive without it. And it was only from Mr. Kubrick’s quote that I realised how important music is in conveying the story of a film while also creating their own.

“The Way Back” for Two Dimensional Characters

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Director: Peter Weir

Cast: Jim Sturgess, Colin Farrell, Ed Harris, Saoirse Ronan

Running Time: 133 mins

The Way Back is a movie ripe with potential. It has a stellar cast who are individually renowned for their powerful performances; it has six time Academy Award nominated Australian director Peter Weir at its helm and it has an inspiring and unique true story about the strength of five men and one woman when faced with brutality and adversity in the harshest conditions on Earth. Still with all this potential the film still does not achieve anything closer to what it could have if more emphasis had been placed on the people inside the story rather than the bipolar environments that act as picturesque backdrops to their struggles.

Based on the true story and subsequent novel (The Long Walk) by Polish POW Slawomir Rawicz, set in the early years of World War 2 the film follows the escape of six POWs from a Soviet Gulag in Serbia and their 4000 mile (6,437 kilometer) walk to freedom in India. Lead by Polish POW Janusz (Sturgess), a character based on the books author, and an American inmate Mr. Smith (Harris), the escapees cross the freezing Serbian wilderness, the dehydrating Gobi desert and the mountainous Himalayas as they learn to trust one another in order to survive.

Russell Boyd’s (Master and Commander) cinematography is nothing short of marvelous, providing some of the most beautiful shots of the vastly different settings. Although, Weir’s overemphasis of these landscapes detracts from the greater story that is driving each of these characters forward. The moments when we are allowed to see the oppressive impact of the Soviet occupation on the individual characters are rather engaging but are very short lived. The majority of the 2 hours and 13 minutes is spent establishing aerial shots of the various locations followed by uninteresting discussions about the environment or overly dramatic pit stops to burry the dead.

The cast perform well given the material, most notably Farrell whose fluency in Russian is not only astounding but a true indication of his high level of commitment as an actor. But due to the little time given to developing each character’s backstory the audience is never given a chance or real reason to invest in them and their journey.

The Way Back could have been one of this years most well crafted and inspiring films but fails due to the lack of importance placed on developing any emotional connection between the characters and the audience outside of the grueling journey they are on. This film leaves you feeling like you have watched a rather drawn out National Geographic special instead of what should have been the inspiring true story of six people’s long walk to freedom.

I wrote this review for the University of Technology Sydney (UTS) student magazine Vertigo for their 2011 first issue. It looked much better published so check out the link below for a virtual copy. It isn’t a bad read either, especially if you are interested or curious about Vajazzling (something which isn’t related or appropriate for discussion on this blog).

http://issuu.com/vertigo2011/docs/vertigo_issue_one

Introduction to the Dissection

“Richard Brown: I wanted to be a writer, that’s all. I wanted to write about it all. Everything that happens in a moment. The way the flowers looked when you carried them in your arms. This towel, how it smells, how it feels, this thread. All our feelings, yours and mine. The history of it, who we once were. Everything in the world. Everything all mixed up, like it’s all mixed up now.”

When re-watching the Academy Awarding drama The Hours (2002) recently I could not think of a more eloquent way to describe why I wanted to start this blog than these beautiful lines crafted by screenwriter David Hare. Like Richard I too want to write about everything. And for me EVERYTHING is film!

Since I was a little boy, watching gothic Tim Burton movies and classic Disney animations, I have always known that there is something about the special about the film industry that just captivated my imagination for hours on end. As I grew up and my film preferences matured  (however, never truly forgetting the magic of Disney or Burton for that matter), I was perplexed to find that the childhood feelings that I once thought would pass with time were still strong and only getting stronger the more I opened myself to the magic of motion pictures.

Whether watching a truth based drama (in the vain of Out of Africa, Titanic or The Social Network), an indie comedy/dramedy (including the recent examples of Little Miss Sunshine, Up in the Air or The Kids Are All Right) or a cinematic classic (Gone With the Wind, Casablanca and The Apartment springing to mind), I have always been lift in awe of the incredible creativity and love that each director, actor and screenwriter brings to their story. Their craftsmanship has always fascinated me and is something that I have always publicly wanted to appreciate and discuss (even with complete strangers).

So working on Richard’s mantra I want to write about it all. I want to write about everything films. Their stories, characters, music, settings, contexts, directors and their deeper lessons about life and what it means to be human. Alongside reviews, top 10 lists and an extensive awards season coverage, I hope to utilise this blog to dissect films from all eras in cinematic history in order to gain a truer appreciate about the film industry and why since the age of four I have never been able break its captivating spell.