Today we have the excellent and hard-hitting Incendies, recently out on DVD and Blu-ray.
Incendies (15) (This review on FilmJuice.com)
Sometimes you wish the horrors in a film were just that, part of a horror film without root in reality. But here the horrors are all too real. Canadian director Denis Villeneuve’s devastating sucker punch of a film charts twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) on a journey that unravels their identities and unveils their past.
After their mother’s sudden death, the twins open her Will with her employer, a notary called Jean. In it she has asked them to travel to her home country in the Middle East, to discover the facts of their mysterious family origins.
The twin’s odyssey is interwoven with flashbacks to the past struggles of their mother Nawal (Lubna Azabal). The effect is straightforward and to the point, the intention clearly being to bring home to Westerners what life for many in the Middle East is really like. The tone is set beautifully by a recurring Radiohead song, which is strangely appropriate and avoids being jarring, with just the right contemporary blend of unsettling raw emotion.
Incendies (or ‘Scorched’ in English) is based on an award winning play by Wajdi Mouawad, which in the past has been criticised for being melodramatic, and some of that criticism could certainly be levelled at the film version. It is flawed then, but Villeneuve expertly and successfully disguises the plot’s weaknesses by pressing hard on the thriller button, and he never drops the ball in terms of suspense.
To put it simply, the ending, if you can stomach it, will leave you reeling. Undoubtedly it is one of the most gut wrenching and emotionally draining finales to a film in a recent years; the darkest secrets are truly saved for last. Therein lies another flaw however: though excellent in their respective roles, it was always a tall order for Désormeaux-Poulin and Gaudette to portray the extremes of emotional torture that their characters are put through. Thankfully such feelings are too distant for most of us to imagine, and the director partly compensates for this with great use of understated emotive imagery, symbols and sounds. Perhaps it’s best that some things remain unfilmable.
The cinematography is accomplished; nothing we haven’t seen before but still beautiful from time to time. Grégoire Hetzel’s score is haunting and very sparse; the film largely being silent aside from voices and atmospheric sounds. This creates an atmosphere of realism, thus lending the truths from the real world that the script brings to light even greater impact.
Not being a ‘date movie’ Incendies hasn’t won as many viewers as it deserves, but having been rightly nominated for Best Foreign Film at the Oscars this year, it will hopefully be more successful on DVD. If you’ve got two hours to sit back and concentrate, then Incendies will engross, enlighten, shock and move you unforgettably.
Thursday, September 22, 2011
Saturday, September 17, 2011
In a Better World (15)
Finally a recent review of a film that's still in cinemas! It's of the Oscar winning Danish drama 'In a Better World', and you can also read it on the FilmJuice website here. Happy reading!
In a Better World (15)
Why do we go to the cinema? For escapism, solitude, inspiration and perhaps to feel something outside of ourselves, deeper emotion than we might feel comfortable with in real life. The Oscar-winning In a Better World (15) presents an emotional powerhouse of an experience that will not be soon forgotten.
The lives of two Danish families are intertwined by love, hate, and fate. We begin by following Anton, played by Mikael Persbrandt as he plies his skills as a doctor at an African refugee camp. The distance between his work and his home in Denmark creates an even greater distance between him and his estranged wife and his bullied son Elias. Elias finally makes a friend in Christian, a lad who has just moved to the idyllic town with his father after his mother lost her battle with cancer. Desperate for a friend, Elias will follow the angry and hurting Christian anywhere.
Director Susanne Bier brings the story to the screen with a mix of subtlety, in the intense yet understated performances given even by the child actors, and also pat climaxes, as the third act dwindles slightly into predictable and melodramatic territory. That is not to take away from the beauty of the complex and carefully constructed screenplay by Anders Thomas Jensen. Simply reading the script would surely be an emotionally potent experience on its own.
The wonderful high contrast photography is sumptuous to behold, and Bier makes poignant symbolic use of landscapes and scenery throughout. The occasional use of crash zooms, especially early in the film, is not always effective, but jump cuts are put to good use, and the gentle music fits perfectly, bringing another layer of richness to the picture.
Unexpected moments of humour are slightly jarring yet welcome as they break up the lengthy ruminations on deep and dark dilemmas. It’s a film about consequences, revenge and the nature of evil. The sequences set in the African camp are sparsely scattered throughout the narrative, and serve as a parallel story highlighting to a more extreme extent the messages that the filmmakers want to leave the audience with. The effect of this is measured and shocking but ultimately condescending.
Part family drama, part thematic sermon, In a Better World has a lot to say about forgiveness, tolerance and grief. At one point a character cries out “I don’t know how to make everything right again!” A clichéd line maybe, but one to which many hearts in the audience might mutter “You can say that again”. Forgiveness is key, yet it is one of the most difficult things to do. Until a better world comes along we have to deal with this one, and films like this serve as a reminder that it is worthwhile to do so.
In a Better World (15)
Why do we go to the cinema? For escapism, solitude, inspiration and perhaps to feel something outside of ourselves, deeper emotion than we might feel comfortable with in real life. The Oscar-winning In a Better World (15) presents an emotional powerhouse of an experience that will not be soon forgotten.
The lives of two Danish families are intertwined by love, hate, and fate. We begin by following Anton, played by Mikael Persbrandt as he plies his skills as a doctor at an African refugee camp. The distance between his work and his home in Denmark creates an even greater distance between him and his estranged wife and his bullied son Elias. Elias finally makes a friend in Christian, a lad who has just moved to the idyllic town with his father after his mother lost her battle with cancer. Desperate for a friend, Elias will follow the angry and hurting Christian anywhere.
Director Susanne Bier brings the story to the screen with a mix of subtlety, in the intense yet understated performances given even by the child actors, and also pat climaxes, as the third act dwindles slightly into predictable and melodramatic territory. That is not to take away from the beauty of the complex and carefully constructed screenplay by Anders Thomas Jensen. Simply reading the script would surely be an emotionally potent experience on its own.
The wonderful high contrast photography is sumptuous to behold, and Bier makes poignant symbolic use of landscapes and scenery throughout. The occasional use of crash zooms, especially early in the film, is not always effective, but jump cuts are put to good use, and the gentle music fits perfectly, bringing another layer of richness to the picture.
Unexpected moments of humour are slightly jarring yet welcome as they break up the lengthy ruminations on deep and dark dilemmas. It’s a film about consequences, revenge and the nature of evil. The sequences set in the African camp are sparsely scattered throughout the narrative, and serve as a parallel story highlighting to a more extreme extent the messages that the filmmakers want to leave the audience with. The effect of this is measured and shocking but ultimately condescending.
Part family drama, part thematic sermon, In a Better World has a lot to say about forgiveness, tolerance and grief. At one point a character cries out “I don’t know how to make everything right again!” A clichéd line maybe, but one to which many hearts in the audience might mutter “You can say that again”. Forgiveness is key, yet it is one of the most difficult things to do. Until a better world comes along we have to deal with this one, and films like this serve as a reminder that it is worthwhile to do so.
Thursday, September 15, 2011
FilmJuice reviews!
I now have special permission from FilmJuice to post my reviews written for them on here! For now I'll just post links to them all except for the very most recent ones, which I'll be posting individually in the days to come.
Be sure to check out the excellent FilmJuice website here.
Patagonia
Hereafter
Holy Rollers
Life in a Day
Love Like Poison
His & Hers
The Way Back
Be sure to check out the excellent FilmJuice website here.
Patagonia
Hereafter
Holy Rollers
Life in a Day
Love Like Poison
His & Hers
The Way Back
Wednesday, September 14, 2011
All unposted Evangelical's Now film reviews!
You know what? Since I'm reinvigorating my film reviews blog there's no point posting old reviews one at a time... So I'm just going to link to all of my Evangelical's Now reviews that are not yet on my blog, and then tomorrow I'll do a post with all of my FilmJuice posts too! That'll get us nice and up to date:
Life in a Day
Cave of Forgotten Dreams
True Grit
Tangled
Gulliver's Travels
The Chronicles of Narnia: The Voyage of the Dawn Treader
Life in a Day
Cave of Forgotten Dreams
True Grit
Tangled
Gulliver's Travels
The Chronicles of Narnia: The Voyage of the Dawn Treader
Tuesday, September 13, 2011
PDM film reviews are back, with Harry Potter and the Deathly Hallows!
Hello internet!
After a long hiatus I am now back. I will be posting film reviews that I've written since the last few posted until we catch up with the future and my latest reviews can once again grace this space! Happy reading.
We begin with my review of Harry Potter and the Deathly Hallows: Part 1, which I wrote for Christian newspaper 'Evangelical's Now' (http://www.e-n.org.uk/5323-Harry-Potter-and-the-deathly-hallows-part-1.htm), followed by my review of part 2, which I wrote for the fantastic website 'FilmJuice' (http://www.filmjuice.com/harry-potter-and-the-deathly-hallows-part-2.html)
Harry Potter and the Deathly Hallows: Part 1
Anyone hoping to enjoy this first part of the finale to the Harry Potter series, would be well advised to review all that has gone before to clue into this film. The world of wizards continues to descend into darkness, as the evil Voldemort gathers his powers, and Potter nears the end of his quest to defeat him.
A huge improvement on the previous instalment, Part 1 proves that the decision to split the story into two films hasn’t just paid off financially, but in terms of storytelling also. The characters are finally given room to breathe, so even those unfamiliar with the books can relate to them, and enjoy the warm dynamic between the main trio.
Many Christian’s have problems with the Harry Potter stories, and there is just as much witchcraft and wizardry in this film as the others. What makes this perhaps more objectionable, however, is a surprisingly graphic intimate scene between two of the young leads. Granted, it is presented as a mental projection imagined by one of the characters, and is masked by special effects, but such a moment can’t help but be more gratuitous on screen than in writing.
One of the main strengths of the series has always been its straightforward morals: good is good, evil is evil. Whatever one might think of spells and cauldrons, and the effect that such themes might have on children, at least on some level they are prompts to consider the existence of the supernatural.
More than entertaining, this first really emotionally satisfying Harry Potter film is a definite success. The story concludes when the final part is released in July 2011.
Harry Potter and the Deathly Hallows: Part 2
Ten years and eight films later, the Harry Potter franchise has come of age. For those feeling the strain of the series’ ever darkening tone, hope is in sight! ‘It all ends here’ declared the advertisements and, true to that, we have at last a Potter film with a proper climax, and what a climax it is. With the board set for Harry to make his final play against Lord Voldemort, good takes on evil in an epic battle which includes many of the characters introduced to us throughout the series.
No other saga has been nearly as popular as J.K. Rowling’s opus, and for non-fans who expected each film to be worth seeing in it’s own right that fact has been more than a bit confusing. How could the films be so successful when they exclude anyone without an exhaustive knowledge of the source material? Part 2 of the Deathly Hallows just about makes it worth having sat through the, frankly boring, last few films by having a clear direction towards a definite conclusion. For the first time in years a successful balance is achieved between the oppressively dark feel and the sense of fun that should never have been lost in the first place.
Almost immediately we are plunged into a breathtaking action sequence which feels like coming up for air after all the depressing exposition that has gone before. Having directed the final four Potter films David Yates’ standard of pristine cinematography, combined with faultless effects work remains a spectacle to behold. This is the first in the series to be released entirely in 3D and the illusion is nigh on perfect, delivering a new and unobtrusive sense of depth plus a boost of pure adrenaline to boot.
Overall the acting comes into its own here, with Ralph Fiennes giving a terrifying and nuanced performance as the villain to end all villains, Voldemort, which will surely do it’s job of giving younger children nightmares! Even Daniel Radcliffe as Harry is at his least wooden yet, unfortunately leaving Emma Watson in the dust, with her unimproved portrayal of Hermione remaining earnest but one dimensional.
The incorruptible values modeled by the lead characters have always rendered Rowling’s stories impervious to stronger criticisms and with so many young people obsessed with Harry Potter, desperate to be like him, his loyal and self-sacrificial character is genuinely inspiring. Without giving anything away, Harry’s story arc concludes by borrowing from the ultimate redemption tale of all time to truly moving effect.
With millions trying to guess where Rowling would lead Harry in the end, she amazingly still manages to surprise. Fans will be overcome with glee that the final film is by far the best of them all and that all the parts that had them wondering ‘will the filmmakers get that right?’ will leave them breathing sighs of relief. As gradual hints of colour and light finally make a comeback, along with melodies from John Williams’ scores for the first two films, smiles will be plastered on even the most cynical of faces.
After a long hiatus I am now back. I will be posting film reviews that I've written since the last few posted until we catch up with the future and my latest reviews can once again grace this space! Happy reading.
We begin with my review of Harry Potter and the Deathly Hallows: Part 1, which I wrote for Christian newspaper 'Evangelical's Now' (http://www.e-n.org.uk/5323-Harry-Potter-and-the-deathly-hallows-part-1.htm), followed by my review of part 2, which I wrote for the fantastic website 'FilmJuice' (http://www.filmjuice.com/harry-potter-and-the-deathly-hallows-part-2.html)
Harry Potter and the Deathly Hallows: Part 1
Anyone hoping to enjoy this first part of the finale to the Harry Potter series, would be well advised to review all that has gone before to clue into this film. The world of wizards continues to descend into darkness, as the evil Voldemort gathers his powers, and Potter nears the end of his quest to defeat him.
A huge improvement on the previous instalment, Part 1 proves that the decision to split the story into two films hasn’t just paid off financially, but in terms of storytelling also. The characters are finally given room to breathe, so even those unfamiliar with the books can relate to them, and enjoy the warm dynamic between the main trio.
Many Christian’s have problems with the Harry Potter stories, and there is just as much witchcraft and wizardry in this film as the others. What makes this perhaps more objectionable, however, is a surprisingly graphic intimate scene between two of the young leads. Granted, it is presented as a mental projection imagined by one of the characters, and is masked by special effects, but such a moment can’t help but be more gratuitous on screen than in writing.
One of the main strengths of the series has always been its straightforward morals: good is good, evil is evil. Whatever one might think of spells and cauldrons, and the effect that such themes might have on children, at least on some level they are prompts to consider the existence of the supernatural.
More than entertaining, this first really emotionally satisfying Harry Potter film is a definite success. The story concludes when the final part is released in July 2011.
Harry Potter and the Deathly Hallows: Part 2
Ten years and eight films later, the Harry Potter franchise has come of age. For those feeling the strain of the series’ ever darkening tone, hope is in sight! ‘It all ends here’ declared the advertisements and, true to that, we have at last a Potter film with a proper climax, and what a climax it is. With the board set for Harry to make his final play against Lord Voldemort, good takes on evil in an epic battle which includes many of the characters introduced to us throughout the series.
No other saga has been nearly as popular as J.K. Rowling’s opus, and for non-fans who expected each film to be worth seeing in it’s own right that fact has been more than a bit confusing. How could the films be so successful when they exclude anyone without an exhaustive knowledge of the source material? Part 2 of the Deathly Hallows just about makes it worth having sat through the, frankly boring, last few films by having a clear direction towards a definite conclusion. For the first time in years a successful balance is achieved between the oppressively dark feel and the sense of fun that should never have been lost in the first place.
Almost immediately we are plunged into a breathtaking action sequence which feels like coming up for air after all the depressing exposition that has gone before. Having directed the final four Potter films David Yates’ standard of pristine cinematography, combined with faultless effects work remains a spectacle to behold. This is the first in the series to be released entirely in 3D and the illusion is nigh on perfect, delivering a new and unobtrusive sense of depth plus a boost of pure adrenaline to boot.
Overall the acting comes into its own here, with Ralph Fiennes giving a terrifying and nuanced performance as the villain to end all villains, Voldemort, which will surely do it’s job of giving younger children nightmares! Even Daniel Radcliffe as Harry is at his least wooden yet, unfortunately leaving Emma Watson in the dust, with her unimproved portrayal of Hermione remaining earnest but one dimensional.
The incorruptible values modeled by the lead characters have always rendered Rowling’s stories impervious to stronger criticisms and with so many young people obsessed with Harry Potter, desperate to be like him, his loyal and self-sacrificial character is genuinely inspiring. Without giving anything away, Harry’s story arc concludes by borrowing from the ultimate redemption tale of all time to truly moving effect.
With millions trying to guess where Rowling would lead Harry in the end, she amazingly still manages to surprise. Fans will be overcome with glee that the final film is by far the best of them all and that all the parts that had them wondering ‘will the filmmakers get that right?’ will leave them breathing sighs of relief. As gradual hints of colour and light finally make a comeback, along with melodies from John Williams’ scores for the first two films, smiles will be plastered on even the most cynical of faces.
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