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Written by Matthew Toomey

Created: 11 November 2005

An elderly lady has been shot dead in a convenience store robbery in Detroit, Michigan.  Her name was Evelyn Mercer (Flanagan) and she had a “saint-like” reputation in the community.  Evelyn took hundreds of troubled youths into her care and helped find them suitable foster homes.  She touched many people but there were four boys she deeply cared about – Bobby (Whalberg), Angel (Gibson), Jeremiah (Benjamin) and Jack (Hedlund).  Evelyn adopted them and raised them as her own.

It’s been a while since these four brothers left the Mercer house but they have returned on hearing word of Evelyn’s slaying.  When asked, Bobby tells police Lieutenant Green (Howard), an old friend, that he hasn’t returned for the funeral – he’s returned to find the people responsible and see that his own brand of justice is served upon them.

After some “forceful” sniffing around, their investigations lead them to Victor Sweet (Ejiofor), a wealthy businessman with friends in high places.   Why though would Victor be involved in a petty robbery and why would he want an old lady killed?  It doesn’t add up.  Victor knows Bobby and his brothers are on his tail.  He wants them taken care of before they get too close.

Four Brothers is predominantly an action film which its car chases and shoot-outs.  These scenes have been outstandingly put together by director director John Singleton (2 Fast 2 Furious, Shaft, Boyz In The Hood).  The reaction I had towards a violent gun-fest at the Mercer residence in the middle part of the film was simply “woah”.  It was loud and intense.

What I liked most about the film was the surprising depth to the characters.  You can sense the bond between these four brothers and the fact they are all looking out for each other.  Mark Whalberg (as Bobby) and Garrett Hedlund (as Jack) are particularly interesting.  I’m glad to say that this isn’t a film where $100,000,000 was spent on the action and $100 spent on the script.

There are a few confusing elements to the story (such as why Evelyn was killed and why Victor is as powerful as he is) but I think it’s a strong film in a genre I usually expect so little from.

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Written by Matthew Toomey

Created: 04 November 2005

Drew Baylor (Bloom) is about to kill himself.  He has reconfigured his exercise bike so that when he sits on it, a sharp knife will stab him in the something.  Why, you may ask?  You see, Drew had invented a revolutionary new shoe which looked set to make him millions.  The company he works put it into production only to see every single shoe recalled due to a major defect (which is never explained).  It is a “fiasco” and the head of the company, Phil DeVoss (Baldwin), tells Drew that he’s cost the firm close to one billion dollars.

I’m not sure whether Drew would have gone through with his suicide but the option is taken away when he gets a phone call from his sister, Heather (Greer).  She tells him that their father has died.  Drew’s parents are separated and his mother (Sarandon) can’t handle organising the funeral arrangements.  She has asked Drew to go to his dad’s home in Elizabethtown as the family’s representative.

On the plane, he unwillingly talks to Claire Colburn (Dunst), an overfriendly flight attendant who gives Drew her number.  Bored one night in Elizabethtown, he calls Claire and they share an epic telephone conversation which goes all night long.  Within a day, she’s spending the night at his hotel room and romance is blossoming.

That’ll do for my overview of the plot which was difficult to put together.  I had trouble following the storyline and found Orlando Bloom to be a very dislikeable character.  Director Cameron Crowe shows continual close-ups of Bloom’s face and he always has this strained, puzzled look.  I didn’t understand him at all.  Why doesn’t he have any friends?  Why is he such a loner?  Why is he the fall-guy for the problem at work?  Why am I supposed to care about him?

At no stage did I connect with this film.  It felt disjointed and I didn’t know what the focus of the story was supposed to be.  Are they trying to tell us to live each moment as if it were your last?  What’s with all the subplots?  Director Cameron Crowe (Almost Famous) is usually great at selecting a movie soundtrack but he’s gone over-the-top with Elizabethtown.  There are numerous musical montages that might mean something to him but they meant little to me.  The final 20 minutes was worst of all.

I’ve run out of energy to continue.  This film just sapped it right out of me.

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Written by Matthew Toomey

Created: 08 November 2005

Kiss Kiss, Bang Bang is a tasty mix of crime and comedy.  When a distraught Harmony Lane (Monaghan) bumps into old friend Harry Lockhart (Downey Jr), she pleads for his help in tracking down who just murdered her younger sister.  Harry’s always had a thing for Harmony and has every intention of helping her out.  The problem for Harry is that despite what he told Harmony, he’s not a real detective.  He’s just pretending to be one and he’s only hanging out with a real detective named Gay Perry (Kilmer) to help study for a film role.  He’s actually not an actor either but that’s another story.

The search for the killer has all the expected plot twists and clichés you’d expect from a cheap 1960s crime novel.  This isn’t a criticism of the film though – it’s more a statement about its design.  Harry and Harmony have read many such books and the fact that they now appear to be in one creates an opportunity to spoof the genre.  There are many “laugh out loud” moments and you have to laugh at the many predicaments our heroes get themselves into.  You could call it a subtler version of Austin Powers.

The most likeable aspect to the movie is the narration of Robert Downey Jr.  He breaks from his character on many occasions and talks directly to the audience.  He even goes to the trouble of pausing the film to point out key scenes and explain certain characters.  I know this isn’t an entirely new concept but Downey Jr has the laid-back charm to pull it off.

Kiss Kiss, Bang Bang marks the directorial debut of writer Shane Black, the man who penned the four Lethal Weapon movies along with The Last Boy Scout, Last Action Hero and The Long Kiss Goodnight.  He has a smart nose for comedy and has written some comical scenes for Robert Downey Jr and Val Kilmer to share.  I haven’t heard much from these actors of late and looking back at their resumes, I declare this as their best performance in at least five years.

There’s lots of kisses, lots of bangs and lots to be smiling about.

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Written by Matthew Toomey

Created: 30 October 2005

Ben (Phillips), Liz (Magrath) and Christy (Morassi) have set off on a road trip across Australia.  They started in Broome, Western Australia and heading towards tropical North Queensland.  Ben is an Aussie but Liz and Christy are two English backpackers looking to have fun and looking to see the Great Outback.

One of their first stops is Wolf Creek, home to a giant meteorite crater.  They leave the car and embark on a 3-hour trek to see this landmark first hand.  On returning, they find their car won’t start.  Thankfully, a tow-truck driver named Mick (Jarratt) spots them on his way home and offers them assistance.  He’ll tow their vehicle back to his place where he replace a broken coil.  Our three travellers spend the night camped outside Mick’s isolated residence.

When Liz wakes up, she finds herself locked in a room with her hands and feet tied.  How did she get here?  Where are the others?  How long has she been here?  What is in store for her?  The answers will be revealed but it’s going to be a terrifying experience…

The film opens with a statement that Wolf Creek is based on a true story.  I believe that story to be that of Ivan Milat, the man convicted of killing several backpackers in New South Wales in the early 1990s.  Others see a similarity to the mysterious disappearance of Englishman Peter Falconio in 2001.  So much so, that the prosecutors in the Falconio case (which is currently before the judge) asked for the release of the film to be delayed.

You must understand that this film has been rated R in Australia for its “high level realistic violence”.   Some viewers have been critical and say that the filmmakers are using the tasteless violence as entertainment.  I strongly disagree here and I think the reason that people are so disturbed, including myself, is because the film has been exceptionally well made.  It sets up a great premise and director Greg McLean artfully uses his camera to maximise the suspense.  There isn’t any more violence than in your normal flick – what is different is that this looks real!  People will be affected and that’s the design of the film.  So if this isn’t you cup of tea, don’t see it.  I’ve warned you.

A couple of weeks ago, the nominations were announced for the Australian Film Institute Awards (to be held in late November).  I’m happy to say that Wolf Creek has been nominated for seven awards in total including best director and best original screenplay.  The cinematography of Will Gibson also received a very deserved nomination.  If it didn’t involve a crazy serial killer, I’d call the film a great advertisement for checking out central Australia.

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Written by Matthew Toomey

Created: 06 November 2005

Most movies you simply watch.  Rare movies though, require you both think and watch.  Within five minutes I new that Stay fell into the later category.  Like Mulholland Drive, Donnie Darko or The Sixth Sense, you’ll be taken into a mysterious world that doesn’t make much sense.  The challenge is then presented – can you predict how it will end?

It begins with psychiatrist Sam Foster (McGregor) taking over from of a colleague who has gone on leave.  One of his new patients is Henry Letham (Gosling), a young man on the eve of his 21^st birthday.  Henry has been hearing voices and wants to kill himself.  It’s a case that Sam can’t seem to distance himself from – he wants to know more about Henry and will do whatever he can to prevent his death.

The key to any great mystery is the storyline and whether the ending supports that which precedes it.  I was guessing constantly throughout and now have seen how the film ends, I can endorse the entire 99 minutes.  It is for this reason that I won’t reveal any more about the plot.  Preconceptions will only ruin the experience.

Stay has a visual style which blew me away.  The film keeps slipping from location to location with a crafty camera technique that you have to see to appreciate.  It’s unlike anything I’ve seen before and is the culmination of work by the visual effects artists, the cinematographer, the film editor, the writer and the director.  It’ll blow your mind and only increase the mystery of Sam Foster and Henry Letham.

I’ve spoken to a few other people regarding the film’s interpretation and the significance of several scenes and characters.  Most agree on the overall premise but I think it would take several viewings to pick up most the meaningful references left by writer David Benioff (Troy, 25^th Hour) and director Marc Foster (Monster’s Ball, Finding Neverland).  I can’t wait to see it again!