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Written by Matthew Toomey

Created: 28 December 2011

Hollywood remakes are nothing new but I can’t ever recall one being released so close to the original.  The Swedish version of The Girl With The Dragon Tattoo was released in Australian on 25 March 2010.  It went on to become one of the most successful foreign language films ever at our box-office with 16 weeks inside the top 20 and a total take of $5.5m.

This leads into an interesting question – how successful will this new version be?  I have my doubts.  If you were one of the many who saw the original two years ago, how keen are you to see the exact same story told again?  Very few changes have been made to the screenplay and I have to admit that knowing all the twists did lessen the film-going experience.  It doesn’t have the same suspense factor.

If you didn’t see the original movie, what was your reason?  If you were perturbed by the subtitles then yes, you’ll find your problems have been solved.  You can watch this film without worrying about words flashing by at the bottom of the screen (made even more difficult for those sitting in the front row).  If you had another reason, well, I don’t know if I can help you.  The premise, the performances and the film’s graphic nature are all fairly similar.

I’m tempted to “cut and paste” the plot overview that I wrote as part of my review in 2010.  For those unfamiliar with the tale, renowned journalist Mikael Blomkvist (Craig) has been approached by the wealthy Henrik Vanger (Plummer) and asked to investigate the death of Henrik’s niece 40 years ago.  He is reluctant at first but in return, Henrik promises valuable information that will help clear Mikael’s name in a nasty, public lawsuit.

In solving the mystery, Mikael will be assisted by an unlikely person – a young computer hacker named Lisbeth Salander (Mara).  To use the term “assisted” is an understatement.  Throughout much of the film, it feels like Lisbeth is doing most of the work.  An attractive develops between the pair and Lisbeth senses that her troubled life may have turned in a positive direction.

In reviewing this film, I’m going to ignore the Swedish version (which was also great) and judge it on its own merits.  In that regard, it’s very good.  The story is interesting and the performances are strong.  Rooney Mara (The Social Network) seemed an odd choice when the cast was first announced but she dominates with her powerful portrayal of the feisty yet vulnerable Lisbeth Salander.

I wished director David Fincher (Fight Club, Zodiac) had of tackled something more original with his follow up to the brilliant The Social Network.  That said, this is still a slick, gripping thriller and Fincher’s stylish fingerprints can be seen all the way through.  From the flashy opening credits to the unexpected use of Enya’s Orinoco Flow, Fincher knows how to hold your attention.  It’s something he’s always been good at.

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Written by Matthew Toomey

Created: 23 December 2011

One of the highlights of my recent trip to New York City was seeing the play War Horse at the Lincoln Centre Theatre.  It was high on my list of “things to do” given that (1) it had picked up 5 Tony Awards including best play, and (2) director Steven Spielberg was adapting the original novel into a feature film.  As you can imagine, I was not disappointed.  It was a brilliant show that left my eyes a little moist.  I even had the good fortune of meeting star Seth Numerich in the foyer afterwards (looky here).

Given the success of the play, the Oscar hype surrounding Spielberg’s film has been intense.  Many bloggers and critics have been declaring it as the best picture frontrunner since early in the year.  Whilst the general public has been largely oblivious to this wild awards season speculation (probably a good thing), it has created a strong expectation amongst film buffs that War Horse would be amazing.

This highlights a dilemma that faces any critic – managing one’s expectations.  I try to see every film with an open mind but this is difficult in today’s “information age”.  Before even stepping into the theatre, we have access to online trailers, other reviews and social media chatter.  They help us form a simple view along the lines of “this film should be good” or “this film will be awful”.

I’ve often wondered if it were possible to have a critic who lived in a cave, completely shut off from the rest of the world.  Without any other opinions to guide them, would their annual top 10 list look similar to other critics or would it be radically different?  Would they have picked The Social Network as the best film of 2010 (as seemed to be the case for every major critic organisation)?

The point I’m trying to make is that if your early expectations are not met, it can leave you conflicted.  Let me try to illustrate this using an example.  The Lincoln Lawyer (released back in March) was a good film that left me surprisingly satisfied.  I approached it negatively (it stared Matthew McConaughey after all) but was surprised how much I enjoyed it.  War Horse is an equally good film but I felt disappointed on leaving the theatre.  Given the hype and my love for the play, I hoped for something better.

I’m not offering any solution this problem but my advice with War Horse is not to set your own expectations too high (as should the case for any film).  Let me therefore attempt to give you a “good” but not “great” idea of what you can expect…

The story begins just prior to World War I with a teenager named Albert (Irvine) forming a close attachment to a horse bought at auction by his drunken father (Mullan).  The pair are separated however when the horse is sold to a young soldier (Hiddleston) and taken to France to be used in battle against the advancing Germans.  It inspires Albert to enlist in the army and go in search of the animal that has become his closest companion.

The film’s biggest weakness however is the way in which the story has been told.  It seemed appropriate for the play but I’m not sure its fragmented nature works as successfully as a film.  It’s like watching a group of short stories (linked by the horse) and we don’t have the time to develop a deep connection with any of the characters.

I was also puzzled by the way in which in the battle scenes are depicted.  Spielberg has made a clear decision to shy away from blood and violence with the intent of making this more “family friendly”.  I can understand that rationale but I think he’s gone too far.  It’s obvious to the point of being distracting.  A scene involving two young Germans and a windmill (without giving too much away) summed up my frustrations.

That said, Steven Spielberg has found most of the necessary ingredients for his cinematic adaptation of Michael Morpurgo’s novel.  The limitations within the screenplay are largely offset by Janusz Kaminski’s beautiful cinematography, Michael Kahn’s nicely-paced editing and John Williams’s sweet film score.  Between them, those three gentlemen have a total of 10 Academy Awards.  They know what they’re doing and the film looks great on the big screen.

Mr Spielberg has been a busy man in the sense that he has two films coming out on the same day in Australia.  I don’t think I’ve ever seen that happen before.  The animated The Adventures Of Tintin joins War Horse as part of the plethora of Boxing Day releases in this country.  My personal preference is for Tintin but if you have the time to see both, you shouldn’t be disappointed… unless you set your expectations too high!

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Written by Matthew Toomey

Created: 27 December 2011

Election is one of the greatest films of all time.  I’m just putting that out there.  Starring Reece Witherspoon and Matthew Broderick, the movie centred on a high school student election that went totally pear shaped.  It was a major achievement for writer-director Alexander Payne who proved that a story can be both tragic and hilarious.

The film earned Payne (along with co-writer Jim Taylor) an Academy Award nomination in 2000 for best adapted screenplay.  He didn’t take home the coveted statuette that night (losing to The Cider House Rules) but he did a few years later for Sideways, an enthralling tale about a depressed wine connoisseur.

After a 7 year absence where he was “distracted by other stuff”, Payne has finally returned to the big screen with The Descendants.  If you’re a fan of his previous works then you will love this!  It has been crafted from the Payne “mould” in the sense that it’s based on a novel, features complicated characters and delicately mixes comedy with drama.

The story is set in Hawaii but don’t expect to see anyone “sipping Mai Tais, shaking their hips and catching waves.”  Matt King (Clooney) makes this clear from the very start.  He’s a wealthy, hardworking lawyer who spends most of his day in an office (albeit with a nice view).  He hasn’t stood on a surfboard for more than decade.

Matt’s life is about to undergo a major adjustment however.  His wife (Hastie) is badly injured in a water-skiing accident and now lies in a coma on a hospital bed.  Her chances of recovery look bleak.  Accustomed to being the “back-up parent”, Matt realises he must spend time with his two daughters, 17-year-old Alex (Woodley) and 10-year-old Scottie (Miller), to help them deal with the situation.

It happens time and time again but I’m always amazed at how tragic events have an uncanny way of bringing people closer together.  On a broader scale, we saw it happen here in Brisbane a year ago with the devastating floods.  So many people opened their wallets and volunteered their time to assist those most in need.

It’s a point skilfully illustrated in The Descendants.  We will all encounter unavoidable tragedy at some stage in our lives.  The tough part is stepping back and realising that it can have positives.

The film boasts some beautiful sequences where Matt slowly bridges the divide between himself and his daughters.  Speaking insightfully and realistically, George Clooney, Shailene Woodley and Amara Miller are a delight to watch.  I particularly liked the way in which the kids are helping the father as much as he’s helping them.  I hate to pick out certain scenes but there’s a great moment where they all work together to “befriend” a couple (Lillard and Greer) who live by the beach.

As I alluded to above, the film has plenty of laughs to offset the heavy subject matter.  Most of them are provided by Alex’s new boyfriend, Sid (Krause), a dopey surfer who seems to always open his mouth at the wrong time.  Sid could easily have been a distracting, irritating character but Payne gives him depth and you’ll soon realise he’s a good kid with a calming influence.

I was lucky enough to talk to Alexander Payne on the red carpet at the film’s world premiere in Toronto last September.  I asked why he was attracted to Kaui Hart Hemmings’ novel and he said it was because of the “complicated yet credible human story in an exotic location”.  That’s a neat way of describing The Descendants and if Payne keeps telling such wonderful stories, I’ll remain a devoted fan!

You can see me talking with Alexander Payne and George Clooney at the world premiere below.

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Written by Matthew Toomey

Created: 20 December 2011

If I told you to go see a certain film without knowing anything about it, would you do it?  If the answer to that question is “yes” then you can finish reading at the end of this paragraph.  I caught The Skin I Live In at the closing night celebrations of the recent Brisbane International Film Festival and it simply blew me away!  I knew nothing about the storyline beforehand and I’ve come to the conclusion that’s the best way to see it (as is the case with so many movies).

If you remain unconvinced, I will reluctantly provide a few more details with the hope that it will whet your appetite.  The plot centres on a successful plastic surgeon named Robert Ledgard (Banderas) who is developing a new type of synthetic skin that does not burn.  He has successfully trialled it using mice and believes it can revolutionise the industry.  Some of his colleagues aren’t convinced however.  They’re unsure about its practicality and whether it could actually be used on human beings.

What they don’t know is that he is already several steps ahead.  Breaching numerous laws and ethical boundaries, Ledgard has set up an operating theatre in his own home and has been testing the skin on a young woman (Anaya).  She spends most of her life locked in a spacious room on the upper floor.  Ledgard uses video cameras attached to the walls to keep a close eye on her at all times.

Who is this woman?  Why has she agreed to be treated?  What is her relationship to Ledgard?  Why must she be kept in a locked room?  With the premise firmly established, these questions will be answered in the film’s gripping second half.

There are few international directors working today who have a reputation as strong as Spaniard Pedro Almodovar.  He already has two Academy Awards on his mantelpiece – best foreign language film in1999 for All About My Mother and best original screenplay in 2002 for Talk To Her.  He has developed a reputation for being a “women’s director” and his films often focus on strong female characters.  The Skin I Live In is another great example.  Antonio Banderas is great but it’s the performance of Elena Anaya (Talk To Her, Van Helsing) that will stick with you long after you’ve left the theatre.

I like Almodovar’s description of the film as being “a horror story without screams or frights”.  Again, I don't want to give too much away but this unsettling tale is told so beautifully, so precisely.  The actions of some characters will shock you but in the back of your mind, you’ll understand their motivations.  Things are never as simple as they appear.

The end of the year is upon us and I’ve already named my top 10 movies of 2011.  The Skin I Live In sits in 4^th place on that list – behind Another Year, 127 Hours and Senna.  It’s my pick of the Boxing Day releases in Australia and trust me, it’s a film you won’t forget for a long time.

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Written by Matthew Toomey

Created: 26 December 2011

Few could argue about the success of the first Sherlock Holmes movie.  Released just over two years ago, it reeled in more than $200m in the United States and more than $25m here in Australia.  It confirmed Robert Downey Jr’s reputation as one of Hollywood’s biggest drawcards and it set in motion plans for a sequel.

This adventure begins with the increasingly eccentric Sherlock Holmes (Downey Jr) trying to unravel another complex conspiracy.  He believes that the renowned Professor Moriarty (Harris) is up to mischief but can’t figure his plan or his motivations.  Unfortunately for Holmes, his loyal partner is not at his side to help.  Dr Watson (Law) has retired from the “sleuthing business” and is ready to start a less-stressful existence with his bride-to-be (Reilly).

It turns out to be a very short retirement.  Watson is drawn back into Holmes’ crazy world after being attacked at his own impromptu buck’s party.  Holmes goes to the aid of a mysterious fortune teller (Rapace) and the trio manage to escape unscathed.  That’s not the end of it however.  They’re going to have to work together if they’re any hope of evading Moriarty’s persistent henchmen and uncovering his fiendish plot.

I wasn’t a huge fan of the original film but it was still entertaining.  I can’t say the same in this instance.  These characters have become too smart for their own good.  The never-ending banter between Robert Downey Jr and Jude Law gets tired quickly.  They speak eloquently but that doesn’t make it funny.

Also disappointing is new addition Noomi Rapace.  After wowing everyone with her performance in The Girl In The Dragon Tattoo series, why did the writers give her such a small, repressed role?  She hardly says a word!  I much preferred the spark and flair of Rachel McAdams in the first movie.  On that note, it’s nice to see McAdams make a small cameo in A Game Of Shadows – she’s easily the best thing in it.

Director Guy Ritchie has changed too much in terms of the film’s style.  The gloomy lighting and filthy streets help transport the audience to 1890s London.  Hans Zimmer’s folksy score (which earned him an Academy Award nomination two years ago) also returns and will linger in your mind as the closing credits start to roll.  I’m not sold on the slow-mo, fast-mo action sequences but hey, at least it’s trying to be different.

Sherlock Holmes: A Game Of Shadows has missed its chance to take this new franchise in a forward direction.