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Written by Matthew Toomey

Created: 23 June 2015

A great biopic can generate interest in a subject matter that you’d never think about otherwise.  Before walking into this film, I knew The Beach Boys were a popular band who rose to fame once upon a time but that’s about it.  I couldn’t sing you any of their songs.  I had never heard of the name Brian Wilson.

Love & Mercy begins in the 1980s by introducing us to the middle-aged Wilson (played by John Cusack).  This isn’t a guy who is enjoying fame and fortune.  He comes across as someone who is sleepy and aloof.  Looking for a new set of wheels, he wanders into a car dealership and strikes up a conversation with one of the sales staff, Melinda (Banks).  She hands Wilson and a business card and on the back he writes three words – lonely, scared and frightened.

To help understand what led Wilson to this point, writers Oren Moverman and Michael A. Lerner slip back to the 1960s and show us how The Beach Boys came to be.  It was the release of their second album, Surfin’ U.S.A., they helped them become household names.  Unlike the other members of the group though, Wilson wasn’t interested in touring the globe and performing on stage.  He was more comfortable working behind the scenes, writing the lyrics, and crafting their distinctive instrumental sounds.

For the first half of the film, it’s these flashbacks that provide the most interesting material.  Thanks to a superb performance from Paul Dano, who plays the younger Wilson, we’re able to get inside his character’s head and appreciate his creative vision.  You’ll be amazed when you see his thought process behind Pet Sounds, ranked by Rolling Stone Magazine as the second greatest album of all time.  Wilson was an artist who did things differently.

The 1980s storyline takes more prominence in the film’s second half.  Wilson is now divorced and has been through a lengthy addiction to drugs and alcohol.  He hasn’t seen his parents and his children in years.  He’s no longer writing music and he spends most of his day in bed.  It’s clear that he’s battling depression.

The man he thinks is helping him is Eugene Landy (Giamatti), a California-based therapist who is treating Wilson 24 hours a day.  Landy is an extremely controlling individual.  At a back-yard barbeque, he shouts repeatedly at Wilson just for eating his hamburger before everyone else.  When Melinda (the car salesman) and Wilson go on a date, Landy demands a full report on the night’s events.  If this was East Germany, you’d assume he was working for the Stasi.

It’s a “truth is stranger than fiction” kind of tale.  A world-famous song writer had given up control of his well-being to a questionable psychologist.  Everyone seemed too afraid to question the situation and it went on for several years.  At first, I thought Giamatti was over playing the character (he’s that villainous) but I read a recent review with Brian Wilson where he noted that he was “scared to death” when he first saw Giamatti’s performance.

Parts of the film tend to drag a little and I’m quite sure the screenplay gets to the heart of Wilson’s relationship with his father and other members of the band.  Still, this is an enlightening true story that provides insight into the ups and downs of a one-of-a-kind individual.

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Written by Matthew Toomey

Created: 10 June 2015

If at first you don’t succeed then try again.  We all know the original dinosaur theme park (known as Jurassic Park) didn’t end so well.  Things got out of hand and a bunch of people got killed.  Oops.  Thankfully, most have forgiven and forgotten.  The island in Costa Rica has been rebuilt and rebranded as Jurassic World.  It attracts more than 20,000 visitors a day and when you throw in $7 soft drink prices, it’s easy to see why company shareholders are happy.

Sadly, those mums and dad who have invested their hard earned savings in Jurassic World are about to see the share price plummet.  The company CEO and operations manager have come to the realisation that “no one is impressed by dinosaurs anymore.”  With attendance levels stagnating, they’ve given orders to the genetics team to come up with something bigger, louder and with more teeth.

That’s where Indominus Rex enters the picture.  This corporately sponsored dinosaur has the strength of a Tyrannosaurus but with increased intelligence and self-awareness.  It’s been locked up in isolation and fed huge slabs of meat each day.  Oh, and it was actually living with another dinosaur which, instead of becoming friends with, ended up being a large meal.

So what could possibly go wrong with this situation?  The answer is obvious.  The Indominus Rex escapes and we follow a bunch of characters who are trying to make it to the end of the movie outside of its stomach.  Chris Pratt plays a resourceful ex-Navy officer who is now a dinosaur expert.  Bryce Dallas Howard plays the aforementioned operations manager who can see her career going down the drain.  Vincent D’Onofrio plays a military contractor with questionable motivations.  Nick Robinson and Ty Simpkins play two sibling teenagers who have become lost in the theme park.

It’s a mildly interesting story.  If you’re anti-capitalism and anti-genetic modification, you’re likely to go along with what the four-person writing team are trying to say.  There’s a strong scene where the CEO (Khan) berates the scientists for creating a “monster” but he is quickly reminded that everything in the profitable theme park was created in a test tube.  Should we be “playing God” and creating any kind of dinosaurs purely for our own entertainment?

These thought-provoking moments are nice but relatively short lived.  The majority of the film is spent watching the cast as they run from the dinosaurs and concoct a plan to kill them.  They’re not the brightest of characters though.  They seem to spend more time running into danger as opposed to away from it.  They also have an odd sense of humour given the gravity of the situation and the increasing body count.  Those traits I’m willing to forgive as this is a movie and it’s intended to be entertaining… although I’m puzzled by how Bryce Dallas Howard is able to run in high heels!

Credibility issues aside, Jurassic World is worth seeing for the pure spectacle.  Academy Award winning composer Michael Giacchino (Up) borrows John Williams’ iconic score from the earlier movies and it’s great to hear it again.  The sound and visual effects artists (who must have taken a big slice of the budget) have done a superb job creating these fearsome creatures.  It’s hard not to feel a shiver down your spine when the Indominus quietly sneaks up on unsuspecting characters.

The original Jurassic Park dominated the box-office in 1993 and is regarded as an iconic piece of cinema.  Jurassic World won’t quite have the same impact but it’s still an engaging blockbuster that many will enjoy.

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Written by Matthew Toomey

Created: 17 June 2015

I enjoyed the two Despicable Me movies for one major reason – Steve Carell.  He stole the show with his portrayal of a Gru – a super villain with a softer heart than you might expect.  Therein lies the problem with Minions.  It’s a spin-off prequel that focuses its attention on the short, yellow, unintelligible creatures.  They’re not as interesting.  They’re not as exciting.

The story begins with a few flashbacks to ancient times.  Minions have been on the planet since the days of the dinosaur and they’ve been causing mischief and mayhem.  Zipping forward to the 1960s, we follow three minions (Stuart, Kevin and Bob) who are trying to latch onto a new villain who they can assist.

They eventually stumble their way to Villain-Con – a huge conference in Orlando where bad guys get together each year to find new henchmen and discuss their evil plans.  The keynote speaker is Scarlett Overkill (Bullock), the world’s first female super villain and perhaps the biggest in the business.  She takes the three minions under her wing, takes them to London, and asks that they steal the Queen’s diamond-encrusted crown.

The minions are strange creatures.  Their mumbling is cute for a while but it gets tired quickly.  I couldn’t understand their motivations either.  They want to work for the most sinister people on the planet but do they really expect to be treated nicely?  How can it be a shock when Scarlett Overkill uses and abuses them?

The film’s trailers suggested that Sandra Bullock’s leading character might offer the bulk of the entertainment.  That hasn’t eventuated.  Her character isn’t given enough screen time and doesn’t offer much in the way of humour (in contrast to the lovable Gru).  It also feels like writer Brian Lynch is stretching to make this premise last 90 minutes.  The introduction is too long and there’s a bunch of unnecessary scenes involving the large army of minions in Antarctica.

There are two family orientated choices on offer over the June school holidays here in Australia.  Minions has a few decent moments and will probably win over most kids… but Inside Out is the film you should be seeing.

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Written by Matthew Toomey

Created: 07 June 2015

Matthew Parker (Fiennes) is a pharmacist who has accepted a job offer in a small, remote outback town.  He describes it as a “step backwards” in terms of career but it’s a choice he’s made for the sake of his family.  His wife, Catherine (Kidman), looks after the home and their two children, Lily (Brown) and Tommy (Hamilton), are attending the local school.

Late one night, Matthew sees his kids sneak out of the house.  He suspects they’re up to mischief but he makes the decision not to go after them.  The next morning, he gets up early for work while Catherine sleeps in.  It’s not until late that afternoon that they both realise something is amiss.  Lily and Tommy didn’t sleep in their beds and didn’t show up at school.  A few phone calls confirm a horrifying reality – no one knows where they are.

Catherine notifies the authorities and Detective David Rae (Weaving) is asked to investigate.  A number of scenarios are going through is mind.  Did Lily and Tommy go roaming into the desert and simply become lost?  Did they run away from home and are hiding somewhere?  Did they run into the wrong person and encounter foul play?  The clock is ticking and the answers are not clear.

Strangerland is a grim Australian drama that asks tough questions of its characters.  There’s a moment where Matthew, despite knowing his children are missing, goes to work to open the pharmacy.  It’s so that he can help a mother whose child is having an asthma attack.  Catherine is quick to voice her disapproval.  She can’t understand why her husband is more concerned for the welfare of someone else.  How would you react in the same situation?

We also learn there’s a reason why the Parker family are living in such an isolated community.  They’re looking to escape their troubled past and make a fresh start.  Matthew would rather keep these details from Detective Rae so that they aren’t the subject of gossip and innuendo.  Is he right to do so?  Catherine has the same concerns when she comes across Lily’s diary.  It shows a side to her daughter that she’d rather not share.

Strangerland is a strong debut feature from director Kim Farrant who has assembled a high-profile cast headlined by Academy Award winner Nicole Kidman.  The style and premise reminded me a little of Ivan Sen’s terrific Mystery Road (released back in 2013).  Composer Keefus Ciancia helps build tension with his unsettling score and cinematographer P.J. Dillon highlights the rich colours in the remote Australian landscape.  There’s a particularly impressive scene where a dust storm sweeps through town.

The screenplay starts to run out of puff in the later stages but this is still to be admired for its unflinching look at a tragic situation.

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Written by Matthew Toomey

Created: 15 June 2015

With an increasing number of animated features being released each year, it’s becoming tougher for writers to craft fresh, ground-breaking screenplays.  One guy who keeps delivering is 46-year-old Pete Docter.  He has 5 feature films to his credit and each is highly regarded by both critics and the broader public – Toy Story, Toy Story 2, Monsters Inc., WALL-E and Up.  Not a bad list, huh?

I’m not sure he’ll quite reach Black Caviar status but Docter is now 6 wins from 6 starts.  Inside Out is stunning achievement that blends creativity, humour and emotion.  I’ll be saving it a spot in my top-10 list at year’s end.

The story centres on a vibrant, impressionable 11-year-old named Riley (Dias).  Her life has been pretty great up until this point… but her world is uplifted when her parents relocate from Minnesota to California due to work.  It’s left Riley feeling alone.  She’s had to leave behind her loyal friends and ice-hockey teammates and start again in a new city.  There are other problems too.  She overhears her parents arguing one night about their financial concerns.

To illustrate the turmoil that Riley is going through, most of the film takes place inside her head!  We see a small control room that is home to five talkative characters – Joy, Sadness, Fear, Disgust and Anger.  Each day, they guide her actions, shape her personality, and store her most precious memories.

It’s a fascinating concept that is rich in detail.  There’s a hugely entertaining sequence where we go to Dream Productions – an elaborate movie studio where Riley’s dreams are created.  There are other cool locations that explore her imagination, subconscious and abstract thought.

Perhaps the most intriguing element is a place called Long Term Memory.  It’s a labyrinth of high shelves that store Riley’s memory balls.  The shelves are cleaned regularly by a maintenance team (aptly known as the Forgetters) that dispose of memories no longer required.  Oh, and you know how annoying it can be when you get a song stuck in your head?  That’s the memory workers causing their own brand of mischief.

The film’s most impressive attribute is the way it explores human emotions and the way they are so often intertwined.  We can’t always be happy.  To experience the joy of success, you need to experience and overcome the fear of failure.  On the flip side, a relationship can provide much joy but there will be an inevitable sadness if it doesn’t pan out as expected.  These are powerful messages that both kids and adults will relate to.

Many animated features utilise the voices of Hollywood stars.  That’s not the case here with Docter relying on those best known for their television work such as Amy Poehler (Parks & Recreation), Phyllis Smith (The Office) and Richard Kind (Mad About You).  They all do an amazing job bringing these characters to life.  Who knew talking emotions could be so funny?  I love the moment where Fear (voiced by Bill Hader) articulates his thoughts – “We did not die today.  I call that an unqualified success!”

Very young children may have trouble keeping up with some of the concepts but for everyone else, Inside Out is a terrific animated feature that will leave you smiling throughout (with the odd chance of tears).

You can read by interview with writer-director Pete Docter by clicking here.