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Written by Matthew Toomey

Created: 06 April 2003

Dreamcatcher is a horribly confusing thriller which is always off balance and rarely making sense.  Four guys in their early 30s, Henry (Jane), Jonesy (Lewis), Pete (Olyphant) and Beaver (Lee) are on a hunting holiday out in the snow covered woods.  All of them can read other people’s minds.  On this point, the reason how they can do so isn’t clarified until well into the film and even then I wasn’t satisfied.

Anyway, with Henry and Pete out in the car, Jonesy and Beaver come across an injured man in the woods.  He’s suffering from mild hyperthermia, has a nasty red rash and an extremely bad case of gas.  They leave him to rest in the bedroom before joking about his situation between themselves.  Outside the window, they see hundreds of animals fleeing the area.  Exactly what are they running away from?

Mmm, should I tell you?  In the interests of giving the film a chance for those who do want to see it, I better not.  The script degenerates into a jumbled mess.  There are flashbacks to try to explain the past but seems to glaze over important details.  In the current time frame, Morgan Freeman and Tom Sizemore enter the picture as an important character but I cannot believe how small and underdeveloped their roles were.

The flick is adapted from a novel by thriller guru Stephen King.  Over 60 films have been made from King novels but Dreamcatcher is far from his finest works including The Shawshank Redemption, Misery and The Shining.  I haven’t read the novel but I assure you it must be better than the book.  As is always the case, there’s more room in a novel to explore details and it’s the lack of these details which gave this cinematic interpretation no chance of success.

Take a pillow also because it clocks in well over the two hour mark and there’s a fair chance you’ll be dozing during the later stages.  Director Lawrence Kasdan (The Big Chill, The Accidental Tourist) doesn’t extend himself and seems content to churn out this mediocre product filled with lame editing and plot inconsistencies.  The only plus are the visual effects which were created from a team led by Stefen Fangmeier (Twister, The Perfect Storm).

To insert my traditional lame joke, this film certainly wasn’t capturing any my dreams in what I’d like to see in a motion picture.  I only hope it doesn’t give me nightmares.

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Written by Matthew Toomey

Created: 01 April 2003

Action without substance – as much as I’d like 2, I just can’t get excited about a film like Cradle 2 The Grave.  It’s directed by Polish-born Andrzej Bartkowiak who three years ago, made a similar film starring Jet Li, Romeo Must Die.  The only other film Bartkowiak has made was last year’s Exit Wounds with Steven Seagal.  Here’s a guy who isn’t going 2 be winning any critical acclaim but has found himself a small action niche 2 focus his attention and specialise his craft.

There’ll be more such films 2 come in the resume of Andrzej Bartkowiak because Cradle 2 The Grave debuted on top of the box-office chart in its opening week in the United States.  We can’t always sit through emotional heartbreaking dramas and the success of Cradle is validation that unrealistic action films are a permanent and necessary feature of cinema.

Here, Tony Fait (DMX) and his crew orchestrate a huge diamond heist.  The authorities however receive a tip-off from an undercover Taiwanese agent, Su (Li) and Tony and his crew lose most of their loot in fleeing the scene.  The only item they retain is a bag of “black diamonds” and unsure of their value, they turn 2 friend Archie (Arnold) 2 suss out the market place.  Within 24 hours, Archie’s place is ransacked, the diamonds stolen and Tony is back where he started.  But it gets worse when a mysterious gang kidnaps Tony’s daughter and demands the diamonds for her safe return.  Of course, he no longer has them.

The agent Su reveals himself and he and Tony form an unlikely partnership.  The guy with the goods is Ling (Dacascos) and the content of these “diamonds” are not only valuable but dangerous – the world is in jeopardy.  Su and Tony need 2 stop Ling before it’s 2 late.  Yawn…

I’m not directly criticising the plot but it’s just so typical and unadventurous.  As for the action, it’s also unrealistic.  There are many marital arts scenes but it’s so obvious people are suspended from invisible ropes.  How else can people jump so high?  How else can people suspend themselves for so long in the air?  How else can people do so many somersaults and back flips?  It’s becoming oh so boring and it’s time 2 lose this silly novelty.  Another common action flaw is followed here – fast editing.  The camera is chopping and changing and it makes it look fake and difficult 2 follow.  Of course, this is done so we don’t tweak 2 the fact stunt doubles are being used. 

I’m not sure about that title either.  I think it’s trying 2 be cool with the use of the number 2 instead of the word but that’s the only reason I can think of.  What about a sequel called Cradle 2 The Grave 2?  Woah, I’m freaking out here.  At least this train of thought is providing more stimuli 2 my brain than the film itself.

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Written by Matthew Toomey

Created: 03 April 2003

We begin in the early hours of the morning with Barry Egan (Sandler) arriving at the dingy warehouse from which he runs his own business.  With a small number of ethnic employees, he produces and sells novelty toilet plungers with the foolhardy belief his business is successful.  With his mug of coffee, he walks out onto the deserted dawn street to see a passing car flip out of control and a courier van deliver a harmonia on the sidewalk.  This insane opening shouldn’t be as surprising for those who have learnt the lessons of strange chance and coincidence that Anderson taught us all in Magnolia.

Barry has a shy, awkward demeanour but unexpectedly, a darker side is revealed at a dinner party hosted by his seven sisters.  They jokingly, yet purposely, make fun of Barry and remind him of how they called him “gay boy” as a kid and recall the time he deliberately shattered a window with a hammer.  Before sitting down to the dinner table, Barry explodes in a fit of rage and smashes in a series of glass doors.  This guy has suddenly become more intriguing…

Lonely one night, he calls a phone sex line.  Connected to a 5’8” blonde named Georgia, he is duped into handing over his credit card details, address and telephone number.  The following morning, Barry is contacted by Georgia who threatens to blackmail him if he doesn’t hand over $750.  Barry’s sympathetic but not stupid and hangs up.  Soon, she’s calling him at work and threatening that “you’ve just made a war for yourself which you can’t afford.”

Amid these dramas, Barry meets a girl.  Lena Leonard (Watson) is smitten with Barry and begins a sly campaign to win his affections.  Lena has a passion for travelling and in planning a trip to Hawaii, hopes Barry will come with her.  He’s never had a girlfriend before and is reluctantly tentative towards her invitation.  Struggling financially, he finds a loophole in a marketing campaign where frequent flyer miles are obtained from purchasing certain brands of pudding.  $3,000 worth of pudding would give him over a million miles of free air travel.  Surely then, he’d be able to start travelling with Lena.

It’s an insane multi-layered black comedy that is supported largely by star Adam Sandler.  His character doesn’t fit a cinematic stereotype and he’s fascinating to watch.  For the first time in his lengthy career, he creates a character with depth.  You’re likely to find yourself studying his unusual mannerisms in the hope of understanding him.  The adorably sweet Emily Watson is superb opposite Sandler and wonderful cameos come from Anderson regulars Philip Seymour Hoffman and Luis Guzman.

Punch Drunk Love was a challenge to Anderson in that it’s the exact opposite of what people would expect.  He’s followed the deeply moving three-hour epic which was Magnolia, with a quirky romantic comedy clocking in at just 95 minutes and starring a critically ridiculed actor.  At just 33 years of age, it seems there’s no challenge too daunting or no risk too high.

His distinctive style is wonderfully evident here.  There’s a film score from Jon Brion which mixes classical romance with modern beats and rhythms.  Anderson’s camera is constantly on the move giving an enhanced sense of the surroundings and maintaining the lightening pace.  The lighting and colours of the film are perhaps the most striking aspect – there’s a mix of both light and dark scenes with deliberate flecks of colour finding their way onto the lens.  Visually, it’s the most creative film in recent memory.

If you haven’t had a chance to experience the talent of Paul Thomas Anderson, now’s the opportune time to jump aboard the accelerating bandwagon.  People like Anderson don’t just entertain.  They inspire.

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Written by Matthew Toomey

Created: 30 March 2003

As I learnt as part of the primary school curriculum, Kelly was born in Victoria 1854.  Growing up, he saved the life of a drowning boy and was presented by the boy’s parents with a green silk sash.  The death of his father in 1867 resulted in Ned leaving school and finding work in the bush to support the family.  The police were not kind to the Kelly clan who were equally resentful.  In 1871, Ned was sentenced to gaol for being given a stolen horse by a friend.

Released in 1874, his relationship with the authorities had not improved.  Some horses had been stolen and sold in New South Wales and an officer by the name of Alexander Fitzpatrick turned up at the Kelly property to question Ned and his younger brother Dan.  With Ned not home, Fitzpatrick waited and made a pass at Ned and Dan’s sister, Kate.  A fight then broke out, and Fitzpatrick accidentally shot himself.  Back at the station, he claimed Ned had shot him and hence the trouble began.

Ned and Dan fled to evaded police but soon learned their mother had been charged and sentenced to three years herself for assisting in the murder.  Ned sought revenge and began a long campaign against the police.  Robbing banks to fund his activities, the Kelly gang found notoriety in the papers but were loathed by the authorities who soon offered a massive reward.  A massive man hunt began and he was finally caught in a massive shootout at Glenrowan in 1880.

Gregor Jordan, the director of the AFI award winning Two Hands, seems overwhelmed by the subject material and shows snippets of Ned’s life which don’t give the story a flowing feeling.  He includes many unnecessary references to Australian flora and fauna which I can only assume are to help overseas viewers appreciate our country.  I guess he overlooked the important point that it adds zero to the story.

The music from Klaus Badelt is extraordinarily bad and doesn’t suit the film’s style at all.  It looks like a small independent Australian film and yet the score would be more appropriate in a multi-million dollar action blockbuster.  Speaking of appropriateness, where did they find these supporting actors?  Stars Heath Ledger (who needs a good role soon or else) and Orlando Bloom are bearable but as for the remainder… yeesh!  At one point there’s a kid who sees Ned riding in a horse and cries out “look, it’s Ned Kelly!”  If you’ve seen it, you’ll understand just how hammy many of the lines are.

Also note that this is an “interpretation” and shouldn’t be declared as hard truth.  It is very one-sided towards Ned and whilst I’m sure he was harshly treated, the film includes few references to the bad things he did and the innocent people who were killed.  Don’t be too quick in swallowing the story.

For such a renowned Australian icon, you’d think the film would be more exciting.  I was bored stupid and completely uncaring towards these folk.  I fear many others both at home and abroad will be united on this opinion.  I just hope they don’t subject those influential primary school kids to this nonsense when teaching the Kelly legend in the future.

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Written by Matthew Toomey

Created: 02 April 2003

Banned from school, Liam’s life consists largely of hanging around with his older sister, Chantelle (Fulton), who is now a single mother, and his best friend Pinball (Ruane).  All their lives are heading nowhere but the platform they were all given by the parents gave them almost no hope to begin with.

With his sixteenth birthday approaching, Liam yearns to create the loving family setting he’s always dreamed of.  There’s a small caravan with a seaside view on the market for 6,000 pounds.  If he could find the money to make this purchase, it would impress his mother, she would move in with both him and his sister, dump the abusive husband, and all would be perfect for the first time.

With the best intentions, Liam turns to the drug industry to fund his purchase.  He initially steals drugs from his father to sell on the open market but impressed by the eagerness of this kid, a big-time drug lord asks Liam to join his “organisation”.  The financial troubles are soon solved but his new employment and the release of his mother brings new problems for which the unsuspecting Liam is not prepared for.

Over the past few weeks, there’s been a wave of films released which first premiered at the Cannes Film Festival.  The Pianist won the top prize with Punch-Drunk Love winning best director.  Sweet Sixteen took home the best screenplay award and appears worthy of the honour.  There’s a noticeable lack of stereotypes and predictable plot developments.  Liam is a good decent kid but some of the ill-informed decisions he makes will leave you squirming with discomfort.  The ending is surprising but not because it’s unrealistic, but rather because it is.  Few films dig so deeply as this by Ken Loach.

Filmed in Glasgow, the thick Scottish accents will be too much for any viewer.  Thankfully, subtitles are provided just as they were for Loach’s last film, My Name Is Joe.  Interestingly, both Joe and Sweet Sixteen debuted here at the Brisbane International Film Festival and both made the top ten list as voted by the audience.  Loach is a strong filmmaker who is taking his own slice of home and exposing it to the world.