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Written by Matthew Toomey

Created: 01 March 2003

Set sometime in the future, the film begins with Kelvin (Clooney) getting a phone call from a friend, Gibarian, on a space station above the planet of Solaris.  He speaks cryptically of problems, says that Kelvin is the only person who will be able to understand and then asks him to join them on the station.  Space authorities had previously sent security patrols to rescue those aboard but they had not returned.

Kelvin travels to Solaris and on boarding the station, finds it eerily silent.  There’s no greeting, not a word to be heard and smearings of blood lining the floors, walls and ceilings.  He finally meets two “survivors”, Gordon (Davis) and Snow (Davies), who like Gibarian, aren’t direct about what happened.  They inform Kelvin that Gibarian committed suicide.  They also give the impression there’s no point talking about what happened because he wouldn’t believe them.  Instead, they’re going to let him see for himself.

Kelvin goes to bed that night and dreams of his late wife, Rheya (McElhone).  He recalls the time they first met and the romantic courtship that led to the marriage.  He awakes.  His wife is lying right next to him, hugging him.

No more I’m sorry.  That’s because I don’t want to spoil it and also because I didn’t really understand it.  This film deserves an award for the worst film to take popcorn to.  There is not a hell of a lot of dialogue.  There are scenes which stretch up to five minutes where not a single word is spoken.  The background music score from Cliff Martinez (which reminded me of the score he composed for Traffic) is incessantly repetitive almost to the point where it’s hypnotising the audience.  Which such silence in the theatre, it can be a very uncomfortable experience.

I love a film where things aren’t handed to you on a silver platter but these characters bored me to the point where they became unlikeable.  It’s not a thriller.  It’s a sappy love story woven against the mysteries of space.  Kelvin was dull and so was his wife.  The creepy Jeremy Davies was the only interesting character of the bunch but he’s given few scenes.

The reception for the film has been mixed.  Critics have called it everything from “thoughtful” and “astonishing” to “incoherent” and “shapeless”.  At the recent Berlin Film Festival, a journalist at a news conference for Solaris described the film has “boring”.  George Clooney, who is clearly passionate about the film (more so than his character) then gave the journalist a huge serve by saying “What a jerk!  I mean honestly, you know, what a shit thing to say!”  It seems this film is generating more interest outside the theatre rather than in it.

Details

Written by Matthew Toomey

Created: 23 February 2003

Talk To Her hasn’t followed this path.  The Spanish film has only made $5m in the States to date and few have seen it outside of its country of origin.  Regardless, word has spread of its beauty and the film has just been nominated in the very lucrative categories of best original screenplay and best director for this year’s Oscar ceremony.  Both noms belong to writer-director Pedro Almodovar who after the success of his last film, All About My Mother, is finding a platform on the world stage.

Marco (Grandinetti) works as a journalist and falls in love with a female bullfighter, Lydia (Flores).  Tragically, she is attacked by a bull in the ring and lies in a coma in hospital with severe brain damage.  Waiting by her bedside, Marco meets Benigno (Camara), a male nurse who works there.  Benigno has been hired to take care of one patient, a dancer named Alicia (Watling) who was involved in a car accident four years ago and has remained in a coma ever since.  The two form a friendship and share their respective stories but the audience will soon learn there are shocking twists in store for them and their patients.

I’m not divulging any more regarding the conclusion but Pedro Almodovar has made another superb film.  He writes rich, intricate stories that are a cut above most others.  He introduces us to Marco and Benigno by telling us their stories in different manners.  We meet Marco before Lydia’s tragedy and follow him through to the hospital.  We meet Benigno in the hospital and then reflect back on his own story and how he first met Alicia.

Stunning cinematography and a stirring film score add to this wonderful example of storytelling.  A moving drama with an ending to die for. 

Details

Written by Matthew Toomey

Created: 27 February 2003

Adapted from his autobiographical novel, Swimming Upstream tells the story of Tony Fingleton's childhood and his quest to win both swimming medals and his father's love.  Born and raised in Brisbane, Tony (played by Jesse Spencer), and his older brother, John (Tim Draxl), excelled in the swimming pool.  Their father, Harold (Rush), was oblivious to their talent as he was either working as a wharfie down at the docks, or getting blindly drunk in a pub somewhere.

On hearing from his wife, Dora (Davis), that they could swim, he suddenly developed an interest in them.  He began personally training them but not solely for their own interests.  Harold wanted to become someone and this was his chance to live a dream - he could be the father of the greatest swimmer of all time.

The Fingleton's were a broken family where arguments were common and fights usually followed.  There was an unspoken division in the family with Harold the primary cause.  He developed a favoritism with John since he offered the least resistance.  Tony was on the outer and despite developing a loving bond with his mother, was looked upon as dirt by his father.

Both John and Tony would go on to become great swimmers.  They would compete in the Queensland titles and Australian titles in the 1950s.  But Tony was battling more than just the other competitors.  His father was doing everything in his power to make sure John was the better swimmer - he was giving him secret extra training sessions, finding him media exposure, and offering the devoted encouragement that Tony wasn't allowed.

If you’re old enough, you may remember how this story ended but if not, I won’t ruin the experience.  This isn't just a sporting flick but rather a touching family drama that will stir emotions.  Geoffrey Rush's brings much hate to his character which is just what the story requires - he's a classic bad guy yet somehow realistic.  People will recognise Jesse Spencer from Neighbours and he shrugs off his “Billy Kennedy stereotype” by savouring this first opportunity to appear in a noteworthy feature film.

Shot entirely in Brisbane in late 2001, those from the area will identify some of the locations.  Director Russell Malcahy’s best scenes are those in the swimming pool with his split-screen camera technique.  I first saw the film back in September 2002 when it was screened for Australian Film Institute members.  Disappointingly, the film was overlooked in the best picture category but received worthy nominations for actors Geoffrey Rush and Judy Davis alongside a screenplay nomination for Tony Fingleton.

Following the release of Far From Heaven and The Hours, you’ve now got the chance to see three separate films set in the 1950s.  As they say, when you hang on to things long enough they come back in style.  The nifty fifties have returned. 

Details

Written by Matthew Toomey

Created: 23 February 2003

Like American Psycho, Attraction is set in the 80s and a depressingly hilarious look at campus life.  Sean Bateman (Van Der Beek) is a womanising, beer-drinking, drug-taking guy.  He never attends any classes and primes himself for the campus’s big parties.  Of late, he’s been receiving anonymous love letters is his mail box, and the intrigue having an effect on him – he’s developing an unusual feeling of “attraction” to this person even though he doesn’t know who they are.

Lauren Hynde (Sossamon) is more studious that Sean but equally messed up.  She’s developed an obsessive infatuation for Victor Johnson (Pardue), another campus party animal.  She has pictures of him on her bed-side table and is saving her virginity for him.  The trouble is, they haven’t even met.  With Victor in Europe on holidays, Lauren’s slutty flat-mate, Lara Holleran (Biel), suggests she move on and Lauren concedes there’s another guy she has an “attraction” to, Sean Bateman.

Paul Denton (Somerhalder) is a stylish bi-sexual who once dated Lauren.  Now, he has his eyes on the opposite gender but continues his aimless pursuit of falling for straight guys.  His latest “attraction” is Sean Bateman, who he senses isn’t gay, but goes for anyway.  Paul and Sean are completely incompatible people but he lives under the warped illusion they would be perfect together.

Director Roger Avary won an Academy Award in 1994 when he co-wrote Pulp Fiction with Quentin Tarantino.  As Fiction showed us, Avary has a bold, unconventional vision which makes him an ideal choice to create The Rules Of Attraction.  For instance, the film begins with a lengthy 15 minute scene which introduces the characters before the opening credits even roll.  This opening is inspired and uses an awesome mix of forward and backward motion.  Throughout, Avary is always using fresh ideas, with the best being a split-screen scene involving Van Der Beek and Sossamon.  Film aficionados will love it.

James Van Deer Beek chose the role to shrug off the stigma one gets stuck with when starring on a long-running TV series.  So too did 7^th Heaven star Jessica Biel.  Both should be proud of their performances.  Against the backdrop of this depressing messed-up characters, Avery finds humour and this is highlighted by two scenes (one in a hotel room and one in a restaurant) involving Ian Somerhalder and friend, Dick (played by Russell Sams).  There’s also an awesome 3-minute montage featuring Kip Pardue in Europe which Avary is going to expand into a full length feature later this year.

After seeing interviews with the crew and cast, this film is an attempt to break away from “safe” teen films.  That is, those teen films that are either a light-hearted romantic comedy or gross-out silly comedy.  These films have their place in movie theatres but too many of them are produced these days.  They are an unrealistic depiction of teen life and their perfection can leave many influential teenagers wondering why their lives aren’t so flawless.

The Rules Of Attraction is a more honest flick but unfortunately, the Australian censors have declared it unfit for a teen audience by rating it R.  It’s the ultimate irony.  When a guy screws a pie, it’s ok to show but if a guy rapes an unconscious girl (as in Attraction), then it’s not ok.  Beats me. 

Details

Written by Matthew Toomey

Created: 23 February 2003

The Hollywood musical is back.  Moulin Rouge unlocked the door and the genre is primed to bring back memories for generations past and be introduced to those a little younger.  Miramax Studios has had an Academy Award best picture nominee for ten consecutive years and the award-hungry company will continue the trend with Chicago having all the qualities of a sure Oscar winner.

After playing as a musical on Broadway for almost three decades, the time has arrived to tell the story to a bigger audience.  The theatrical show has been loved and adored by so many but a movie version provided unique opportunities.  It allowed every scene to be re-shot until perfected, it allowed bigger sets and real-life locations to be exploited, and most importantly, it allowed varying camera angles to bring razzle-dazzle to the whole production.  42-year-old director Rob Marshall, who has a heavy background in Broadway, has made full use of these opportunities and his direction can only be described as flawless.

There is a perfectly seamless mix between songs and spoken words.  The introductions to the songs are remarkably well timed and there are no examples of poorly timed music throwing the audience into a lull.  Songs dominate the opening two thirds of the film and once you get past the initial reluctance of having people sing rather than tell this story, you’ll appreciate the words to these songs and the way they shape the story.

If you’re unfamiliar, Velma Kelly (Zeta-Jones) is a nightclub star before being arrested for the murder of her sister and husband.  Roxie Hart (Zellweger) is a wanna-be performer who has just shot and killed her lover on discovering he had lied about getting her an act.  Both are in jail awaiting trial and the only person who can get them off is the stylish lawyer Billy Flynn (Gere) who’s never lost a case.

After working on Velma’s case and getting her great publicity, Billy performs the same media trickery for Roxie and soon she starts dominating newspaper headlines as a wrongly imprisoned sweetheart who acted in self defence.  But there’s only room on the front page for one name and Velma isn’t happy to relinquish her mantle.  Roxie is the new star.  But both plan on using the press to clear there names and will be prepared to betray each other to do it....

All the main cast members get the opportunity to sing with Zeta-Jones the standout.  Zellweger has an annoyingly high-pitched voice and whilst you may hate it, it’s perfectly suited to her character.  These musical numbers are Chicago’s heart and it’s Marshall’s direction coupled with the ideal cast that will leave your eyes glued to the screen.  It’s a completely original concept - a mix of a people acting in reality with the same people performing on Broadway - and the camera moves back and forth between the two.  Don’t ask me how this was visualised on paper but I’m sure Oscar winning writer Bill Condon (Gods & Monsters) was another big influence.

It’s looks a shoe-in to claim the coveted Academy Award and a worthy musical for the honour.  That’s Chicago.