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Written by Matthew Toomey

Created: 01 August 2002

Introduced to a divorced woman with a young child, Will has a revelation.  Not that there’s more to life than just himself, but that single mums are a market he hasn’t explored.  So he goes to a meeting where single parents can talk about their problems.  Of course Nick doesn’t have a child so he makes one up to win a date with one of the women he meets.

It backfires of course but from within the group, he meets a 12-year-old named Marcus (Hoult) and his mother Fiona (Collette).  Fiona is suffering from massive depression and unsuccessfully tries to take her own life.  Being bullied at school and with nowhere else to turn, Marcus turns up at Will’s door and starts hanging out with him in his bachelor pad.  Will wants no part of it but Marcus insistence sees them become best buds.  Both have their troubles but together are finding an unspoken comfort in each other.

Not long after, Will meets Rachel (Weisz) at a New Year’s Eve party and after a couple of dates, a relationship starts building.  Will’s world is changing way too quickly and he’s struggling to come to grips with it all.  It’s been a one-man ensemble for so long.  Is he prepared to break his long standing routine and give in to the feelings he’s long surpressed?

In recent cinema, we go through phases where writers gain sudden notoriety.  In the early 1990s, everyone was obsessed with John Grisham and his crime stories such as The Firm, The Client and A Time To Kill.  Then, Jane Austin was all the rage with her elegantly crafted love tales including Sense And Sensibility, Emma and Mansfield Park.  Now, English writer Nick Hornby has arrived with his fresh comedic wit lacing the screen in Fever Pitch, High Fidelity and now About A Boy.

The trouble with any book adaptation is that it’s not a matter of what to include in the story but rather what to leave out.  Unfortunately, some parts of the story are glazed over but the essence of Will’s coming of age still comes through.  A surprising choice to adapt an English tale, American directors Paul and Chris Weitz (American Pie) make this a great follow up to their original smash hit.  Both films epitomise the importance of life and the importance of friendship.

Impossible to dislike, it’s a perfect feel good movie with a realistic feel.  There are times when we all wish we could be independent like Will but as he learns, and we’ve learnt too, it’s not a permanent lifestyle.  Many people see Hugh Grant as a one-dimensional fluffy actor but he’s the right person to tell this story About A Boy.  The most difficult role belonged to youngster Nicholas Hoult who has certainly made his first impressions count.

There’s nothing better than popping along with some friends, kicking back with a bucket of popcorn and appreciating a movie without once having to glance at your watch.  It’s also great to see someone on screening going through the dramas and learning the lessons that we can all relate too.  And it’s true - life is always better when you let other people in.

Details

Written by Matthew Toomey

Created: 18 July 2002

If interested, the plot is as follows.  Ali G currently runs his own school for young kids and teaches them the ways of the world and how to “keep it real” - it’s like the boy scouts only with foul language and other adult themes.  When the government cuts off funding, Ali G begins a protest by chaining himself to a fence outside the office of the local government member.  Unfortunately, a rival gang makes fun of Ali and pulls down his pants before a blind council worker comes along and mistakenly cleans his “member” thinking it is a pole that needs cleaning.  Now do you understand the level of humour?

Anyway, this incident is seen by the deputy prime minister watching from across the street.  With an upcoming by-election, the prime minister has decided that with a dwindling vote, they need to find someone in touch with the youth of today to represent them at the election.  But the deputy intends to use this suggestion to his advantage.  Ali G will be perfect as he will disgrace the party, have the prime minister resign in shame and then as deputy, he will be promoted to the top job.

Of course it all goes wrong.  Ali G becomes a huge smash with the public and transforms parliament with his political incorrectness.  Did you expect anything else?

It’s just bland, uninspired comedy.   I chuckled a couple of times but the complete lack of intelligence wears thin very quickly.  Some more examples perhaps?  Ali G receives fellatio from his dog.  He pulls down the pants of the queen.  He has sex in the prime minister’s bedroom.  Let’s not forget the numerous homosexual gags and references that are thrown in.

He may be controversial but he doesn’t have enough material for a 90 minute feature.  Comedy is different for everyone though - there were people who liked Tom Green in Freddie Got Fingered despite the fact I thought it was a piece of trash.  Maybe there are similar people out there who like Ali G?  If you do, save me the trouble of an argument and keep it to yourself.

Details

Written by Matthew Toomey

Created: 25 July 2002

In the United States, Roadkill was released nine months ago under a different title - Joy Ride.  After a lukewarm reception, 20th Century Fox delayed the Australian release and somehow thinks the new title will dramatically increase its Australian box-office.  Um, ok?  With the DVD already released overseas, I’m curious as to why it contains four alternative endings.  How can you write a film and then not know how to end it?

At college in California, Lewis (Walker) is about to spend his summer holidays overseas but gets a call from an old friend, Venna (Sobieski), who’s just split from her boyfriend.  He’s always had a huge crush on her so he cashes in his plane ticket, buys a cheap car and tells her he’ll pick her up from Colorado on the way home to New Jersey.  A slight detour in Salt Lake City is required when he has to pick up his brother, Fuller (Zahn), fresh from an overnight stop in jail.

On the road to meet Venna, they purchase an old CB radio to have some fun.  Lewis puts on a female voice, pretends to be a vixen named Candy Cane and attracts the attention of a truck driver named Rusty Nail.  To keep the game going, Lewis tells him to meet at midnight in room 17 of the Lone Star Motel.  Of course, he and Fuller are staying in room 18 and there’s a cranky old guy in the room next door they want to play with.

The joke soon becomes a nightmare.  Awoken by the sounds of sirens, the learn the guy staying next door was brutally beaten with his jaw being ripped clean off.  After questioning from police, Lewis and Fuller flee as fast as they can but they’re been followed - Rusty Nail is still on the CB radio and somehow knows their every move.  It’s time to start worrying about saving their own lives...

Aside from the weak ending, Roadkill is a joy ride.  It’s extremely well made by director John Dahl  (Rounders) thanks to precision cinematography.  The thrill factor is high with exciting chase scenes, lots of intense close ups, and some cool neon lighting at the hotel locations.  It’s a cut above the usual teen thriller.

Steve Zahn is the standout of the performers.  I’m used to his comedic tone but you can see the fear in his eyes during the later stages of the film.  With Paul Walker, they talk like two regular guys and act as any person would in their situation.  They’re not superheros who always seems to make the right moves - they’re definitely on the back foot and the keep making simple mistakes thanks to the fear that clouds their judgment.

I’m looking forward to buying the DVD just to see if the other three endings offer an improvement.  The one selected to accompany the final cut was chosen after members of the public were chosen to watch test screenings in America.  This is the same public who reward films like Men In Black 2 and Scooby-Doo with massive grosses and then talk about how great they are.  Hmm....

Details

Written by Matthew Toomey

Created: 11 July 2002

This is a story about friendship.  Four guys who have grown up together, done it all and are now in the final years of their lives.  All from a quiet English town, they’ve been married (some happily and some not), fought in wars and slaved away to make a living.  But through thick and thin, they’ve always been there for each other and always had time to share a pint after work at the local pub.

Time finally catches up with one of them and Jack (Caine) learns he hasn’t long and soon passes away.  As his last orders, he’s asked for his ashes to be spread from the pier of a seaside town where he spent his honeymoon with wife Amy (Mirren) almost 50 years ago.  So Lucky (Hoskins), Lenny (Hemmings) and Vic (Courtenay) along with Jack’s son, Vince (Winstone) take an afternoon off and head to Margate to fulfil Jack’s final wish.

Along the way, each reflects back on precious memories and defining moments from their time with Jack.  Like the loss of any loved one, the reflection is mixed with feelings of the joy that Jack provided and the sadness that his warm personality will never again be felt.  The film is based on the lengthy Booker Prize winning novel by Graham Swift and yet Schepisi beautifully compresses 40 years worth of memories into a two hour film.

The film really is an amazing achievement.  Just look at the performances - all flawless.  It’s a who’s who of British actors.  Michael Caine, Tom Courtney, David Hemmings, Bob Hoskins and Helen Mirren have all been appearing in cinema since the 1960s and they’ve mastered the craft.  Like their characters, they’re all in the twilight of their careers and are making sure their final impressions count.  They interact perfectly on screen with their seemingly casual improvised style.  It’s like you’re just watching a bunch of people talk in real life - there’s no Hollywood foreplay or cheesy dialogue.

The journey never tires.  The finale is perfect and doesn’t drag out nor milk our sentiments.  Tears will be shed but they’ll have been building up since the opening minutes.  There’s a subtle film score from Aussie Paul Grabowsky (Siam Sunset) and the sleepy English setting is immaculately captured by cinematographer Brian Tufano (Billy Elliot).

In recent years, there’s been a trend of British films succumbing to America’s commercial stylings.  In the last seven days, we’ve seen two vastly different examples of English filmmakers returning to what they do best - telling a great story.  Both Bend It Like Beckham and Last Orders are reasons why cinemagoers should ignore the marketing blitz surrounding blockbusters like Men In Black 2 and Scooby-Doo.  Great films are out there if you’re willing to open your eyes.

Details

Written by Matthew Toomey

Created: 25 July 2002

Christina (Diaz), Courtney (Applegate) and Jane (Blair) are successful young women living together in a fantastic apartment.  They love going out and teasing guys with their beauty.  But there’s a lack of commitment from them.  They have the power to get any guy they want but have broken away from many relationships for fear of getting too close.

Christina meets Peter (Jane) at a nightclub and they sense an instant connection.  Peter’s there celebrating his brother’s buck’s party and tells Christina to meet him back at the hotel room they’ve rented if she’s interested in hooking up.  As is always the case, she ums and arrs, decides not to and then regrets it later.  But she remembers that the wedding was being held in a nearby town called Sommerset and so she heads with Courtney on a quick road trip to find this man of her dreams and give it a go.

Don’t be fooled into thinking this film has something to say.  The above premise disguising the childish jokes that borrow heavily from films such as There’s Something About Mary and American Pie.  It’s directed by Roger Kimble who knows a thing or too about a racy flick having made the popular Cruel Intentions but this lacks the saucy sensuality of his first film.  These jokes are cheap.

There are a couple of redeeming scenes.  Midway during the film, Diaz and Applegate do a “movie montage” when whilst in a dress shop, wear some hilarious outfits made famous by films including Dumb & Dumber and Pretty Woman.  Even I had to laugh at that but as it’s the only gag worth talking about, you’re betting off renting the film on video and pressing the fast forward button for the rest of it.

With dialogue reminiscent of episodes from Sex And The City, the 90% female audience in my cinema shows who pretty clearly who the target market is.  Those guys that do show up won’t be doing so for the story - the numerous cleavage shots of all the female cast members will be enough to keep their eyes open.  Regardless of your sex, my advice is to give it a miss and find something else to do.