There are plenty of musicals that have found their niche on stage and film like Sweeney Todd, The Wizard of Oz, The Little Shop of Horrors and yes, even Grease. However, that doesn’t stop me from cringing when I hear the word ‘musical’. For heaven’s sake, they’re meant for Broadway not Hollywood… and if you’re not examining the behind-the-scenes gravity like in Hamlet 2 or Every Little Step, then the only point of adapting to film is making the musical more accessible to those that don’t live on Broadway.

Now I’ve seen Cats live and “live” on film. While Andrew Lloyd Webber made prancing felines in a dump yard seem like high-class entertainment, it still relies on full scale dance casts, lighting and musical vibrations that are no comparison on 2D film. The only time an on screen musical compels me, is when the spontaneous eruptions of sing-song are captured in a natural manner without a player looking skyward or over the distant horizon. Referencing Chicago in Nine’s marketing campaign did not give me much confidence, it actually lowered my expectations.

Nine had a impressive line-up from the get-go: Fellini’s 8 1/2 adaptation gave the material some credibility, Rob Marshall’s Memoirs of a Geisha elevated the visual component, Daniel Day-Lewis’s presence asserted the already strong cast of leading ladies including: Nicole Kidman, Marion Cotillard, Penelope Cruz, Kate Hudson and Judi Dench. If there ever was a musical with the right tone and combination, Nine was going to be it. It was right! I was captivated by Nine, from its star line-up… performances, cinematography and art direction. This is what a film musical should be like.

Nine follows a famous film director, Guido Contini (Day-Lewis), as he tries to get to grips with his latest, pinned to be greatest, film endeavor. His personal and professional life are pulling the man apart from the seams and it seems that he has no other choice, but to confront his demons head-on. Unfortunately, this involves focusing all his dramatic attention and tension on all the leading ladies in his life: his wife, his mistress, his muse, his agent, and his mother.

The film has a terrific ensemble, who are surprisingly adept at making the transition from drama to musical. Nicole Kidman was in Moulin Rouge, but it’s the rest of the ensemble that conjure up musical talents. One could argue Day-Lewis has conquered the Oscar depiction of what a great actor is with his Oscar-winning performances and repeat nominations over the years. This genre bender gives him a chance to stretch his repertoire to include musicals and he does so with a degree of hard-earned effortlessness.

Each of his leading ladies presents a different aspect to the man and a mutual dependence evidenced in his interactions with each of them. His role shifts from son, to lover, to husband, to director, to artist and back again… wrapping him up in a whirlwind of emotion as his procrastination and state of flux come to the fore. It’s one of those self-referencing sort of films with a film within a film that only develops when Contini finds peace. He’s like Hamlet as his pondering and nostalgia soak up the run time with musical interjections conveying mood and emotion.

Rob Marshall hasn’t created a typical musical, which will disappoint a large contingent of traditional musical lovers. The sets are just as lavish, but the casting of Day-Lewis shows Nine’s intention to set drama against musical. There’s an excellent balance of the two as the art direction and choreography blends into the cinematography and drama in a romantic Italian fashion. While the relationship dynamics are fairly ambitious and scattershot, Day-Lewis still manages to keep a lid on things.

His main interaction is with Penelope Cruz, whose sultry vixen antics are given enough attention to have warranted an Oscar nomination. However, his other relationships are fragmented… giving each of the actresses limited time to create any sort of musical razzle-dazzle. The surreal element in Nine gives the whole film a quality, which moves away from the colourful, camp, glitzy surface value of other musicals. Most audiences will be torn by Nine’s tightrope balancing act as it walks the line between musical and drama.

What it lacks in warmth, it makes up for in style and while you won’t be tapping your foot to the range of musical numbers, you’ll remember this ambitious production for its panache and slick visuals… a fresh, surreal musical suitable for people that prefer musicals where they should be… live on stage.

The bottom line: Bold.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Precious: Based on the Novel ‘Push’ by Sapphire is the story of an overweight, illiterate 16-year-old girl who, pregnant with her second child enrolls at an alternate school to point her life in a new direction. The title character, Precious, played by Gabourey “Gabby” Sidibe in her debut role, leads a troubled life as a teen shackled by sexual, physical and verbal abuse. Her size, teen pregnancy and abusive mother, played to perfection by Mo’Nique, hold her back from reaching her dreams. However, she pushes on… fighting for a better life.

Precious is directed by Lee Daniels, whose directorial debut starred Mo’Nique as a character also called Precious amongst a host of other Hollywood names: Cuba Gooding Jr., Helen Mirren, Joseph Gordon-Levitt, Stephen Dorff and Macy Gray. While Shadowboxer had a more commercial edge, Daniels has managed to extract solid performances in both films with his direction more refined in Precious: Based on the Novel ‘Push’ by Sapphire.

This indie film is bolstered by knock-out character performances from Gabourey Sidibe, Mo’Nique and Paula Patton. It’s more Half Nelson than Dangeous Minds when it comes to shock value as Daniels introduces us to Precious and her Harlem existence. It’s harrowing at times and doesn’t try to paint out the kitchen sink when it comes to the hard-hitting reality, in which Precious finds herself. There’s no Hollywood filter to beautify or cover-up the ugliness surrounding Precious and Mo’Nique’s all-or-nothing performance characterises this perspective… always complex, biting and edgy.

Lee Daniels makes some interesting choices with the camera, brave enough to show the underbelly of Harlem and the gritty hard-knock-life of the slums. Precious has Ally McBeal fantasy moments from time-to-time as she tries to leave her body and escape – from red carpets to model shoots accompanied by her cool dream boyfriend. It’s a drama about improving one’s life… one step at a time, however shallow her triumphs may seem. The characters are portrayed with such gusto and their relative anonymity helps push the film onward with a sense of naked truth and unashamed reality.

There are times, where Precious feels a little emotionally manipulative as things go from bad to worse. This degradation perpetuates the downward spiral Precious finds herself in and keeps things hurtling out-of-control. Just as she starts making progress with her reading and writing, she’s put in jeopardy…  shifting from an unscripted reality to classic Hollywood formula, but retains its integrity with a rock solid team effort from the ensemble.

This is a ‘day-in-the-life’ film experience that gives you a chance to walk a mile in someone else’s shoes. The journey may not be comforting, but does make you feel grateful for your own good health and relative comfort. If an overweight, pregnant and illiterate girl can push through the sludge of life, then we have no other option but to follow her shining example… and with 6 Oscar nominations in her wake, you just can’t ignore Precious.

The bottom line: Startling.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

It’s Complicated… initially a statement describing one’s love life as being in limbo is now a Facebook relationship status and a Nancy Meyers film, starring Meryl Streep, Alec Baldwin and Steve Martin. The film has received added publicity during awards season for Streep’s Best Actress nominations and after watching the film you can see why. She’s the focus of this “I don’t wanna go there” romance and shows off yet another fantastic comedy performance after her role as the flamboyant Julia Childs in Julie & Julia. This is Streep’s film from the get-go and while she’s ably supported by both Alec Baldwin and Steve Martin and just like a good bra, she’s head and shoulders above.

There’s an air of her character from Mamma Mia as she twists out of post-divorce depression into a complicated web of hedonistic relationships… starting with a one night stand with her ex-husband (Baldwin) and bungling into a sweet relationship with her architect (Martin). Naturally there’s plenty of scope for love as marriage, divorce and dating gets their fair share of heart on the butcher’s table.

It’s Complicated, really isn’t… it’s a two-sided affair in many respects. The first half being domineered by comedy and Jane’s lasting anguish from her divorce and the new woman, to falling in “love” with Jake again. The second half is stoked with drama as Jane’s emotional roller coaster ride sees both stags suit up for the affections of Jane. The film functions much like your typical romantic comedy, bristling with laughs and excitement in the first half and tapering off to a more sobering resolution in the second half with Streep providing balance and continuity.

Nancy Meyers brought us Something’s Gotta Give and The Holiday, two well-regarded “romcoms” with a terrific ensemble. It’s Complicated is no different… instead of Diane Keaton, Jack Nicholson and Amanda Peet… it’s Meryl Streep, Alec Baldwin and Lake Bell. The stars are well-balanced, except this time it’s a take on the classic love triangle with smacks of Vicky Cristina Barcelona. If you enjoyed Something’s Gotta Give… chances are you’ll be more than satisfied with It’s Complicated. The love-in-later-life territory, coping with the modern world and trying to find equilibrium are at the centre of this romantic comedy. Meyers knows what gets laughs and her script is crisp with situational comedy.

However, when drugs enter the fray, the film drops a notch… with a 16D age restriction, one could easily be forgiven for thinking it stands for divorce, but it’s actually for drug use. The hedonism reaches a pinnacle at this point, something that Meyers made very obvious, but it doesn’t fit the tone of It’s Complicated and feels a bit forced like they were trying to squeeze out some cheap laughs. The loss of inhibition does act as a catalyst for the story’s development, but cheapens the film and diminishes all the hard work of the first half.

Two hour long “romcoms” are rare by today’s standards and the film would have benefited from a few more nips and tucks. Life is messy, but films don’t have to be and It’s Complicated just feels a little sloppy in wrapping up. They glamorize divorce and drugs in a care-free environment, but these reckless decisions eventually catch up with the characters as It’s Complicated draws to a close. Overall, the cast’s all-round performances and a funny script make this one work as an enjoyable, fun and upbeat romantic comedy.

The bottom line: Fun.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

The Lovely Bones is directed by Peter Jackson of King Kong and Lord of the Rings fame. However, this fantasy drama and thriller points to some of his earlier work. It doesn’t have the epic magnitude of his latest ventures, yet nestles itself in the realm of fantasy. The Lovely Bones tells the story of Susie Salmon, a young girl who is murdered, destined to watch over her family and her killer as she decides between the path of vengeance or healing from heaven above.

It’s based on Alice Sebold’s novel of the same title and is adapted by Fran Walsh, Phillipa Boyens and Peter Jackson. The setting is ’70s America… an age romantically thought to have been void of life’s hidden evils. No one had to lock their doors at night and stranger danger was something that happened in the movies. This was a vibrant, warm time for families as they watched their children grow up in the comfort of their white picket fence neighbourhoods… as they rode bikes and made the most of the sunshine years. However, life for the Salmons happened in a “that could never happen to us” space, one that would catapult the underlying feelings into plain sight as their daughter was whisked away by the darkness.

The Lovely Bones is divided into two dimensions… the reality of Susie in the real world, where photographs capture a moment of life and the other side, where a young girl’s imagination determines her heavenly environment. There’s very little focus on the transition as Jackson chooses to allude to Susie’s tragic murder and rape, instead of exploiting the shock value. He’s more concerned with the elemental emotions associated with this eyesore in the family photo album… the missing girl and how she would want her absence to affect those left behind. To this end… it’s reminiscent of Darren Aronofsky’s The Fountain, echoed by the casting of Rachel Weisz.

The ensemble includes: Saoirse Ronan as Susie, Mark Wahlberg as her father, Rachel Weisz as her mother, Susan Sarandon as her mother’s mother and Stanley Tucci as the killer. It’s a solid cast with noteworthy performances from Wahlberg and Tucci. Weisz fades into the backdrop with her limited screen time, while Sarandon’s “comic relief” character adds an anxious edge to the family’s bittersweet legacy. Wahlberg brings a fatherly warmth to his character, who could have easily been his character from Invincible a decade on. Tucci’s role could have been dealt with more subtlety, yet his eerie, perverted presence is integral to our disgust towards his character.

The film is imaginative, creating a Twin Peaks murder mystery with an equal mix of charm and creepiness. The heavens around Susie are reflective of her thoughts, symbolically suggesting her emotional state of being. At times, these are captured beautifully and then sometimes they just seem fake, allowing the audience to focus on the CGI instead of the story. This divides the realms successfully, but also serves to separate the film with Susie being the only real go-between. What’s more, the rules of these two dimensions is vague as Susie is able to influence situations at one point and appear completely detached at another.

The film’s visual instability forces the audience to find visual anchors in the performances, which are by and large inconsistent. The Lovely Bones has an emotive, original and fascinating perspective, which is what drives the film as it shifts between the drama, fantasy and thriller genres. The Lovely Bones is a film most audiences will desperately try to like in all its energy, emotion and ecstasy. Peter Jackson and his writing team convey the story in a visually stimulating way, yet it feels blurred at the edges and slightly redundant at times. Audiences that felt strangely connected to Laura Palmer’s murder in Twin Peaks, will have a similar rapport with Susie Salmon’s story in The Lovely Bones… despite being a few shades lighter and a few years younger.

The bottom line: Surreal.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Valentine’s Day brings some of the most bipolar emotions to the surface… yes, love is a complex thing. You can have a Valentine’s slasher like My Bloody Valentine about a bloodthirsty psycho in a mask killing teens for the sheer thrill of it or a Valentine’s slusher like the sickly sweet I Hate Valentine’s Day starring, directed, written and conceived by Hollywood’s favourite Greek (next to Zorba), Nia Vardolos. Either way, there’s bound to be carnage on the battlefield of love, whether a masked killer is trying to sever ties for good or a florist is trying to keep things raunchy without getting serious.

Thankfully for the “romcom” lovers, Valentine’s Day falls on the slusher side of the spectrum, thanks to director, Garry Marshall (Beaches, Pretty Woman and The Princess Diaries). Although in retrospect, Ashton Kutcher would make a brilliant psychopath… and an injection of Scream would only make things funnier in my opinion. Anyways… Valentine’s Day (the movie) is basically an American version of the heartwarming British triumph for “romcoms” known as Love, Actually. It certainly makes up for the miserable weather. Valentine’s Day boasts an all-star cast including: Jessica Alba (rrrrawrrr), Kathy Bates (cameo), Jessica Biel (neurotic), Bradley Cooper (unnecessary), Julia Roberts (favour?), Patrick Dempsey (the Dr.), Jamie Foxx (yeah, yeah), Jennifer Garner (typical), Topher Grace (good form), Anne Hathaway (funny), Ashton Kutcher (Mr. Moore), Queen Latifah (oh mama), George Lopez (Georgie), Shirley McClaine (die hard), Emma Roberts (cute), Taylor Lautner (wolfman) and Taylor Swift.

It’s a wonder they managed to fit them all into one film… thankfully most of them are supporting actor material, bar the miscast Julia Roberts, and they’re all used to sharing the load. This may have caused friction in some places, because we all know how difficult it is to portray a character with limited screen time. The main criticism of Valentine’s Day is that it is overly long with one too many love stories going on. There’s not enough time to really get into any of the character’s shoes and their loosely connected lives intertwine in a fairly convenient way with one or two inconsistent surprises… you’ll see.

The film is always entertaining with its vast array of beautiful celebrities and could have probably been expanded into a TV series if it weren’t for its one day of the year plot… these are the day of our lives? You really want to get into each character’s situation, a feat achieved in Love, Actually with a smaller ensemble. Although, it reflects the day for lovers in its glib commercial heartwarming frivolity and doesn’t strike the same chord as Love, Actually falling more in line with He’s Just Not That Into You.

Valentine’s Day is a light-hearted, fun and enjoyable first date material that takes a cross-section of American culture from puppy love all the way to 40 year anniversaries. It tries to represent love for all ages with hints of culture, race and sexuality filling the gaps. The ensemble manage to pull it off, although the Cooper/Roberts chemistry feels a little forced and they could have thrown the scene away if it weren’t for the star power. It’s ultimately a feel good movie… designed much like a Valentine’s card, thoughtful, colourful and fascinating, but easily forgotten until next Valentine’s Day.

The bottom line: Sweet.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Bright Star is a Jane Campion film, based on a three year romance between poet, John Keats and Fanny Brawne, starring Ben Whishaw and Abbie Cornish. Campion’s best known for The Piano and The Portrait of a Lady, averaging a film every three years. While the early ’90s could be described as her heyday, she seemed to lose some of the sparkle with more contemporary films like Holy Smoke and In The Cut.

Bright Star marks a return to classic Campion cinema with a real-life love story to rival Romeo & Juliet. John Keats passed away at the age of 25… echoing the sentiment that the brightest flames burn fastest… in this case the brightest love too. Bright Star illuminates the romance he shared with Ms Fanny Brawne, who inspired some of his best work and shared some of his last moments in love.

The cinematography is exquisite… lulling us into the poetic countryside estate where the two lovers met and guiding the film home under a Bright Star. The luscious visuals make the film’s Oscar nomination for Best Costume Design seem a bit lonely, despite the period piece accuracy. This is a beautiful film to behold and swathes the viewer in an enchanting blanket of love. The atmosphere is perfect and paves the way for fine performances from a relatively unknown cast including: Ben Whishaw, Paul Schneider and Abbie Cornish.

Whishaw’s physique contrasts quite starkly with Cornish’s and this reverses the roles in this classic romance. Fanny Brawne’s name even reiterates this point and at times the two seem a little mismatched for chemistry. While the cinematography is excellent, the story seems much bigger than the execution. The scenes are taken from one country estate and it becomes a little stagnant at times. This sluggishness is compounded by the feeling that nothing’s really happened between declaration of love and death.

There are some momentary sparks between the leads, but on the whole there appears to be more bite between Brawne and Brown, which leaves the three-year romantic engagement quite hollow in comparison. Bright Star’s melancholic disposition and drawn out pacing do become a bit tedious even for a period piece, despite Paul Schneider’s best efforts to provide the odd comic interlude as Charles Brown.

The script sets the scene and tone for Bright Star, but fails to create characters with redeeming qualities. They seem so wrapped up in their own affairs and selfish desires that they alienate themselves from the rest of the world. Now if this is what being lovesick is all about, then this reviewer’s missed the boat completely.

Watching Bright Star was about as appetizing as staring into the Mona Lisa’s eyes for half an hour in an empty gallery… beautiful and enchanting at first, but cold and tedious soon after. If you love beautiful period piece romances Bright Star may be worth viewing… but it’ll do well to make you feel for the characters.

The bottom line: Dull.

Screenplay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

An Education is the story of Jenny, a precocious teenage girl living in suburban London in 1962. This coming-of-age drama deals with her transition from schoolgirl to refined woman, as a well-to-do suitor nearly twice her age sweeps her off her feet. The education she receives is one on morality, ethics and coping in the big bad world. While the premise does open itself to teen exploitation in the league of The Babysitters, it’s tame in comparison with Lolita and is as prim and proper as an aristocrat’s tea party.

Carey Mulligan is Jenny, and steals the show with her terrific debut performance as the young, innocent yet not-so-innocent 16-year-old. Her brooding performance is composed from teenage angst and a side order of ice-cream parlor decadence as she aspires to be wiser in the ways of the world and more French of course. French music, Parisian holidays… are all a distant dream, until David (Sarsgaard) arrives on the scene.

Jenny’s father (Molina) couldn’t be more pleased that his daughter is dating a man twice her age. David’s charms are no match for her parent’s practical sensibilities, and it’s a matter of hook, line, sinker… rod and fisherman. The young gentleman knows his wines, is accommodating on curfews and generous with invitations. However, all is not as it seems on the surface of things as Jenny discovers another side to the gentleman’s pristine character and sophisticated friends.

An Education is a compelling drama based on the memoir of Lynn Barber, which shows Jenny as she learns life lessons at home, at school and even in love. Carey Mulligan’s performance holds the film together, with a fine supporting cast in the charming Peter Sarsgaard, the cost-efficient Alfred Molina, the ditzy Rosamund Pike, the worldly Dominic Cooper and the watchful Olivia Williams. It’s a terrific ensemble of actors, who give Mulligan a platform to shine.

Danish director, Lone Scherfiq, weaves her magic into the intensity of the drama as the cast play off one another. The adaptation roots itself in Barber’s memoir and the story is engaging, because it mimics the ebb-and-flow of reality without pushing the audience too far. An Education is almost in the same class of History Boys, Notes on a Scandal and American Beauty. The film really immerses you in the ’60s with the sets, music, fashion and Zeitgeist on the cusp of a social revolution, reflective of Jenny’s frame of mind.

The bottom line: Engaging.

ScreenPlay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Skin is the extraordinary true story of Sandra Laing, a “coloured” girl, born to white parents in 1950’s Apartheid South Africa. It’s a fascinating story about a woman trying to forge her way into South African culture, going against the grain because of her skin colour and racial classification. This has got to be one of the most interesting lives to have witnessed during the struggle, as Sandra essentially bridged the divide between white and black South Africans. She spent her childhood, being teased behind her back and was discriminated against by her peers and teachers. Growing up wasn’t any easier, as the rebellious young Sandra fell in love with one of her father’s fresh produce suppliers, opting for a life of love rather than comfort… trying to find solace in the township with her new husband.

Sophie Okonedo (The Secret Lives of Bees) adopts the character of Sandra as a teenager and young adult, making an easy transition from the ages of 16 to her 40s. Her performance shows a willful young woman, undeterred by her father’s shame, resilient against perception and determined to live life to the full. Sam Neill plays Abraham Laing with a good understanding of the old South Africa and enough vindication to play the complex hard-hearted man. Both international stars manage to get a grasp on the South African accent, without tripping over it. Homegrown talent, Alice Krige owns the part of Sannie Laing, balancing her character’s indecision, denial and feeling of entrapment on a knife’s edge as she passes through life, caring from a distance. While Tony Kgoroge plays a strong supporting role as Petrus, who wins Sandra’s heart over.

Skin is a film of conflicts. The situational conflict is the most obvious thematic contrast with the Apartheid era segregation and profiling all South Africans with laws instituted to keep race and culture divided. Then Sandra’s own father’s struggle to have her officially acknowledged as being white, drives a wedge between the family with her mother trying to remain neutral. Sandra’s story derives power from injustice and great divides, which leave emotional trenches and an intriguing character study in their wake.

Skin is one of those films that eventually had to be made, and Antony Fabian has done wonders in relaying Sandra’s distinctly South African story to an international audience. The sensitive direction, casting and scriptwriting keep the story in check without stumbling into melodrama or stereotypical exaggeration. Skin paints an honest picture of the South Africa Sandra experienced, without having to pluck heart strings and cue violins. Sandra survived her childhood and the Apartheid regime with her head held high and part of the inspiration from this story is just how courageous she was in combating race and classification in all her years.

This is a film that encapsulates the painful legacy of Apartheid in one woman’s struggle. It attempts to tell a uniquely South African story representing both sides and for the most part succeeds. The solid performances from the lead trio anchor the extraordinary story in real-life and Fabian’s honest approach to story-telling drives the narrative along. It’s an engaging and educative film for audiences who aren’t familiar with South African history and an inspiration for people who feel that they are in a constant battle to stay relevant within an ever-changing society. Skin may not be as gripping as many other biographical films in its class, but it certainly holds up as a satisfactory film experience.

The bottom line: Honest.

ScreenPlay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Brothers is a Jim Sheridan film, starring Jake Gyllenhaal, Tobey Maguire and Natalie Portman. Sheridan’s film career highlights include: My Left Foot and In The Name of the Father, in which he received Oscar nominations for writing and directing. Two films in which prolific Oscar-winning actor, Daniel Day-Lewis stars. However, Brothers is not a Day-Lewis Oscar vehicle and the screenplay is adapted by acclaimed screenwriter David Benioff.

Brothers was inspired by Brødre, a 2004 film by award-winning Danish writer-director, Susanne Bier. The story is about two brothers, Sam (Maguire) is serving his country in Afghanistan and Tommy (Gyllenhaal) is serving parole after a prison sentence. When Sam is left for dead after a helicopter crash, Tommy naturally steps in to comfort Sam’s wife, Grace (Portman) and her two girls in their mourning. However, when Sam returns to suburbia, the ravages of war and his jealousy over Uncle Tommy’s new place in the family seem set to rip the family apart.

Brothers makes a compelling drama with some intense scenes involving the classic lover’s triangle. The film is reminiscent of In The Valley of Elah in the spirit of the performances and the re-integration of marines into white picket fence society. It’s a hard-hitting thriller, which creates tension in the gray area surrounding a family member’s passing and the responsibility of those around them. Brothers is an adult film, which cleverly juxtaposes Gyllenhaal and Maguire, who were both competing for the role of Spider-Man at one stage, giving them a natural competitiveness and a familiarity, which feeds into a sense of history and family.

The performances are the main reason to see Brothers. The lead trio have really matured over the years and Brothers represents a new generation of adult actors, who are all refining their talents and crossing over from portraying 20-somethings to 30-somethings. The intensity behind the drama, the plot dynamic and the first-rate performances carry Brothers, despite the loose narrative. It’s the interactions between the lead trio of Gyllenhaal, Maguire and Portman that bait the audience and propel the film. Sheridan has directed Daniel Day-Lewis to several Oscar nominations (and wins) and he enables the actors to bring their ‘A” game here.

Brothers may not be as well-stitched as Susanne Bier’s original, but it certainly holds up as a thrilling and engaging piece of entertainment. It’s the sort of film that sits on the line, appealing to commercial audiences with its young name cast, while reaching over into the art house sphere with terrific performances and dark adult themes. Brothers will appeal to audiences that enjoyed the emotional intensity in The Kite Runner, the dramatic tension in Atonement and the compelling and topical nature of In The Valley of Elah. It’s a heavy drama that will most likely sap your energy, so be prepared for turmoil in the league of 21 Grams and Reservation Road.

The bottom line: Intense.

ScreenPlay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za

Where The Wild Things Are is an honest, heartfelt film adaptation of Maurice Sendak’s 1963 childrens book by legendary director, Spike Jonze. The film has been in production since the 1980s, when it was originally envisaged as an animated feature. After several stop-starts, it eventually ended up in the hands of Spike Jonze as a live-action adaptation, a director who Sendak described as young and interesting. Instead of bowing down to his Hollywood parents, Jonze throws a tantrum of his own… creating a dark, abstract yet beautiful film of his own. However, it’s strengths are also its weaknesses… as the film bodes inappropriate for children, insubstantial for adults and overly long in its interpretation.

The story follows troubled young Max (Records), a 10-year-old who is sent to bed without supper when his self-centred performance in a wolf-suit embarrasses his mother (Keener) in front of her boyfriend. Max’s dreams take him to an island on a small boat, where he convinces several “things” that he is more powerful than them. His adventure turns from cheeky fun to danger as some of the wilder “things” begin to realise he’s just a boy.

The adults that have been exposed to the book, whether as parents or children themselves are Where The Wild Things Are’s prime audience. For some, it’s a nostalgic return to childhood’s ambivalent freedoms in an imaginative retelling, loosely based on the book. For others, it’s an abstract interpretation of the book with a flimsy narrative, which should have been presented as an animated feature or a short film at best. This reviewer is more inclined to agree with the latter.

As creative and heartfelt as Where The Wilds Things Are is, it’s a film that overstays its welcome. The mixture of costumes, animatronics and CGI gives life to the imaginative creatures, keeping a strong bond between their off-the-page 2D and on-screen 3D forms. The voice cast do an excellent job, young Max Records is totally convincing as “King” Max… but the ten sentence short story doesn’t have enough content to survive its feature run time. It’s fascinating to see Max dealing with the creatures as he would with people in his own life, but the whole exercise becomes too simplistic for adults and too nightmarish for children.

The film can be commended for being so ambitious, fresh and original, but despite Jonze’s best efforts to integrate his own childhood experiences and emotions, it requires a steadier tone. The child-like actions and reactions in response to dealing with anger are true to form and the film starts with a furious energy as we’re introduced to Max, something they probably could have dwelled on longer or more intermittently in retrospect. However, these realities are diluted by the imaginative expedition to the Where The Wild Things Are.

Despite all its shortcomings, it’s difficult to imagine a better live-action take on this adaptation, so we’re forced to return to the original ten sentence story, which was never meant to be transformed into a live-action film. The visual effects become monotonous after a while, the characters are too wild to connect with and the space between no supper and a hot supper is just too long to keep one’s undivided attention. Picture book – yes, music video – yes… full-length live-action feature film – sadly, no.

The bottom line: Stretched.

ScreenPlay with Spling
Stephen ‘Spling’ Aspeling
www.spling.co.za