in-cep-tion [in-sep-shuh n]
noun – beginning; start; commencement.

When Christopher Nolan releases a movie the world stops and takes notice… The director started making films when he was just seven-years-old and 33 years down the line he’s still doing what he loves with only several feature length films to date. A short filmography by Hollywood standards, but when you consider Stanley Kubrick only made 16 films in 5 decades it puts Nolan’s career in perspective. Just like Kubrick, Nolan’s films carry some serious weight, in substance and in return. Unlike Kubrick, Nolan’s films have managed to bridge the great divide… conjoining the big budget allure of a traditional blockbuster with the finesse of an art house production.

With such titles as Insomnia, Memento, The Prestige, Batman Begins, The Dark Knight and now Inception under his belt it seems as though he can’t go wrong with his dark surge of films that just seem to get better-and-better. Nolan’s been attached to the new dawn of Batman in a scourge of films that literally tear previous efforts apart with a realistic depiction of superheroes. The comic book heroes of the ’50s have gravitated from tongue-in-cheek fantasy to epic crime sagas in the hands of Nolan. His dark, titanic and revolutionary films have raised the bar when it comes to film-making in the genres of crime and fantasy.

Inception is Nolan’s first wholly original film since Following with a script that took 8 years to complete. The story follows Dom Cobb (DiCaprio), who enlists a dream team and sleep technology to enable him to enter the subconscious of the unsuspecting and steal their thoughts. When he is commissioned with inception, the arduous task of planting a thought in someone’s mind, he inadvertently agrees to change the course of history. His special ops crew are met with unexpected resistance as ghosts of the past resurface and security measures ratchet up a notch in a do-or-die mission.

The first thing you’ll notice about Inception is the quality of production, from its powerful soundtrack and special effects to the big name cast. Inception is a Matrix within a matrix, comparable with the 1999 Sci-Fi classic for its title, paradigm-shifting scenario, stylistic elements, action-packed agenda and co-dependent relationship with CGI. The dream/reality pendulum swings back-and-forth from one world to the next as one reality is substituted by another. The result is unsettling as one is seamlessly cast from a dream state environment back to reality with only a keepsake able to differentiate the two.

The cast is led by Leonardo DiCaprio, who has become hot property in Hollywood with a growing list of solid-to-excellent performances since Gangs of New York in 2002. DiCaprio has aligned himself with Martin Scorsese as a partner-in-crime. The two have forged an alliance, partnering on several quality productions, which include: Gangs of New York, The Aviator, The Departed and most recently Shutter Island. It’s becoming increasingly difficult for awards committees to ignore DiCaprio’s run of solid performances.

DiCaprio is supported by Joseph Gordon-Levitt and Ellen Page with Tom Hardy, Ken Watanabe, Dileep Rao, Cillian Murphy, Tom Berenger, Marion Cotillard and Michael Caine in what almost seems like an Ocean’s Eleven team. This is an A-grade ensemble of serious contenders, who all maintain a level of precision and composure when it comes to performance. Several Oscar nominees and winners reinforce Inception’s credibility and command solid support performances to augment DiCaprio’s role as team captain. The level of performance is so good that it would be unfair to say there are any stand-out performances from the group, who all function well as a team.

Inception has its own style, tending towards darker hues and a grayed-out vision of the future. The setting is quite timeless with fashion and architecture representing a 50 year scope on history. There’s an affinity for detailed textures and clean surfaces as chic Parisian urban backdrops make way for lavish homes and hotels. Inception has a strong connection with architectural lines and urban living, opting for contrasts between claustrophobic city living and the absent surreal emptiness of Hopper artworks. This gives the world of Inception a precise, clean and surreal texture, which is laced together by fine performances.

The soundtrack is powerful, adding gravity to the dazzling visual aesthetic and forwarding Nolan’s agenda with great purpose like a rising night tide. The music raises the impetus of the special effects and heightens the dream state with its swirling magnitude. This helps establish the film, creates a definite mood and provides a seamless ebb-and-flow, effortlessly blending from one scene to the next like sand in an hourglass.

The CGI deserves equal credit and it’s as if Nolan personally ran through the film frame-by-frame to ensure authenticity, scrapping any hint of second-rate CGI. This gives Inception a sense of truth, suspending the dream reality without ever leaving any space for doubt. Nolan arrests the audience with his grand direction pulling each department together as if by strings like a symphony conductor. The breathtaking action visuals, the fine performances, the vivid dream overture and the balanced direction all come together beautifully.

Inception may not be as imaginative or surreal as The Cell or anything from Lynchland. Nolan probably steered clear of warped environments to keep even keel for maximum worldwide appeal. All-in-all it’s a fine balance between blockbuster and art house, which helps create a tension between the real and the unreal as three movie climaxes reach the apex simultaneously. Several film references function as deja vu with Murphy wearing a sack cloth, Cotilliard’s presence with Edith Piaf’s music and an echo from some of the character’s previous roles.

Inception is executed with such precision that it’s difficult to fault the film. Apart from its rigidity within the dream atmosphere, a slightly long run-time, a leap of faith in dream technology and its strong parallels with The Matrix… it’s almost flawless. Nolan has demonstrated once again why the majority of his films deserve a place in everybody’s top 100 movie list, a second and possibly even a third viewing.

The bottom line:  Majestic.

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

Mao’s Last Dancer, finally – a dance film where the story line is just as fantastic as the dancing – and true! The extraordinary biography of Li Cunxin makes a graceful leap from autobiography to film under the watchful eye of Australian-born director, Bruce Beresford (Paradise Road, Driving Miss Daisy) and screenwriter, Jan Sardi (Shine). The tag line for Mao’s Last Dancer is ‘Before You Can Fly, You Have To Be Free’, an underlying theme throughout the drama with sharp contrasts between America and China under Mao’s rule and last days.

Our hero and title character, Li Cunxin, arrives in Texas in 1979 as part of a cultural exchange after being picked for his courage and perseverance to withstand the allure of Western ideology. Beresford presents Houston as a safe haven for the fish-out-of-water dancer, who has something to teach about dancing and much to learn about freedom. From there, Beresford cleverly returns the audience to Cunxin’s childhood through photos, dreams and memories, which provide a seamless flow to the story as Li’s youth is explored in greater detail.

Plucked from an early age by one of Madame Mao’s cultural delegations for intensive training at the age of 11, Cunxin was molded into one of the finest dancers to emerge from the Mao dynasty. His hardships, run-ins with teachers and spirit-crushing regime of exercise against an oppressive Chinese political backdrop are played back like memoirs as Li meets a young American girl and eventually seeks legal advice to defect. The eye-opening tour of life on the other side of the world seems too good to be true, but will Cunxin be able to sever ties with his home country and worse still his own family.

This is a coming-of-age drama and biopic, which accurately depicts the early ’80s and portrays the newsworthy and uplifting story of Li Cunxin. The Maoist government isn’t vilified beyond being another Communist state and is simply represented as a forceful and militaristic culture. Mao’s Last Dancer would have been more controversial if it was made in the late ’80s and by today’s standards it’s regarded as a simple contrast between cultures rather than trying to be subversive or critical of socio-political conditions. The film sides with what’s come to be known as ‘the free world’, but keeps the narrative at an arm’s length – making the audience feel, like an audience.

This makes the emotional punch of the story less manipulative, although there’s no feeling of real identification with Cunxin. Beresford’s storytelling swathes us with its inspiring and epic triumph of the human spirit drama, while almost effortlessly switching between such contrasting cultures and countries. The cinematography is understated, yet compelling… anchoring mis-en-scene for the era and capturing the essence of the dance in performances. The ballet is first-rate and they haven’t settled for anything less than excellent with Chi Cao playing Li Cunxin as an adult. Interestingly enough, Cao’s parents were two of Li’s former teachers and Li asked Cao to play him in the film.

However, the lead star in this production is the powerful story and the whole ensemble act as a team of story adept facilitators, delivering fine yet perfunctory supporting performances. The name stars include: Bruce Greenwood, Kyle McLachlan and Joan Chen with the lesser known Chi Cao, Amanda Schull as Li’s American wife, Elizabeth and Chengwu Gua as Cunxin as a teenager.

Mao’s Last Dancer is a beautiful film much like Billy Elliot and Shine. However, without a powerful lead performance to match the story there’s a slight disconnectedness that makes one feel just out of reach. This slightly diminishes the emotional impact of its climax. Then, there are aspects to the story that are left open-ended… such as Li’s marriage, which ends quite suddenly and ambiguously. The main drive of the story is with Li’s ability to reach his full potential in a climate of freedom and the true emotion that raises that performance. All in all, Mao’s Last Dancer is an epic, triumphant and captivating story.

The bottom line: Moving.

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

Youth in Revolt is a Miguel Arteta film starring Michael Cera and Portia Doubleday. This is a coming-of-age comedy, drama and romance story based on the novel by C.D. Payne about the growing pains and misadventures of 16-year-old, Nick Twisp. He’s just like any ordinary pubescent American kid… going through changes and moving from the confines of young boy to young man. Youth in Revolt is about the teen angst and Rebel Without A Cause within every kid… except Nick’s journey is with a cause, her name is Sheeni. The teenagers meet on holiday in a caravan park and after a Summer fling… Nick’s love for Sheeni causes him to rebel in an attempt to be bad and be with her once again.

This obviously sets a great platform for plenty of adventure, comedy and romance with echoes of Outside Providence. Michael Cera is cast as Nick, a great choice… making the kid likable and innocent without being freaked out by his lovestruck pursuit of his dream girl. The role is a bit of a challenge for Cera too, who has become a little typecast since playing George-Michael Bluth in Arrested Development. He’s able to retain the likable, clumsy teen role that’s become something of a call card with similar characters in Juno, Superbad and Nick & Norah’s Infinite Playlist. However, his alter-ego and shoulder devil twin, Francois Dillinger, gives him space to roam onto the unlikable side in Youth in Revolt.

This is an offbeat comedy without any obvious gags – going for a more slanted balance of comedy and drama in the vein of World’s Greatest Dad and The Good Girl. Arteta gives Youth in Revolt license to incorporate mixed media moving from scene-to-scene using various animation-types. Youth in Revolt isn’t strictly commercial or art house. The all-star ensemble would suggest a more commercial orientation featuring: Steve Buscemi, Zach Galifianakis, Fred Willard, Ray Liotta, Adhir Kalyan, Justin Long and Rooney Mara. However, the subject matter is dealt with in an unconventional way, making it more niche with an appreciation for doodle art and fantasy.

The story takes its time to unfold… and there are one or two lagging moments between all the teen revolution and lovesick declarations. These are tempered by superb performances from Cera, who’s roles ironically show a growing maturity in stature as a respected actor. He’s supported by Portia Doubleday, who makes a fresh-faced and proper feature film debut as Sheeni Saunders. The rest of the cast bring the goods, provide a firm foundation for Cera and Doubleday and knock the film up a notch.

Youth in Revolt isn’t the greatest coming-of-age teen story on film. In fact, it would be lucky to be ranked amongst the top contenders. The co-leads boost the appeal and charm of the main characters, while Arteta keeps a lid on the tale with all its messy, fantastic and out there moments. It’s entertaining, fun and for the most part, captures the essence of teen spirit without causing too much offence. Youth in Revolt is a film for those that enjoyed: Charlie Bartlett, Nick & Norah’s Infinite Playlist and Outside Providence. Cera fans will be delighted and most audiences will agree that Cera’s demonstrated he can lead from the front with good range.

The bottom line: Vibrant.

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

Charles Darwin, an English naturalist in the 1800s published his theory of evolution in On the Origin of the Species, a book which sold out immediately, providing compelling evidence for evolution and now regarded as a fundamental life sciences principle in explaining the diversity of life. Creation details Darwin’s evolution of thought as he gets to grips with actually writing and completing On the Origin of the Species. The film also suggests that Darwin was so passionate and dedicated to his field of work that he neglected his family, his health and his reputation within the community.

Creation filters a series of “memoirs” into a narrative, going back-and-forth in time to show Darwin’s progression of thought as he combats writer’s block, illness, the narrow-minded and ghosts from the past. The cinematography is breathtaking, weaving a series of artworks together with some wonderful visual effects making Creation quite poetic with Jon Amiel at the helm. The narrative is just as poetic, maintaining form but breaking chronological sequences with only Darwin’s hairline as a substitute for a timeline. Perhaps this was a conscious editing decision to alleviate a dull A-to-B series of events?

The continuity is maintained by the man himself, a portrait so lovingly depicted by Paul Bettany, whose make-up has made Darwin look a little like Jane the Ape, an orangutan at the London Zoo. The real Darwin’s photographic demeanor is explained away by a photo of Annie his daughter – making a rather stern looking bald man open to interpretation. Creation sets about formulating Darwin’s character as a gentle and broad-minded soul. The journey is quite eye-opening for audiences, who may or may not have realised what Charles Darwin’s home life may have been like.

Bettany is supported by Jennifer Connelly as his wife, Emma. The marketing would have you believe that the majority of the drama falls between their relationship as Emma’s faith contradicts his work. However, it’s Bettany who is the only lead and each aspect of his life is dealt with in equal measures. The marriage and relationship with Emma is an overriding theme, but this adaptation of the biography by Randall Keynes picks at many threads of the man’s life. This creates a scatter-shot sense of narrative progression, which is compounded by apparitions and flashbacks.

The performances are key to the enjoyment of Creation as Bettany delivers what most would regard as a career best. Jennifer Connelly makes amazing use of her screen time, chalking up a solid supporting performance as Darwin’s detached wife. While Jeremy Northam and Benedict Cumberbatch add some dramatic weight to the ensemble.

The casting is excellent with Bettany coming off of projects like Master and Commander, The Da Vinci Code and A Beautiful Mind. This backlog of performances harks back to Darwin’s 5 year naturalist exploration, his controversial standpoint with the Church and echoes of his role in the psychological drama about world renowned mathematician, John Nash.

The film pads around the theory of evolution without trying to preach too much. After all, this is a biography about the essence of the man rather than the theory of evolution. The film’s aesthetic will draw you in and the drama, costumes and period are ironically comparable with Amazing Grace. Jon Amiel redeems his wide-ranging feature film career with this piece, even if it be for the cinematography and ensemble’s drive for perfection. The timeline may have no bearing, but the elemental representation of Darwin’s biography is bearable and compelling enough to warrant your time. It’s no The Diving Bell & The Butterfly, but since its one of the only modern depictions of Charles Darwin, it makes for thought-provoking viewing.

The bottom line: Elemental.

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

Themba: A Boy Called Hope is an inspirational coming-of-age drama about a young South African boy’s escape from poverty and the pursuit of a dream. The film couldn’t have come at a better time, releasing in the aftermath of the hugely successful 2010 FIFA World Cup in South Africa. However, this isn’t any ordinary South African film and if you’re expecting Hollywood formula in this sports drama, you’ll be disappointed. While football forms the backdrop to this emotional journey, it’s simply a theme and a driving force for our title character. There are soccer matches, but Themba: A Boy Called Hope is more about the triumph of the human spirit against social, economic and familial adversity.

The film is a German/South African co-production based on Lutz van Dijk’s novel Crossing the Line and directed by Stefanie Sycholt (Malunde). The production values are much higher than most locally-produced films and the rich, powerful and uplifting storytelling overcomes insignificant flaws. The writing is homegrown and one can sense an inherent cultural understanding from the film-makers.

The cast is primarily made up of local talent with several debuts, including German goalkeeper Jens Lehmann, local soccer legend Doc Khumalo as himself with a well-cast cameo from Rapulana Seiphemo as Themba’s estranged father, Vuyo. African pop singer, Simphiwe Dana delivers an outstanding debut performance as Themba’s mother, Mandisa. Veteran SA talent, Patrick Mofokeng (Invictus) tackles a difficult and complex role as the tragic and detestable substitute father figure, Luthando. The older Themba is played by Nat Singo, who embodies the role with a calm, quiet strength, while the younger Themba is given life with a spirited performance from Emmanuel Soquinase.

Themba has a strong sense of authenticity with on-location shooting and local dialects complemented by English subtitles. The majority of the film was shot in the Eastern Cape, set against the beautiful Port St. Johns coastline and also features much of Cape Town in the second half, purposefully representing urban squalor rather than famous views for an ironic contrast between rural and urban South Africa.

The soundtrack fits in perfectly with a selection of distinctly original African music by Annette Focks, providing a heartbeat to the landscapes as Themba grows into a young man. His dream to play for Bafana Bafana and become a national soccer star slowly unfolds before our eyes, opening the film with an older Themba about to slip into the official soccer jersey and using a graphic match to transport us back in time to a young Themba playing barefoot with a handmade plastic bag soccer ball on the dusty playing fields of the Eastern Cape.

Themba: A Boy Called Hope is not a sports glory story, it’s a coming-of-age drama. The themes are universal, contentious and localised for this film – touching on crime, unemployment, poverty, HIV, Aids and urbanization. There’s no finger-pointing or outright racism, demonstrating a maturity and presenting a more optimistic view of South Africa. These social issues may be a direct result of South Africa’s blemished history, but they’re presented with a can-do attitude rather than a wallowing self-pity. It’s refreshing to see a South African movie that addresses problems with the insight of a documentary, whilst maintaining entertainment value to connect with the audience on an emotional level.

Izulu Lami had a similar slant with two young children moving away from a pastoral rural environment to the big bad city in a fable. Izulu Lami was beautiful but ultimately distressing, trying to draw our attention to the street kids and their hostile environment. Themba also highlights hot topic social issues, but the perspective is different. Themba wants to improve his situation, despite his setbacks and there’s a sense of entrepreneurial hope rather than despair – even in the most severe conditions.

Themba: A Boy Called Hope is an amazing South African production, in the same league as Yesterday and Tsotsi for drama. The film raises the bar for local productions, composing a truly South African film and making it accessible, while retaining a distinct South African flavour and authenticity. The film is just as brave as its title character and doesn’t stray away from taboos, but seems somewhat inconclusive. It’s currency is hope, but there’s still a haze of uncertainty and concern as the credits roll. Perhaps this open-ended conclusion is a way of passing the ball and future onto us?

All in all, Themba: A Boy Called Hope delivers on performance with a solid ensemble effort, strong storytelling from Sycholt, a rich score and set against the beautiful natural backdrops of South Africa. It’s a spirited sports drama with a powerful message that showcases South Africa, while drawing attention to important social welfare issues on an international platform. A triumph of the human spirit and a film South Africans can be proud of.

The bottom line: Uplifting.

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

Penelope Cruz starred in Pedro Almodovar’s Volver and the two have collaborated once again in Broken Embraces, a drama about infidelity and redemption. This Spanish film is told from the perspective of Harry Caine, a blind writer, who is forced to deal with past pains 14 years earlier when he was directing what was to be his last film.

Broken Embraces is a character-driven drama starring Lluís Homar,Blanco Portilla, José Luis Gómez, Rubén Ochandianoand Penélope Cruz. The film’s narrative progression is a little confusing at first, but all the pieces eventually come together as each character’s motivations are explored and alliances are made. Lluís Homar plays Harry, a blind writer formerly known as Mateo, a promising film director years earlier. Lena, his lead actress and muse played by Penélope Cruz, is his desire and the two enter into a torrid love affair behind the back of Lena’s “partner”, Ernesto (Gómez). Ernesto watches the two from a roving peephole intently as his son relays behind-the-scenes footage as part of his documentary.

Broken Embraces has a similar story to Fellini’s 8 1/2 with a focus on a director, a film and a muse. Which is quite interesting because Penélope Cruz recently starred in a supporting role alongside Daniel Day-Lewis in Nine, a musical film adaptation of 8 1/2. The film was even referenced in Broken Embraces, making a direct parallel with Fellini’s classic. Another admirer of Fellini’swork is David Lynch, renowned auteur of dreams and nightmares.Mulholland Drive broached the same relationship between film, director and lead actress with the prospect of a film within a film.

The plot functions like an extension of the primary relationship from 8 1/2, Nine and Mulholland Drive. The lilting soundtrack is similar to the music of longtime Lynch accomplice, Angelo Badalamenti. Broken Embraces gives Almodovar a chance to embellish and really sink his teeth into the collateral damage of a behind-the-scenes love affair. He’s able to explore the peripheral relationships, building up to one cataclysmic event that started the trail of retribution and healing process for each character.

Homar is like Kelsey Grammer’s Frasier in many respects. His face, his physique, his affinity for art and culture and his love for women. However, he’s more serious and contemplative, relying on the support of others and trying to make the most of life as a blind man seeking an outlet for his creativity and passion. Cruzis reminiscent of to Audrey Hepburn in appearance, physique and even performance as she gracefully carries herself across the screen with a spellbinding performance as the elemental Lena. She may show more skin, but captures the same aloof royalty thatHepburn imbued, with a performance even more deserving of appreciation than her role in Nine.

This is a beautiful film. Almodovar captures some real emotional turmoil in all the familial relationships in Broken Embraces with strong performances overriding any inconsistencies in the narrative. The back-and-forth time warp jolts the film a bit, but this is about the emotional currents, the characters and the drama rather than relaying a monumental message. The film may have its flaws and does harp on for ten minutes too long, but captures real vulnerability through its behind-the-scenes story and contrasting spectrum of love.

The bottom line: Absorbing.

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

World’s Greatest Dad… we see the slogan on coffee mugs, t-shirts and fake certificates, but how could someone truly know they were the world’s greatest dad? There’s no way of quantifying it… and the illustrious title comes wrapped in a bundle of bias, making it a personal, yet hollow compliment with the best of intentions. A pretty complex little conundrum, which is probably why this film’s for adults with Robin Williams as the World’s Greatest Dad… he’s not.

Robin Williams stars as Lance Clayton, a loving father, a committed teacher and a struggling writer. His form of “writer’s block” makes it so that his work keeps getting blocked from magazines, newspapers and publishing houses. To make matters worse, his ungrateful brat and only child, Kyle would make Bart Simpson blush with his repertoire of explicit language fueled by his filthy mind. When Lance finally does get his golden opportunity to become a full-time writer, ironically it’s his son, who is there to open the door and keep him on the straight-and-narrow.

This is a drama and a pretty gutsy, twisted, adult comedy too. It’s for those of us, who like their comedy black. It’s one of those awkward schoolyard dramas with mature themes like Donnie Darko, Rushmore and Charlie Bartlett, where one kid seems to be at the centre of it all. The kid in this case is Kyle, whose sudden celebrity status helps his father write his first book. The language is often filthy thanks to Kyle, the situations are quite dark and perverted… yet writer-director Bobcat Goldthwait still manages to hold onto the reins of this dark horse-drawn carriage with Robin Williams up front to help keep equilibrium.

Williams is ideal for the part of Lance and works his Robin Williams magic once again with a solid performance. He’s ably supported by a grown up Spy Kid and vastly experienced, Daryl Sabara as Kyle, who embodies the very essence of a problem child-turn-teenager. The performances are straight-up with most of the humour coming from rude wisecracks and hilarious relational shock situations rather than slapstick or witty dialogue. Any film directed by someone called Bobcat is going to be different and World’s Greatest Dad runs the gauntlet of bad taste with its head held high.

The title is completely misleading and choosing World’s Greatest Dad for Father’s Day would be about as awkward as choosing There’s Something About Mary as a first date movie. Yet, it somehow manages to pull it off. Kyle’s preoccupation with sex is normal for a teenage boy, but they just turn the taps on full blast… making his infatuation perverted and his character completely unlikable. Perhaps that’s why its so easy on the audience when he suffocates himself to death while masturbating. He becomes such a detestable brat, that it’s more of good riddance than a farewell.

World’s Greatest Dad is hugely entertaining, despite the bad language, voyeuristic interludes and pubescent nightmares. The performances are top draw and the film’s skewered comedy actually becomes quite contagious… guilty, but contagious. It’s obviously not for everyone, which is why it’s been relegated to the art circuit. Having peers like Rushmore, Donnie Darko and Charlie Bartlett will also give you an idea of it’s dark “schoolboy” slant, but it’s one of those awful, yet unmissable movies you’ve just got to see for yourself and probably by yourself too!

The bottom line: Skewered.

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

The world would seem a little out-of-place without that lovable, jolly green ogre with the Scottish accent and his jabbering doggedly companion, Donkey. It’s sad to say goodbye to the big green fella, but we’ll always have his happy-go-lucky adventures. Shrek Forever After concludes the Shrek franchise in 3D, drawing to a close the last chapter of the tongue-in-cheek fairy tale saga. It’s been fun, but all good things have to come to an end.

Shrek Forever After is an improvement on Shrek the Third, which put the novelty and energy of the series in doubt. This fourth installment seems a bit tired and unnecessary, but the good news is that Dreamworks have managed to salvage any damage done by the crass and mixed bag that was Shrek the Third. Shrek Forever After is a sequel and the film-makers have tried to instill a fresh burst of energy to the last chapter with a take on that magical family classic It’s A Wonderful Life.

Shrek, Donkey, Fiona and Puss-in-Boots voice talents – Mike Myers, Eddie Murphy, Cameron Diaz and Antonnio Banderas – have all made a return with Walt Dohrm voicing Rumpelstiltskin. The chemistry is still there between the characters, although it’s almost a little too comfortable and Shrek Forever After leans more heavily on Myers with Shrek in almost every scene. The other voice talents absorb a team supporting role as Shrek is bandied from one character to the next. The comedy is slightly subdued by the tone in this episode with the funniest bits coming from Walt Dohrm’s take on Rumpelstiltskin and Banderas as Puss-in-Boots in his new body.

Most fairy tales end with a wedding, but Shrek Forever After begins with babies and parenthood sinking in. Shrek’s a father and his new responsibilities are starting to take their toll. No more uninterrupted wallowing in the mud bath or me-time. The big green guy also misses his bachelor days when he could scare anyone at will. Meanwhile, Rumplestiltskin is scheming to overthrow the King and take control of Far Far Away… A “chance” encounter, a couple of “eye-tinis” and a scrawl of magic ink later, and Shrek has signed over a day of his life in exchange to be ogre-for-a-day, unwittingly enabling Rumpelstiltskin to rewrite history and rule supreme over a much darker fairy tale kingdom.

Shrek Forever After has a much darker, melancholic tone than the earlier trilogy of more lighthearted escapades. The stakes have been raised with Shrek fighting for his wife as well as his life and there’s much less to laugh about as Shrek goes head-to-head with the evil little Mr. Stiltskin and his witches. The fourth installment further distances itself from the series with 3D technology, giving the environment more depth. We’re given a chance to see how things would’ve been without Shrek in a very dreary kingdom, in which Shrek is an outsider, a stranger to his fairy tale friends.

The attempt to mimic It’s A Wonderful Life was a good concept platform to create another adventure without making a straight prequel, however the references and familiarity with the original Shrek make things seem a little tired and unnecessary. Shrek Forever After isn’t as feel-good as its previous chapters and this is also reflected in the selection of music. “I’m A Believer” gets another run, but the other tracks are subdued and don’t embody the same happy feeling that music from the first three chapters enthused.

There are also inconsistencies in the world of Far, Far Away… with an ogre empire appearing after it was made to seem that Shrek was the only ogre in town. The other fairy tale creatures were unique with one Pinocchio, Three Little Pigs etc. and this convenient arrangement was just a little jarring with a strange parallel to The Gummi Bears. Then Shrek Forever After has tried to become more pure with very few pop culture references. Apart from a Deliverance banjo duel riff, there are very few links compared with Shrek, Shrek 2 and Shrek the Third. The gross out gags of Shrek the Third have been toned down and the sequel occupies itself with simply presenting a story instead of trying to be clever with Matrix inspired fights and a Knights TV show instead of Cops.

This Shrek movie is darker and uses 3D quite sparingly. The immersion into a 3D environment has been handled well, without making the animation too gimmicky. The message about gratitude is good and it’s great to see a franchise like Shrek opting for depth instead of superficial emotion. However, the movies have become synonymous with feel good fun and to make such a drastic tonal shift for the closing chapter was always going to be risky. However, Shrek Forever After and the Shrek franchise can leave the silver screen with their heads held high. The end result is better than Part 3 and manages to bridge the new 3D divide, but doesn’t seem to add much more to the Shrek series.

Shrek Forever After is very competent, smart at times and full of surprises with echoes from previous chapters. One can even applaud the film-makers for defying the urge to include easy pop culture references and gross-out gags and going for a purist take on the kingdom of Far Far Away, employing 3D technology in a subtle way. However, the heart of Shrek has been plucked out with the dramatic, darker tonal shift with melancholy evoking the darker spectrum of emotion, instead of keeping proceedings as superficial, fun and light-hearted as they’ve always been. Shrek Forever After is entertaining and worth the watch, but must be set apart from the previous adventures for maximum enjoyment.

The bottom line: Melancholic.

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

Scott Hicks has directed such soul-stirring classics as Shine and Billy Elliot, and it’s been quite some time since he ventured into romantic comedy terrain with No Reservations. The Boys Are Back falls somewhere between the majestic emotional journey of films like Shine and the quiet reserved power of Hearts in Atlantis, once again focusing on a central parent-child relationship. The Boys Are Back is no different – based on a true story, written as a novel by Simon Carr and lovingly adapted to film by Hicks.

Underrated actor, Clive Owen, is given the reins as Joe Warr – a father, sports writer, role model and single parent. After his wife passes… Joe is left with Artie, their young boy, whose very notion of life and death is still being assembled. For Joe, life has become a whole lot more complicated… dealing with loss, raising a boy on his own and keeping his job as a top sports writer. Just when he thinks he’s got a grip on things… Artie starts acting up, his ex-wife sends his estranged son on holiday and his boss starts to weigh in on him. Life’s little hiccups…

The Boys Are Back is a warm film, despite dealing with loss, abandonment and the “joys” of single parenthood. It’s sometimes tougher for a Dad, who wants to be a best friend and strong father figure to his sons simultaneously. The adventure for these boys is played out in life’s unpredictability, the mistakes we learn from and the “what doesn’t kill you, only makes you stronger” ideology. Hicks swathes The Boys Are Back with a sense of reality, a simple yet affirming story about coping, layered with a heartwarming and hopeful message.

This is a touching film, a heartwarming drama and laced with sensitive performances from Clive Owen, Rupert Grint look-a-like George McKay as Harry and Nicholas McAnulty as young Artie. They are the boys… and their back-to-basics adventures are homegrown, full of freedom and down-to-earth warmth. They say the best things in life are free and The Boys Are Back intends to prove it! Spirited performances, good father-son chemistry and a real-life true story will remind you why it’s great to be a parent.

The Boys Are Back is comparable with Martian Child for the father-son dynamic between Joe and Artie, while the coming-of-age journey for Rupert Grint character in Driving Lessons parallels with George McKay’s role as Harry. This is a heartfelt drama, which is rewarding for its rich storytelling and true-to-life performances. It’s simplicity and connectedness make The Boys Are Back a special and memorable film, which may not have the grandeur of Hicks’s best work – but still manages to capture the soulful essence.

The bottom line: Spirited.

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

The Maid aka La Nana, is a Chilean domestic drama about a lonely woman trying to hold onto her household position after more than 20 years of service to an upper middle class family in Chile. Kids, teenagers and even parents need looking after… especially in this day and age when work and play don’t seem to leave much time for chores. The housework and even the daycare is now considered to be part of a full-time maid’s job. Their job title may not extend beyond a clean kitchen and tidy house, but they become a part of the family – detached, yet connected – like a unwanted guest.

This is where Raquel finds herself, caught between the roles of maid and family member. Intimate in the sense that she takes out the dirty laundry, is a stash for family secrets and holds the key to their home. It’s a position of trust with serious privacy privileges… from staying in a room in the home to bringing a tray into the host’s bedroom in the morning, she works day and even night trying to make a living and establishing her place.

However, Raquel’s headaches, age and increasing pressure from a demanding family are starting to take their toll. Her employer is trying to alleviate Raquel’s workload by getting another helper, but Raquel will have none of it… playing mind games and bullying her competitors out of the front door. The Maid is a drama, but it’s more than that – moving into the domain of psychological thriller and toying with some fairly sinister motives.

Catalina Saavedra is Raquel and dominates The Maid with a stirring performance. One that shows more than tells, creating a complex character in a bittersweet arrangement… moving from detestable to likable and absorbing every emotion in the process. Saavedra’s performance is one of the main reasons to see The Maid and it wouldn’t be surprising to see her nominated for an Oscar. In fact, the entire ensemble deliver on performance given their screen time, facilitating the harassment, the claustrophobia and the eye-opening perspective of Raquel in something akin to Robin Williams in One Hour Photo.

Writer-director, Sebastian Silva, brings his vision to life with a docudrama feel to the cinematography and an easy swagger to the dialogue in this bittersweet story. It’s not for everyone, most subtitled films rarely are, and conveys the plight of the maid from several angles. Silva cleverly recycles the drama by bringing new competition into the house, changing the atmosphere and presenting a different work ethic with each new maid.

Watching housework, toil and devious scheming is taxing and this makes the film is fairly stressful, especially for those with a full-time maid of their own. The Maid forces viewers to see the domestic situation from an intimate outsider’s perspective, instead of just blissfully ignoring all the inside knowledge that comes with the territory. It’s quite frightening to see just how ingrained a relative stranger can become in a home and interesting to see how one copes with being there, but not truly being there.

The Maid cracks open a facet of life so often overlooked by film-makers and creates a thought-provoking, albeit haunting depiction of life for a busy, crowded and lonely soul. The reality drama factor is reminiscent of films like Rachel Getting Married and Silva keeps it tight with hand-held cameras allowing the title character into every little space of the home. There are moments when the film could have gone beserk, but Silva keeps the intensity up without losing the lid. This subtle “holding back” keeps things within the realm of reality, but leaves the door open for future low budget horror/thriller film productions.

The bottom line: Powerful.

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