Jock of the Bushveld is a South African story by Sir James Percy Fitzpatrick. Written and published in 1907, it wasn’t long before the tales of Jock and his master became a bestseller and South African classic, now translated into Afrikaans, Dutch, French, Xhosa and Zulu. In 1986, Jock of the Bushveld was adapted to film starring Jonathan Rands as Percy Fitzpatrick with music by Johnny Clegg. The adaptation didn’t fare well with American audiences and was later re-released with a happier ending. Now just over a century since the novel was first published, Jock of the Bushveld has been adapted into a 3D animated feature.

The animated film, written and directed by Duncan McNeillie, boasts a talented voice cast including: Donald Sutherland, Helen Hunt, Ted Danson, Mandy Patinkin, William Baldwin, Michael Richards with Bryan Adams as Jock and a special cameo from Archbishop Desmond Tutu. The ensemble is impressive for any film, bringing experience from all corners of Hollywood and giving the animation instant credibility.

Donald Sutherland narrates as an older Percy Fitzpatrick, allowing Jock to take centre stage as voiced by Bryan Adams, who also composed the main theme for the film. This rendition of the South African classic takes the story of a man and his dog and relegates the master to a supporting role, on screen as a supporting character and as an omniscient narrator. By splitting Fitzpatrick as character and storyteller, the film-makers have attempted to vacate the lead human character in favour of Jock.

While this decision echoes Fitzpatrick’s original intention for Jock’s adventures to make great bedside stories, it’s no White Fang. The substitution affects the story’s central dynamic between man and man’s best friend. Without this pivotal relationship, there’s no point of identification for the audience. The Percy Fitzpatrick character is a surrogate, Donald Sutherland’s interjections are welcome, but there’s no real connection between Fitzpatrick and Jock.

The film has also been cleaned up, much like the happier version, catering for an even younger demographic. Fitzpatrick doesn’t save Jock from drowning and it’s more a case of going through the motions as the young pup grows up… with some pretty strange additions. Instead, the film puts more focus on the animal kingdom in Jock of the Bushveld, giving apes, monkeys and wart hogs a life and voice of their own.

Jock’s experiences just don’t make sense without his master to relay the events. Duncan MacNeillie and Jim Cox are credited with writing the screenplay based on Sir James Percy Fitzpatrick’s classic, but it’s inconsistent with a soft brand of comedy. The flip side of Jock of the Bushveld is a very different world, one that seems to rely on a different set of rules, which aren’t clear and consistent.

While the story is set in an age when there wasn’t really such a thing as a South African accent, the choice to play Jock with an American accent is just as jarring as Kevin Costner’s accent in Robin Hood: Prince of Thieves. The hotchpotch of foreign accents may give the film more international appeal, but loses a bit of its South African identity in the process.

The 3D animation is okay, but it’s not what film-goers have come to expect with Disney, Dreamworks and Pixar continually readjusting the standard. In fact, it actually feels half-baked. The design of Percy Fitzpatrick is indistinct and without enough attention to environmental detail (i.e. none of the characters leave footprints at all) it looks like a job half done. With such a sterling voice cast, you can’t help but feel they could’ve devoted more of the budget to the animation.

The animation is disappointing for its TV quality and even the movie trailer seemed a bit slapdash. Unfortunately, this taints the rest of the production, which looks great on paper – but doesn’t live up to expectations. Perhaps this is where the new Jock of the Bushveld went wrong. The idea has potential, but conceptual flaws and an attempt to broaden its audience have ultimately undone the whole project – making it fairly entertaining for the little ones – but too thin for older fans of the novel.

The 3D animated feature is a husk of the heartwarming, coming-of-age adventure story between a man and his faithful companion that made it famous. Instead one gets the impression that this film relies too heavily on marketing, armed with big names, spirited characters, a famous title and not enough passion. Jock of the Bushveld 3D is cute and will have more sway with children, but fails to capture the untamed spirit of Africa, making it a sluggish and tawdry affair for the less forgiving. Overall, an encouraging albeit flawed South African animation adventure.

The bottom line: Stunted.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Paradise Stop is a fun movie from the same team that brought us the hilarious South African comedy, White Wedding. This time, acting duo, Rapulana Seiphemo and Kenneth Nkosi, have banded with writer-director Jann Turner again to form the core unit behind Paradise Stop a crime comedy caper set against the backdrop of a truck stop in a sleepy little Limpopo town in South Africa.

Paradise Stop, a truck stop on the northern border linking cargo-carrying 16-wheelers from South Africa to Zimbabwe is the point at which troubled husband and relocated detective, Potso (Seiphemo) and “well-to-do” businessman and truck stop owner, Ben (Nkosi) collide. Potso locks onto a career-making series of high profile freeway heists only to realise that the man behind the crimes is his only friend.

The concept is similar to Heat, matching a cop up against a crook and letting the fur fly. The co-leads may not be on par with a De Niro and Pacino when it comes to drama, but this isn’t a Michael Mann crime epic. The scope has been down-scaled from big city America to small town South Africa, and the focus has shifted to comedy.

In many ways, similar to Hot Fuzz’s Simon Pegg and Nick Frost, Seiphemo and Nkosi are actually friends behind-the-scenes. This chemistry translated well in White Wedding and gives the actors an immediate history with Seiphemo the smooth, charming and straight-talking gentleman and Nkosi a more flamboyant, loud and funny man about town.

Both Seiphemo and Nkosi deliver good dramatic performances in Paradise Stop. They’re lost some of the comedy tag team chemistry from White Wedding, yet are still convincing as Potso and Ben. The co-leads try to channel their familiarity into a palpable tension, but they don’t share enough scenes to generate the spark. Overall, this diminishes the return on the enjoyment of Paradise Stop and stunts some of the comedy. Another performance worth mentioning is that of Vusi Kunene, who delivers the goods as the head honcho, General. His cool, calm and collected demeanor make him all the more intimidating – and his balanced performance carries great intensity.

Another flaw is that Paradise Stop takes too long to actually get going. It’s so busy setting the scene, introducing the characters and giving the audience an account of domestic life that by the time the stakes are raised, the movie’s almost over.

Punted as a hilarious, high-speed action-comedy doesn’t help matters. For starters, it’s not. The characters and teams may have the potential for a Guy Ritchie actioner with a comic twist, but the comedy is underplayed. In fact, Paradise Stop isn’t sure whether it’s going for action or comedy. The drama insists that the script is realistic enough for the audience to engage with the action, making it too serious for the comedy of a small town farce in the tone of Rat Race.

The cultural diversity and spill of languages is the perfect setting for misunderstanding, fish-out-of-water and comic scenarios. However, these cultural themes aren’t exploited enough. There’s a fear that they’ll lose their audience if they try to be too wacky, funny or slapstick. Yet it’s this very formula that works so well for long-running action-comedy franchises like Lethal Weapon and Rush Hour.

Perhaps there was too much focus on their marital situations instead of sticking to the cops-and-robbers story. Paradise Stop is desperately in need of a central plot device to link all the characters… a time constraint (e.g. a bomb) or a valuable item (briefcase filled with money) would have added to the pacing, tension and urgency of the action.

One constraint that does come into play is the budget, which allows for big truck rentals and a sponsored chopper. You can’t help but feel that the film-makers could have focused on doing the little things better instead of over-arching for the big scenes. It’s ambitious to hope that people won’t notice a product placement helicopter, which while boosting production value, detracts from the impact of the climax and suspense.

Overall, Paradise Stop is a reasonably entertaining film… despite being overly ambitious, slow-to-start and stunted by an indecisive script. The language interplay is intriguing, the acting is good, the story line has potential as a TV series and there are a couple of good laughs in the proverbial melting pot. It’s one of those films that will pass the time, but ends without making a full impression – a step in the right direction, but as with all honeymoons…

The bottom line: Half-baked.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Slavery is not dead. Just like leprosy, slavery has been relegated to the past. Films like Amazing Grace recount William Wilberforce’s influence in leading a 26 year campaign leading to the abolition of slavery in the British Empire. Yet, there are about 5,000 ’slave’ workers in Britain today – a startling fact considering the Slave Trade Act was institued in 1807. I Am Slave is based on the true life story of Mende Nazer, who was abducted and sold into slavery as a child in Sudan.

Malia, a twelve-year-old girl, is abducted in the Nubar Mountains after being separated from her father (De Bankole) after an attack on their village. The young girl is sold into the slave trade, forced to serve under a family in Khartoum, where she is abused with no pay for hard labour for six years. The story begins in London, where Malia (Mosaku) has been relocated to continue her duties under a new master, who confiscates her passport and “imprisons” her as her father attempts to reunite.

I Am Slave is an important film and a bleak depiction of just how cruel some parts of modern society remain. The Stoning of Soraya M. exposed the ancient and barbaric tradition of stoning in some Arab states, while I Am Slave sheds light on slavery, another shocking act against humanity that continues today. Both The Stoning of Soraya M. and I Am Slave are low budget independent films that demonstrate the indelible power of telling someone’s story through the medium of film.

As an audience, we’re able to see life from another person’s perspective, vicariously live through them and with them in all of the heartache, pain and suffering. I Am Slave’s title and contentious issues would probably deter viewers from subjecting themselves to this story, yet its as difficult as watching a documentary. These contentious issues hit home because we as audience members are exposed to injustice, forced to empathise, compelled to act and educated on what’s going on behind closed doors.

Gabriel Range (Death of a President) directs a harrowing drama, which has the gravity of a documentary, the weight of reality and the intensity of a hostage drama. In many ways, Jeremy Brock’s screenplay could very well be a hostage movie given the subject matter and nature of slavery. The Last King of Scotland screenwriter has composed a film that threads the naked truth into something of a thriller as Malia tries to escape the clutches of her oppressive mistresses.

Brock and Range have etched an uplifting message of hope against the darkness of the human heart. One woman’s tragedy has become a figurehead for freedom to those still trapped in slavery. Hope is what keeps Malia from doing the unthinkable. As a viewer, you find yourself comparing your own perceived response to Malia’s injustice and wrongful “imprisonment”. Murder, suicide, escape… I Am Slave has a similar claustrophobic intensity and theme to Chilean drama-thriller, The Maid.

Beautiful actress, Wunmi Mosaku, lives the character of Malia – experiencing the debilitating, soul-destroying life of a slave. Range shows Malia’s journey through the eyes of an innocent girl. Her mistresses exploit her, punish her and torture her, yet she remains in a state of grace… hurt by her oppressors, yet peaceful – open to experiencing the glimmers of joy in working with her enemy’s children. I Am Slave walks a fine line without manipulating the audience. The right balance has been achieved without resorting to melodrama or gratuity.

Isaach De Bankole plays Bah, Malia’s champion wrestler father, whose quest for his daughter could have been a film in itself. Bah follows Malia over a number of years, discovering that she’s been transferred to London. The father-daughter relationship in I Am Slave is integral to the message of hope and the dynamic translates well into raw emotional power as their spirits draw closer.

While I Am Slave is an intense and powerful film, there are aspects that dilute its overall impact. The choice to have all the dialogue in English could be attributed to the film’s reach. Whether it was intended to power home in Britain, be more accessible to audiences or entice more cinemas is a noble trait for such an important film. Subtitles would certainly narrow the scope of a film like I Am Slave, unfortunately this detracts from the hard-hitting authenticity, alienation of otherness and crushing reality of Mende Nazer’s story.

Then the film is short at about 77 minutes. I Am Slave is not something to say you enjoyed, but it may feel a little too short and sharp for audiences to feel satisfied in terms of entertainment value. Approaching this important account shouldn’t be about entertainment, but rather experience, which is why most would be relieved to leave after a short, yet blistering walk in Malia’s shoes. I Am Slave functions a bit like a documentary, which is why the powerful ending catches you on the back foot.

All in all, I Am Slave is a quality production that delivers its message by giving you a chance to live through the eyes of Malia. The performances are honest, the true story is powerful and the film is delivered with a good balance of sensationalism and sensitivity – making its journey dark, yet ultimately empowering.

The bottom line: Powerful.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

FACT: Every little girl that’s ever wanted a Barbie also wanted a dream wedding. The whole concept of dressing something up is a rite of passage… it’s Mommy saying you’re old enough to dress yourself up princess. How else do you substitute a dummy, than by plugging a Barbie doll in there instead? Growing up can be tough on a little girl… especially when all the differences kick in. “But I don’t want to shave my legs… but he’s got more ice-cream than me… I don’t want to be the flower girl and Mom, these aren’t “nose cleaners” – I asked Tiffany.”

That’s why “precious” deserves a white wedding, that’s why it’s such a big deal and that’s why it’s the perfect situation for comedy to erupt. Tradition, procession, pomp and frilly stuff. Guys would be happy to slap on an evening suit and sign on the dotted line. Girls… well there’s so much more at play, especially when the big 3-0 glides on by like a steamroller. Bridesmaids is at that point where the wedding must go on. A juncture where girls say goodbye to best friends forever and start feeling an incy-wincy bit insecure as another one bites the proverbial dust.

Kristen Wiig is our protagonist, like Bridget Jones and her diary, just in a The Hangover sort of way. Always the bridesmaid, never the bride… kind of wish they had a cream for that. Comedy guru, Judd Apatow puts his weight behind Bridesmaids and being the director of Superbad, Knocked Up and The 40-Year Old Virgin… one, you know it’s going to be funny and two, the poo will hit the fan.

Annie (Wiig) is maid of honour to her best friend Lillian (Rudolph)… who will all know is more often than not, responsible for the bride-to-be’s happiness. Whether that be up until the wedding or long after is debatable. Wiig has appeared as a small supporting character and a voice artist in an array of comedy movies. Although, Bridesmaids is a breakthrough for the actress who deserves every bit of credit considering she co-wrote the screenplay.

She’s supported by Maya Rudolph and Rose Byrne… two other actresses you’d probably recognise by movie before name. Rudolph’s credits include Idiocracy and Away We Go, while Byrne’s darker filmography includes: 28 Days Later, Knowing, Sunshine and Get Him to the Greek. The trio hold down most of the film’s screen time with Chris O’Dowd of The IT Crowd and Melissa McCarthy filling in the gaps with some good laughs.

Bridesmaids has to be one of the year’s funniest films. Following the tradition of The Hangover, this comedy goes all out in turning pre-wedding jitters into fits of laughter. The pressure of being a perfect maid of honour is put to the test as Annie (Wiig) and Helen (Byrne) go head-to-head in a bid to secure Lillian’s prized role of “wing-woman”. The game of oneup(wo)manship goes from being embarrassing to over-the-top ridiculous and we’re strapped in for the ride.

While Bridesmaids makes a perfect blend of Bridget Jones’s Diary, 27 Dresses and The Hangover, it runs into a lull… one which, while welcome after all the non-stop fun, leaves the film about 15 minutes too long. One can’t help but feel that they could’ve tightened it up a bit. The romance subplot probably needed a bit more development, but it just seems like they were trying to haul in another big catch with a bit of Sex and the City interplay. This interrupts the flurry of comedy, the quick pacing and feels like the speed boat engine cut out for a bit of fishing.

Other than a brief unintentional intermission, the fun continues making Bridesmaids very rewatchable and a good reply to The Hangover. It’s definitely not for everyone, testament to its age restriction and rough moments, but will satisfy those who just want to have a little vicarious fun. A sequel is almost inevitable and it’s fantastic to see Kristen Wiig given space to shine. Solid performances, great writing and hilarious set pieces make Bridesmaids a surprise hit… so whether you’re planning a girl’s night out or savouring a few chuckles on the couch when it comes out on DVD… make sure you see it.

The bottom line: Funny.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

James Cameron is a name that has become synonymous with action blockbusters: Terminator 2: Judgment Day, True Lies, Aliens and Avatar have all been directed by the Hollywood juggernaut. Before Avatar revolutionised 3D technology and broke records at the box office, Cameron was investigating the deep. Deep space has fascinated the director, but deep sea has been just as integral to his career path.

Titanic relayed life on the famous vessel before it plunged to the darkest depths, Aliens of the Deep was a documentary covering unknown species below the surface and The Abyss also explored oceanic phenomena. Cameron’s appreciation for the ocean is where the sequel to Avatar will take place, so it’s no surprise that the film-maker has been a key component in the making or “testing” of Sanctum, an underwater cave-diving experience in 3D.

The film, set in Australia, has the subject matter of a documentary – following a mixed team of experts and new recruits in the discovery of ancient caverns. Sanctum has tie-ins with The Descent in its claustrophobic cave experience, yet the film doesn’t venture into the realm of paranormal. Instead, it opts for a formula we’re used to seeing at the cinema in the form of a slasher movie with an equally mediocre script and performances. Instead of a ghost mask, claw or badly burnt face… our antagonist is indistinct, immovable and invincible.

Nature is the killer, whether it’s the lapping waters, the rocky walls of the caverns or humanity’s survival instinct. Our intrepid cave explorers have big egos and are put to the test when a flash flood traps them in one of the world’s oldest caves. What started as a risky expedition turns into a nightmare when the team are forced to go even deeper into the unknown in an effort to survive.

James Cameron’s name has been bandied about for Sanctum to the point that his brand is its only selling point apart from the supporting role from Ioan Grufford (Amazing Grace, Fantastic Four) as Carl. Richard Roxburgh plays Frank, an Aussie dive master veteran and leader of the group, while Rhys Wakefield delivers as Josh the main protagonist, Frank’s rebellious son.

The cinematography and 3D experience is the main draw card. While Cameron’s name is emblazoned on Sanctum’s movie posters and movie trailers, Cameron is a producer with Alister Grierson attached as director. While the cast look the part, it’s predictable story and flimsy characters don’t really live up to the full potential of an underwater cave-diving experience or as a follow-up to Avatar.

Sanctum looks beautiful, sounds fantastic and gives plenty of hope for Cameron’s sequel to Avatar, but it boils down to a watchable – yet somewhat disappointing man vs. nature thriller. It’s the sort of movie where you’d expect some paranormal or alien activity with the right tone for fantasy. Unfortunately, it just doesn’t have the gritty reality of a Touching the Void or 127 Hours survival adventure would foster making it a missed opportunity.

The bottom line: Promising.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Kung Fu Panda 2 is a sequel, and sequels generally have two options… one, stick to the formula and deliver more of the same or two, reinvent and approach from a new perspective. The Spider-Man franchise delivered a darker, more introspective sequel as a follow-up to the successful reboot of the live-action Spider-Man superhero. While Spider-Man introduced us to the character of Peter Parker becoming a hero, Spider-Man 2 introduced us to the darker side of the character as he grappled with his sense of identity, both public and secret.

In many respects, Kung Fu Panda has modeled itself on Spider-Man. Both unlikely heroes, cast in the deep end, required to master their art and forced to wage war on a powerful enemy, while emotionally fragmented. The stories share several parallels and its a darker heart that drives both sequels.

Kung Fu Panda was the animated equivalent of Kung Fu Hustle a parody of kung fu movies, an animated comedy from Dreamworks that followed the general happy-go-lucky, feel good formula of movies like Shrek and Madagascar as a band of friends overcome an obstacle, grapple with their sense of identity and ultimately triumph. However, just like Shrek Forever After… Dreamworks has opted to go darker with more mature themes and less feel good comedy.

Apart from a few corny lines from Po, Kung Fu Panda 2’s script could have been adapted for live-action. Director Jennifer Yuh (Spawn), has brought a tide of darkness to Kung Fu Panda 2. Her eye for aesthetic beauty heightens the special effects of the action sequences, while expressing a darker element in the story. Another name that enters the credits is Guillermo del Toro of Pan’s Labyrinth, who appears as executive producer.

The focus is still on Po, voiced by Jack Black, but the rest of his team have retreated to the shadows. They’re still in the picture, but there’s very little time to recognise the voices of Angelina Jolie as Tigress, Dustin Hoffman as Shifu, Jackie Chan as Monkey, Seth Rogen as Mantis and David Cross as Crane. Gary Oldman has taken over as the evil Shen, while a slew of other name actors have padded the ensemble including: Lucy Liu, James Hong, Michelle Yeoh, Danny McBride, Dennis Haybert and Jean-Claude Van Damme.

The soundtrack from Hans Zimmer emphasises their mission for perceived maturity. The voice artists are good, but there’s a disconnectedness from the supporting characters – as though they phoned in their performances. Even the two leads in Po and Shen are a little hollow. The series has been refreshed by a strong anime influence with surprisingly mature themes. However, this reinvention is double-edged as some fans of the lighter, family-friendly Kung Fu Panda will find the movie a little too intense for their little ones.

Kung Fu Panda 2 is more emotional, using its sombre tones and heartwarming moments to good effect. It’s largely entertaining, apart from a sluggish start and enchants the audience with stunning 3D and visual artistry. Bands of light and colour infuse the fight sequences, making the experience beautiful. While solid in all departments, it lacks the emotional spark and comic energy of the original – making it somewhat disappointing. A worthwhile watch, but not the feel good animated feature most were hoping for.

The bottom line: Fresh.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Matthew McConaughey wants to be taken seriously. The Lincoln Lawyer can be viewed as his return to serious acting after a scourge of romantic comedy lead roles. After starring opposite Kate Hudson in the smash hit, How to Lose a Guy in 10 Days, it seemed that McConaughey was destined to be that guy – even trying to turn their good chemistry into a recurring partnership with Fool’s Gold. This after proving his worth in films like U571, Sahara, Contact, EdTV and A Time to Kill. Thing is… McConaughey can act, despite being typecast as a pretty boy turn ladies man.

The Lincoln Lawyer is a solid court room thriller about a wrongfully accused young man, whose attorney begins to suspect his client of manipulating the truth after a rape and assault charge. People took him seriously when he played Jake Tyler Brigance in A Time to Kill, so it seemed only natural that he should shake off the dusty briefcase and give the court room thriller a bit of spit and polish.

The Lincoln Lawyer is one of those movies that could just as easily generate the same fervour on the small screen. It’s testament to the great writing, terrific twists and strong performances. While a real screw-turner, it’s the underrated cast that crowd around McConaughey, who announced the film’s release from the red carpet at the Academy Awards.

Marisa Tomei, Ryan Phillipe, William H. Macy, John Leguizamo, Josh Lucas and Michael Pena are all solid contenders, who are some of Hollywood’s underrated talents. McConaughey isn’t getting any younger and it’s like he’s opened another chapter in his filmography. The supporting cast ensure that there’s never a false moment and it’s a good team effort in presenting The Lincoln Lawyer as a serious character-driven crime-thriller.

The film is based on Michael Connelly’s crime novel, adapted by veteran TV drama screenwriter John Romano and directed by Brad Furman, who was responsible for the gritty heist crime-thriller The Take. It’s an enterprising combination of film crew, creators and actors, which makes for compelling viewing. Connelly’s gripping story provides the foundation for a strong narrative, Romano’s experience in TV crime drama gives the characters added weight and the ensemble channel their collective talent into the performances.

At two hours, it’s an epic game of whodunit and cat-and-mouse – providing enough thought-provoking entertainment and pensive thrills to keep you transfixed. However, the last fifteen minutes do feel a bit stretched and while compelling, it does have a serious TV movie feel with one too many twists in seeking resolution. There aren’t any stand-out performances – so it’s just a solid all-rounder with a couple of minor flaws, which could have easily been part 1 and part 2 of a quality legal TV series like The Practice.

The bottom line: Entertaining.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Hanna would be just like every other hitman movie out there… if it weren’t for its 16-year-old girl assassin and Pride and Prejudice director, Joe Wright.

Saoirse Ronan is possibly Hollywood’s hottest starlet, racking up an impressive filmography ranging from roles in Atonement and The Lovely Bones to Hanna. She embodies a rare quality, much like Jodie Foster did when she starred opposite Robert De Niro as a teen prostitute in Taxi Driver. A gritty innocence befalls Saoirse, whose mystical name could be lifted from the pages of The Lord of the Rings.

Hanna is reminiscent of hitman movies like The Professional where a young Natalie Portman made her mark in Luc Besson’s acclaimed film about Leon, played to perfection in a career best performance by Jean Reno. In many ways, Hanna has been inspired by The Professional, combining the hitman theme with the innocence of a witness to the murder of a family. Jodie Foster’s role in Nell also echoes as our protagonist comes into contact with society and technology after being raised in a Siberian forest without much contact with the real world.

The novelty of this premise of creating a character much like Hitgirl from the movie, Kick-Ass, is what propels Hanna. It’s a road trip story of sorts as Hanna comes into contact with a range of characters from hippie holiday-makers to cut-throat killers. There’s also an undercurrent of comedy much like Shoot ‘Em Up, which remains untapped as a young girl seeks revenge on her mother’s killer.

Joe Wright (Atonement) knows how to please the eye from an aesthetic vantage point. Hanna lives up to this promise as photographic beauty cascades from one scene to the next with a manicured atmosphere. Wright composes a beautiful film, which counterbalances the action and modern soundtrack – like Terrence Malick meets Guy Ritchie as artistic sets and fight choreography reverberate a soundtrack from The Chemical Brothers.

The addition of such quality actors as Eric Bana and Cate Blanchett heighten the level of performance as this fish-out-of-water thriller builds to a crescendo. Bana is understated and solid as usual and Blanchett gives the main antagonist a zeal for perfection in a role that could very well be Hanna 20 years later…

The direction, performances, style and premise offer so much promise that it’s a bit disappointing when all the ingredients don’t add up. The story is like a Kill Bil: Junior as our assassin gets her first taste of revenge, using kills and locations to rack up a semblance of story. The title character is also very reflective, absorbing a sense of gravity from her interactions and surroundings – making it difficult to connect.

This keeps the audience slightly detached, hovering on the outside of the bulletproof looking glass. Hanna’s journey is taken at an arm’s length and becomes a spectacle, rather than a compelling story. The distancing also forces the audience to grab at the story, which struggles to harness any emotional depth. Having several cold, calculated characters share the lead is always going to be trying… no matter how cute or warm the traveling sideshow family distraction.

The bottom line: Beautiful.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

Beastly… the title says it all. A shaggy, tween take on Twilight and Beauty & The Beast with a marketing campaign mimicking Fear, the stalker flick that launched Mark Wahlberg and Reece Witherspoon’s film careers in the ’90s. Paranormal romance aside, this is a simple teen high school movie with a fantasy concept, Alex Pettyfer (I Am Number Four) and Vanessa Hudgens (High School Musical) in a cheesy tale of morality speaking out against superficiality and popularity.

Twilight has been a huge influence on Hollywood, capturing the hearts and minds of readers and ushering them into cinemas like sheep into lots. Yes, it may remind you of George Orwell… whether it’s Animal Farm or Big Brother, but that’s all that matters – the bottom line. Winning formulas are worthy of a rinse and repeat… and the film-makers have cleverly intertwined the Twilight phenomenon with a classic fairy tale in Beauty & The Beast.

Teen high school movies love remaking fairy tales and Shakespearean works… so why not take a stab at the beloved fairy tale? Beastly updates the story to bring it home for younger audiences in a teen romance about a guy who is cursed to look ugly until his true love says those three magic words, sealed with a kiss. It may not be original, but the concept is fresh enough to sustain a young audience.

The problem is that most of the audience are expecting to see Alex Pettyfer. He’s the headline star, fresh off killing aliens in I Am Number Four. Pettyfer’s a poor little girl’s Robert Pattinson, a rising star who probably owes half his film roles to his looks. Yes, he can act – but that doesn’t matter when one’s able to get a wave of wolf whistles from a fixated gaggle of girls. Not so here… ironically, the majority of the audience is still infatuated with the surface of things, which means that giving Pettyfer an ugly mug for 80% of the film is a really bad idea… really bad.

Vanessa Hudgens is cute, but giving her the role of principal eye candy – even with an Olsen twin in the wings is pushing it. Throwing in a blind Neil Patrick Harris as a replacement for the clock and candlestick doesn’t quite do the trick either. Unfortunately. Beastly succumbs to its TV quality much like Twilight. The performances aren’t strong enough to carry the film, the effects are cheesy, the writing is average, the story is predictable and there’s a lack of eye candy.

As a tale of morality it’s old hat, preaching to an audience who knows but doesn’t care. As a teen romance, the chemistry is okay in the scenes where they’re both looking good. As a paranormal drama, the visual effects are second-rate with a winking tattoo to cap off the already ridiculous nature of the story. It would have been better if they’d set the film within a historical context – blending The Man in the Iron Mask with Beauty & The Beast instead of delivering secondhand chewing gum.

You may manage to sit through Beastly, but it’s an all-out veg for a somewhat entertaining, mildly amusing and ever playful stab at being taken seriously. This is not a date movie, it’s one of those movies to be embarrassed about seeing. If you’re not a teeny-bopper… you’re in dangerous territory – hovering between the unintentionally funny and walk out bad. Assume the fetal position and hide under the table – this one’s not for you.

The bottom line: Cheesy.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi

“Winnie – the Pooh, Winnie – the Pooh…” is one of those theme tunes that echoes in the back of your mind. The lethargic chant from Disney’s beloved Pooh bear is quite simple and sweet, but there’s much more to it. This is part of the charm of the TV series, based on the books by A.A. Milne and adapted to film by filmmakers Stephen J. Anderson (Meet the Robinsons) and Don Hall (The Princess and the Frog).

Winnie the Pooh may be aimed at children, but after a little scratching there’s a wealth of intellectual amusement below the surface. Just like the Brothers Grimm, it seems A.A. Milne actually intended for his books to fascinate adults and children… a worthy cause considering the co-dependent relationship of a goodnight story. The film acknowledges Milne’s desire to quench the appetite of young and old by appealing to everyone’s senses with visual and intellectual stimulation.

The Tao of Pooh, a book introducing Eastern life principles to a Western readership, demonstrated that there was so much more to Christopher Robin’s fantasy world than sweet, light-hearted and childish fun. In many ways, the new Pooh movie is reminiscent of cult TV series, Arrested Development. The before-its-time series is also getting an adaptation to film after being canceled by its network and has strong parallels with the new Pooh movie.

There’s a level of dysfunction that permeates the troop of cuddly “toys”. They’re a family, all existing in the same environment, all relying on one person to keep them together. The character of Michael Bluth may be a nice guy like Christopher Robin, but without him… they cease to cope or exist even – tumbling from one moment of mild peril to the next much like the extended Bluth family. Arrested Development also dealt with somewhat manic characters, mostly self-absorbed and preoccupied with the here and now and had an all-seeing narrator character.

This is quite similar to the predicament the characters of Winnie the Pooh find themselves in after a note from Christopher Robin is wildly misinterpreted by Owl. Each character seems to exhibit some form of disorder… Eyore is depressed, Piglet is neurotic, Owl has delusions of grandeur – while Winnie has to round them up, keep them in-line to avoid awkward situations and make sense of his own simple life.

The animation is in 2D, maintaining a nostalgic throwback to the original without blurring the lines with 3D technology. Instead of dazzling audiences with savvy CGI-style animation, they choose to take the path of other Disney classics like Dumbo… stretching the reach of hand-drawn creativity. Similar scenes to the psychedelic elephant dance take place in Winnie the Pooh with a honey dream for Pooh and a chalkboard escapade as imagined by Owl.

The story holds your attention. The central conceit pivots on a misunderstanding, as the story is relayed by narrator John Cleese, who often interacts with the characters, voiced by talents Jim Cummings, Craig Ferguson and Travis Oates. The self-reference and the characters ability to affect the text lettering of the book make the movie complex and enjoyable thanks to all the layering. While the sweet and “simple” environment is richly contoured with emotional complexities, mild peril and fantastic elements.

While the run-time is short, the pacing is good, the content is funny and the characters are endearing. There’s only so much you can do with the world of Winnie the Pooh and the filmmakers blend their own sense of wackiness into the story without allowing its traditional audience to wander. It’s a good duration considering the attention span of the youngest viewers and includes an equally sweet 2D Disney cartoon short about a Loch Ness monster.

The serene world of Winnie the Pooh just seems that much more alive in this film adaptation. Fans of the series will enjoy the same old characters, while movie goers who believe they’ve outgrown the currency of Winnie the Pooh will be pleasantly surprised. It’s not going to change the world, but it will amuse, charm and leave you feeling good with that theme tune ringing in your ears for days to come.

The bottom line: Fun.

Stephen ‘Spling’ Aspeling
www.spling.co.za
www.spling.mobi