Alfred Hitchcock was the Master of Suspense, yet he also created one of the world’s most famous horrors, Psycho. Horror and thriller go hand-in-hand, building the audience up to the climax and then frightening them out of their wits. Another man credited with crafting a famous horror film is Roman Polanski, who delivered Rosemary’s Baby. These two directors know how to build tension, wrap the beholder in mystery and keep the rope taut right until the dramatic, surprising and brilliant conclusion. Now Hitchcock wasn’t known for his people skills, infamously referring to his actors as ‘cattle’. The same behind-the-scenes personal turmoil has existed for Roman Polanski, although one particular incident at Jack Nicholson’s home still haunts him today.

Just like Hitchcock’s primary hero device, Polanski has been on-the-run from the authorities for decades, leaving a trail of top-notch films like Death and the Maiden, Oliver Twist and The Pianist in his wake. Hitchcock’s motives were derived out of childhood fear and a dislike for police figures, while Polanski’s journey has been out of necessity – avoiding America at all costs. So it’s fitting that Polanski should take a Hitchcockian perspective on his own film, The Ghost Writer. After all, the film reflects very real aspects that he continues to battle within the character of Adam Lang and The Ghost.

Prime Minister Lang (Brosnan) is busy “writing” his politically-correct memoirs with the help of a hired writer, known as a ghost writer. However, a dark secret from his term of governance emerges in the media and with it the washed up body of his first ghost writer. When The Ghost (McGregor), the replacement ghost writer commences work… a series of startling clues begin to unfurl and with them a political conspiracy even more cutthroat than the original ghost writer’s death begins to emerge.

The Ghost Writer is a tribute to the greats, most notably Hitchcock, as it sets about creating a beautiful, dreary and layered mystery. Ewan McGregor replaces Jimmy Stewart in a slow, twisting, turning movie in the vein of Vertigo, taking an unassuming gentleman and giving him the reins on a ghostly horse that has to pass through the darkest night. This film has it all, underlying conspiracy, not-so-secret affairs, dark political machinations and a haunting path to the light of day. McGregor doesn’t have the same calibre as leading men like Jimmy Stewart or Cary Grant, yet embodies the same fibre of a hero’s innocence on his quest for the truth.

McGregor is ably supported by Pierce Brosnan, Olivia Williams, Kim Cattrall and Tom Wilkinson, who provide the perfect climate for the mystery to unravel. Red herrings are two-for-one as each character’s motives become more visible and The Ghost is drawn further and further down his predecessor’s spiral. Polanski sets the mystery on an island just off the US coast line – a political asylum, solace and retreat for Lang and his first lady and PR team. The Ghost is slowly drawn into an intimate circle with his colleagues as the media become more involved and the memoirs become more and more important in diverting the full-blown political attack on Lang.

This isn’t a high speed chase thriller, it’s a much slower, more involved affair… reminding us why Hitchcock was so remarkable. Using drama, human interest, intellect and intrigue to engage – rather than stunts, special effects and big name stars. The cast aren’t unknown, but all carry their own sense of mystery – with very little going on in the tabloids. For Polanski, this Robert Harris adaptation is quite a personal film… as he parallels his “buried” secret with the ex-prime minister’s dilemma, one blemish that tarnishes his whole term.

The Ghost Writer is an excellent choice for those familiar with any of Hitchcock’s films. Polanski doesn’t use gimmicks to get the message across, opting for tangible suspense rather than torture, excessive blood and meaningless violence. This is a thinking man’s mystery, one which will no doubt warrant a second viewing in time and one, which will haunt you for weeks to come. Solid performances, great writing, sensitive direction and an excellent mystery make The Ghost Writer a remarkable tribute to the late great of slow-cooking, man-on-the-run suspense.

The bottom line: Taut.

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

The Coen brothers have made some pretty crazy films over the years… focusing on dark comedy, adventure and more recently delving into the uncharacteristic domain of drama and thriller in their Oscar-winning, No Country for Old Men. Now as accurate as that Oscar contender adaptation was, I felt the Ethan and Joel Coen were on an Oscar mission rather than delving into a passion project. After all, how often do dark comedy crime adventures win Oscars? A Serious Man is another departure from their usual madcap antics, demonstrating their range and falling into a niche market for serious movie-goers… in the same realm as Synecdoche, New York.

A Serious Man doesn’t have the all-star cast of Burn After Reading, the comic scenario of Raising Arizona or the undulating mystery of Fargo… it’s a dramedy about uncertainty and duality. Front and centre is Larry Gopnik, a mathematics professor, whose life is crumbling around him in a series of stressful events. His wife is leaving him, his job’s on the line, the bills are rising, the kids have no respect and he’s confronted with a mid-life crisis of epic proportions, seeking spiritual guidance from local Rabbis. Oh, did I mention he’s Jewish.

The film opens with a short Russian scene, which basically sets the tone for the rest of the film. There’s no mention of A Serious Man and you’re left in the dark, wondering if you’re in the right cinema. The short drama has a Coen brothers feel to it, but establishes the feeling of uncertainty in an unconventional opening scene. A Serious Man is an intense, thought-provoking drama in the vein of American Beauty, which charms you with its intricate suburban crisis drama and remains long after the credits roll. At the heart of the film is the paradox of uncertainty that exists in life.

Gopnik’s spiral of despair is counterbalanced by moments of self-awareness and revelation that make the run of terrible luck work in his favour. A Serious Man’s sense of uncertainty creates an uneasiness, keeping one in a state of flux. It’s slightly uncomfortable living through Gopnik’s paradoxical life as the tension mounts, interspersed by jabs of dark comedy. The tone keeps one alert, trying to piece the puzzle together and find meaning in all the chaos only to find there’s very little resolution at all.

The performances hold our attention, avoiding the distraction that comes with big name stars and their baggage.  Michael Stuhlbarg is Larry with solid supporting performances from Fred Melamed as Sy Ableman and Richard Kind as Uncle Arthur. This Coen brothers film tries to capture a slice-of-life, a bite of reality and a twist of the unexpected. It’s unpredictable and flows like a real-life parable, comparable with Seinfeld – the “show about nothing” for its ebb and spiritual frame-of-reference (it’s Jewish). The Coen brothers achieve their objectives, but this replicates the elliptic ending of No Country for Old Men. There’s no closure for the film, just for the characters as the underlying uncertainty reaches a climax and fades away.

A Serious Man is brilliant in its artistry, creating a thought-provoking and intricate tapestry from its layered narrative, inspired direction and convincing performances. However, it rides a league above your regular cinema audience and makes the experience entertaining yet tainted by its slightly pretentious disconnection with its viewers. A Serious Man is primarily intended for entertainment purposes, but is also designed for multiple viewings as a study of film and its reflection of life in all its glorious uncertainty.

The bottom line: Thought-provoking.

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

So far, we’ve established that Jennifer Lopez can actually act, dance and sing. However, her talent and charisma is very difficult to unearth in her latest outing, The Back-up Plan. This is one of those movies that should come with a complimentary sick bag. It’s the kind of romantic comedy schlock that airs because of its star power and not for its content, which is disposable and embarrassing for all involved, including the audience.

The most immediate thing you’ll notice about The Back-up Plan is that the co-leads are not suited. It’s forced chemistry at best and Alex O’Loughlin could have easily been cast as Suitor 1. There’s no sparkle between the two and the only thing they have going for them is that they’re easy on the eye, a standard condition of almost all romantic comedies these days. I mean, who wants to see ugly people snogging? Many “romcoms” have started with a bad match and find a workable solution by focusing on the comedy instead of the romantic interplay.

The problem is that the comedy in The Back-up Plan is non-existent. Obvious gags are set-up without a peep from the audience. It’s so contrived and borrowed that you can see the gimmick a mile away. A disabled pet, getting into a car when pregnant, lame first date antics… it’s almost infuriating how formulaic the scenes become with regular product placements from Gray’s Papaya. What adds to the challenge of staying in your seat is the depths of bad taste the film-makers are willing to sink to.

If you thought License to Wed or Trust the Man was in poor taste then you’ll be able to replace whatever recollection you had of that on-and-off comedy with The Back-up Plan. Pregnancy and motherhood are one thing, but taking every moment to bring fecal matter into plain sight is not funny, whether your kids dropped one in the sand pit or a friend’s fishing it out of the birthing pool. Awkward, uncomfortable and irritating are not words one would often associate with comedy, but The Back-up Plan never fails to drop the bar on your toes. From graphic ultrasound protocol to a furious lesbian mother’s expulsion of her child, the motherhood “jokes” fail on every count.

The Back-up Plan is tacky, uninspiring romantic comedy fare that will either make you get up and leave the cinema or watch it dwindle to its all-too-predictable conclusion. This is a stinker of a film, one that managed to get away from the birthing pool fishing net and one that should be thrown out with the garbage. J-Lo hasn’t done herself any favours with this turn and apart from one or two chuckles on the park bench between the guys, The Back-up Plan is a cold turkey. In retrospect, calling it The Last Resort would have been more apt, because unless you’re testing your patience or planning on getting some shut-eye in the cinema… The Back-up Plan should be anything but your second choice for movie night.

The bottom line: Abominable.

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

Taking Woodstock is an account of how one Elliot Teichberg (Martin) inadvertently set the wheels in motion for Woodstock, the generation-defining concert of 1969. However, this is not a docudrama about the festival, it’s an emotional journey and coming-of-age drama as young Elliot matures into a man. Oscar-winning Brokeback Mountain director Ang Lee, composes a textured drama about the prolific 3-day music festival taken from the perspective of one “square” young man.

Elliot’s Russian immigrant parents run a beat-up motel in the Catskills and on a whim, Elliot decides to help the hippie concert organizers find a space to set up for their expected 100,000 music lovers to descend. The traffic will boost the motel’s attendance, create economic opportunities for the wider community and become a landmark for future trade. The idea literally sprouts wings and after some soulful PR, the event becomes a lighthouse to moths as every hippie from around America makes the pilgrimage to the rolling hills of the Catskills.

Taking Woodstock’s charm lies in its unassuming lead’s innocence. Nerdy, fresh out-of-the-box Demetri Martin gives the film a fresh-faced perspective on what it may have been like to experience Woodstock. From an outsider’s perspective, Ang Lee infuses the drama with an accurate retelling from the free love politics, nudity and drugs to the droves of young people and their various modes of transportation, scattered across the fields. The right atmosphere gives the drama credibility and a sense of nostalgia as Elliot’s story unfolds.

Apart from Imelda Staunton (Vera Drake) and Emile Hirsch (Into The Wild), the cast is relatively unknown with out-of-character and funny cameos from Liev Schreiber, Paul Dano and Dan Fogler. Demetri Martin plays a similar role to Jason Schwartzman in Rushmore as the young upstart calls the shots and dons the tie. The performance holds the film together, yet offers audiences a chance to get a landscape view as the event relays the small struggles of the roadside motel to the expanses and symbolism of the festival.

One strong criticism, is that Ang Lee failed to capture the musical essence of the festival. The low-key soundtrack fits in with the era, but without a Forrest Gump type track list, Taking Woodstock feels a little empty on music. The nudity, drugs and sexuality of the time distract audiences, but there’s no hiding the fact that the big show-stopping performances and main reason for Woodstock are absent. Now it’s a good thing that Lee didn’t get a bunch of celebrity look-a-likes to emulate the stars onstage with dubbing, but the festival-defining music seems like an afterthought or mood setting.

This focuses our attention on the emotional story of Elliot, which is tempered by good performances, twists of comedy and some interesting behind-the-scenes concert footage. The narrative baits the audience with promises of what could be, but never actually rises to the occasion. The political and sexual slant of the drama is reminiscent of Milk with several references to San Fransisco. Elliot has a degree of power in the little town as the chair on their economics board, the glorified event organizer/spokesman and his path is intertwined with Woodstock’s sexual revolution. The film acknowledges the conservative backlash with a good dose of comedy, but resists turning into a small town comedy about a bunch of disgruntled townsfolk.

Taking Woodstock also dabbles with the era like Across the Universe did with The Beatles. The recreation of moods and atmospheres becomes more important than simply translating classic songs. The film may not be as fun and happy-go-lucky as The Boat That Rocked, but captures the Zeitgeist quite effortlessly with the freedom of expression and the recklessness of youth. Taking Woodstock features some fine performances and you could say it’s a blend of Rushmore, Milk and Across The Universe with its kaleidoscope transfixed on Woodstock.

The bottom line: Elemental.

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

The Messenger is a humanistic, character-driven war drama starring Ben Foster and Woody Harrelson. The U.S. is still fighting with troops posted in Iraq. Casualties, body bags and wounded heroes are returning home after their tour of duty. One such man is Will Montgomery (Foster). He’s drafted into the notification service while nursing an eye and leg injury, sustained while in the field.

He’s deemed to be a war hero and is put under the command of Tony Stone (Harrelson) as an intern, learning how to address the N.O.K. (next of kin) in the event of their son, daughter, husband or wife’s death. These “angels of death” have the arduous task of informing people of a death in the family. Their message is treated with mixed reactions ranging from severe bouts of grief to anger and violence. This until Montgomery becomes compassionate towards a woman (Morton), who takes the bad news about her husband without flinching…

The Messenger is not a typical war film. It all takes place on U.S. soil with army base uniforms and protocol referring to the wartime situation. There are some gut-wrenching moments as the soldiers deliver news to the secondary victims of war, which are met with varying degrees of grief. The film provides insight into the job, which at first glance seems fairly innocuous. The cold, matter-of-fact delivery… the pent-up frustration… the band-aid quick rip and the human emotion all contribute to gripping drama.

Foster, Harrelson and Morton’s performances raise the bar. Foster gives a startling gravity and maturity to the role, which is lacking in many of his other performances. Also worth mentioning is the interesting decision to cast Foster with links back to his role in X-Men 3: The Last Stand The Messenger shows he can carry the lead, while ably backed by Harrelson and Morton. Harrelson’s Oscar-nominated supporting role is heartfelt and genuine, giving a glimpse into the recovering alcoholic’s attitude to life. Samantha Morton plays the widower with a cold, calculated grace in yet another fine turn.

The film’s low budget is cleverly disguised with an affinity for medium close-ups, forcing the audience into each character’s personal space, drawing them into the story and giving one a chance to focus on performance and dialogue. There’s a minimalistic touch to the style of The Messenger as writer-director Oren Moverman, closes in on the actors. This is not about form, location and things… this is about people. A crisp bite of comedy interrupts the intensity of the drama, but is simply a buffer, adding an everyday reality to the film.

The slice-of-life narrative will not appeal to everyone. The plot revolves around the main character’s transition as he comes back from the inhuman environment of war to immerse himself in full-bodied humanity. The ethical dilemma of befriending a widower is dealt with at some length, but The Messenger is more about individual life struggles of the heart than a forbidden romance or the horrors of war, making it a human drama above all else.

The bottom line: Heartfelt.

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

False advertising… I’m talking about movie marketing, the kind that misleads you into thinking a movie is something it isn’t! This has got to be the evil machinations of production houses, who back a dark horse on its star power, sheer originality or budgetary concerns in the hopes that someone will rent or buy tickets to their movie. Camille is one such film, punted as a romantic comedy… this couldn’t be further from the truth. If Raging Bull was romance and Schindler’s List was comedy, then I suppose you could say we have a match. Now, Camille isn’t as extreme as those two examples and that’s probably why it doesn’t make the grade… let’s just say it falls in the realm of fantasy, a dreamy nightmare.

Backed by the acting talents of James Franco and Sienna Miller, Camille has the stars of a typical romantic comedy, but it’s no such thing. Yes, romance in its broadest sense enters into the story as a newly wed couple take a road trip to see Niagra Falls. However, this is not the happiest day of their lives and explains why so many films opt to end on a wedding scene, rather than start with one. Silias (Franco) and Camille (Miller) are mismatched lovers. He’s an ex-criminal on parole, she’s an eccentric klutz – yet somehow the two find themselves married. Still sounds like “romcom” material, but it isn’t.

Now it’s difficult to talk about Camille without spoiling it for the select few that actually plan on seeing it. The film is original for its bizarre turn of events and you could almost say it’s a tame version of David Lynch’s Wild at Heart. Starting to get the picture? The film doesn’t really explain how or why a strong dose of magic realism tends to filter into the story. This is frustrating, forcing viewers to carry on watching as the mystery behind the deteriorating relationship fuels the onward journey to Niagra Falls. Blue horses, cowgirl outfits, state police, motorbikes and David Carradine… Camille’s got a bit of everything.

There are points at which Camille becomes difficult to watch, creepy… bizarre and eerie even. However, one is compelled to see the journey through. The film’s main problem is that it doesn’t steer left or right, opting to straddle the solid line of comedy and drama. There aren’t any cues for the audience to get in on the joke and there aren’t any handles to grasp the gravity and seriousness of it all. Instead, you’re left in a state of limbo… in an unpredictable, colourful and bizarre atmosphere.

Camille only works because its so different to what you’d expect. This surprise factor compounds with the background mystery and relies on the propulsion of the classic road trip to carry itself home. Franco and Miller deliver decent performances given the material, but it doesn’t have enough consistency and backbone to really make much of a statement. David Lynch’s visuals leave the viewer in an emotional flux, while Gregory Mackenzie’s Camille is like a David Lynch and Farrelly brothers train-smash. It’s thought-provoking by virtue of its slant, but leaves you feeling fairly ambivalent about the whole experience.

The bottom line: Weird.

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

Ah, date night… the one night of the week married couples get to… go on a date. That’s right. Today’s married couple has to actually schedule an evening every week to do something special together, whether that’s dining, movies or a mixture of both. Date Night explores the mundane weekly event with a fresh perspective… what if a date night became memorable for all the wrong reasons.

In the same way The Hangover took a bachelors to new depths of culpability, Date Night takes the Fosters, a bored married couple on a thrilling crime adventure through the streets of New York City. What a fantastic premise for comedy… take one lifeless married couple, one white lie and an exercise in couple-on-the-run hilarity to wipe the slate clean. Forget you ever saw The Out-of-Towners with Steve Martin and Goldie Hawn and replace that jaded memory of John Cleese in drag with this action-packed mix of Get Smart, The Hangover and Chuck.

Steve Carell is fast becoming a Hollywood darling. Ever since his anchorman meltdown on Bruce Almighty, the only thing he’s done wrong is agreeing to star in Evan Almighty (and he almost saved it!). Dan in Real Life, Get Smart, The 40-Year Old Virgin, Horton Hears A Who!… it’s been a roller-coaster ride for the man and he can’t put a foot wrong. Now starring as Phil, opposite Tina Fey (30 Rock), it’s another winning performance. Fey isn’t new to film and you may have caught her in Baby Mama or The Invention of Lying recently. Although Date Night should open the door for more comedy roles as with many of her Saturday Night Live and 30 Rock colleagues.

Date Night has a surprisingly recognisable cast… featuring Mark Wahlberg, Taraji P. Henson and Common, with cameos from James Franco, Mila Kunis, William Fichtner and Mark Ruffalo. Wahlberg’s self-parody shirtless playboy gets plenty of laughs with the Fosters, and the other characters all add their collective star power to sustain the action comedy. The film is a little disjointed at times, but ranks up there with Rush Hour, Get Smart and TV shows like Chuck when it comes to good-natured action comedy. Date Night ironically, is a perfect choice for your very own date night and will have you rolling in the aisles, laughing your head off… basically having a good time.

These days, you can’t go wrong with Steve Carell. Add the great comic chemistry between Carell and Fey… and you’ve got a buddy married couple team, who deserve a sequel or two. Director, Shawn Levy, has come a long way since his days of The Pink Panther and Cheaper by the Dozen, with the Night at the Museum franchise safely tucked away. Date Night continues the feel-good streak of ‘Night’ movies, but raises the bar in terms of content and comedy – even adding in a touch of heartwarming drama, making Date Night a real treat for audiences and memorable for all the right reasons.

The bottom line: Fun.

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

The Cove is a documentary about nature preservation and an attempt to make wrongs right. Ric O’Barry, famous for his work on Flipper and now for his activism, is the driving force behind this fascinating behind-the-scenes investigation into the annual dolphin drives in Taiji, Japan. The trainer-turn-activist has been campaigning for years to set dolphins free after ironically helping the much-loved species to stardom and creating a demand and ultimately a threat to their survival as a species.

Once select bottlenose dolphins have been isolated in Taiji’s small bay and destined for international ocean trick show arenas, the remainder are herded into a cove and mercilessly slaughtered. The seasonal practice echoes years after lobbying against Japan’s whaling fleets reduced their fishing capacity to scientific research. Now, possibly the world’s largest fishing country is under the spotlight again with the help of Ric O’Barry, director Louie Psihoyos, writer Mark Monroe and this Oscar-winning documentary.

The Cove is similar to Man on a Wire in that it portrays its “illegal” investigative mission much like a heist film. Man on a Wire was about defying authorities to perform art, while The Cove pulls its “Ocean’s Eleven” crew together to capture irrefutable evidence of mass dolphin slaughters from the infamous cove. Ric ‘O Barry heads the crack team of deep sea divers, camera crew and covert specialists into Taiji, where his presence is a threat to local fishermen and their money-making racket. He’s a public nuisance to the small town for his efforts to glean evidence for the international press and derail the annual dolphin harvest.

The documentary sets about establishing O’Barry and “The Cove”, while exploring the detrimental affects of the Taiji dolphin drive and the secretive nature of the operation. It’s a thought-provoking eye-opener with insight into the fishing industry, the adverse repercussions of its continuation and the levels to which an activist group must go to highlight a worthy cause. The Cove is thoroughly entertaining and keeps a good pace as it paints the big picture only to smear it with blood. There are some scenes, which are difficult to watch as hundreds of fellow mammals suffer a cruel death, but these visuals are important in driving the severity of the problem home.

It’s difficult to engender a reaction from an audience, who are displaced enough to watch news channel reports on hurricanes, earthquakes and terrorist bombings from a distance in relative comfort. The Cove seeks to humanise the mammal species, contextualising the cause and giving you a reason to act. As O’Barry says “if you’re not an activist, you’re an inactivist”. There’s no real arm-twisting involved, apart from a fixed angle and the visuals speak for themselves. They are representing a slightly biased view, but when you align it with the anti-whaling initiatives in the ’80s it actually says something about society in the 2000s.

If it’s not affecting you directly, even in the case of Al Gore’s An Inconvenient Truth, we’re not interested. All these ’cause’ documentaries are inconvenient truths and as one commentator said during The Cove, the course of history is changed by individuals. It’s one of those documentaries that you may shy away from watching because you know it’ll make you feel guilty for not protesting or compelled to protest. Either way, it’s a must-see, which gives the little guy a loudspeaker for a change.

The bottom line: Compelling.

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

The Last Station is a period piece drama aligning itself with the last days of Leo Tolstoy. Writer-director, Michael Hoffman, repeats history with another biographical history drama after Restoration, which also managed to catch the attention of the Academy. However, The Last Station was acknowledged for its performances rather than its art direction and costumes, which are simply beautiful, rather than lavish. The Last Station initially primed Oscar veterans Anthony Hopkins and Meryl Streep to take the roles of Leo and Sofya, however it was Christopher Plummer and Helen Mirren, who eventually settled into the roles, doing enough to warrant Oscar nominations.

The Last Station is told from the perspective of Valentin, played by James McAvoy. He joins the Tolstoyan commune as something of a student, eager to meet Tolstoy and glean as much as he can from the grand master of Russian ideology and literature. Valentin is the audience’s inside man, who becomes something of an in-betweener… caught between the wishes of Leo, Sofya and Chertkov. Tolstoy is a ripe old age and the ownership of his works are in question. Will he bequeath his life works to his family or the state? Sofya’s take on Ophelia and Leo’s distant Hamlet create a frenzy of emotions as Tolstoy is whisked away to wait on his final words.

The plot could have easily been twisted to make The Last Station a thriller. However, it’s laden in drama – from Mirren’s drama queen theatrics to Plummer’s impatient tirades. James McAvoy and Kerry Condon form a secondary couple, who keep the romance rumbling along, counterbalancing the fragile state of affairs between Leo and Sofya. The commune environment is medieval-Amish for lack of a better description, as people ride horses and make use of their natural surroundings to forge ahead. The costumes are authentic and possibly too Russian and simple to draw much attention. This is one of the more pastoral period pieces to have come out of Hollywood in quite some time and it’s interesting to see how the ensemble deal with the accents.

The ensemble’s performances turn a fairly drab biographical drama into a spellbinding torrid of emotions. It has the sway of melodrama associated with Hoffman’s previous works and soaks up any excess with the story’s earthiness. This is not for everyone and you could even say its niche is only made accessible by the collective talent of its cast. Without Mirren, Plummer, McAvoy, Giamatti and Condon, The Last Station would be more of a last resort – digging up figures and literature associated with in-depth University level reading.

The Last Station gives its audience a taste of classic Russia and judging from the actual 1910 footage during the credits, the film succeeded in translating its characters onto film for a modern audience. It’s definitely one of the more ambitious period pieces out there, since its only real historical foothold for perceived entertainment value is its conclusion. The build-up establishes some truths about the time, the man and his colleagues… but its strictly art house.

The bottom line: Involving.

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

Some Hollywood stories are too good to be true and some are too true to be good. This is where The Blind Side succeeds. It’s a true story, which mimics Hollywood’s underdog story convention, while portraying a convincing, believable and much publicized rise to fame. Sandra Bullock’s Oscar-winning performance may overshadow the film, but it all started with the amazing true story of Michael Oher.

Oher, conveniently referred to as “Big Mike”, was a giant of a kid. His appearance and presence was both a nuisance and a blessing… getting him noticed by Wingate Christian School and predetermining his peer’s opinions on the large black man. When Leigh Anne Tuohy decided to give the abandoned teenager a place on the couch and a warm meal, she probably never anticipated that Oher would become a part of the family. Described at one point as “a fly in milk”, Oher’s story is about fitting in without falling out as he comes up against prejudice as well as educational and physical adversities.

The Blind Side starts as a drama, as Oher finds his feet and embraces his adopted white family. He’s a gentle giant and it’s only when his physical ability is fully realised that The Blind Side develops into a sports drama without losing its dramatic perspective. Sandra Bullock has a firm grip on the Southern accent and really grows into her character following up a terrific comedy performance in The Proposal. Tuohy comes across as something of a control freak trophy wife at first, but eventually finds that “letting go” becomes all the more possible around Michael.

Solid all-round performances led from the front by Quinton Aaron and Sandra Bullock deliver the necessary conviction needed to carry this true story through. The script harnesses possible turning points in the story and echoes Michael’s central strength of being a protector. There’s even a fair dose of comedy thrown around between characters, which help lighten the mood and keep the narrative buoyant. The Blind Side is one of those heartwarming dramas that avoids melodrama, yet manages to attach sweet, sad and beautiful moments of humanity without manipulating the audience.

The Blind Side is like almost every football movie and you can see parallels with Rudy, The Waterboy, The Express and even The Longshots as the film focuses on Oher and the start of his football career. It’s something of an underdog, zero-to-hero story, which makes it inspiring. In the same breath, it’s also unlike every football movie as it takes a The Pursuit of Happyness personal upliftment angle, based on a true story. Hollywood’s deep South stereotypes do emerge at times, but The Blind Side is about people who are able to nurture love instead of make excuses.

Overall, The Blind Side features a strong array of performances, solid direction from John Lee Hancock, the inspiring true story of Michael Oher and a well-balanced narrative – making it a commercial all-rounder with a lot of heart.

The bottom line: Heartwarming.

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