This film adaptation of Jane Eyre, Charlotte Bronte’s literary classic is haunting, beautiful and moving. Director, Cary Fukunaga, envisioned a darker retelling of this Gothic romantic drama, which until now has generally been depicted as another period piece romance. As such, the Gothic elements from the novel have been emphasised in this film adaptation.

Fukunaga chose to shoot Jane Eyre in Northern England, where the moors, foliage and landscapes provide an iconic backdrop, one that would usually be associated with a Tim Burton film. The twisted trees, misty burroughs and unpredictable weather are moody and fit in perfectly with the film’s dark atmosphere. The score and setting conjure up the perfect climate for a Victorian era horror, keeping a sense of mystery and tension.

Jane Eyre echoes horror, while ironically it’s preoccupied with love and independence in it’s social commentary on women. Jane Eyre, the novel, is recognised as an early cornerstone of feminist literature. Bronte has portrayed Jane as a strong, independent woman. Her representation of determination and individuality are seen as before their time. This is possibly why the film is so relevant for today’s audiences. Instead of floundering and harping on her suitor’s every whim, Jane is content with being the person she wants to be.

Mia Wasikowska delivers an enigmatic performance, which best encapsulates her character without betraying her feminity. Fukunaga has purposefully downplayed Wasikowska’s beauty in favour of a ghostly, blank and plain look. This enhances Wasikowska’s performance, her face is fascinating with audiences unable to distinguish whether she’s beautiful or not. Her ghostly complexion adds to the tone of the film and allows her to perform without being self-conscious. Comparing her title character in Burton’s Alice in Wonderland with Jane Eyre are like night and day, introducing a very different Wasikowska. Naturally a melancholic blend of Gwyneth Paltrow and Claire Danes with a Samantha Morton quality, she’s destined for greatness.

She’s supported by Michael Fassbender as Rochester, who delivers an equally complex performance to counterbalance and complement Wasikowska. Rochester exhibits qualities of The Beast from Beauty & The Beast. He’s a shady love interest, whose dark side creates a weighty contrast to the lighter aura of Eyre. Both strong, intelligent and independent characters, it’s a fiery, powerful romance when the two make their intentions known. Fassbender stamps his name on the list of fine Rochester portrayals alongside William Hurt and Orson Welles.

Other supporting actors include Judi Dench and Jamie Bell, who provide stoic performances in secondary roles. Perhaps more screen time would have given them a chance to contend with Wasikowska’s sterling turn as Eyre. A solid ensemble effort, it’s the strong Gothic elements of the production and Fukunaga’s clear vision that turn Jane Eyre into a hauntingly beautiful adaptation of Bronte’s time-honoured romance drama. Laden with artistic merit, great depth of emotion, a taut atmosphere, an eerie setting, a haunting score, beautiful costumes, clarity of direction and fine performances – it’s a memorable period piece classic.

The bottom line: Haunting.

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

What ever happened to the old adage, “If it ain’t broke, don’t fix it.”? The original Arthur is a Dudley Moore comedy classic with that hauntingly beautiful theme tune, Arthur’s Theme by Christopher Cross. So why spoil it by camping things up with Russell Brand?

As a stand-alone movie, the new Arthur is lightly amusing, playful, upbeat and fun at best. However, when a movie tries to capture the essence of an original – a fairy dies. That fairy is Russell Brand, who while entertaining, funny and British… is no Dudley Moore. Yes, there’s a likability and yes – he can play the spoiled rich “manboy” well – but… and this is a big but, he’s too distant to make the romance seem convincing.

The story is quite simple… love or money. A drunken playboy (Brand) falls for the wrong girl. In most families this happens all the time, but in Arthur’s world… he stands to lose his inheritance. It’s the sort of light, fluffy fairy tale comedy that worked in the carefree dreaming of the ’80s. Making it work for today’s modern tastes is an entirely different matter. Modern Family director, Jason Winer, attempts to make the leap from TV to film – yet he and his lead seem a little out of their depth. Padding the ensemble with the likes of Helen Mirren and Jennifer Garner will give you credibility, but neither is known for their comedic roles, leaving Brand to scare up the laughs.

Arthur is essentially a romantic comedy and when you don’t have the romantic connection, the movie begins to lean heavily on the comedy. This puts a severe strain on a film, when it falls into one of those “all the funny bits were in the trailer” type movies. There are one or two real chuckles and Helen Mirren does add some class to the production, but it’s a tawdry affair otherwise. Having a trust fund brat living it up lavishly in a hedonistic manner in post-recession times just seems excessive. The original Arthur was delivered when people weren’t counting pennies making it more popcorn friendly and suited to escapism.

The new Arthur proves that Russell Brand can take a lead comedy role, but there’s much to be desired when he’s not trying to get the laughs.  There was an apparent lack of chemistry between Brand and co-star Greta Gerwig. The fresh-faced actress is a real find, portraying a thin character quite convincingly – but there’s no substitute for a lack of chemistry between the Benny & Joon pairing. Jennifer Garner isn’t much better opposite Russell Brand… and plays a general irritation, desperately seeking those last laughs like a clown on death row. Helen Mirren is wonderful as Hobson, but can’t match the wittiness of John Gielgud in the 1981 original. The addition of Luis Guzman and Nick Nolte are just thickener for a very watery soup.

The whole situation is summed up by the handling of the original’s theme tune. The original has stood the test of time, 30 years and still regularly making the airwaves as one of those nostalgic trips down memory lane… even for people who haven’t seen the original Arthur. The music encapsulated the floating on air feeling of the Dudley Moore classic and is a cornerstone of the film. However, not so with the new version. The weak attempt at a remix has found it’s way to the credits, since it would just seem out of place in the actual film’s soundtrack.

The two films are worlds apart, sharing a similar story… but making the soft focus love and laughs of the ’80s seem more real. There’s a lack of romance, comedy and magic in the new Arthur – which doesn’t match expectations for the talent involved or the source material. You can understand a film getting the green light when the technology of the original has become outdated, but trying to mimic a classic for charm and comedy is a much more daring feat even if you wave the white 30 year anniversary tribute flag.

Fans of the original will die a slow death and even those that haven’t seen the Dudley Moore film will wonder why they didn’t just call it Mr Deeds 2. Where’s the heartwarming emotion, the ’80s loving and carefree fun? It’s sad when we’re forced to remake classics in favour of supporting original thought, especially when the remakes are wholly unnecessary.

The bottom line: Lightweight.

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

Water for Elephants is a ridiculous title. Although it makes more sense when you realise that it’s a crossover of two cinematic achievements of the 20th century… namely Titanic and Dumbo. Titanic in the way that this epic romance drama has been constructed, and Dumbo in the subject matter, story and special effects. Lavish, historic sets filled with extras in accurate costume and circus animals form the backdrop to this swirling romance about a young man, who happens to jump a circus train, become an indispensable asset to the traveling show before trying to steal the star attraction from her manager and conductor husband.

Water for Elephants stars famed Twilight star Robert Pattinson in a mature developmental leading role as Jacob opposite Reese Witherspoon in one of her more physical performances as the star attraction Marlena. The two have good believable chemistry, yet their solid performances are outranked by even better supporting roles from Hal Holbrook as Old Jacob and Christoph Waltz as August.

Holbrook is on form, recently nominated for an Oscar for his part in Into The Wild. The man carries genuine warmth so naturally that it’s difficult not to connect with his heartwarming smile, doggedly demeanor and wry sense of humour in a short yet important performance. Waltz is also having the time of his life, playing another villain to perfection with a twist of John Malkovich, reminding us just how he blew the competition away with his role in Inglorious Basterds.

The ensemble deliver fine all-round performances, which are flanked by renowned music video director Francis Lawrence, who directs this grand piece of storytelling based on the novel by Sara Gruen, adapted to screen by Richard LaGravenese (P.S. I Love You). The Constantine and I Am Legend director conjures up an intricate story to tie in with the tag line “Life is the Most Spectacular Show on Earth”, conveying the scale of this cross-country train adventure without compromising the smaller intimate moments.

The dramatic epic unveils the dark underworld of circus life, including animal abuse, poor Great Depression conditions and the cutthroat side of business in the entertainment industry of the time. A clash of old world wonder and seedy modern industry tactics offer a fascinating behind-the-scenes look at what circus life must have been like. The era has been beautifully reconstructed and the CGI has been used so effortlessly that several ‘wow’ moments sneak by without questioning the integrity of the visuals.

It’s the sort of swirling romance drama that shadows movies like Titanic and Gone with the Wind. The romantic co-leads may not be the greatest casting call for a film like Water for Elephants, but the two deliver surprising performances nevertheless. Water for Elephants must be the quintessential live-action circus film, offering action sequences to match Gladiator at the Colosseum, moments of levity and compelling drama.

Water for Elephants echoes the reasons that circuses were so popular with a full spectrum of grand unpredictable entertainment. You hardly even notice that two hours have flown by and the production values, solid performances, sharp writing and vivid visuals compose a rich, convincing and entertaining story to match Titanic on many levels. It’s not perfect… but that’s the tainted beauty of the circus.

The bottom line: Impressive.

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

“What if a pill could make you rich and powerful?” is the tag line for Limitless, a film adaptation of Alan Glynn’s novel that plays with the notion that we only use part of our minds. Just like the little blue sex wonder drug, Limitless imagines the scenario if a drug could be designed to harness our mind’s full potential.

Bradley Cooper plays Eddie Morra, a struggling writer, who comes to possess a miracle drug after bumping into his ex-wife’s dubious brother. After completing his first draft overnight and rearranging his life, Morra is convinced that he’s stumbled on the medical breakthrough of the millennium. However, the side effects and consequences of his new dependence create a dangerous situation, which put his health and livelihood at stake.

This is Bradley Cooper’s star vehicle, a film to show he can be a leading man and not just another Face. Cooper is a good looking guy, which generally aids actors to the point that they have to start proving they can in fact act. Cooper is likable, charming and can play a lead character – but he isn’t on his own. He’s supported by Abbie Cornish, an Australian actress who has just recently cracked the Hollywood market with starring performances in Limitless and Sucker Punch… you may also remember her from Bright Star and Candy.

If an up-and-coming Aussie actress wasn’t enough, one of Hollywood’s heavyweights… Robert De Niro has also been added to the team. De Niro hasn’t been at his best over the last few years, but has a few great moments with Cooper, especially when the interactions mimic that of The Apprentice. Although, the driving influence behind this film is most definitely an appreciation for Darren Aronofsky’s work.

Neil Burger is quickly becoming a go-to director with The Illusionist, The Lucky Ones and now Limitless to his credit. Although, Limitless seems more like a derivative of Pi and Requiem for a Dream. The film has been influenced by Pi for its rapid editing, flurry of visual paranoia and its claustrophobic camerawork. Instead of being black-and-white, Limitless has embraced colour and light to express an enhanced enlightenment in the heightened awareness drug state. It’s a cleaner, more commercial version of Pi – tweaking the story to portray a drug-infused mastermind rather than a gritty numbers genius on the verge of implosion.

Morra’s deterioration and drug use can be aligned with Requiem for a Dream, making Limitless heavily influenced by Aronofsky. The collaboration works well enough to carry the film without too much Pi baggage, yet the echo is still there. Burger is a writer-director, and Limitless marks his first feature where he’s only credited with direction. Perhaps he felt more at liberty to play with a script that wasn’t his own?

Limitless is more about entertainment than trying to break new ground artistically. It succeeds in presenting a beautifully filmed and surreal mystery thriller in the same league as Cypher. The concept of a pill that could make you rich and powerful is the sort of plot device an Eddie Murphy comedy may use. However, it’s been treated with a sharper edge in a hostile and threatening environment in Limitless.

The performances are good, the story is compelling and it’s been handled quite crisply in its adaptation from novel to film. Limitless has blinding moments where it touches the glass ceiling, but never really breaks through – hampered by its Aronofsky affinity and a diluted antagonist. A strong thriller with an equally solid cast, it’s one of those well-rounded and enjoyable movie experiences that delivers the goods. The film’s overall entertainment value smooths over minor flaws like the ending… well, at least he didn’t wake up to discover it was just a dream.

The bottom line: Sleek.

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

Paul Giamatti is Barney Panofsky, the title character of Barney’s Version, a biographical dramedy based on the novel by Mordecai Richler about an impulsive, rude yet endearing TV producer. After watching Barney’s Version, it’s difficult to imagine anyone else doing the part justice. Giamatti is fascinating to look at, charming enough to win our hearts and funny enough to keep us laughing. Audiences love watching characters, who while flawed are essentially good when it comes down to it. We relish it when they get themselves in trouble, think Larry David in Curb Your Enthusiasm and are relieved when they manage to rescue their reputations, think Kelsey Grammer as Frasier.

IMDB’s synopsis sums up Barney’s Version quite succinctly as “The picaresque and touching story of the politically incorrect, fully lived life of the impulsive, irascible and fearlessly blunt Barney Panofsky.” However, the summation doesn’t convey the angle of the biography, which is fueled by his love life and a mystery surrounding the disappearance of a close friend. Barney’s mental state is a reflection of his complicated love life and this makes the character development all the more intriguing as each new lover chips away at his hard shell.

Paul Giamatti is the kind of movie star… that wouldn’t want us calling him a “movie star”. Keeping it real… doing it for the art, whatever you want to call it, Giamatti knows how to immerse himself in a role without any qualms about being unlikable. In Barney’s Version, the actor has embraced his complex character, connecting with his flaws, passionately losing himself in anger, humiliation and regret. Giamatti looks like a comedian, sporting a pretty ordinary mugshot that helps the reality sink in. He’s sincere, convincing and consistently so… whether he’s portraying a comedic role like Panofsky, Harvey Pekar in American Splendor or Miles in Sideways.

Naturally gifted with timing and line delivery, he’s the tenacious underdog, the guy who doesn’t give a damn what you think. Barney’s Version is perfect vehicle for him to showcase his talent, delivering great comedic acting and exhibiting great dramatic fortitude – echoing performances like that of John Adams in the acclaimed TV series. The film leans quite heavily on Giamatti’s performance with longtime TV director Richard J. Lewis composing a straightforward, yet stirring portrait of a cynical lover of life.

Barney’s Version is Giamatti’s movie, but not without a little help from his friends in Rosamund Pike, Minnie Driver and Dustin Hoffman. Pike injects her calculated presence into the film, a love interest – she’s the perfect woman for Barney, beautiful, enigmatic and reasonable. Driver delivers a larger-than-life performance of a Jewish princess, while Hoffman nearly steals the show giving as good as he gets from Giamatti as his father. In many ways, the two actors are similar and it’s fantastic to see the short, sharp bursts of father-son chemistry between the two.

Clocking in at just over two hours, Barney’s Version is a fascinating character study delivered in a series of stories going back-and-forth in time. The film weaves a compelling yarn of achievement, character flaws and reflections in an entertaining fashion – all glued together by an excellent turn by Giamatti and his supporting cast. The film comes through like a wave of nostalgia infused with life lessons – expressing joy and regret in an unpredictable swagger. However, one can’t help but feel that it would be much more ordinary without the first-rate ensemble.

The bottom line: Engaging.

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

Santa is dead. Rudolph the red-nosed reindeer has been flogged within an inch of his life and they will not ride again… at least not until next Christmas. After years of recession, Hollywood has had to do the unthinkable and re-open wabbit season. Just when you thought Bugs Bunny was safe, along comes… no, not Elmer Fudd but Hop – the quintessential candy-coated Easter story to rewrite history and nestle in as a companion piece to the splurge of chocoholic and shopaholic fever that takes over every year.

Fred O’Hare (James Marsden), a 20-something guy is forced to leave the nest and find his way in the world. Landing himself a house sitting job in a Beverly Hills mansion and a babysitting job with the Easter bunny may be even too far removed for The Fresh Prince, but not our Fred. After a job interview misfire, Fred finds himself in-line to the golden egg… as a rebellious Easter bunny “hare” to the throne tries to find fame and fortune in Hollywood.

On first inspection you’ll find one Russell Brand, whose toothy British accent is charming enough to hold the voice role of “E.B.”. Before you decipher those initials, you should know that his risque brand of stand-up has no bearing on this comedy. Neither does Hugh Hefner’s presence for that matter. The Playboy bunny joke seems pretty obvious, but seems very out of place in this animated family adventure and quite ominous in its relation to bunnies and this time-honoured religious holiday.

Bar one scene where our adorable E.B. poops jellybeans and another where Sam (Kaley Cuoco) tastes watermelon, the comedy is relatively clean and above board. James Marsden fills in for Brendan Fraser in a sweet as candy role about a guy trying to leave the nest. He’s supported by other real characters like Kaley Cuoco, Gary Cole and David Hasselhoff as David Hasselhoff. It’s a strange ensemble of actors, who you wouldn’t naturally imagine on screen together… even stranger than G-FORCE.

Hop is a Tim Hill film. He’s famous for Spongebob Squarepants… and he’s directed Garfield: A Tale of Two Kitties and Alvin and The Chipmunks. Going into this movie armed with that knowledge is quite essential to metering your expectations. Russell Brand is the wild card, yet he’s reduced to the same quizzical look you had when Jason Lee starred as Dave in Alvin and the Chipmunks. Their addition adds a little magic, which is just as quickly nullified by the strange casting decision.

The animated/live-action cross-over rarely works, yet manages to wield enough of a budget to rope in some of Hollywood’s finest. Names like Russell Brand, Gary Cole, Hugh Laurie and Hank Azaria carry some serious comedy, star and cult power – and getting them to sign on to an animated feature like Hop must have taken some serious star-wrangling.

Once you get past the prolific choice of actors, there’s not all that much to talk about. The chocolate box animation is delivered by the same team that brought us Despicable Me, which is solid enough to meld live-action and animated scenes with a range of tangible creatures. Their interactions with the humans is convincing enough to make the transition, but it’s no Enchanted. When it comes to the quality of the cross-over, Hop falls into the same egg basket as the cartoon-to-film adaptations, Garfield and Alvin and the Chipmunks.

The script is a little pithy when it comes to comedy and without a popular book series or cartoon to reference comes up a little thin. One rock ‘n roll bunny is a poor substitute for three karaoke pop idol chipmunks with high-pitched voices. Unfortunately, Hop just feels too much like a knock-off of Alvin and the Chipmunks with James Marsden in for Jason Lee. Simply relying on the magic of Easter Island and Easter as a holiday also creates problems, yet the scriptwriters have simply ignored the giant white rabbit in the room and not as creatively as Jimmy Stewart did in Harvey.

Was Hop meant to be the equivalent of a psychedelic trip for our young unemployed “failure to launch”? Did he just hallucinate the talking bunnies, immortal chicks and flying Easter egg-shaped spaceship? This would certainly explain away quite a lot of the film as our protagonist’s surreal adventure takes the audience on extraordinary leaps of faith without even uncovering the reason for the rabbit race’s proclivity to provide humans with colourful chocolate eggs once a year.

Hop is a real mess of colour, fun and accents. The lighthearted tone of the film allows it to take liberties in stretching the bounds of reality. The upbeat, chipper and feel good spirit also smooths over many of the gaping flaws in this animated adventure in much the same way that Garfield and Alvin and the Chipmunks did. The stars add a side order of charm to the movie, and without them it would fall very very flat. There are one or two chuckle-worthy moments, but the overall feeling is that Hop is a bit too dull for all it’s good cheer – making it a mediocre outing for the kiddies.

The bottom line: Egg-on-face.

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

Smallville opened our eyes to the small town exploits of a young Superman slowly learning his true identity and unmasking an array of superpowers. In a similar way, I Am Number Four, positions its protagonist in the confines of a small town, discovering his abilities and protecting his anonymity at all costs. Instead of a slow, winding TV series… the romance, action, science fiction adventure and $60 million budget has all been jam-packed into 109 minutes of all out action entertainment.

I Am Number Four even has shades of Ben 10 with the alien offspring, shape-shifting creatures and alien super powers. Although this film isn’t aimed at the ten-year-old market as much as the child in all of us. High school, fitting in, getting the girl, sticking it to the football jocks and powering home in the grand finale. This is a mirror plot development to The Karate Kid. Underdog, man-on-the-run, hidden identity… all of these classic movie devices all blend together in this, D.J. Caruso’s latest film.

Caruso directed Eagle Eye and Disturbia with young Shia LaBeouf as his lead, which gives you an idea of pacing. Now instead, opting for young Alex Pettyfer of Alex Rider: Operation Stormbreaker. The British heartthrob is racking up an impressive list of performances after being hand-picked by Anthony Horowitz to play Alex Rider, the 007 version of Harry Potter. Pettyfer’s hit the ground running with a spectacular 2011 featuring in I Am Number Four and Beastly. His understated performance and natural good looks make him a name to look out for in the coming years.

He stars opposite gorgeous young Teresa Palmer ofThe Sorceror’s Apprentice, another up-and-coming star whose role shadowy role could have been exemplified in I Am Number Four, instead of making such a late entry. It sets in motion an option for a sequel with Palmer featuring more prominently, but until her arrival… the eye candy and romantic interest of our hero is played by the equally beautiful Diana Agron – who could very easily be the next Katie Holmes in a Dawson’s Creek kind of way. Timothy Olyphant and Kevin Durand fill in quite competently as John’s father and ominous stalker – giving a little more weight to the cast of rising stars.

The special effects are superb and handled well, using light and some amazing rigging to allow police cars to flip backwards and blue alien light to emit from John’s hands. The light and sound show is saved till the end, where John has come full circle like Peter Parker realising he’s Spider-Man. The monsters are a little iffy and comical in a Ben 10 sort of way, but The Fifth Element style alien juggernauts keep enough realism to suspend the reality without becoming too cheesy.

I Am Number Four is a flat-out popcorn actioner, which blends a number of popular superhero themes together with a new kid in town back story. It uses these classic themes to lay a foundation and powers home with good performances, fine special effects without feeling too much like a Smallville knock-off. I Am Number Four is competently filmed, loaded with exciting entertainment and wholly satisfying as a fun trip to the movies. There are one or two plot developments that don’t quite make sense, but that’s usually a result of leaving the ends frayed enough for a sequel.

The bottom line: Enjoyable.

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

Did you get a slightly uneasy feeling when you discovered Pirates of the Caribbean: Curse of the Black Pearl was a Disney movie? Mild surprise may be a better description, well – you may have experienced a similar feeling when you found that Captain Jack Sparrow, better known as Johnny Depp, is Rango. That’s right… the coolest actor in Hollywood, famed as a clumsy pirate is a swashbuckling “lizard”.

Just when you thought he couldn’t possibly do anything without Tim Burton’s permission, he unleashes Rango, a chameleon trapped in the Mojave Desert with nothing but his moxie and theatrical ability.

Depp’s known for playing outwardly eccentric characters who are misunderstood by society, but this time it’s difficult to determine just how freakish our reptilian protagonist is when he’s surrounded by a motley crew of furry critters in the desert. He’s supported by a voice cast including: Isla Fisher, Timothy Olyphant, Abigail Breslin, Alfred Molina, Bill Nighy, Stephen Root and Ray Winstone. It’s an all-star ensemble of voice actors – each adding their own dark slant like the casting for a Tim Burton movie.

Lars (Depp) stumbles into the small dusty town of Dirt before swindling his way to Sheriff with the help of a tall story and a gullible saloon. Before he’s even wet his tongue, the chameleon adopts the name and legacy of Rango, a stranger-turn-savior of Dirt and its townsfolk, who are experiencing a drought with the added threat of local bandits. As Rango, Lars has to live up to the legend and survive longer than the town’s last Sheriff.

This offbeat animated adventure and western comedy is quite remarkable. Rango’s visuals are worth the admission price alone – boasting beautiful textures, imaginative characters and true-to-life backdrops. The colours are mesmerising and Pirates of the Caribbean director, Gore Verbinksi, has treated Rango like an live-action epic when it comes to cinematography. The story is pretty stock standard for a western with all the regular ingredients, except it’s animated and played out by animals instead of people. However, the voice performances and production values create the illusion of reality – making some of the scenes seem quite real.

Rango isn’t a kids movie. It flies under the banner of Nickelodeon, but don’t be fooled – this one is quite dark with impending death pinned as a central theme. The comedy isn’t as crisp as a Pixar script and the characters aren’t as charming as they’d have you believe, but Rango still delivers on dialogue with a smart script and some witty interplay.

The novelty of the concept is that the classic Western has been given a new skin and a different shade of performances. There’s a surreal element to the film reminiscent of Jack Sparrow’s meanderings in the desert with bugs carrying our hero away. Verbinski has used light, colour and textures quite masterfully – using light refraction from bottles and warped reflective images from water to give the movie a Fear and Loathing in Las Vegas overtone. Dreams, visions… this animated feature goes beyond the confines of a straightforward Pixar production to achieve something beyond normalcy.

Despite it’s ambitious ventures to the outer edges of animation and it’s adult themes, it doesn’t quite deliver on laughs and story. The style and execution of Rango outweighs the slightly superficial attempt at a Chinatown meets the Three Amigos. It’s largely entertaining with eye-popping visuals and a good pacing, yet without a truly original story… the brilliant animated effects seem vapid and without anything to keep it anchored, it all seems to be in the moment rather than memorable.

It’s a fun, rollicking thrill ride from start to finish with dazzling animation and a first-class voice cast. The film comes across as something of a fluid artwork, maintaining its entertainment value and keeping the viewer transfixed in its trippy, quick-paced adventure. Gore Verbinski and Johnny Depp bring their trademark mood across in Rango, giving the animated feature instant cult appeal. Rango isn’t for everyone, but it’s difficult to not to like it.

The bottom line: Enthralling.

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

Life, Above All is a universal story about the intricate relationship between mother and daughter. Set in modern day South Africa, Oliver Schmitz has composed a drama that is emotionally taut, compelling for its heartfelt performances, important for its social commentary and beautiful for its cinematography. At the crux of Life, Above All is Chanda, our young protagonist, played by Khomotso Manyaka. The film depends on Manyaka’s performance and she persuades us to journey with her as we learn of her big heart and challenging circumstances.

Her alcoholic stepfather is a sore point… scorned by the watchful community of neighbours and passed on like an unwanted gift. Her mother has contracted HIV and no treatment or miracle cure seems to be changing the fact that she’s dying from AIDS. Poor Chanda is basically abandoned by her parents, left to run the household including her young brother and sister under the auspices of Mrs. Tafa. The young teenage girl has a lot to contend with in a rather dire situation with her mother’s worsening health and the future of her siblings to manage, as well as her own. Mrs. Tafa, a family friend and neighbour, is battling with her own convictions about Chanda’s mother and how to respond to a parent-less home.

It’s Chanda’s determination, loyalty and loving spirit that counterbalances what would be a depressing film. Alan Stratton’s novel touches on social issues in South Africa, which have been relayed in Live, Above All like ticking a series of check boxes to make it socially significant. The awareness factor is considerable, although the only real hope that we can ascribe is from our protagonist… who, despite being up against a brick wall is willful enough to overcome her opposition.

Manyaka’s performance is outstanding, showing amazing maturity for such a young actress. She’s supported by an ensemble including the seasoned Harriet Lenabe (Hotel Rwanda) as Mrs. Tafa, introducing Lerato Mvelase as Lillian and Keaobaka Makanyane as Esther. The film is something of a companion piece to Themba, another beautiful film about a young boy realising his dreams. While more melancholic, both films have a similar focus on social issues with the next generation learning to fight for their futures.

Both coming-of-age dramas are beautifully filmed portraying uplifting, yet heartbreaking stories. Life, Above All starts off a little slowly, but once the characters have been introduced… an emotional resonance is established with the audience. We admire and pity Chanda. Her resolve, intelligence and determination is worthy of praise, how she keeps soldiering on to keep hope alive. Then we empathize with her for having to deal with situations most teenage girls will never experience. Sacrificing her school time for her family, only to catch up on homework after hours makes her devotion to her family inspiring.

Life, Above All is a poignant social commentary, a beautifully filmed coming-of-age drama that shows the beauty and ugliness of humanity with a terrific lead performance from Khomotso Manyaka, amid a solid ensemble. The film is important in creating awareness of issues on an international platform, which while universal, home in on Mama Africa. Life, Above All is touching and quietly optimistic, showing a way forward no matter what life seems to throw at us.

The bottom line: Heartfelt.

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

The British royal family have had their fair share of embarrassments through the ages: Richard III’s bloody coronation, Queen Victoria’s “wicked uncles”, rumours that Prince Albert Victor was in fact Jack the Ripper, Prince Charles, his ears, Camilla Parker Bowles… the list continues. One such national embarrassment was The Duke of York, whose futile military exploits inspired this song…

However, The K-k-king’s Sp-speech is not about the military exploits of this particular Duke of York, but rather about the potential embarrassment of “Bertie”. Second to the throne, it was “Bertie” who overcame his stutter with the help of a speech therapist named Lionel. No, this is not a royal romance – it was his therapist, who gave him the friendship, confidence and verbal fortitude to boldly lead Britain into war. The King’s Speech is a historical drama, with “Bertie” lovingly portrayed by Colin Firth, who has been going from strength-to-strength with each new award-winning performance.

Playing someone with a stutter is no easy feat… comparable to acting seriously with your foot in your mouth, and Firth commands the role with a regal grace and dignified self-loathing. We learn that the impediment has most probably been caused by a series of childhood disappointments and it’s not long before renowned speech therapist and last resort, Lionel Logue, is summoned to fix the Duke’s stutter.

The story centres on the relationship between Bertie and Lionel, who see-saw in their professional and personal relationship with one another. The King’s Speech views the relationship from several angles: the political slant of royalty relying on a mere commoner, the vulnerability of doctor-patient confidentiality and the test of true friendship, shaping the complex bond between a British Royal and an Aussie everyman.

The performances are key in The King’s Speech, with Colin Firth in possibly the best patch in his acting career, supported by seasoned and consistently excellent contender, Geoffrey Rush. The two have great on-screen chemistry and adapt their performances from heavy drama to light comic moments, showing their great versatility. Let’s not forget about Helena Bonham Carter and Guy Pierce, who give the ensemble even more credibility with fine supporting roles – with Bonham Carter garnering an Oscar nomination for her part as a young Queen Elizabeth in the making.

Tom Hooper directs after successful outings with Longford, John Adams and The Damned United, giving this historical drama bite with a real sense of authenticity for the life and times. The movie’s title and era conjure up a stuffy, pretentious and somewhat stale atmosphere, but Hooper has converted what could have been a languishing drama into a historically accurate, entertaining, lively and relevant drama giving his actors space to truly shine in this remarkable true story.

The cinematography is beautifully understated, the score gives the story pomp and purpose, the production values are outstanding, transporting the audience back in time. There are uplifting, funny and dead serious moments – wringing out every drop of entertainment, while staying true to the characters. The King’s Speech is difficult to fault. Some may find it difficult to relate to, but it manages to draw the same sort of audience that Shakespeare was renowned for with contact points for the aristocrat and working class man.

The story of King George VI’s ascension to the throne is not familiar to international audiences, yet The King’s Speech changes that… turning what seems rather insignificant in retrospect, casting a light on what could have been a turning point in world history. The King’s Speech is a true all-rounder, and with 12 Oscar nominations in almost every department, it’s easy to see how this quality film production has won the hearts of all who see it.

The bottom line: B-b-brilliant.

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