Boxing is one of those sports that has fascinated Hollywood for ages… It’s easy to see how the blood, sweat and tears shed in the boxing ring could inspire films like Raging Bull and Rocky. Yet, the real drama happens outside the ring in preparation, training, media speculation and in betting circles. Corrupt officials, match-fixing and personal afflictions are where the real action is and it’s these themes that make sports movies great.

Rooting for the underdog is a popular theme for sports movies and this is the true story of “Irish” Mickey Ward, a boxer in the 1980s. His brother, Dicky Eklund, known as the “Pride of Lowell” for knocking Sugar Ray Leonard down in a fight in 1978, has since become a crack addict. Now the subject of a documentary in which he believes he’s making a comeback at the age of 40, it’s Dicky who inspires Mickey to carry the torch and go professional. The brawler-turn-pro boxer has a tough time relying on his brother, and doesn’t always agree with his domineering mother and manager, Alice, who’s intent on keeping it in the family.

The Fighter chronicles the trials and tribulations of Ward, whose troubled brother inspired and frustrated him. It’s an uplifting story, a triumph of the human spirit as two brothers simulatenously reach new heights. Mickey pushes away from his family to fight for himself and reach his true potential, while Dicky tries to come clean and kick his addiction – both realising the value of the interdependent relationship they’ve fostered over the years.

Mark Wahlberg is a real contender and delivers another solid, generous and likable performance as Mickey Ward. He’s obviously done the work, playing a real character with great conviction and drive. Yet, it’s Christian Bale who almost derails the title character completely. Some would say Bale was overacting, but the credits reveal the real Dicky Eklund and Bale has matched… no, mastered the mannerisms of Eklund. The performance is scene-stealing and turns a supporting role into something of a co-lead.

As if two top-notch “co-leads” wasn’t enough, Melissa Leo and Amy Adams step in to deliver two equally good performances. Leo captures the essence of the willful and nepotistic Alice Ward, a matriarch and headstrong woman. Adams chimes in as Charlene Fleming, Mickey’s devoted girlfriend… yet another “Fighter”. The central characters all seem to channel the spirit of the underdog… tenacious, strong-willed and ready to drop the gauntlet to guard their values.

David O. Russell directs in a fluid and spontaneous manner. It conveys a sense of reality, giving the camera freedom of movement and allowing us to get into the swing of things. The Fighter isn’t just a drama, it carries a good sense of humour too. Alice Ward’s collection of daughters is one point of recurring comedy as they function like a litter of puppies… going with the flow, echoing their mother’s sentiment in a “so you think you’re better than me” collective. There are several laugh-out-loud funny moments as Dicky tries to keep his head above the water and sidestep the law, responsibility and family duty.

The Fighter is a two-tiered movie… with two inspiring characters, each overcoming their own setbacks. This makes the story somewhat disjointed as each contender fights for the lead. Both stories could be a film in their own right and it makes for intriguing interplay as the story twists-and-turns between Wahlberg and Bale. It’s also a little confusing, given Bale’s charismatic performance, and the camera’s propensity to follow him.

Bale’s performance alone is worth the admission price of the ticket. It’s one of those character-driven stories, which would only be semi-decent if it weren’t for the amazing personas at play. The film’s several nominations for performances just emphasises this point. However, the biggest travesty is the importance of Wahlberg’s lead performance, which has actually been diluted instead of lifted up by his supporting cast. Without the anchor of a dominant lead, the film feels a little lost at sea sometimes… lost, but nevertheless entertaining and inspiring.

The bottom line: Spirited.

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

Is it the reflection in a cowboy’s boot? Is it the whinnying of a horse ready to bolt? Is it the glint in a gun fighter’s eye before a showdown? True grit is what most Westerns are built on with tough, leather-faced hard men swaggering around town like they’ve just shot the Sheriff. Thing is… it’s often difficult to spot the difference between a bad and good guy. This is the Wild West and this is the remake of John Wayne’s swan song… it’s called True Grit.

The Coen brothers seem intent on resurrecting the Western after a steadying decline in interest since Sergio Leone sparked the influential “Spaghetti” Western culture of cowboy movies in the seventies. These films have shaped directors as prolific as Quentin Tarantino, who used aspects of Leone’s trademark film-making formula in the making of Inglourious Basterds. The spirit of the Western is still alive in Hollywood… and the Coen brothers have made sure that its legacy continues with True Grit, an authentic Western embodying some of the thrill and humour of living on the fringe of society.

The genre mix is ideal for them… making it the perfect movie to dabble with, after having won an Oscar for No Country for Old Men, another novel adaptation and uncharacteristic genre entry. The Coen brothers have naturally been drawn towards comedy, but have matured to focus on more dramatic elements in their films. True Grit is a fine balance of the two… providing the light relief of intermittent comedy and the hard-hitting reality of living life as a hired gun.

Mattie Ross (Steinfeld) is a young woman with a sharp mind and an even sharper tongue. When her father is murdered, she endeavors to seek street justice and exact revenge. She enlists the help of Rooster Cogburn (Bridges), a tough U.S. Marshall with a knack for handling suspects (and verdicts) out of court. The young lady insists that she accompany the Marshall as he tracks down her father’s killer, in the hopes of delivering the death note personally.

True Grit is Jeff Bridges… who won Best Actor for a similar style of performance in Crazy Heart. That character was a good platform for his role in True Grit, playing a talented old cowboy with a drinking problem, whose best is yet to come. Rooster Cogburn and True Grit belonged to John Wayne, but now there’s a new Marshall in town. Bridges gives the one-eyed tough man real heart and clout, defining true grit and the essence of living like a real cowboy between pay days and drinking binges.

However, Bridges has stiff competition in the form of a young Hailee Steinfeld, who delivers a spirited performance as Mattie Ross. Her gutzpah, oomph and willful character is perfectly portrayed by Steinfeld – giving the Marshall a run for his money with her strong attitude and stubborn determination. She even outplays an experienced contender like Matt Damon, despite a solid yet comical performance as LaBoeuf, and fits in neatly under Cogburn’s wing in a sort of father-son relationship.

Rooster Cogburn may be today’s equivalent of Judge Dredd, but he brings a vulnerability to the performance that creates a much more complex lead and old style hero. The realness of the character is propagated by the authenticity of the Western sets and the use of language as set forth by Joel and Ethan Coen. The simple story is laced together so perfectly that it’s difficult not to get pulled in by the blend of good humour and short bursts of violent action.

Punishment and retribution are the watchwords for True Grit. It’s not as beautiful or poetic as The Assassination of Jesse James, but still captures a slice of the times with all the little background details. At the heart of the film are the terrific performances, which carry the story with great gusto as our adventurers traverse the open plains and track down their man. True Grit is one of those autonomous remakes. There are the occasional tributes with a tip of the hat to John Wayne and the original, but it’s been made with great passion and a real sense of ownership – something that’s difficult to substitute.

The bottom line: Authentic.

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

(What’s the Story) Morning Glory? was an Oasis album toting the smash hit, Wonderwall. Morning Glory: What’s the Story? is a movie starring Rachel McAdams, Harrison Ford and Diane Lane. The “clever” reworking of the Oasis album title makes a much more interesting title than Daybreak, which is the actual name of the morning show concerned in Morning Glory.

There was a morning show called Morning Glory on Channel 4 in the United Kingdom, but it only lasted 2 weeks. The term references a number of different meanings, from a species of flowers, a rare defect of the optic nerve and even a few song titles. However, the slang meaning is probably what they were referring to – described by Wikipedia as “Noctural penile tumescence”, or to use another slang term – waking up with a stiffy.

Morning shows often feature news, interviews, cooking, personalities and any other trivial curiosities to peak your interest while you’re still rubbing the gunk out of your eyes. Yep, these folks are paid to be bright-eyed and bushy-tailed before you are and while we think waking up at that unearthly hour to catch them all suited up is bad, they’ve got to catch a wake up call even earlier! Work, Hell… whatever they call it, it happens every weekday and if you’re not a morning person, you’re out faster than you can smash an alarm clock.

Morning Glory follows a young television producer who lands a challenging job at a flagging morning show called Daybreak. Her mission is to revive the show, improve the ratings and keep Daybreak and her two co-anchors from breaking. It’s the sort of lightweight, affable stuff of morning shows – entertaining, curious and easy-to-follow as our little girl in the big city learns how to get the best out of her cohorts.

Rachel McAdams is perfect for the role, something of a fluffier The Devil Wears Prada or less gender-conscious The Ugly Truth kind of movie. McAdams is an accomplished actress, likable and it’s fun seeing her grapple with the difficult star personalities around her. Imagine that short bit in Bridget Jones’s Diary, where she’s reporting as a sky diver and you’ll get the gist of Morning Glory. It goes down as easily as that first cup of coffee in the morning with a strong taste, plenty of froth and a warm afterglow.

Harrison Ford and Diane Lane lend their ample star power to Morning Glory as the co-hosts, a duo made famous for behind-the-scenes comedy by movies like Anchorman and The Ugly Truth. The bickering off-air, the bad attitudes and ridiculous demands are almost on par with a David Lynch film for the dark irony of what lies beneath the charming exteriors. Morning show hosts are notoriously chipper, which makes casting Harrison Ford as a grouch even more amusing for fans of the actor.

Jeff Goldblum and Patrick Wilson also feature… but their roles and the whole movie is rather forgettable in the grand scheme of things. Just like morning glory, you’ll definitely remember the good feeling you experienced, but it’s fleeting and before you know it… you’ll be experiencing it all over again. It’s funny how some six-out-of-ten movies are the most rewatchable. Morning Glory is one of them, backed by a quality ensemble, a sweetheart story, feel good vibrations and frothy lightweight comedy.

Describing Morning Glory as “pleasant” would be an insult to the entire production, but apart from a couple of curse words, a suggestive title, several hundred IBS logos and some hissy fits… there’s very little that’s offensive in Morning Glory. If you’re looking for a great little date movie or popcorn flick to soak up a good hour or two – you can’t go wrong with Morning Glory and a bit of entertaining escapism.

The bottom line: Breezy.

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

Disney have usurped our childhood memories… systematically converting every fairy tale into a Disney classic and making it difficult to imagine fairy tales any different. Then a former Disney animator, Tim Burton, has been entrusted with stealing our adult nostalgia by revamping classics like Charlie and the Chocolate Factory and Alice in Wonderland. Pixar show that fresh new ideas do exist with films like WALL-E, Ratatouille and Up… which is why they’re at the top of the food chain. Until recently, it looked like Disney was yesterday’s toast with digital artwork replacing the hand-drawn animation Walt Disney made famous.

Disney have made a comeback! They may have been a little shell-shocked at the end of the 20th Century, but with films like Enchanted, The Princess and The Frog and yes, even Meet the Robinsons… there’s still hope. Tangled is their latest addition to the fairy tale kingdom of fame – a take on the story of Rapunzel. The story of the girl trapped in a tower, whose long locks reached down to the ground. Disney have taken what was essentially a very simple and quick fairy tale and expanded on it to make it their own.

Reportedly, the most expensive animated feature yet, Tangled, has been filmed for 3D – the revamped technology and anti-piracy draw card to re-invigorate old cinemas. It’s not their best movie, but is a big step in the right direction, embodying a similar feel to their hand-drawn classics and returning to their musical roots with some upbeat songs.

The voice cast includes Zachary Levi as Flynn Rider, better known as Chuck, and Mandy Moore, who lends her sweet singing and acting voice to Rapunzel. Other recognisable voices belong to Jeffrey Tambor (Arrested Development), Ron Perlman (Hellboy) and Brad Garrett (Everybody Loves Raymond). The ensemble has a comic edge and background, which suits the witty dialogue and “banter” in Tangled.

Medieval pubs, lakeside castles and lanterns in the night sky make this enchanted kingdom a real spectacle. The 3D animation just enhances the likable characters and allows one to fall in love with the sweet fairy tale story. Once again, Rapunzel revolves around princesses, suitors and eccentric characters, including a mood-changing chameleon and a gallant horse called Maximus – a more regal brother to the carthorse in Beauty and the Beast.

Tangled is first and foremost funny, which is probably what you’d expect from a story about a princess smuggled from her parents at birth and kept hostage in a tall tower and blessed with healing properties in her glowing hair. They succeed in keeping the pace brisk with luminous visuals and an amusing script. The entertainment factor is high. However, the story’s main flaw is in its villain. The aging “stepmother” is more egotistical than evil and relies on fairly ineffectual henchmen to carry out her will. The Princess and the Frog almost overstepped the mark with voodoo style evil in New Orleans, but created a much broader conflict between the good and evil.

Tangled is much more light-hearted, escapist fare… choosing mild peril instead of targetting dopamine levels. The action is strong enough to warrant a PG for violence rating, yet things just come a little too easily for our adventurers. The best Disney movies have relied on much stronger characters, where the good are shining lights and the evil are dragged from hell. To this end, there’s an uneven sway – relying on our heroes complex past and good nature to shine through and win out at the end of the day.

Tangled’s charming, romantic at times and will go down as one of the more tender Disney movies. The overall quality of the production as a whole is what really pulls Tangled together, making it an affable romantic comedy and fantasy adventure for the whole family. Watch a more confident Disney production that, while not on par with Pixar, shows they can still do it – even in the world of digital animation and 3D.

The bottom line: Entertaining.

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

Splice is a rare film, which is both thought-provoking and disturbing. The story follows a similar arc to Bride of Frankenstein as two ambitious scientists, working on groundbreaking new research in the field of splicing organisms’ DNA to create hybrids for medicinal benefits, decide to push on in secret when they include human DNA in their tests and spawn a partly human creature. The parallels are quite obvious as Clive (Brody) and Elsa (Polley) essentially become parents to a creature called DREN.

The film combines elements of the horror, science-fiction and thriller genres to convey a drama, which could easily be set on stage. The rebellious scientists are forced to hide DREN, nurture the hybrid and teach the creature to be more human. The ethical dilemna of all this humanisation and ‘playing God’ are its core focus as each character’s motives are explored. Clive is the reluctant voice of reason, who keeps second guessing himself and never fully committing to the project. However, his gentle cautionary notes are no match for Elsa, whose obsessive drive toward motherhood is too powerful to withstand.

Their relationship is tested as DREN is wedged between them, a dark little secret that could change history, an adopted problem child. The film moves from the confines of a laboratory to a barn in the countryside. The hybrid is partly human, which makes their clinical decisions blurry and it’s not long before their creation grows out of control. The uncertainty of DREN’s status of being human or not creates a sustained tension as the creature adopts human traits, while displaying animal tendencies. This tension heightens as each human tries to make sense of their situation and establish some kind of relationship with the hybrid. As DREN matures, “she” develops language skills and exhibits human intelligence, sexual drive, all the while masking her wild side.

Adrien Brody and Sarah Polley are convincing as the scientist couple, who unwittingly become parents. Splice relies on its characters and a taut atmosphere to drive the story and Delphine Chaneac, delivers a performance worthy of Andy Serkis’s Gollum or Pan’s Labyrinth in giving life to DREN. The CGI is true-to-form as hybrid creations make way for DREN’s evolution and the transformation is believable.

Splice holds a dark, creepy and slimey hold on its audience. The fascination with DREN, the deteriorating relationship between Clive and Elsa… there’s a morbid curiousity in all the goings on. Writer-director Vincenzo Natali (Cube, Ginger Snaps) takes the inquisitive spirit of science and injects the film with a sense of riskiness, an allure of the unknown and a desire to understand the true nature of humanity. The film sets off on a journey of discovery for the good of science and leaves with a sting.

The bottom line: Creepy.

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

Breaking out of prison is never easy, unless you’re one of the Beagle boys or a young Sean Connery. It’s a meticulous process of timing, planning, training, testing and presence of mind as demonstrated by Wentworth Miller in Prison Break. He was motivated by his brother’s wrongful imprisonment, determined to reverse the cogs of justice and work the system in his favour. Full body tattoos are one way of getting your brother out of the clinker, but there’s another way… a more sensible blueprint for setting your loved one free as witnessed in The Next Three Days.

Russell Crowe has always come across as a fairly reasonable bloke. He fought off gladiators in Gladiator, did maths in A Beautiful Mind, bought the farm in A Good Year, flexed his bow in Robin Hood and even dated Meg Ryan at one stage. His melancholic facial features deliver half of his performance as Crowe draws on the character of John Brennan, a community college teacher fighting to get his life back after what he perceives to be a miscarriage of justice.

The Next Three Days tells the story of an ordinary man, whose wife is arrested and sentenced to 20 years imprisonment after a brutal murder. All the evidence suggests this to be an open and shut case as Lara Brennan (Banks) is dragged through courts and into prison. John does everything in his power to free his wife, from attorneys to private detectives, but it all seems futile with Brennan destined to a single parent. However, a flame still burns for the love of his life, who he believes is innocent to the point of obsession… to the point of staging a prison break.

On the surface level, the plot seems pretty cheesy with the romantic overtones of star-crossed lovers wanting to be reunited. However, Paul Haggis doesn’t trade in cheese… although some would probably argue that some of his scripts look like Swiss cheese after he was credited with writing Quantum of Solace. While Haggis is best known for his screenwriting abilities, having penned Crash, Million Dollar Baby, Letters from Iwo Jima and In The Valley of Elah, he’s also admired as an accomplished director with In The Valley of Elah and Crash under his belt.

The award-winning filmmaker has worked with the likes of Clint Eastwood and it’s safe to say that the two have a similar style. Both flourish on drama, which is toned down and executed in a hard, honest and no frills fashion. Great storytelling and acting is the focus, creating a somewhat invisible peephole on the lives of ordinary people engaging in extraordinary feats of humanity. Uplifting possible real-life stories are their preferred medium and they thrive on creating films that inspire, move and engage audiences.

The Next Three Days fits the bill and while the concept of a meticulously planned prison escape does feel a little worn, it’s the sincerity of the performances that nail it down. Crowe is the kingpin in this crime drama and while he’s not the first person you’d think of when it comes to romance, he powers the depth of his character’s love for his wife through his actions. He’s supported by Elizabeth Banks, who while adequate, seems a little miscast in the role of Lara Brennan.

The suspense is tied up in the preparation, secrecy, planning and eventual operation as we root for the underdog. Haggis has added another dimension to the taut atmosphere by fogging the truth… making the murder something of a mystery. The cloaking device works beautifully as the couple’s interactions reveal fragments of the truth and build towards the conclusion.

Haggis even throws a few red herrings into the mix to keep us guessing, steering our attention in one direction and then marking quick reveals throughout the film. It’s the work of a magician storyteller, keeping you on the edge of your seat and committed to the narrative. The Next Three Days does cross the finish line a little late, but the slower pacing adds to the suspense and makes it easier for us to invest in the character and his mission.

The Next Three Days not filmed like a heist, bank robbery or jail break… and this is probably the reason that an old hat concept can feel relatively fresh. Instead it’s from a family perspective with one man convinced he’s committing a crime for the greater good, gambling with his only son and a prison. We’re captivated by Crowe’s understated performance, inspired by his romantic albeit foolish plight and anticipating everything that could possibly go wrong. It’s totally entertaining and apart from a few minor flaws, makes a satisfying all-round movie experience.

The bottom line: Engaging.

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

You Will Meet A Tall Dark Stranger is as mystical as its title. You’d usually hear the line when having your palm read in a jocular manner and who better to do it than Woody Allen? The writer-director has discovered a niche for intricate relational comedy dramas with a twist. Whatever Works paired Woody Allen with Larry David as the two concocted a “romance” story about interconnecting relationships and love in all its forms. You Will Meet A Tall Dark Stranger is similar, except darker, representing the tragedy instead of the unpredictable nature of love. The theme of illusions carries some potency as we see couples clashing, using schadenfreude to create a humorous yet unpleasant situational comedy out of fall outs.

You Will Meet A Tall Dark Stranger follows the lives of two couples, Alfie (Hopkins) and Helena (Jones), and their daughter, Sally (Watts) and her husband Roy (Brolin). Alfie has lost interest in his long time wife, Helena and has sought the excitement offered by a young escort. Helena is devastated, finding solace in the musings of a dubious fortune teller. Sally is fed up with her husband and wants her boss (Banderas) and Roy can’t take his eyes off their neighbour in the hopes of discovering a new muse to inspire him to write. Naturally, it all gets quite messy and amusing as soon as things start to backfire.

The drama is underpinned by some Hollywood heavyweights including: Anthony Hopkins, Antonnio Banderas, Naomi Watts, Gemma Jones and Josh Brolin. While they add some charm and experience to the affair, it’s not a particularly outstanding outing for any of them. Their dramatic performances add depth but it’s the twinkle in the eye that’s missing… making the material entertaining, enjoyable but not as quirky or funny as Whatever Works. Perhaps it was Larry David who provided the momentum for Whatever Works or maybe it’s the series of unfortunate events in You Will Meet A Tall Dark Stranger that douses the sparkle.

Woody Allen is a talented screenwriter, who manages to swathe his audience in a blanket of intrigue. People are interesting and Allen uses the characters to create a fascinating study of human behaviour. There’s a deep respect for the soul, what makes us tick and what makes us love. Humanity and the many complexities of our condition are what inspires this writer and his whimsical tales are always fascinating purely in terms of human interest. You Will Meet A Tall Dark Stranger toys with people and their expectations in love as two married couples go on a journey of self-discovery, realising like Aesop’s dog with a bone – they had it good.

The bottom line: Entertaining.

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

It seems that if you’re blue, you’re in vogue… well that’s if pop culture in 2010 is anything to go by with James Cameron’s Na’vi tribesmen in Avatar, The Smurfs feature film and now our giant blue-headed villain in Megamind. Perhaps Andy Warhol was really onto something with his colour transition duplications of Marilyn Monroe and John Wayne’s heads when he coloured them blue? Perhaps it’s the post-recession/posthumous Michael Jackson era that’s made being blue cool again… although quite frankly, it’s about time we got over the penguin infatuation – haven’t we already established that their little tuxedos are “cute”?

Megamind is a DreamWorks action comedy from Tom McGrath of Madagascar fame and yes the bleeding penguins were the best part. He’s obviously been giving DreamWorks a scratch on its collective back (or belly) depending on where you like it most and after a reasonably successful stint with animated features, Madagascar and Madagascar 2 – he’s become the equivalent of a colonel in the on-going battle between Spielberg’s DreamWorks and Pixar for global cartoon domination.

‘Cartoon’ is probably bandied about like a swear word in the animation industry nowadays with studios literally gleaming the 3D cube with their creative brilliance in all departments. Toy Story 3, UP, Ratatouille… these films have set new standards and it seems as though DreamWorks has always played second fiddle with their portfolio of animation including: Shrek, Madagascar, Kung Fu Panda and Monsters vs. Aliens. They continually produce solid animated features, but are playing towards a different market segment with their feel good jaunts. Who can blame them with the likes of Pixar and Disney soaking up the glory on the podium with gold and silver?

Megamind is their take on The Incredibles, just like Shark Tale tried to find Nemo. DreamWorks have roped in some serious acting-turn-voice talent to get the job done and harnessing another ’solid 7′ contender like Will Ferrell is almost half the battle won. Then cranking up the star power of a supporting voice cast with Brad Pitt, Jonah Hill, David Cross, Ben Stiller and Tina Fey actually makes it difficult to avoid hitting #1 at the box office. However, Megamind is more than that and demonstrates its quality from start to finish.

The animation is mesmerising,wildly creative and fascinating – matching The Incredibles and upping the game with 3D technology. The visual effects are worth the admission price alone. The voice cast deliver polished performances around the kingpin that is Will Ferrell. Love him or hate him, Ferrell is quickly becoming the new tiger in Hollywood… in a similar trajectory to Jim Carey – who was sitting on the $25 million a picture fence not so long ago. Ferrell has a great comic voice and would definitely be first choice to play The Cowardly Lion if they ever remade The Wizard of Oz. He uses it to good effect in Megamind as the title character weaving a little bit of his “Ferrellesque” lunacy in for good measure.

It’s the classic superhero versus villain story, except its got a big twist… we’re actually rooting for the villain. The production seems to have been influenced by the passing of Michael Jackson, giving Megamind a familiar back story as an outsider with amazing talent much like the King of Pop. Then to push this notion even further, Megamind’s theme tune is Bad. Throw in another King in the form of Elvis Presley with tassels and a guitar and you’ve got a complex stand-off. They’ve used Jackson’s complex biography as a basis for the lovable/detestable character of Megamind and then cast Will Ferrell… to establish a similar “love or hate” relationship with the public.

The complexity of our identification with the characters is what propels Megamind as we despise and then sympathise with our tragic blue anti-hero. He’s a victim of his circumstances… dropped from space as an alien baby like Superman and then forced into a corner for being different. As Megamind says “All men must choose between two paths. Good is the path of honour, friends and family. Evil… well, it’s just cooler. Hit it!” The balance of good and evil keeps swirling like a ying-yang in Megamind as superheroes come and go, showing that with great power comes great responsibility and without much good, it’s no fun being bad.

This is a quality production from start to finish ratcheting up the cool factor with a first-rate voice cast… the epitome of cult cool, a dazzling balance of 3D/2D visuals, a rock soundtrack including Guns ‘n Roses and AC/DC and a classic superhero story that virtually anyone can relate to. It’s got the makings of a classic, instantly rewatchable and full of surprises. What it does lack somewhat, is the same calibre of emotional intelligence as films from Pixar. While we love the characters, there’s just too much swapping about and not enough of a connection to truly feel for these superheroes.

The warmth may be a bit of an afterthought, but it’s the strong focus on entertainment value, which recharges this animated action comedy and sci-fi movie. It’s funny, it’s exciting… but most of all – it rocks! Yes, it’s family-friendly – and no you shouldn’t pass it up. This is one, which you’ll enjoy in 2D or 3D. Get a taste of what Dr. Evil would’ve been like if he was blue and make sure you’re armed with popcorn and Coke.

The bottom line: Entertaining.

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

The Girl Who Kicked the Hornets’ Nest is the third chapter in the Millennium series: after The Girl with the Dragon Tattoo and The Girl Who Played with Fire. Stieg Larsson’s adapted film trilogy has held a good consistency under Yellow Bird Productions with each part filmed within the same year much like a mini-series. The difference being that this series has been blocked off in sections denoting each book and the saga of Lisbeth Salander has been cemented by a career-defining performance by Noomi Rapace.

It becomes increasingly easier to see why a television series has been set in motion, given the layered and detailed nature of the various subplots at play. The audience isn’t spoon-fed, but given the reins as a story detective piecing the puzzle together. It’s not confusing in a Pulp Fiction time warp sort of way, there’s just so much going on underground that you feel wrapped up in a cocoon, as if Daniel Alfredson, director of this concluding chapter, has opened several peepholes for us to peer out of. We get a stream of information, which seems choppy at first – yet all blends into one story strengthening like strands of a rope.

This is what makes The Girl Who Kicked the Hornets’ Nest so gripping and as a result entertaining. The first part may be slightly slower than the first two chapters with Salander in recovery mode after a nasty encounter with her father, but the momentum builds as she becomes implicated in several murders and has to stay ahead of her “serial killer” brother, the undercover agency thwarting exposure at all costs and her harrowing past. Although this film splits the screen time between Salander and Nyqvist, giving equal attention to both of their journeys.

Salander is a heroine. She represents every victim and strikes back with a sting in her tail. Revenge plots are impassioned and the story of this girl has a wicked sweetness to it that makes it appealing to just about anyone that’s been wronged. We are horrified by the injustice, perturbed by the consequences and rally behind Salander in relishing her victory in easing the pain and in punishing her assailants. Her targets are the most evil of evil, making it easy for us to take sides and watch them writhe and burn for their sins.

This is the fundamental attraction to the Millenium series… it captures the untamed side of us like a dragon, engenders inner turmoil like a fire and unleashes the piston-pumping anger on the source of our rage. The performances latch onto this fire-breathing premise with Rapace owning the role and Nyqvist turning in a solid performance as a subduing, calming influence. Rapace brings the fire and Nyqvist is like cool earth… dousing the anger, representing the flip side to the coin and redeeming the greater good of humanity as Mikael Blomkvist.

The Girl Who Kicked the Hornets’ Nest is more of a crime drama than a thriller and delivers on story, intensity and performances. There are one or two unintentionally funny moments, but this could be attributed to what’s lost in translation. The fact that the film has been produced in Sweden only adds to the tension with Sweden being one of the most progressive advocates of gender equality in the world. This dark crime series may be too unsettling, violent and unrelenting for some, but at nearly two-and-a-half hours it’s probably the most compelling crime saga you’ll see this year.

The bottom line: Compelling.

Stephen ‘Spling’ Aspeling
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Scott Pilgrim vs The World is brought to us by the guy that gave us Shaun of the Dead and Hot Fuzz. His name is Edgar Wright, whose dark British comedy films have become cult hits with the help of partner-in-crime, Simon Pegg. However, Scott Pilgrim vs The World is a departure from his usual brilliant garb. It’s a non-British production and Wright ensured all of his ensemble weren’t British, although one still managed to slip through. Scott Pilgrim vs The World may be a complete reversal in setting and casting for the director, but there’s still plenty of Edgar’s magic to go around.

He’s chosen to adapt a graphic novel about a young 20-something year old guy named Scott Pilgrim, whose girlfriend insists he must defeat her seven evil exes to win her heart. The plot sounds pretty ridiculous – crazy even, but when you get that Scott Pilgrim vs The World is aimed squarely at the video game generation you’ll understand how it works. Just like retro arcade games, you’ve got a hero on a quest, who must defeat several “bosses” (ex-boyfriends) in order to “clock” the game (rescue the girl).

Scott Pilgrim is not to be taken seriously and Wright created the film along the lines of a musical with fight choreography taking the place of chorus numbers. Although there still are numbers, to identify evil ex-boyfriends and to tally Scott’s score. Remember that ridiculous bit with Leonardo DiCaprio in The Beach where he’s hopping through the jungle racking up points? That’s what is going on here, except it spans the whole film. Now they’ve obviously paid more attention to detail with a graphic novel to guide the style and storyboarding, but there’s that ever-present retro video game feel.

Arcade nostalgia is cool… look at the menu screens for The IT Crowd, t-shirt logos of Pacman and Game Over. It’s an age when people get a kick out of looking back to the old days and Scott Pilgrim clearly has the right mix of alternative music and arcade cool to rack up the points with fans. Michael Cera is another whole component, bringing his George Michael Bluth suave dorkiness to the party from the days of Arrested Development. Wright chucks in a bunch of references, using old school video game soundtracks and even the theme from Seinfeld – wha?

Cera underplays it as usual, has great timing and represents a generation of understated cool. He’s supported by Mary Elizabeth Winstead, who could have been a young Kate Winslet and Kieran Culkin, whose gay friend role helps underpin some of the whimsy in the witty interchanges. Jason Schwartzmann even brings his dark, cult cool to the table as a fitting antithesis to Michael Cera in a final showdown of epic proportions. The ensemble is chock-full of up-and-coming stars, who work together without much or any adult supervision.

The rapid editing, special effects, intermittent on screen titles and neon graphics are distracting at first, but it’s not long before you understand the currency of Scott Pilgrim vs The World. He’s no ordinary guy… part of a band, growing up, on the look out for the next gorgeous girl and trying to stay left-of-centre. There’s an eerie connection with Eternal Sunshine of the Spotless Mind in the romance, pairing a quirky yet fairly average joe with an even quirkier, cute and mysterious babe… in a cold climate with a Juno sensibility.

The action is like something out of a comic book, which is good because it is. Stephen Chow’s Kung Fu Hustle successfully blended cartoon action with kung fu in a sort of musical of its own. The sidesplitting humour and vicious action set pieces took the traditional action comedy from oddball cop partners to new heights and realms even. Scott Pilgrim vs The World has cleverly tied in before the new Tron: Legacy as a boy enters an arcade game to find his father. Instead they’ve turned it into a love story, which holds enough reality to call it Earth punctuated by fantasy elements to create a sense of continuity between high fantasy and a quirky reality.

This is a bold film, which will appeal to anyone whose played Pacman. However, there’s no denying the finesse with which Edgar Wright has created this spectacle. He’s taken a predominantly visual piece and adapted it so lovingly that it maintains its humanity, captures our hearts and gets us right behind the hero as if he had some sort of superpowers. The comedy has a crisp bite, the romance is sweet, the action is spellbinding and it all sits together beautifully. Even if you don’t know what Guitar Hero is, you’ll be able to enjoy Scott Pilgrim vs The World for its timeless love story and the new packaging just makes this adventure so much more entertaining.

The bottom line: Dazzling.

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