GREAT Australian film. Funny, surprising standout performances from the younger cast. Brenda Blethwyn is not playing her usual self (I am not a huge fan). Frankie J Holden wonderful. Great art dept, you will laugh your head off and shed a few tears at times. A well crafted film that will appeal to all. Emma Booth who has mainly had TV roles (The Circuit, All Saints) is a name to keep an eye on, outstanding newcomer to our screen and I can’t wait to see more of her work.

Judy Dench playing the most complex character I have ever seen her play, INCREDIBLE performances. Cate Blanchett what can you say? Quite a devastating film, controversial and original, if you are in the mood for something rich & heavy this is for you. Great script, want to read the book now.

If you are looking for a film that will satisfy the adults and the kids this is perfect. I had a 40 year old and a 9 year old guest and they both enjoyed it. Great film, fantastic performances and well written. 4 apples from me.

This 2007 film follows the commercial success of the Broadway musical and is a remake of the 1988 cult classic of the same name. The original, brought to us by the incomparable godfather of bad taste- John Waters, starred Rikki Lake as full figured teenager Tracy Turnblad. We see Tracy win a spot on a TV dance show, and teach those around her a few important lessons about diversity and acceptance.

This new incarnation is a musical, whereas the original film was not, and incorporates elements of both the film and the Broadway show. Tracy Turnblad is played by Nikki Blonsky, who does very well as the irrepressible, dance crazy protagonist. Set in the early 60s and combining social justice and a teenage dancing contest, this satire stands up for fairness and equality while embracing materialism and superficiality.

Made with Water’s blessing, (and you can see his cameo as the flasher in the first scene) Hairspray has an all star cast including Michelle Pfeiffer, Zac Efron, Christopher Walken, Amanda Bynes, Queen Latifah and of course, John Travolta as Edna Turnblad. In the original, transvestite performer Divine was cast in this role, but Travolta’s gender bending turn in this version didn’t work quite so well. That said, it is in the spirit of Water’s original to be slightly bizarre and off-putting, and he did do well to dance in a fat-suit. After all, no one can really compare to Divine.

Comparisons aside, Hairspray is a lot of fun, it will definitely have you tapping your feet. There is plenty of dancing, and a song on average about every thirty seconds, which was a few too many for me - the bursting into song thing starts to wear a little thin, when a character cant say more than a few lines and the intro music for the next song starts to play..

Anyway, it was very entertaining, which is all I think it was aiming for – an over the top, upbeat, all singing, all dancing dose of glitter and polyester - a chance to see a few big names ham it up and twist and turn, not to mention see Travolta back on the dance-floor, this time in drag.

See it, and check out the original too. 3/5

By way of introduction, Marietta is one of our valued APPLEBOX members and resident film critic. She has kindly agreed to review ‘After The Wedding’ for us, and so here are her thoughts.

REVIEWER: MARIETTA ELLIOTT
AFTER THE WEDDING (EFTER BRYLLUPET)
DENMARK, 2006
Writer/Director Susanne Bier. Co-writer Anders Thomas Jensen.

AFTER THE WEDDING begins in India, where Danish aid worker Jacob, (MADS MIKKELSON), is helping to run an orphanage. Jacob has become almost a father figure to Pramod, one of the children. He doesn’t want to return, but when a potential benefactor summons him home to Denmark he is forced to comply. The benefactor is wealthy businessman Jørgen, (ROLF LASSGÅRD), a man used to having his way. His daughter, Anna (STINE FISCHER CHRISTENSEN), is getting married and he invites Jacob to the wedding. Anna knows that Jørgen is not her biological father but she has never been told who this is. She is in for a shock, and so is Jacob.

There are other secrets kept by Jørgen and his wife, Helene (SIDSE BABETTE KNUDSEN) in this intense family tale which borders on melodrama. I would agree with David (’At the Movies’), that the story is a bit ‘contrived’. I was also disturbed by the film’s ending. Jørgen, whose money has made him powerful, is manipulating the lives of others so that his family will be taken care of when he dies. However, should one person be granted so much power? Is it realistic to assume that Helene and Jacob would go along with his plans? Susanne Bier, in an interview (on the DVD) said she did not necessarily agree with the notion that someone should be able to use their money in this way, but the ending of the film suggests otherwise.

I also agree with David that the extreme close-ups of faces can be distracting, although they do contribute to the claustrophobic intensity of the atmosphere.

However, the film has a number of redeeming features. First, it explores the issues of ’secrets’ between members of a family, at the same time redefining the idea of family: who is Anna’s real father – her biological parent or the person who has cared for her? And will Jacob take on the fathering of Jørgen’s children? What about Jacob’s relationship with the Indian child Pramod?

The other important issue the film has raised, which is related to that of family and duty of care, is that of international aid. Jørgen is portrayed as a caring man, loving to his wife and children. But Jacob is sceptical as to his true motivation for setting up a fund, to be administered by himself and Anna. Does he really care about Indian orphans? Does it matter? (Pramod finds conditions at the orphanage much improved and is in no hurry to leave, so refuses Jacob’s invitation to join him in Denmark.)

For me, the most moving portrayal is Anna: her distress as she learns of the identity of her biological father; the truth about Jørgen’s state of health and of her husband’s cheating. The fine acting reflects both Anna’s vulnerability and her strength as she tries to cope with this new reality. (The revelations are piled up in an incredibly brief time-frame).

SUMMARY: An intense, well-acted, family melodrama which touches on significant issues but is ultimately contrived and leaves some questions unanswered. (Did Jørgen know who Jacob was when he summoned him to Denmark?)

David gives this film 3 1/2 stars and Margaret gives it 4. (At the Movies). I would give it 3.

Brilliantly adapted by Director Lynne Ramsay from the novel by Alan Warner, Morvern Callar is the story of a young woman coming to terms with her boyfriend’s sudden death, while re-evaluating her own sense of self and her place in the world.

This is a film for the senses, there is not a lot of dialogue throughout; Morvern herself is a contemplative character. Once again Samantha Morton proves through her mastery of silent expression why she is one of the best actresses around at the moment. Not surprisingly, among its thoroughly deserved, numerous award nominations and wins – including best film- Director’s Fortnight at Cannes, Morton won the BAFTA award for Best Actress as the films lead.

The soundtrack, a crucial element in the films adaptation from book form, is amazing, fitting the mood of the film exactly. And, incorporated with highly emotional visual sequences; it isn’t hard to guess that Ramsay comes from a background of directing music videos; the use of both soundtrack and cinematography is a times very powerful. From the bleak view of Scotland to the sun drenched landscapes of Spain, this is a visceral visual experience, beginning with the astonishing opening scene.

Morvern Callar is about being young and without direction, of youthful excess and recklessness. This is an extremely moving film about life and living, about finding out who you are.

At times energetic, at times unnerving, and with moments of hypnotic intensity, this is one film that should not be missed.

4.5/5

Rebel Without A Cause, 1955.
Directed by Nicholas Ray.
Starring James Dean, Natalie Wood and Sal Mineo.

Rebel Without A Cause is a classic that is very close to my heart, and undoubtedly an absolute favourite of mine. This is a film that realistically views rebellious, american, restless, mis-understood middle class youth. Its a story of youthful defiance which provides a rich and layered look at the world of the conformist mid 1950’s from the perspective of the main character- Jim Stark (James Dean)- a troubled teen with in effectual parents, in particular a father who fails to promise the adequate father image either in strenghth or authority. In actual fact, I should really say it is a portrait of 3 troubled, frustrated identity seeking teenagers- all outsiders, alienated and outcast from the world and values of parents and adults. These characters attain maturity and insight through rebellion and tragedy.

I love this film for one main reason. To me, this film presents teen anger as legitimate and serious. it really affects me, and makes me reflect on my teenage years every time I re-visit it. I feel everyone can relate to, or has been Jim Stark at some point of our lives. Do you remember the first time you discovered things in your life were painfully wrong? I cant really say what fueled my teenage rage- I can’t pin point a specific complaint with the universe other than there comes a time when absolutely everything is wrong and adults only complicate problems. This is why I also love Hamlet and the themes surrounding it- they really resonate with me- and in Rebel Without A Cause it is executed perfectly. A clear reflection of teen life, a true imitation of life and therefore true and classic art.

The opening scene is one of my favourites, but there are many more- if you haven’t seen this film, you must rent it today!!

Also interesting to note- all 3 main actors who experienced troubled lives themselves suffered premature deaths under strange circumstances.- a car crash at age 24 in 1955, a mysterious drowning at age 43 in 1981 and a stabbing murder at age 37 in 1976.

In Anchorman, Will Ferrell plays Ron Burgundy, the top rated news anchorman in San Diego in the 1970s. Along with his posse of admiring co-workers Brian Fantana (Paul Rudd), Brick Tamland (Steve Carell) and Champ Kind (David Koechner) they rule the newsroom, that is until Veronica Corningstone (Christina Applegate) arrives.

Dressed in an awesome 70s suits, being obnoxiously chauvinistic and portraying a complete moron, Ferrel shines in this role, and the whole cast is praiseworthy. The 1970s is an excellent setting to Ferrell’s corny and childish humour and the film’s exploitation of the 70s film aesthetic is actually done very well.

Largely nonsensical, the “plot” of Anchorman moves from one bizarre scenario to another, but narrative cohesion doesn’t seem like it was a high priority, this looks like a film that the cast had a lot of fun making. Highlights include the spontaneous ‘afternoon delight’ riff and the battle scene between competing network anchors.

This is one of those films where almost every line has made it into the everyday vocabulary of its fans. Among the lines I often hear quoted, “I love lamp” is probably the most popular. Not surprising, as Steve Carrell plays the absurd Brick to dim-witted perfection, and is one of the funnier elements of the film.

Anchorman is a well made, laugh out loud, ridiculous comedy with absolutely no hidden depth.
It is completely idiotic.
It is one of my favourite comedies from the last few years.

3.5/5

Told in chapters as if from a non-fiction book, and intermittently narrated by a deadpan Alec Baldwin, The Royal Tenenbaums is an aesthetically delightful and brilliantly conceived film.

Wes Anderson is a director who is very interested in style and atmosphere. Anderson’s films (i.e. Bottle Rocket, Rushmore, The Life Aquatic) show a preoccupiation with the charms of bygone eras, they all have an old school feel to them. Every shot in The Royal Tenenbaum’s has clearly been well deliberated to achieve this visually.

There is a 70s feel to the film, due in part to the thoughtful use of costume. The individuality and personality of each character is captured in a visual way. For example, Ben Stiller’s character Chas and his two sons’ consistently wear matching tracksuits, and Owen Wilson’s Eli Cash is head to toe cowboy. Though they may appear like caricatures, all of the characters are still interesting and well played.

The dialogue is intelligent, and portrays a clumsy humanity. The ensemble cast is pretty much flawless, the Wilson brothers are each at their best, and this is possibly the only film to date in which I find Gwyneth Paltrow believable.

Through his use of soundtrack at crucial points, Anderson achieves film-clip poignancy. The placement and choice of music is the glue that holds this film together. From Nico’s These Days to The Ramones Judy is a punk, to Elliott Smith’s Needle in the Hay, every track is used to maximum effect.

The Royal Tenenbaums is a smart and humorous film, but there are a few serious moments which are done just as well. This film isn’t heavy on plot, or attempting to be profound, but its combination of dry wit and visual whimsy make it a film that I like to watch over and over, because it always leaves me with a smile.

Check it out: 3.5/5