Very entertaining, and surprisingly moving, true story about con man Steven Russell (Jim Carrey) and his star-crossed romance with Phillip Morris (Ewan McGregor). Both actors put in great performances, particularly Carrey: this is probably the best acting I've seen from him, easily on a par with his work in Eternal Sunshine of the Spotless Mind (a film I also enjoyed a few years back) -- and far more enjoyable than the over-the-top comedy roles that have been the unfortunate mainstay of his career. Well worth a look if you are at all partial to either of these actors.
Tuesday, June 14, 2011
Monday, June 13, 2011
The Expendables (2010)
Actually quite enjoyed this spoofy homage to the blockbuster action flick, starring Sly Stallone, Dolph Lundgren, Jet Li, Jason Statham -- together with a few younger actors whose names I'd probably know if I hadn't grown out of the genre sometime in the early 90s. The action is hilariously over the top and continuously dispensed, while the plot is gloriously cliched: suffice it to say that it involves a rag-tag team of mercenaries covertly hired by the US government to kill a South American dictator (ham-acted by Angel from Dexter) who, together with a sinister ex-CIA (or was it FBI?) agent and his henchmen, is engaged in the usual bad-guy business of trafficking large quantities of white powder.
There are a couple of nice cameos. Mickey Rourke plays an elder leader/father-figure of the "Expendables" who delivers the film's only minute of real acting with a guilt-ridden recollection from his war days. There's also a nice scene with Stallone, Bruce Willis, and Arnold Schwarzenegger ("-- what's his problem? -- he wants to be president..").
All in all it's good, light hearted fun. Though I do cringe to learn that a sequel is in the works...
There are a couple of nice cameos. Mickey Rourke plays an elder leader/father-figure of the "Expendables" who delivers the film's only minute of real acting with a guilt-ridden recollection from his war days. There's also a nice scene with Stallone, Bruce Willis, and Arnold Schwarzenegger ("-- what's his problem? -- he wants to be president..").
All in all it's good, light hearted fun. Though I do cringe to learn that a sequel is in the works...
My Own Private Idaho (1991)
Starring River Phoenix and a young Keanu Reeves (at the beginning of what would be a lengthy interregnum between his Bill & Ted and Matrix eras), this low-budget arthouse effort follows the lives of two young gay hustlers in the Pacific Northwest. It's not a very happy film, and the plot seems to wander as aimlessly as its two main characters. However, the two leads give convincing, at times quite moving, performances and overall it has a great feel. Look out for a bit part from Chili Peppers bassist Flea.
Sunday, June 5, 2011
127 Hours (2010)
Directed by Danny Boyle, this film tells the story of Aron Ralston, the young mountain climber and all-round adventure "dude" who hacked off his own arm after being pinned by a falling boulder while canyoneering all alone in the Utah canyonlands. Given the grim premise and the fact that we know in advance what has to happen ("no, hacking at the rock with your pocket knife won't do any good -- you're just blunting it for later, when you'll need it for something else..."), Boyle did a good job injecting the film with a sense of tension and suspense.
Ralston comes across as the fairly self-centred, single-minded individual that I suspect he would be in real life, but there's no denying the freakish horror of his predicament, and the sheer pluck that was needed to do what he did to survive.
Bottom line: I saw this feature in a list of top movies "you love but wouldn't want to watch again"; I reckon that's fairly accurate.
Ralston comes across as the fairly self-centred, single-minded individual that I suspect he would be in real life, but there's no denying the freakish horror of his predicament, and the sheer pluck that was needed to do what he did to survive.
Bottom line: I saw this feature in a list of top movies "you love but wouldn't want to watch again"; I reckon that's fairly accurate.
Black Swan (2010)
What is it with the term "Black Swan"? Ever since pompous finance writer and self-styled "flaneur" Nassim Taleb coined the term in his books "Fooled by Randomness" and "Black Swan", we're hearing it everywhere these days. On CNBC at the moment they're even talking about "Black Swan fatigue". Admittedly, the concept does seem have come into its own in recent times: from the GFC of 2008 to the Japan earthquake/tsunami/nuclear meltdown trifecta earlier this year, we seem to be surrounded by "unknown unknowns": events that were simply outside the framework of everyday expectations. And don't forget global warming --- probably the biggest black swan of all.
That's all very interesting, but it has bugger-all to do with a pretentious hollywood film about a pampered ballerina who goes insane while trying to nail the lead role in a production of the Swan Lake ballet (and simultaneously trying to elude being nailed by the play's director, a gloriously hammy Vincent Cassel). So I guess my first problem with this movie was the shamelessly zeitgeist-tapping misappopriation of the term "Black Swan" for its title.
But it wasn't my last problem. Don't buy into the hype: Natalie Portman writhing in her bed in a delusional state does not an oscar-worthy performance make. This movie, massively over-hyped, is in reality a massive bore. The psychological aspects seem contrived, the controlling mother attempting to live through her daughter is a tired cliche, and the denouement is telegraphed so clearly you can practically hear the morse code being tapped out.
That's all very interesting, but it has bugger-all to do with a pretentious hollywood film about a pampered ballerina who goes insane while trying to nail the lead role in a production of the Swan Lake ballet (and simultaneously trying to elude being nailed by the play's director, a gloriously hammy Vincent Cassel). So I guess my first problem with this movie was the shamelessly zeitgeist-tapping misappopriation of the term "Black Swan" for its title.
But it wasn't my last problem. Don't buy into the hype: Natalie Portman writhing in her bed in a delusional state does not an oscar-worthy performance make. This movie, massively over-hyped, is in reality a massive bore. The psychological aspects seem contrived, the controlling mother attempting to live through her daughter is a tired cliche, and the denouement is telegraphed so clearly you can practically hear the morse code being tapped out.
Ghost Writer (2010)
IMO, a somewhat over-rated drama/thriller. The eponymous "ghost-writer", played by an entertaining-as-always Ewan McGregor, is given the task of finishing off the memoirs of former UK prime minister Adam Lang (over-acted by Pierce Brosnan). The previous ghost-writer disappeared under mysterious circumstances is now presumably, well, a ghost. It soon transpires that all is not as it seems, blah blah blah.
Bottom Line: Moderately entertaining -- like a good t.v. movie that you'd tune into on a particularly quiet friday night in.
Bottom Line: Moderately entertaining -- like a good t.v. movie that you'd tune into on a particularly quiet friday night in.
Sonny Rollins @ Sydney Opera House (June 2, 2011)
Excellent show from the ageing saxophone colossus and a top-notch band. We had amazingly good seats right in the front row -- when he shuffled right to the front of the stage, Rollins was literally only a couple of metres away.
Rollins is truly a living legend of the jazz world -- having been around since the early 50s and played with most of the greats of that era. He's also one of the few survivors and, given that he turns 80 this year, the fact that he's still playing at all is commendable. So to see him playing with such power, imagination, and sheer presence, at this stage is nothing short of inspirational.
One nice touch was when, near the end of the opening song, he seamlessly slipped in the melody to "Santa Claus is coming to town". Now, I may be overthinking it, but I wouldn't be surprised if that was a little nod to the white afro and beard that he sports these days. In a less subtle gesture to the Sydney audience, he offered up a nice rendition of Waltzing Matilda at the end.
The Opera House is slowly growing on me as a venue. It can feel a little sterile, but I like the fact that the band marches on at the allotted time (8pm) and plays a solid, no nonsense show until 10pm. Sure, it would be nice to have an encore, but I'm rather fed up with the formulaic "encores" at most stadium shows anyway (crowd bays for more; band re-appears to play songs that were clearly always going to be in the show; band leaves the stage again; crowd bays, futilely this time, for more; lights come on and everyone knows it's really over). And the view of the harbour when you emerge from the concert is always impressive. The one severe downside remains getting to and from the venue -- it seems doomed to be at least a moderate hassle when travelling by car.
Guitarist Peter Bernstein gave a very interesting guitar masterclass at the Sydney Conservatorium the following day (which, having been tipped off by my instructor there, I was able to attend).
Rollins is truly a living legend of the jazz world -- having been around since the early 50s and played with most of the greats of that era. He's also one of the few survivors and, given that he turns 80 this year, the fact that he's still playing at all is commendable. So to see him playing with such power, imagination, and sheer presence, at this stage is nothing short of inspirational.
One nice touch was when, near the end of the opening song, he seamlessly slipped in the melody to "Santa Claus is coming to town". Now, I may be overthinking it, but I wouldn't be surprised if that was a little nod to the white afro and beard that he sports these days. In a less subtle gesture to the Sydney audience, he offered up a nice rendition of Waltzing Matilda at the end.
The Opera House is slowly growing on me as a venue. It can feel a little sterile, but I like the fact that the band marches on at the allotted time (8pm) and plays a solid, no nonsense show until 10pm. Sure, it would be nice to have an encore, but I'm rather fed up with the formulaic "encores" at most stadium shows anyway (crowd bays for more; band re-appears to play songs that were clearly always going to be in the show; band leaves the stage again; crowd bays, futilely this time, for more; lights come on and everyone knows it's really over). And the view of the harbour when you emerge from the concert is always impressive. The one severe downside remains getting to and from the venue -- it seems doomed to be at least a moderate hassle when travelling by car.
Guitarist Peter Bernstein gave a very interesting guitar masterclass at the Sydney Conservatorium the following day (which, having been tipped off by my instructor there, I was able to attend).
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