Change Your Image
Shaun Yen Metcalfe
Reviews
Bowling for Columbine (2002)
A thought-provoking film of paramount importance
Michael Moore presents a film that looks at the issues of gun violence in America. It is done in an intelligent and passionate way, and no one should miss the opportunity to view it. Moore shows that gun violence is born out of America's fear and consumption mentality and that gun violence is encouraged by selfishness and a lack of tolerance. This is not just a damning view of the NRA's president, Charlton Heston, and his bigoted beliefs (who would have thought that the man who played Moses and Judah Ben-Hur is a self-serving racist?), but also the avarice, manipulation, and close-minded political party that controls the United States - the Republicans. How devastating it is to know that the very people that claim to be doing things to better the American population are the some ones who are protecting themselves and their exclusive societies where only pre-dominantly white, wealthy men are ultimately served? Various societal aspects are highlighted in the film including the contrast between gun violence in the US compared to other developed nations, and the tragic killings at Flint and Buell in Michigan. The most memorable moment for me is the comparison between gun violence in the US and Canada. In Canada there are over 7,000,000 licensed guns in households but there are less than 400 people who die in gun-related incidents; in the US, guns kill over 11,000 people. One Canadian youth made a very simple observation: in Canada foreign policy is made through negotiating, but in America it is solved by violence. This couldn't be closer to the truth as we have seen (even as recently as the aftermath of 09/11) that the powers-that-be of American foreign policy do not negotiate, they threaten. People tend to shy away from documentaries because they don't see them as being entertaining. It is a shame that people have to draw a line between what is educational and what is entertaining as it has been my experience that that these 2 terms often merge. Michael Moore's "Bowling For Columbine" is extremely heart-felt but not melodramatic, it is informative and constantly engaging. Gun violence has to be controlled and it has to start with every individual. Although we may not all have the time to make a piece like this film, I congratulate and thank Mike Moore for exposing the issues that surround gun violence. We all have the ability to make a difference, even if it is as simple as voting on who has control in government, and that we can arrange for constitutional propositions to protect us all (and not just the supposed higher echelons). Do not miss "Bowling for Columbine" because we can all learn and take from the tragedies and mistakes it highlights to propose a better society to live in.
Guess Who's Coming to Dinner (1967)
Pure class.
I have often heard of Guess Who's Coming To Dinner? but never got around to renting it. Fortunately, I happened to view this film, by chance, on television. My eyes were glued to the screen right from the start. I don't doubt that some of the dialogue and situations are dated but that isn't what matters. What is important is that the film has a way of making the viewer challenge their own thoughts about inter-racial marriage. I am from New Zealand and there is not such a big deal about inter-racial partnerships but since my arrival in the USA, I have learned about the history of the many races that call this country home. This film best represents a time when a nation was slowly awakening to a basic human right; that all races should be equal. At first, Katharine Houghton's Joanna seems naive and too perky but by the end of the film, I realised that that is her personality make-up and I feel that she isn't a light-weight, but adds a different perspective and balance to the other characters. One can see why Sidney Poitier's John Prentice has fallen for this bright, optimistic and determined lady. Beah Richards and Roy Glenn do a wonderful job of playing the worried parents of Sidney Poitier. Their statements about inter-racial love were delivered honestly and with integrity, not with the prejudice, I feel, that the American public of the time would have felt. Katharine Hepburn and Spencer Tracey's portrayals of Joanna's parents' are fantastic. They are honest, torn, complex and handled with dignity. I am now most pleased that Katharine Hepburn won the Best Actress Academy Award for this performance. However, I truly believe that the film would not have been as successful if it wasn't for the focal character played by the intelligent, magnetic and graceful Sidney Poitier. Every word he spoke was filled with reason, fear, love and hope. The multiple facets of this character are portrayed with pure class. There were many times during the viewing of this film where I was genuinely on the verge of tears. This film is a thought-provoking catalyst for the equality of all human beings not only in America, but also in the world. Guess Who's Coming To Dinner? is a universal beacon of hope for racial equality and cultural understanding.
Mulholland Dr. (2001)
Unoriginal David Lynch Orgy
This film is a load of bollocks. My partner and I are regular film-goers and we saw Mulholland Drive following the slew of awards and critical acclaim this film has received. After David Lynch's The Straight Story, I was particularly looking forward to viewing this film but I was very disappointed. If nothing else, this is a self-indulgent orgy. Like Lynch's Blue Velvet, the film has a promising start but three-quarters of the way through, it takes a bizarre turn and we are taken onto David Lynch's too-often-travelled-road. The "dramatics" included are too familiar: the colour blue, the dark mysterious woman, the sense of panic, the patriarchal society's view of lesbianism (this part is just an insult and completely unnecessary). I have no idea why people are raving about this uneven film with a flimsy plot-line. Although the cinematography and some of the acting (particularly the leading performance by Naomi Watts - it is inaccurate that she is being cited as a supporting actress) are quite good, there is little to stimulate and there is little to ponder after seeing this film. There are some lesser-known filmmakers who could do better dream sequences.
Via Satellite (1998)
The best comedy to come out of New Zealand in a long time!
Anthony McGarten has adapted his play, Via Satellite, and directed the best comedic film to come out of New Zealand for a long time. Chrissy Dunn (Danielle Cormack) is a drop-out. She hasn't achieved much in her latter years and has grown resentful of her family since her father's deathbed confession. Her twin sister, Carol (also portrayed by Danielle Cormack) is basking in the media limelight as she represents New Zealand in swimming at the Olympics. A middle-aged, desireless and desperate director (Brian Sergent) and his good-natured cameraman - who is also Chrissy's one-night stand from the night previous - Paul (Karl Urban) film the Dunn family's proudest moment; watching Carol swim to victory. This wouldn't be so bad but Chrissy's family is the epitome of embarrassing. First of all there is the matriach of the Wellingtonian Dunns, Joyce (Donna Akerston). She makes fairy cakes and cocktail sausages for the all-important film crew and refuses to change the way she is. Her oldest daughter, Jen (Rima Te Wiata) is desperate to be something more than common. She has a nice home (with bedroom walls painted "Blackberry sorbet"), expensive tastes and a nasty parasitic attitude to match. She is also nearing 40 and desparate for a child. Her husband, Ken (Tim Balme) is an electrician and forces himself on jobs that don't need doing...as well as doing jobs that need to be done, ie Jen. The middle daughter, Lyn (Jodie Dorday - who won Best Supporting Actress at New Zealand Film Awards for this portrayal)is a "knocked-up" tart who has a dubious history with Ken. Both older sisters clash, the mother is in a state, Ken is as bad a ToolTime Tim Taylor, Carol is fuelling her Olympic desire and Chrissy is aware all of this is to be splashed on national tv - why shouldn't she be embarrassed? It is great to see some famous New Zealand faces perform in the suburban comedy that has witty lines to spare. I loved the sparring between Jen and Lyn. One is like an adult Mona-my-biological-clock-is-ticking-away, the other a narcisstic tramp who has what her sister desires - a bun in the oven. Climax of the film is quite sentimental and is nicely done. The performances are a treat and the film works perfectly. A great way to spend an hour-and-a-half.
The Age of Innocence (1993)
Tradition gives in to Modernity, and so is the end of the Age of Innocence.
Martin Scorsese's THE AGE OF INNOCENCE is a graceful film that balances deceit, forbidden love, scandal, passion and intrigue so astoundingly that multiple viewings enable one to revel in brilliance. Based on Edith Wharton's novel set in 1870s New York high society, the film wonderfully depicts the falling of tradition and the opening of modernity in the lives of 3 people and their vicious back-stabbing families. Lawyer Newland Archer (Daniel Day-Lewis) is engaged to society maiden May Welland (Winona Ryder; who won the Golden Globe for Best Supporting Actress) but all that is set off-course when May's cousin - the passionate, charming and scandal-clad Countess Ellen Olenska (Michelle Pfeiffer) - has returned to the USA, fleeing her cheating Polish husband, Count Olenska. Ellen sojourns at the estate of New York society matriach, Madame Mingott (Miriam Margolyes) while deciding on what to do with her life. Madame Mingott appoints Newland as Ellen's legal advisor. It is here their passion erupts. In an effort to keep reputation intact and to keep free of further scandal, the affair is unwillingly aborted...but at a cost to the lives of the 3 involved. Daniel Day-Lewis gives an affecting performance as Newland. So restrained, ruled by tradition and fuelled with the most passion in his life which leads to embitterment but quiet contentment with conscience on his side. A beautiful performance. Michelle Pfeiffer was perfectly-cast as the controversial Ellen Olenska. Before she makes her first appearance, we're aware the Countess is a dark lady with many affairs behind her. Once we spend more time with this character, we see she is only following her heart and is so mad at the world for restraining her and labelling everything she does. Ms Pfeiffer gives a brave performance worthy of much more kudos. Winona Ryder made a great transition when switching from the weird high school girls to well-bred and well-intentioned May Welland. However, Winona's most excellent scene is that where she asks to be with Newland a while, only to tell him she is pregnant and then stating she told Ellen 2 weeks before. Newland is surprised as he was certain he heard May say that she only knew that day. Through the sweet smile, we see the cunning eyes of deceit and the evidence that May used her pregnancy as a threat to prevent Ellen's further advances on Newland. May's transition from young lady to woman of the world is very well-executed by Winona Ryder who, like Michelle, deserves a lot more credit for this exceptional performance. Likewise to Martin Scorsese, perhaps the best director in America. This is another film in a long line of Sr. Scorsese masterpieces where he has invented new shots, clever techniques and wise plotting to show the fall of the traditional world. This film is intelligent and lush in emotional landscapes and in suggesting the imperial beauty and bitchery of the period. A stunning depiction of the decline of the old world; the end of the Age of Innocence.
La vie rêvée des anges (1998)
Angelic and Heart-wrenching
Set in the industrial city of Lille, an enchanting vagabond, Isa (Elodie Bouchez) becomes fast friends with impenetrable ice queen Marie (Natacha Regnier). The 2 social outcasts live together in the house of coma patient, Sandrine, and prance around Lille causing mischief when not at their dreary sewing factory. After leading bouncer Charly (Patrick Mercardo) astray with false affections, Marie's poverty-rule pushes her to chase local rich kid Chriss (Gregoire Colin). Marie's already fragile emotional make-up is soon broken down due to the destructive nature of her relationship with Chriss. Isa, on the other hand, turns to looking after the girl in the coma. Isa's efforts are most sincere and angelic, her sweetness and optimistic outlook on life shine through the films more depressing segments. Erick Zonca's film is a gem. The writing is sharp, the direction is precise and the performances are flawless. Elodie Bouchez and Natacha Regnier won a series of awards for their intense, rich and dynamic portrayals. There is more to this film than it seems, filled with polar opposites and coincidence; leaving the audience struck dumbfound with its heart-wrenching climax. A beautiful, engaging film that should not be missed.
All About Eve (1950)
Tour de Force!
In the black night of the cold New York theatre district, a seemingly sweet and naive Eve Harrington (Anne Baxter) stops playwright's wife Karen (Celeste Holm) and convinces her into meeting her idol, legendary actress Margo Channing (Bette Davis)and there the battle of the bitches begin. Eve's machinations are seen through by an acerbic theatre critic (George Sanders in an Academy Award-winning performance) and Margo's assistant (Thelma Ritter)but the stardom she craves comes at the cost of her friendships with Margo, Karen, Karen's husband Lloyd (Hugh Marlowe) and notorious director Bill (Gary Merrill). The script is witty, insightful, comedic and hits the nail on the head. Acting is brilliant all around - apparently Academy Award voters were undecided between Bette Davis and Anne Baxter for Best Actress and decided to give the award to Judy Holliday. As much as I adore Bette, I personally would have given the award to Anne Baxter whose manipulation and conniving is astounding. Sometimes it's too realistic to be true but the film is a tour de force of entertainment - get it now!
Hush...Hush, Sweet Charlotte (1964)
Exceeded my expectations!
It all begins in 1927 during a society party in Louisiana when Jewel Mayhew's (Mary Astor) husband has been found decapitated...the head is never recovered. There are suspects galore. Could it have been his mistress Charlotte? Could it have been his loveless wife, Jewel? Could it have been Charlotte's domineering father (Victor Buono)? Or could it have been the over-protective servant (Agnes Moorehead, in an Academy Award-nominated performance)? Hush...Hush, Sweet Charlotte is an engrossing film about the ruthless machinations of Miriam Deering (Olivia de Havilland) and her doctor lover (Joseph Cotten) as they try to push her cousin, the disturbed Charlotte (Bette Davis) over the edge in order to get Charlotte's inheritance. Blackmail and deceit abound in this psychological suspense drama which exceeded my expectations; much better than the cheap blood and gore that I thought it would be. Bette's performance was at times heart-breaking, sometimes humorous and mostly macabre. One of the better performances she gave towards the end of her career. Olivia de Havilland gave a chilling performance as a scheming, vicious vindicator of envy...a long cry from her roles as the good woman in such films as To Each His Own and In This Our Life. The film made me sit up and watch, some scary bits, some humour, some malevolent emotions. All very exciting. Very well executed. Very much worth watching when you're in the mood for something highly entertaining.
To Each His Own (1946)
Masterful Performance by Olivia de Havilland
After having only seen Olivia de Havilland in 2 films (Gone With the Wind and In This Our Life) I could tell she was a very natural actress, gifted at convincing you she is who she plays onscreen. I became interested in her and purchased To Each His Own on a recent holiday to America. I didn't know what to expect except I knew she won the 1946 Academy Award for Best Actress for her performance of Jody Norris in this wonderful film. Olivia puts a lot of actresses to shame with her understated, technical and extremely moving portrayal of a small-town girl forced to give up the son she bore out-of-wedlock to the county's richest family. Jody sells the family business once her father dies and goes to New York to roll in the high life and become a successful business woman. 20 years later she sees her son once again, and he learns the truth. A masterful performance by Olivia de Havilland and fine supporting performances, particularly by Mary Anderson as Jody's son's adopted mother and Robert Culver as Jody's friend Lord Deshem. A fine film that will have you in giggles and tears. Give it a chance, you won't be disappointed.