The Week in Film by Robert Mann – Week Starting 6/2/09

12th February 2009

The Curious Case Of Benjamin Button *****

Inspired by the 1921 short story of the same name by F. Scott Fitzgerald, The Curious Case of Benjamin Button is a film project that has been passed around Hollywood for quite some time, with numerous high profile directors (among them Ron Howard and Spike Jonze) being associated with it at various points in its development. Eventually, however, the honour of directing the film went to David Fincher who has won much critical acclaim for his past films including Zodiac, Panic Room, Fight Club and Se7en. Known for a particular approach to filmmaking, one that has resulted in a number of films that didn’t do great box office despite stellar reviews, ‘Benjamin Button’ is probably one of the director’s more mainstream movies, bringing his personal filmmaking style to the kind of tale that it would be impossible for moviegoers not to love. Early word of mouth has been extremely positive suggesting that, even with a much bigger budget that he has been previously used to, Fincher has lost none of his magic, and this is aided by the (much deserved) 13 Oscar and 11 BAFTA nominations it has received.

On the day that Hurricane Katrina hits New Orleans, elderly Daisy Williams nee Fuller (Cate Blanchett) is on her deathbed in a New Orleans hospital. At her side is her adult daughter, Caroline (Julia Ormond). Daisy asks Caroline to read to her aloud the diary of Daisy’s lifelong friend, Benjamin Button. Benjamin Button was born under unusual circumstances. Whereas most people are born young are grow old, Benjamin was born an old man and got younger as his life progressed. Abandoned by his biological father in 1918, Thomas Button (Jason Flemyng), after Benjamin’s biological mother died in childbirth, Benjamin was raised by Queenie (Taraji P. Henson), a black woman and caregiver at a senior’s home. Initially, Benjamin is unaware that he is growing younger, and lives at the senior’s home like an old man, but as he grows he becomes curious about the world and his life is forever changed when he meets the young Daisy (Elle Fanning, later Madisen Beaty), whose grandmother is also a resident at the home. Falling for her at first sight, there is an instant connection between them and they form a bond that will last their entire lives. When Benjamin leaves to explore the world, working on a tugboat under Captain Mike (Jared Harris), he stays in touch with Daisy, sending her postcards from everywhere he goes, as he lives a life as unusual as any man’s can be. A life that sees him travel the globe, embark on a love affair with Elizabeth Abbott (Tilda Swinton), the wife of a diplomat, in Russia, encountering a German submarine during World War Two and experiencing the events of the twentieth century from a unique perspective that only he has. Although separated through the years, Daisy and Benjamin remain in contact throughout their lives, reconnecting in their forties when in age they finally match up, when they finally show their love for one other. But, as Benjamin says, nothing lasts, and they must eventually embrace the complications posed by him growing ever younger and her growing ever older. ‘Benjamin Button’ is a grand tale of a not-so-ordinary man and the people and places he discovers along the way, the loves he finds, the joys of life and the sadness of death, and what lasts beyond time.

Right from the moment the studio idents appear on the screen it is clear that The Curious Case Of Benjamin Button is going to be a very visually appealing film. Just seeing the Warner Bros and Paramount logos being formed from a barrage of buttons is a unique touch that sets up what is indeed a truly special film. From the outset there is a sense of whimsy and wonder with an opening flashback sequence that tells the story of a clockmaker who built a very special clock for a train station in New Orleans, starting the film off with a spark. The sequence, which is made, very effectively, to look like an old film, is a great start for a couple of reasons. In itself, it is a great visual touch, but there is no doubt that the backwards ticking clock is intended as a metaphor of sorts to represent Benjamin’s aging backwards. When the actual story of Benjamin Button himself begins, the film certainly doesn’t disappoint. Visually, the film is luscious and stunning, with early 20th century New Orleans being expertly realized, and its slow and gradual evolution as it moves towards the 21st century seems extremely convincing. In fact, all the locations and periods seen in the film seem to be recreated extremely authentically, which really makes it feel like not only is Benjamin living through these times, but we are as well, which serves to heighten the affect of his journey through life. All the set pieces and effects used in the film are truly spectacular, one sequence that sees the tugboat Benjamin is on encountering a German u-boat being particularly eye-popping, but the ones that really impress are the aging and youthening of the actors. Through the magic of prosthetics and the latest CGI technology (which didn’t even exist just a few years ago), Brad Pitt is convincingly transformed into both an old man and a young one. As we see his character grow younger, it really seems as if Pitt himself actually is getting younger, the effects really are that convincing. The same can also be said of all the other cast members, with Blanchett in particular being believably transformed. It isn’t just effects and make-up that make everything so convincing, though, but the strength of the acting on display. Brad Pitt has really grown as an actor over the last few years (with his role in The Assassination Of Jesse James By The Coward Robert Ford winning him much acclaim), with him showing that he is more than the average Hollywood movie star, and here he delivers what is probably his finest performance to date. It is a truly career defining performance that really makes us believe in his character and what his character is experiencing. He convinces as both an old man and a young one, and really is deserving of the Oscar nomination he received for this. Of course, he doesn’t play his very young (or should I say very old) counterparts, with those being played by Spencer Daniels, Chandler Canterbury and Charles Henry Wyson. Cate Blanchett also delivers a fantastic performance, again making her character convincing at all ages. Again, as with Pitt, her very young counterparts are not played by her but by Elle Fanning and Madisen Beaty. Elle Fanning, sister of established child actress Dakota Fanning, is also excellent, delivering a very good performance, even though she doesn’t get a lot of screen time and she should have a bright future ahead of her, just like her older sister. The remainder of the cast is also excellent but there are too many great performances to mention them all here. It isn’t just the actors who deliver but director David Fincher also, who delivers his finest film to date. What he has made here is a true epic, a completely unforgettable film that combines romance with drama, action, humour and tragedy in a manner that seems perfectly natural and unforced. Everything goes together perfectly and the result is a film that will appeal to a broad audience while never betraying the powerful story and messages or Fincher’s film style. Even more incredible is the fact that Fincher has made a film that even at 2 hours and 45 minutes long doesn’t drag or feel bloated in any way, which is a truly major accomplishment. Also, there is just as much substance as there is style thanks to an excellent script by screenwriter Eric Roth, whose contribution to the film is just as noteworthy as Fincher’s or any of the stars. Overall, The Curious Case Of Benjamin Button is beautifully shot, superbly acted and intelligently written. It manages to entertain on the level of a popcorn blockbuster whilst also respecting the intelligence of moviegoers and for this it is a true masterpiece of filmmaking and a definite must see movie. It is one of the most beautiful and stunning films you will see this year and here’s hoping that it wins big at both the Oscars and the BAFTAS, because it truly deserves it.

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The Secret Of Moonacre *****

The latest film to be based on a children’s fantasy novel, The Secret Of Moonacre differs from many such movies that have been released recently in that it is not based on a current or recent book, but rather finds its inspiration from a classic novel, its source material being the 1946 novel The Little White Horse by Elizabeth Goudge. Another area where the film differs is in the fact that unlike many recent fantasy movies, this is an almost entirely British production, with funding coming from the UK Film Council, and a predominantly British cast. This is particularly nice to see considering the story’s British origins. Another welcome aspect is the presence of director Gabor Csupo at the helm. The Hungarian director previously directed the 2007 adaptation of the 1977 Katherine Paterson novel Bridge To Terabithia, which showed that he has flair for bringing fantasy and magic to the big screen, and his involvement in this film is certainly something that highly recommends it.

When 13 year old Maria Merryweather (Dakota Blue Richards) is orphaned following the death of her father, she is left alone with only her caretaker Miss Heliotrope (Juliet Stevenson) to look after her, and her only inheritance being a book entitled ‘Ancient Chronicles of Moonacre Valley’ which tells the tale of the Moon Princess who is granted a set of magical moon pearls that are capable of making the wishes of whoever possesses them come true. The Moon Princess is due to be married but both the greed of both her father and groom lead to a confrontation over the moon pearls and she leaves Moonacre Valley, placing a curse on the valley that will throw it into darkness when the 5000th moon rises, unless the next Moon Princess can bring an end to the rivalry between the two families. When Maria and Miss Heliotrope go to live with Maria’s uncle Benjamin Merryweather (Ioan Gruffudd) at Moonacre Manor, Maria instantly realizes that strange things are happening there and soon learns that everything she read in the book is true.
Finding herself in a crumbling moonlit world torn apart by the hatred of an ancient feud between the Merryweather’s and the dark and sinister De Noir family headed by the evil Coeur De Noir (Tim Curry), Maria discovers that she is the last Moon Princess and, guided by an unlikely mix of allies including the kindhearted Loveday (Natasha McElhone), the magical chef Marmaduke Scarlet (Andy Linden) and the manor caretaker Digweed (Michael Webber), she must overcome her family’s pride in order to unearth the secrets of the past and find the lost moon pearls before the 5000th moon rises and Moonacre disappears into the sea forever.

One of the most striking things about The Secret Of Moonacre is undoubtedly the visuals. This is a truly gorgeous looking film, providing a real feast for the eyes in virtually all areas. The costume design is extravagant, the sets are exquisite, the settings are spectacular, and the visual effects are both beautiful and enchanting, with the ever growing moon being an amazing sight. The film is also very beautifully shot with every scene being visually sumptuous, and it is unlikely that there will be many other films as pretty to look at as this in 2009. It isn’t just the visuals that impress though. The performances are largely excellent with a whole host of offbeat characters on display. Dakota Blue Richards is just as delightful as she was in The Golden Compass, if not more so, delivering a charming and sincere performance as Maria, and Natasha McElhone is also a delight at Loveday, being suitably lovely in the role. Ioan Gruffudd is well cast as Sir Benjamin and Tim Curry is suitably sinister as the villain of the piece, but the scene-stealing performances come from Juliet Stevenson and Andy Linden, who also provide the film with a sense of humour. The plot, whilst not seeming that original following many other fantasy films (bare in mind that the book actually preceded all of them by a long time), is enjoyable and full of charm, telling a nice, sweet story that is perfect for family viewing, even though it may be a bit too slow-paced for really young viewers. The humour is witty and entertaining and wholly innocent, which is quite rare in films nowadays, and this is one of the things that makes the film stand out from many of the other family movies around at the moment. Another major strength of the film is the direction of Gabor Csupo, whose years of experience in family entertainment (having created and worked on such shows as Rugrats) really show here in his pitch perfect execution. Csupo is a man who really knows quality family entertainment and this is evident in every single scene. All in all, The Secret Of Moonacre is a very magical film that will likely be underappreciated upon its initial cinema release but should be remembered as a fantasy classic on the level of Stardust in the years to come. With all the family films being released at the moment this may sadly get lost in the mix so I urge you to check out in cinemas while you can.

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Bolt 3D ****½
Bolt 2D ****

While Walt Disney Animation Studios have struggled to keep up with the likes of Pixar and DreamWorks when it comes to their self-produced computer animated features, it is hard to deny that there has been a significant increase in quality over the course of their first three efforts, with the slightly underwhelming Chicken Little making way for the much better The Wild and then that being surpassed on every level by the fantastic Meet The Robinsons, which was more than a match for any film by DreamWorks, if not Pixar. Their latest feature, Bolt, is already being touted as a major return to form for Disney, receiving rave reviews from many critics and also winning points for utilizing revolutionary Real D 3D technology. Of course, one reason why Bolt has been getting such positive buzz is undoubtedly the fact that former head of Pixar John Lasseter has been made head of all Disney animation, meaning that the with and charm of a Pixar animation film is present in Bolt but it also comes with the all star voice cast of a Disney one.

Bolt (voiced by John Travolta) is the canine star of a fictional sci-fi action show that is named after him. In the show he plays a dog with superpowers whose mission is to protect his owner Penny (voiced by Miley Cyrus) from the forces of the evil Dr. Calico (voiced by Malcolm McDowell), who has taken Penny’s father prisoner. However, Bolt doesn’t know that he is in a TV show, and actually believes that he really is a dog with superpowers, which becomes a problem when Penny is kidnapped in the show, prompting Bolt to escape the set in an attempt to rescue her. Finding himself in New York and unaware that he is not really a hero, he immediately sets about trying to find Penny, enlisting the help of street cat Mittens (voiced by Susie Essman), who he believes works for Calico. Thus, the reluctant cat is dragged along with Bolt as he heads to Hollywood. Along the way, things don’t go to plan as Bolt’s lack of powers get him into all kinds of trouble, but he is determined not to give up and help comes from the most unlikely of sources, a hamster named Rhino (voiced by Mark Walton), who is obsessed with Bolt’s show and too believes him to be real a superhero. Meanwhile, Penny is also desperately searching for Bolt. As the three head across America, Bolt goes through a transitional period where he learns that he is as super as every other dog. His disbelief of his abilities being non existent fuels a lot of different emotional changes, and eventually comes to a reality of who he really is, as well as who and what he really cares about.

As you are most likely already aware, there are two versions of Bolt being released in cinemas, a 2D and a 3D version. Regardless of which version you see, you are going to see a good, enjoyable family film. The animation is easily some of Walt Disney Animation Studios’ best yet, being almost (but not quite) as good as that of a Pixar movie. The characters are well realized and the animals, notably the three stars – Bolt the Dog, Mittens the Cat and Rhino the Hamster – are all extremely cute and adorable. Also, there is a good level of detail to the animation, which is particularly evident in some of the more action packed sequences of the film, such as the sequences showing the filming of Bolt’s TV show, which are extremely action packed. However, the film also delivers in other areas with a strong storyline that is packed full of amusing situations and humour that is smart, witty and charming, as well as a strong vocal cast, with both John Travolta and Miley Cyrus being particularly good, but also a notable performance from Mark Walton who is very good providing the vocals for Rhino. If you are seeing the 2D version of the film you can expect an extremely charming and entertaining, if not entirely awe-inspiring adventure. If you are lucky enough to see the film in 3D, however, you will get all this and much more. While the 3D never really pops out of the screen right at you, it is still incredible to watch. The 3D makes it seem as if what you are seeing is really happening right in front of your eyes, and this heightens the impact of everything that happens in the film, with the more action packed sequences benefiting the most. It is certainly paying the extra money to see it in 3D as it really does a lot to the experience. All in all, Bolt is an extremely fun family film that is worth checking out in either 2D or 3D. The 3D version is undoubtedly better but if you are unable to see it the 2D version is still a film that all the family can enjoy.

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He’s Just Not That Into You ***½

Recently, there has been a distinct rise in the popularity of films aimed at more mature female viewers. More sophisticated than the average chick flicks, films such as Sex And The City and Mamma Mia! among others have shown that there is a very big audience for such films, and as you would expect, studios are now rushing to capitalize on this. The latest film targeted at the Sex And The City crowd is He’s Just Not That Into You, based on the book of the same name by Liz Tuccillo and Greg Behrendt, both of whom just happen to have worked on the Sex And The City TV series in the past. A sort of much more realistic (and American) version of 2003 British romcom Love Actually, the film is directed by Ken Kwapis, something which is a bit of a mixed omen for the quality, with him having previously directed the 2005 film The Sisterhood Of The Travelling Pants (good) and the 2007 film License To Wed (not so good). However, with one of the most impressive ensemble casts seen for a while, this is a film that has shown some promise, but does it deliver?

Taking the format of intersecting stories, the film centres on Gigi (Ginnifer Goodwin), a sweet and kind-hearted person, who since the age of 5 has been told that when men act like jerks, it means they like her. Years later, however, this belief has got her nowhere with her struggling to find love while shifting through men who are not interested in her. When her friend Janine (Jennifer Connelly) gives her the number of Conor (Kevin Connolly), Gigi thinks she might have finally found someone interested in her, but he is only interested in Anna (Scarlett Johansson), a hot yoga instructor and wannabe singer, and blows Gigi off. Gigi doesn’t realize this and continues to pursue him, which leads her to meet Alex (Justin Long), who doesn’t seem very sensitive when it comes to women but knows a lot about the rule of dating, and passes his wisdom onto Gigi, who learns that the rules aren’t as clear as she thought. Meanwhile, Anna is trying to woo Ben (Bradley Cooper), who is instantly attracted to her but there’s just one problem, he’s married to Janine. At the same time, Anna’s friend Mary (Drew Barrymore) has met someone through MySpace but has never met him in person and is unsure about his sincerity. While all this is going on, Beth (Jennifer Aniston), a colleague of Gigi and Janine’s is facing difficulties in her relationship with Ben’s best friend Neil (Ben Affleck), because she wants to get married but he doesn’t believe in marriage. As everyone faces their personal relationship problems, the challenges of misreading human behaviour are revealed and it becomes clear that the rules of dating and relationships are not as obvious as you might expect.

He’s Just Not That Into You had the potential to be a great and very memorable romantic comedy, with the basic concept being a fantastic one. Unfortunately, the result is nowhere near as good as may have been hoped for. For starters, it fails largely in the comedy department, offering very few laughs, and it also feels a bit too slow-paced and long-winded. Also, a number of interview style segments with random characters unconnected to any of the main characters or stories really interrupt the pace of the film, making it feel too much like a documentary, rather than a romcom, even though they do offer a few insights. Another problem is that, while the cast is undeniably impressive, many of the actors are simply underused and wasted. This is particularly the case with the bigger names. Drew Barrymore gets very little screen time and her story seems the least relevant and the least interesting, while Jennifer Aniston, Ben Affleck and Jennifer Connelly just seem wasted in roles that don’t make enough use of their abilities. It isn’t so much that their performances are bad, but just that not enough is made of them. There are a few positives, however. Ginnifer Goodwin, in what is effectively the lead role, is fantastic, delivering a delightfully sweet and kooky performance that is extremely convincing and entertaining. It really is hard not to feel for her character. Scarlett Johansson is also very good, and she is given plenty of screen time, with her character participating in two storylines. Justin Long, Kevin Connolly and Bradley Cooper are also decent in their roles. While there is an unevenness in the quality and entertainment value of the different stories being told, the complex storyline does fit together pretty well with the way the characters all know each other being handled effectively in the style of TV show Six Degrees and it doesn’t seem forced or unbelievable that the characters could all be linked in such a way. The film should also win points for being something that a lot of people can relate to, even if on occasion it does fall into certain traditional traps of the romcom genre. Overall, He’s Just Not That Into You is not one of the better romance movies you will ever see but with Valentines Day just around the corner the film certainly has qualities that make it worth checking out and it does make a few interesting insights into the way dating and relationships work. It won’t be for everyone but for those who loved Sex And The City this is certainly well worth giving a go.

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Reviews by Robert Mann BA (Hons)

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