Author: Alton Williams

When he first appeared on the big screen in 2007’s Superbad, Michael Cera was hailed as one of the big players in a new generation of comic actors. Yet, in the year since that film, there has been some backlash against the star, with many saying that he essentially plays the same role in every film. Truth be told, he pretty much does – even if it is a role he plays well – but in his latest film, Youth in Revolt we finally get to see a different side to the star, one that shows he is capable of being far more than just the ‘sensitive guy’. Based on the 1993 epistolary novel Youth in Revolt: The Journals of Nick Twisp by C.D. Payne, the film is also something of a departure for Cera in other ways too as this is a far from conventional teenage comedy, in many ways a film that is probably destined to receive cult status rather than mainstream popular recognition. But is the film truly deserving of cult recognition, being something that will be remembered for years to come, or do its attempts to create something a bit different from the teen mainstream result in failure?

Nick Twisp (Michael Cera) is a bright and affable but nerdish teenager who is frustrated with his life. His mother Estelle (Jean Smart) and father George (Steve Buscemi) are divorced and he has been left living with his mother, as she goes from one boyfriend to the next, her current partner being the disgusting Jerry (Zach Galifianakis), while his father lives with his young girlfriend Lacey (Ari Graynor). Nick is lonely, his only friend being the extremely depressed Lefty (Erik Knudsen) and to top it all of he is a virgin. Everything changes, however the family to take a vacation some distance away. There, Nick meets Sheeni Saunders (Portia Doubleday). It’s love at first sight for Nick and the two quickly embark on a holiday romance. However, when the time comes to leave, Nick can’t bare the thought of not being with Sheeni, and they formulate a plan that will allow them to be together – if Nick can get his father a job near where Sheeni lives and then get his mother to throw him out then they will live close enough together to continue their relationship. In order to get himself thrown out, however, Nick has to be very bad, something which he is generally is not. So, Nick decides to create a supplementary persona named Francois Dillinger – bold, contemptuous of authority and irresistible to women. And it works! But too well, as Francois begins to turn Nick’s life upside down, with Francois burning down half of Nick’s town, turning him into a wanted man. Fortunately for Nick, his mother’s new boyfriend Lance Wescott (Ray Liotta) is a cop and agrees to get him out of trouble but unfortunately Sheeni’s parents (M.Emmet Walsh and Mary Kay Place) hear about Nick’s antics and send her off to boarding school. So, Nick sets out to be with her, along the way making a new friend in the form of Vijay Joshi (Adhir Kalyan), running afoul of Sheeni’s pissed off ex boyfriend Trent Preston (Jonathan Bradford Wright), inadvertently gaining a new admirer in the form of Bernice Lynch (Jade Fusco) and enlisting the help of his former neighbour Mr. Ferguson) and Sheeni’s older brother Paul (Justin Long). Unfortunately, as much as it helps Nick in his quest to be with the girl he loves, the influence of Francois also seems to keep getting into big trouble…

Youth in Revolt is far from the average teen comedy and for this it should be applauded. The reason it manages to stand out so much is because, rather than just falling back on the same tired conventions and gags that have been seen countless times before, it really does strive to be different and, while its attempts at creating something unique aren’t wholly successful and it occasionally seems like it is trying to be different for the sake of being different rather than for any specific purpose – like with the stop motion animation segments, which are well done, but don’t serve any real purpose – the result is nonetheless a film that has plenty of positive aspects. The performances are certainly at the centre of this film and are perhaps the film’s strongest asset, with some fantastic casting decisions, including some rather against type ones, allowing for some characters who really have an edge that makes them more than just one dimensional stereotypes, as are often seen in teen comedies. Michael Cera is perfectly cast in the leading double role and gets to show two distinctly different sides to his acting ability. As Nick, he is perfectly sweet and innocent seeming, essentially playing the same character he always plays. But, as Francois, he shows us something completely different. Despite Francois essentially being the polar opposite of Nick and thus the typical role that he plays, Cera manages to not only make the role convincing but also thoroughly entertaining. He shows us that he more than a one hit wonder and that he is capable of a wider acting range and hopefully we will get to see more of this other side in the future. The interactions between Nick and Francois are particularly well done and, thanks to Cera’s performance and some very good editing, their back and forths are pretty much seamless. As Nick, Cera also shares a very sweet chemistry with co-star Portia Doubleday, who too is perfectly cast. She perfectly portrays Sheeni as sweet, innocent and wide eyed with great aspirations for her life, whilst successfully incorporating the character’s more naughty side that leads to Nick’s actions during the film. In fact, the way everyone is portrayed as less than perfect serves to make the film all the more realistic and relatable. This is particularly the case with Adhir Kalyan and Erik Knudsen as Nick’s friends. Virtually the entire cast are well chosen for their roles, in fact, with Zach Galifianakis, Steve Buscemi and Ray Liotta perhaps a bit underused but nonetheless very well selected for their characters. Other notable names among the cast are (the highly underrated) Fred Willard, Justin Long, M. Emmet Walsh and Mary Kay Place (the latter two being very against type) as well as a brief but enjoyable appearance by rising star Christa B Allen (as Karen), who also gets to show a slightly different side to her past acting roles. It isn’t just the strength of the performances that drives the film, though, but the material that they are given to worth with. The script and dialogue are very sharp, embodying a distinct offbeat style that seems quite fresh and different, while being fully relatable at the same time. While a lot of the humour is related to sex, it is mostly referential rather than explicit and presented in a very honest way, rather than being present just for cheap titillation. Obviously, the content will mean that the humour won’t be to everyone’s tastes but the humour at least isn’t in bad taste. Despite the sexual content, however, this is not on any level a sex comedy, essentially being a very sweet, if unusual love story, and the sweetness at the core of the story means that any crudeness that may be present is forgivable. So, overall, Youth in Revolt is very different teen comedy and, as such, it will likely not be fully appreciated or understood. Its attempts to be different may not be entirely successful but it still has a surreal feel that makes it quite original and well worth checking out if you are tired of seeing by the numbers teen comedies.

Youth in Revolt ***½

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Review by Robert Mann BA (Hons)

There is a certain irony that comes with the release of The Princess and the Frog. A film that has come into being due to Walt Disney Animation Studios taking a complete u-turn on its decision to stop doing traditional 2D animated films in favour of computer animated features, which itself occurred due to Pixar founder John Lasseter being made the head of Disney animation in its entirety. The irony is of course that the very man responsible for Disney’s return to their traditional style of animated filmmaking – their next 2D feature, Rapunzel, is currently scheduled for release this December – is the same man who once told Disney heads that computer animation was the way of the future and got fired for it, only to come back with a vengeance when he turned Pixar into a massive success, one of the things that paved the way for computer animation to become dominant and 2D hand drawn animation to be cast aside. Now, that mouthful is out of the way, The Princess and the Frog is far more than just a return to 2D hand drawn animated filmmaking, it is also a return to the traditional fairy tale style of classic Disney movies – something which hasn’t been seen for a long time, even prior to Disney’s turn to computer animation – although there is a bit of a twist, in that this film’s princess is the first ever princess in a Disney movie to be African American and a fresh setting in the form of 1912 New Orleans. Loosely based on E.D. Barker’s novel The Frog Princess, which itself was inspired by the Brothers Grimm fairytale The Frog Prince, this is a film that has the potential to bring 2D animation back into the public consciousness in a big way but will today’s kids, many of whom who have probably never seen an animated feature such as this, be interested or will it get ignored in favour of some less worthy family flick?

When Prince Naveen of Maldonia (voiced by Bruno Campos) comes to New Orleans, a deal with voodoo villain Dr Facilier (voiced by Keith David) goes bad and the once-suave royal is turned into a frog. His attempts to become human again lead him to a kiss on the lips from a beautiful girl named Tiana (voiced by Anika Noni Rose). However, things take an unexpected turn as, rather than the Prince becoming human again, Tiana is also transformed into a frog, leading them both on a series of escapades through the mystical bayous of Louisiana to the banks of the mighty Mississippi river and back to New Orleans in time for Mardi Gras. With the help of 197-year-old voodoo priestess Mama Odie (voiced by Jenifer Lewis), a love-sick Cajun firefly called Ray (voiced by Jim Cummings) and Louis (voiced by Michael-Leon Wooley), a trumpet-playing alligator, Tiana and her prince have the romantic adventure of a lifetime.

When Walt Disney Animation Studios stopped producing traditional 2D hand drawn animation back in 2004, they went out with a whimper, their last 2D animated feature being the mediocre Home on the Range. Now, six years later, they have returned to their classic animation style with a bang. A huge improvement not only on their last 2D film but several others before it, The Princess and the Frog can attribute some of its success to the fact that it is not only a return to 2D animation but also to Disney’s roots. For starters, this is a traditional style fairy tale (albeit one with a twist – who would ever have expect to see voodoo in a Disney movie? – and one that has a very different setting than past Disney films). Secondly, not only is the film a return to 2D animation but also a return to classic Disney 2D animation, with the film almost looking as though it could have been made back in Disney’s early days. In fact, the film is distinctly old fashioned in virtually every respect with everything – the superbly written, composed and performed musical numbers; the clean, simple humour; the good messages; and the cute, lovable characters – being such that could be right out of a classic film from the Disney vault. Actually, it could very easily pass as a classic Disney animated feature. Certainly, any older viewers familiar with the classic Disney cartoons will be taken aback by it all. Even for those who have never seen an animated feature such as this – many kids probably won’t have – it will be hard not to be taken in. The animation is truly beautiful with adorably realized animal characters a plenty and 1912 New Orleans being lovingly and authentically recreated. The story is brilliant too and is very well told, perfectly capturing the innocence of old Disney movies. The music is also fantastic, injecting Jazz and Cajun styles into the classic Disney mould to create a soundtrack that is lively and upbeat and aided by terrific vocal performances. And the voice cast is also superb, every actor capturing the essence of their character, the parts clearly being given to the people best suited for them rather than just to big name stars – although there a few big names with John Goodman, Terrence Howard and Oprah Winfrey all contributing. All in all, The Princess and the Frog successfully makes what was once old seem new again and while I suspect that not of today’s kids will fully appreciate it – it will likely appeal more to girls than boys for instance – it should nonetheless keep many younger viewers quite happy while also serving as a good demonstration of some of the artistic elements that have been lost in the transition from 2D to 3D animation.

The Princess and the Frog ****

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Review by Robert Mann BA (Hons)

If there was just one acting role that Morgan Freeman was born to play it would probably be Nelson Mandela, and in ‘Invictus’ he finally gets to play that very part. Of all the stories about Mandela that could have been brought to the big screen, however, Invictus – based on the novel Playing the Enemy by John Carlin – is perhaps one of the strangest. Taking its name from a short poem by English poet William Ernest Henley written in 1875 and published in 1888 – the poem was written on a scrap of paper Mandela had while he was incarcerated and in the film he gives the poem to the head of the rugby team – Invictus is a story that combines sports and politics. On paper, it doesn’t exactly sound like the most interesting of stories to tell, let alone watch, but when the director is Clint Eastwood, who has made some of the most moving and inspiring films of the last decade, you can be sure that there is going to be some genuine substance on the big screen.

After 27 years in prison Nelson Mandela (Morgan Freeman) is elected President of the newly-democratic Republic of South Africa. But his country remains divided, with the black majority harbouring anger towards their former white oppressors. Attending an international rugby match, Mandela notes that the whites cheer for the South African team, the Springboks, while the blacks cheer for England. Realising that sport is a possible way to unite his nation, Mandela enlists the help of the Springbok captain Francois Pienaar (Matt Damon). As Pienaar learns from Mandela’s experiences and tries to follow his example, he is inspired to pursue and impossible dream – for the Springboks to defeat the unstoppable New Zealand All Blacks and win the 1995 Rugby World Cup.

Invictus shows us once again just how versatile a director Clint Eastwood really is. Here he takes a story that could potentially have made for quite a dull film – the combination of politics and rugby doesn’t exactly sound exciting on paper – and turns it into something that is not only interesting but also inspirational. He achieves this by not telling a story about politics or rugby but by telling one about the people involved in the events, a story that, thanks to a good – although not quite great – script by Anthony Peckham, is sure to inspire even the most hardened of viewers. While the film is not about rugby, there is still significant focus on it and for this reason the film probably won’t appeal to everyone, although it should be noted that the rugby scenes are extremely well shot and executed, and the fact that something is actually at stake from the outcome of the climactic World Cup game – the unity of South Africa – means that there really is something to root for, even if you don’t like the sport or can’t fully understand exactly what is going on at the end. Combining drama with well placed instances of humour, we really can care about what happens – although if you actually know the real events there will be absolutely no surprises – and this is a testament not only to Eastwood’s terrific direction but also to the film’s fantastic acting. Authenticity is a strong presence in the film. Obviously, an authentic look and feel of time and place is a given but the real area of success is in the excellent capturing of the South African accent by the film’s cast. Morgan Freeman’s accent occasionally slips but mostly sounds spot on and Matt Damon also nails it. Not only that, though, but both stars deliver performances that could possibly rank among their finest yet. Freeman perfectly captures the essence of Nelson Mandela, showing us a real man who has everyday problems yet is willing to risk everything to save his country and Damon perfectly portrays a man who is willing to do what it takes to ensure that Mandela’s vision of a united South Africa is realized. Overall, Invictus is an exceptionally well made film that is a must see for anyone who wants to be inspired or moved. The possible limitation of its appeal to due its intense focus on rugby and the not quite great writing prevents it from being a true masterpiece but it really isn’t far off.

Invictus ****½

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Review by Robert Mann BA (Hons)

Just like 2008’s Speed Racer, Astro Boy is a film that finds its inspirations in a much beloved Japanese manga that went on to spawn several anime television shows. However, unlike that film, which was made by filmmakers who clearly had great passion for the original source material and consequently made a film that was extremely faithful to its origins and that the fans would love – although few others would, as evidenced by the film’s colossal failure at the box office – Astro Boy – produced by the same company that made the 2007 CG animated TMNT (that’s Teenage Mutant Ninja Turtles in case you’re wondering) – is a somewhat less faithful manga adaptation, being a more international take on the concept and, if reports are to believed, betraying the spirit of the original manga. So, probably not a film for the fans then. And, judging by the film’s poor performance at the US box office, perhaps not a film for non fans either – although this could have something to do with the film being one of the few computer animated features of the last year to not be released in 3D and it being based on something too obscure in much the same vein as Speed Racer – although it hopes to do much better over here, being suitably timed for the half term holidays. The real question, though, is whether, with all the family films to choose from while the kids are off school does Astro Boy manage to stand out from the crowd?

Metro City is a futuristic flying city which hovers above the once dying Earth below. There humans live in peaceful tranquillity with their every whim serviced by obedient robots, who are enslaved by the humans and discarded in the world below when they are no longer needed. Dr Tenma (voiced by Nicolas Cage) is the brilliant scientist responsible for the city’s most revolutionary advances in robotics and his only joy besides his work is his super intelligent son Toby. However, when a demonstration of a new robot weapon ordered by the sinister President Stone (voiced by Donald Sutherland) goes horribly wrong and Toby is killed, Tenma finds his entire life thrown in turmoil. Unable to come to terms with the loss of his son, he creates an advanced robot that looks identical to Toby and has all his memories. That robot is Astro Boy (voiced by Freddie Highmore) who has super strength, X-ray vision, unbelievable speed and the ability to fly, not to mention countless other impressive gizmos built into him. When Astro Boy doesn’t turn out as expected, however, and President Stone sets out to capture him for the powerful energy source within him, he finds himself embarking on a journey in search of acceptance in the world below, encountering many colourful characters – including Cora (voiced by Kristen Bell), a girl who has fallen down from Metro City herself and the scheming Ham Egg (voiced by Nathan Lane) – and beginning to learn the joys and pains of being human. But when he discovers that his friends and family are in danger, Astro Boy marshals his awesome super powers and returns to Metro City in a valiant effort to save everything he cares about.

Astro Boy is a film that will probably be viewed differently depending on what demographic you fall into – if you are a fan of the iconic original manga and anime not only are you likely to be disappointed but you might feel a bit cheated too, but if you a child, an accompanying parent or perhaps just a casual cinemagoer, you may be able to enjoy the film as an entertaining, if not overly spectacular, piece of family entertainment. The animation isn’t very textured or detailed but it nonetheless has a very cute and retro look and feel to it with quite charming design of the metropolis of Metro City and the varied human and robot characters that inhabit it. Also, while there are perhaps too few Superman style zooming sequences, the film does feature some very enjoyable action scenes and, even if the film fails to make the most of its futuristic setting, Metro City does provide a great setting for the action to take place in. Only during the middle act, as Astro Boy falls to the world below Metro City, does the film lose its edge but it quickly regains it once again when events move back up to the city in the sky. The writing is nothing special here, the story being pretty simplistic and quite average and the dialogue being rather unmemorable, but it is perfectly sufficient for the purposes of the film, and despite any flaws the tragic opening sequence does manage to be quite moving and Astro Boy’s search for acceptance does win us over. While humour is not the primary focus of the film, there are some decent punch lines and while the humour is very simple and unsophisticated, it is good and harmless and the kids will love it, even if no one else does. The film boasts a very impressive voice cast and, while the actors are not fully utilized, they all do a pretty decent job. In addition to those names aforementioned, the stellar cast also includes Charlize Theron (as the opening narrator), Samuel L. Jackson, Bill Nighy, Eugene Levy, Matt Lucas, Ryan Stiles, Madeline Carroll and Moises Arias. Overall, Astro Boy likely won’t stand up to the inevitable comparisons made by fans to its iconic inspirations but on its own terms it has more than enough action, humour and charm to ensure that kids, parents and even casual moviegoers will enjoy it. 

Astro Boy ***½

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Review by Robert Mann BA (Hons)