Frankenweenie (Tim Burton, 2012)

I was not expecting to like this film as much as I did. Frankenweenie is a feature-length version of one of the first films Burton ever made – a short film of the same name. So this film really feels like it’s back to pure Burton basics – a black and white, stop-motion gothic horror with dark humour and just plain weirdness.

Pride and Prejudice (Joe Wright, 2005)

Unlike many of the females in my demographic, I have never really been drawn to Jane Austen’s novels, so not surprisingly, I wasn’t expecting to love this film, however, I did enjoy it. It is a light movie that is perfect to escape and engross yourself in, and you just can’t help but get caught up in the story.

In terms of characters, I found the mother and some of the younger daughters quite frustrating with their awkward and shameless desperation and promotion. Keira Knightley (as Elizabeth) seemed quite bland in this role but I think it somehow suited her. She is better matched to feature in romantic dramas over movies such as Pirates of the Caribbean. Just like the majority of the target demographic to whom this movie is tailored, my favourite character was Mr Darcy. A dreamy, mysterious individual, Mr Darcy initially finds Elizabeth “barely tolerable” and I found the fact that she becomes the love of his life difficult to accept. However, I guess that is part of the attraction of this film – the hope and romance it instils for audiences. Just like Elizabeth, I warmed up to the character of Mr Darcy, who was very well played by Matthew Macfadyen.

White Zombie (Victor Halperin, 1932)

Often touted as the first zombie film ever made, White Zombie highlights how the world of cinema and its audiences have significantly changed over the years. As a horror film, White Zombie doesn’t have the same effect on moviegoers as it would have when it was first screened 80 years ago. While it may have lost some of its darkness and suspense, it nevertheless still retains its quirky plot, which seems to be a common feature of many older black and white films. A young couple, Madeline and Neil, get married at Monsieur Beaumont’s plantation before Beaumont tries to persuade Madeline to run away with him. After his efforts are futile, Beaumont turns to witch doctor, Legendre, to help him using his powers. Things don’t go as Beaumont plans and he tries to reverse Legendre’s spell while Neil searches for his wife.

Cave of Forgotten Dreams (Werner Herzog, 2010)

This awe-inspiring documentary effectively showcases the possibilities of 3D film. Directed, written and narrated by German filmmaker Werner Herzog, Cave of Forgotten Dreams centres on the discovery and study of the Chauvet Cave in southern France. The cave, which was discovered in 1994, is home to what is now believed to be the earliest known cave paintings and various traces of early civilisation.

The fact that the subject of the film is such a monumental discovery already provides a lot of the film’s allure. Herzog with his film crew, along with scientists and archaeologists take us through the cave, providing both facts and insights about its previous inhabitants. I was astounded by the cave paintings – many of which are so life-like and perfect – really challenging the notion of a “primitive” people whose drawings are basic and stick figure-like. The paintings in the Chauvet Cave show complexity, attention to detail and artistic ability – as one of the scientists states, the paintings look so fresh that they had to be verified of their authenticity.

Prometheus (Ridley Scott, 2012)

A good thrilling movie with great special effects that make up for what it might lack in plot. There were a lot of squeamish moments, especially one involving Dr Elizabeth Shaw. The suspense and adrenaline was so extreme during this scene that as soon as the action was resolved, the audience in the cinema around me started gasping and laughing in shock at what had been witnessed on screen. For me, this was one of the most fascinating yet disturbing moments of the film and one which demonstrates exactly where Ridley Scott’s mastery lies.

The Avengers (Joss Whedon, 2012)

Just what I was expecting – a solid Hollywood blockbuster. If there’s one type of film Hollywood can make well, then this is it. And not surprisingly, The Avengers is drawing in the crowds, setting a new record for the highest opening weekend debut at the North American box office by earning over $200 million.

Austin Powers: International Man of Mystery (Jay Roach, 1997)

It had been a while since I had watched Austin Powers: International Man of Mystery, so it felt I was almost watching it for the first time. However, I did remember that this was a film full of lame and silly gags, so it’s not like I had high expectations! (Also, interestingly I did not know that Demi Moore was one of the producers of this film.)

Restoration (Michael Hoffman, 1995)

I really was looking forward to a great film with Robert Downey Jr and Restoration, which also featured the fantastic Sam Neill, was interesting, however, it just wasn’t as engrossing as I expected (or wanted it to be). The start took a while to get into but it did get better, particularly during the last third of the film (from the introduction of Meg Ryan’s character, which was totally unexpected). I couldn’t believe Meg Ryan would star in a drama period film like this, as opposed to You’ve Got Mail or the warm and funny Kate and Leopold. Also, have to mention Hugh Grant who played a royal painter − that was a surprise as well, keeping in mind his usual choice of films. I guess it also didn’t help that it took a few sittings for me to see the whole film, instead of viewing it all at once.

Inglourious Basterds (Quentin Tarantino, 2009)

I found Inglourious Basterds to be a very entertaining Tarantino film and probably one of my favourites by the director. I like how Tarantino subverts the power of the protagonists, giving power to the victims. The film is essentially about a Jewish girl who takes revenge for her family’s death at the hands of Colonel Hans Landa in Nazi−occupied France by arranging to burn down her cinema, where the premiere of a German film is to take place (and which will be attended by top German officials, ie. Hitler, Goebels). This plan ends up crossing paths with a group of Jewish−American soldiers (the ‘Basterds’) who have their own scheme to blast the theatre.

Blow (Ted Demme, 2001)

This is a great, multifaceted and engaging story about an intriguing figure in the drug world: George Jung, responsible for establishing the cocaine market in the USA during the 1970s. The film Blow challenges some of the stereotypes in what is quite an amazing, very human portrait of a drug dealer – you know you have a well-written character, when you find yourself sympathising with a drug trafficker!

Pierrot le Fou (Jean-Luc Godard, 1965)

This film is the Godard I know and love! Self-reflexive, amusing and just plain absurd. And by absurd, I mean it was just so weird and out of the ordinary that it was ridiculous. Pierrot le Fou about a man named Ferdinand (Jean-Paul Belmondo) who leaves his wife and children for his ex-girlfriend Marianne (Anna Karina) and then joins her on a crime spree, humorously attacking people before stealing their cars. They go to the French Riviera and we discover Marianne is wanted for murder and is being chased by Algerian gangsters. When the gangsters attack, Ferdinand and Marianne become separated. We then see them reunite and Marianne runs away with her real boyfriend (who she said was her brother) and Ferdinand shoots Marianne and her boyfriend, then paints his face blue and decides to blow himself up by tying dynamite around his head. Although he regrets his decision at the last minute, he fails to extinguish the fuse and is blown up. (We then hear their voice-overs as we see the ocean and the film ends). The whole film is somewhat light-hearted yet there is an interesting tension between seriousness which Godard explores.

The Artist (Michel Hazanavicius, 2011)

Sweet, beautiful and surprisingly touching, Academy-Award winning film The Artist has rightly enchanted audiences and critics worldwide and become a darling of the film season. Like most people, I was curious to see how a silent film would be made in 2011. Although there seems to be so much nostalgia in the cinema industry at the moment, this film pushes the boundaries and challenges the current 3D blockbuster fad by going to the extreme length of recreating this historical style of filmmaking.

2012 Academy Award winners

After shaking things up last year with an attempt to draw in a younger audience through hosts Anne Hathaway and James Franco, the Academy Awards returned to the tried-and-true master of ceremony in 2012 - Billy Crystal.

Crystal's hosting was what we expected - quite safe, a little cheeky but nothing controversial or surprising. But that wasn't the only predictable element - there were also no real surprising winners this year, with all the favourites taking home the coveted Oscar trophy.

Nevertheless, it was an entertaining night that showcased some of the most significant individuals and collaborations in cinema today. Many worthy winners, some amusing speeches and a great performance by Cirque du Soleil later, the Academy Awards demonstrated why it is still the most prestigious and exciting event in the entertainment industry.

The 2012 Academy Award winners:

Best cinematography
Robert Richardson, Hugo

Best art direction
Hugo

Best costume design
The Artist

Best make up
The Iron Lady

Best foreign language film
A Separation

Best actress in a supporting role
Octavia Spencer, The Help

Best film editing
The Girl with the Dragon Tattoo

Best sound editing
Hugo

Best sound mixing
Hugo

Best documentary feature
Undefeated

Best animated film
Rango

Best visual effects
Hugo

Best actor in a supporting role
Christopher Plummer, Beginners

Best original score
Ludovic Bource, The Artist

Best song
Man or Muppet, The Muppets

Best adapted screenplay
Alexander Payne, Nat Faxon, and Jim Rash, The Descendants

Best original screenplay
Woody Allen, Midnight in Paris

Best live action short
The Shore

Best documentary short
Saving Face

Best animated short
The Fantastic Flying Books of Mr Morris Lessmore

Best director
Michel Hazavanicius, The Artist

Best actor in a leading role
Jean Dujardin, The Artist

Best actress in a leading role
Meryl Streep, The Iron Lady

Best picture
The Artist

Sherlock Holmes: A Game of Shadows (Guy Ritchie, 2011)

It’s rare for a sequel to stand up on its own, compared to the first movie in a series, but Sherlock Holmes: A Game of Shadows does a decent job of it. Once again, Robert Downey Jr shines as the protagonist. The way he walks, the way he talks, and even his facial expressions, Downey is immersed in the character of Sherlock Holmes. I was curious to see whether Rachel McAdams would be in this film, as she didn’t appear in the trailer. In fact, her character wasn’t featured much in the film, and there wasn’t any love interest for Holmes throughout most of the film, which is interesting.

S1m0ne (Andrew Niccol, 2002)

Before I watched this film, all I knew was that it featured Al Pacino in the role of a director who creates a computer-generated actress. That short premise intrigued me − it sounded like it would be some sort of science fiction film but with Al Pacino, which would be an unusual pairing.

Tangled (Nathan Greno and Byron Howard, 2010)

It’s interesting to see how Disney films have evolved over the years. This film was visibly a more modern production when compared to older classic Disney films such as Snow White and the Seven Dwarfs. The most noticeable difference is seen in the animation, which I really liked. It was more three-dimensional and the textures were more realistic (although I found Rapunzel's huge eyes distracting). Obviously, one of the major parts of the animation was of Rapunzel’s hair, which I believe had a separate animation team solely dedicated to it. Her thick and flowing is one of the main features of this film, given that this is a story about Rapunzel.

Hail Mary (Jean-Luc Godard, 1985)

What could I expect in this film? Jean-Luc Godard taking on the story of the Virgin Mary in a modern era. It was typical Godard style - more gazing then advancing the story (speaking of, there wasn’t really a complex plot) and some female nudity of course. It was a shame I didn’t find the story as engaging as it could have been given that the religious story was transposed into a contemporary setting. (And also a shame that the DVD I was watching was a little scratched so I missed some of the last half hour). It was about a teenage girl, that plays basketball, who falls pregnant having never been intimate with a man. She had a boyfriend who of course finds this hard to accept but they marry and she has the baby. The film was actually banned in some European countries and the USA, as well as condemned by the Pope − so you know that Godard was pushing the envelope on this one.

2/5

Annapolis (Justin Lin, 2006)

After watching (and loving Pineapple Express), I made note to watch this film, which also stars the talented James Franco. I was glad I did because Annapolis turned out to be more enjoyable than I thought. There was good drama and I found it to be a really engaging movie.

The story is quite familiar: a young man is trying to pursue his dream against all odds: in this case, it’s Jake Huard (Franco) who has his heart set on attending the United States Naval Academy in Annapolis, Maryland. Huard works at a shipyard, building vessels for the Navy, working for his father, who doesn’t seem to have faith in his son (we find out Huard’s mother died). Anyway, Huard’s application is successful but life is not so smooth in the academy − there is plenty of tension and frustration, and Huard even considers quitting (though he returns to prove his father wrong). One of his roommates attempts suicide, which prompts Huard to punch one of the officers, almost getting him expelled. But one thing I can’t really comprehend is how a fellow student gets kicked out for lying, and Huard punched lieutenant and isn’t immediately expelled from the academy.

Anyway, the main focus of the later half of the film is Huard entering a boxing tournament at the academy. Though no one really seems to believe in him, Huard shows admirable determination and I though the training montage featuring Huard was great. I couldn’t look away during the boxing scene, which I thought was really well done. It made me think that Huard might have had a good career as a boxer if he left the academy. Nevertheless, Huard actually loses the final match but the film ends on a realistic and positive note.

What I like about this film is it has a number of elements: drama, action, there is a clash of personalities, a love interest for Huard, and the expected clash with authority. Overall, Annapolis was well-worth seeing, with a good story and a strong skilful portrayal from the versatile James Franco.

4/5

Les Carabiniers (The Riflemen) (Jean-Luc Godard, 1963)

I was curious to see how Godard was going to depict war in one of the first films he made. And not surprisingly, it depicted the real ugly side of war, as if playing on the mainstream audience’s love of action and war films.

The film is about two men who receive letters, delivered by soldiers from the King, to enlist in war, promised they will be rich afterward. They return with postcards (as Michelangelo calls them “deeds”), and seem to be under the impression that they will inherit these monuments, etc (while I had thought they brought the postcards in defeat and realising they weren’t going to get the real treasures) − so that was clever on the part of Godard. Also, another thing to note, was that I couldn’t really get where they were − they seemed to have Swiss-like crosses on their hats, etc but I thought the Swiss were neutral and it seemed like they were fighting in Mexico at one point? So I was confused but I actually don’t think Godard wanted to depict a particular place or time (or war). I think it was more of the general idea of war he wanted to examine.

Amélie (Jean-Pierre Jeunet, 2001)

A sweet film, an absolute classic. This was my second time seeing it I think but it has continued to resonate in my mind since years ago when I first saw it. Such a unique story, weird, yet sad but happy too. At the end, I was happy with the film’s ending but it makes my own world seem so plain and almost tragic. It’s so extraordinary how I feel like I relate to Amélie but at the same time, I am not like her. Those innocent emotions − I know how that feels. And of course, Nino isn’t so bad − a good choice of actor I must say. It’s amazing how films like this can put a spin on the unusual/slightly odd and make them so endearing. And I like the subtle, touching humour too. The first time I saw it, the film made quite an impression on me. Funny how I couldn’t recall the storyline before I watched it again this time − I just remembered something about a phone booth and train station (which was kind of haunting).