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Tomorrow, When the War Began: Unrealistic War Drama
This is ultimately a war film, but the story doesn’t subscribe to the same traditional elements of the genre. Rather than focusing on the battle and the politics of war on a grander scale, it looks at it from a civilian’s point of view. While the characters are numerous, the attempt to cover a broad cross section of personalities often ends up in a portrayal of clichéd stereotypes.
A film that relies so heavily on a character-driven plot, naturally also relies on the performance of its actors. Unfortunately, the young cast fails to deliver, and the film as a whole lacks the drama and action that you’d expect from a subject matter like this one.
The brief and infrequent action scenes stand out as impressive and entertaining, but at times border on the ridiculous. In one scene for example, heavily armed military vehicles are pursuing two girls in a truck, and are powerless to apprehend it.
Tomorrow, When the War Began is an overall weak production that lacks realism, intensity, and features a distinctively average cast. The green light has been given to produce the sequel, which is based on the second novel in the Tomorrow series, with the third part also being considered. Picking up where this film finishes, the sequel will hopefully develop the series into a better watch.
Justin Reardon’s feature-length directorial debut, Playing it Cool, sees an attempt at bring some freshness and originality to the rom-com genre falling into the same old clichés.
Dreaming of one day becoming a successful action screenwriter, the main character of the piece – simply referred to as ‘Narrator’ and played by Chris Evans – isn’t all that enthusiastic about being handed the task of scripting a romantic comedy. See, he’s never been in love – a side-effect from his mother’s abandonment when he was only a young boy – and therefore, he’s unable to see himself writing something that he ‘doesn’t believe in’.
Enter ‘Her’ (Monaghan); a beautiful young woman he meets at a charity event. Sparks fly and he is instantly smitten; however, she’s already engaged to be married to handsome and aloof Brit, ‘Stuffy’ (Gruffudd). Powerless to get her out of his mind – a place filled with a vivid, and often dramatic, writer’s imagination – emotions soon spiral out of control and, well, you know the rest.
Desperately trying to swerve away from the lovely-dovey trappings of the genre, Playing it Cool is the kind of film that’s really difficult to pin-down. Is it a rom-com parody? Or, is it just another movie that begins by dismissing the very notion of romance before eventually falling into the very hole it’s been trying to avoid from the beginning? We’ll go for the latter. Already drawing comparison to movies such as Amelie and 500 Days of Summer – a notion that’s awfully difficult to grasp to begin with – the story lacks the charm, focus and the overall substance that made the aforementioned movies the cinematic success they are.
In fairness, though, the two leads do share some genuine onscreen chemistry; however, the movie’s relatively unexciting script is not smart, strong -or creative enough to take advantage of the fact. Monaghan is the stronger of the two; her charm is infectious and it’s easy to see why any guy would fall for her while Evans, who just doesn’t seem right for the role, tries his best to stick it out. However, just like the story itself, he just doesn’t seem comfortable in his own skin – stick to being Captain America.
Essentially, the problem here is that this is a film that tries too hard to be unique, quirky, ironically, doesn’t play it cool one bit.
Formidable, heartfelt and elegant are just a few words one can use to describe Julianne Moore’s Oscar-winning performance as woman coming to grips with Alzheimer’s in Still Alice. Based on Lisa Genova’s novel of the same name, the devastating truths behind this silent yet deadly disease are passionately explored by the writing-directing duo Richard Glatzer and Wash Westmoreland, whose uncomplicated and honest portrayal provides the story with plenty of grace and power.
As a highly successful and respected professor of linguistics at Columbia University, the fifty year old Dr. Alice Howland (Moore) has always held a high regard for communication and the intricate workings of the human mind. There are only two things in life that she treasures the most; her sense of intellect – a part of herself that is constantly fed – and her husband, John (Baldwin), and their three children, Anna (Bosworth), Tom (Parrish) and Lydia (Stewart).
During a visit for a lecture, Alice soon begins to notice signs of memory loss after words fail her during her speech. A series of memory tests soon confirm the worst; a particularly rare Early-Onset Alzheimer’s disease with a genetic component, meaning her kids might have it, too.
Eating away at her one small bite at a time, Alice is determined not to let her disease erase everything she holds dear. However, as she descends further and further into her own absent-mind there is nothing anyone can do except sit and watch her disappear.
Still Alice’s story is straightforward, refreshingly honest and doesn’t play on sympathy in its approach to the lead character’s personal sense of shame and indignity as she falls further and further away from everything that has helped shape her into what she is today. Moore’s towering performance – a sublime and authentic one at that – carries the film and watching her confront this alienating illness is touching and heartbreaking.
It’s by no means a perfect film and its shortcomings, if you can even really call them that, come in the shape of the two-dimensionality of the other characters; Baldwin is a little plain as the caring but overly passive husband and Stewart is her emotionless self as the rebellious black sheep of the family.
However, whatever their weaknesses may be, the focus is on Moore and her riveting and beautifully-layered performance which ultimately, makes Still Alice a grand and striking drama.