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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.
Given the reasonable star-power behind it, much was expected of The Angriest Man in Brooklyn – loosely adapted from a relatively unknown film titled, The 92 Minutes of Mr. Baum.
Directed by Phil Alden Robinson – see Sum of All Fears – and written by Daniel Taplitz, the film is centred on Henry Altmann (Williams); a crabby family man and a real-estate broker who’s prone to raging outbursts which sadly, have resulted in estranged relationships with his wife, Bette (Leo) and son, Tommy (Linklater).
After a series of medical tests and examinations, Henry soon meets Dr. Sharon Gill (Kunis); a seemingly worn-out doctor who informs him that he has suffered an aneurism. She adds fire to the fuel by telling her unstable patient that he only has ninety-two minutes to live.
Henry rushes out of the hospital and quickly hits the road of redemption. In an attempt to mend broken relationships with Bette, his son, Tommy, and brother, Aaron (Dinklage), Henry needs to hurry before it is too late.
Undecided on what it wants to say, The Angriest Man in Brooklyn is probably one of the most bewildering and cringe-inducing films of the year. Lost and with little structure behind its premise, the film – just like its main character – spirals out of control pretty quickly and one too many ideas, stories and subplots are thrown into the mix, without ever giving it enough room or time to explore them.
Nonetheless, watching Williams in action is always interesting, no matter how crazy and the late Oscar-winner is once again given free reign and even though, he does go a little overboard with the theatrics at times.
Draining, lazy and painfully sloppy, The Angriest Man in Brooklyn is likely to throw viewers into fits of rage, too. An understandable reaction to sitting through eighty-three minutes of nonsensical and unfunny blabber.
Based on a 2010 novel of the same name – written by the English young-adult fiction writer Andy Mulligan – Trash is best described as a feel-good story that carries a smimilar spirit to Oscar-winning drama, Slumdog Millionaire; similarly, it's a colorful and a slightly strained drama of adolescence and poverty.
Set in Rio Di Janeiro, Brazil, Trash follows the story of Raphael Fernandez (Tevez), Gardo (Luis) and Rato (Weinstein); three fourteen year-old Brazilian boys who live in a lakeside favela and who earn their pennies by sorting trash at the nearby dumping ground.
During one of their routine scavenger hunts, Raphael comes across an expensive looking wallet that, just as luck would have it, is full of cash. While no one is looking, Raphael quickly pockets the cash. However, when crooked police officer, Federico (Mello), turns up desperately looking for the wallet, Raphael realises that there is more to his find than it meets the eye.
As it happens, the wallet, which also contained a flip-book photo of a little girl with coded numbers on the back and a mysterious looking key, is directly linked to a wealthy and seemingly corrupt politician who is currently running for mayor. Realising that they are in way over their heads, the boys reach out to Father Julliard (Sheen) and aid-worker, Olivia (Mara), for help, all the while doing everything they possibly can to evade the hands of the corrupt police force who will do everything they can to get their hands on the wallet.
Trash, adapted to the screen by Richard Curtis, spends most of its running time in Portuguese and does a decent job in portraying the poverty hiding beneath the colourful streets of Rio; the chase scenes through the bustling streets and tight alleyways are particularly enjoyable. However, although pleasing to the eye, the material feels a little forced, a little too pretty around the edges and yes, a bit too Hollywood; if you were expecting more of a harsher look inside the life of favelas, perhaps you will need to revisit movies such as City of God or Elite Squad for a better insight.
Nonetheless, Trash does manage to keep things relatively upbeat and entertaining mainly because of the infectious energy and dynamism brought on by the three leads, who, despite their limited acting experience, hold the entire film together.