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Remember Me: Easily Forgettable
Robert Pattinson steps outside his Twilight Vampire shell in this romantic drama of a troubled young man who falls in love with the equally troubled Ally (de Ravin). Despite its attractive cast featuring major stars such as Bronson and Cooper, Remember Me does little to be remembered.
Tyler (Pattinson) is a young man struggling to come to terms with his brother's suicide and his turbulent relationship with his millionaire businessman father (Brosnan). He constantly gets into trouble and lacks direction in his life until he meets Ally, who, for some reason, is able to get beneath the armour and touch Tyler in a way he had never thought possible.
Of course, Ally comes with baggage too, namely her overprotective detective father (Cooper), who only further complicates her relationship with Tyler. Supporting characters like Tyler’s younger sister Caroline and his best friend Aidan provide fodder to the plot.
The film reaches its climax when the complex characters’ lives all tumultuously intertwine, allowing for the characters to develop and show growth. Sadly, the film’s abrupt ending gives an overly dramatic and unnecessary twist to the story, leaving viewers scratching their heads as to why this direction was chosen.
Despite the believable chemistry between Pattinson and de Ravin, their performances can do little to move the film forward. At times, one feels it is an even slower version of a Nicolas Sparks novel that attempts to touch, make one laugh and create a sense that love can overcome all. The Nicholas Sparks similarity is especially unfortunate, since his latest film adaptation Dear John was released at the same time as Remember Me and may confuse viewers with its very similar dramatic theme (we won’t spoil the ending for you).
Overall, Remember Me is a decent attempt to crawl into the space held by the Sparks' novels of love against the odds. In essence, the purpose of the film is dedicated to the idea of living in the now; and encourages viewers to stop searching for answers in the past and move forward.
This is a perfect date film; if your idea of a perfect date is to have your companion sobbing uncontrollably at the end of the film. Remember Me is still very much a teen flick that will undoubtedly attract hoards of Twilight fans. However, don’t expect this to be in the same world as The Notebook, as the direction leaves just too much to be desired.
The latest low-budget Blumhouse Productions horror production, Jessabelle; a voodoo-worshipping Louisiana-bayou set thriller that is sadly, not as scary nor as ghostly as it wants itself to be.
Set in a misty Louisiana, Jessabelle follows Jessie (Snook); a woman dealing with the loss of her fiancé and unborn child to a car accident that has also put her in a wheelchair. With her life seemingly in ruins, Jessie is left with no choice but to move back into her family home with her estranged, alcoholic father, Leon (Andrews).
Uncertain of what the future holds, Jessie finds it difficult to adjust to her new life, not least because she has to spend her nights sleeping in her deceased mother’s bed. Soon after, though, her life takes on a new route of mystery when Jessie discovers a secret box – labelled Jessabelle, packed with seemingly worn-out VHS tapes. Filled with mysterious recordings of her mother’s tarot-reading to her unborn child – whom Jessie assumes is her – she finds comfort in seeing her mother, though Leon insists that she dispose of the tapes.
Intrigued by the cryptic messages and her father’s strange reaction to her findings, Jessie decides to dig deeper and along with old-friend, Preston (Webber).
The atmosphere and air around Jessabelle could be described as relatively eerie and the film maintains a degree of plausibility – at least more so than many of its peers. When you dig deeper to the heart of the story, however, the film comes up short and is rather timid for a horror film. This is made all the more obvious by the fact that the film almost insists on using every clichéd horror trick in the book.
Despite the plot’s lack of edge originality, Snook – previously seen in movies such as Sisters of War and Not Suitable for Children – manages to command the screen relatively well, while Webber was equally pleasing as Jessie’s Knight in Shining Armour.
Despite a reasonably promising build-up and a commendable attempt to bring a certain verity to a genre that requires more suspension of disbelief than most, the pay-off just isn't satisfying.
Based on Gillian Flynn’s best-selling novel of the same name and directed by the truly great Mr. David Fincher, Gone Girl, a delightfully engrossing and terribly disturbing tale of marriage, love and lies has emerged as one of the best psychological thrillers in years.
Set in a quiet town in the state of Missouri, the story is centred on Nick (Affleck) and Amy Dunne (Pike); a married couple who have shared a relatively happy life for over five years. That is until one day, Nick returns home to discover that their home has been vandalised and that Amy has mysteriously disappeared.
The case is taken up by Detective Boney (Dickens) and Officer Gilpin (Fugit) and the search for Amy catches the attention of the media, who immediately paint Nick as being the number one suspect.
With the media and the police all over him, he decides to hire renowned legal defence attorney, Tanner Bolt (Perry), who might be able to help him clear his name. However, if he is as innocent as he says he is, why does he need a lawyer if he doesn’t have anything to hide?
If you haven’t read Gillian Flynn’s novel and you’re unfamiliar with the story then you’re probably better off not reading the plot; the less you know about it, the better. What you do need to know, however, is that manipulation, deceit and desperation are the key themes explored here and in true Fincher fashion, nothing is as it seems and no one is who they say they are. Amusingly, there’s plenty of dry-humour to be found hidden underneath all of its layers and facades as well as a few implicit stabs at the media and all of its excessive meddling and unwarranted exploitations.
Affleck is almost perfect as the grieving husband who you don’t know whether to console or scold; his quiet and innocent demeanour is key and he manages to keep the aura of mystery all the way throughout. As his missing wife, Pike is equally affecting and her lingering and enigmatic presence is definitely deserving of the same amount of praise, if not more.
In the end, Gone Girl is a must-see; provocative, smart and incredibly engaging, this is Fincher - the man who bought us Fight Club, Se7en and The Girl with the Dragon Tattoo – at his best.