Sign in using your account with
The Woman In Black: An Occasionally Scary Ghost Story
Arthur Kipps (Radcliffe) is still depressed over his wife’s passing four years ago and his work is suffering as a result. As a last chance, his boss gives him an assignment to take care of some business in a remote village; he’s to deal with a mountain of paperwork needed to put a manor on the market – one that’s owner recently died and which the locals don’t seem very eager to sell. Undeterred by the very hostile, unhelpful locals, Kipps begins to work at the house and there he starts to see the ghost of the eponymous woman in black. He slowly pieces the puzzle together, figuring out her identity and the relationship between her and the deaths, both past and present, of many of the children in the village.
The film’s selling point seems to be Daniel Radcliffe, who stars in his first role post Harry Potter, which is great except that he happens to be the weakest part of the film. He’s not bad per se, he’s just woefully miscast. He plays a depressed father to a four-year old whose mother died during childbirth. The thing is, Radcliffe doesn’t look old enough to be a father let alone to a four-year old, and the way he interacts with his onscreen child is more reminiscent of a sibling relationship, or one between a babysitter and their ward, rather than that of a father and child. Other than that, he does a good job portraying a man grappling with feelings of guilt and forced to be in a place that reminds him of his deepest fear at every turn.
What’s really different about this film, at least compared to newer horror productions, is that it allows for breathing space. The film doesn’t shy away from long, quiet shots that aim to set up the atmosphere. These scenes lull you into a false sense of complacency before boom! A shrieking head pops out, or a wind-up toy suddenly starts moving. Thankfully, the screaming humans, running around frantically, are kept to a minimum. The film is also filled with children who get up and quietly commit suicide. The opening scene – which is of three young girls playing – shows them as they get up, cross over to the window and in sync, silently throw themselves out of it. As beautiful as it is, it is also disturbing – it sets up the film’s quietly eerie tone very well.
For the most part though, this is a run of the mill ghost story where floorboards creak, doors slam at their own accord and shadowy figures pop out, scare the daylights out of everyone then disappear again. There’s nothing in it that we haven’t seen a billion times before and while it isn’t scary – not by a long shot – it will make you jumpy; the occasionally over the top score makes sure of that. The Woman in Black brings nothing new to the table but it makes better use of the generic ghost tricks than most films of this ilk.
Is love stronger than the laws of gravity? Well, that's one peculiar question that the Argentinean director, Juan Diego Solanas, attempts to answer in newest trippy sci-fi adventure, Upside Down.
Upside Down begins with an informative voiceover explaining the story of two parallel planets – Down and Up – that are stationed exactly opposite each other, existing in the same solar system, with shared yet opposing gravity. All physical matter must obey the gravity of the world from which it comes; both planets exert an equal, but opposite, pull and messing with these laws of physics can potentially result in deadly consequences.
While Down is poor and rundown, Up is rich and affluent; going Up or interacting with the people from Up is deeply forbidden, and the only thing bridging the two is the sinister company, TransWorld.
As a child, Adam (Sturgees) – a hopeful young boy from Down – climbs to the top of Sage Mountain to get close to Up, only to meet the pretty young blonde, Eden (Dunst), from the planet Up. The couple’s affections soon blossom; however, they also attract unwanted attention from the authorities. A bloody confrontation occurs, leaving the soul-mates stranded on their own individual planets for the next ten years.
The story then moves forward and Adam – who is convinced that Eden is gone forever – is working in a run-down lab, trying to perfect a secret, pink bee pollen ingredient he’s inherited; one that allows matter to detect the gravitational fields of both planets at once.
Soon, he lands a job at the intimidating TransWorld and finds that Eden is working there as well. However, in order to get to her, Adam needs to fight against strict corporate rules and against the forces of gravity to find his way into her arms again.
The concept is definitely unorthodox, but not entirely ridiculous. It's a rather creative concept, yes, but perhaps a little too grand for its own good.
The backdrop is not the problem here – it's the story itself. To begin with, this is a tale of star-crossed lovers who will do anything – even challenge the laws of gravity – in order to be with each other. However, their story never really gets a chance to develop, and thanks to a couple of ridiculous subplots and the overpowering presence of their parallel worlds – shot beautifully using CGI effects – it never gets a chance to evoke any sympathy from, or connection to, the audience.
Both Sturgees and Dunst share a decent amount of on-screen chemistry, but the characters get a little lost in their parallel worlds. With no real story to work with, Sturgees looks flustered and Dunst lacks the charisma and allure to draw the audiences in.
Packing in an enormous amount of visual thrills, Upside Down is quirky, original and pleasing to the eye. However, its overly ambitious approach manages to forsake the heart of the story – or rather, lack thereof.
Subtlety has never really concerned Australian-born filmmaker, Baz Luhrmann. The man who brought us as Romeo and Juliet and Moulin Rouge is both known and reviled for his dazzling and glitzy visual panache, and the notion of impossible love is forever present as the heart of his largely theatrical and melodramatic productions.
Flamboyant and extravagant, The Great Gatsby is visually striking, but when stripped down, has little to offer.
The film opens with a depressed and weary Nick Carraway (Maguire) who is being treated for alcoholism. Unable to articulate his thoughts on a man named Gatsby, he begins to put pen to paper under instructions from his doctors.
We then flash back to 1922, where Nick, then a bond salesman, moves to the fictional town of West Egg, nearby to his cousin Daisy Buchanan (Mulligan) and her husband Tom (Edgerton). Nick’s new home happens to neighbour that of a mysterious and elusive Jay Gatsby (DiCaprio). An enigma to his neighbours, Gatsby perennially throws the most extravagant parties, but the millionaire generally lives his life as a recluse.
After discovering that Tom is having an affair, Nick receives an invitation to one of the Gatsby’s infamous parties. Once there, Gatsby reveals that he is still in love with Nick’s cousin Daisy, after a brief romantic encounter years before. As Nick slowly becomes entangled in the bizarre life of Gatsby, the cynicism and hypocrisy of West Egg’s inhabitants drives the characters to great lengths to preserve their own vanity and sense of self-importance.
F. Scott Fitzgerald's novel has continually struggled to translate onto the big-screen and previous adaptations have failed to capture the essence that made this the ‘Great American Novel’.
Disappointingly, Luhrmann’s stab at the project has yielded few improvements. The director’s trademark approach is extraordinary, and over-the-top doesn't begin to describe the flamboyant visual experience that he creates. But while for the most part it works, the unflinching visual style and the sweeping overhead shots prove to be a little too sensational for what is an intricate and complex plot.
However, the biggest downfall is the emotional hollowness of the story. Luhrmann fails to infuse emotional connections between the characters, while the soundtrack – which features everything from jazz and hip-hop to techno and dance – is every bit as awkward as it sounds.
Despite Luhrmann’s misguided post-modern motions, DiCaprio gives the film depth with an excellent interpretation of the eponymous character’s charm and allure. Meanwhile, Mulligan plays her character in a way that maintains her position as the object of desire perfectly; though she too is a victim of the absurdities of West Egg, it becomes difficult to surrender any sympathy to her. Maguire, on the other hand, shines in his wallflower role; although he is guilty of enabling many of the decisions that the characters make, he retains an innocence and naivety that is integral to the plot.
All in all, Luhrmann’s The Great Gatsby fails to render the novel’s grandness in terms of plot, but taken as a whole package, the stylistics make for an entertaining piece of cinema.