Legend Of The Guardians: The Owls Of Ga’Hoole

Zack Snyder is an interesting filmmaker, although I’m certain many other adjectives are also quite appropriate. Well known for carving out a niche in the violent side of the film spectrum with his first three features – 2004’s Dawn Of The Dead, 2006’s 300, and 2009’s controversial Watchmen (each remakes or adaptations of other material, it must be noted) – he dives head first into unfamiliar territory in his latest effort, the family-oriented Lord Of The Rings meets Happy Feet, Star Wars meets Babe-style animated owl adventure Legend Of The Guardians: The Owls Of Ga’Hoole. Or does he?

The most recent cinematic release to capitalise upon the Avatar-inspired 3D craze (albeit originally filmed and animated in the extra dimension, rather than converted in post-production as is the current trend), at first glance Legend Of The Guardians: The Owls Of Ga’Hoole appears to be aimed at children, however a closer examination of the content reveals something more. Dark and sinister, with violence a key part of the storyline, instead Snyder has crafted a strange amalgam of mixed purposes for mixed audience segments. With the gimmickry of the medium and the intricate computer generated imagery targeted at youngsters whilst the themes fall firmly within the adult realm, the end result is slightly unsettling, with an obvious disconnect between intention and execution that squanders any delight in the detail.

Voiced by a who’s who of Australian actors (with Geoffrey Rush, Anthony LaPaglia, David Wenham, Abbie Cornish, Sacha Horler, Deborra-Lee Furness, Essie Davis, Leigh Whannell, Angus Sampson, Bill Hunter, Barry Otto and Richard Roxburgh all contributing in minor roles) as well as Helen Mirren, Miriam Margoyles and adopted local Sam Neill, the feature follows the plight of owlet Soren (Jim Sturgess, Fifty Dead Men Walking). A believer in epic folk tales of the legendary guardian owls of Ga’Hoole told to him by his father Noctus (Hugo Weaving, Last Ride) – a past time shared by younger sister Eglantine (Adrienne deFaria), but shunned by older brother Kludd (Ryan Kwanten, TV’s True Blood) – Soren dreams of spreading his wings, both literally and figuratively.

When a youthful attempt to take flight sees Soren and Kludd forced into the service of evil Metalbeak (Joel Edgerton, Separation City), the brothers are split in allegiance. Kludd acquiesces out of ambition, joining the plot to enslave inferior owl races, whilst idealistic Soren seeks escape at any cost. Risking his life to stand up for fellow captive Gylfie (Emily Barclay, Prime Mover), Soren is convinced the fabled guardians offer the only respite to their plight. Summoning all his courage to locate his purported saviours, together with Gylfie and a band of fellow-minded birds he embarks upon a heroic quest to save his species, with the limits of his beliefs and bravery put to the test in the process.

Legend Of The Guardians: The Owls Of Ga’Hoole is an uneven feature, with glimpses of promise in the dark premise seen all too fleetingly throughout. Suffering from a narrative bordering on boring despite the film’s genesis from Kathryn Lasky’s beloved “Guardians of Ga’Hoole” children’s books, it fails to capture attention, appearing drawn out as a result. With identical anthropomorphic owls using innocent dialogue to discuss mature themes, screenwriters John Orloff (A Mighty Heart) and Emil Stern (Tenderness) are unable to reconcile content aimed at both audience segments. The result is a visually impressive, overly serious ‘good versus evil ‘effort, not too far removed from Snyder’s usual frenetic and violent films, that fails to resonate with viewers from either category.

Legend Of The Guardians: The Owls Of Ga’Hoole is now screening in cinemas around Australia.

DVD Bits can be found on Twitter @DVDBits. DVD Bits is at http://www.dvdbits.com.

More than alright: Five breathtaking performances from Julianne Moore

With Lisa Cholodenko’s alternative family comedy The Kids Are All Right about to hit cinemas for its official release after sneak peak screenings over the past weekend, the chameleonic Julianne Moore once again graces our screens in a funny and feisty turn as a mother coming to terms with her children’s (Mia Wasikowska and Josh Hutcherson) biological father (Mark Ruffalo), a wife coming to realise she’s in the midst of a lull in lust but not in love in her twenty-year relationship with Nic (Annette Benning), and a woman coming into her own after years spent in someone else’s shadow. In that spirit, we take a look at five breathtaking and brilliant performances from one of the most fiery and fantastic redheads in film – a list that doesn’t include the likes of rare misses Body Of Evidence, The Ladies Man, The Forgotten, Next, and Chloe, but applauds Moore’s willingness to try new things regardless.

A Single Man: Breaking free of Mr Darcy once and for all, Colin Firth may have rightfully monopolised the accolades, acclaim and attention garnered by fashion designer Tom Ford’s dashing directorial debut A Single Man. Yet as the tempestuous Charley to Firth’s controlled Professor George Falconer, Moore more than holds her own as the flighty, distressed damsel languishing in Southern California and clinging to her only remaining close relationship. Recognised by a handful of awards bodies for her outstanding work (with a Golden Globe nomination and several critic’s circle nods but no wins), she lights up the film with her much needed nervous energy against the crumbling calm of Firth’s Academy Award nominated career-best turn. A small addition to her prolific resume, but an important and intricate effort with style and substance, A Single Man represents Moore in superlative supporting form, returning to the type of role that shaped and propagated her career in its early years.

Children Of Men: There are numerous elements of Children Of Men worth committing copious amounts of words to page (be it physical or electronic), from the hard-hitting apocalyptic premise to Clive Owen’s brilliant performance. However, in the frenzy of adulation that accompanies any discussion of the instant science fiction cult classic, one thing that is often overlooked is Moore’s involvement as Julian, the estranged wife of Owen’s Theo. Playing a reactionary leader of an underground advocacy group, as Julian Moore exudes both strength and hidden sorrow as a political terrorist fighting for equality and a mourning mother still marked by her own prominent sense of loss. An understated turn in sci-fi (mirrored by her subsequent underrated work in Fernando Meirelles’s adaptation of Blindness with her The Kids Are All Right co-star Ruffalo), Children Of Men is a testament to Moore’s flexibility and finesse, darkly deviating from more traditional roles much to our collective delight.

Far From Heaven: In a year that saw that other famous redhead, Nicole Kidman, receive the ultimate acting award for her turn in The Hours – a film for which Moore was also nominated, albeit in the supporting category for some unfathomable reason – it was Todd Haynes’ quiet melodrama Far From Heaven that elicited a performance from Moore that still ranks among her finest. As a stifled housewife confronted with her husband’s secret and her own desire for something more, she lifts the Douglas Sirk-style musings beyond the ordinary in an extraordinary effort of restraint, resonance and resounding empathy playing opposite the also excellent trio of Dennis Quaid, Patricia Clarkson and Dennis Haysbert. Lauded by all and sundry but robbed of the majority of glittering accolades that she certainly deserved, Moore’s part in the second effort with her Safe director Haynes is simply sublime, in an old-fashioned but forward-thinking filmic essay of sweeping yet unsentimental proportions.

Magnolia: Film historians will always remember Moore for her salacious stint in Paul Thomas Anderson’s second feature, Boogie Nights, just as Mark Wahlberg, Heather Graham, William H. Macy and John C. Reilly will continue to be associated with the daring look inside the skin flick trade despite their more recent accomplishments (or lack thereof, in some cases). However, without faulting her work as flawed porn mother hen Amber Waves, her matching turn as a trophy wife in Anderson’s equally effective third ensemble film, Magnolia, is pure perfection. Depicting the guilt-ridden and grief-wracked, remorseful and ruinous Linda as an emotive, complex character rather than a emotional, cardboard caricature, her portrayal delves into the inner workings of the human condition in the revealing manner Anderson intended. A fitting example of an actress and auteur in sync and in superb form, Moore’s performance in Magnolia is the very definition of multi-faceted, in a multi-star feature worth multiple viewings.

Safe: The concept of multiple chemical sensitivity (MCS) or “twentieth-century disease” may not sound like the perfect fodder for drama, however in the capable hands of Haynes and Moore it unravels as a riveting mystery into the unseen effects of modern living. In her first lead role, Moore is radiant yet reserved as San Fernando Valley homemaker Carol White, a woman so absorbed in the trappings of her affluent 1980s lifestyle that she literally becomes allergic to the outside world and imprisoned inside her own house. Traversing the void between normalcy and unpredictability with pathos and poise in a feature probing the difference between, and reactions to, traditional and psychosomatic health conditions, her heartbreaking portrayal is not just austere (by design), but also authentic. A justly applauded (including an Independent Spirit award nomination) and aptly devastating character study that offers food for thought, Safe is vintage Moore at her early best.

The Kids Are All Right opens in Australian cinemas on September 2, 2010.

DVD Bits can be found on Twitter @DVDBits. DVD Bits is at http://www.dvdbits.com.

Father Of My Children

Far removed from the frothy fare that the French are well known for, All Is Forgiven writer / director Mia Hansen-Løve’s second full length feature – Father Of My Children (Le père de mes enfants) – is a sombre yet bittersweet affair about love, life, loss, family, finances and film. Starring Louis-Do de Lencquesaing (Hidden) as the father of the title, and Chiara Caselli (Ripley’s Game), Alice de Lencquesaing (Summer Hours, the real life offspring of her on-screen father), Alice Gautier and Manelle Driss (both newcomers) as his feisty family of females (his wife and three daughters respectively), it is a mature, melancholy and nuanced offering that follows a few short months in the life of the Canvel family, from a peaceful weekend in their country house to a quick trip to Sweden, and including significant exposure to the hustle and bustle of professional and personal relationships, Parisian-style, in between.

Father Of My Children is a film of two distinct halves. In the first section, we meet Grégoire (de Lencquesaing), a film producer running his own company, and on the verge of making his fiftieth feature. Fiercely proud of his work and his back catalogue, the strain of juggling several simultaneous projects – each in various states of progress – is beginning to show, and despite his efforts to make each of them a hit, trouble surrounds every one. Making matters worse is his precarious financial situation, with the banks closing in as each day passes, and his determined lawyer and accountant seemingly unable to stave them off irrespective of desperate attempts to stay afloat. To escape from the tension of his working day Grégoire attempts to spend time with his family – wife Sylvia (Caselli) and daughters Clémence (the younger de Lencquesaing), Valentine (Gautier) and Billie (Driss) – however even at home his focus shifts back to work, much to Sylvia’s dismay.

The second half of Father Of My Children unravels the consequences of Grégoire’s actions as events take a distinct turn as a result of his intervention. Sylvia and her children come to the fore as they become more involved in the family business, with each connecting with Grégoire’s work for their own reasons. For Sylvia, her participation forces her to confront the stark reality of the difficulties faced in balancing work and home lives – and to understand Grégoire’s struggle to do so, whilst teenager Clémence embraces the creative side of film as she blossoms into young adulthood, from daytime screenings of old favourites followed by caffeinated beverages in a cafe, to an innocent liaison with a student (played by the director’s brother, Igor Hansen-Løve) formerly under Grégoire’s tutelage. Although playful youngsters Valentine and Billie remain distanced from the action, they too come to appreciate the legacy of their father’s film career, in the magical, wide-eyed way that all children view the acts of their parents.

The Un Certain Regard (Special Jury Prize) winner at the 2009 Cannes Film Festival – and recipient of a Lumiere Award for best screenplay as well – Father Of My Children is a difficult film to dissect without going into much detail, as so much hinges on a crucial plot point that irrevocably alters the lives of the characters (a quick internet search can fill in the blanks for readers keen to know more). Rumoured to be modelled on Humbert Balsan and his wife Donna (in an interpretation of the course of the respected producer’s life – one which immediately impacted upon Hansen-Løve, in fact), it is perhaps best described as a film that deconstructs the reality and perception of self image and its mirroring amongst those closest to us, in an unimposing, unassuming, unaffected and uncontrived effort. With well-deserved praise directed towards the entire cast for earnest and authentic performances (with the child actors particularly polished), and to Hansen-Løve for such a complex, intelligent and ultimately life-affirming final product, Father Of My Children is a sensitive treat of restrained emotion and vivid characterisation within the family drama setting, and – despite sometimes difficult themes and austere imagery – well worth watching.

Father Of My Children opens in selected cinemas from August 26, 2010, with advanced screenings between August 20 – 22.

DVD Bits can be found on Twitter @DVDBits. DVD Bits is at http://www.dvdbits.com.

Boy

Proving that there is more to the New Zealand film industry than the collected works of Peter Jackson (although, given his cinematic output to date and his decision to remain based in his home country, the hype surrounding the Lord Of The Rings filmmaker is understandable), features built upon sheep jokes (comedy Black Sheep and little-known horror The Locals immediately spring to mind), and the provision of scenic locations for overseas productions (including The Last Samurai and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, among others), director Taika Waititi’s sophomore effort Boy is a refreshing coming of age comedy that embraces the passion and spirit of the nation’s indigenous population. Retaining the distinct offbeat humour and whimsy that made his first feature Eagle Vs. Shark a delight to watch (even if it was a little uneven in parts), and adding a healthy dose of child-like (but not childish) charm and Maori culture, Boy is an honest and heartfelt, understated and unconventional, and utterly empathetic exploration of childhood that captures the untempered exuberance, unfulfilled expectations, and uncanny idolization that are part and parcel of growing up.

There are a few things to know about eleven year old Boy (James Rolleston), the lead character in the film that bears his name. Firstly, his full name is Alamein (named after his absent father), but everyone calls him Boy. Secondly, he lives on a farm in Waihau Bay with his nan (Mavis Paenga), little brother Rocky (Te Aho Aho Eketone-Whitu), collection of cousins and pet goat. Thirdly, he loves Michael Jackson – so much so that he names the king of pop as one of his favourite subjects at school (it is 1984, and Thriller-mania is in full swing, after all). And finally, he’s a larger than life character, full of hope, brimming with optimism, and prone to endless exaggeration about everything imaginable. We meet Boy as his nan heads off to Wellington for a week, leaving him in charge. Not long after her departure, a strange vehicle arrives at the doorstep, with his dad (played by director Waititi) in the driver’s seat. Boy immediately warms to him – worshipping his father in the way that only sons can, however Rocky is suspicious of the man that has been missing for the majority of their lives. When the older Alamein’s motives for reappearing prove less than family-oriented, Boy is confronted with reconciling the idealized version of his father with the unkempt, incompetent real-life figure, as he learns crucial lessons about growing up, being himself, and realising his potential.

Premiering at the 2010 Sundance Film Festival – followed by a staggered release in New Zealand, the U.K., and soon Australia – Boy is an upbeat, uplifting and uproarious film. Writen by the director as an expansion to his Oscar-nominated short Two Cars, One Night, and earning the illustrious title of the highest grossing New Zealand film ever released in the country within just two months of its local debut, it shines with ingenuity in an invigorating take on an age-old narrative staple. Yet despite its familiarity in basic content and structure, there is an innate sense of originality that seeps through, whether it is found in the quirky animation segments (similar to those seen in Dear Lemon Lima, but with an added twist thanks to Rocky’s belief that he possesses supernatural powers), Boy’s positive outlook in the face of adversity (never faltering in the face of quite poor guidance from his paternal parent), enthralling performances from the entire cast (particularly from Rolleston as the titular character, playing off the comedic stylings of Waititi with flair beyond his years), or a combination of all three and more. Equally hilarious and insightful, with deadpan comedy complimented by deep life learnings, sprinklings of fantasy assuaged by earnest realism, and a distinct New Zealand flavour augmented by universal themes, Boy is certain to be a genuine crowd-pleaser, in a genuinely pleasing, absolute delight of a film.

Boy opens in Australian cinemas on August 26th, 2010, with advanced screenings elected theatres this weekend (August 20 – 22).

DVD Bits can be found on Twitter @DVDBits. DVD Bits is at http://www.dvdbits.com.

Cine Sparks: Dear Lemon Lima

Translink Cine Sparks, the Australian film festival for young people, began 2005 in conjunction with the Brisbane International Film Festival. Designed to showcase world cinema to younger audiences, it has presented an exciting variety of features over the past six years, including breakout hits (Son Of Rambow), recent classics (Ponyo), family favourites, (The Wizard Of Oz), and plenty in-between. With the main festival moving to November for the first time in its nineteen year history, 2010 marks the debut of Cinesparks as a stand-alone event. Thankfully, the quality of screenings and the joy of the festival experience remains, with an interesting and eclectic mix of films assembled complete with international guests, world views, and a program of features and shorts for young and old alike.

American independent film Dear Lemon Lima opened the 2010 festival (with writer / director Suzi Yoonessi in attendance), immediately capturing the youthful spirit of the event. A coming of age comedy feature based on Yoonessi’s short film of the same name, it stars a cast of unknown adolescents alongside Melissa Leo (Frozen River, Everybody’s Fine) and Beth Grant (playing a similar role to that in Donnie Darko) as it unravels the fantasy and reality of thirteen year old Vanessa Lemor (newcomer Savanah Wiltfong, a real find).

With her heart in shreds after preppy boyfriend Phillip (Shayne Topp, winner of the outstanding performance award at the 2009 Los Angeles Film Festival) decides he’d rather be friends, Vanessa secures a scholarship to attend his private school in an attempt to win him back. That the scholarship is earmarked for students of Eskimo heritage, and that Vanessa considers herself more aligned to her single mother than her Yup’ik father, merely highlights the discord between Vanessa and her new educational institution. Immediately cast as an outsider, she bands together with a group of fellow misfits to win Phillip back, but ends up teaching the rest of the school community – and herself – a valuable lesson about acceptance and belonging in the process.

There is a lot to like about this sweet and uplifting debut feature from emerging talent Yoonessi. Capturing the idiosyncratic humour of Jared Hess (Napoleon Dynamite, Nacho Libre, Gentlemen Broncos), the whimsy of Jean-Pierre Jeunet (Delicatessen, Amelie, Micmacs), the cool of writer Diablo Cody (Juno, Jennifer’s Body) and the heart of Terry Zwigoff (Ghost World, Art School Confidential), it is kitsch, cute, and at times endearingly clumsy, just like the characters it depicts. Yet it masters the art of speaking with its audience, rather than to or about, in a film that feels authentic as it addresses themes of multiculturalism, identity, social stereotyping, and young love. For anyone who has ever had their heart broken, felt out of place, or been told that they weren’t good enough, Dear Lemon Lima is an underdog story with colour and character, in an insightfully witty treat for audiences of all ages.

The Translink Cine Sparks program is currently screening across a variety of Brisbane venues until Friday 6 August.

DVD Bits can be found on Twitter @DVDBits. DVD Bits is at http://www.dvdbits.com.