CarnivalAskew

A movie that is written, produced and directed by one person is always deeply personal. However, Waltz with Bashir takes it to a whole new level by having Ari Folman star as the central character and basing the film on a true event.

The film starts off with Ari’s friend discussing his obsessive dreams about the 1982 Lebanon War. Ari then realises after having a surrealist dream of the Sabra and Shatila massacre that his memory of the period is missing. The film then develops as Ari visits his wartime friends in an attempt to regain his memory. Interesting and unconventional conversations unfold as the characters tell stories of the war and their idiosyncratic experiences alongside Ari’s attempts to unravel his role in the massacre.

Folman has had a successful career directing documentaries. He directed his graduate film Comfortably Numb (1991) which facetiously depicted the escapades of his friends during the Gulf War. He then entered the realm of animation in 2004 with his series The Material that Love is Made of which comically documented a scientific analysis of love.

There is something engaging about European War movies that Hollywood cannot match. It may be the attention to detail or the fascinating plots but what sets Les Femmes de l'ombre apart is its humbleness. In the film, people are people and not representatives of states. There are no inherently evil officers or cruel torturers. Everybody has their own motives to fight and war and society are the only enemies.

Femmes de l'ombre tells the story of female agents in the British Special Operations Executive. It begins with Louise Desfontaines (Sophie Marceau) alongside her brother Pierre Desfontaines (Julien Boisselier) as they recruit four women to carry out a secret mission. The mission involves saving a British geologist who was found collecting samples of sand at Normandy for the preparation of D-day. German SS Colonel Heindrich (Moritz Bleibtreu) uncovers the significance of the geologist and seeks evidence of the plan to convince his superiors.

I’m sure you’ve already heard it. This is a film about George Bush, a scathing critique of the man, his presidency, his policy, his war, his family, his friends, business and political associates, his lies, stupidity, arrogance, irresolution, opportunism, and legitimacy. I’m sure I forgot a few. And its true, Moore exploits every opportunity at his disposal to challenge, accuse, or humiliate the President of the United States and those who surround him.

It gives the film a scattered effect, as though Moore is painting his portrait with a shotgun.

could tell you that the performances of this film are consummate, outstanding, subtle. I could tell you that the cinematography is stunning, innovative, affective, and decisively employed. I could tell you that the direction is sure-handed, natural, brilliant, etc., and I could think up all sorts of adjectives to describe the editing, the soundtrack, and all the films composite parts in turn. And it would all be pretty much true.
But that would be stupid. Go see the movie.

Just because it is a quintessential Hollywood film doesn't automatically mean its crap. So what's it about? Four guys go into a New Yorker Bank and take hostages. The Police arrives and waits outside for them. A cat and mouse game begins and lots of twists happen from now on. Who wants to play for time? The police, the bank robber, or both?

Director, Spike Lee, mainly concentrates on crafting a story but also leaves space for developing characters.

Delve into the world of crime in Sydney – corrupt, crooked and disturbingly realistic. Meet Jack Barrett (Colin Friels), the protagonist, introduced in the opening scene as he carves up a cadaver, so expertly. He then drops it, piece by piece into the sea, finally vomiting. The job is done.

Jack has been entrenched in crime since his return from the Vietnam war, some 30 years ago.

Wildly entertaining and side-splittingly hilarious, Little Miss Sunshine is a movie that celebrates the inner loser in us all. It isn’t an underdog story where the slow kid wins the race, or where the ugly ducking becomes the beautiful swan, or where the small kid gets the best of the bullies. The slow kid stays last, the ugly ducking stays ugly, and brother, you better believe that that small kid will get his underwear pulled right over his head.

Impending death is commonly an opportunity to cleanse or the catalyst to fight. In A Time to Leave, Romain (Melville Poupard) chooses to run towards death at full tilt, cleansing himself of all that is emotionally complex or physically involved. With the exception of his grandmother (Jeanne Moreau), Romain tells no one of his terminal condition and spends the first half of the film attempting to provoke a response from those around him, resulting in more hurt and pain. His grandmother is his solace, as she is one who is 'also close to death'.

Becoming Jane is a surprisingly charming film that manages to conscientiously adhere to the formula of love stories whilst still maintaining a degree of fiery autonomy that makes it more than the typical Romeo and Juliet clone.