Going In Style

Rated: MGoing In Style

** Spoiler Alert

Director: Zack Braff

Producers: Marc Bienstock

Written By: Theodore Melfi

Based on the 1979 story by: Edward Cannon

Starring: Morgan Freeman, Michael Caine, Alan Arkin

Going in Style is a happy-ending remake of an earlier 1979 film of the same name with an Oscar winner cast where three lifelong friends Willie, Joe and Al decide to rob the bank that has taken over their pensions.

Films are made for the same reason that stories are told, to tackle themes that the audience has absolutely no control over in their daily lives. The pension-cut theme in the US and the timing of this release may be purely coincidental but it sent a chill down my spine to discover that to this day, in 2017, it is still an ongoing issue as it was in the late 70s.

If you are happy to watch a funny, entertaining film with great actors, please do so and please stop reading because spoilers are coming your way.

Stephen King, one of my favourite authors once said that ‘fiction is the truth inside the lie’. But as I left this theatre I felt as if I had been spoon-fed a bunch of lies. There, I said it. It’s out in the open now.

I am afraid that the screenwriter’s attempt to change the original ending to something ‘more upbeat’ to keep up with the times provides the audience with an impossible tale that plants a troubling seed in this day and age: that robbing a bank can be done successfully without any consequences whatsoever.

My favourite quote by Joe (Michael Caine) in the film sums up the story and, ironically enough, provides a hint of what could have been. ‘These banks practically destroyed this country. They crushed a lot of people’s dreams, and nothing ever happened to them. We three old guys, we hit a bank. We get away with it, we retire in dignity. Worst comes to the worst, we get caught, we get a bed, three meals a day, and better health care than we got now.’

Going in Style is a feel-good film with laughs all the way through that warms the cockles of your heart but could have been so much more than that.

The LEGO Batman Movie

Rated: PGThe LEGO Batman Movie

Director: Chris McKay

Producers: Will Allegra, Matthew Ashton

Written By: Seth Grahame-Smith (screenplay), Chris McKenna (screenplay)

Starring: Will Arnett, Michael Cera, Rosario Dawson

As a writer, I have learnt to provide feedback with a soft-spoken, gentle delivery. But, as a Spanish national, I have been born with blood that boils easily when, what little patience I have, runs out. My face goes red, steam comes out of my ears and my filters disappear in the process.

I had one such a meltdown watching The LEGO Batman Movie.

And I knew what I was getting myself into because the scars left by The Lego Movie were still tender.

The main qualities of this spin off, following its predecessor steps, are obvious: a great trailer that raises your expectations up to the sky, a great animation team and an incredible soundtrack. Period. But, as the movie went on, one wondered… why would the same creative team make the same mistakes twice? Have they stopped caring about their audience?

I love animation, I really do, because animation delivers full-on entertainment for all audiences and comedy that is flawlessly delivered. It is the sacred place where adults enjoy themselves as their children scream with excitement. But sadly, the creative team at The Lego Movies missed that memo. The comedy walked the fine line between annoying and funny and even the youngest members of the audience could see the story coming. There was no guessing, no reason to care.

As a nerd and Batman fan, I enjoyed the references to the Batman TV series from the 1960s, the pew-pew noises every time a gun fired and how great songs, such as Motley Crue’s ‘Kickstart My Heart’ or Cutting Crew’s ‘(I Just) Died In Your Arms Tonight’, blasted in the theatre speakers for my ears delight.

I would lie if I tell you that I recommend this movie whole-heartedly. But I am not a parent, so if your dream afternoon involves to sit two hours in a dark room full of children and to pay for the pleasure of their squeaking company. Please be my guest and knock yourself out!

As for me, I have made a conscious decision, for my mental health sake and the safety of those around me, to put future Lego movies in the too-hard basket. Until the next movie review, over and out!

CHiPS

Rated: MA15+CHIPS

Director: Dax Shepard

Producers: Ravi D. Mehta, Dax Shepard, Andrew Panay, Rick Rosner

Written by: Dax Shepard

Based on: CHiPs TV series created by Rick Rosner

Starring: Dax Shepard, Michael Peña, Rosa Salazar, Adam Brody, Vincent D’Onofrio, Jessica McNamee, Kristen Bell, with Jane Kaczmarek, Maya Rudolph, Ed Begley Jr, and Josh Duhamel

The original television series of CHiPs (1977-1983), was an action ‘dramedy’ dealing with the daily crime fighting of the California Highway Patrol officers on their motor cycles. Two of its main characters were played by Erik Estrada (macho, trouble-pronue probationary Officer Frank “Ponch” Poncherello), and Larry Wilcox (strait-laced field training Officer Jonathan “Jon” Andrew Baker).

My memories of this TV show are vague as I only ever saw a few episodes, so I had little idea of how this updated cinema version would compare to its predecessor.

I will happily admit that I found the film to be a guilty pleasure. It was rude, profanity-laden, sexist and with an over-reliance on visual gags and nudity, and it will never win any awards for subtlety. But it was also quite funny and engaging, and in some strange way had its heart in the right place, especially with the depiction of the relationship between its lead characters.

In a reversal of the original TV premise, Officer Jon Baker (Dax Shepard) is now the probationer. A beaten-up former pro motor biker, he is trying to put his life and marriage (to Kristen Bell’s character) back together. Baker is touchingly loyal to his ex-wife and desperately keen to make something of himself. His honesty and odd personality quirks, as well as a running gag based on his unusual reaction to household smells, makes him very appealing. He reminded me of Zach Braff’s character in the TV comedy Scrubs, with both actors sharing a goofy, endearingly naïve charm.

Castillo (Michael Peña) is now a cocky undercover Federal agent masquerading as Officer Francis “Frank” Llewellyn “Ponch” Poncherello, assigned to investigate a multi-million dollar heist that may be an inside job, inside the California Highway Patrol. Ponch is a bit sleazy yet still has some of the boyish charm on show in his earlier comic roles in Ant Man and The Martian.

It doesn’t give the plot away, such as it is, to know that Ponch doesn’t always obey the rules, and has little patience with his naïve rookie partner as he tries to uncover the criminal element within the CHiPs organisation. The plot of this film is not particularly strong or original, and the audience is kept entertained enjoying the visual and verbal humour on display between the two leads.

There were many opportunities to showcase a range of stunts, and by enlisting renowned stunt performer Steve De Castro, plus pros and the best stunt riders for the trickiest and most spectacular manoeuvres, director Shepard ensured these aspects of the film were executed effectively. When Shepard’s character speeds along Californian highways and we get his point of view, the scenes are breathtaking, visceral and convincing, almost making me wish I could ride at all.

Cinematographer Mitchell Amundsen (The Bourne Legacy, Mission Impossible 3 and Transformers 1 and 2) made every action sequence zing, while Los Angeles was impressively utilised in the location scenes.

There were some humorous cameos from comic actors including Jane Kaczmarek and Maya Rudolph as senior police officers, and a brief stint from Josh Duhamel, but the movie belongs to Ponch and Jon and their budding bro-mance.

Beauty and the Beast

Rated: PGBeauty and the Beast

Director: Bill Condon

Producers: David Hoberman, Todd Lieberman

Screenplay: Stephen Chbosky, Evan Spiliotopoulos

Based on: Disney’s Beauty and the Beast, and Beauty and the Beast by Jeanne-Marie Leprince de Beaumont

Music: Alan Menken (composer), Howard Ashman (lyricist), new material by Tim Rice

Starring: Emma Watson (Belle), Dan Stevens (Beast), Luke Evans (Gaston), Kevin Kline (Maurice), Josh Gad (Lefou), with Ewan McGregor (Lumiere), Emma Thompson (Mrs Potts), Ian McKellen (Cogsworth), Stanley Tucci (Cadenza), Audra McDonald (Madame Garderobe) and Gugu Mbatha-Raw (Plumette)

Watching the live action re-make of Disney’s Beauty and the Beast, which has been successfully updated without losing the original’s charm, the first thought that occurred to me was why has it taken so long to make this film?

The new version is vibrant, entertaining, full of catchy songs, impressively realistic sets and gorgeous costumes plus energetic choreography, making the transition from animation to live action most effectively.

I watched the original version again after seeing the new film, and aside from a few lines of dialogue or moments of visual humour not being retained, the live action version works better because it provides the opportunity to create beautiful costumes and sets, and enlarge the number of performers in crowd scenes.

There are also new songs, which have transformed some characters from stereotypes to convincing individuals.

I particularly loved the Beast’s new song “Evermore” (sung with throbbing undertones by Beast Dan Stevens during the film and less heroically by Josh Groban over the end credits).

The townspeople clearly indicate their opinion of Belle as being odd in the rousing song “Belle”, which is how it was originally, but apparently the actress Emma Watson wanted Belle to be more in keeping with modern feminist portrayals so her independent streak seems stronger and she has added talents beyond being just a supportive daughter.

Although Emma Watson is not a strong singer, her solemnity and occasional hints of humour allow her to carry off her role with conviction, as she shows bravery and selflessness and is more than a match for the moody yet fascinating Beast.

A few scenes have been added or extended which help make Belle and the Beast’s burgeoning love seem more convincing as they go from being “barely even friends” to something more.

The updated screenplay has fixed a few plot-holes, including how long the curse has been in place. There is also an underlying urgency to end the curse because of the long-term effect it may have on the Beast’s servants, who have been animated beautifully, making me long to buy some of the merchandise.

The servants’ rendition of “Be our guest” is an absolute showstopper, this time with the added benefit of wonderful special effects and a fuller-bodied orchestra and chorus.

The villain Gaston is played with relish by Luke Evans, who is fêted during the boisterous tavern scene by faithful sidekick Lefou (a delightful Josh Gad). Gaston’s penchant for antler décor and his skill at “expectorating” are still laugh-inducing but he doesn’t appear as two-dimensional now, despite still being vain and self-centred. Ironically his inflated ego marks him as more “monstrous”, making him a far greater beast than the titular one.

A lot has been said about Gaston’s sidekick LeFou, who was an under-developed bumbling fool before, but who is now given depth, partly through his implied sexual orientation.

It’s pleasing to see Disney is trying to reflect modern-day sensibilities, while the racial diversity amongst the townspeople and servants at the castle is also refreshing.

I thoroughly enjoyed myself and could barely resist humming along.

This version has refreshed and updated the original film without losing any of its enduring appeal, and no one should be “gloomy or complaining” about the result.

A visual and aural delight for young and old.

Power Rangers

Rated: MPower Rangers

Director: Dean Israelite (Project Almanac)

Producers: Haim Saban (Power Rangers creator), Brian Casentini (Power Rangers TV series), Wyck Godfrey, and Marty Bowen (The Twilight Saga, The Fault in Our Stars, The Maze Runner franchise)

Executive Producers: Allison Shearmur, Brent O’Connor, John Gatins, Joel Andryc, Takeyuki Suzuki

Screenplay: John Gatins (Kong: Skull Island)

Story by: Matt Sazama & Burk Sharpless (Dracula Untold) and Michele Mulroney & Kieran Mulroney (based upon Power Rangers created by Haim Saban)

Starring: Dacre Montgomery (Jason Red Ranger), Naomi Scott (Kimberly Pink Ranger), RJ Cyler (Billy Blue Ranger), Becky G (Trini Yellow Ranger), Ludi Lin (Zack Black Ranger), featuring Bill Hader (Alpha 5 cyborg), with Bryan Cranston (Zordon) and Elizabeth Banks.

Having never seen an episode of the original Mighty Morphin Power Rangers TV series (1993), loosely based on the Japanese 1970s Super Sentai TV series, I had no preconceptions or even expectations about the latest incarnation, Saban’s Power Rangers.

From the brief snippets I had seen, I knew there were energetic people who dressed in colour-coded costumes and leapt about doing heroic things, but that was the extent of my knowledge. So I was pleasantly surprised to find the new Power Rangers film entertaining, humorous, with effective use of the latest in spfx technology, and awesome Ranger suits designed by Weta Workshop.

The action is set in the small American fishing town of Angel Grove, and focuses on five teenagers, each with their own particular problems, who stumble upon an ancient, alien spacecraft and five coloured “coins” which bestow upon each of them extraordinary power and the ability to morph into Power Rangers, as they face a world-wide threat from an evil alien.

Television producer Haim Saban, who produced the original Mighty Morphin Power Rangers TV series, wanted the updated cinematic version to retain the original’s idea of five teens with attitude who must battle evil whilst also dealing with “today’s issues of cyber-bullying, peer or family pressure and the uncertain future.”

I appreciated that sufficient time was spent to develop each Ranger’s backstory so that they all emerged as clearly defined individuals rather than anonymous teenagers, one with a “spectrum” disorder, another dealing with their sexuality and another with a sick parent.

For established fans of the series, the carefully plotted introductions of each teenager may drag, but I appreciated how their trust issues and self-imposed isolation made it difficult for them to quickly achieve the required togetherness necessary to become a team of Power Rangers.

The fact that they trained, fought and had their own individual problems to overcome before they could become a united fighting team made their eventual transformation feel more “earned” than if it had occurred within a shorter time frame.

Other supernatural hero films often lavish huge chunks of screen time on drawn-out action sequences where entire cities get obliterated in mind-numbing CGI effects extravaganzas, and

I find those types of films to be boring and non-engaging.

The battle sequences in Power Rangers still occur, but because they don’t happen until the last section of the film they seem more effective.

There is one rather large plot loop-hole involving the Power Rangers and their evil opponent Rita Repulsa (played with relish by The Hunger Games’ Elizabeth Banks in a gorgeously over-the-top green and gold costume), which would have ended the battle very quickly and with far less destruction, but aside from this, the story line and character arcs were all well written and believable within this specific world.

The fact that there was no swearing was a big plus in this age of profanities, which makes this a great family-friendly film, which won’t disappoint anyone seeking an entertaining and well-made diversion. (The version of the song “Stand by me” used during one scene made me want to dash out and buy the soundtrack.)

Before I Fall

Rated: MBefore I Fall

Director: Ry Russo-Young

Producers: Marc Bienstock, Brett Boutier, Jessica Held

Written By: Maria Maggenti (screenplay)

Based on the novel by: Lauren Oliver

Starring: ZoeyDeutch, Halston Sage, ElenaKampouris

As a reviewer, this film was a rollercoaster of sorts.

The outline excited me at first, a teen who relives her last day on Earth, as it brought to mind philosophical questions. Although, I must also admit that I struggled as I endured the teenager’s squeaking while the story built up. Luckily for me, my companion, someone who had read Lauren Oliver’s young adult novel (that the film is based on), reassured me to stay in my seat.

So I did. And I was pleasantly surprised.

Structure-wise, the film has a similar motion to Groundhog Day, where Zoey Deutch’s character (Sam) wakes up to the same day over and over until she figures out the only way to escape is to change.

Behind the scenes, every single person involved in this project was set to rehearse and explore their characters in depth, which transcends onto the screen.

Russo-Young did this early in the process, and was thorough in doing so, providing more texture in characters such as Kian Lawley’s (Rob), Sam’s boyfriend, who becomes more than just a highschool cliché.

RyYoung-Ross, the director, spoke about the changes made in the film, in particular the re-setting of the location from Connecticut in the novel to the Pacific Northwest in the film.

In her own words: ‘Setting the story in the Northwest gave a sense of awe to all the locations: big mountains, big trees, and a dark and foreboding landscape where people are small and dwarfed by the natural landscape, which reinforce aspects of the story for me. It suited the material well.’

As a viewer I cannot agree more with the above, there was something about the dramatic setting that really captured Sam’s struggle between life and death.

Ry Russo-Younghas received accolades from the New York State Council on the Arts, the TriBeCa Film Institute, the LEF Foundation, the Sundance Institute and Creative Capital. She majored in film at Oberlin College and grew up in New York City. Her work has been praised by The Wall Street Journal, Variety, Vanity Fair and The New York Times, among others.

As a post-release review, I would lie if I said I haven’t read what others had to say about this film before I set to write my own thoughts about it. And to tell you the truth, I was genuinely surprised to find mostly reflections on the bullying themes as well as other teen related behaviours that are portrayed in the film.

And there is nothing wrong about that. But, in my humble opinion, this film was much more than that. It is a tale about the search for identity and authenticity, of empathy and acceptance, and ultimately of the courage it takes to do the right thing by yourself as well as others.

Sam’s post-mortem journey is a powerful story that leaves you pondering about your own existence. It is a book that, I have been told, was in the Australian school curriculum a few years ago and I hope still is for the sake of the coming generations.

Kong: Skull Island

Rated: MKong: Skull Island

Director: Jordan Vogt-Roberts

Produced By: Thomas Tull, Mary Parent, Jon Jashni and Alex Garcia

Executive Producers: Eric McLeod and Edward Cheng

Screenplay: Dan Gilroy, Max Borenstein and Derek Connolly

Story By: John Gatins

Visual Effects Supervisor: Stephen Rosenbaum, Jeff White

Starring: Tom Hiddleston, Samuel L. Jackson, Brie Larson, John Goodman, John C. Reily, Tian Jing, Corey Hawkins, Jason Mitchell, John Ortiz, Thomas Mann, Shea Whigham, Tody Kebbell, Eugene Cordero, Terry Notary.

A prequel to the story of King Kong (who first appeared on film in 1933) Kong: Skull Island is about the origins of Kong; hinting at a past battle on an island hidden from the world by a never-ending storm.

Set in the ‘70s just as the Vietnam War is ending, scientist Bill Randa (John Goodman) takes a team to Skull Island to explore the possibility of MUTOs (Massive Unidentified Terrestrial Organisms).Enlisting a military escort headed by Preston Packard (Samuel L. Jackson), this group of humans have no idea about the bizarre creatures they’re about to meet… or get eaten by…

The production team who created the 2014 film Godzilla have reunited here and some of the creatures on Skull Island reminded me of the Godzilla film, particularly those scary skull lizard creatures AKA Skull Crawlers. But there’s a better story here. Skull Island is more than the creatures and special effects although it was sometimes a close thing with the dialogue falling flat at times.

There’s a touch of fun with the 70s soundtrack and humour in the script but some of the jokes didn’t quite come off. The times when the film took itself too seriously were worse. Where the sincerity was just too much to swallow, losing that suspension and ruining the fantasy. But really, this was rare in the film which is a minor miracle when dealing with a MonsterVerse.

Samuel L. Jackson with those grouchy looks plays the villain well. And Tom Hiddleston as James Conrad, the hero, was believable as the British solider turned mercenary tracker – there’s a fantastic cast here. The highlight for me was John C. Reilly as the stranded WWII solider Hank Marlow. Now this guy was funny.And a great way to get the audience on side.

The Visual Effects team have given Kong some magic that make it seem there’s thought and emotion behind those eyes. And to really give the film that authentic flavour, director Jordan Vogt-Roberts (Kong being his second feature film) and the team film those beautiful tropical landscapes at real locations around the world: Oahu, Hawaii, the Gold Coast in Australia and Ha Long Bay (amongst others) in Vietnam.

There was some good action here and some tense moments with a conflict set up between those for Kong and those against. The script gives a bit of meat (ha, ha) to the story and there’s some good blood and guts with a setting that lives and breathes as an undiscovered world to frame Kong’s origins.

Great film to see on the big screen.

Fist Fight

 Rated: MA 15+Fist Fight

Director: Richie Keen

Producers: Shawn Levy, Max Greenfield, John Rickard, and Dan Cohen

Executive Producers: Toby Emmerich, Richard Brener, Samuel J. Brown, Dave Neustadter, Charlie Day, Ice Cube, Marty P. Ewing, Billy Rosenberg, and Bruce Berman

Screenplay: Van Robichaux & Evan Susser

Story by: Van Robichaux & Evan Susser and Max Greenfield

Starring: Ice Cube, Charlie Day, Tracy Morgan, Jillian Bell, Dean Norris, Christina Hendricks, Dennis Haysbert

The last day of high school, referred to as ‘Muck Up Day’ in Australia, but ‘Senior Prank Day’ in America, is the backdrop for the new comedy film ‘Fist Fight’ from director Richie Keen, whose first foray into feature films bears a strong resemblance to a bland television movie, with unflattering lighting, poor pacing and pedestrian scene set-ups.

Ice Cube (‘Straight Outta Compton’) plays the strict, by-the-rules history teacher Ron Strickland (get it?) and Charlie Day (‘Horrible Bosses’) is the younger, popularity-seeking, wimpy English teacher Andy Campbell. Following a major meltdown by Strickland during a class, Andy Campbell is forced into exposing his colleague’s behaviour in order to protect his own employment at the school, leading to Strickland being fired. Frankly, after watching Strickland’s appalling behaviour, I would not only have dismissed him, but also imprisoned him for attempted assault.

This wafer-thin premise sets up the rest of the film’s action, such as it is, which consists of Strickland’s irrational challenge to Campbell for an after school fist fight, and Campbell’s escalating panic and extreme counter measures to avoid being beaten up.

Charlie Day (from TV’s “It’s Always Sunny in Philadelphia”, also directed by Richie Keen), relied on high-pitched or whiny yelling in place of acting, which wore thin very quickly, while his sneaky way of avoiding trouble didn’t endear him either.

Ice Cube fared better, with his inscrutable, intimidating manner well suited to the role of an old fashioned teacher fighting a losing battle to educate his students and instil authority.

Ice Cube featured in one of only two scenes I found genuinely amusing, where students and staff at the school speculate about his past before he was a history teacher, and a montage shows him as possibly a solider in Iraq, a rogue ex-cop, an assassin, or even a world-class pianist. Nobody ever discovers the truth, which makes this the only touch of wry sophistication in the film.

For the most part this wasn’t a style of comedy that I find appealing, as it lacked wit or originality, relying instead on excessive swearing, juvenile sight gags and offensive language for its laughs. Director Richie Keen and the writers had apparently heard about the kind of pranks that are unleashed on long suffering teachers at American schools, including parking a car in the main hallway, or letting a drug-affected horse roam the school corridors (not funny), so included these in this film (although I did find the recurring Mariachi band was an amusing touch).

Tracy Morgan (‘30 Rock’) successfully plays a not very bright coach; Jillian Bell (’22 Jump Street’) was frankly unfunny bordering on repellent as a guidance councillor with drug and sex issues; while it’s a mystery why Christina Hendricks (‘Mad Men’) or Dennis Haysbert (‘24’) lowered themselves to be in this frat-boy outing.

According to interviews, the cast and crew had a lot of fun making this film, but little of that hilarity appears to have ended up on the screen.

Miss Sloane

Rated: MMiss Sloane

Directed by: John Madden

Written By: Jonathan Perera

Produced by: Ben Browning, Kris Thykier

Executive Producers: Claude Leger, Jonathan Vanger, Patrick Chu

Starring: Jessica Chastain, Mark Strong, Gugu Mbatha-Raw, Alison Pill, Michael Stuhlbarg, Jake Lacy, Sam Waterston and John Lithgow.

A perfectly layered political drama/thriller that plays out like an intricate game of chess.

As the character, Miss Sloane (Jessica Chastain, two-time Academy Award nominee) says, ‘Lobbying is about foresight, about anticipating your opponent’s moves and devising countermeasures. The winner plots one step ahead of the opposition. It’s about making sure you surprise them and they don’t surprise you’.

Miss Sloane

Miss Sloane is a fast-paced film as the audience is taken along with the calculating mind of Sloane. And what an amazing complicated character to watch: her ambition, misdirection, suspicion, lack of moral code; she’s portrayed as a sociopath and to watch this brilliant relentless mind at work is fascinating.

The film opens as Sloane’s held to account in front of a congressional hearing regarding her code of conduct and ethical standards.  Then flashes back to what led her to the ultimate confrontation: pushing to pass a Bill requiring the background check of those wanting to buy firearms.  Translating to: Miss Sloane versus the Gun Lobbyists.

In the supporting cast, there’s the well-known faces of Mark Strong as the CEO of the boutique firm she joins to fight for the Bill, and Sam Waterston as George Dupont: head of an old-school lobbying firm where she earned her name as one of the most cutthroat lobbyists around, willing to do anything to win.Miss Sloane

It’s hard not to think back to Law & Order when seeing Sam Waterston.  He plays the lobbyist so well but as a twist, he’s the bad guy here.

Screenwriter Jonathan Perera has had his first script translated to the big screen by director John Madden.  And what a pleasure it must have been pulling so many layers together into the glorious satisfying end.  When I say layers, there’s a lot going on here but the delicate touch of Madden let the story keep its own pace, with each move a further step towards a reveal you don’t see coming.

Perera was a U.K.-educated attorney who left his practice to write, his background adding an authenticity and edge to those cat-and-mouse games shown so well in this film.  But there’s also the revelation of how the whole lobbying business works in American politics.  And what it means to take on the power that is the gun lobby group, self-portrayed as the protectors of the Second Amendment of the United States Constitution. 

Madden and Perera went to great lengths to ensure the accuracy of how lobbying works, consulting a lobbying firm: Glover Park Group. 

I admit I was a little lost at the beginning of the film.  The character, Miss Sloane’s mind works fast and the audience is expected to keep up with the jargon.  My advice is if you don’t follow, let it go.  It’s worth keeping up with the film as it runs, and well worth the journey.

What makes the film truly successful is the complicated nature of the character that is Miss Sloane.  She’s certainly not the most empathetic woman, but the obsession to win at any cost was somehow relatable: I wanted to be as smart and sophisticated as her.  But the film also shows the cost of her success making Miss Sloane strangely likeable.

This is a thoroughly absorbing film because its cleverness is combined with an undercurrent of emotion that’s felt without needing explanation.

Classy and smart all the way – brilliant.

https://youtu.be/TOrsh-D35vg

Jasper Jones

Rated: MJasper Jones

Director: Rachel Perkins

Producers: Craig Deeker, David Jowsey, Anita Sheehan

Written By: Shaun Grant, Craig Silvey (story)

Based on: the novel ‘Jasper Jones’ by Craig Silvey (2009)

Starring: Angourie Rice, Hugo Weaving, Toni Collette, Dan Wyllie, Levi Miller, Aaron L. McGrath

The purpose of a good film is to resonate with its audience and to change our perspective: Jasper Jones did just that for me and stuck around long after I left the theatre behind.

The story of Charlie’s coming of age is about the choices we make based on what we think we know and how sometimes misinformation gets confused with facts.

We tell ourselves our life story everyday, shaping our sense of identity, our purpose. To the point that only a catalyst event can set things straight.

The night Jasper Jones finds Laura’s body, he knows that would be the end of him. As a mixed race outcast, the town he calls home would find him guilty in the blink of an eye.

And so he reaches out to young Charlie, asking for help in the middle of the night. It is a move made out of desperation, as he fears for his life.

As the plot advances, we submerge into a time and place where gossip is the common currency and nothing is what it seems behind closed doors. Where Jasper, Charlie and Eliza embark on a courageous adventure to solve a mystery, while most of their community chooses to look away.

As director Rachel Perkins stated: ‘Stories, in the words of our writer Craig Silvey, exist to promote empathy, to test preconceptions and to transform opinions. The audience will ultimately be the judge if we have succeeded in that quest.’

Jasper Jones is a best-selling Australian novel by Craig Silvey. 
The novel has received broad critical acclaim and commercial success including being shortlisted for the prestigious IMPAC Dublin Literary Award 2011 and shortlisted for the Australian Miles Franklin Literary Award in 2010.

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