Mission to Mars: Review of Veronica Mars

Veronica Mars

Director: Rob Thomas

By Alex Watson

 

Veronica Mars is one of the under-rated jewels of US TV and for three straight seasons, its central story of a teenage girl above her years moonlighting as private investigator in the fictional town of Neptune, California, provided audiences with a exciting and straight talking female with some excellent storylines to boot. But after its cancellation, the show fell under the radar, but the fans never forgot their heroine and when it was announced that the series creator, Rob Thomas was funding a movie via Kickstarter, within hours the project was finally a reality! So here we  are Mars fans- Neptune’s finest returns to our screens and as usual she has some crime solving on her hands in the Veronica Mars Movie

9 years after leaving Neptune and her old life behind, Veronica Mars (Kristen Bell) has graduated from law school in New York and is leaving a happy and prosperous new life with her boyfriend Piz (Chris Lowell). But when her former flame Logan Echolls (Jason Dohring) has been arrested for allegedly murdering pop princess Bonnie DeVille, Veronica is enticed into returning to her old town and her previous crime busting ways. Also it so happens to be her old Neptune High reunion and this will lead to back to her PI father Keith (Enrico Colantoni), her old friends Wallace (Percy Daggs III) and Mac (Tina Majorino) and some old wounds being re-opened.

After all these years, I am delighted to finally see the gang back together on screen and aside from a few missteps, Veronica Mars serves as a perfect reminder of the reasons of why we fell in love with this show. The central story isn’t perfect and the slightly predictable plot of Logan being up on murder charges is nothing really new and although like it predecessor there are turns galore, but this time they don’t quite fit together as perfectly as before and the end result feels a bit thin on the ground. On reflection, this would have been better suited to being a new series rather than a film because the story here would have been improved if it was more drawn out. Plus the montage sequence at the beginning which fills both fans (and potential new fans) of past events feels slightly hoaxy.

But where this movie does shine is in Rob Thomas’ fast paced and razor sharp script which ensures the shows the trademark witty dialogue gets its moment to stand out on the big screen and with plenty of in jokes on hand, Mars maniacs are going to have a ball with this one! But the film is carried forward on the sheer strength of the leading lady and Veronica shows that big city living certainly hasn’t quelched her trouble making instincts and without pausing for breath, she immediately throws herself into clearing Logan’s name and demonstrates the kind of tough yet ladylike qualities that have made her so memorable in the past, and fittingly, almost our most of our beloved recurring characters are given an outing such as biker Weevil (Francis Capra) and certified jerk Dick (Ryan Hansen). Add all this together with an ending that could potential kick start the franchise, and our addiction to show is resumed!

As usual, this is Kristen Bell’s show and she holds the screen with the same determined force as before and demonstrates just what a great actress she can be with the right material and again she brings Veronica to life again on screen! Our supporting follys are once as again excellent with Tina Majorino and Percy Daggs III leading the way with their trademark humour. Though bizarrely unlike before, Jason Dohring’s Logan feels underused and is almost absent throughout. Also watch for a great cameo by James Franco (is there much he isn’t in these days?) and after seeing him in this, I guarantee you will be also trying to find words that rhyme with orange!

Veronica Mars is certain to win unanimous appeal with its die hard fans (such as myself), so go and watch it and fall in love with this character all over again- but this may not be the last we see of our favourite lady PI and seems she may be back sooner than we think! Prepare to become re-hooked to this franchise, because like Veronica “Hello, my name is Alex and I’m addict… Hello Alex!”

Lost in a Haze: Review of Filth

Filth

Director: Jon S Baird

By Alex Watson

 

In the mid nineties Irving Welsh’s novel Trainspotting was adapted into an influential piece of British cinema by Danny Boyle and as a result it flew the flag for the ‘Cool Britannia’ but ever since then is writing has been mysteriously absent apart from some versions of his less successful works in the late 90s. But this year, Welsh’s influence is back on our screens as director Jon S Baird brings across a tale of a troubled soul looking for all the wrong answers in Filth.

Detective Sergeant Bruce Robertson (James McAvoy) is a copper with a loose set of moral values and alongside that has an addiction to cocaine and alcohol. Gunning for a promotion to Inspector, Robertson considers himself first in line for the job and after being chosen to head up an apparent racist murder, things seem set in place. But in the midst of his investigating, Bruce’s troubled mind takes a worrying turn into darker territory as he indulges his addiction more- he begins to crack as a result!

Filth is a welcome return of Welsh’s material to cinema and this is thanks to its memorable protagonist Bruce Robertson who is makes for an unlikely hero on screen. As a man he is a detestable tormenter due to his apparent mistrust and hatred for the human race and at any opportunity Bruce preys on weak minded and any others he considers lower than him. For this he skilfully manipulates his work colleagues such as Ray Lennox (Jamie Bell) and he his pathetic and gullible ‘best friend’ Clifford (Eddie Marsan) whom he makes perverted sex calls to his wife Bunty (Shirley Henderson) sounding like Frank Sidebottom!

All the way through we have to take Bruce at face value and even though his acts such as deliberately stealing a kids balloon and releasing it and paying an individual to make his colleague look homosexual (which incites one hell of an incident) we amazingly hope that this man will gain some kind of a conscience. But during his coke induced hallucinations- there is a window in his soul as he speaks to his shrink eccentric Dr Rossi (Jim Broadbent) and this could almost be seen as his confession of his crime and we begin to wonder just what has driven this man to become the mess we see before us, as Bruce says whilst coming down from a high “I used to be a good man”

The final act however is where Filth does lose a few brownie points a Bruce goes from being a casual abuser to a follow blown madman- Bruce’s grip over his people has slipped and he absolutely hates it, but in trying to reclaim it his actions become increasingly erratic and the tone of movie takes a gloomier and more psychedelic tone. But in doing this the final ‘big reveal’ will not satisfy everyone because although clever, it does disappoint us somewhat but nonetheless it keep us thinking!

James McAvoy feels born to play troubled copper DS Robertson and this role feels like the flipside of his role in Welcome to the Punch and as the antihero he gets a meaty role to sink his teeth into and his presence from the very get-go dominates the film. But around him is a fine supporting cast including film regular Eddie Marsan who is superb as his naive bestie Clifford who although is driven to the point of destruction by Bruce, never once clocks on to his schemes!

Jamie Bell, Gary Lewis and Shirley Henderson are all fine in their respective roles but its the bizarrely Australian accented Jim Broadbent as his Dr Rossi who stands out most as his presence both amazes and terrifies us at the same point as he gradually chips away at Bruce’s arm until his mind falls to pieces!

Filth proves there is life yet in the works of Irving Welsh and this film is probably as close as he has come to hitting mainstream cinema and Bruce Robertson will no doubt go down as the one of the more fascinating character pieces of this year if not the history of British cinema. Also if you ever wanted to kick the habit and keep your mind stable- this film will provided the key!

Losing My Religion: Review of The Name of The Rose

Classic from the Vault

The Name of the Rose (1985)

Director: Jean-Jacques Annaud

By Alex Watson

 

A murder mystery always makes for great and compelling viewing in cinema as our protagonist struggles in vain to find a killer and these stories have been going back as far as time remembers. One great example of this type of story is when in 1985 French director, Jean-Jacques Annuad adapted Umberto Eco’s Franciscan Monastery set novel The Name of the Rose– although he turned a few heads casting Sean Connery- the end result was to be a career high for many involved as a murderer with a cause skulks through the abbey!

Set in 1327, Franciscan monk William of Baskerville (Sean Connery) travels with his young apprentice Adso (Christian Slater) to Benedictine Abbey to assist with an investigation of their murder of another Monk. Soon after their arrival, more deaths are involved and each is more gruesome than the last. The only thing connecting these deaths is the deceased all had black marks on their thumbs. It becomes clear soon that there is a killer among them to is silencing people to keep a secret of the abbey well hidden- things are also not helped when William’s bitter rival Bernardo Gui (F. Murray Abraham) arrives with the Holy Inquisition!

The Name of the Rose is one of the most under-rated thrillers of the 1980’s and through icy cold air there is a haunting ambience to the abbey that is forever lasting and through this Annaud allows this compelling mystery to unravel itself and gives us one of the most interesting and thrilling mysteries on years gone by! Though the Monks are men of God- we can sense that the Lord has abandoned this abbey long ago and this exemplified when Adso points this to out William who calmly replies “Have you found any places where God would have felt at home?”

From the very moment of William’s arrival- there are suspicious stares galore and it is made apparent that the monks harbour some dark secrets and through a variety of grotesquely featured actors (deliberately done by Annaud for good effect), including a pre stardom Ron Perlman as demented hunchback Salvatore- all of them look equally suspect and do not take kindly to William’s question of their ways.  As the slow burning tale slowly reveals each shocking revelation, Annaud keeps us constantly hooked. But things are then given a major shakeup when Gui and the Inquisition arrive on the scene and immediately begin accusing innocents of heresy and then burning them at the stake!

One of the main arguments of The Name of the Rose is the conflict of religion versus rationalism and it becomes apparent that one of the monks believes laughter to be the work of the devil whereas Williams argues that it is in mans nature to laugh and enjoy laugh! Soon this argument forms one of the core aspects of the plot and it becomes apparent that there is a book missing from the library that one monk will kill to keep secret!

Sean Connery was not originally wanted as William and had to fight off competition from Richard Harris, Ian McKellen Michael Caine and Paul Newman to claim the role. His BAFTA win for Best Actor proves he was the right choice and his William is a great mixture of clever thinking and sly wit and throughout he makes a wonderful investigator who isn’t afraid to ruffle feather- no matter how high up they may be!  As Gui, F. Murray Abraham makes a memorably nasty villain and Gui is a man who seems to enjoy abusing the power his role gives him and from the moment he arrives, he is given a free reign to spread chaos!

Christian Slater in his first ever role holds the screen well as innocent novice Adso and it could even by argued that this is truly his story and his faith is shaken as he witnesses how brutal mankind can be! Slater after his great 80’s performances hasn’t been any near as strong since and in some way it is a shame as he is magnificent here. Also the narration of Dwight Weist as the older Adso deserves a mention and it sends a tingle through us whenever it appears!

The Name of the Rose is a movie that deserves a watch by fans of this genre because through the excellent direction of Annauld and Connery’s charismatic performance, this will rank as one of the most original thrillers you will ever see. Though do prepare for things to get gruesome because there is no holy spirit guarding these walls!

Vienna Vacation: Review of The Third Man

Classic from the Vault

The Third Man (1949)

Director: Carol Reed

By Alex Watson

British cinema has brought some real cornerstones of the movie world in years gone by and has produced some legendary directors such as David Lean, Alfred Hitchcock, Michael Powell and John Boorman- but one director who often appears on this list in Carol Reed, who won an Oscar for his adaptation of Oliver in 1968- but it was his adaptation of Graham Greene’s Vienna based mystery The Third Man that many consider his greatest work and more than 60 years on, it still haunts audiences seeing it for the first time. In 1999 The British Film Institute ranked this as the greatest British movie of the 20^th Century- but how does the film stand up today?

Downtrodden western novel writer Holly Martins (Joseph Cotten) arrives in Allied occupied Vienna after being offered a job by his old friend Harry Lime (Orson Welles) upon arriving he discovers that his friend past away and is informed by sardonic British policeman Major Callaway (Trevor Howard) of his black market dabbling! Martins however, refuses to believe the story and becomes desparate to clear Harrys name. For this he goes digging deeper into his old friend’s affairs and comes into contact with Lime’s mistress Anna (Alida Valli). But very soon a massive is reveal to Martins and his world is transformed forever!

The Third Man is quite rightly considered a classic of British cinema and through Reeds stunning direction and a legendary suspenseful score by Anton Karras, we are given a mystery which is absorbing and continually shocks us throughout! From the moment Martins hops off the train in Vienna it is apparent that there is a big secret lurking in the dark shows of the city and it seems whenever he confronts one of Harry’s old ‘acquaintances’ another inconsistency is found in their stories! From the half truths being spun it appears his friends do not wish him to find out what really happened and who the ‘Third Man’ at the scene of the accident really was!

Martins is a character who is diving head first into a world of trouble and his characterization from a naive nobody to a reluctant detective provides the movie with a real strength and as Harry’s crime filled world including such dastardly deeds as selling diluted Penicillin is revealed to him, his desire to clear Lime’s name becomes progressively less fierce and he becomes obsessed with finding out the identity of the mystery person involved with Harry’s death- even though he is repeatedly warned by Callaway and others not to press the matter, Martins will continue and then a startling revelation is found!

But the main talking point of The Third Man comes from its well noted and still celebrated twist mid way through the movie- for first time viewers I will withhold what this moment includes, but the scene is one that will provide many jaw dropping in shock as the infamous third man is finally revealed to the audience. When his face is shown to us from the light of an upstairs window, a true classic is born!

Joseph Cotten turns probably the finest performance of his career as the suspicious Martins and all throughout this movie we both fear for his safety and urge him towards finding the truth! Cotten was an actor who is probably one of the most underrated if the 40s and 50s and his presence on screen here is excellent. But it’s Orson Welles that dominates the movie, despite only appearing three times throughout, Welles provides a haunting yet charming vibe to Harry and this adds to the movie’s gloomy feel.

The Third Man should rank as compulsory viewing for all lovers of British cinema and Carol Reed takes us on a thrilling ride throughout its 104 minute running time. The zither theme tune by Karras will send a shiver down your spine whenever it appears and today this effect is still as fresh as before. Its placing as the greatest British movie of all time is well deserved and even today it has yet to find an equal!

Look Around You: Review of Rear Window

Classic from the Vault

Rear Window (1954)

Director: Alfred Hitchcock

By Alex Watson

Alfred Hitchcock’s Rear Window is one film that is open to numerous modern day critical opinions. But it is a film that still ranks as one of the great classical Hollywood thrillers of years gone by, Hitchcock was always referred to as the ‘Master of Suspense’ and this one proved to be one of his most gripping films and would show us the dangers of spying on the people we know!

This tells the story of L.B ‘Jeff’ Jefferies (James Stewart), a photographer who is currently housebound with a broken leg after a racing car hit him at high speed during an event was covering. Jeff is a man at the cross roads of life and is wondering whether his girlfriend Lisa (Grace Kelly) is right being with him. Confined to the chair he spends most of his day gazing upon his neighbours and gathering opinions of their present lifestyles. But when he suspects that one of the more interesting neighbours Lars Thorwald (Raymond Burr) has murdered his wife it begins an obsession into proving the crime.

Rear Window can rightly be regarded a classical Hollywood film and this down to Hitchcock’s excellent directing. The audience is presented with a simple but strong narrative where we are presented with facts and it benefits from showing the audience but yet holds us back. Because of this trick we are forced almost like Jeff into becoming reluctant detectives because we want to know the outcome almost as much as he does.

In Hitchcock’s film we are given two basic plot functions in the form of a plot of action and the plot of romance  both are represented through the romance between Jeff and his partner Lisa and the investigation into Thorwald’s murder. Hitchcock also makes use of using other techniques to describe the characters to the audience for instance, the opening sequence scanning through Jeff’s apartment for instance gives us a story of who Jeff he really is, and as the camera glides through his apartment- from the pictures on the wall we are told all we need to know about Jeff and the camera acts a narrator.

Through limiting the action place to one room in Rear Window, this restricts the audiences view on events such as the depiction of Thorwald’s alleged crime. The beauty lies in how the story muddles facts and leaves us with only limited views of the courtyard to gain our views.  It is this restriction knowledge that provides the real interest in the film because we wonder whether Jeff’s theories about his neighbours are correct because the audiences at this point knows about as much he does.

This is one Hitchcock film that brings up moral issue because of the ‘peeping tom’ nature of the story because although Jeff is concerned, he is in some ways violating people’s privacy by spying on them and although Lisa will lecture on him on the dangers involved and says “Whatever happened to love thy neighbour?” But when a neighbour’s dog is brutal killed, Jeff’s suspicions are confirmed as he sees Thorwald sat in darkness with a cigar glowing!

James Stewart gives one of his great performances as LB Jefferies and he is able to give a fantastic paranoid edge to him as he delves further into danger. Jeff seems to be a man who avoids commitment at all cost and is constantly dancing with danger due his assignments in order to be rid of Lisa. Grace Kelly glows on screen and she is able to give top support playing long suffering Lisa. One of cinema’s great beauties, Kelly’s presence was always felt and it is sad that she departed from cinema so early.

Hitchcock has carved out a truly classic example of a Hollywood film and Rear Window gives a simple yet strong story which is part thriller but also a kind of detective film which were popular genres around this period of film making. The film itself uses classic devices such as suspense to build up the tension levels and keep the audience interested. In short this is classic Hitchcock because he was known for never making the same film twice and his style never gave the story away to the audience until it was absolutely necessary. Hitchcock in this case was in keeping the classical Hollywood narrative.

 

Corruption Knows No Bounds: Review of Touch of Evil

Classic from the Vault

Touch of Evil (1958)

Director: Orson Welles

By Alex Watson

 

Many critics would agree that as director Orson Welles was a technical master who was well before his time! Even after his death in 1985 he has still been critically lauded by the American Film Institute who still today has Citizen Kane included as one of their greatest films of all time. But there was one scene he shot that has inspired a generation of film makers such as Francois Truffaut in his 1958 film Touch of Evil, a scene that provided not only a master class in film maker, but one of the last great noir films of the 1950’s.

Honourable Mexican Drug agent Miguel Vargas (Charlton Heston) and his new American Wife Suzie (Janet Leigh) are currently honey mooning in Tijuana, Mexico. But while crossing the border over into El Paso, Texas a car driving across explodes! Initially Vargas has no interest in pursuing the case, but very soon Vargas realizes the consequences of a Mexican car blowing up on American soil and as a result takes a closer look at events. But almost immediately he makes an enemy of Captain Hank Quinlan (Orson Welles) – a corrupt Police chief who has his own agenda on solving cases!

Touch of Evil is a truly great example of film noir and from its legendary opening shot; the seedy and grimy tone is set! The long 3 minute tracking shot by Welles is considered by many to be one of cinema’s greatest openings- as Welles glides through the town, we come to an anonymous man putting a bomb in the back of a car and then an American tourist drives off without a car in the world! Vargas and Suzie pass this car several times on foot while making small talk with border guards and each time our hearts are in our mouths until the shocking conclusion plays out!

But aside from its brilliant opening, there are several other stunning set pieces included, such as Suzie being trapped in a sleazy motel with only mental disabled a ‘Night Manager’ (Dennis Weaver) for company, while leather jacket wearing Hoodlum’s wait for the call to finish her! We also blessed with a truly thrilling showdown as Vargas lurks in the shadows of a watery bridge, hoping for Quinlan’s confession- but only for his device to give him away at the worst possible time!

The story itself is equally excellent and we are given a great mystery to absorb ourselves in, all the way through we can feel Vargas’ poking his nose where it doesn’t belong as he begins to learn of the corruption involved with Quinlan’s previous cases he clues in as to why Quinlan seems a little too eager to be rid of him! To achieve this there is no level which is too low for him to sink, even if it means kidnapping Suzie!  Welles was unhappy with Universal’s original cut and in order to get his preferred vision released and he drafted a 58 page memo outlining the changes he wanted made and it wasn’t until 1998 that his version was shown to the world!

In any noir film you need a classic villain and Hank Quinlan fits the bill perfectly in Touch of Evil, with his overweight figure and brusque tone, he makes for a compelling monster whose dishonesty is limitless, throughout the film we see abuse the power he has attained and in order to solve a case no means is un-sanitary and alongside hero Vargas’ a noir legend is born!

Many may find the idea of Charlton Heston playing a Mexican hilarious, but this makes for one his more interesting roles on screen and rather than the typical macho figure we have come to love in film such as Planet of the Apes, Heston in this film is more stylish and intelligent and this draws to Vargas all the more.

Touch of Evil however belongs to Orson Welles in more ways than one, not only does his direction excel but his presence on screen as Quinlan is electric and as we approach our riveting climax, we know that the old dog and his ‘game leg’ have one more trick up their sleeves!

If you need a reminder of the brilliance that Welles we able to bring to our screens and the sheer entertainment of the Noir genre, then Touch of Evil is a film worth digging out because it is a text book on how to make the perfect mystery film and will leave you in deep suspense as the shocks in the tale intensify! Orson your memo was the right choice, because without it a classic would have been lost!

Frozen in Time: Review of Sunset Boulevard

Classic from the Vault

Sunset Boulevard (1950)

Director: Billy Wilder

By Alex Watson

The films of Billy Wilder have given us some truly timeless classics, such as the pitch black Double Indemnity which gave us an ice cold Barbara Stanwyck to swallow down. He also showed his comedic side with Tony Curtis, Jack Lemmon and Marilyn Monroe in Some Like it Hot and finally gave us a portrait of a man stuck in corporate hell but getting by on the hope of love in The Apartment. Wilder was a director capable of getting great performances from his actors. Two of his greatest accomplishments were given by William Holden and Gloria Swanson in his grave depiction of the effects of Hollywood in his acclaimed film, Sunset Boulevard.

The film focuses on Joe Gillis, a jaded and washed up Midwestern scriptwriter living in Los Angeles. Gillis is having trouble making ends meet and owes thousands to loan sharks. One day while avoiding his creditors he pulls into an old house in Sunset Boulevard. Whilst there he comes across, Norma Desmond: a former silent movie star who has faded away from the film world. Whilst there, Joe is reluctantly convinced to write a script for her ‘return’ to the screen. The longer Joe stays, the more Norma clings to him and soon he is trapped in a living hell. Very soon he will make a decision to leave- a decision will have a brutal conclusion

The opening of Sunset Boulevard went against the typical structure of 1950’s cinema as the opening shot shows William Holden found dead. At first appears to be a murder mystery but then we realize it is narrated by the guy who is lying dead in the pool! This was a different story setup for that time which afterwards became common. At first we think it is going to be your ordinary murder mystery; that is until we realize that the narration is from the guy who’s dead!

William Holden’s narration gives the feel of the old Philip Marlowe detective films and it feels as if Gilles is searching for the meaning of his death from up above! Also it gives the film its main film noir element.

Wilder’s movie is more a film about failure than success; Norma Desmond is a failure that seems almost unaware that she is a failure and believes she is still on top of the film world “I ‘am’ big. It’s the ‘pictures’ that got small” she recants bitterly to Gillis at one point. Her star is almost reminiscent of a majority of silent movie actors who struggled when making the transition from silent to speaking films. Joe Gilles is at the same time scrapping the barrel because he is a failed screenwriter who is roped into doing a script for Desmond despite the fact her time has been and gone.

One of the major points in is the difference between speaking and non speaking films. An example of this would be the ‘waxworks’ who are group of old silent movie actors who visit Desmond’s house to play cards. Among them is the legendary silent movie actor Buster Keaton who infamously didn’t make the grade when making the transition to speaking films. These people serve as a reminder of the past and how they have like Norma become merely ‘waxworks’ inside the world they reside in.

Another link to the past is the presence of famous silent movie director Cecil B DeMille who cameos as himself, here in this he is the evidence that Norma exists in the real world and that she isn’t just a figment of her own imagination, he is also an example of everything that she has lost. The character of Norma some could say is a Hollywood version of the character Ms Havisham from Charles Dickens ‘Great Expectations’ who in the book was jilted at the altar by her lover and now lives in a house which still has the wedding decorations and still wears her wedding dress.

One of the great presences of Hollywood, William Holden gives one of his finest performances in Sunset Boulevard. As Gillis he is the cocky young man who comes across what seems to be a gold mine- but later regrets his choice. His great and natural performance is a reminder of how good he once was. Gloria Swanson is a terrific yet frightening presence as the deluded Norma! A former star of the silent screen, Swanson brings her own experience to the role and gives us great study in ego-mania!

Sunset Boulevard is a true classic of Hollywood cinema, through Wilder’s slick direction it casts a black cloud over the city of angels! As the tragic tale unfolds we are given a truly doomed romance, while all the time wondering why Gillis has ended up where he has? For a beginners guide to Billy Wilder, make this for your first stop! Because after he has entered your film world, it will never be the same!

I Remember Nothing: Review of Memento

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Memento (2000)

Director: Christopher Nolan

By Alex Watson

Christopher Nolan is a director that has yet to make a bad film. His previous efforts have brought some of the most original and thought provoking films of the last ten years. He has shown us Al Pacino battling endless daylight in search of a killer in Insomnia, had Hugh Jackman and Christian Bale as rival magicians in The Prestige and more recently made our minds spin like a top in Inception! And lest we forget- Nolan has given us the most memorable Batman series that ever graced the screen. With the impending release of The Dark Knight Rises, it felt right to re-visit where it all began. Nolan’s talent for story was obvious when he gave us the backwards tale of a man with a broken mind in the brilliant Memento.

Former insurance investigator Leonard Shelby (Guy Pearce) has short term memory loss and as a result of his condition he cannot make new memories. His only lasting memory is the brutal rape and murder of his wife. Since then he has hunted for her killer, but as he cannot remember clues he only a loads of polaroids and tattoos on his body to remind him of the clues. Through the gaps in his memory he will come into contact with sympathetic widower Natalie (Carrie- Anne Moss) and friendly Policeman Teddy (Joe Pantoliano), but are they all that they seem? And more importantly why does he know them?

Christopher Nolan’s clever toying of the story is the most memorable feature of Memento, as it fits in with Leonard’s fractured state of mind. Rather than giving a linear storyline the film is played out in reverse, this effect grips us immediately as the climax is revealed first. Here we witness Shelby shoot Teddy dead because he believes he has finally found his wife’s killer- but as we rewind the movie scene for scene, it reveals a far more shocking truth!

The careful overlapping of scenes gives as many clues as it does questions and like Leonard we are thrown to into mix, completely unaware of the situation. As our perception is continually messed with, we learn in each scene to throw out every assumption we may have and let Leonard find his bearings- no matter how chest tightening it gets!

But its the positing of Leonard as an un-reliable narrator that keep us hooked. Initially we are sympathetic to his cause, but as we venture further we begin to realize that everything he owns from his clothes to his Jaguar are dubious. At the films second climax (the beginning) Nolan brings things full circle and as the credits roll, you will simply sit and digest all that has just happened.

Guy Pearce does a magnificent job of holding the film together; the continuous blank confusion on his face perfectly complements the confusion of Leonard. Here we have a man whose mind in a haze and doesn’t know who he can trust. It is strange that Pearce hasn’t since had a leading role because his presence is felt throughout this. Hollywood wake up! Because we have an actor here who is good enough to anchor any film. Carrie-Anne Moss gives top support as Natalie, all the way through we are unsure of her intentions and at times we wonder if she is simply messing with his head! Joe Pantoliano is likewise excellent as the frustrated Teddy- his friendship always in question. From the very beginning when Leonard paints the wall with his skull- you wonder what drove him to it!

Memento is an excellent film for so many reasons, firstly it gave us one of the most original and mind bending tales of years gone by. Secondly we are giving a stunning central turn and finally- it gave world Christopher Nolan! His promise since then has been duly delivered and today he is the director in demand. For a truly though provoking experience then please re-visit this film, but be careful though because as the films tagline suggests- ‘Some Memories are Best Forgotten’.

The Dragon’s Breath is Fierce: The Girl with the Dragon Tattoo Review

The Girl with the Dragon Tattoo

Director: David Fincher

By Alex Watson

Stieg Larsson’s Millennium trilogy has caught the attention of readers worldwide. The gripping plot and its heroine Lisbeth Salander has assured the book best seller status. The question of a film adaption was never in doubt and in Sweden all three have already been made into internationally acclaimed thrillers. Now we turn to the inevitable US adaptation of the first novel The Girl with the Dragon Tattoo. Remade by David Fincher- who brought us Seven, Zodiac and The Social Network, we see a Hollywood re-telling of the story. The big question is; how will it compare to the original made by Niels Arden Oplev?

The story follows journalist Mikhail Blomkvist (Daniel Craig) who has been convicted in a libel suit against business supremo Hans-Erik Wennerstrom. With his reputation destroyed, he is hired by elderly industrialist Henrik Vanger (Christopher Plummer) to assist with his memoirs. But upon his arrival he discovers the Vanger really wants him to investigate the disappearance of his niece, Harriet over forty years ago! Blomkvist is delved into a dark and seedy family history, all the while coming into contact with hacker Lisbeth Salander (Rooney Mara).

Knives were out by the novel’s die-hard fans when this project was announced. They believed that the original should be left alone and that Noomi Rapace’s turn as Salander was the definitive one. David Fincher was well aware of this and one of the main strengths of his Dragon Tattoo is that it doesn’t try to imitate the original. Fincher’s direction gives this film has a far darker feel than its predecessor. In doing so it captures the cold feeling that surrounded Larsson’s novel. As we enter the snow covered Hedeby island- we feel all kinds of secrets are hiding underneath it!!  Writer Steven Zaillan sticks the whodunit story line and allows the mystery to unfold as Blomkvist unravels the twisted tale!

Characterisation in Fincher’s Dragon Tattoo feels more genuine, Blomkvist is portrayed as ruined man. The trial has cost him more than his money and he has nowhere to turn. Through Craig’s performance we see a normal everyman that is in over his head! This character in a normal Hollywood film could have been over played. The Vanger family’s history of hate and loathing has more icy chill to it than Oplev’s version. In particular Christopher Plummer’s excellent turn as Henrik. We see him as a tired old man who is weary from years of internal war; also we feel the restlessness of his soul as he describes to Blomkvist what the story of his family will involve:

“Thieves, misers, bullies, the most detestable collection of people you will ever meet- my family!”

This feeling of brooding family hatred was lacking in the original and didn’t feel expanded and because of this the sense of danger was absent. But here in Fincher’s version the bitter feud goes to a far deeper core.

But in any adaptation there are going to be numerous compressions to the book’s storyline. This is one area where Fincher’s film falls down slightly. It feels overly long and is trying to include too much. The narrative sometimes stays perfectly in line with the novel, but at others deviates completely from the path. In particular the third act, which although it makes for greater drama, the story seems a little lost! Also the violence in the film feels overdone; the book pulls no punches when it comes to this subject. But here the brutality is at times un-viewable. The prime example in is the vicious rape of Salander by her piggish guardian, Bjurman (Yorick van Wageningen).  In this scene it is not just Lisbeth being defiled, but our minds are also a victim! But in this version her revenge is swift and far more brutal. Fincher’s representation of violence is both a blessing and a curse, as the images stay with you after the end credits!

Overall, this is an excellent adaptation of Larsson’s first novel. The performances give the film another level, in particular Rooney Mara, who gives a mesmerising central performance as Salander. The casting for this role was a subject long debated, but they cannot have chosen better than Mara. She’s what you expect Salander to be- cold, calculating, and most of all, resourceful.  When compared to Rapace, she doesn’t however, have the same presence! Craig does well as Blomkvist and easily elevates his performance above the original actor Mikhail Nyqvist.  The strange bond between the two main characters is well summed up- and, here, we care more for them!

Will this version make everyone happy? Opinions will be divided here because each version is very different. But it seems that David Fincher’s critics have been silenced and now we can await the next chapter in this pitch black trilogy!