Finding Nemo (2003)

Fig 1 - Finding Nemo Poster

Finding Nemo is the fifth feature-length production from Disney Pixar and follows the journey of a clown fish in search of his son. Nemo (Alexander Gould) is the lone survivor of a barracuda attack that took his mother and unborn siblings, making his father Marlin (Albert Brooks) extremely over-protective of him. On his first day of school, Nemo is captured by divers which leads Marlin to desperately chase down the boat that took him. In doing so, Marlin meets Dory (Ellen DeGeneres) who attempts to help him in his search, despite a severe short-term memory problem. As Dory and Marlin venture across the ocean in search of "P. Sherman, 42 Wallaby Way, Sydney" (an address that will be second-nature to you by the end), Nemo finds himself trapped within the fish tank of a dentist's office and soon learns that a grim fate awaits him if he doesn't try to escape...

The film won Pixar it's first 'Best Animated Feature' award at the Oscars in 2004 and eventually became the best-selling DVD of all-time. All of which comes as no surprise to me, as the film is truly one of Pixar's greatest.

There is an episode of Futurama (1999-2013) entitled "Godfellas" in which a deity-like 'space cloud' ends the episode by saying "When you do things right, people won't be sure you did anything at all". I think about this quote a lot, particularly in the case of editing which can so easily become the detriment of an otherwise decent film. The quote feels particularly pertinent to the ease with which Finding Nemo plays out, as the foreign world and unusual gravity of marine life are so effortlessly exhibited here. In the documentary 'Making Nemo' it is shown just how in-depth the team at Pixar went to make the aquatic landscapes and wildlife authentic. More than anything, the doc outlines how crucial it was to imitate the various lighting techniques of subterranean atmospheres and even more so, to animate fish in a fluid and naturalistic way. Without this extensive research, the film would never have captured the true beauty of the ocean depths and for that reason alone deserves all of the acclaim it received.

Fig 2 - Finding Nemo - Dory and Marlin

I hadn't seen Finding Nemo for some time before today, though having watched many of Pixar's works recently I was surprised at just how creepy some parts were comparatively. For instance, Inside Out (2015) features very few characters to be truly fearful of (unless you have a phobia of clowns, I suppose). However, in merely featuring depictions of shark and anglerfish attacks, the film becomes incredibly more tense than I remembered. This, in conjunction with the opening scene in which a looming barracuda proves just how unrelenting the food-chain can be, shows how dark Pixar are willing to go and makes the film one of their most deceptively tense.

Saying that, the film is actually full of sweetness and manages to give it's many characters enough dimension to find something to like in all of them. For my money, Ellen DeGeneres as Dory stands to be one of the best elements of the film. Unlike the relentless positivity of Inside Out's 'Joy', Dory comes across as naive in her vulnerability and makes up for what could have been 'annoying' optimism with the crutch of her memory affliction and it's genuinely humorous consequences. She alone has some of the best dialogue in the film and instantly rubbed off on popular culture in her efforts to "just keep swimming".

Overall, Finding Nemo is a timeless tale of devotion and emotion that has aged incredibly well animation-wise. With great voice talents and impeccable attention to detail, the film takes paternal dedication to another level and will either leave you itching to explore the briny depths or at least roll up your trousers for a paddle.

★★★★★

Imagery

Fig. 1 Finding Nemo Poster (2003) From: Finding Nemo - Directed by: Andrew Stanton & Lee Unkrich

https://d35fkdjhhgt99.cloudfront.net/static/use-media-items/17/16315/full-1028x1500/56702cc2/Finding%20Nemo%20%282003%29%202.jpeg?resolution=0

Fig. 2 Finding Nemo Screenshot (2003) From: Finding Nemo - Directed by: Andrew Stanton & Lee Unkrich

https://jaysenheadleywrites.files.wordpress.com/2016/05/screenshot-823.png?w=1355

'Making Nemo' Documentary

https://www.youtube.com/watch?v=neJFuTKWzfc&t=44s&ab_channel=PatrikSpacek

The Grand Budapest Hotel (2014)

Fig 1 - The Grand Budapest Hotel Poster

The Grand Budapest Hotel is the eighth film by director Wes Anderson and follows the escapades of a concierge and a lobby boy during the 1930's. The film begins in the present day with a girl visiting the bust of a renowned author. We then cut to the 1980's in which the author (Tom Wilkinson) recounts his visit to the book's titular hotel twenty years prior. In his youth (played by Jude Law), the author met the hotel's owner and was fortunate enough to discuss how the building came into his possession. The owner, Mr. Moustafa (F. Murray Abraham), takes the young writer to dinner and begins reciting to him the story of his life, which began in his initial position as the lobby boy. Here, we are transported back to the glory days of the 'GB' when it was run to the impeccably high standards of the hotel's concierge, Monsieur Gustave (Ralph Fiennes). The young Zero Moustafa (Tony Revolori) is quickly taken under the wing of Gustave, who finds himself the proprietor of a priceless painting left to him by a recently deceased lover. However, upon learning of her grizzly demise, Gustave and Zero quickly realise her relatives are all too aware of the fortunes at stake, leading them to steal what is rightfully theirs and suffer the consequences of their unfortunate framing...

Incidentally, the film features a veritable who's-who of famous faces, including (but not limited to) the likes of Jeff Goldblum, Edward Norton, Willem Dafoe, Adrien Brody, Tilda Swinton, Harvey Keitel, Jason Schwartzman, Owen Wilson, Bill Murray and Saoirse Ronan. In fact, I'm perfectly sure there are twice as many names worth listing as the film is utterly fraught with cameos. But of course, the crowning jewel of the film has to be Ralph Fiennes, whose performance demonstrates the decorum and elegance of a truly professional gentleman, even in the most hopeless of situations. Eloquently spoken yet firm-handed when necessary, Fiennes makes every moment count in his turn as the hotel's chief-in-command and gives an unprecedented degree of class to the devoted concierge.

Fig 2 - The Grand Budapest Hotel - Gustave and Zero

Speaking of devotion, the attention to detail in the film's production design is technically flawless. It feels truly on a par with the quirky costumes and props of the Harry Potter universe, in which custom design is visible right down to the engraved olive picks. The fonts and notices adorning the walls adhere to a strict uniformity that tells you everything is done on purpose, either to outline the narrative or draw the eye. The vibrancy of the colour palettes make everything feel alive and exotic, from the saturated red of the interior elevator to the rich purple of the uniforms contrasting with it. The film received Academy Awards for Best Costume Design and Best Hair & Make-Up Design in 2015, all of which are crucial factors in the establishment of the whimsical world in which the film takes place.

I have seen TGBH several times now and, for whatever reason, I am always reluctant to do so. It's not a long film by any means, which is usually the off-putting element for me. Perhaps due to it's 'epic' nature whereby it is presented as a story within a story, the film feels longer than it is, but I didn't find that to be the case this time. As always, once the film got going I was charmed by the deadpan characters and vehemently regimented cinematography Anderson has become known for. If anything, the one element that stood out to me in this viewing was just how 'sweary' the film is. I take no issue with this, as it's a delicately sprinkled layer of 'cuss' words that contrast to great humorous effect alongside the grandiose tone of the film. Without them it might seem almost pompous in it's grandeur, but they aren't used to the point of excess so the film never lowers itself in any way.

Overall I can safely call TGBH my favourite of Anderson's films to date, though his previous works do not fall far behind. It's humorous, dark and jam-packed with eye-candy that warrants repeat viewings to fully appreciate.

★★★★★

Imagery

Fig. 1 The Grand Budapest Hotel Poster (2014) From: The Grand Budapest Hotel - Directed by: Wes Anderson

http://www.heyuguys.com/images/2013/10/The-Grand-Budapest-Hotel-UK-Quad-Poster.jpg

Fig. 2 The Grand Budapest Hotel Screenshot (2014) From: The Grand Budapest Hotel - Directed by: Wes Anderson

http://www.asset1.net/tv/pictures/movie/the-grand-budapest-hotel-2014/The-Grand-Budapest-Hotel-1.jpg

Reservoir Dogs (1992)

Fig 1 - Reservoir Dogs Poster

Quentin Tarantino's directorial debut Reservoir Dogs follows the aftermath of a jewel heist gone awry, leaving the surviving criminals to pontificate over their suspicions as to which one of them was the police informant that lead to their undoing. The film opens with a typically meandering discussion between a table of suited men regarding the lyrics of the Madonna song 'Like a Virgin'. Here we are introduced to the potty-mouthed gangsters who undertake the robbery, each identified by colour-based aliases assigned by their employer. Soon after, we are transported to the back of a speeding car in which Mr. Orange (Tim Roth) is bleeding profusely from a bullet wound. Mr. White (Harvey Keitel) drives him to the crew's safe-house, where they are soon joined by a disgruntled Mr. Pink (Steve Buscemi). The men argue profusely and recount the events of the heist, in which the maniacal Mr. Blonde (Michael Madsen) supposedly opened fire in anger at the alarm being tripped. Mr. Pink then rightly points out that they should all be suspicious of one another and thus the film proceeds to let the audience question everyone involved...

This was my first time watching Reservoir Dogs and I was frankly stunned that, due to the cultural influence and popularity of the film, I hadn't had the central mystery spoiled for me. The surprise of the reveal made an already entertaining watch an exhilarating one, as even my initial suspicions were thwarted. I've been a fan of Tarantino since his comparatively recent feature Inglourious Basterds (2009), which served as the gateway to his filmography for me. Since then I've seen the majority of his works and frankly Reservoir Dogs, despite it's excessive bloodshed, almost pales in comparison to the degree of violence Tarantino has exhibited in his more recent films. That said, I don't find his penchant for brutality to be the appeal of his process, so it made no difference to me in this case.

Fig 2 - Reservoir Dogs - Mr. Blonde, Mr. White & Mr. Pink

Another staple of Tarantino's films comes via the use of dialogue, which was excellently performed by it's cast and written with enough humour and fluidity to make the characters appealing. With no female input to speak of whatsoever, the level of 'macho-comradery' is jacked up to eleven, which may be difficult to reconcile with for some. However, once a character with positive influence was designated, I found myself able to watch from the perspective of the 'outsider looking in'. In addition, it is established that the misogynist/racist/homophobic language used is from the mouths of the antagonists and should hopefully serve as a moral cue of who is and isn't in the wrong.

It's soundtrack is perhaps as celebrated as the film itself, with the George Baker Selection's 'Little Green Bag' accompanying the opening titles and Stealers Wheel's 'Stuck In The Middle With You' used to great effect during it's famous torture scene. I wasn't even adverse to the use of Harry Nilsson's 'Coconut' as the end credits played out, as seemingly unwarranted as it may have been. The music overall plays a huge part in the tone of the film and gives it a unique personality that an orchestral score may have neglected to construct.

In terms of performances, I found Steve Buscemi and Tim Roth to be equally mesmerising in completely different ways. In a similar vein to his role in Fargo (1996), Buscemi plays a hot-headed sociopath who from the outset was able to stand out from the group and establish the character of Mr. Pink with the right amount of assertion and paranoia to fuel his motivation for success. On the whole, the chemistry between the crew felt genuine and their back-and-forth's spontaneous.

I would ultimately say that Reservoir Dogs is one of Tarantino's best films and serves as something of a masterclass in character acting. It's an enjoyable take on the heist genre, with enough elements left out to titillate and more than enough 'cool' to intoxicate.

★★★★★

Imagery

Fig. 1 Reservoir Dogs Poster (1992) From: Reservoir Dogs - Directed by: Quentin Tarantino

http://www.cinemasterpieces.com/72013/resvdec12.jpg

Fig. 2 Reservoir Dogs Screenshot (1992) From: Reservoir Dogs - Directed by: Quentin Tarantino

http://i.imgur.com/028BAI3.jpg

The 400 Blows (1959)

Fig 1 - The 400 Blows Poster

François Truffaut's debut feature The 400 Blows follows the story of a troubled young Parisian boy whose upbringing and social conditioning have led him to traverse a path of naive criminal activity. Antoine (Jean-Pierre Léaud) is consistently scolded by his teacher (Guy Decomble), who often chooses to punish him over his similarly misbehaved peers. His mother Gilberte (Claire Maurier) exhibits a cold and strenuous relationship with him from the outset, living as they do in a minuscule apartment in which there is little privacy to be had. With them lives Antoine's stepfather, Julien (Albert Rémy) with whom he appears to have a better relationship. It is clear that Gilberte and Julien are a dysfunctional couple who have little reason to trust Antoine on his word about anything, despite repeatedly giving him a second chance. When Antoine doesn't get his homework complete by the next school day, he decides to skip school entirely. When he hasn't any excuse the following day, Antoine tells his teacher his mother has died. From here, Antoine struggles with balancing the exhilaration of his independence and the consequences of his questionable decisions, giving him much to reconcile with before things take a turn for the worst.

One scene early-on in which Antoine is riding a zoetrope feels particularly indicative of his mental state during the film, being as he is a very distant young man. The scene tracks Antoine being pushed against the whirling ride to the extent that he is able to freely defy gravity and turn himself almost upside-down, cut together with perspective shots of the onlooking crowd. In this instance, the blurred faces passing by could be representative of the many figures in his life trying to navigate him in all manner of directions. For example, his friend René (Patrick Auffay) is a constant helping hand in times that Antoine feels cornered or fearful of the penalties of his actions. Whereas Gilberte at one point bargains with Antoine to achieve better grades, only to be accused of plagiarism when he finally buckles down. In his many attempts to 'do the right thing', Antoine is only left more confused and alone than he was before, making him a character we can utterly sympathise with.

Fig 2 - The 400 Blows - Antoine

The tone of the film feels almost like a glorification of the lead's decisions in it's tone and editing. Even during a scene in which Antoine is riding in the back of a police truck, the accompanying score as he looks on at the dazzling luminous street signs is one of romanticism over morosity. The film never detracts from it's position on the side of Antoine and it shows in his every action. From being slapped for lying and then taken to the movies for almost burning the house down, the fault is almost never with Antoine but the confusing disciplinary methods of his guardians. It becomes difficult to remember just how young the boy is by the end of the film, when in the last shot he approaches the sea in pursuit of his freedom, only to find he has become completely trapped by his own doing. Incidentally, Jean-Pierre Léaud gives a show-stealing performance as the central character, whose ability to reflect a great many emotions in his isolation (particularly at a young age) make him a compelling screen presence throughout.

I think The 400 Blows is a pretty beautiful sentiment about the struggles of coming to terms with alienation and the reality of life's hardships. It ultimately tells us that our upbringing should not dictate who we choose to be, though our actions may not always reflect exactly who we are.

★★★★

Imagery

Fig. 1 The 400 Blows Poster (1959) From: The 400 Blows - Directed by: François Truffaut

https://assets.mubi.com/images/notebook/post_images/9736/images-w1400.jpg?1328764461

Fig. 2 The 400 Blows Screenshot (1959) From: The 400 Blows - Directed by: François Truffaut

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNFBUJnA7og9xUITbZSOpzw8g0XHiGsfy7uC7l5bcQVJ90XUHLRkg8I_pgyEkHf_cVpSG8R4Rq2vB_TEh4EGVGdRsVI516TzoZLvleCYuTdcpkAC4vueG1rZEBC6ph42-thu8FR99iidn/s1600/The_400_Blows_26.jpg

Carnage (2017)

Fig 1 - Carnage Poster

Carnage is a high-concept 'mockumentary' by Simon Amstell that follows a timeline of events leading up to the utopian Britain of 2067, in which all of it's citizens are now vegan. The film exhibits an array of real-life archive footage regarding the social instillation of veganism, satirically narrated by Amstell with a darkly comic sincerity. With the murder and exploitation of animals now outlawed, the narration serves as a study into the 'grim' past of society, looked back upon as a tragic holocaust for the animal kingdom. The film includes several tongue-in-cheek segments of therapy sessions for surviving meat-eaters, which has them throwing a beanbag to one another whilst naming a type of cheese they shamefully once consumed. This scene, if anything, completely sets the tone for the film, which doesn't shame one into converting to veganism, but rather lays out the facts and over-exaggerates the argument from both sides to great comic avail.

What struck me was how similar it felt to the work of Charlie Brooker, whose near-future drama Black Mirror (2011-) sets a similar tone in it's approach to carving an alternate reality based on specific themes (albeit usually the retaliation of superior technology). In this instance, the future has us wearing small devices near our eyes, as seen in orchestrated talking-head segments, which are improved gradually across the timeline starting with RoboCop-style visors. Though the film isn't about the tech, it was nice to see they put some thought into the mock-progression of time, having surpassed all 'genuine' footage. Incidentally, Amstell's commentary over the pre-existing material felt tonally similar to the show Screenwipe (2006-09) in which Brooker would analyse television and marketing from a comedic perspective. As a fan of both shows, I found their parallels entirely welcome.

Fig 2 - Carnage - Britain 2067

In addition, the film conjures up a 'completely plausible' future in which vegans and meat-eaters are socially divided, swine flu becomes a mass epidemic and eventually the UK has pyramids for some reason. It is all a bit of fun, but clearly Amstell holds the message of the film dear to his chest and, honestly his approach feels more effective than the 'shock-value' of demonstrations by campaigners like PETA (which are essentially parodied here). The film isn't overtly graphic or violent, but rather demonstrates the fact that we too are animals and should, in our superiority, have learnt to live in harmony with living creatures by now.

I can't imagine many would find this film to be overly 'preachy' in it's central message, but either way it stands as a humorous take on the social climate of consumption. It might not be changing minds now, but perhaps someday we'll look back on Carnage with a much guiltier conscience...

★★★★

Imagery

Fig. 1 Carnage Poster (2017) From: Carnage - Directed by: Simon Amstell

https://pbs.twimg.com/media/C7SvKAMXQAIO8RU.jpg

Fig. 2 Carnage Screenshot (2017) From: Carnage - Directed by: Simon Amstell

http://www.bbc.co.uk/iplayer/episode/p04sh6zg/simon-amstell-carnage

La Haine (1995)

Fig 1 - La Haine Poster

Directed by Mathieu Kassovitz, La Haine follows a day in the life of three Parisian youths during the aftermath of a brutal riot that exacerbates tensions between the police and the impoverished. Vinz, Hubert and Saïd (Vincent Cassel, Hubert Koundé and Saïd Taghmaoui) spend the majority of their time pottering around aimlessly with a joint ablaze, making explicit jabs regarding ones mother and generally finding themselves on the wrong side of the law at every turn. Their friend Abdel (who does not appear outside of news coverage) was hospitalised during the riots, sparking a newfound hatred for the police among the young men. News coverage also reports the loss of an officer's handgun during the riots, which Vinz soon admits to his friends he is in possession of and openly declares he'll use it against the police if Abdel does not pull through.

Though I do have a few underlying problems with the film, overall I can safely say it was never boring. The economically-deprived atmosphere felt incredibly well established, with it's all-encompassing relationships between shady characters seeming all rather legitimate. The cinematography often uses experimental shots to justify the relationship between action and reaction, which made certain scenes all the more powerful. Performances on the whole were incredibly well-executed, with Vincent Cassell standing out as the hot-headed Travis Bickle wannabe, masterfully capturing the nihilism of post-pubescence despite being considerably older than his character.

Fig 2 - La Haine - Vinz, Hubert & Saïd

Initially, I was wondering whether this was going to be more comparable with works like Trainspotting (1996) or Requiem for a Dream (2000), but as it turns out La Haine is from the perspective of much more naive characters, who have been unwittingly raised in a bad situation and are still figuring out some form of redemption for themselves in isolated moments. Incidentally, we are only led to believe that the criminal actions of these boys are derivative of their social climate. Nothing in their home lives suggest that any of them should be as unpleasant as they are at times, so it is only in their naivety that we can assume they behave like adolescents to the point of risking their likability to the audience. I myself found it difficult to root for any one person in this film, as it shows both youths and police in a good and bad light. It is (as the saturation suggests) not a black and white situation. And what the film fails to do is make me sympathise with any of the central characters, meaning that perilous circumstances often fell flat as they pushed their luck to the point of basically warranting punishment.

Having said that, there is a very captivating quality to La Haine which, in it's reckless abandon, gives the lack of plot a hefty crutch upon which to navigate blindly. I may need to mull this one over a little more, but for now I can safely say the film has a lot going for it and, in it's better moments, exposes and studies the cracks in it's gaping class divide.

★★★

Imagery

Fig. 1 La Haine Poster (1995) From: La Haine - Directed by: Mathieu Kassovitz

https://sensorialdaily.files.wordpress.com/2013/02/la-haine-lodio-poster.jpg

Fig. 2 La Haine Screenshot (1995) From: La Haine - Directed by: Mathieu Kassovitz

https://s-media-cache-ak0.pinimg.com/originals/51/b5/26/51b5268c26664c3216bc34ed64ff750e.jpg

The Princess Bride (1987)

Fig 1 - The Princess Bride Poster

Before starting at university some years ago, I had only every heard of The Princess Bride in passing here and there. It was only once I got to know a wider range of people my age that I discovered what grandeur this film had for some. It seemed to be quoted left and right, beloved by many and seen by most. I just had no idea it existed. I suppose in my youth I would have heard the word 'princess' in the title and instantly dismissed the idea of watching such a 'girly' film. On the contrary, The Princess Bride is clearly not targeted at any particular audience, but merely those willing to slip into a little fantasy and learn the origin of many memes...

Directed by Rob Reiner and based on the William Goldman book of the same name, The Princess Bride is actually a story within a story, telling a tale of "fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love and miracles". In the beginning, a young sickly boy is visited by his grandpa who begins reading the titular story to him. In the story, a farm boy named Westley (Cary Elwes) and his employer Buttercup (Robin Wright) fall in love and wish to marry. Westley has no money and decides to seek his fortune by journeying across the world to pay for their marriage. However, when Buttercup hears that Westley was ambushed by the notorious Dread Pirate Roberts, she falls into a depression and many years later winds up reluctantly engaged to the Prince of Florin, a mister Humperdinck (Chris Sarandon). Whilst riding through the woods one day, Buttercup stumbles upon a troupe of bandits (Mandy Patinkin, Wallace Shawn and André the Giant) who kidnap the princess, though soon after they realise they are being followed by a character with the ability to outdo them all...

Fig 2 - The Princess Bride - Inigo, Vizzini & Fezzik

Typically, I approach films like this with some trepidation that my prior knowledge might have already quashed any enjoyment it could have served. I was initially reminded of Monty Python and the Holy Grail (1975) in it's over-quoted silliness, but soon realised this film to be far superior. I was pleasantly surprised by how little of the film I had actually witnessed in all my years of internet-trawling, and as such I was able to enjoy it quite a lot. Having recently seen Reiner's Stand by Me (1986) (which I was a big fan of), I felt very much in safe hands with this. Something about the film just feels completely authentic and original. Much like Stand by Me, the script plays a great part in elevating the film from what it could have been. This, matched with excellent performances from it's central players and snappy pacing made the film a thrilling watch from start to finish, with enough wit and imagination to enthrall a wide variety of demographics.

Particularly impressive were the costumes and prosthetics of some characters. The design of the "Rodents of Unusual Size" felt incredibly genuine and appeared as a cross between puppetry and animatronics as opposed to a concealed actor. Incidentally, had it not been for Billy Crystal's distinctive voice, I would have never guessed at his cameo as Miracle Max, who is made-up to look unrecognisably old by an impressive face-caking of rubber.

Ultimately, it would seem The Princess Bride has made an unprecedented impact upon popular culture in recent history. Though it has spawned some well-worn catchphrases, the film still has all the right elements of a family-friendly live-action adventure, the likes (and quality) of which are none too familiar in cinema today.

★★★★

Imagery

Fig. 1 The Princess Bride Poster (1987) From: The Princess Bride - Directed by: Rob Reiner

http://www.impawards.com/1987/posters/princess_bride_xlg.jpg

Fig. 2 The Princess Bride Screenshot (1987) From: The Princess Bride - Directed by: Rob Reiner

https://s-media-cache-ak0.pinimg.com/originals/c6/a4/96/c6a496e99d34096f7a62749f87eb3c85.jpg

How to Train Your Dragon (2010)

Fig 1 - How to Train Your Dragon Poster

Directed by Dean DeBlois and Chris Sanders, How to Train Your Dragon begins on the mythical island of Berk, where Viking settlers are seemingly plagued by the constant threat of dragon attacks. Hiccup (Jay Baruchel) is an infamously meek yet adept member of the village, whose brawny father Stoick (Gerard Butler) openly questions where he has gone wrong in raising him. When Hiccup miraculously shoots a Night Fury from the sky (being the most notoriously agile and mysterious dragon of the lot), he soon begins to question how dangerous their foes truly are. During Stoick's attempts to track down the dragons' lair, Hiccup is forced to train with dragons in combat whilst simultaneously sneaking off to visit his downed companion, Toothless. In bonding with Toothless, Hiccup not only learns how to passively rectify dragon confrontations, but discovers their fire-breathing friends may have more to fear than the axe-wielding villagers of Berk...

I personally believe this to be the second greatest Dreamworks franchise since Shrek (2001), in that it has an incredibly defined style and works for a wide range of cinema-goers. Having said that, unlike most 'widely-reaching' animations, the film doesn't resort to dropping in 'risque humour only adults would get', but rather chooses not to hold back during battle scenes that give the film a real sense of danger that most animations try to avoid. With this, the rocky dynamic between Hiccup and his father feels completely genuine in Stoick's typically 'Viking' mindset of requiring overt masculinity from his son. Stoick's perspective of his son as a hindrance to the clan feels incredibly true to the reality of the situation. It never feels as though Stoick is worried for his son's safety, more that he is embarrassed by his inability to comply with their lifestyle, which I'm sure is a note that would hit home for anybody who struggles relating to a parent. Incidentally, I do think Gerard Butler gives Stoick a truly three-dimensional personality in his delivery and made the town's leader a figure to be feared and respected.

Fig 2 - How to Train Your Dragon - Hiccup and Toothless

The film's art director Pierre-Olivier Vincent blends a fantastical cliff-side landscape with semi-traditional Viking architecture to engage the story as if it were coming straight from Scottish folklore (albeit with some questionable American accents thrown in). Visuals of the plucky young Hiccup being thrown around in the air, dodging and diving past great pillars of stone felt reminiscent of James Cameron's Avatar (2009) in it's ability to make the central character feel incredibly small comparatively. The look of the film is complimented greatly by John Powell's score, whose contribution awarded the film a musical nomination at the 83rd Academy Awards.

Overall, How to Train Your Dragon is a highly-recommended story of acceptance and bravery, refreshingly void of Pixar's glossy child-proofed visuals in exchange for a gritty thrill-ride that might leave you with a splinter or two.

★★★★

Imagery

Fig. 1 How to Train Your Dragon Poster (2010) From: How to Train Your Dragon - Directed by: Dean DeBlois & Chris Sanders

https://fanart.tv/fanart/movies/10191/movieposter/how-to-train-your-dragon-52e51b103a03e.jpg

Fig. 2 How to Train Your Dragon Screenshot (2010) From: How to Train Your Dragon - Directed by: Dean DeBlois & Chris Sanders

http://images.contentful.com/7h71s48744nc/1qE5SkB9isGQwKyImuG4Yw/19f81af0c22e904f51dffe5b8f6035c1/how-to-train-your-dragon.jpg

Fargo (1996)

Fig 1 - Fargo Poster

In recent decades, the Coen brothers have become something of a directorial household name. Not least following the accolades of their critically acclaimed pictures, including but not limited to The Big Lebowski (1998), No Country for Old Men (2007) and of course, Fargo. I'm a big fan of the Coens' work, however until now I've managed to avoid Fargo in favour of their 'lesser mainstream' titles. That being the case, I've been able to deduce first-hand just how divisive their films can be, and thus I am once again conflicted by another classic. The film has a certain cultural weight to it in that it was popular enough to spawn it's own successful spin-off show, much along the same route as Hannibal (2013-15) and Bates Motel (2013--). I myself do not consider Fargo to be as flawless or captivating as either Silence of the Lambs (1991) or Psycho (1960), however there is something incredibly watchable about the film that gives me absolutely no reason not to like it. Fortunately, and unlike the other films mentioned, Fargo is generally void of any over-quoted or parodied scenes (aside from the overwhelming Canadian-isms), which made it a fairly fresh viewing experience for a film of such grandeur.

The story revolves around family man and car dealership manager Jerry Lundegaard (William H. Macy), who instigates the kidnapping of his own wife, the daughter of his wealthy employer Wade (Harve Presnell). Jerry does this in order to earn a cut of the ransom that will be bargained with Wade in exchange for her return. The rest of the ransom would go to the kidnappers, Carl Showalter (Steve Buscemi) and Gaear Grimsrud (Peter Stormare), who unabashedly storm their way to a secluded cabin on a violent spree with Jerry's wife in the back seat. All the while, a pregnant officer named Marge (Frances McDormand) finds herself busy investigating the situation, leading to a host of 'chipper' confrontations that never prove too much for the determined mother-to-be...

The film won Best Original Screenplay at the 69th Academy Awards, along with a Best Actress award for Frances McDormand. Ever since, it has been praised as one of the Coen's greatest achievements in film-making, and even impressed Roger Ebert enough to deem it "one of the best films (he'd) ever seen" (Ebert, 1996).

Fig 2 - Fargo - Roger Deakins doing it right

I think what surprised me most about the film was it's determination to flesh-out and establish empathy for it's characters. Particularly considering the climax which, on the one hand would have been unforgivable had it killed the central protagonist, but on the other hand felt somewhat underwhelming in the same way a sitcom does when it wraps up nicely in order for things to escalate again next week. It's a very conflicting thing for me to articulate since the performances were so genuine, and in some cases lovable, yet the story just felt a little lack-luster. Having said that, the Coen's are responsible for many great films in which the story is generally a loose-fitting narrative in which to weave great characters.

William H. Macy gives a particularly great performance as Jerry whose intentions, though ultimately well-meaning, lead him to be one of the film's most despicable characters. Additionally, Frances McDormand absolutely deserved the acclaim she received as Marge Gunderson, who along with her husband Norm (John Carroll Lynch), gives the film an inordinate amount of heart in her matriarchal role. Her pregnancy only enhances the affection we have for Marge, who exudes nothing but positivity and warmth in pursuit of such ruthless criminals. However if you don't find yourself utterly smitten with her happy-go-lucky approach, Steven Buscemi and Peter Stormare play off one another in an entirely opposing fashion which may be more to your liking.

Furthermore, Roger Deakins' spectacular cinematography captures the underlying isolation of the major characters with beautiful shots of the North Dakota landscapes. The untouched plains of snow are often punctuated by singular details and figures that greatly highlight the baron atmosphere and hopeless situations, giving Fargo a gorgeous look that manages to both romanticize and demonize the American North. The mid-90s aesthetic also reminded me a lot of David Lynch's Twin Peaks (1990-91), which has a similarly bizarre fascination with food throughout.

Having thoroughly processed the film in my mind, it is undoubtedly one of the more 'easily digestible' Coen brothers movies. Thinking back on those that I favour, I can only truly recall great 'scenes' over the films in their entirety. That said, I think No Country for Old Men (2007) is still a personal favourite, but Fargo is so rich with humour and warmth in a way that No Country isn't. Whatever the case, Fargo is unlike any film I've seen before in terms of it's look, charm and unforgettable characters. A must-see for fans of the Coens.

★★★★

Imagery

Fig. 1 Fargo Poster (1996) From: Fargo - Directed by: Joel & Ethan Coen

https://s-media-cache-ak0.pinimg.com/originals/b7/e3/0f/b7e30f810fd0e2fda52018ff02dc57d4.jpg

Fig. 2 Fargo Screenshot (1996) From: Fargo - Directed by: Joel & Ethan Coen

http://theredlist.com/media/database/films/cinema/1990/fargo-/042-fargo-theredlist.jpg

(Ebert, 1996)

http://www.rogerebert.com/reviews/fargo-1996

WALL·E (2008)

Fig 1 - WALL·E Poster

WALL·E marks Disney Pixar's ninth cinematic outing and, as of April 2017, is the highest-rated Pixar film on IMDB's 'Top 250' list. The story begins on Earth in the 29th century in which the planet is now void of all human life. The baron wasteland that remains is scattered with deactivated 'clean-up bots' (reminiscent of R2-D2's with tank controls), of which the titular WALL·E is the only remaining of his kind. It is presumed that WALL·E has been building Minecraft-style skyscrapers of trash for hundreds of years, until EVE (a fellow robot of sleeker design) shows up on Earth in search of natural life. WALL·E finds himself instantly enamored of her and puts it upon himself to take care of EVE when she, having discovered new life, shuts down altogether. EVE's findings appear to beckon the same ship that dropped her off and in fear of losing her, WALL·E climbs aboard only to find that human civilisation has become a shadow of it's former self...

This is one of the few Pixar films I had not seen in it's entirety until now, so I was able to watch from a fairly fresh perspective. Of course, the opening act is famous for it's lack of dialogue and primarily visual gags, which I think the film does incredibly well. In the same way the film establishes ideas of the 'old world' (primarily using real-life footage, which I'll come to), in it's 'silence' it is able to hark back to the slapstick stylings of greats like Buster Keaton and Charlie Chaplin. In addition, it's use of sound effects are much more powerful in this segment, from WALL·E at 'full-charge' using Apple's boot-up sound to the jolt of surprise when he activates the central locking on a car in the distance. In his naivety, WALL·E is able to make Earth feel much more homely than his reality suggests, which makes the opening one of the best parts of the film for me.

Speaking of the film's use of real footage, I have heard many people complain that for them it 'kills the suspension of disbelief' in blending reality and fantasy. It's initial uses come about when WALL·E activates an old hologram advertising the 'starliners' that allow Earth's inhabitants to flee the planet, followed by a VHS tape in WALL·E's home that plays real footage from 1969's Hello, Dolly!. The film goes on to show footage of the CEO for the all-encompassing 'Buy N Large' (played by Fred Willard), who appears rather satirically to represent Earth's commander-in-chief. I was unsure to begin with whether this use of live-action made any sense, though having thought about it, there would be much less distinction between past and present without it. The live-action also serves as a glorification of the 'way things were' and ultimately makes the 'old world' a much more relatable one.

Fig 2 - WALL·E - EVE and WALL·E

Once we are aboard the Axiom (the starliner on which humans now live), it becomes very clear that the film is a huge satire on consumerist American culture. As on Earth, everything is run by 'Buy N Large' and from a young age, passengers are taught that the company is their "very best friend". It's passengers, incidentally, have grown to accept obscene obesity as the norm and transport themselves about the ship on futuristic mobility-scooters. Humans have become entirely dependent on robots to do their bidding, and thus they hover around on pre-determined paths, consuming and interacting primarily through computers (often despite being right next to one another). Though it is established they are given some form of education, the ship's Captain (Jeff Garlin) is initially unable to comprehend how a book works and bases his entire education of Earth on descriptions by Axiom's motherboard (Signourney Weaver). At one point, the ship's barrage of billboards is disrupted by an advert saying "Try blue, it's the new red!", at which point every passenger in red is then seen wearing blue. It's moments like these that make WALL·E's central commentary on society incredibly blunt, much in the same way that Team America (2004) makes it's stance on American nationalism. In 'dumbing down' it's take on society, particularly in how little it has progressed centuries into the future, the film does a great job of establishing that Pixar isn't afraid to make statements about the harsh truths of our culture.

Additionally, the soundtrack (primarily by Thomas Newman) owes a lot to classic sci-fi such as 2001: A Space Odyssey (1968) (with which the film in general has many parallels), Alien (1979) and Star Wars (1977). The music bounces between 20th century Americana and famous compositions such as The Blue Danube, enhancing the overall contrast between old and new, a theme on which the film is heavily predicated.

Though it may not be one of my personal favourites, WALL·E undoubtedly has a lot to say in regards to the future of society and deserves all the credit it gets for it's fresh approach to the genre. It doesn't pack the emotional punch the studio is known for, but it's leads are charming and it's message - foreboding.

★★★★

Imagery

Fig. 1 WALL·E Poster (2008) From: WALL·E - Directed by: Andrew Stanton

http://www.pixartalk.com/wp-content/uploads/2009/06/wallefinal.jpg

Fig. 1 WALL·E Screenshot (2008) From: WALL·E - Directed by: Andrew Stanton

http://kikotsu.net/wp-content/uploads/2013/06/Wall-eEveLightbulb.jpg