100 Word Review – Up (2009)

Possibly one of Pixar’s most beautiful family features. 

Carl (voiced by Edward Asner) has lived a long life. Now widowed and alone, Carl will stop at nothing to prevent developers from seizing his property, including flying away.

Written and directed by Pete Doctor (Inside Out, Wall.E) and Bob Peterson (Finding Nemo, Monsters Inc.), it captures the spirit of adventure that lives on in us long after our childhood years. Christopher Plummer along with both directors and various members of their family, lent his voice to the film.

Winner of two Oscars for music and animation, it’s now #114 in IMDb’s Top 250.

Paris When It Sizzles (1964)

Believe it or not, this film is a sophisticated satire. Although you would be forgiven for not realising it. 

Starring Audrey Hepburn and William Holden, with cameos from Noel Coward, Tony Curtis and Marlene Dietrich, it plays like a romantic farce.

Gabrielle Simpson (Hepburn) is a typist sent to the hotel room of acclaimed screenwriter Richard Benson (Holden) to type up the pages of his latest masterpiece. The problem is that he hasn’t started writing it yet and only has three days to get it written and delivered to the producer.

George Axelrod (Breakfast At Tiffany’s, The Seven Year Itch, The Manchurian Candidate) penned the screenplay and it was directed by Richard Quine (Sex And The Single Girl, How To Murder Your Wife).

The key to understanding the genius of this film, comes with understanding the changes Hollywood was going through at the time. So here is a brief history of the Classical Hollywood era.

When Hollywood started making films, the rating system that we are all familiar with did not exist. There was censorship or sense of filtering audiences by a film’s content. By the end of the 1920s, Hollywood was getting a reputation as a hotbed of sin and debauchery. Extra-marital affairs were rife and well recorded in the national and international press and there were even a couple of high profile rapes and murders.

In an attempt to restore the at least the appearance of a moral code, the studios hired Presbyterian Elder William Hays who, in 1930, brought out the Motion Picture Production Code (MPPC also known as the Hays Code). The MPPC laid out a series of rule that filmmakers had to abide by, including banning the “use of profanity”, “ridicule of the clergy” and “sex relationships between white and black races”, and cautioning “special care” around “sympathy for criminals”, “men and women in bed together” and “the institution of marriage”. These rules applied to all American filmmaking until 1968 when the Motion Picture Association of America film rating system was put in place, however from the 1950s onwards American filmmakers pushed back against these restrictions.

By the end of 1950s a new style of filmmaking was coming out of Europe, christened French New Wave. Directors such as Jean-Luc Godard, Francois Truffaut and Agnes Varda took a free-form approach to filmmaking, seeing it as a form of artistic expression rather than commercial storytelling. This flew very much in the face of Hollywood’s ethos, which was (and still is) very much the movie “Business”.

This is the period of change that Axelrod was writing in, and that he tapped into when writing this clever little film. His characters write a screenplay that not only jumps from genre to genre but pushes and pulls at the MPPC as well as poking fun at French New Wave.

In a scene within the fictitious film that takes place in the bedroom, Benson comments on the risqué nature of the scene. Miss Simpson responds “You might take that view, but I believe they are playing Parcheesi”, gently prodding the MPPC’s allowances of insinuation. Also within the film within a film, Gaby gets caught up with a French New Wave actor (played by Tony Curtis) who’s involved in a fictitious film about Bastille Day called No Dancing In The Streets because “in this version it, like, rains”.

So watch this film, but when you do, look beyond the farcical romantic comedy and try to see the brilliantly executed satire that lies beneath.

Never Seen … My Neighbour Totoro (1988)

About a month ago, I set Callum Dunbar the challenge of watching My Neighbour Totoro, a wonderful family-friendly Japanese animation that has become a cult classic, which he had never seen before. Here’s the conversation we had after he’d watched it.

*WARNING: CONTAINS SPOILERS*

Elspeth H (EH): So today we’re talking about My Neighbour Totoro, the Studio Ghibli classic from 1988. Am I right in thinking you hadn’t heard of Studio Ghibli before?

Callum Dunbar (CD): That’s correct. My cultural knowledge is fairly crap when it comes to Japanese films.

EH: So you hadn’t seen any Japanese films before?

CD: Nope. Nothing. The only Japanese anime I’ve ever seen is Pokemon. If you can call that…

EH: That counts.

CD: My expectations were not very high.

EH: In what way? In terms of the complexity of the animation?

CD: Yes, in terms of the animation I had extremely low expectations.

EH: What was it you were excepting?

CD: I was expecting a Japanese fairytale. A magical Japanese fairytale.

EH: And was it what you were expecting?

CD: Not at all. It was something far more complex and subtle than a fairytale. I guess it was more real and more hopeful than a fairytale as well.

EH: You found it hopeful at the end?

CD Yes, I did. It wasn’t just saying … there was no really hero, which I liked. There was no male character saving a helpless female life.

EH: Which is always refreshing to see.

CD: Which is why Frozen is such a great film because it breaks out of all those kind of tropes which I like.

EH: I guess there are similarities to Frozen, actually, in that there are two sisters and it’s about the elements and nature and the power of those things.

CD: Yes, I agree. And it has an interesting narrative as well. It’s exploratory in a way that other Disney films and other fairytales aren’t. It was far less of a fable. It wasn’t trying to teach me something, it was trying to ask me things which I think is good for children. But it’s equally entertaining for adults.

EH: I was going to ask, you watched it with your daughter didn’t you?

CD: I did.

EH: And how old is she?

CD: Olivia’s just six.

EH: What did she think of it?

CD: She loved it. In fact as soon as the film ended she asked me to restart it for her. She’s never done that before. it’s quite something. To get Olivia to sit still and do anything is a miracle.

EH: What was it she enjoyed about it do you think? Did she empathise with the children or was it the magic of the whole thing?

CD: Yeah, I think the fact it was a young girl. I think she liked Totoro. Actually I know she liked Totoro.

EH: You can get a Totoro onesie by the way, just if you’re thinking birthdays or Christmas…

CD: I think that’s it. I can’t speak for her but I think she liked the imagery, like the cat bus. We both liked that as fans of Alice in Wonderland.

EH: Admittedly I was much older than six when I watched My Neighbour Totoro for the first time, but I still found the cat bus kind of creepy and scary. But she didn’t find that?

CD: No, I don’t think so. But even if she did find it creepy, I think creepy is a good thing. It’s one of those films that expands the way you see things, which I really like. I really liked that. And maybe she was too young to get that but I think it was a good experience for her to watch it. It is exploratory in the art work and so on.

EH: There’s a fair amount of darkness in it as well. There are some really harsh and scary moments.

CD: At the same time, it’s not dragons, it’s real world darkness.

EH: So as you watched it with Olivia, I’m guessing you watched the dubbed rather than the subtitled version?

CD: Yes, the Disney release.

EH: I would recommend watching it by yourself with the subtitles instead. There is definitely a difference. Would you recommend it?

CD. Yes. And I’m not someone who watches films. Definitely watch it with a child as well. I should have asked Olivia what she thought because her reaction was very interesting. There must have been something in it that held her attention which, apart from the obvious ones like Frozen, I’ve not seen her do before.

EH: I’ve heard of other children reacting to it in a similar way. Identifying with the two sisters. I think that kind of childish madness is quite universal.

CD: Absolutely. And imagination. You know it touches on themes of your parents blaming things on your imagination, which I think is something all children can relate to. But it celebrates that as well. In the same way that Roald Dahl’s Matilda does that. And I know Olivia likes that too.

EH: So did it meet all your expectations? How did it stack up?

CD: It exceeded them by a long way.

EH: You like the animation style?

CD: I loved it. I thought the art work was beautiful. I thought the colours were beautiful. I thought the setting was beautiful as well. I just loved it.

EH: So have I created a Ghibli fan?

CD: I think so. I’d definitely watch more Ghibli.

EH: Would you be interested in watching some of the more grown up films? The wonderful thing about Ghibli is it covers quite a wide spectrum, unlike Disney which sticks to children’s films.

CD: I definitely think I would. I like to try all things and I felt like I got something new from that film. Yes. 100%.

EH: Fantastic. Any favourite moments?

CD: The cat bus.

EH: I rather like the dust mites. You know when you walk in to a room and it feels a bit like a lot of dust mites disappearing into corners and cracks?

CD: I like the … it’s hard to explain… I like the narrative and that it wasn’t a cause and effect narrative. So at the end when the girls left the corn on the window sill and the fact that the film didn’t end with them all visiting the mother in hospital. I really liked those things, it wasn’t obvious. And there’s the scene were they find the child’s shoe floating in the pond. It cranks up the tension, is this the younger sister’s shoe? and it’s not. And it just leaves it there. I loved it.

EH: Marks out of 5?

CD: Five. Better than Ghostbusters.

You can find Callum’s blog here or follow him on Twitter here.

We’d love to know what you thought of My Neighbour Totoro the first time you saw it. Was it the first Studio Ghibli you saw? Are you a fan? What do you think of Callum’s first impressions? Do you have a film you think Callum should watch? Please use the comments box below to join in the conversation! 

100 Word Review – Patema Inverted (2013)

Winner of the best anime at Edinburgh’s Anime film festival, this film is an absolute delight. 

Patema lives with her family in a series of tunnels deep underground. Exploring deeper and deeper she finds herself in  danger of falling off the world, in a place full of people for whom gravity is inverted.

The visuals in this film are breathtaking and Yasuhiro Yoshiura does a wonderful job of directing what could otherwise be a very confused feature.

Currently only available in Japanese, so not suitable for young children, but it’s definitely a great family film and a beautiful Sci Fi.

100 Word Review – Labyrinth (1986)

Naturally, everything David Bowie does is alright by me, and this is no exception.

Sarah (Jennifer Connolly) wishes away her baby brother to the Goblin King Jareth (David Bowie), and realising her mistake attempts to win him back.

Directed by Jim Henson best known for the Muppets, this psychedelic jaunt into the world of the Goblin King is full of weird and wonderful puppets, mysterious mazes and illogical mind-teasers. It fits perfectly in to the slightly-too-creepy children’s film genre that the 1980s are so well known for.

And incase you wanted a little taste, here’s a song for you:

100 Word Review – Romancing The Stone (1984)

With promotional images like this, what’s not to love?

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Kathleen Turner and Michael Douglas star in this romantic action adventure about a novelist (Turner) who sets off to rescue her sister from Columbian smugglers. On the way she encounters a soldier-of-fortune (Douglas) and becomes embroiled in an adventure she could never have imagined.

I’ll admit to being rather sceptical going in to this, but it is actually brilliant. Think Indiana Jones, but with more romance and a three dimensional female lead. Why all adventure films aren’t like this one, I don’t know. A wonderful escapist film, and it’s on Netflix.

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100 Word Review – Safety Not Guaranteed

Wanted: Somebody to go back in time with me. This is not a joke… You’ll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.

In 1997, this actually appeared in the classifieds section of an American magazine.

Three journalists (Aubrey Plaza, Jake Johnson, Karan Soni) attempt to find out the truth about Kenneth (Mark Duplass), the recluse who placed it.

There are wonderful characters, so prepare to be moved. Don’t expect explosions. It’s very human, with a grounded level of action and adventure, and a dash of deadpan humour. 

100 Word Review – Terminator 2: Judgement Day (1991)

This might be my all time favourite film. Who wouldn’t love a film with scenes like this in it?

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Arnie is back. But this time he’s the good guy.

The T-800 (Arnold Schwarzenegger) has been reprogrammed by John Connor in the future and sent back to defend his younger self (Edward Furlong) from the latest terminator, the T-1000 (Robert Patrick).

Linda Hamilton is back as Sarah Connor and, far from the shy waitress of the first film, she is kicking serious butt.

It won 4 Oscars in 1992 including Best Sound and Visual Effects and is unsurprisingly currently voted number 41 on IMDb.

100 Word Review – Avengers: Age of Ultron (2015)

Everything that Joss Whedon makes is beautiful, and this is no exception.

Following on from The Avengers (2012), we catch up with the gang still coping with the fallout from Loki. Stark (Robert Downey Jr) more than most.

I won’t give away any more plot. The script is as full of humour, emotion, action and fully formed characters. There’s action, romance, family ties and a whole lot more besides.

The cast is wonderful, as always. Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson and Jeremy Renner are all superb. James Spader is in his element as the ultimate artificial intelligence, Ultron.