Review: Garbage Warrior

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Review: Garbage Warrior

Michael Reynolds’ hero is Noah (of the ark fame). Michael Reynolds is going to save the world. If you don’t know who Michael Reynolds is yet, then watch Garbage Warrior.
Garbage Warrior follows the architect on his quest to make people see beyond the rule book and grasp a new perspective based on open-mindedness and self-sufficient houses made out of beer can building bricks and tyres filled with mud. His hair is reminiscent of ghost train cob webs and his home brings to mind the Teletubbies hill house set on the moon. It’s fair to say that he tightropes right near the edge of falling into loon land. One thing sets him apart from your average dippy hippy though: he talks sense.
The houses that Michael builds are undeniably strange. They are strange though entirely because they are at odds with the norm and after the camera has snooped around a few of these houses, the beauty overtakes the weirdness. Coloured bottles set into the walls create jewelled patterns and together with the curvature of the constructions and use of circles, the final effect is magnificent in a Gaudi way.
The science behind the structures is even more impressive. Tyres packed tight with mud are used in sun-facing walls and this thermal mass stores the heat. There is no need for heating, even in a minus 35 snowy winter. This lack of reliance on outside resources is the key to Michael’s background philosophy. Not having to pay for power, growing his food and using internal sewage systems leads to happiness because, as Michael gushes, it means “I am free and I own my own life”. Not tied to bills, Michael can get up in the morning and do whatever the hell he likes.
At times the documentary does veer into slightly dubious utopian dream territory as flowing locked ladies explain how they were “inspired to build my own earthship”. However, this does not leave the film lacking and instead provides excellent comic fodder.
Unlike a lot of documentaries based around environmental issues, the vibe of Garbage Warrior, directed by Oliver Hodge, is that of hope not doom. Michael’s optimism is hard to resist and despite the difficulties that he faces battling bureaucracy, one of his greatest strengths is his own belief in his power to change building for the better. One to watch if you’re struggling to get past post-Inconvenient Truth depression.

Natasha Lewis

4 stars

Review: Cloverfield

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Review: Cloverfield

“I can just see this ending up on the internet”. This deeply ironic early comment in the film, especially when bearing in mind where the root of this ‘disaster movie’s premature popularity stemmed from. When it first appeared as a short teaser trailer of ‘something’ attacking New York City in US cinemas, it sent incessant bloggers and fanboys into a mouse-clicking frenzy. Not since The Blair Witch Project had a film gained so much popularity through such an outlandish marketing strategy. Prospective fans could not wait to hop online and set cyberspace ablaze with all sorts of conspiracy theories about what the ‘monster’ could be, some more accurate than others.
Also the aesthetics of this film, (sustained hand-held camera throughout) lends itself to the rising popularity of today’s YouTube culture. It would not look out of place, or be the only one if its kind, if such a calamity were to hit any major city today. The film is peppered throughout with anxious onlookers running scared, but not before they have captured priceless footage on their mobile phones that will no doubt find its way onto the video-sharing site.
So could this somewhat avant-garde film ever live up to the expectation and hype that it sought out? Well the good news is it is, without doubt, the most original, captivating piece of cinema you will see probably this decade. The imaginative way in which it is shot will mean you will almost certainly not lose interest for literally a second, surely something every filmmaker begs of their audience. It moves at a break-neck speed, with constant erratic cuts and flashes of the camera’s memory. The survivors stumble through something of a makeshift plot, but clearly narrative is as important to this film as it is in Transformers: it just isn’t why you turned up. The sheer originality of this picture will carry you through the succinct running time easily. The improvised texture of the film also works perfectly, with the cast of unknowns realistically jabbering and bantering away like a group of friends are prone to do.
It is not until the monsters make their appearance that the film starts to wane somewhat. The first encounter the gang have with said baddies descends into usual horror movie fodder, with our heroes managing to bat them aside with a scream and a stick. Moreover, the fundamental strength of this film, from its early marketing through to its concluding moments, is the power of mystery. So when the protagonists are faced with the hellish creatures in close quarters, and we see the CG monsters spawn as if from nowhere, the sense of mystique disappears. On top of which, the conveniently placed lighting and the fact the camera stays switched on even when the characters are in mortal peril, starts to wear thin after a while.
However, these are minor blots on an otherwise captivating, truly astounding canvas. The performances from the cast of complete unknowns manage to maintain the audiences’ emotional connection with the characters throughout, which segues into an incredibly powerful epilogue.

Adam Jelley

Review: The Dark Knight

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Review: The Dark Knight

Often when critiquing a film, it is ostensibly hard to sidestep the external hubbub that builds around summer blockbusters. With The Dark Knight emerging just months after the tragic passing of the late Heath Ledger, the film will only ever be mentioned in the same breath as the erstwhile star. This, however, is no criticism. More on his performance later.

2008 has not gone begging for summer tent-poles. The likes of Robert Downey Jr. as Iron Man, and Edward Norton as The Incredible Hulk have casually propped it on their capacious shoulders. However, both of these have spliced the critics down the middle, and have left audiences somewhat lukewarm. Cue for a Caped Crusader to enter stage left then, no?

Christopher Nolan-as many would maintain-has not once put a foot wrong throughout his thoughtful career. Memento, adapted from a novel written by his brother Jonathan, who is on script writing duties here, was a groundbreaking hit, whilst Insomnia and The Prestige were swept with praise. Then came his fresh outlook on one of DC Comic’s most treasured creations with Batman Begins. Though, he was not without his critics. Die-hard fans questioned his ability to helm such a project, with his filmography and experience rooted in intimate arthouse. Nolan hushed the doubters with a film that was universally treasured by all, bringing together a sensational blend of tour-de-force action, with unquestionable political allegory. With not a whiff of camp, tight-shorted fodder in sight, once seen in the original 60’s TV series, Nolan had tuned into the darkest side of the dark knight. Unsurprisingly then, no less can be said of his much anticipated follow up.
Thankfully, Nolan has not dropped the ball with this installment, cranking up the action set pieces to 10, and shipping in a monumental ensemble cast. Picking up minutes after the playing card teaser, the action starts minutes into the running time, and doesn’t let up for the better part of 2 hours. Action sequences that traverse the glove, taking in Hong Kong to, er, Gotham City will please the thrill seekers. One in particular freeway sequence makes anything you saw in Transformers last year look like two teddy bears playfully wrestling in a meadow.

The response to Ledger’s interpretation of The Joker can be contained no longer: it is no less than sensational. We can only be thankful that Ledger engrossed himself more than ever into the development and interpretation of this character, as it acts a beautiful tribute to his premature career and memory. He sizzles with charisma in every frame that is graced with his presence, managing to be both despicably callous and yet strangely witty and charming. The fact that he is a villain that is not motivated by anything so puerile as money or vengeance only makes him even more invigorating to watch. This is not a film that lends itself to the origins of The Joker; he emerges fully formed and without any ulterior motive or hidden agenda. He simply revels in watching chaos erupt around him for pure twisted kicks. His tongue waggling like a rabid dog, Ledger plays him as something that is utterly sub-human. The citizens of Gotham, along with the preying audiences, are never meant to understand this villain: he is not given a twisted moral code that is usually shoehorned into many villainous roles. He simply is.
However, he is dubbed a ‘terrorist’ on more than one occasion, which seemingly reeks of post 9/11 unsubtle subtext, as does a lot in the film. Harvey Dent/Two Face, played convincingly enough by Aaron Eckhart, can easily be likened to one particular political figure: a knight in shining armor riding into to save the people after years of political turmoil…Barack Obama anyone?
It says a lot about the film that is not our caped hero that we see first, but the oddly jarring grin of the anti-hero. Nolan, and indeed Ledger, has achieved/slipped up in exactly the same area Burton and Nicholson managed to do nearly 20 years ago in the original film adaptation. The Joker, ironically suited to his character, steals the show, with Ledger putting in a considerably more alluring and thrilling turn than the main man himself. It almost pains me to say it, but every minute Bale is not in his infamous suit, whizzing around on the coolest bike you will see all year, he is taking up frames that can be filled by that of The Joker. Every second he is not on the screen, you will crave his presence just so you can stare into those mad eyes and watch him reek havoc. With the blogosphere near collapsing under the weight of expectation about Ledger’s role, aside from the publicity that arose from his death, it was inevitable Bale only needed to phone in his performance here. This is a crying, and yet thrilling, shame. But that doesn’t mean to say he does. Bale, with his smoldering looks on screen, puts in a very credible performance, and is still the best Batman we have seen since the inception of the characters’ many famous faces.
As for the rest of the cast, it goes without saying that Michael Caine and Morgan Freeman, playing Bruce Wayne’s diligent employees, turn in sterling performances, as does Maggie Gyllenhaal, who took up the reigns as Wayne’s squeeze after Katie Holmes so thoughtlessly dropped them.
Now for the very slight grumble. You may be surprised to find that Batman has returned, but with a big red censor sticker over him. The film has been rated as a 12A. It may be harsh to deem this as a criticism that can be leveled at the filmmaker, which it wouldn’t be if audiences could be assured the mighty studio fat cats and the marketing execs did not have their greasy fingerprints over this slight let down. It is not in Nolan’s image to be cajoled into making a film he does not want to make, and lets hope his hand was not forced into softening the edges and child-proofing his career defining picture. Even though the film has emerged an incredible cinematic success, it may be closer to perfect if it was bumped to a 15 and a little claret was spilled here and there.
Aside from this somewhat minor oversight, the film remains in tact as Nolan’s best piece of work to date. He has cemented his place as one of the best directors working today, proving he can thrill popcorn audiences with intelligent, engrossing cinema whilst sending cash registers ringing. Much has been said of the slightly flabby running time, but those who say that are missing the point. Every minute you are in the hands of this true auteur, and every second you stare wide-eyed at Ledger’s Joker is a gift. It may be 152 minutes of your life, but you won’t be getting more for your ticket price anywhere else for a long time to come.

Adam Jelley

Review: Juno

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Review: Juno

Now all the Oscar haze surrounding this ‘sleeper-hit comedy of the year’ has finally settled, a clearer picture of Juno has finally come into view. And unfortunately it doesn’t seem to be as flawless as those that sung its praises from the highest rooftops claimed it to be. Critics, more than anything, love to try and champion a trendy indie flick, whipping up mainstream attention. And Juno, the story of a mid-teen, who having fallen pregnant seeks a couple to adopt her newborn, is no different.
The drawback to all this attention is it creates a manufactured hype for a movie that will never manage to live up to it. Scribed by stripper-cum-blogger-cum-screenwriter Diablo Cody, is admittedly a refreshingly original take on a premise that has all the potential to be crushingly dull in the wrong hands. However, her lack of experience sometimes shows in the somewhat wafer-thin plotting.
Moreover, the eponymous adolescent, if believed, is the smartest 16 year-old this side of a child prodigy. Admittedly a finely observed performance by Ellen Page, she is crammed with quips that tumble out of her mouth every other line, which becomes tiresome after the first hour. This, coupled with the fact she, along with her parents, seem to think accidentally falling pregnant after a bout of clumsy sex is slightly mundane, and can be concluded with a witty remark (“I am for shizz up the spout”).
Even more troubling for this film, it was released to a post Knocked Up audience. So, was Tinseltown really big enough for two ‘bun-in-the-oven’ based comedies in 2007? Maybe, but we will never really know as it would be hard, and very nearly a falsehood, to brand Juno an out-an-out comedy. Compared to its obvious bedfellow, which rolled off the Judd Apatow production line last summer, it contains a surprisingly sparse amount of knee-slappers. As mentioned, it has more intelligent wisecracking than you can shake a stick at, but contains not one solitary sure-fire belly laugh.
And this is its fundamental problem over all others. Seth Rogan et al mange to strike the balance between quotable one line zingers, gross out visual gags, whilst still maintaining a thumping heart at its core. Juno, while still possessing an emotional string to its bow, does not manage to play with it way into the third act. By which time it has long since forgotten to be funny. This could, in part, have something to do with the painfully underused new comic talent, Superbad’s Michael Cera. Although he is playing more of the straight man here, he manages to be just a blur over the short running time.
However, to ignore the highs of this film would be doing it a complete disservice. As mentioned, the star and supporting cast all submit very watchable performances. Arrested Development’s Jason Bateman puts in an incredibly good performance as the wary father to be. But more importantly, the film, although having somewhat of an identity crisis, has a hugely heart-warming feel to it, contributed not least because of the light, whimsical soundtrack.

Adam Jelley

Review: Defiance

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Review: Defiance

The story of Oskar Schindler, the industrialist who saved the lives of roughly 1200 Jews during the Holocaust, timelessly depicted in Steven Spielberg’s 1993 epic, is a somewhat celebrated one. The tale of the Bielski Partisan group, who salvaged even more lives than Schindler and his famous list, is relatively unknown. But that is inevitably about to change with Ed Zwick’s latest historical adaptation.
The film is based on the book by Nechama Tec, which charts the little-known true story of Tuvia Bielski and his brothers, who helped more than 1200 Belarusian Jews escape the Nazi’s by leading them into the depths of the Naliboki Forest. It is an extraordinary story that one would have assumed would have been snapped up, and adapted for the screen long ago. Also one would hope it was a story that would get the big screen treatment it so clearly deserves. Disappointingly, Zwick’s film is unlikely to become a classic Holocaust picture that can rightfully hang itself in the Hollywood-Holocaust-Film Hall Of Fame.
This is evidently not due to a lack of a good premise. This over-shadowed story could have been a perfect set-up to a brilliant war epic. But somehow Zwick’s attempt fails to feel any more than hollow.
Again this has nothing to do with the performances that come out of this film. Craig, in a film he signed on to BB (Before Bond) not AB (After Bond), puts in a somewhat believable performance as the revolutionary leader, even if an English accent sometimes hijacks the Russian one he adopts for the role. Similarly Jamie Bell and Live Schrieber put in convincing turns as the 2 remaining Bielski brothers.
It just so happens that the film has been fairly Hollywoodised, not least because of the director’s keen eye for action that can be seen in his earlier work, most obviously with Blood Diamond. He seems to put action before the sake of the character or developing anything other than narrative conventions. This is not to say we are looking at a Michael Bay Holocaust film, nor someone who doesn’t whole-heartedly believe in his theme. However, Defiance, like Blood Diamond, is as much education as entertainment, and until he falls in love with people as much as issues, he will remain undone by his desire to make a difference.
This coupled with the fact those action sequences that give the film any important credence, are free of any bloody violence. This neutering of the film again creates this sense of a vacant story that does not reflect the setting. This, coupled with the fact the film is 30 minutes too long and cannot find an appropriate conclusion adds up to something that had the potential to be astounding, and ended up being only reasonable.

Adam Jelley