End of Watch 3½/4 – A movie review by James Berardinelli

The problem with End of Watch, a gripping police drama, is director David Ayer’s stylistic decision to shoot nearly the entire movie tripod-less…writes James Berardinelli Read more

Safety not Guaranteed 3/4 – a movie review by James Berardinelli

The classified ad reads: “WANTED: Someone 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. ” Read more

To Rome with Love 1½/4 – A movie review by James Berdinelli

Once upon a time, calling a movie “lesser Woody Allen” might be considered a slap in the face. Now, it’s more-or-less expected. In the last decade, Allen has directed two good movies: Match Point and Midnight in Paris. Read more

The Intouchables 3½/4 A movie review by James Berdinelli

At the beginning of The Intouchables, a caption informs us that this is “based on a true story.” Read more

Savages 3/4 A Movie review from James Berardinelli

Savages is a drug-fueled crime delirium that doesn’t break much new ground in the genre but offers a volatile concoction of violence, heroism, and amorality that is compulsively watchable. Read more

Looper 4/4 a movie review

Looper is a tremendous motion picture experience. Not merely a “very good” one, but a great one…writes James Berardinelli. Read more

Arbitrage 3/4….a movie review

With a title like Arbitrage, it’s reasonable to expect a story that navigates the byzantine labyrinth of the world’s financial systems – perhaps a better companion piece to Wall Street than Money Never Sleeps…writes James Berardinelli. Read more

The Watch 1½/4 a movie review

Comedy-based “science fiction” needn’t be universally appalling but, to work, it has to be handled with more skill and care than is evident here…writes James Berardinelli. Read more

Madagascar 3: Europe’s Most Wanted 2/4

Madagascar 3 raises an interesting question about what movie-goers want from animated films: intelligent, thoughtful productions that use artwork, rather than live-action, to tell a story, or colorful crap that can be used to distract children for about 90 minutes…writes James Berardinelli. Read more

Beasts of the Southern Wild 2½/4 … a movie review

Contained within Beasts of the Southern Wild are moments of fragile, understated magic that emphasize the relationship that exists even between the most neglectful, irresponsible fathers and their daughters…writes James Berardinelli. Read more

Hit & Run 1½/4 A movie review by James Berardinelli

For an action comedy, it’s generally advisable that the movie be (a) exciting, (b) funny, or (c) both of the above. In the case of Hit & Run, the unfortunate choice is (d) none of the above. Read more

The Expendables 2…a movie reviewed by James Berardinelli. Rated 2½/4

The Expendables 2 does not defy expectations; it defines them. If you think you know what the movie will deliver, you’re probably right…writes James Berdinelli. Read more

Moonrise Kingdom a movie reviewed by James Berardinelli. Rated 3 ½/4

Few working directors are as consistently, dependably quirky as Wes Anderson, whose films tend to excite art house audiences while being ignored and bypassed by mainstream movie-goers..writes James Berardinelli. Read more

Bully 3½/4

Columbine has never been a mystery to me. A tragedy, yes, but not mystery…writes James Berardinelli. Read more

Total Recall 2/4

It’s a hard thing for a filmmaker, even an accomplished one, to make a project “his own” when the original is well remembered as a vehicle for a star as big as Arnold Schwarzenegger…writes James Beradinelli. Read more

Hope Springs 3/4

Hope Springs has the unusual distinction of providing a sample of what an Ingmar Bergman movie might be like if made for mass American consumption…writes James Berardinelli. Read more

Passion, but not all Russian – an SSO review

While we’re suffering nervous breakdowns over our electricity bills, it is softened a little by the knowledge that power distributor, Ausgrid, is putting some of our money into sponsoring classical music, writes Fraser Beath McEwing. Read more

The Bourne Legacy 2½/4

The total worldwide box office gross for the first three Jason Bourne movies (The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum) is nearly one billion dollars (more if adjusted for inflation). Read more

The Dark Knight Rises 3½/4

For most superhero franchises, the third movie is a trap…writes James Berardinelli. Read more

Rock of Ages 3/4

Rock of Ages, based on the musical play of the same name, is a celebration of ’80s excess and, especially, music..writes James Berardinelli. Read more

Ted 3/4

Ted is essentially a one-joke movie… writes James Berardinelli. Read more

Take This Waltz 3/4

Michelle Williams must have an affinity for appearing in movies about melancholy relationships…writes James Berardinelli. Read more

Brave 2½/4

At first glance, Brave seems much like an old-fashioned animated Disney princess film done using new-fangled technology…writes James Berardinelli. Read more

London Klezmer group for Shir Madness

The London Klezmer Quartet will appear at Jewish music festival Shir Madness in Sydney next month as part of an Australian tour. Read more

This Means War **+

Sometimes it’s hard to recognize the importance of seemingly inconsequential element like “tone” when it comes to a romantic comedy. This Means War is a case study in what happens when the filmmakers mess this up. The movie is being marketed as an “action romantic comedy,” but the “action” aspect is really just a little flavoring that shows up at the beginning and the end. It’s jokey action – a would-be parody of over-the-top spy situations like those in Bond movies and the recent Mission Impossible: Ghost Protocol. But it’s clumsily presented, generating neither excitement nor humor. At the heart of the movie is a romantic triangle between three impossibly good-looking people who are so uninteresting that we keep hoping the sleazy bad guy will show up and shoot them all.

Maybe I’m being unreasonable. Maybe I’m asking too much that a romantic comedy makes me feel something other than apathy. Maybe it’s wrong of me to hope the most sympathetic character ends up with more than a throw-in consolation prize. I can’t say whether the biggest problem with This Means War lies in the direction, the acting, or the screenplay, but all three elements are contributors. Romantic comedies, especially those that overdose on steroids, are supposed to uplift. This one is just depressing.

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Shame ***+

Spoiler warning: In discussing the movie, I have revealed more about the plot than I normally do, including a brief, oblique reference to the ending. Although Shame is not narrative-driven, those who want a “pure” experience may wish to read no further than the first paragraph before seeing the film. Read more

Book Review: LaKol Z’man

Katja Grynberg reviews LaKol Z’man   – A Time For Everything by Yossi Huttler. This tiny book of tiny poems takes the reader through the year, month by month, on a journey of changing emotions and spirituality. Read more

Shir Madness Lineup

Shir Madness has announced the artists who will appear at its second Jewish music festival to be held in Sydney in March. Read more

Geoff Sirmai as Shylock

Well known Sydney actor and community personality, Geoff Sirmai is to star as Shylock in a Sydney production of Shakespeare’s controversial classic The Merchant of Venice. Read more

Tinker, Tailor, Soldier, Spy ***

For decades, the spy thriller has been dominated by one name: Bond. 007’s trappings, which include pyrotechnics, high-octane chases, death-defying stunts, gorgeous women, and the like, have come to define the genre. While it’s unquestionable that Ian Fleming’s superspy has left an indelible impression on movies and novels, it would not be reasonable to apply Bond-generated expectations to the grounded endeavors of John le Carré and Len Deighton. Both authors began writing in the early 1960s with the primary purpose of creating “anti-Bond” protagonists. For Deighton, it was Harry Palmer (played in three films by Michael Caine). For Le Carré, it was George Smiley. Physically unprepossessing, meek in manner, emotionally cool, and antisocial, Smiley’s primary weapon is his mind not a gun. He is a master tactician of the Cold War, matching wits against the best the KGB has to offer.

Tinker Tailor Soldier Spy is regarded by critics as being among the best of Le Carré’s yarns. A faithful adaptation (which this is) has two requirements: the narrative must be dense and the pace must be slow. Le Carré’s stories have no room for mindless action; they are heavily plot-driven, which makes them a challenge to adapt. Two hours is probably too short. The condensation required to cram the essence of Tinker Tailor Soldier Spy into a feature film of reasonable length is likely to result in less attentive audience members becoming lost along the way. Even a quick trip to the bathroom could be a viewer’s undoing. And, although the pacing is slow, events move rapidly. A lot happens, but little is explosive.

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