We Bought a Zoo review

Benjamin Mee: You know, sometimes all you need is twenty seconds of insane courage. Just literally twenty seconds of just embarrassing bravery. And I promise you, something great will come of it. 

Director: Cameron Crowe
(2011)

If films were judged solely on their opening 20 minutes, there’s no doubt in my mind that We Bought a Zoo would be thrown on the trash heap by the majority of people. Despite or protagonist Benjamin (Matt Damon) being shown flying through hurricanes and interviewing world powers, the film couldn’t have been more drab even if it tried. Soon, conventional boxes are being systematically ticked, a flaw that continues right up until the films credits. Yet those who wait out this dreary opening will be in for a treat of sorts; a film that's completely predictable yet imbued with some magical moments about family and adventure.

Benjamin Mee is a renowned writer and family man, struggling to hold his children together after the death of his wife. His troubles looking after daughter Rosie (Maggie Elizabeth Jones) are amplified by the rebellious streak of his son Dylan (Colin Ford), the one who seems to be grieving the most. In an attempt to get away from it all and move on with his life, Benjamin purchases a house that comes with a zoo and plans to revive it in time for the summer season. He’s helped by Kelly (Scarlett Johansson), a lifelong worker at the zoo as they battle against time and money constraints in what proves to be Benjamin’s greatest adventure of all.

What helps ground the film is Damon’s performance as the struggling widowed father of 2 difficult children. He brings his A game here, Cameron Crowe’s solid direction coaxing out an emotionally varied effort. In some of the films more intense interactions-Bens arguments with his son for example- Damon is on top form, turning a moment of conflict into one of fierce paternal passion. The remainder of the cast are solid, even Johansson, who hasn’t been this good since 2004’s Lost in Translation. Elle Fanning is passable as Dylan’s love interest, but the role is wasted on a talent of her calibre. The other notable performance comes from Thomas Hayden Church as Bens caring and compassionate brother. Hayden Chruch is at his best here when paired with Damon; the brotherly conversations do a wonderful job of fleshing out Ben’s recent tragedy.

What really damages the quality of We Bought a Zoo is how incredibly predictable everything is. From the moment the zoo is bought, it’s easy to see how the plot will unfold. Just by simply paying attention it’s possible to see developments from a mile away, the dual romance brewing between Dylan and Lily and Ben and Kelly renders some interesting scenes completely flaccid. Crowe spends most of his time following a well worn path, attempting to make sure the film stays fluffy in tone even when death is the primary topic of the scene. It stops the finished product from being too saccharine sweet, but the more serious issues the film focuses on are rendered somewhat trivial at times. This still isn’t the films biggest flaw however, that dishonour goes to the moody teenager plot arc, one that’s so poor it tears the films overall quality down a few notches. The temper tantrums of Dylan make him whiney and somewhat idiotic preventing us from gaining any sympathy for his character.

Still, moving the multitude of flaws to the side, We Bought a Zoo does exactly what it’s supposed to; put a smile on the faces of its audience. By correctly implementing an uplifting finale coupled with a wonderful soundtrack by Jonsi, makes the films slog of an opening feel somewhat worthwhile. It will never be in a conversation regarding Crowe’s best films, but We Bought a Zoo is nonetheless an enjoyable film with universal appeal.

Short review: Alice in Wonderland (2010)

Director: Tim Burton
(2010)

From the kooky Tim Burton comes another take on the famous and beloved Book by Lewis Carroll. Yet despite his trademark artistic style, Alice in Wonderland lacks the enjoyment that has been so prevalent in his other works. The moment Alice (Mia Wasikowska) plunges into Wonderland an abundance of CGI takes over, making the entire film seem hollow and fake. This onslaught of visuals is constant, leaving Wasikowska and co to do their best acting with a green wall. What's worse is the film totally lacks any bite, dilemmas are resolved within minutes causing Alice’s trek through this alien world seem banal. Depp and Bonham Carter are lacklustre, with only Hathaway giving anything close to a solid performance. Throughout Alice says she wants to wake up form this dream, and for most of the 108 minutes I really wish she would.

It’s a Wonderful Life review

George Bailey: What is it you want, Mary? What do you want? You want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey. That's a pretty good idea. I'll give you the moon, Mary. 

Director: Frank Capra
(1946)

Since I purchased the Blu Ray of It’s a Wonderful Life last year, it’s safe to say that I’m going to get my moneys worth out of it. Like many folk, I intend, and so far have managed to watch it every Christmas without fail. The reasons for this are simple, It’s a Wonderful Life is both an excellent film and quite easily the greatest Christmas film of all time.

The film opens with a multitude of establishing shots of the town of Bedford falls. While many films would be content with a single shot to establish the scene, Director Frank Capra does so with such subtle, yet deliberate intent. This small American town is the home of quite possibly the most selfless man ever committed to celluloid, George Bailey (James Stewart). A man with an ambition to travel the world, we witness his life in a framed narrative being narrated by angels who are educating fellow angel Clarence (Henry Travers) on George’s life. He’s a man pushed to his very limit, contemplating suicide to help his business and family survive after his dim-witted uncle Billy (Thomas Mitchell) loses 8,000 dollars of the company’s cash. We see George grow up, how he saved his brother’s life and Boss’s (H.B Warner) career, his relationships and backbone in standing up to the evil and cold hearted Mr Potter (Lionel Barrymore), a greedy villain who wishes to take over Bedford falls and make everyone's lives a misery, all to make his pockets richer.

It’s without a doubt that the love for IAWL comes from its endearing sentiment. While such a claim is often viewed as criticism to a film, Capra imbues his masterpiece with genuine honesty and emotion. No moment is ever forced, and as sweet as it is, the reaction it draws from its audience is refreshingly real. This is coupled with a slew of unforgettable scenes are scattered throughout the film. The high school graduation dance, the run of the bank and the proceeding dinner, the appearance of Georges guardian angel, the empowering, cynicism melting ending; ask ten different people what their favourite scene is and getting 10 different answers is very much a guarantee.

It’s a Wonderful Life is a film of 2 distinct parts. The first is the meatiest, we view George’s life and the affect that he has on his loved ones and on the residents of Bedford Falls. This is in no small part thanks to James Stewart’s excellent performance. He captures the character perfectly, making every emotion and action that George does feel wholly authentic. When walking future wife Mary (Donna Reed) home from her graduation dance, George asks earnestly “What is it you want, Mary? What do you want? You want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey. That's a pretty good idea. I'll give you the moon, Mary” and we believe him for every word of it.

The second part begins upon the arrival of George’s angel Clarence just moments from George attempting to end his life. Through an act of god we’re whisked off to an alternate reality where George never existed, with George being shown the affect that he has had on the lives of others. While those who complain that IAWL devolves into overtly religious preaching about the sanctity of life have a strong argument, it’s almost entirely nullified by how truly effective these scenes are. While said religious tones are very obvious, Capra doesn’t try to ram these beliefs down the throat of his audience, thus allowing the film to be loved even by the staunchest of atheists. 

By the time the emotional and touching ending roles around the films niggling flaws, most notably the sloppy editing, can be overlooked. It’s a Wonderful Life is undoubtedly the greatest Christmas film of all time, and considering its near universal appeal, one of the best films ever as well.

Short Review: The Snowman and the Snowdog

Director: Hilary Audus
(2012)

After the beautiful wordless short hit that was short The Snowman in 1982, we have a sequel on the 30^th anniversary of such a beloved classic. Following the young child from the original as he moves house and suffers the loss of his dog, we’re once again drawn into the magical world of the snowman on the eve of Christmas. Much like its predecessor, no characters speak; TSATS is a silent short, the only words are lyrics from the song that erupts during the film’s most impressive scene. The flickering art style and gorgeous animation has been retained that adds to the magical splendour excellently. The story is light, the plot nearly identical to The Snowman and the Snowdog’s character almost superfluous, but TSATS is a worthy sequel, complete with one of the most graceful flying scenes you’re likely to ever witness.

Short review: Cloudy with a Chance of Meatballs

Directors: Phil Lord and Chris Miller
(2009)

Coming from Sony animation, Cloudy with a Chance of Meatballs is a solid if relatively unspectacular film that is as silly as it is fun. Flint Lockwood (Bill Hader) is an inventor down on his luck until he accidently makes food rain from the sky. While this phenomenon boosts his town’s economy, things spiral out of control when the giant food begins to wreck havoc. He aims to stop the surreal events by teaming up with weather girl Sam (Anna Faris) and his monkey Steve (Neil Patrick Harris). Featuring some vivid if simplistic animation, Cloudy is a visual treat, with its highlight being escaping from a tornado made of spaghetti. However, the supporting characters are annoying and the climax suffers from shoehorning in an underdeveloped antagonist to act as conflict and payoff for our characters journey

Short review: The Nightmare Before Christmas

Director: Henry Selick
(1993)

While directed by Henry Selick, Tim Burton is often seen as the driving force behind this quirky stop motion animation from Disney. Following Jack Skellington, King of Halloween town as becomes bored of celebrating his spooky holiday and instead decides to celebrate Christmas instead. Cue a good willed takeover from ‘Sandy Claws’ as Jack gets the residents of Halloween town to make toys for children, which turn out horrific due to their scary nature. The film is stuffed with songs, used to add exposition to events without the need for excessive dialogue. The tunes are solid, but some tarnish the experience somewhat by dragging the pacing to a near standstill. This charming tale is amplified by some stunning animation and set design giving the entire production a dark charm that's almost unrepeatable. It lacks substance, but remains fun nonetheless.

Home Alone review

Marv: Kids are scared of the dark. 
Harry: You're afraid of the dark, too, Marv. 

Director: Christopher Columbus
(1990)

Each year around Christmastime, I always try to catch as many films centred on the festive period as possible. And every year, it’s become almost tradition in my household to watch the 1990 family favourite, Home Alone.

This light-hearted film focuses on Kevin (Macaulay Culkin at the peak of his fame), an annoying know it all child who’s family accidently leaves him at home over the holidays as they fly to France on vacation. Mid flight his mother Kate (Catherine O’Hara) realises they've forgotten him and embarks on a quest to get home. Initially Kevin is beguiled by the disappearance of his entire family from the house, naively believing that his wish for them to disappear had come true. Regardless, he is enamoured with this newfound freedom that is so seldom to an 8 year old child with multiple siblings.

This lack of restrictions is an immense weight lifted off Kevin, and considering we’ve all been children once, we can relate to his happiness and relief of nagging parents and peers. The second third of the film does a solid job of emphasising this, and Kevin indulges in the finer aspects of childhood. No bedtimes? Check. Marshmallows and chocolate sauce for a meal? Check. The ability to pick the TV channel that he wants to watch? Check, check, check. All while Kevin wallows in his euphoric paradise, we learn of The Wet Bandits Harry and Marv (Joe Pesci and Daniel Stern respectively), 2 idiotic thieves who plan to hit Kevin’s Neighbourhood which is empty due to the residents leaving to see their families.

The final third of Home Alone is when events hit their zenith, and we’re given some absurd and often funny scenes. Knowing that the thieves are about to strike, Kevin sets up traps all around his house in anticipation for their arrival. Writer/Director Chris Columbus shows his talent at producing quirky and inventive comedy. From putting nails on the steps in the basement to setting tripwires attached to blowtorches, Columbus’ scenarios are full of ingenuity and generate laughter almost with ease.

Despite being tonally fluffy, Home alone has some issues that simply can’t be ignored. While Columbus’ script does exceedingly well at avoiding the use of contrived plot devices, it occasionally falls into such a frustrating pitfall. When Kevin’s mother calls the Chicago police from France to ask them to send an officer around to check on Kevin, the officer haphazardly knocks on the door, before turning away 5 seconds later and declaring that no one is home. While events such as this cause mild frustration, nothing compares to the annoyance of Culkin's performance.  He’s a bigmouthed precocious brat who spends the 2 thirds of the film whining and screaming when applying aftershave. His character becomes somewhat tolerable by the films conclusion, but still manages to be absolutely infuriating for the bigger part of the film.

Regardless of Culkin’s infuriating performance or some bad writing, Columbus has done a good job of delivering a solid Christmas film that has appeal to the whole family. While it pales in the shadow of something like it’s a Wonderful Life, Home Alone shouldn’t be overlooked when it comes to choosing the next festive film   

The Muppets review

Walter: ...and then, when he thought they were alone, he said, "There's oil under this theater, see! I'm gonna tear it to the ground, see! Sweet, sweet oil, see!" 
Mary: People still talk like that? 
Walter: Maybe that's just how he sounded in my head. 

Director: James Bobin
(2011)

I’ll admit, I wasn’t expecting much when I put the Muppets into my blu ray player. It does, after all, star a bunch of puppets that sing and dance to infectiously catchy music. A short while into the film, my expectations were being met quite considerably. There was nothing in the way of worthwhile plot, plenty of one dimensional characters and a perpetually smiling Jason Segal. But once you look past how shallow everything appears, the Muppets is actually a pretty decent film.

As mentioned above, the plot is flimsy at the best of times. The film follows new puppet Walter, his human brother Gary (Jason Segal) and Gary’s girlfriend Mary (Amy Adams). The trio uncovers the plan of evil oil baron Tex Richman to destroy the Muppet theatre for the oil that lies underneath. Enlisting the help of Kermit, they team up to reunite the gang to perform one last show, with hopes to raise enough cash to save said theatre. The first half of the film is like a road trip movie as we become reacquainted with the old gang. This alone will sell the film to many Muppets fans. Everyone’s favourite Muppets make an appearance, complete with their still charming characteristics. One hilarious Meta gag later (a character suggests that it would be quicker to collect the remaining Muppets by montage) and the whole crew is back together, ready to perform. The runtime is ambitious, but a slew of very funny jokes are sprinkled into the spaces where the plot should be. Rather fittingly, cameos are frequent, and Jack Black and Animal attend an anger management class together is sidesplitting. While roles by Neil Patrick Harris and Jim parsons are integrated successfully into proceedings, Selena Gomez seems to only be here because she works for Disney.

Being a Muppets film, there are a fair few musical numbers present. Some are good (the Oscar winning ‘Man or Muppet’) some are rehashes (Rainbow Connection) and some aren’t even Muppet songs (Starships ‘We Built This City’ feels slightly out of place here). The chickens doing their version of Cee Lo Greens ‘forget you’ was a horrible decision though, and marked one of the few times the film failed to put a smile on my face. A special mention should go to Chris coopers rap scene, check out the bonus features to see the full version, very much as weird as it is funny.

So yeah, in many ways the Muppets exhibits the traits of a bad film, but its humour, characters and feel good vibe renders these flaws almost irrelevant. While it’s so sweet you can feel your teeth begin to decay, but the chance to see everyone’s favourite puppets together singing songs and cracking jokes is well worth the metaphorical fillings.