The Affair - Episodes 2-6

Okay, so yeah, the whole episode-by-episode review thing didn’t quite pan out. I have a good reason though. Well, no, not really. Unless you count binge-watching and not wanting to stop this cycle of binge-watching to write a review a good reason?

My binge-watching and neglect of the reviewing does prove something about this show though – that being how mind-consuming and brilliant it is. Honestly I was hard-pressed to write this, but I figured if I left it too long then it would be pointless even writing my thoughts down, because who’s gonna wanna read a review that skips so many friggin’ episodes. Anyhoo, enough excuses and pointless rambling…

The plot has definitely thickened between these two characters, as you would expect for a show called ‘The Affair’. Episodes two and three concentrate primarily on establishing a foundation for the relationship between Noah and Alison. It’s not quite just lust that motivates the endless sex between them anymore, but an understanding of one another and an understanding of the fact that both are completely dissatisfied with their marital lives. What starts off as an undeniable attraction soon becomes a relationship where the two admit things to each other that they fear to speak about or admit to anybody else in their lives. When Alison confesses to Noah the death of her son and explains that sometimes she cuts herself to relieve the pain, you can sense a palpable change in the dynamic between the characters. This scene is quickly followed by yet more sex, except it isn’t just sex this time but something more. I hesitate to use the expression ‘making love’, a. because I detest that expression and b. because they’ve barely known each other a week, but it’s definitely a step in a less detestable direction.

As for the personal progress of the characters themselves, I remain loyal to my initial summary in the first post. I still dislike and distrust Noah. There is something about his character that just screams ‘secret sociopath’ and every time I look at the guy I question the sanity of Alison for picking him over her constantly loving and supporting husband Cole (but maybe that’s just because he’s played by Joshua Jackson who was basically the love of my life during my formative years when he played Pacey from Dawson’s Creek). I think the crux of my problem with Noah is that I feel like during his perspectives he is painting Alison out to be something she’s not. The guy has an ulterior motive, of that I have no doubt. Because don’t forget, at the heart of this romance lies a murder mystery, a murder mystery that undoubtedly involves Noah and Alison in some way. The victim, by the way, is none other than (SPOILER ALERT!!!) Scotty Lockheart – Alison’s brother-in-law and, might I add, one fine specimen of a human being. Could it be that Noah murders Scotty because he starts a secret affair with Noah’s 16 year old daughter? It would certainly be an interesting twist and would explain why Alison would help keep Noah out of the firing line with regards to the endless police questioning the pair face. PLUS, who says the show is about Alison and Noah’s affair at all? Scotty is married after all… OH SNAP, mystery solved by yours truly. (No but seriously, don’t listen to me because anybody watching the show would have jumped to that conclusion almost immediately. It ain’t gonna be that easy.)

Moving swiftly on… My love for the character of Alison is unwavering. That woman is so damn vulnerable and relateable I can’t help but think that she’s just being taken advantage of in her grief. She is clearly very damaged, and though she tries to put on a brave face and get on with her life, it’s very obvious that it’s just an elaborate act. Some of the reveals within the last 4 episodes though certainly do colour my opinion of the future Alison. For one, she is married (and since she was already married to begin with I can only assume it’s to somebody different) and what’s more she also has a child. This really makes me wonder how far in the future these characters are reminiscing from, because the Alison we see being interviewed by police is far removed from the Alison conducting an illicit affair in the midst of grief. Future Alison seems more aloof, calmer and collected. I get the sense that she is hiding something big, and as odd as it sounds the juxtaposition of past Alison and future Alison makes me uneasy. Clearly this show has a lot more to give and explain before we’ll finally find out what happens between this messed up pair and their involvement with Scotty’s death.

I’ll leave this post with both a friendly warning and deep encouragement. Foremost: FOR THE LOVE OF GOD DO NOT WATCH THIS SERIES WITH YOUR PARENTS/FAMILY. THERE IS A LOT OF SEX AND GRAPHIC CONTENT (AND I MEAN A LOT), SO JUST STAY AWAY. Secondly, apart from the fact that you should avoid watching with family, you should definitely not avoid watching. Its compelling, complex and absolutely must-see TV. 

A rambler's rating? 

The Affair - Episode 1 (2014)

I’m a bit confused as to how I should start this post to be honest, because I’ve literally just finished watching the first episode of this programme and I’m…well, I’m at a loss for words. It’s completely spellbinding and intriguing, and I want more. A lot more. Like, right now.

The episode is structured into two sections, the first half narrated by Dominic West’s character Noah while the second half is narrated by the gloriously talented Ruth Wilson as Alison. Both half’s tell a story that follows the same pattern with odd details here and there altered, to reflect how memory can distort a person’s opinion of events. The first half begins with West, showing him go about his routine as a happy (or relatively so) family man set to vacation with the in-laws for the summer. It’s typical in its portrayal of the dissatisfactions one can feel when they feel there life is becoming stale. He seems vaguely fatigued by the role he has taken on in life, but not enough to make the viewer question his loyalty to this life. When he meets Alison, the connection seems instant. She is sexy and mysterious and everything he doesn’t have. She is the siren come to ruin him. We see this emphatically so when, after walking her home from a beach party at night, she invites him to view her outdoor shower, and then to use it. When he politely declines, she shamelessly undresses in front of him and hops in. (I like the confidence lady!). When he leaves to go home he suddenly hears arguing from her house and goes to check everything is okay, only to walk in on her and her partner having hateful sex against the car while she encourages Noah to watch, smirking in satisfaction and gaining some sort of voyeuristic pleasure in having him witness this carnal act. It was shocking to say the least, not because of the graphic content (well, yeah, kinda because of the graphic content) but because watching a woman play the role of confident and sultry seducer completely in charge is a rarity in TV. There is something both intensely empowering about this version of her character and something verging on psychotic.

I say ‘version of her character’ because in the second half we are introduced to a very different woman. A woman clearly broken and a shell of a human. The audience soon learn this is down to the loss of her young child two years prior to the events of the story, which adds a completely new depth to her character. Instead of the strong sexy Alison of the first half, we are given an intensely vulnerable Alison. One who the audiences heart go out to as she struggles to cope with the loss of her child and the effects this has on her marriage. When she meets West’s character she is timid and shy, yet clearly drawn to him as he was to her in the first half. If one thing can’t be denied between the two versions, which both present very different perspectives, it’s that Alison and Noah are attracted, perhaps even connected, to one another. In this version though Noah is the instigator and the voyeur, and there is something very letchy and unlikeable about his character, as if he senses her vulnerability and is using it to his advantage.

Throughout both sections we here the two characters narrate their respective stories, prompted by questions from a man we can only assume is a police officer given the context and isolation of the room they are being questioned in. Knowing this almost immediately as the programme begins, I couldn’t help but wonder what led these two characters into this situation. Did they fall so madly in lust or love with each other that they plotted the murders of their partners? Did they plot the murder of each other? Are they this generations Bonnie and Clyde?  So many questions which already have me begging for me of this delicious psychological drama, which earned Wilson a Golden Globe award for Best Actress in a drama series. I’m only one episode in and I can already tell it was well deserved. She is undoubtedly the driving force of this series, her talent and ability to portray two drastically different versions of this character the foundation for my already obsessive love for this programme.

If I’m certain of one thing with The Affair (which is bold of me to say, because I feel like this could literally go anywhere), this Alison and Noah certainly ain’t gonna have the happy ending of another fictional duo under the same monikers. Nope, I do not predict a happy ending. And I can’t bloody wait. Keep your eyes peeled for more episode-by-episode (hopefully) reviews.

A film rambler’s rating? 

Selma (2014)

This film had a profound effect on me, because it packs so much heart and emotion into a subject that tarnishes the concept of equality amongst humanity. As I watched, entranced by the murder and corruption faced by MLK and the people of Selma, I thought about what it means to be equal. Equality – such a basic right, and one that I and almost every person in our modern, technology-driven world take for granted. The right to vote, the right to freedom, the right to privacy, the right to life. We, each and every human among us, have 30 basic human rights. Do you know them? I know I don’t, not all of them anyway. Which seems such a waste of all of the struggles that our ancestors have suffered. Such a waste of the tears and torture they endured. This is what I thought of as I finished watching this inspiring film. My own place in this world and what I choose to do with it. Will I waste it? Or will I rise above myself and my insecurities and everything that might knock me down and become something great and something I can be proud of, just as Martin Luther King did in the face of adversity?

That’s the Martin Luther King affect I guess. That man inspired so many with his words, and that can be seen in this chronicle of the march he lead from Selma to Montgomery as he campaigned to secure equal voting rights for the black citizens of the notoriously racist Alabama state , despite the violence and death that plagued his path. It is an unflinching biopic of the corruption that stood in his way, and the personal struggles he battled throughout this great cause. Writer Paul Webb does a good job of presenting the life of MLK on many different strands, from his passion to promote change to how he maintained his family life on top of this.

The film begins in 1964 with Martin Luther King receiving the Nobel Peace Prize for his non-violent civil rights movement, and moves quickly to his relationship with the President of the United States – Lyndon Johnson. Both men have very different agendas, both noble, but both different. Johnson wants to tackle the War on Poverty with King at his side, but King sees a greater cause in changing legislation in order to remove the barriers that prevent African-Americans from participating in their right to vote. For much of the film, these men fight one another in what honestly feels like a game of chicken. King demands support from the President, and urges him to realise that it is his duty as the elected representative of the people to actually represent the people. Johnson has different priorities though, and so we witness as the people take to march. The first march is unsuccessful as the non-violent protestors are viciously attacked with batons and tear gas. As this scene plays out, being narrated by a white broadcaster clearly horrified at the grotesque and inhumane torture he witnesses, we as viewers sit entranced and sickened. To acknowledge that this event actually took place, that innocent people with no intention of fighting back were savagely beaten, that this is not just something made up by a clever writer who knows how to elicit a reaction, is upsetting to say the least. It is an event in history that we must not forget though, because to forget would be to disregard the suffering, the hard work and the determination of a brave collective.

What I admired about this film was that it didn’t just give a straight-up biopic of the man’s life. It concentrated on one specific fight and in doing so gave the story a voice and integrity that allow it to be heard and seen more forcefully. Like Invictus and Lincoln before it, the political follies and processes were captured without pandering to the audience. I didn’t feel like I was being taught a lesson, which is to say I didn’t feel bored or put upon by the film, but rather I was intrigued and desperate to know more about this period of history. The fact that we get to see the political cunning of King alongside his compassion is interesting, because it depicts just how clever this man was to be able to inspire so many. King has a strong voice, and the actor portraying him, David Oyelowo, captures this brilliantly. Oyelowo has had a career in film and stage for 16 years, and yet this is his first major motion picture, which is frankly surprising as hell. His performance perhaps wasn’t as memorable as similar films with similar agendas, but the quiet energy and passion with which he delivers each line is a clear indicator that this man’s talents have been overlooked for too long. The fact that he isn’t well known though was something I really liked about this film. In fact none of the main cast were big, knock-out stars (with the exception of a small role played by Oprah Winfrey, who also acted as producer for the film) which added an authenticity to it. It made it seem more real and made the struggle of the people more painful to watch as they continued to try to march and met hostility at every turn. Maybe that’s just a peculiarity of mine, but sometimes when I’m watching a heartrending moment in film I suddenly remember that I’m watching big “movie star” actors and think “Oh wait, Leonardo DiCaprio didn’t really die in the icy depths of the Atlantic ocean. He’s an actor. It’s fine. Stop freaking out. No seriously Rachel, stop crying… You’re embarrassing yourself with your unhealthy attachment”. Is that just me? (I think I already know the answer to be honest). Back to the point though, watching a relatively unknown cast play out these real life horrors made the film more authentic, and had me crying for most of it. No wonder there is so much Oscar buzz surrounding the film.

I’m gonna end on a note that seems extremely appropriate given the subject of the film. Sorry if it seems irritating but after I’d watched Selma it really made me think (as I’ve said for like the thousandth time now). So here it is:

Think about equality. Think about humanity. What does it deserve? To be treated with kindness and respect? Yes. Not to face ridicule because of gender or sexuality or any other kind of preference? Yes. I might sound naïve, but I don’t care. If there is one thing everybody could do with a bit more of, its compassion, as Martin Luther King practiced and taught throughout his life.

Here are our 30 basic human rights…

(You might be surprised by how many you didn’t know and how obvious they seem in retrospect)

1. We are all free and equal. We are all born free. We all have our own thoughts and ideas. We should all be treated in the same way.

2. Don’t discriminate. These rights belong to everybody, whatever our differences.

3. The right to life. We all have the right to life, and to live in freedom and safety.

4. No slavery – past and present. Nobody has any right to make us a slave. We cannot make anyone our slave.

5. No Torture. Nobody has any right to hurt us or to torture us.

6. We all have the same right to use the law. I am a person just like you!

7. We are all protected by the law. The law is the same for everyone. It must treat us all fairly.

8. Fair treatment by fair courts. We can all ask for the law to help us when we are not treated fairly.

9. No unfair detainment. Nobody has the right to put us in prison without a good reason and keep us there, or to send us away from our country.

10. The right to trial. If we are put on trial this should be in public. The people who try us should not let anyone tell them what to do.

11. Innocent until proven guilty. Nobody should be blamed for doing something until it is proven. When people say we did a bad thing we have the right to show it is not true.

12. The right to privacy. Nobody should try to harm our good name. Nobody has the right to come into our home, open our letters or bother us or our family without a good reason.

13. Freedom to move. We all have the right to go where we want in our own country and to travel as we wish.

14. The right to asylum. If we are frightened of being badly treated in our own country, we all have the right to run away to another country to be safe.

15. The right to a nationality. We all have the right to belong to a country.

16. Marriage and family. Every grown-up has the right to marry and have a family if they want to. Men and women have the same rights when they are married, and when they are separated.

17. Your own things. Everyone has the right to own things or share them. Nobody should take our things from us without a good reason.

18. Freedom of thought. We all have the right to believe in what we want to believe, to have a religion, or to change it if we want.

19. Free to say what you want. We all have the right to make up our own minds, to think what we like, to say what we think, and to share our ideas with other people.

20. Meet where you like. We all have the right to meet our friends and to work together in peace to defend our rights. Nobody can make us join a group if we don’t want to.

21. The right to democracy. We all have the right to take part in the government of our country. Every grown-up should be allowed to choose their own leaders.

22. The right to social security. We all have the right to affordable housing, medicine, education, and child care, enough money to live on and medical help if we are ill or old.

23. Workers’ rights. Every grown-up has the right to do a job, to a fair wage for their work, and to join a trade union.

24. The right to play. We all have the right to rest from work and to relax.

25. A bed and some food. We all have the right to a good life. Mothers and children, people who are old, unemployed or disabled, and all people have the right to be cared for.

26. The right to education. Education is a right. Primary school should be free. We should learn about the United Nations and how to get on with others. Our parents can choose what we learn.

27. Culture and copyright. Copyright is a special law that protects one’s own artistic creations and writings; others cannot make copies without permission. We all have the right to our own way of life and to enjoy the good things that “art,” science and learning bring.

28. A free and fair world. There must be proper order so we can all enjoy rights and freedoms in our own country and all over the world.

29. Our responsibilities. We have a duty to other people, and we should protect their rights and freedoms.

30. Nobody can take away these rights and freedoms from us.

* List provided by Youth For Human Rights International, adapted and simplified from the 1948 Universal Declaration of Human Rights - See more at: http://www.samaritanmag.com/we-have-30-basic-human-rights-do-you-know-them#sthash.lYmYsciP.dpuf

Hyperbole and a Half (2013)

What can I say about this book? First off, I will say that Allie Brosh is a wonderfully unapologetic human being. She is courageous and hilarious and she doesn’t bullshit – not for a second. If you’re not familiar with her work, then I’ll give you a brief biography. Brosh is a comedian blogger and now published writer. She has a unique style, in that most of her blogs involve pictures with funny captions than they do so much long ramblings of writing. She writes about her life, that’s it, yet she has managed to garner a massively loyal fan base.

I’ve come across her work before. In fact I remember the very first time I came across it. I was having another of my insomniac-fuelled internet binges and searching random blogs. I think I might have been searching about depression or something, because I distinctly remember that this was the first blog post of hers that I saw. I was quite taken aback by Brosh’s candour – she depicted her ongoing battle with depression in both an hilarious and no-holds-barred way. She didn’t shy away from how shit she still felt, yet she still managed to make me laugh. As someone who has and does battle with mild depression (something I’ve never wrote about or admitted before), I thought this was an inspiring acknowledgement of her inner demons. This post about depression, and the one that followed it, are included in her book, which I was very happy to find.

It wasn’t until very recently though that I came across her work again. I was scrolling through Facebook, as one often does, when I saw a link on either Buzzfeed or HelloGiggles (which I now for the life of me cannot find), about the best 14 books of 2014. As a literature student I find it my obligation to read these types of articles, which is actually pretty time-consuming because hell, there is a lot of these articles floating around, but back to the point! As you have probably realised, this book was on that list, and as I googled it and read reviews for it I very quickly realised that ‘Hey! This is by that really cool writer I came across AGES ago. Well, now I have to buy it!’. Man was it a good investment.

I read the entire book in a night, avidly consuming each section and laughing my head off throughout. The book is made up of new and old material, and is split into 18 different sections which tell tales of Brosh’s life. Ranging from the aforementioned sections covering her depression, we also hear tales from Brosh’s childhood and in one section see how she would interact with herself at different ages – which is highly amusing not to mention god damn relatable. She often laments on how very weird she finds herself, and the pictures she uses to accompany these lamentations emphasise her points beautifully. The comic-strip paint-produced style looks so simple (literally, even a toddler could produce the images Brosh creates), and yet it is its simplicity which makes it so great.

As I was reading/looking through this book, time and again I thought to myself – this woman is literally in my brain. In a section called “Identity”, Brosh talks about the innate selfishness of herself, and discusses how she only acts like a good person because she wants to be perceived as a good person. With each example she offered, I laughed and thought ‘Shit, that is me. That is me all over!’, which made it all the more funny. The fact that Brosh can discuss deeply serious topics such as Identity (a conversation theorists and psychologists can go round and round in circles with till their faces turn blue) with the brash humour she uses, and yet so eloquently capture what every person secretly thinks about their own identity is remarkable. Brosh doesn’t just use her unique style and narration to make her audience laugh, but also to make them think. About themselves, about the ones they love, about everybody. Whether she does it intentionally, I’m honestly not sure. I think she does it mainly for herself. Like if she doesn’t get these thoughts and feelings out then they’ll just fester and rot, but frankly that makes it all the more powerful. I find that when a writer creates something for themself and for themself alone, its always so much more powerful. So much more intimate and beautiful, and an experience readers never quickly forget. 

While the style and genre of this book won’t win Brosh a Pulitzer prize for her work, she definitely wins the award for most relatable, ridiculous and most unapologetically blunt writer/creator/internet-star out there. Seriously, this woman just gets humanity and all of its thoughts and all of its feelings. The intricacies and flaws that make up every human are related by Brosh in a manner that make you realise just how complicated and yet surprisingly similar people are.When you read this book, you will think to yourself, ‘Wow, I could’ve written this’ and that’s not because its simple or clichéd, but because Brosh captures every thought and feeling (simple or complex) and puts it down. You’ll feel like you know the woman after you’ve read this comic novel, and most importantly, you’ll feel like she knows you. 

So, to reiterate, what can I say about this book? What I can say, is that you have to read it, because, aside from making you laugh till your stomach hurts, it will also have a profoundly deep affect on you, especially if you have ever suffered from the crushing and mind-numbing effects of depression. Brosh might just give you hope. I can say that because she certainly gave it to me. 

Sometimes its just nice to know that you're not the only one feeling how you feel...

A ramblers star rating?

Frozen (2013)

And who says adults can’t enjoy animation?? That’s the question I found myself asking as the end credits rolled and this delightful Disney movie came to its conclusion. I’d been looking forward to this since its trailer was released, especially since one of the lead characters was voiced by the wonderful and hilarious Kristen Bell. Unfortunately responsibilities come before indulging in my inner child but, alas, I watched; I loved – and now I review.

My initial love of the film is its leading ladies and the dynamic and love between the two that becomes the films driving force. Instead of some fabled love-at-first-sight mumbo-jumbo to take us to the films problem and eventual solution, we have a complex story of sisterhood and what the strength of this bond will force one to do. Herein lies the two leading ladies – Elsa (Idina Menzel) and Anna (Kristen Bell). The film begins by establishing the strong bond of love between the two borne from their adventures and fun due to the ice-cold powers emanating from the hands of Elsa, who can turn the ballroom of their giant castle into an ice-rink. Their fun quickly takes a turn for the worse though when Elsa accidently sends a bolt of ice to her beloved sister Anna, knocking her unconscious and eventually leading to any-and-all memories of Elsa’s magic being taken from Anna – to ensure her safety (I won’t go into details, because I don’t want to spoil it). After this Elsa becomes ruled by fear, and begins to ignore her endearing and fun-loving sister Anna to keep her safe. At the films conclusion it turns out this fear-driven method of avoidance and control may not have been the best course of action because, it being a Disney movie and all, love is of course the answer and solution to pretty much everything. Oh how I wish my life was a Disney movie…

The film doesn’t just find its strength in its outside-the-box true-loves-kiss-maybe-aint-the-answer-this-time approach however. It’s also made extremely endearing because of its lead, the princess that saves the day – Anna. I’d read a few interviews before seeing the movie where Kristen Bell explained that she didn’t want Anna to be some run-of-the-mill princess who relied on men to solve the problems and couldn’t pull a few punches herself. She’d explained that in helping create Anna she hoped to bring to life a character she’d always craved for as a kid – a strong, determined, and very awkward princess. A princess girls could actually relate to. Well Kristen Bell – BRAVO. Her wishes have been fulfilled in this character because, unlike many of the Disney princesses preceding her, I felt more endeared and in-tune with Anna than I have for a Disney character before. Her strength often surpasses that of the lead male – Kristoff - whom she saves on more than one occasion. In addition to this strength comes her no-holds-barred argumentativeness, which leads to some downright hilarious disagreements between the hapless Kristoff whose found himself helping the princess without much choice in the matter. The slight awkwardness and naivety which also makes up Anna adds a truth to the character that young girls could do with these days. Furthermore (and I hope I don’t sound obnoxious when I say this because, really, I’m only nineteen and have no right to a level of superiority that only parents can adequately pull off), kids could do with being reminded that they are indeed kids once in a while, and Frozen, with its messages of friendship and female empowerment, is an excellent method of doing so.

Of course I couldn’t write this review without giving mention to the non-human sidekicks that have come as a highly expected, and wonderfully anticipated, aspect of any contemporary Disney film. (We need only look at Tangled and Shrek as points of reference). Frozen has even surpassed these animated-capers though with Olaf the talking snowman and Sven the goofy and adorable reindeer. I won’t lie, Olaf might just be better than Donkey from Shrek, and believe me, I realise the magnitude of this statement. His enthusiasm and loyalty make him extremely likeable, yet the real clincher is his craving for summer and warmth and his ignorance at what this means for him. The scene in which he sings his enthusiasm for this season is perfect and makes you want to rewind and watch all over again. The fact that he has no subtely whatsoever also puts him up there with the best of the Disney-sidekicks. Also it can’t go without saying that the voice for Olaf – Josh Gad (whom some may recognise from Love & Other Drugs, New Girl and The Internship) – is absolutely perfect. Gad’s comedic timing is essential in bringing Olaf to life and his enthusiasm and nuance make him perfect for voiceover, especially animated voiceover.

To bring the review to a close I’d like to reiterate some points. First and foremost – who said adults couldn’t enjoy an animation?! If you are an adult and were wondering whether to catch this when it comes out on DVD then I would give you a big resounding YES. It’s hilarious, endearing, and doesn’t follow the usual Disney recipe (200g of true-love, 100g of evil-hoping-to-destroy-love, 50g of song-and-dance, 1tsp of talking-animals and just a pinch of magic). The film is refreshingly original while still maintaining the elements that we love. Also, this film has some damn catchy songs – type into YouTube “Let it Go” and “In Summer” to see what I mean.

To cut a long story short…

Would I recommend this? Even if you don’t usually go for an animation I would encourage, maybe even insist, that you see this. It’s too funny, sweet and original not to. 
A film rambler's star rating?

The Matrix (1999)

IMDb Top 250 Ranking - #19

I’ve taken an extended hiatus from the film blogging arena recently, and this hiatus is the culmination of a busy few months. I started my second year of University in September and because of that became your stereotypically noisy alcohol-consuming 19 year old. Of course I also managed to get some studying done in between. The reason I’ve made a return to Film Rambler Extraordinaire is in part because I missed the freedom of getting all of my observations, joys and frustrations out onto paper, but also because I’m not sure when the blogging-bug will bite me next, so I should probably take advantage while it’s taken hold.

As you can tell from the obnoxiously large picture posted above, as well as the title of the post, I will be giving a quick review of my thoughts concerning the sci-fi smash hit The Matrix. I feel I may be able to lend a certain expertise to this review, as I did with Into The Wild, because we recently made a study of it in my Imaginary Worlds module.

There’s something extremely refreshing about studying contemporary works of art, especially when those works are of the cinematic variety (being a Literature student, it’s a rare luxury) - because your opinion is the pinnacle. There’s no referring to great literary theorists and borrowing the ideas of men and women whose ideas are far grander than your own, because it’s new, and therefore fresh territory. But enough with the nonsensical rambling, on to the review…

First of all, I’d like to address the elephant in the room. That elephant being my intense dislike for Keanu Reeves. Does anybody share this burning hatred? (Okay, I may be overstating myself a tad here). In my opinion his acting is wooden and emotional range almost non-existent. In every film the only expression he manages to pull off convincingly is one of quiet bewilderment, and frankly I think that’s only because his face is permanently frozen this way. Which is why, as I entered into my first viewing of The Matrix, I was prepared to be disappointed. You see I’ve never been a hardcore fan of either action or sci-fi (until recently), and these genres combined with Reeves made for an unpalatable experience upon initial impression. But oh how I love to be proved wrong! Surprisingly Reeves gave an excellent performance in his portrayal of Neo – a young man who discovers that his life is a part of a complex computer system called The Matrix, and that everything he has ever experienced has been a simulation created by ‘the machines’, who enslaved the human race and created this virtual reality.

See what I mean about that vague look of bewilderment? Its all I ever see and I apologize in advance if you'd never noticed, because now its all you'll ever see! Still though, Reeves pulls it out of the bag for this role...

Of course upon concept alone the film reaches epic proportions and as it unfolds quickly reveals itself as a classic of its genre. The films wide-spread popularity and cult-following lends credibility to its sci-fi roots. Once over the genre was regarded with nothing but general disdain and an association with less talented writers, readers and consumers. The tropes attached to the genre seemed far-fetched and ridiculous. After all, who really encounters flying spaceships and machines capable of time-travel? Ahem, that answer is NOBODY. However with the emergence of technology and the opportunities for advancement that it offered society came a looming evil that seemed much more convincing to audiences, and therefore much more terrifying. After all, we’ve all secretly wondered whether there will be a vicious robot-uprising that will enslave mankind, and if your shaking your head as you read this then you’re either lying or you suffer from a distinct lack of imagination.

This very real fear of technology is something the Wachowski brothers have picked apart and dissected to create a film that acts as a social commentary upon the very fabric that makes up our day-to-day lives. That fabric being our over-reliance on technology. It’s a strange dichotomy to acknowledge as a consumer, our reliance vs. our fear, and ultimately one the filmmakers make us choose between. The red pill or the blue pill – reality or illusion? The films concept is quite simple if you take the time to understand its message, which is layered with intertextual and religious reference.

In terms of the films aesthetic quality it echoes stereotypes associated with cyberpunk and horror – the film is layered in darkness even down to the clothing worn by the protagonists. This darkness is clearly a reflection of the society in which we live, which is filled with corruption and laziness, and adds a reality and visceral-quality to the action scenes in the film. To fans of this genre prepare to be pleased because the films fight-sequences are quite simply amazing. The speed, precision and strength of the characters is unbelievable and the films kung-Fu influences during the fight sequences between Morpheus and Neo, and then Neo and Agent Smith are evident.

Though the film is brilliant in many ways I do have one bone of contention – that being the final scene of the film in which we see our hero-protagonist fly off into the sunset. This seemed far too cliché for an otherwise well-rounded sci-fi film and left a bitter taste in my mouth which made me question the filmmakers intent. My other minor irritation is the lack of resolution at the end of the film. I know this was a deliberate move to pave the way for future sequels but still, I feel the filmmakers could have left the audience on steadier and more recognisable ground in terms of characterisation and “place” (by which I mean OUR place within this concept of a virtual reality, though I suppose this would have made for a much longer film!).

All-in-all very pleased with this film and its message, as well as the credibility it has lent to its genre.

To cut a long story short…
Would I recommend this movie? To sci-fi lovers and action afficandos I offer a resounding YES. If your less into these genres but want to see a classic then I would suggest you give it a go, and perhaps think more about its underlying message rather than its overt cinematic techniques. You might find yourself pleasantly surprised.
A film rambler’s star rating?

That’s it for now folks…

Amélie (2001)

IMDb Top 250 Ranking - #68

Many people will have heard of this film and many people have probably already seen it, so you might be wondering why I would bother to write a review on it to begin with. (Well, aside from my obligations toward “The Challenge” that is). My only excuse is that with regards to Amélie, I am late to the game. I have never seen this film and frankly I was always reluctant to. You see I’m not really one for foreign subtitled films and I know that makes me quite a bad “Film-Freak” but I’m learning from my past indiscretions. In fact Amélie has made me an outright convert for them. And if you haven’t been such a fan of them yourself than allow me to do you a favour, because this film is pure perfection and if you don’t see it then you will miss out on something quite important (don’t worry, the world isn't going to end or anything. Or, well I mean…it could. And all because you didn't watch Amélie, tut-tut. Shame on you!).

I was first convinced to give it a go when my seminar tutor showed us a scene from the film (one of the first scenes of the film where we are introduced to a grown-up Amélie and her work colleagues) and was discussing how films can subvert conventional narratives to create something new. This is certainly something this film does. I was really quite intrigued by the structure of the film and as my classmates discussed Amélie I quietly sat in wonderment that I had never given the film a chance. It was kind of an epiphany, which might seem clichéd or trivial (regarding the fact that I had an epiphany about a film, of all things) but nevertheless it happened and you can stop rolling your eyes, thank you very much! So anyway, months passed and I still hadn't seen the film despite my promise that I would. You know, life gets in the way. You have friends to socialise with and university assignments to write and submit. But enough with the life story, I have seen it now and as you can probably tell, it had quite an effect upon me.

So let’s begin, shall we?

The actual story is a simple one in the plain light of day, yet it is told in such a fabulous and complex way that you get caught up in the many narratives that evolve from Amélie’s tale. Amélie is a quiet girl living a life of seclusion in her one bedroom flat with a bunch of neighbours whose lives she finds herself entangled in rather unwittingly. It is because of this that many of our charming subplots are borne and as Amélie endeavours to improve these lives and the lives of her co-workers she finds herself caught up in a romantic journey which will have you believing in true love. I would defy even the biggest cynic to come away from this movie without that fluttery little feeling making itself known in your stomach. Don’t get me wrong though, this film doesn't portray love as something utterly perfect. There is no naiveté in the narrative, though there might be some in its main character played by the almost-too-perfect-to-be-real Audrey Tatou. 

This is one of the last scenes of the movie and personally one of my favourites. This scene has such an understated perfection to it which might be down to how these characters interact once they finally come face-to-face.  

As the story plays out we learn about our characters through an uninvolved thirty-party narrator, who introduces each character with personal details along with their likes and dislikes. This narrative construct is not only hugely distinctive but also helps to endear us to each character and is an apt way of knitting together various subplots which each add an element to this story that leads to its charming conclusion and feels like a necessary lesson in life. What these lessons might be is up to the individual, though I think taking advantage of life is a theme inherent in this quirky film.

Aside from its unique narrative form Amélie also boasts quite a distinctive visual quality, which is perhaps a product of the narrative. Warm colours and vibrant backgrounds adorn this films setting and elevate the atmosphere to parallel its charming protagonist. The films aesthetic style has a timelessness about it reminiscent of the old-black-and-white-classics that remind you of grandparents who bemoan modern cinema and talk about the good ol’ days “back when movies were good and proper!”. I can’t quite explain why I would make that analogy but it seems to fit with what I thought of the films visual quality from that gorgeous bob that Tatou sports to the understated glamour of her simple apartment and belongings. Something about this film just screams “classic”, and I’m not just saying that due to hindsight. I swear!

That feeling of timelessness might also be derived by the films lead character Amélie who is played by a perfectly cast Audrey Tatou (interestingly the role was written for English actress Emily Watson, despite the fact that she speaks not a word of French. Well, with all due respect to Miss Watson, I'm glad she rejected it and Tatou stepped into the revered shoes of this wonderful character). Tatou brings this shy and lonely figure to life with what seems like an effortless charm and captures what it is to live life on the side-lines, more of an observer than a participant, yet as her courage and willingness to experience life becomes more apparent in the film so does Tatou’s flare and quiet fire. I won’t keep going on because at this point I think I've made my point about this film and its characters. That point being that here the stars have aligned and brought us what I think is perfection in film form. If you don’t believe me then give it a go yourself. I promise you, you will not regret this decision.

To cut a long story short…
Would I recommend this film? Qui, c’est fantastique. A film ramblers star rating? 

That’s it for now folks…

For A Good Time, Call... (2012)

Okay first things first, I know this movie will raise a few eyebrows amongst you, but I urge you not to judge this film based off of its synopsis. Don’t get me wrong, this film is what you think, but it’s also NOT. It all revolves around two former-college “frenemies” (I really hate that term, but whatever…) who both need to find a roommate so they can stay in New York and live the “American Dream” which is when mutual friend Jesse (played by an hilariously camp Justin Long) forces them to move in together. The two women, strapped for cash, very quickly set up a phone-sex-line and realise a lucrative, if not slightly filthy, business opportunity. The phone-sex-line however, is not the centre of this film, though it certainly plays a significant part. The heart of this film lies in the friendship that grows from this business, and this is where a lot of our laughs and “awh” moments come from.

The film gets off to a slow start and if I were one of those obnoxious types to walk out of a movie within the first five minutes, then I probably would’ve done with this one. It’s not filthy or obscene, as you might expect, it’s just boring. And boring isn’t what you want in a film (especially given the aforementioned title). As it turns out though this is quite important for the films central protagonist (or one of them at least) Lauren Powell (played by the writer of this quirky little film, Lauren Ann Miller) who finds herself stuck in a boring life with no prospects. Enter Katie Steel (played by the hilarious and charming Ari Graynor), who injects some foul-mouthed fun into Lauren’s life and makes her realise that she doesn't need to settle for boring.

In this scene Katie (Graynor) introduces Lauren to the 'phone side' of the business. It makes for a funny moment in the movie with an unexpected outcome. 

This film is borne from a post-Bridesmaids we-women-can-be-just-as-filthy-and-funny-as-men era and it takes that female empowerment to a whole new level with both ladies showing their modern-esque sexuality and embracing there situation. They don’t lament their career and pity themselves for running such a service. In fact they revel in their power and it’s quite an empowering, if not slightly wacky, message to bring to our screens. Aside from the I-am-woman-hear-me-roar quality to the film though comes the message of love that slowly grows between the characters, and this is where the film really grows on you. The chemistry between the two lead actors is very convincing and as I watched I couldn't help but think that they had a truly distinctive “Womance” (that’s the female version of a bromance) that is rear to see in film or TV. In fact now I think about it there is no pop-culture media-frenzy womance that really comes to mind, which is irritating really. Maybe this awesome little film will pave the way for more womances in the future, I certainly hope so.

My favourite aspect of this film is undoubtedly the hugely talented Ari Graynor who brings such an energy and charm to the production as Katie Steel. She steals every single scene with her foul-mouthed exuberance. Some may recognise Graynor from the 2008 Independent-Indie Nick and Norah’s Infinite Playlist where she played the drunk but adorable Caroline and much like that film here Graynor brings her quirky adorableness and adds to it with a role she can really sink her teeth into. The growing vulnerability and innocence with which she portrays the “all-talk” Katie is very convincing and she actually makes you empathise with this character (which is quite impressive considering, well…her day job). Another quite impressive aspect of this film is the cameos it managed to pull from the likes of Kevin Smith and Seth Rogen. Granted Rogen is married to star and writer Lauren Miller but still, the ensemble cast is impressive and really adds credit to this Independent-flick.

So yes, to tie a bow on this little ramble, this film may be about two women who run and operate a phone-sex-line but it is also a film about friendship, love and independence. Plus it premiered at Sundance to rave reviews, so how bad can it be?! But hey, don't get me wrong, this film may come highly recommended but that's mainly for the many laughs it provides. 

Best Line: 

Jesse: You girls are living some fucked up version of the American Dream.

To cut a long story short…

Would I recommend this? I would, without a doubt. Although perhaps not to the more…prudish (no offence intended!!)…of this readership. A film ramblers star rating? 

That's it for now folks...

Safety Not Guaranteed (2012)

This indie time-travel flick is as outrageously funny as it is sincere and heartfelt. While the premise might have some movie-goers titillated by its sci-fi roots this isn't where the strength of the film lies. Or at least not where its emphasis is placed. It is the reason behind the characters motivation to time-travel into the past which really drags this film into brilliance. I know, I know – we don’t need another film that leads to romance to add to our already heaving shelves, but I assure you, this one is worth it. But hang on, I've jumped the gun and given quite a bit away in a short period. Let’s backtrack… 

The film takes centre stage around an ad placed by Kenneth (played by Mark Duplass) seeking out a partner to time-travel back into the past with. The ad goes like this: 

WANTED: Somebody to go back in time with me. This is not a joke. P.O. Box 91 Ocean View, WA 99393. You’ll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before. 

As ads go its short, to-the-point and bloody well intriguing. As well as, of course, completely crazy. So if you’re a journalist looking for another story to earn that monthly pay-check then this seems like a pretty good way to do it. Hey, you might even get a few laughs from it. This is what Jeff (Jake Johnson) thinks anyway – though he has ulterior motives for wanting to visit the town in which the crackpot ‘time-traveller’ lives. But we’ll get to that a little later. 

Then of course there are the requested interns: Darius and Arnau, who jump at the opportunity to become involved in the research and production of an actual story (anything’s better than re-filling the toilet paper dispensers.) There are the beginnings of the story, and I won’t go into too much detail on the rest. Mainly because I want to discuss the quality of the film and I don’t want to spoil it for you if you actually wind up watching this. 

Mark Duplass (left), plays our intrepid time-traveller Kenneth opposite Aubrey Plaza as Darius. 

As far as genre goes we have a pretty spliced up son-of-a-bitch here, and that is kind of what makes this film so bloody good. While you would expect this film to deal with the sci-fi elements more extensively, this isn't the direction it takes. This film has a surprising amount of heart and sentimentality behind it from the get-go and boy is it absolutely laugh-out-loud hilarious. The deadpan lead Darius (played by Aubrey Plaza) develops a complex relationship with Kenneth based upon both her curiosity of this guy’s sanity and her desire to get a good story. With time though, Darius learns that it isn't Kenneth’s destination or sanity she really cares about, but the journey they both take in their endeavour to right the wrongs of their individual pasts. It’s a heart-warming realisation and leads to the inevitable romance between the two leads. 

So yeah, this isn't really a film about time-travel per see, but more about the things that develop out of regret and desire – the reasons for wanting to time-travel. Don’t get me wrong, this film isn't hugely “deep” (well, not in a tears-and-tissues-after-watching-Titanic type way) but it does explore certain issues that in more serious films could be a heart-breaking topic to discuss. Here though these topics are dealt with in a light-hearted and humorous manor which is ultimately quite touching. 

Jake Johnson plays the wannabe-Lothario reporter whilst he lets his intern-reporters do all the heavy lifting. These three play against each other with a natural and highly amusing rapport.

I particularly love Jake Johnson’s character in this film because when things get tense or dramatic he always comes in with a fabulous one-liner or dickhead-charming comment that saves this flick from becoming too serious. His story-line revolves around finding his high school sweetheart to discover whether she lives up to his memories of her as well as helping the charmingly-clueless intern Arnau finally get laid. While it’s not a particularly thrilling or original sub-plot on paper Johnson brings to it something new and hilarious that speaks of his talent and creativity as an actor.

Huge credit is owed to the writer of this unique little production Derek Connolly who approached each genre that this movie includes with a humour and relevance that is bewitching in its simplicity. Also of course, the director Colin Trevorrow who filmed this movie against an unexceptional background (plain town, plain clothes – nothing too extravagant or eye-catching) which is a rather brilliant ploy, because it allows the story to speak for itself. Beyond this great direction he also handpicked Plaza and Johnson and, in my opinion, made an excellent decision in doing so – the mixture of her deadpan humour with his outrageous-one-liners is brilliant to see onscreen and is an endearing quality to this already endearing film. 

If you have seen this film and enjoyed the writer/director duo’s work then you might be excited by their next collaboration – Jurassic Park IV. If these are the projects we can expect from Connolly and Trevorrow then I am very excited for this pair’s collaborative future. 


I’ll finish with this – if you’re looking for something new and quirky then Safety Not Guaranteed is your best bet for an entertaining night. The mish-mash of genres is excellent and refreshing. 

Interesting fact: This film is based upon an actual ad which appeared in Backwoods Home Magazine in 1997. It was written as a last-minute filler by John Silveira, an employee of the magazine, who is credited in the film as "Time Travel Consultant”. 

Best line: 

Jeff: There's something off about this guy, okay? So you gotta go slow, like you're trapping a skiddish animal. You lure him. Play coy. Girls know how to do that shit. 
Darius: You're dangling my vagina out there like bait. What if this guy's a murderer? What if he cuts me up to little pieces and eats me? 
Jeff: Then the story is even better. 

To cut a long story short… 

Would I recommend this? Er, duh-doy (that’s a Community reference. I hope you watch Community. If you don’t then you haven’t lived. Seriously, you just haven’t.) 
A film ramblers star rating? 

That’s it for now folks… 

The Perks of Being a Wallflower (2012)

IMDb Top 250 Ranking - #250

This film was adapted from the cult-smash-novel of the same name and as a reviewer who read and loved the book before the seeing the film I can promise you, this lives up to any expectations and wishes you could have had. This is perhaps, of course, because the writer of the novel is also the writer and director of the film – he saw this beautiful project through to the end and he didn't let anything ruin its vision. As you can tell, I love both the book and the film with an intense and bordering-on over-the-top passion, so I’m sorry, but be warned, I will review this film with absolute bias. In my opinion it deserves no less…

Let’s start with its premise. We begin our story with 16-year old introvert Charlie played by the hugely talented upcoming-star Logan Lerman, who writes a letter to a stranger describing his fears and lamenting the torture of high school. He writes this letter in the hope that someone can exist that cares without judgement and fear of his past or his character. It’s a hopeful idea and its charming naivete is a theme which is carried throughout the film. For much of the film these letters are shown through a voice-over provided by Lerman, who describes his efforts to live life, with the help and encouragement of his two friends and confidantes Patrick (Ezra Miller, who you may recognize from the critically acclaimed We Need to Talk about Kevin) and Sam (Emma Watson). This is where our story begins and the many rises and falls that can be expected from day-to-day high school life are recorded with a refreshing originality and zest that I haven’t seen in a “coming-of-age” film for a very long time. Some of the highlights include an exploration of drugs, alcohol, sexual abuse, the minefield of first-relationships and love at first sight, homophobia, rejection and, above all, the fear that we haven’t been noticed. Or, as Chbosky (writer, director and all-round genius) so eloquently and charmingly puts it, a wallflower.

It’s such a fitting description of every person’s fear. I do mean every person, though in this film it is explored within the realm of teen-hood. To be a wallflower is both a blessing and a curse, or at least that is my impression from the film. The wallflower is often the best type of person, but that quality of ‘best-ness’ about them is hidden beneath a shy and vulnerable exterior that even the most talented coaxer will struggle to break through. (Shrek’s onion scene comes to mind at this point – a funny but oddly fitting comparison to make, I think). This is where Lerman’s immense talent is channelled, and he expresses the awkwardness and beauty of the wallflower with an understated eloquence. He isn't overly self-conscious and he doesn't exaggerate his characters goofy charm, he just seems to live the character on screen. 


Though the film, from my description thus far, may seem like a depressing coming-of-age teen drama, it is truly anything but. Serious issues are dealt with and handled by both the cast and the crew of this film with maturity and grace and the high-dose of comedy provided mainly by the “fag-hag” duo Patrick and Sam save this film from becoming an over-sentimental teen drama. I feel that’s a very important fact that you should know about this film. Yes, serious issues are dealt with and yes, they are handled in a setting which just screams ‘damn-this-is-gonna-be-so-cheesy’, but I promise you cheese and overly-sentimental dialogue don’t exist within this film. The cast and the immensely talented creator save this film from that fate. Instead we have something beautiful and heart-warming and heart-breaking and real. 

Another aspect of this film I must heap with praise is its soundtrack. If you read the novel then you would know that the music that Charlie and his unique friends surround themselves with is a huge part of their self-expression and self-discovery, so it stands-to-reason that Chbosky would place a huge amount of emphasis on this within the film. This is where the talented Michael Brooks comes in, who acted as musical supervisor to the film and compiled a soundtrack of 80s and 90s classics that express wonderfully each emotion and feeling that our protagonist feels throughout the film. It is through the music that we can perhaps best understand our semi-tragic protagonist and the blend of rock and ballad throughout guides us blissfully to the films wonderful and heart-wrenching conclusion.

Best Line: (FAR too many to choose from)

Sam: Why do I and everyone I love pick people who treat us like we're nothing?
Charlie: We accept the love we think we deserve.

To cut a long story short…
Would I recommend this? Hell yes (that’s as good a recommendation you’ll get from me ever, I’d wager). 
A film ramblers star rating? 

That’s it for now folks…