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Strictly Ballroom, a review by AntaresStrictly Ballroom Year: 1992 Film Studio: Miramax Films, M&A Production Genre: Comedy, Romance, Musical Length: 94 Min. Director Baz Luhrmann (1962) Writing Baz Luhrmann (1962)...Original Idea Baz Luhrmann (1962)...Earlier Screenplay Andrew Bovell (1962)...Earlier Screenplay Baz Luhrmann (1962)...Screenplay Craig Pearce...Screenplay Producer Antoinette Albert Tristram Miall Jane Scott (1945) Cinematographer Steve Mason (1954) Music David Hirschfelder (1960)...Composer Stars Paul Mercurio (1963) as Scott Hastings Tara Morice (1964) as Fran Bill Hunter (1940) as Barry Fife Pat Thomson (1940) as Shirley Hastings Gia Carides (1964) as Liz Holt Peter Whitford (1939) as Les Kendall Barry Otto (1941) as Doug Hastings John Hannan as Ken Railings Review Many years ago when my wife convinced me one Saturday night at Blockbuster to rent this film, I can honestly say that I was very apprehensive about viewing it. I have never been a fan of musicals or films about dancing per se, so the thought of planting myself in front of the TV to watch an entire movie based on the theme of ballroom dance contests kind of wilted me. But to my surprise and joy it turned out to be a very well written little satire on the world of competitive dancing. Directed by Baz Luhrman, Strictly BallroomStrictly Ballroom could be easily attached with the sobriquet, Ratings Criterion (From Strictly Ballroom (1992) on February 23rd, 2010) Alien, a review by JonAlien (The Director's Cut) 5 out of 5 The crew of the Nostromo are awakened early from hyper-sleep to answer a distress call from a seemingly abandoned planet. While investigating on the ground, they discover an alien craft, seemingly lifeless. Yet one of their number is attacked and brought back to the ship, complete with unwanted guest. Alien is one of the greatest science-fiction films ever made and a long term favourite of mine. Sorry, but I'm bound to go about this one! If you've never seen it, erm... why? It's influence is huge. That it can be accurately described as near-perfect is astonishing given the scope of it's ambition. There are so many layers to this film that it's hard to know where to begin. Let's start with the ship as that's the first thing we see. The Nostromo is essentially a huge tug-boat, dragging an even larger refinery. Inside the camera moves slowly around the quiet vessel, languishing in the design. Finally stopping at a panel that bursts into life, processing what we later learn to be a distress call. The fascinating thing about The Nostromo is it looks old and well used. A working, grimy industrial ship. I suppose to most people at the time, the clean regimented Federation ships of Star Trek would be the typical sci-fi notion of space travel and this couldn't be a starker contrast. Throughout the film, the sets boast huge lonely cavernous storage areas, dark and full of feasible equipment that looks like someone has it there for a reason, though a long forgotten one judging by the rust. Aesthetically I don't think there is a better realised film. There is an almost Victorian look to it, including lots of steam, in keeping with that industrial mood. That old fashioned look means it should never date, right down to computer panels with CRT monitors, basic text readouts and "clack-clack" operating noises. This is a machine age where flat screens and holograms will always be unwelcome. Soon the crew awaken from their hyper sleep. A dishevelled bunch, ranks are observed, but not formally. As it is a working class ship, this is a small working class crew and even Captain Dallas (Tom Skerritt) has the weary look of someone who is simply doing his job. That must have struck a chord with audiences in the economically rough 70s. In keeping with which, the relations between the crew are typical of any factory. The engineers Parker (Yaphet Kotto) and Brett (Harry Dean Stanton) are always arguing with the others about money. They're one step away from calling their union and going on strike! Lt. Ripley (Sigourney Weaver) similarly pisses everyone off by waving a rule book around all the time, though in retrospect maybe they should have listened. A "told you so" wet dream for any Health & Safety official! While investigating the call that caused them to be awoken early, Dallas, Kane (John Hurt) and Lambert (Veronical Cartwright) discover the alien vessel and the dead pilot. As with everything else, a lot of work has gone into this to make it look like it could work without actually showing us how or why. Soon Kane finds eggs and is attacked by a facehugger and has to be taken back on board. And so begins the intricately detailed lifecycle of the greatest monster ever to stalk cinema. This thing is an invasion in more ways then one. Importantly I think it is as alien to the crew as it is to us. These working class people don't expect to find gooey bugs in their factory as much as we don't. The Alien was created in the mind of bio-mechanical genius H. R. Giger and it has specific stages in it's process to match the machinelike environment it attacks. It's the most effective monster because that process is very sexual, attacking the human psyche at a base level. The Facehugger stage is mating with -perhaps raping even- Kane and the result is flippantly called "Kane's Son" by science officer Ash (Ian Holm), who seems a little too fascinated by the creature that the others are happy to destroy. If this all sounds a bit deep and Freudian, well actually the birth scene is a notorious horror classic. The resultant creature then haunts the ship and it's scary as hell. Each set-piece picking off the crew one by one is different to the last, dripping with metaphor and tension. And what a magnificent beast it is too, brilliantly photographed. It is basically a bloke in a rubber suit with a huge cock for a head, though it never looks like that. Strobe lighting, slow movements, more steam; we never see the creature in full, but all the shots combine in our imagination. Ridley Scott directs the whole thing with an almost priapic confidence and he throws everything in to grace his creature with as much terror as he can muster. The director's cut includes a scene of Ripley finding past victims cocooned against a wall. Though never explored this is the next stage in the creatures cycle which surely included a Queen. Obviously we don't see her. Yet. But even on first viewings it's obvious the Alien has a purpose beyond a boogey man in fancy dress. We've just been dropped down the food chain and that gives the story a lasting fear. Ripley going back for the cat is a human weakness this ruthlessly efficient thing would never do and such a small act just emphasises that it is better than us. That's scarily one of the most important elements in any horror. Superiority. The victims don't even have a moral high ground; their extinct. All things considered, there's a lot could of gone wrong. The film is so rich without a single cliche (even the black guy doesn't die first! And picking the survivor when you first see the crew is impossible) it almost seems a waste to pace it as a simple haunted house story. But that's the sort of ambition that is lacking in todays cinema. This is possibly Scott's masterpiece and that's why rumours of his involvement in a possible Alien 5 endure. I hope it's true. (From October Marathon: Horror! on October 19th, 2008) Grey's Anatomy Marathon, a review by addicted2dvd16. It's the End of the World My Thoughts: This is part one of an outstanding two part episode. Definitely one of my favorites of the 2 seasons I have seen of this show so far. It is a very powerful and emotional episode. My Rating: 17. As We Know it A dangerous situation escalates despite the hospital's "code black" and the local bomb squad's determined efforts. Meredith must team up with the bomb squad while Derek performs an intense surgery under excruciating conditions. My Thoughts: This is second part is just as powerful and emotional as the first. It really was a great continuation of the storyline. The paramedic that had her hand in the patient holding the unexploded missile looked very familiar to me... but I was really drawing a blank. Then I felt like a total idiot when I looked in DVDP to discover it was Christina Ricci that I didn't recognize! How is that even possible? Sit there watching her for 2 episodes and never realizing who it was. Unbelievable! My Rating: 18. Yesterday A visitor from the past, Dr. Mark Sloan (Eric Dane), stirs up Derek and Addison's lives, while Meredith explores her family's dirty laundry and Cristina's secret makes its way to Burke. My Thoughts: This is a good episode with some interesting cases...including a woman that has spontaneous orgasms and a teen boy with bony tumors in his skull making him look somewhat disfigured. As he put it he looked like he had the face of a lion. And then the doctor that Addison cheated on Derek shows up in the hospital. My Rating: 19. What Have I Done to Deserve This? My Thoughts: Pretty much a standard filler episode case wise... but there is advancements in the drama of their personal lives. It is good to see Denny back... as I always liked that storyline. My Rating: 20. Band-Aid Covers the Bullet Hole Izzie bails on Alex in favor of Denny as Meredith attempts to deal with the fallout from sleeping with George and Bailey attempts to circumvent maternity leave. My Thoughts: This one is more or less just a continuation of the last episode. So it is a pretty standard episode with nothing big happening in the hospital... and is putting the storyline more to the private lives of the patients. My Rating: (From Grey's Anatomy Marathon on September 8th, 2009) |