8/10 - In January, I had the pleasure of seeing a Broadway play for the first time in my life. It was a Christmas gift I had gotten for my mother and it was for the latest revival of Ben Hecht and Charles MacArthur's play The Front Page. Starring Nathan Lane as Walter Burns, John Slattery as Hildy Johnson, and John Goodman as Sheriff Peter B. Harwell, the play was tremendous. Mind you, I have nothing to compare it to, but for the entire nearly three hour runtime, it had both of us in constant fits of laughter. The fast-paced, witty dialogue barely gives the audience a chance to catch their breathe, plus the talented cast of Lane, Slattery, Goodman, and a smattering of terrific actors that are quintessential "know the face, but not the name" guys, the recent revival of The Front Page was a joy. As a result, I was eagerly anticipating viewing one of the first film adaptations of the play and probably the most well known. Sporting a new title and a more romance-focused plot, Howard Hawks' His Girl Friday often parallels the play with its witty and smart jokes that somehow feel as fresh as ever given today's current political environment.

Needless to say, His Girl Friday hardly disappoints. Changing Hildy Johnson from a man to a woman may not be my favorite choice as it does change the banter a bit between the manipulative Walter Burns and dedicated newsman Hildy, but Cary Grant and Rosalind Russell make it work. Together, they have great comedic chemistry and really let loose with fast-paced and smart jokes that make sure the audience is paying attention. Though the play is focused solely in the press room, His Girl Friday takes a little bit to get to the pressroom, first introducing us to the new scenario before dropping us into the hectic place that is the pressroom. Awaiting the hanging of Earl Williams (John Qualen), a man convicted of killing a black cop who must die for the Mayor and Sheriff to get the black vote, the press room is packed with a whole cast of characters. Unfortunately, the hour and a half gives little room for the supporting cast to make headway like in the play. As opposed to the film, the play opens in the press room with the supporting cast leading the charge for much of the first act until Hildy arrives part way through. Walter Burns does not even appear until the second act. Naturally, with Cary Grant in the film in the 1940s, things had to change for the film. That said, it works and Grant and Russell turn in typically good performances.

The writing, with such great source material, is also very good. Featuring incredible wit and political satire (the gag with the journalists all witnessing the arrest and changing the story to fit their needs), His Girl Friday stands the test of time. It is not the kind of old school comedy that finds jokes in the situations, but in the words and wit of the writing. This is what has helped the material and the film itself not feel so aged in comparison to other comedies of the era. Plus, with such charming leads, it is hard for His Girl Friday to not be at least a little bit funny. This one definitely had me laughing for the whole 90 minutes, which fly by incredibly painlessly.

The other part of this film that came off as a bit hokey was the ending. Likely the by-product of changing Hildy to being a woman and the need of Hollywood to have a happy ending, putting the divorced couple back together and quickly casting aside Hildy's fiance in less than a minute feels disingenuous. She and Walter have great banter, but were fighting less than a minute ago when she found out about the counterfeit money. I have no idea why they had to be together as it feels as though it cheapens the product a bit with a far too whimsical and silly ending to a film that, though incredibly funny, is quite serious in its political critiques and portrayal of the use of the death penalty in an inherently political society.

A classic of screwball comedy, His Girl Friday stands the test of time. Though the DVD copy in my possession looked badly dated and desperately in need of restoration, with the film becoming too bright/white at times or overly dark or the sound randomly decreasing in volume, it is still a great film. A true testament to the smart writing and terrific cast that this film and play is somehow still relevant to society, perhaps even more so than it was back when it was first made.



9/10 - Though L'Atalante was my first foray in French Poetic Realism, it did feel incredibly familiar. Depicting the gritty realism of society, it quickly becomes clear that this movement heavily inspired the Italian Neo-Realism movement, of which I have seen films such as Bicycle Thieves and Umberto D. Both of those films show the raw reality of Italy post-World War II, though in a far more documentary style with non-actors. French Poetic Realism, from what I understand and saw in L'Atalante, depicts reality, but in a produced and staged fashion. It does have real actors and never tries to appear reality, merely it seeks to depict reality and show people how it really was in France at the time. Stylistically, it had a clear impact on the French New Wave via Francois Truffaut or even the No Wave movement in 1980s America led by Jim Jarmusch. It is reality, merely re-produced and these films have incredibly lyrical and poetic style to them that feel at odds with the realism, but are merely an extension of the reality on display. In Jean Vigo's only feature film before his untimely death at age of 29, we see village girl Juliette (Dita Parlo) marry Jean (Jean Daste). Living aboard the L'Atalante with bargeman Pere Jules (Michel Simon), his cats, and a cabin boy, the ship heads off with its first destination being Paris.

Upon making landfall in Paris, we see the group head off into the society. Immediately, we are struck by the desperation. In pre-World War II Paris, the people are already destitute. There is incredible culture on display on some parts of town - the tourist areas, likely - with expensive jewelry for sale. However, Juliette finds herself in the factory part of town that has a sign reading "not hiring" on its chain-link fence with a pack of jobseekers milling about outside. In the town, she has her purse stolen boy a young boy. These scenes highlight the dichotomy that exists. Yes, Paris these great, wealthy stores and people. But, there is still poverty. Peope are still desperate, destitute, and in need of assistance. They are the people the city has forgotten and like the best films of the Italian Neo-Realism movement, L'Atalante tries to show the situation on land faced by people in large cities. It is not just dreams and happiness, it is the real world.

In this fashion, Paris was the perfect stop on this trip. Though not their destination, rather than L'Atalante barge is their final destination, it still serves as the perfect place to spend much of the film. As postmodernists would later suggest, Paris is one of the many cities of the world that is hyperreal. It is a city that does not really exist, in the sense that it does not exist as it is imagined. There is obviously a tangible reality there and that is what people are met by once arriving in Paris, rather than what they had dreamed. For this newlywed couple, brought together because Juliette saw a vision of Jean in the water, Paris is the perfect location to spend some time as a married couple and a perfect example of the reality that awaits them. Typically, poetic realism films end up in disillusionment or death. Here, Paris drives a wedge between them as Jean orders the ship to leave with Juliette when she takes too long to get back. It is a city of dreams and where those same dreams go to die. It is a city of pain and anguish for many and that is the reality that Vigo shows. It is not just a city of dreams, but also of suffering and this is not the reality expected by the dreamers and romantics that arrive.

L'Atalante integrates the poetry and departure from documenting reality after the ship leaves Paris without Juliette. Just as Juliette had told him, Jean sees Juliette in the water and jumps after her. In the water, he sees her twirling in an angelic white dress. It is a vision and one that tells him they are meant to be together. Immediately, they turn back and are reunited. This is incredibly poetic and visually stunning to see in a low-budget French film from 1934. It is a jarring departure from reality and one that displays how detached from reality these films can become. It is an artistic indulgence and one that really benefits the film. Though dreams may die and the harsh world exists, love is still powerful and an eternal connection or bond that brings two souls together, no matter who they are. Jean is a traveler. Juliette never left her village. They seem an odd match, but sequences such as the underwater vision show that it is meant to be. The two souls were somehow destined to be together, in spite of the incredible odds facing them. Yet, it is in this that the film departs from being a full realization of poetic realism. From what I read, the movement was quite loose and not structured like following movements that had strict rules. Thus, films could sometimes differ. Compared to many poetic realism films that end with disillusionment or death, L'Atalante ends happily with the two lovers reunited and joyously embracing one another. It is a surprisingly happy ending for a film that can be so raw and depressing in its portrayal of the desperation that exists in cities such as Paris. But, it works. It feels authentic, rewarding, and powerful, as the poetry of L'Atalante comes to a head in its depiction of love.

Powerful, brilliant, and everlasting, L'Atalante is not a classic for no reason. It is a gorgeously poetic film that is unafraid to show the cruel harsh world around us. Influential since its release, the film is an example of the tragic artist and the cruel world we live in, given that Jean Vigo died only after his film had been critically maligned. It would take until the 1940s for the film to become the celebrated classic it is today, which is an absolute travesty.



8/10 - Boss Paul Vitti: I couldn't get it up last night.
Dr. Ben Sobel: You mean sexually?
Boss Paul Vitti: No, I mean for the big game against Michigan State. Of course sexually! What the fuck's the matter with you?

Analyze This is an incredibly funny film that is pretty much what it sound like it would be about. Starring Billy Crystal as Ben Sobel, a psychiatrist, the film pairs him together with Paul Vitti (Robert De Niro). A tough, hard-nosed, and old school gangster, he is having panic attacks stemming from a threat to his life that brings back memories of his father's murder. In a funny and witty comedy, the film pairs the comedic talents of Crystal with the tough guy nature of De Niro resulting in a perfect setup of comedic foils. Thanks to fun writing from Harold Ramis and Kenneth Lonergan, the film may not be serious, but it makes the most of its premise and really works well. It may be thin and referential to gangster movies, but the film entertains and makes you laugh for the entire runtime.

With irresistible chemistry, Crystal plays the man entrusted to break through the tough guy facade of Paul Vitti. Unfortunately, it comes at the time when he is set to be married to Laura (Lisa Kudrow) in Florida. With Paul following him from New York, he is forced to try and work his magic to figure out what ails this man. Suffering from panic attacks and fits of crying, Vitti is risking being killed due to this weakness. He can hear the footsteps and keeps sending his friend Jelly (Joe Vierelli) to go find the doc, regardless of what stage of getting married he finds himself in. Even worse, gangster Primo Sindone (Chazz Palminteri) wants Paul dead and the mafia, once they find out about the psychiatrist, want Ben dead. What ensues is a pretty predictable and run-of-the-mill comedy that finds humor out of making a gangster soft and a psychiatrist into a gun toting tough guy. Yet, it works.

Crystal and De Niro's chemistry is what sells this one as Crystal smart, witty, and mouthy comedic style really works in this film. De Niro is equally good in his role as a remorseful gangster that does not want to leave his son without a father or see him follow a life as a gangster. Yet, the film does exist on a higher plain to a degree as it examines and breaks down the tough guy facade. In reality, it is merely a copping mechanism to shelter their fragile psyches from being hurt. Or, they are just psycho. The latter obviously being far more dangerous. In the case of Paul Vitti, he just acts out of anger and desperation after being left to fend for himself after his father is killed. Thus, though the film is simply straight forward fun, Ramis and Lonergan manage to make the film have a little more depth in this area. In this blending of their two worlds, the two men are able to learn from one another. Ben Sobel learns to stand up for himself and not take abuse. Paul Vitti learns that being emotional and expressing your feelings does not make you weak. For a silly comedy that is just a twist on the buddy comedy formula, it does provide very well-written characters with solid, well-defined arcs and with purposeful actions in this film.

Honestly, however, there is not much to say about this one. Even what I have written is a bit of a stretch. Bottom line: Analyze This is hysterical. Billy Crystal is Billy Crystal and De Niro turns in one of his funnier performances of his late comedy-focused period. With good writing, great jokes, and terrific comedic timing and delivery from its cast, Analyze This is one of those films that is easy entertainment and will have you laughing throughout.



8/10 - Though a safe historical film, director Amma Asante's A United Kingdom never ceases to be anything less than powerful, riveting, and entirely rousing. Telling the real story of Seretse Khama (David Oyelowo), the Prince of now-Botswana, and his love of Englishwoman Ruth Williams (Rosamund Pike), A United Kingdom shows how they were kept apart. Rejected by Seretse's uncle and current regent of the nation, the British government (both the Labor and Conservative parties), and apartheid-in-progress South Africa (a key British ally and neighbor to Botswana), the marriage is in trouble. Exiled from Botswana and unable to return, Seretse must fight to be able to claim the crown that is rightfully is, return to the people that he loves, and to secure Botswana's future with the prospect of diamond mining occurring on the nation's land.

A tale of injustice and racism, Seretse and Ruth fall in love in England and wish to head to Botswana, where Seretse is set to become Chief/King of his people. However, the South Africans - in the process of installing apartheid - do not want it and threaten to stop following British rule if they allow the marriage. A pawn in large political matters of colonialism and rule, A United Kingdom shows that people have always been caught in the crosshairs of politics and those politicians have always lied. Though they recognize allowing them to marry is the right choice, the fear of the South Africans is far too much to let either the Labor or Conservative parties act on his injustice. They even go so far as lying to Seretse and his legal team about the contents of a report into the situation in Botswana, claiming it is on the brink of civil war because Seretse's uncle refuses to accept Ruth and pass the crown onto Seretse. Though Seretse's people and sister accept Ruth whole heartedly, their battle is one that must be fought uphill.

In crafting its romance, A United Kingdom is often beautiful. It borders on cliff notes at times with how quickly it goes through it, but it works incredibly well all the same. Romantic, nostalgia, and taboo, director Amma Asante's film captures all of the dirty looks, gestures, and actions they get as a result of their love, while also developing their love. The two go hand-in-hand and it shows that the hatred they face only serves to strengthen their bond together. Unwilling to bend to the wills of the families or the government, the two are defiant, strong-willed, and entirely in love with one another. Listening to other people tell them what to do is hardly an option.

However, A United Kingdom is a film far more in line with a political drama. Showing shots in parliament of them debating the issue and the bureaucracy that stops them from being able to be together in Botswana, the film plays out like a political film, not a romantic one. The romance is there and you can tell the connection between them only grows due to the great chemistry between Oyelowo and Pike, but the emphasis here is the politics. Asante uses the film to show how governments do what they know is wrong for political reasons. Though perhaps quite obvious to anybody, A United Kingdom, by first establishing the romance, makes it feel personal and intimate. It is as if the government is not letting us be with our spouse, making the injustice really hit home. How can they deny the love these two people have for one another? How can they bend to the will of a deeply racist country looking? How can they be so greedy, anticipating that diamonds will be found in Botswana? All are obvious, but truly are drilled home perfectly in the film and the end result is a greatly dramatic and oddly thrilling film that wraps you up in the politics of the situation and benefits from it throughout.

That said, the star here is David Oyelowo. The climactic moment from the trailer when he declares he loves his people and land, but also loves his wife is just as rousing and powerful in the film. Oyelowo is an incredibly under-recognized actor, in spite of his stirring turn in Selma as Martin Luther King, Jr. Here, as Seretse Khama, he finds much of the same inspiration and power that he had as King, playing a man who used as a political pawn by entities that had no business dictating affairs in his home country. Oyelowo is a brilliant speaker and delivers his lines with resonance and strength, making him an easy sell as the inspirational political figure. As his wife, Pike is far more reserved, but works on an emotional-level. Showing the hurt in her eyes and face from the suffering her family must go through because of prejudice, Pike may not be nearly as good as Oyelowo here, but she is still very good in her own right.

A United Kingdom may not appeal to everyone, as it is largely what would be expected. A powerful tale of injustice, romance, and politics, director Amma Asante does this true story incredible justice in retelling it in this film. Brilliantly acted, paced, and gorgeously shot when in Africa, A United Kingdom is an inspirational, powerful, and incredibly timely film about how love can transcend government intervention, borders, and race.



8/10 - I'm not really the heroic type. I was beat up by Quakers.
-Woody Allen as Miles Monroe

An uproariously hysterical early comedy from Woody Allen, Sleeper is the earliest work of his that I have seen. Right away, it becomes clear how different the film is from his present work when we see a zoom. That is so 1970s. But, for Allen specifically, the film is far more slapstick and was fashioned as a tribute to Groucho Marx or Bob Hope. This certainly works quite well, though it feels similar to the work of Charlie Chaplin or Buster Keaton as well due to the film's roots in silent comedy. Via gags such as a ladder that cannot reach a building that Allen must climb down, the film relies very heavily on physical comedy. Allowing the camera to linger in these parts and take his time with the humor, the film is not just witty one-liners, but a well-rounded comedic experience from the master comedy writer and director. Inventive, imaginative, and Orwellian, Sleeper certainly ranks among his very best work.

Frozen for 200 years, Miles Monroe (Allen) awakens in 2173. Upon waking up, he learns that America has changed dramatically. Gone are the cities. In their place are districts, all overseen by the Great Leader. Awoken by the underground, Miles is tasked with saving the world because he has no identity so he can more easily infiltrate the ruling class to find out what the mysterious Aries Project entails. In creating this world, Allen naturally mocks his own. With all health foods now cast aside and junk foods now proven to be scientifically healthier for you, the world is upside down. His Miles Monroe is called in as an expert on all things 1900s and used to provide information that had fallen to the wasteside in time, namely the records of Richard Nixon and Howard Cosell (the latter believed to be punishment for criminals). Above all, McDonald's is still around and still updating the counter as to how many people they have served. The film, though set in 2173, is still packed with Allen's typical brand of observational humor and visual gags mocking the present society. In these moments, the film is absolutely hysterical and silly in a way that only the best Allen films can be.

Yet, its 2173 is incredibly inventive. Drawing on Orwell as inspiration, this world of weird vehicles, jet packs, robot butlers, and easy space travel is presided over by the Great Leader. Awoken and covered in tin foil for 200 years, the film may be quirky and goofy, but it is most certainly detailed. Introduced sex machines, sex educations, and more, the film is a high-concept science fiction by way of Woody Allen. Thus, though silly, it does poke a bit of fun at how absurd authoritarian governments can be. Naturally, the scenes in which he identifies Joseph Stalin for historians comes to play when he is confronted by the true Great Leader and the secrets that abound in his presence. In line with Orwell, the Great Leader sees all. In typical Allen fashion, this is done in a parallel with God as he explains that he had learned God dos not watch us, rather the government. This has never been more true than in 2173 where subversives, the underground, and intellectuals are hunted down and killed. The Great Leader is worshiped like a God in this world of plain white walls and drab gray jumpsuits.

Naturally, the observational humor is not limited to 1973, but also spun for 2173 with Allen's neurotic Miles Monroe running about as the savior of the human race and cracking jokes about all the odd things he finds in 2173, even hinting at "futuristic mice" or the huge fruit and chickens he finds roaming about. The world has changed, but his astute attention to detail and the ability to mock that detail will never change and it is on full display in Sleeper. He may have been asleep for 200 years, but he quickly picks up on the weirdest part of the year 2173 and makes fun of them with hysterical precision.

A smart, witty, and neurotic high concept science fiction film brought forth by Woody Allen, the film is far more slapstick and based around physical comedy than his usual fare. This is partially because it is one of his earlier works - known for their roots in slapstick - and the film being a tribute to some of his comic icons of yesteryear. In this tribute, Allen turns out one of his best and most consistently comical works that shows the that there are no bounds to his comedic genius, not even 200 years spent in cryostasis.



6/10 - If I were Gavin O'Connor, I would get down on my knees everyday and thank the good Lord that He allowed me to make Warrior. For if it were not for Warrior, he would be one of the most bland and consistently average directors working in Hollywood today. His resume is also bolstered when viewed alongside that of Peter Berg or David Ayer. That said, The Accountant is just fine. It is a modern day action thriller that screams of O'Connor having finished a viewing of Nicolas Winding Refn's Drive and thinking to himself, "What if the whole movie had the level of tension of the opening heist in that film and my autistic assassin actually talked a bit?" The end result is The Accountant, a film that passes the test and delivers good entertainment, but is hardly brilliant and is maligned by major problems. In essence, this is not a film requiring a forensic accountant. Anybody can plainly see the faults lying beneath the heart of this film.

To the film's credit, however, it is incredibly thrilling. The action is modern and stylish. It is silent, precise, and well-choreographed. Ben Affleck's Christian Wolff is autistic and a savant when it comes to accounting and putting a bullet between a man's eyes. As a result, the kills are thrilling and simply cool. For action junkies or the general public that is merely looking for a good action thriller, The Accountant more than delivers. It is no surprise it has become a champion of the people and made a lot of money at the box office. For a bloody action thriller, it is palatable and easy to digest. It does not entertain a higher purpose beyond advocating for people with autism. It is smart, well-plotted, and delivers the goods when it comes to action and thrills. O'Connor may not be a good director, but he knows his way around an action sequence and shows it here. With constant one-liners and a distant hero that is against the system, comparisons to old school 1980s action movies are incredibly fair. Wolff goes about his business professionally and without fanfare. It is all a matter of fact. He is an easy killer to support because he kills bad men out for themselves, while seeking revenge for those they harm. In essence, he fights for the common man, real salt of the Earth people, and loves his family. The only thing separating him from the average American is he has autism and kills people with precision.

Sadly, the film is maligned with odd transactions. To the film's debit, it is incredibly contrived. Introducing us to federal agent Medina (Cynthia Addai-Robinson), she is threatened with being thrown into jail for lying on her applicatio if she does not find the accountant's true identity within a month by boss Raymond King (J.K. Simmons). Throughout the film, we see her figure out information on Wolff, following mere plot coincidences and contrivances. The most egregious being when she is searching for men that fit her suspect's description and randomly selects a man who does not meet the description, looks into his business, and all the businesses in the same plaza. Slowly, she realizes it is her man: the accountant. How convenient. With no evidence pointing to that fact until the hand of God guides her down the right path, Medina find her man. But oh wait, she did not need to. King knew it all because he had been in contact with the accountant forever, tracked him before, and could seemingly care less who he is and what he does, in spite of pretending to care earlier in the film. It is as if O'Connor changed his mind halfway through and decided that King should work with Wolff, not against him. Ignoring how cliche that is, it is a convenient way to avoid conflict between the government and Wolff, which would make him a bad guy in the eyes of the same general public audience the film was trying to appeal to throughout. Sadly, the fact that the investigation by Medina was pointless, all of the treasury department scenes are useless. Neither King nor Medina add anything to the film beyond another character and supposed depth. In reality, it is bloat, highlighting how overlong this mindless action thriller truly is.

The film punishes the audience further with useless melodrama and backstory on Christian. Used to show how good of a person he is and how important family is to him, the scenes honestly go nowhere. From his mother's funeral, training, and reuniting with his brother, the whole thing is so contrived and oddly manipulative. Once more, it contributes to the film's bloat, not adding depth. The scenes feel useless and exposition heavy for a film that demonstrates its willingness to use its typically silent protagonist as an exposition machine when the plot demands some explanation.

Sadly, despite all the bloat, O'Connor never found a use for Dana Cummings (Anna Kendrick). Why get Anna Kendrick if all she is there for is to look good and say some bad lines that are going to be used in the trailer? She never even kisses Affleck in the film. I know Hollywood loves romance angles to films, but this film does not even have that because Wolff is so incapable of human connection, the romance angle is ignored and cast aside. O'Connor consistently forgets about Dana until the plot demands her simple "damsel in distress" reappears to remind the audience that Wolff is a tragic hero who could not actually find love like the kind he wants to, even if he does love Dana (who he just met and spoke to three times, two of which he coldly responds and non-verbally tells her to leave). The romance is undercooked and extraneous. Either add on to it (bad choice) or cut it and Dana out of the film entirely. A straight forward action film should not be too much to ask for, but instead the film uses Dana as a crutch to add stakes and slow down the film to explain the plot a bit. It is this element - the exposition - that cements the film as one destined to find a home on cable television and be championed as an example of a "misunderstood film" by people who do not watch film. It is not a bad film. It is just a competent one made for an audience that does not understand the predictability or way in which the director and filmmakers lack respect for the audience. It knows it is predictable, contrived, and simple, yet it still explains the plot to you, just in case you were too dumb to put it together yourself. A real shame. But, for viewers on cable television, it will be perfect entertainment because it can be put on, forgotten about yet still easy to track because it explains itself to you constantly, and result in ooo's and ahh's whenever Wolff closes another attacker's account.

That said, Ben Affleck is brilliant. Perhaps a career-best performance, his autistic accountant assassin is brilliant. Meticulous and respectfully brought to life, it is clear why Affleck was drawn to such a derivative film: the character of Christian Wolff. For all of the film's faults in its narrative, plotting, and dialogue, it hits a home run with Wolff and runs with it. A character alone cannot make a film great, but it can make it better and it does so here in The Accountant. As a whole, the film is fine. It is palatable and a crowd pleaser. It is occasionally funny and is action-packed with well-shot and well-staged action. Its plot is aggressively dumb and bloated and it treats its audience even worse by feeling the need to explain the plot and what was happening to us, as if it were complicated. In essence, it is a film version of "Dogs Playing Poker". Loved by the masses and seen as typical, derivative, and unimaginative by more experienced filmgoers. Myself personally, it is fine, but nothing exceptional and a film such as this, sans bloat and exposition, could have been exceptional with Affleck's performance serving as an anchor.



4/10 - Australia is a film with a sweeping vision and epic ambitions, but it simply does not live up to its own expectations. It is hardly a bad film as it has many beautiful and tremendous elements that do justify its efforts. Unfortunately, it is simply maligned by a bevy of issues that hold it back from being a great modern epic. Thinly written, predictable, and tonally jumbled, Australia is a film with an important message and the hope that sum up Australia and its most important pieces - cattle herding, World War II, the wet season, the dry season, aboriginals, and love of theland - in just under three hours. Unfortunately, the end result is a film that simply feels too unfocused and lacking conviction.

This grand scope leads Australia to feeling like two films shoved into being one film. The first half focuses on Lady Ashley (Nicole Kidman) arriving in Australia to find her husband dead and Neil Fletcher (David Wenham) scheming to steal their cattle away. With the help of The Drover (Hugh Jackman), she embarks on a journey to bring 1,500 cattle to Darwin to be used as meat for the Australian troops. Along the way, she falls in love with The Drover and half-aboriginal, half-white boy Nullah (Brandon Walters). In this film, Australia most closely aligns with being a western and is gritty and unafraid to show the dirty and dangerous work entailed by cattle driving. However, the film turns on a dime and becomes a war film in the second half with the bombing of Darwin conducted by the Japanese. Hinted at in the first half with war footage, two years pass from 1939 to 1941 between the first and second halves. The end result is a film that feels too unfocused and split. Both films could reasonably stand on their own, but wind up being part of one overlong film, out of the necessity of scope. While director Baz Luhrmann's ambition is admirable, it simply is a film that never justifies its runtime and could have been either shorter and more focused or split into two separate films that celebrate the various elements of Australia. Together, the two halves simply do not gel with one another.

The film tries to string these two halves together, however, with the love between Lady Ashley and The Drover. From two different worlds, it is a cliched romance but it works incredibly well. The characters are pretty cookie cutter and indistinguishable from a variety of characters in other films, but the romance is the element that comes closest to meeting the grand scope of the film. It feels triumphant and authentic, even if maligned by elements that are clearly scripted and cliched, such as The Drover rejecting an invitation to the ball only to then show up unexpectedly. It is cute, but it is hardly unpredictable or original.

Yet, the writing's greatest fault is Neil Fletcher. A rival cattle herder working for King Carney (Bryan Brown), the head honcho in the meat business in Darwin, he is an unnecessary bad guy. In both halves of the film, he shows up randomly to make the film take longer to get the end. Both the herding and the war are thrilling enough with enough entertainment to work without a villain, so adding in an antagonist merely feels excessive and a useless addition to a film that simply did not need another character. At no point during the film does Luhrmann justify his addition to the film and he merely exists to add turmoil and strife to the point that existed without his presence. Even worse, just as with the romance, each moment with the villain is predictable and easy to see. The expected side characters die and the expected routes are taken to save our heroes in the face of this man who hates them for very little reason.

That said, Australia has a resounding plus that almost makes the whole thing come together: the visuals. Gorgeously dreamy landscapes in the Australian outback, breathtaking aerial shots of the desert, the bombing, the contrast of the black/orange fire with the blues and greens of Darwin, and the absolutely astounding shot of all orange and black overtaking Darwin after the bombing. All of the shots are brilliantly framed and a gorgeous mash-up of color. The end result is an awe-striking beauty that matches the ambitions of Luhrmann and makes the film pure eye candy. For those that love Australia, the visuals have to be the reason why and it is the reason why the film is one that is disappointing. In spite of its great visuals, it offers very little else that matches the quality of the sights to be seen in the film.

For a film seeking to sum up Australia, it is simply unable to reach the grand scope. From hamfistedly bringing forth the nameless drover as a representation of the heroism and strength of the nation to thinly written characters and a predictable and cliched plot to the far-too-long runtime, Australia is an ambitious film but exceeds the grasp of Baz Luhrmann. It is boisterous and at times dream-like film with a heart-wrenching romance and brilliant visuals, but never really outweighs the massive amount of negatives it encounters. It is not an outwardly bad film, nor is it boring. It is, however, an entertaining misfire.



7/10 - A typically neurotic film from Woody Allen, Broadway Danny Rose uses one of Allen's most prominent openings and common threads: a discussion at a restaurant between a group of friends. Reminiscing about theatrical agent Danny Rose (Allen) and the crazy situations he found himself in with his talentless clientele, the group tell a story of how he wound up caught between gangsters, a singer making a comeback, and the singer's mistress. An absurd and comical tale that is quintessential Allen, the film is funny, but not nearly as funny as some of his best work. Lacking the witty comments in favor of comical situations that may be funnier if you were there, Broadway Danny Rose is a good film, but not one of his absolute best works.

Working with singer Lou Canova (Nick Apollo Forte), Danny Rose is dispatched to pick up his girlfriend Tina Vitale (Mia Farrow) before a huge gig. On the way, he is accused of being the reason she broke it off with a gangster who tries to kill himself at a party. Now, the crime family is hunting Danny and he is forced to escape with Tina and winds up in increasingly absurd situations. In these scenarios, Broadway Danny Rose boasts Allen's knack for witty and sarcastic remarks done in the name of observational humor. But, relies upon absurdity and how odd some of these situations are, such as being in a warehouse full of Macy's Parade balloons and all of the participants inhaling helium. Comical and truly odd, these scenarios are often quite funny - such as the aforementioned one - but can often be too subtle to land or simply just miss the mark. While a thoroughly funny film and featuring his trademark style of comedy blended with drama, Broadway Danny Rose is neither as comedic as his best comedy works or as compelling dramatically as his best dramas. Instead, it is a solid marriage between the two with neither taking hold to its full potential.

On the dramatic side, the film explores themes of loyalty and regret. For the latter, it does so via Tina Vitale. Unable to find happiness due to her deep seeded hatred of herself over her past missteps and errors in life, she is unable to see past her self-admonishment and regrets. Thus, when positive opportunities arise, she takes another path and winds up just finding new ways to hate herself. Similarly, Danny Rose finds himself in a similar situation with all of his top acts eventually leaving him for new management. He clearly has regrets and constantly tries to better himself, but keeps falling into the same mistakes and inability to see beyond his own narrow world view. This really drives at the theme of loyalty though as he remains loyal to his clients, no matter how talentless they are. They do not show the same loyalty, just as Lou Canova seeks new management and cheats on his wife with Tina. For Danny, his endless loyalty keeps him trapped in one place and unable to advance his career and keep his clients. Just as his clients move on from him, he should move on from then and aspire to something more. Though buried deeply, it is clear he recognizes this and has regrets about his never-ending loyalty.

That said, Broadway Danny Rose's dramatic situations are very typical for Allen. With a subtle romantic core to the film between the well-matched leads of Allen and Farrow, the film's finale works as it shows much of the same themes as the rest of the film. Immediate regret, hesitation, and an unwilling to break one's loyalty to the current life malign the possible romance from the very beginning as Tina finds Danny as he is surrounded by his useless clients having frozen turkey for Thanksgiving. Comical and absurd, it also speaks to how both are stuck in a rut. Tina regrets what she did to Danny. Danny is unable to move past his bad clients. They are perfect for one another, but naturally, never realize this and the film plays out as expected.

Well-written, funny, and occasionally dramatic, Broadway Danny Rose is considered one of Allen's best films by many respected critics. However, the reason why appears unclear. It is a good film, yes, but a great one? No. It is funny, but not as funny as his best works. It is compelling, but not as compelling as his best works. It feels like one of his more modern works in the sense that it does everything Allen typically would, but a little worse than he used to. The only thing that separates it from his recent work is that this one is from 1984 and came at the time when Allen was in his peak, hence it feeds off of some of that positive energy, elevating it above his current output. In essence, it is not just autopilot Allen, but inspired Allen slightly missing the high bar his works set for himself.