Reviews

Being such a popular film at the time of its release, I was skeptical whether Titanic was going to be of any worth. Over 8 years after it hit the big screen, I finally sat down and find out what all the hype was about. Titanic is a romance of epic proportions, and although we all kind of know what happens in the end, the three hours plus seemed to fly by.

The opening scenes of exploration of the Titanic at the bottom of the ocean, 84 years after it sank, is intriguing footage, and Bill Paxton does well in the part of the main researcher, even though anyone really could have done the role with ease. It is when we get to main story, with a 101 year old Rose DeWitt Bukater reminiscing of her time on the Titanic, that the film really begins.

Essentially a story of love, Titanic also deals with the class system and politics of the early 1900s, with Leonardo DiCaprio being the drifting artist who comes to met the well-to-do Kate Winslet on board the ship. From there on, it's business as usual: Winslet's character Rose is smitten by DiCaprio's Jack Dawson, but is to marry another, a well-off man named Caledon Hockley, played exceptionally well by Billy Zane. Rose and Jack fall in love, Zane finds out and seeks vengeance … it's all been done before. What makes this film unique is the setting of the story: the Titanic on its first – and last – voyage from England to America. Lives are lost but love is not, and it this eternal love that is depicted in the film that resonates with the audience. The true highlight of the film is Kate Winslet, with a traditional beauty, ideal for the role of Rose. She is stunning to watch, engages you in a trance with those round eyes, full lips and perfect body, straight out of a Renoir painting. I couldn't take my eyes off her! Titanic does not falter, with a great mix of drama and romance, along with insight into the way of thought back in those days. The film is dramatized for effect – it looked like a lot more that 1200 odd people in the water – but that's expected for a big blockbuster of a flick, and so I didn't hold it against James Cameron, who fulfilled his need to tell the story of an amazing adventure that did, in fact, happen not so long ago, and history always helps to captivate viewers.

For a film that tells most of its story through song, more so than many other musicals that I've seen, Chicago really stands its ground as a decent flick. Some quality choreography, strung together with a great selection of actors tackling roles they aren't renowned for doing, makes what is essentially a very simple story a lot more entertaining.

Renée Zellweger was perfect for the part of the sinister murderess behind a doll face, making the part her own. Lucky Catherine Zeta Jones wasn't cast for the bit of Roxy Hart; she was bad enough in the role of Velma Kelly, bland and unsuitable, really letting the film down. Richard Gere surprised me, with a unique voice that initially had me cringing, but once I allowed myself to have an open mind to what the film's intentions were with the character of Billy Flynn, the charismatic and arrogant lawyer, I knew there couldn't have been anyone else better than Gere for the part.

What left me uneasy was how the story ended, with Roxy Hart, killer of the man she was having an affair with, got found innocent and became a big stage star, along with Velma Kelly, in a similar situation to Hart. There was no happy ending for the people who deserved it, only for those who didn't. In fact, the film really had no characters that were innocent, besides Roxy Hart's husband, Amos Hart, played by the always impressive John C. Reilly. His song in the film the highlight for me, just because I love all his other work, and to see him, like the rest of the main cast, take on such a different role was such a treat.

I found myself yawning in some scenes, and it's not the kind of film I will willingly return to, but Chicago did have its moments, and for a musical … not my personal favorite genre of movie … it certainly did well to impress.

Set in the remnants of the first Gulf War, Three Kings is a fantastic and original story about humanity and politics. It follows a group of soldiers as they set off to steal gold from a Suddam Hussein bunker, who stole it from Kuwait, intending to use a map found on an Iraqi captive to hunt down the hidden treasure. The rushed plan leads them into all sorts of trouble, and in the end they give it all up for the freedom of innocent prisoners.

The humour entwined into this tale of morality is what makes the film so solid. All of the leading cast are outstanding, especially Mark Wahlberg, who can only do good under the instruction of director David O. Russell (see I Heart Huckabees). The glary contrast of the Iraq desert makes for an outstanding setting, and the use of Iraqi soldiers and civilians in the dialogue adds to the film's integrity. The movie is accompanied by a varied yet fitting soundtrack, a lot of it giving the audience a feel for the time the movie was set in, and it helps to impact the significant mix of culture with American troops on Iraqi soil.

Three Kings steers clear of most, if not all, expected clichés, and because of that, it does not fall down once. The comedy aspect, including cows blowing up from land mines and footballs wrapped in gelignite, is the glue that keeps the movie going strong, but it is the touching final scene that you will remember.

At the opening credits of "Roma", we are informed by our narrator and director Federico Fellini that this is not a normal film in the traditional storytelling sense, but more a perception of Rome, the way Fellini sees it. Sounds interesting? Well, it is, in that one must be so in love with their city to want to show it to the world through a series of small stories and shots of random happenings. I can relate: I have the same love for Melbourne.

We shift from a portrayal of Fellini as a schoolboy with dreams of going to Rome, to a depiction of Fellini as a young man, moving to the city he always wanted to live at. There's also scenes of early 1970s theatre attendance, the almost ritual-like eating habits of the Romans, and then we move onto a documentary-like part of the film where we get to see Fellini's camera crew struggle as they try to capture the hustle and bustle of the entrance into Rome via a major highway, filled with drifters, animals, trucks, hitch-hikers, bikes, and more.

The constant changing in scenes and stories is a bit messy, and could possibly confuse those not understanding what Fellini is trying to do with the film. At some times, I found myself questioning whether what we were being shown was a realistic dramatization of Fellini's past experiences, or some kind of farcical take on Roman culture (see the religious clothing fashion show scene!). The film is quite intriguing, taking in the sexual revolution of the era and putting it up against a city full of tradition. We are also exposed to some of the city's dirty little secrets, such as the surprising popularity of their whorehouses.

It can't be denied that there is something endearing to "Roma" that allows Fellini to get away with a film that doesn't really give you much to take home with you, other than an idea of what Rome was like for someone in 1972, and what kind of life was lead to come to those perceptions. It is somewhat self indulgent, but Fellini does put across the impression that he has something to show you, something he'd like to share with you, because he has loved it for so long, and it still fascinates him on a daily basis.

La Strada can sometimes come across as similar to the Hollywood films made in the 1950s, but for the most part, is a unique and beautiful story. It concerns a young woman, Gelsomina, being given to traveling "artist" Zampano by her poor mother in exchange for money. Zampano makes his money by traveling around Italy, putting on a strong-man show for crowds. Gelsomina has dreams of becoming an artist as well, and therefore was more than happy to go with Zampano, but Gelsomina quickly realises that Zampano is nothing more than a drunkard and a brute, with eating, sleeping and sex being the only things he cares for.

The character of Gelsomina, played by Giulietta Masina, is the highlight of the film. With a face like no other, it exudes a certain beauty but is also very odd, with a definite quirkiness to it …"like an artichoke". Masina is excellent as expressing emotions with nothing more than a look, and it is because of this that the film stands strong. The story itself is simple, but with Gelsomina being such a romantic at heart, she is constantly searching for love and an understanding of a world she doesn't know, being such a sheltered loner when living with her mother and four younger sisters.

Zampano, the traveling strong-man, follows the basic of human instincts, irrespective of their bearing on others, namely Gelsomina. Anthony Quinn gives the character a great ignorance, Zampano being, for the most part, oblivious to the impact his actions have, only wanting to be able to earn money to eat and drink wine, and sleep with women. It is not until Zampano and Gelsomina (Gelsomina having become Zampano's sidekick in his traveling show) take on a position as part of a circus in town, and Gelsomina meets an acrobat clown, credited in the film as Il Matto – The Fool. She falls for his happy and carefree nature, exampled when he teases Zampano whilst he is trying to do his show. Zampano soon despises the Fool, and becomes jealous of the friendship forming between Gelsomina and the clown. This is where Zampano begins to show real emotion, and although he doesn't deal with the situation in the most appropriate way, it is the beginning of his life experience that changes him forever.

The film is gorgeous, with some memorable characters, namely Gelsomina. It doesn't end on a happy note, but you are still left satisfied with the story told, especially the lesson taught to Zampano, although it was all too late for him, and it is not certain that he learned from the experience. Masina is an absolute delight to watch, holding you captive with her face alone, beaming with love. The film is not for those looking for Hollywood drama and action, but for anyone who knows how it feels to be confused and in need of understanding about life's ways.