DVD Review - Cash (2008)

Cash (a.k.a. Ca$h), 2008.

Directed by Éric Besnard.
Starring Jean Dujardin, Jean Reno and Valeria Golino.


SYNOPSIS:

A master thief attempts to pull off the biggest robbery in history.


The current awards season (2011/12) has been most kind for Jean Durjardin, following his star making performance in The Artist. It’s a wonderful film and a dazzling lead performance. As such, this little known (on these shores anyway) French film from 2008 finally procures itself a DVD release here. Undoubtedly a move to cash in on the critical success of The Artist, this film is an interesting look at the talented star before the big time beckoned.

Durjardin stars as the titular character Cash. He’s a conman and master thief, whose brother was killed on a previous gig. Cash continues scamming where he can. The film is a caper, with twist upon turn. Who’s playing who? Who has the upper hand? It’s all about sleight of hand, misconception, deception and Cash is a master. As the plot motors on, he pits his wits with or against fellow master thief Maxi (Jean Reno) and morally obtuse cop, Julia (Valeria Golino). The film steams through quickly, with sometimes one too many twists and turns to keep up with, but the conclusion is satisfying and the journey entertaining enough.

The cast are very good. If you’ve seen a fair amount of French cinema, you’ll recognise many of the faces. Dujardin leads well. The effortless charisma he displayed in The Artist is clear to see here. It might not be a role with as much depth here, but never the less, he delivers. Jean Reno is reliable as ever. Golino is good, whilst Ciaran Hinds manages to steal his scenes and make his extended cameo memorable.

Technically the film looks good, polished and stylish. The direction from Éric Besnard is vibrant and the editing though sometimes a little too intrusive, adds to the caper element of this. The film feels like a mish-mash of modern film and 60s cinematic style. Bresnard's script is decent enough, though the characterisation is limited in some cases, but probably intentionally as certainly in Reno and Golino’s cases, their characters don’t want to give too much away. Dujardin is allowed to offer us more insight into his characters core, and as lead, it’s what matters. Occasionally the film borders on being too elaborate and a bit far- fetched, but again, it’s not a particularly serious film and it’s never too bothersome. Come the end it sticks together well enough, and certainly manages to keep one step ahead of the audience.

In all this won’t go down as a classic, but it’s a good slice of entertainment. There’s plenty of star power on show and fans, or indeed new found fans, of Dujardin, will find enough here to keep them entertained.

Tom Jolliffe

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365 Days, 100 Films #93 - Bobby Fischer Against the World (2011)

Bobby Fischer Against the World, 2011.

Directed by Liz Garbus.


SYNOPSIS:

A documentary about arguably the greatest chess player of the 20th Century.


Bobby Fischer cuts an awkward figure. Even at the chessboard he seems to be in pain, sitting lopsided to the right, his torso sharply angled into the chair and his head supported by an open palm. If Bobby didn’t appear so deadly serious, you could slap a moustache above his top lip and call him Groucho.

The muscles in his face visibly tense as he attempts to smile in television interviews. In one he sweats so profusely that beads spot across his forehead.

But for all his social retardation, you can’t help but admire his passion and the way his mind whirs when observing the black and white pieces in front of him, calculating moves at a rate beyond most human comprehension. But that mind was fragile as well as formidable. And he became engulfed by the larger chess game of the era, one between the United States and the U.S.S.R. – the Cold War.

Bobby Fischer Against the World pays most attention to the period of his career that typified that international tension – the 1972 World Chess Championship against the holder, a Russian, Boris Spassky. The archive footage of the match and various news reports are accompanied with a wide range of talking heads; some big and unnecessary, like Henry Kissinger; some tiny and pivotal, like Bobby’s Icelandic bodyguard, Saemi Palsson, who would later be the subject of another documentary, Me & Bobby Fischer.

They don’t always know exactly where to look. Some stare to the right of the camera, where the interviewer is presumably seated, others glare directly down it. There’s something unnerving about a biographer looking right at you.

Jump cuts are occasionally used during these talking head shots. For a documentary filmed so conventionally, these cuts don’t quite make sense and could have been easily avoided by showing archive footage in their place, or perhaps zooming in on a still, black and white photograph – a technique with which the filmmakers appear to be obsessed.

The structure lazily avoids narrative satisfaction and is split into chapters, all with chess-pun names. Which would all be forgivable, if it weren’t for the title card Photoshop jobs. The font looks like the bastard offspring of Time New Roman and a cheap, italicised comic sans whore, and the background appears to have been sourced from typing ‘chessboard’ into Google, circa 1999.

As Bobby struggles during the 1972 World Chess Championship, the documentary intelligently splinters off to explore the tangent of his wayward mother, hippy activist Regina Fischer. This history was only hinted at previously, and worked within the narrative to ‘flashback’ to Bobby’s unconventional upbringing. It goes some way to explaining why Bobby is like he is. The rest of the documentary, however, orders itself either chronologically or mundanely.

But despite the filmmakers’ best efforts, the story of Bobby Fischer is a remarkable one, and the 1972 World Chess Championship is a historic moment in the game. The old grandmasters talking to the camera can barely withhold their admiration and awe when describing that match’s 6th game. A symphony of placid beauty, one of them eloquently described it as. At its end, even Spassky stood up and applauded. This isn’t shown, as Bobby demanded that the match was played without cameras present, but the way it’s described. Oh boy, it’s like you were there.

“Genius or madman?” is the question Bobby Fischer Against the World proposes throughout. Perhaps you need to be one to fuel the other, and Bobby certainly seemed to embody both throughout his life. But once the 1972 World Championship was over, he rapidly descended into the latter, sacrificing his genius to cult-like religious organisations and paranoid conspiracy theories. A pariah, a Jewish anti-Semite, his old, blotchy face looks like another person’s.

The story of Bobby Fischer and that remarkable match redeems what is otherwise a below-average documentary.

RATING **

Oli Davis

365 Days, 100 Films

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Films To Watch Before You Die #55 - Bad Boys (1995)

D.J. Haza presents the next entry in his series of films to watch before you die...

Bad Boys, 1995.

Directed by Michael Bay.
Starring Martin Lawrence, Will Smith, Téa Leoni, Theresa Randle and Joe Pantoliano.

Bad Boys is the directorial debut of Michael Bay and since the majority of his films have the same shots recycled over and over again maybe it’s the only one of his films with any visual originality, but is great fun nonetheless.

The film is an action comedy that sees Miami cops Marcus Burnett (Lawrence) and Mike Lowry (Smith) trying to uncover $100 million of heroin stolen from a police vault. The seized drugs need to be recovered within five days or Internal Affairs warn that the narcotics division of the Miami-Dade Police Force will be shut down. When escort Max is hired for a party and takes along her flat mate Julie (Leoni) what is meant to be a good time soon turns bad when French drug lord Fouchet kills the host of the party, ex-cop Eddie, and then Max.

Unsure where to turn Julie tries to contact Max’s friend on the force, Mike Lowry. However, with Lowry unavailable Marcus has to pose as his partner and find the girl before Fouchet gets to her. Needing to put her in a safe place Marcus takes her to Mike’s flat where she hides out with her dogs, who shit on Mike’s expensive rug. Mike and Marcus try to solve the crime and pretend to be each other as well as keep Julie under control in order to recover the drugs and save their own arses.

Bad Boys is full of over the top shootouts, car chases and hilarious quips and banter between the two partners. Bay’s debut was a huge box office success on a modest budget, but received mixed reviews from critics. The film is criticised as recycling old cop film clichés and stealing plenty of characters and plot lines from a range of other cop movies. In all honesty it was never going to win an Oscar and isn’t exactly the most magnificent film ever made, but it is great fun to watch if you want to switch off your brain.

Bad Boys is a film you must see before you die because of the on screen chemistry between Smith and Lawrence is pretty good. Apparently Bay wasn’t entirely happy with the script and the dialogue so allowed his two main actors to improvise. Despite his pitfalls as a director this was a pretty good decision and Smith and Lawrence, who are petty fun in their own rights, managed to bring to life the dialogue and allow for some great on screen fun.


D.J. Haza

Follow my blog at http://djhaza.blogspot.com/
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Thoughts on... Final Destination 5 (2011)

Final Destination 5, 2011.

Directed by Steven Quale.
Starring Nicholas D'Agosto, Emma Bell, Miles Fisher, Arlen Escarpeta, David Koechner
and Tony Todd.


SYNOPSIS:

A group of co-workers face a race against time to escape Death's sinister agenda after they survive a terrifying suspension bridge collapse.


For the last 11 years we’ve watched people get sliced, decapitated, hung, stabbed, impaled, and blown up, among other things, in the Final Destination series. What else could they possibly do in a 5th movie?

Like the first four movies we get someone who has a vision of a horrible accident about to happen and then rescues his friends, and possibly other, from the situation only to have death hunt them down and try to finish what he started. This time around we have Sam played by Fired Up’s Nicholas D’Agosto. He sees that him and his friends are supposed to die in a horrific bridge collapse, but safely gets a handful of his friends off their bus before it happens. Along for the ride are The Walking Dead’s Emma Bell, Tom Cruise look-a-like Miles Fisher, the Friday the 13th remake’s Arlen Escarpeta, Anchorman’s David Koechner, and a slew of people you’ve probably never seen before. As the movie progresses one by one they start to die in the order they would have in the accident they all avoided. Once they learn that death is out to get them they try to do whatever they can to avoid death once more.

In more ways than not this is exactly like the first four movies. Same set-up, characters you don’t care about, bad acting, death’s pattern is the same, etc. They do try and bring back what made the first two movies in the franchise entertaining and fun but they don’t end up executing it well enough. A lot of the deaths still feel very cartoonish because of the heavy CGI on most of them and the 3D adds nothing to any of the deaths.

They do try to add some small things that differ from the previous movies. For instance, if you kill someone who wasn’t already supposed to die then that would cancel out your death and you’d be off the hook. Also what they do with the ending I thought was very creative. I won’t spoil anything but they do find a nice way to tie in this movie with the first movie. While I did like the ending I did not like the, literally, last two minutes because they go out of their way to do something that is just even more ridiculous than most of the deaths in the movie.

As far as the acting goes your not going to find anyone here who is giving a good performance. All of the kids are mostly hamming it up every second their on camera and David Koechner is clearly there just for the comic relief. We get a pointless character in an agent, played by Courtney B. Vance, who is interested in finding out what is happening to these people that survived the bridge accident. Tony Todd makes a cameo appearance that isn’t much but he at least tries in his very short amount of screen time.

The deaths I found to be pretty weak. They actually started off great with the first death but then turned into great build-ups and then blowing it on the actual death. Most of the deaths don’t look too good either because they are all CG and it just makes them look too unreal. Had they at least maybe tried to use some practical effects I think the deaths would have had more impact that just looking like a cartoon.

All in all this movie does have some entertaining moments and the ending, except for the final two minutes, is done really well. It’s not as good as the first two movies in the franchise but it definitely beats part three, and is leagues better than part four.

Jake Peffer

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The Comedy Critic - Phwoar Horse

Adam Hollingworth casts a satirical eye over Steven Spielberg's War Horse...

There have been many great love stories in the history of cinema. Rick and Ilsa in Casablanca, Rhett and Scarlet in Gone with the Wind, Yuri and Lyra in Doctor Zhivago. Well, this week saw the addition of another great screen romance added to this swooning pantheon, a story of two lovers whose mutual desire and affection transcends the fear and horror of wartime. This love is of course between the heavily-accented country bumpkin Albert and his horse Joey in Spielberg’s latest film War Horse.

This isn’t the first time a sweet bestial romance has attained the kind of colossal momentousness afforded to mere human couples. Indeed, some could read the history of cinema as a sweeping chronicle of man’s growing affection for fitties of the animal kingdom. Oscar favourite The Artist is acutely aware of this fact, portraying as it does the unfaltering romance between a movie star and his dog in the form of a silent film, harking back to the early days of cinema when such affairs were more commonplace and less frowned upon by the law. Where is Valentin’s lady-friend Peppy when his house is burning down with him lying unconscious in it? That’s right; she’s hoarding all his belongings in a mansion paid for with the money accumulated from a career he kick-started for her. Typical gold-digger. The dog is left to save his life. And if it seems unlikely that any man would prefer the amorous affections of a dog to the gorgeous Berenice Bejo, consider that the man in question here is French. Enough said.

Dogs and other small animals have always been man’s best friend though (apart from deer, which if Disney is to be believed are much more likely to be shot), so cinema has always reflected this closeness, for example the heartfelt, childhood-scarring moment when Old Yeller is shot in the face. This is not merely the loss of a friend, but of a true loved one. Kids have got to learn it all from somewhere after all. In any case, it wasn’t long before men and women were hankering for beasts of a somewhat larger nature. Take King Kong for instance. It is still a common misconception that Fay Wray is screaming in terror when a big, strong ape squeezes her tightly in his hairy fist. They are clearly screams of ecstasy, and later on screams of sheer delight at the bravery of her partner in defending her honour from the lecherous advances of creepy crawlies and dinosaurs. Peter Jackson took this even further, and to his credit realised the whole love story with a touch more romance and tenderness than the original. After all, what girl wouldn’t go weak at the knees at the prospect of a private ice-skate around the frozen pool of central park? Kong might be a savage murderer, but that’s no excuse for interrupting his date with a frankly excessive amount of army trucks and rocket launchers. Girls in the thirties just weren’t cut out for that kind of excitement.

I could go on and on, but suffice it to say that War Horse takes a leaf out of the Airplane! book of horse-loving, but with slightly less off-hand callousness. Albert wouldn’t take off for an emergency in the middle of the night without planting a sensual good-night kiss on Joey’s nose, especially knowing what we do about a horse’s natural anatomical advantages over humans. When angry they can be dangerous lovers, and my mate once watched a really dodgy video proving it.

It is odd that such a breath-taking film should come from the likes of Steven Spielberg. Not only is the closest he’s come to pure screen romance between a young child and a clearly diseased long-necked alien, but for my money he hasn’t made anything worthy of his talents for nearly twenty years. In 1993, you see, he released both Jurassic Park and Schindler’s List. The former was always going to be a triumph, being precisely the kind of escapist rollicking adventure he had at that point specialised in since the early seventies. The latter was a much more unlikely success, but lightning truly struck and Spielberg, against all the odds, created to this day the most emotively powerful and sensitive, not to mention artful, fictional cinematic Holocaust piece. This in turn caused Spielberg to miss the boat: he stopped making fantastical adventures and started making worthy serious films, and in the process forgot how to do the former genre well (witness as testament to this the abysmal fourth Indiana Jones film). Instead of making really fun films every agreed were brilliant, we instead got the saccharine A.I. Artificial Intelligence, the terminally dull Munich, and the over-long and more importantly over-rated Saving Private Ryan (the first half an hour is admittedly gruelling and ground-breaking, but the film’s three hours long and most of that is about saving Matt Damon from certain death. Just let him die for god’s sake!)

However, whilst the woeful dead-behind-the-eyes The Adventures of Tintin forbids me from hailing War Horse as a return to form for Spielberg just yet, it is nonetheless an impressively moving and beautiful film. The problems with the often plodding episodic plot are issues with the novel and not with the film, but at their best these narrative tangents effectively illustrate the futility and poignancy of World War One, for example when a British and German soldier combine forces and friendly banter to cut Joey free from barbed wire. Janus Kaminski’s photography is utterly gorgeous, leading to some sublime image-making, from the soldiers mounting their steeds in a wheat-field to the dusky-red return of Joey to Dorset which recalls the close of Gone with the Wind. John Williams’ music is similarly superb, sacrificing memorable leit motifs for a score which complements the emotional dynamic of each scene of the film. Most importantly, it’s really well directed. Spielberg’s staging is uniformly excellent, with some scenes leaving an indelible impression, such as the execution obscured by the rotors of a windmill, and an evocation of trench warfare that is as intense, though not as brutal, as the celebrated D-Day landings battle in the aforementioned WW2 snore-fest.

Oh, and the horse is pretty good too.

Adam Hollingworth

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Spielberg set to direct Moses epic Gods and Kings

Steven Spielberg (War Horse, Schindler’s List) is close to signing on to direct a Braveheart-esque version of the story of Moses for Warner Bros. The film, which has a working title of Gods and Kings, will include him forming an army, freeing the Hebrew slaves, wandering in the wilderness, receiving the Ten Commandments and parting the Red Sea.

Michael Green (Green Lantern) and Stuart Hazeldine (Exam) have penned the script and the film will have a gritty and realistic tone similar to Spielberg’s Saving Private Ryan. The studio first showed Spielberg the script back in September and talks have now intensified. It is expected that he will officially agree to direct soon and if he does sign on, the movie will likely start filming in early 2013.

Spieleberg is currently working hard on two other films, having just finished shooting Lincoln with Joseph Gordon-Levitt, Daniel Day-Lewis and Jared Harris, while also starting to make the robot uprising movie Robopocalypse.

Emma Hutchings

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Movie Review - Megan is Missing (2011)

Megan is Missing, 2011.

Directed by Michael Goi.
Starring Amber Perkins, Rachel Quinn and Dean White.


SYNOPSIS:

Megan is an outgoing, confident 14-year-old whilst her best friend, Amy, 13, is not so self-assured. Megan meets a boy online, Josh, and agrees to meet him. Next thing Amy knows, Megan is gone. In pursuit of finding her best friend, Amy tells the police about Josh – but then Amy goes missing too…


Megan is Missing has caused some controversy since its release, banned in New Zealand for ‘glorifying young sexuality’. Elsewhere, mothers are taking away their children’s computers, outright banning them from spending time on the Internet.

The debate about protecting children from the Web is pretty controversial in itself. We have come to rely on technology and connecting to the Internet for all manner of reasons, be them completely innocent, like checking a fact for homework, or something a lot more sinister like ‘Josh’ has in mind. However, whatever anyone’s views on letting their children access the world wide web, Megan is Missing is a shocking story to make you think.

We follow the 14 year old Megan, not particularly a likeable character – but we see she does have a nicer side which she hides to avoid tarnishing her popularity with the ‘cool kids’ who drink, smoke drugs and have a good time. Megan is introduced to Josh, a faceless online ‘friend’ who claims his webcam is busted by his brother, and then chewed by his dog. You’d be sceptical right? Ok, well set your mind back to your early teens and tell me you wouldn’t just carry on chatting to kill the time. It’s a worrying thing, many of us may have chatted to any sort of person when we went through that phase of chatting to people online – and if you think I’m being unrealistic, just look at the popularity of Chat Roulette and other such forums.

Anyway, Megan agrees to meet with Josh – he seems shy, after seeing her at a party and being too nervous to say hello. The two arrange to meet behind a diner – and that’s the last Amy hears from her best friend. Anxious to find out the truth, she chats to Josh who very quickly turns aggressive, and before long is tailing Amy to teach her a lesson for blabbing to the police.

Megan is Missing works to a pretty strong degree in telling us that chatting to strangers is definitely not safe online. It may seem harmless, but meeting up with them is also not a particularly wise move. No one would like to think they are naïve enough to agree to meet someone they’ve spoken to online, but the sad truth is that it happens all the time. Megan’s character may seem a little emphasised and quite unlike anyone you know – but Megan’s do exist, and even those less confident, and less damaged by their past, are still willing to agree to meet with seemingly harmless online friends, who could be as perverted as the predator in this film.

Preaching aside, the film takes an interesting stance on technology. Acting as a compilation of mobile phone video footage (a la IPhones Facetime), alongside news reports and video camera footage, Megan is Missing creates a documentary that takes you to pretty dark places. It’s mostly well-thought out and put together, but a minor gripe I have with this film is its dealings with news reports. I have a limited idea on how US news reports are put together – they do tend to use more visual elements like graphics and cheesy transition effects, but the use of them in the film looks more like parody as opposed to replication, which doesn’t really sit well alongside the sinister subject matter.

The acting in the film is great, Amber Perkins as Amy Herman is a particular highlight. Although some scenes seem to linger a little too long and not seemingly with the intention to discomfort, generally the story plays out effectively. The marketing of Megan is Missing is quite interesting too, as it claims to be a fictional drama ‘based on real events’ – whether this is an amalgamation of cases of child abduction, or replicates a particular case, I am unsure.

Get hold of this DVD and watch for a thought-provoking look at the web, and check out the extras for a shocking statement from Marc Klaas, the owner of Klaas Kids, a foundation which aids parents with missing children – as he himself had a young daughter abducted, raped and killed.

Cat Fyson

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Films To Watch Before You Die #54 - The Hurt Locker (2009)

D.J. Haza presents the next entry in his series of films to watch before you die...

The Hurt Locker, 2009.

Directed by Kathryn Bigelow.
Starring Jeremy Renner, Anthony Mackie, Brian Geraghty, Christian Camargo, Evangeline Lilly, Ralph Fiennes, David Morse and Guy Pearce.

The Hurt Locker is the gritty tale of a three-man bomb disposal team in the United States Army during the Iraq War. With every day being possibly their last as they dispose of hidden and improvised bombs around the dangerous streets of Baghdad the three of them need to work closely together. Sergeant J.T. Sanborn and Specialist Owen Eldridge guard their new team leader Sergeant First Class William James as he works to disarm the IEDs.

However, James is a bit of a wild card and a maverick. His reckless actions and who cares attitude make his team nervous and tensions mount. As each of them try to deal with the ordeal of their job and the possibility of being blown to bits every time they leave the base they clash regularly. Each of them want to make it out Iraq in one piece and count down the days until the tour is over, but for James the rush is irreplaceable and normal life just doesn’t cut it for him anymore.

The Hurt Locker is a tense and edge of your seat movie that brings home the constant threat of death that plagues soldiers whose jobs it is to disarm bombs in a war zone. The constant tension is enough to drive any person mad and the strain shows on the soldiers. Although some critics and veterans have condemned the film as not being realistic enough, they have admitted that it does more than most other modern films to bring the reality of war to audiences. The main criticism is that the uniforms, lack of radio communication and bad behaviour of the soldiers would not be found in such situations, but why let the truth get in the way of a good story?

The Hurt Locker is a film you must see before you die because Kathryn Bigelow’s low budget film earned her an Oscar for Best Director and she became the first woman to win in that particular category. With a budget of only $15 million it is the lowest grossing film to ever win the Best Picture Oscar and fought off competition from Bigelow's ex-husband, James Cameron, and his immensely expensive film Avatar. A triumph in my eyes for substance over grossly expensive special effects as it was nominated for 9 Oscars and won 6.


D.J. Haza

Follow my blog at http://djhaza.blogspot.com/
Follow me at http://www.facebook.com/djhaza

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Second Opinion - Carnage (2011)

Carnage, 2011.

Directed by Roman Polanski.
Starring Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly.


SYNOPSIS:

Two sets of parents meet to discuss the matter of one child assaulting another. Things steadily go from bad to worse.


Everything about Carnage is quite simple, both the plusses and minuses. I know it’s early in the game to say this, but Carnage might be one of my favourites of the year. Now I know that’s also starting off on a high note, so I’ll be sure to bring it all back down by the end, but first the good aspects.

Taking a look at the film’s synopsis, you might get a bit bored. There isn’t really much more in terms of spoilers than can be discovered by watching the trailer or reading a review. The idea ‘four people talk about their children and by the way they don’t ever leave the home for the entire film, no really, not even to talk to the neighbours’ might sound boring but the time does, to form a cliché, just fly by. I’m sure the short eighty minute runtime helps, but there wasn’t ever a point of my mind wandering or wondering if the story was ever going to end.

The film’s simplicity and short time does have its downfalls. The characters aren’t ever shown under a bright spotlight in terms of their background, apart from one character’s mother calling. The lack of outside influence (the nearest anyone gets to leaving is pressing the button for the lift) and any other prominent characters makes the film feel like a theatre production. This is neither a positive or a negative; it just shows that the movie doesn’t completely abandon the feeling and ideas from the play Le Dieu du Carnage, which Yasmina Reza also wrote.

This other mark of simplicity would fall flat on its backside if the performances and script weren’t up to scratch. Nothing is ever used to wake the audience up, no cheap tricks used to keep the audience’s attention. And that’s what I enjoyed most about the film. The script isn’t laugh a minute (it defines the word ‘dramedy’), but what comedy there is is fantastic. Each character brings along their own worldview and baggage to create tension.

Each cast member gives a great performance. And, I think importantly, no one actor or character is overshadowed by another. You understand one point of view, even if an absolute bastard is bringing it across. Speaking of, contrary to what I just said, I think a little special praise has to go to John C. Reilly.

Despite never fulfilling my wish of saying the words ‘For your health!’ (Internet trawlers will be aware of this other fine, nuanced Reilly performance), the character journey of Michael Longstreet is probably the most fun. Reilly seems to revel in the part, enjoying starting off as a sheep that attempts to make everyone happy, eventually devolving into a booze swilling, cigar smoking git. But that’s just personal preference. Christoph Waltz looks, at times, like he could quite easily kill someone with his bare hands. Kate Winslet throws up everywhere. And Jodie Foster breaks down over art books and aftershave. There’s something for everyone!

Each character’s ups and downs just show that, as said by the characters in the film, that everybody lies. Not to be all Gregory House about it, but the journey of Michael is the prime example. As one thread is discovered, everything starts to unravel for the characters. Because of the lack of time with the characters, you don’t feel as emotionally involved. But this probably helps as you laugh with and at everyone.

The fact that there is only surface shown throughout the film, despite the revelations of each character, means that there isn’t a deep life lesson or moral to be taken from this movie. Which is a great thing. The film doesn’t try to teach you anything; it just shows these four people as they are. The obvious message is that parents are as bad, sometimes worse, than their kids. The final shot displays this easily enough without any of the characters expressing it outright. But as hinted earlier, it’s the typical message you could have gotten just by reading the synopsis or watching the trailer.

The enjoyment comes from seeing these four people break down. Nothing truly horrible happens. Nothing extreme happens. Carnage just shows people suffering from everyday problems. A spouse who spends a little too much time on the phone instead of raising their child. A spouse who tries to make everyone feel better and doesn’t actually stand up for anyone. Typical problems we may all come across. Carnage might actually be a great movie to watch, a simple story, before the leotard wearing super beings of the summer blockbusters come along and make everything explode.

Matt Smith

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