THE SPIDERWICK CHRONICLES (2008) - Mark Waters

Kids’ movies have come a long way from cartoons and furry puppets. It seems with the evolution of technology, storytelling in kids’ movies has also grown up to some respect. And with the arrival of Harry Potter, things have been kicked up yet another notch. Kids in these movies now have to deal with adult situations mixed with the fantastical. And that means there’s also something for the adults in the audience to get to grips with in the movie. One such movie, The Spiderwick Chronicles, was released this year. Yet despite being a pretty strong movie, it seemed to disappear pretty quickly.

Adapted from the books by Holly Black and Tony DiTerlizzi, The Spiderwick Chronicles tells of the Grace family. Helen, her daughter Mallory and identical twin sons, Simon and Jared move to an old house that once belonged to Helen’s elderly Aunt Lucinda. Helen has recently divorced and is looking for a new start for her family. While Mallory and Simon seem fine with the move, Jared is finding it hard to control his anger, while missing his father. When strange things happen within the house, Jared is blamed. Cleaning up the mess, Jared discovers an old book written by Aunt Lucinda’s father, Arthur. The book, a field guide to recognising and dealing with goblins and fairy folk lands Jared in trouble with the a shape-shifting Ogre named Mulgarath, determined to get his hands on the book so that he can rule the world.



For a kids’ film, The Spiderwick Chronicles is a pretty scary watch. I know, I know, it’s a film about goblins and fairies. But it’s a testament to the crew that they can create quite an atmosphere in a film that’s for children. But it’s not surprising, considering the crew involved with the film. John Sayles worked on the screenplay. Effects legend, Phil Tippet who’s worked on such films as Star Wars, RoboCop and Starship Troopers designed the creature effects. James Horner did the music, and Spielberg’s personal editor, Michael Kahn edited the film. With such heavyweights behind the film, it’s not surprising that the production values are so high.



The acting is pretty top knotch from the cast. Freddy Highmore, who made quite a debut in Finding Neverland plays both Simon and Jared in the film. Highmore’s American accent is a little off, but his performance isn’t. He’s quite different in both roles. It’s more than just a different hair style that separates the twins. While Jared is more the central character, there’s plenty for Simon to do, and both characters are portrayed well. Sarah Bolger plays Mallory, and also brings the older sister bitchiness to the film with ease. The adult actors in the film could quite easily have phoned in their performances, but give it socks. David Strathairn plays Arthur Spiderwick, the man obsessed with the Fairy world. He’s suitably ditzy in playing the professor, and brings a certain gravitas to the role. And crazy old Nick Nolte turns up as Mulgarath. Nolte’s always a joy to watch. You’re never quite sure what he’s going to do, and for the role of the villain, he’s perfect.

As kids’ movies go, The Spiderwick Chronicles is one of the better ones. While it is for kids, there’s the themes of separation and abandonment by a parent also at play. It’s almost Spielbergian how the film deals with an absent father. And the production values also suggest this. But that aside, it’s a pretty good film. And one that’ll keep adults engaged as well as kids.


7/10

THE BOURNE ULTIMATUM (2007) - Paul Greengrass

In the year of the three-quel, we've seen third parts of Pirates of the Caribbean, Spider-Man, Shrek, and (although the title may suggest otherwise), Ocean's Thirteen. Sequels to 28 Days Later and Die Hard have arrived on screen. And, aside from a very strong offering in 28 Weeks Later, all these films have been rubbish. Empty-headed, cash in, disposable crap that have contributed to making 2007 one of the worst years in recent history in terms of film. It has been depressing. And now, another three-quel bursts onto the screen with the third part of the Bourne saga, The Bourne Ultimatum. And mercifully, this three-quel is not only the best of the series, but is a very strong contender for film of the year. All I can say is, thank goodness for filmmakers like Paul Greengrass.

The Bourne Ultimatum kicks off immediately after The Bourne Supremacy ends. Uber-badass, Jason Bourne is fleeing Moscow police after causing somewhat of a ruckus in a Moscow tunnel. Bourne states quite clearly to a trapped officer that his beef is not with him. He's no arbitrary killing machine. Bourne is a man with a conscience. Six weeks later, Bourne discovers his name in an article written by one Simon Ross, a journalist for The Guardian newspaper with a penchant for getting involved in situations way over his head. Bourne arranges to meet this journalist in order to start what may be his most personal vendetta. Bourne wants to know who made him what he is. However, the CIA aren't about to let their most dangerous rogue agent get too close to home, and CIA deputy director, and head of a project simply known as 'Blackbriar,' Noah Vosen wants Bourne's head on a plate.



What is immediately clear after watching The Bourne Ultimatum is the fact that with each film he makes, director Paul Greengrass becomes a better filmmaker. Doug Liman left the director's chair after The Bourne Identity and Greengrass took over helming duties for The Bourne Supremacy. In Supremacy, he delivered a far more interesting and exciting film than the predecessor, with star Matt Damon settling more comfortably into the role of Jason Bourne. In The Bourne Ultimatum, Greengrass has upped the ante even more, and has made the best film of the series. Bourne goes all out to discover his roots. He has nothing left to lose and will go anywhere and do anything to finally discover who he is and where he came from. What is so compelling about the character, however, is he's a reluctant action hero. While James Bond is a remorseless killing machine, dispatching bad guys with a grin and a quip, Bourne just does what is necessary to get to his goal. He's not out to kill 'faceless Guard number two.'

Greengrass' direction is on top form here. His style is almost documentary-like, as seen in last year's superb United 93, and it is in full effect here. He uses handheld cameras and a frenetic editing style that is chaotic, but keeps the action fresh. In particular, one close-quarters fight sequence in a Tangiers apartment, is as chaotic as it is violent. But it's to Greengrass' credit that even the scenes that don't feature this almost trademark style retain a nail-biting tension. When scenes aren't as action-oriented, the film still keeps you on the edge of your seat, a true mark of the director's talent. There isn't a car chase that matches the climactic one in Supremacy in this film, but there are still some fantastic chase sequences. There isn't a moment in the film that leaves you bored.



The cast, as expected from the series, doesn't have a weak link. Matt Damon returns, obviously, as Jason Bourne, and has never looked more comfortable in a role. He's as tough as ever, while at the same time has the humanity that makes Bourne a compelling character. The support cast, once again, is filled by some brilliant character actors. The previous Bourne films had two excellent bad guys in Chris Cooper and Brian Cox. This time it's David Strathairn's turn to fill the role. Strathairn is a highly underrated actor, and proves this in another great turn as the ruthless Noah Vosen. Returning from the previous films are Joan Allen and Julia Stiles, both with more to work with than the previous films. Rounding off the cast are Paddy Considine (check out the fantastic Dead Man's Shoes) and the always great Albert Finney.

It's a pleasant change to have a sequel that isn't a steaming pile of shit. And it's even better to get one of those very rare things- a third film in a series that tops the previous two. But the Bourne Supremacy is exactly that. While I'm sure it isn't exactly a realistic portrayal of the CIA, Greengrass' style grounds the film with enough realism to prevent Bourne from looking like a superman. Greengrass is one of the most talented directors working today. While I'm sure this will be the last in the series, it's fitting that the film should go out in style. The Bourne Ultimatum is the best actioner of the year, and is definitely in consideration for film of the year. Fantastic.


9/10

GOOD NIGHT, AND GOOD LUCK (2005) - George Clooney

As well as being a world famous, Oscar-winning actor, George Clooney also dabbles with directing. After 2002's Confessions Of A Dangerous Mind, 2005 saw Clooney approach the subject of journalism and the McCarthy Witch hunts in 2005's Good Night, And Good Luck. Set in 1953, Good Night, And Good Luck tells the story of CBS journalist, Edward R. Murrow who, being disturbed by Senator Joe McCarthy's attempts to expose the Communist threat in the US, set about taking on the Senator and his paranoid, bullying tactics. Backed up by his team of reporters, led by producer Fred Friendly, Murrow put many noses out of place with his reports on McCarthy, which eventually led to a showdown between the two figures. A showdown which cost many people their jobs and careers, including Murrow's own.

Good Night, And Good Luck is a fascinating character study of a group of people who deviate from the usual style of balanced journalism to tackle a subject they feel strongly about. What they see happening to their country outrages them, and despite their own careers, they dive into action to inform people using a medium Murrow himself is worried is descending into a tool that only 'entertains, amuses and insulates' the people. I get the feeling he'd be somewhat appalled at the state television is in now, as news corporations cannot be trusted to bring the people the whole truth. Indeed, the film itself draws some very interesting parallels with the question of freedom of speech and the presentation of fact on the news within the US nowadays.

While Clooney is the star player in the production, as director, co-screenwriter with Grant Heslov and playing Murrow's producer, Fred Friendly, the stand out performance comes from David Strathairn as Edward R. Murrow. He delivers Murrow's television broadcasts with intensity and urgency, while never descending into the sort of desperation that may come with such a character. Off-camera, Strathairn shows us a man who used his brain as his weapon, never vitriol or slander. Clooney surrounds Strathairn with a cast of strong actors including Robert Downey Jnr., Patricia Clarkson and Frank Langella. Some of these actors are given subplots that aren't quite fleshed out enough, however the central story is excellently realised. Clooney shoots the film in black and white, matching the era. The scenes where the team brainstorm are staged with a realism that gives you the feeling you are sharing the room and the urgency of the situation with the characters. Clooney uses actual footage, including that of McCarthy himself, for the television reports. A decision that is well made considering the subject matter of the film. Overall, Good Night, And Good Luck is an excellent depiction of an era where television was in it's infancy. And a film that has some very interesting parallels with the state of the world today.