We are a clacking cacophony of a bag filled with pearls,
we are inveterate asymmetries of fantastic worlds,
we are an unpredictable future that slowly unfurls,
we are boys in a long-forgotten playground chasing girls,
we are the unremarkable window stains left by whorls.
Hither all greys, thither all colour:
this universe has been one of squalor,
with wits unlike swords ever duller
and, somewhere, one last disused muller.
We are but made of stardust that each night swirls
through dimly lit streets in small towns, curls
up to young souls and away all the innocence it hurls.
You bleed the night sky bright,
swallow the moon-covering cumuli
like cotton candy on a hot summer’s day.
How wasted your wings must be,
carrying the burden of our specters;
how sleepy your mind must be,
lending all your wishes to us.
You quench the rain with sunlight,
dismantle the shadow-casting nimbi
like a toy after a prurient afternoon.
To walk through intimate places, deserted of familiar faces,
is to remember all the years of drinking and laughing with peers.
Who am I if not the one walking beside you,
what if not eyes tinged in your smile each day anew,
if not sighs permeated with your optimism so refined?
Who am I if not the one repaying you in kind,
what if not a hand in yours suffused with immutable peace of mind,
if not a soul filled with blue skies imbued in morning dew?
To meander following traces, memories of warm embraces,
is to regret teasing how one day we’d move on without any tears.
I am become Void, the emptiness of our hearts.
Hold me firmer, halt my mind churning, murmur
the story of how we nurtured our love.
How we went from great fervour to a soul merger,
with the inevitable always lurking, growing
each time we jerked around and shirked
arguments about increasingly irking quirks.
We’re squirming, twisting and turning,
cursed to serve our own thirst only.
We’re performers, transformers oscillating
in between mourning, smirking, playing with dirks.
Sometimes I yearn for the past,
your face in turn is always stern.
If only we could learn to leave,
discern a less burking future –
if nothing else it’s what we’ve earned.
The Lego Movie is the first CGI-animated film set in the beloved, blocky world inhabited by little yellow figurines and tells the story of how The Special, Emmet (Chris Pratt), came to free all the Lego worlds from the tyranny of President Business (Will Ferrell).
Emmet is a rule-abiding citizen who listens to the one popular song, ‘Everything is Awesome’, and hasn’t had an original thought in his life (bar a double-decker couch, which everyone agrees is the worst idea ever). Emmet doesn’t have any friends since, although being a perfectly nice guy, he lacks any personality. He leads a lonely, ordinary life until he runs into Wyldstyle (Elizabeth Banks) who thinks, due to a misunderstanding, that he is The Special mentioned in the prophecy of Vitruvius (Morgan Freeman). He will have to fight against and take down the evil President Business and his sidekick Good Cop/Bad Cop (Liam Neeson).
When you think The Lego Movie, your first thought might not necessarily be excitement. Sure, the toy will probably bring back fond childhood memories, but the idea of using the little yellow figures and their world for the setting of a film appears ludicrous – even if stranger concepts have made it to the silver screen. The Lego Movie however not only succeeds, it outdoes pretty much every other animated film in the process.
The film is aware of what it is at all times, and the writers have clearly taken great pleasure in not only the self-deprecating humour but also grabbed the chance to parody everything from Hello Kitty to Abraham Lincoln to Star Wars. The voice actors read like a who’s who of celebrities who have knack for not taking themselves too seriously: the Green Lantern is voiced by Jonah Hill and Superman by Channing Tatum. Nick Offerman voices Craggy, while Cobie Smulders does Wonder Woman. For some jokes, the producers went all out: C-3PO is voiced by the original actor, Anthony Daniels, as is Lando, which sees Billy Dee Williams reprise his iconic role. Shaquille O’Neal meanwhile simply voices himself.
None of this distracts from the brilliance of The Lego Movie‘s main cast: Chris Pratt, the friendly, moustached receptionist from Her excels. Morgan Freeman channels his inner god from Bruce Almighty as a Gandalf-like wizard and Elizabeth Banks tones the Effie Trinket craziness down several notches to star as lovable wannabe rebel Wyldstyle. Her boyfriend, Bruce Wayne’s alter ego, is voiced brilliantly, since very reminiscent of Christian Bale, by Will Arnett. Alison Brie is fantastically annoying as Uni-Kitty. Will Ferrell delivers a very strong performance as President Business, especially following the twist at the end. The true star of the film however is Liam Neeson, who switches between Good Cop and Bad Cop with such ease and funny excellence, it makes you sad that he so often wastes his talent on largely plotless action thrillers.
The jokes, nods and references to other films are almost too many and delivered so quick wittedly that it can be hard to keep track of all of them – a fact which proves The Lego Movie to be one that recommends itself for several viewings. Whether it’s Batman declaring that “I only work in black. And sometimes, very, very dark gray.” or Abraham Lincoln leaving the assembly because ” A house divided against itself… would be way better than here.” , it’s quote upon quote of brilliant writing. There’s even a great Night Valian moment when President Business is announcing on his broadcast to “take extra care to follow the instructions or you’ll be put to sleep, and don’t forget Taco Tuesday’s coming next week.”
The Lego Movie is a film for children aged 5 to 99, and will entertain you with jokes, lovable characters, truly gorgeous animation and a twist at the end that will break your heart (in a good way). Do yourself a favour and rush to the cinema as soon as you can to indulge in what will quite possibly remain the best animation of the season – it’s certainly put the bar almost unattainably high for others.
Besser spéit ewéi ni, an no enger hellewull technescher Schwieregkeeten an aneren Excusen, geet ët an onser zweeter Episod ënnert anerem ëm déi aarm Leit vun der CSV, déi elo just nach Deputéiert sinn, an ëm Netflix, déi probéieren d’Telé vun der Zukunft ze ginn.
Den Intro ass wéi d’leschte Kéier och schon vum Kevin MacLeod.
Fast forward, northward, shoreward to an altered altar:
the menacing welcome, the threat of a reckoning
has haunted me throughout a battle continuously uphill.
Yet now here I stand, silent and still,
ready to steer my soul into a new constellation,
knowing with this jump my beginning will be lost like Thracian.
But I will remember this blinding irradiation:
the moment I finally synced with this universe’s creations,
the day I scarred the face of god
and burnt all the lands from Jerusalem to Riyadh.
Dallas Buyers Club tells the extraodinary and true tale of Ron Woodroof (Matthew McConaughey), a Texan hustler who lives fast and appears to be doomed to die young when one of his countless, condomless escapades results in an infection with HIV. Woodroof isn’t a nice or relatable man by a long shot: he cons people out of money and uses it to pay for alcohol, cocaine and girls. He is also, largely due to the reality of his sociocultural circumstances, a massive homophobe.
When he is diagnosed with AIDS and told that he only has thirty days left to live, he first goes through the familiar stages of denial and anger. It is the third stage, bargaining, that becomes the most intriguing, and the driving force for the rest of Woodroof’s life. He soon learns that the FDA hasn’t approved many of the drugs available to HIV patients abroad and that, in fact, the drugs given to him at the hospital have only made his situation more dire. Being the hustler that he is, he makes a business deal with a doctor in Mexico to smuggle back pills and sell them to other patients. Because selling non-approved drugs is illegal, he creates the Dallas Buyers Club with the help of his transgender business partner Rayon (Jared Leto). This cunning trick allows them to sell montly memberships and provide the drugs for free. Of course, neither the FDA nor big pharma nor the hospital doctors are too happy about this and keep throwing stones in their way.
McConaughey delivers what will surely turn out to be a career-defining performance as a scaringly emaciated yet emotionally ablaze character who goes from homophobic rodeo cowboy to business yuppie. Indeed, more than his business acumen, Woodroof’s transformation from homophobe to humanitarian makes for an intriguing plot. This metamorphosis culminates when Ron and Rayon run into one of his old acquaintances at the supermarket: when his friend refuses to “shake a faggot’s hand”, Ron wrestles him down and forces him to do just that. To the film’s credit, it however refrains from pretending that Ron’s change of heart is anything but a selfish one: it wouldn’t have ever occurred hadn’t his suffering overlapped with theirs.
Jared Leto’s performance as Rayon is compelling and crushingly authentic. But – and it’s a big but – you also can’t help but wonder whether there wasn’t any transgender actor who could have done a better job. It’s impressive that the make-up budget was a mere $250, but for a film in which its characters fight so hard against social stigma it’s incredibly sad that the director Jean-Marc Vallée and his producers fell short of using such a perfect opportunity to fight a stigma themselves. This matter, sadly, distracts greatly from Leto’s acting, but perhaps it’s asking too much of Hollywood (although it really isn’t).
There is a subtle but important juxtaposition between Leto and McConaughey’s characters: the former is driven by a desperation to not die, while the latter is driven by his rage to live. Rayon hides the fear behind flamboyance, Ron makes no attempt to hide his anger at the disease, the FDA and the hospital staff – but in the end, they both are the same: they want to live. Indeed, neither McConaughey nor Leto ever play people who are ill, they play people who have an insatiable hunger for life. The sadness lies in the audience’s knowledge that their wish won’t be granted.
The rest of the cast is, unfortunately, almost entirely forgettable because the script doesn’t give them much character depth. Denis O’Hare does his best to portray a nemesis as a doctor who believes he is helping patients but has become corrupted by the lies of big pharma. Jennifer Garner’s character might have been meant as the audience’s point-of-view as she goes from critical doctor to supporting Ron’s quest to import non-approved drugs, but she disappears almost entirely under McConaughey’s tour-de-force every time she is on screen.
Dallas Buyers Club might not make you cry (although Rayon’s death will definitely bring you very close to tears), but you won’t walk out with a smile on your face either. As life-affirming as it is, and despite some comical moments (notably when Ron dresses up as a priest to smuggle drugs across the Mexican-American border) it is, and throughout the film always stays, a tragedy. Vallée’s direction is remarkably held-back and almost plain, allowing McConaughey to dominate the screen and carry the film with the performance of a life-time.
Her stars Joaquin Phoenix with a tour-de-force performance in what is not only Spike Jonze’s most accomplished work since 2002’s Adaptation. but his greatest masterpiece yet. Set in the near-future (it looks like it would be sometime in the 2020s, although it is never fully established), Her tells the story of Theodore (Joaquin Phoenix), who is battling his melancholia and trying to gain the strength to sign his divorce papers from the love of his life, Catherine (Rooney Mara). One day after work – he pens letters on behalf of other people – he walks past an advert for OS¹, the world’s first operating system with an artificial intelligence. Intrigued, Theodore buys it and soon finds himself confronted with the voice of a female AI, Samantha (Scarlett Johansson), who understands him like nobody has in a long time. He falls in love with her – and she with him.
Theodore is a reclusive romantic at heart (illustrated beautifully through his passion for his work), and spurred on by his best friend Amy (Amy Adams) pursues his feelings for the new woman in his life. The initial sadness here stems from the fact that the audience knows that Samantha is only a rebound, and that it can’t end well. The film’s merit lies in having you clueless all the way to the end about how their relationship will fall apart.
Make no mistake: Her isn’t a love story. Her isn’t even about how techology influences human life. Catherine is the only person in the film who doesn’t understand Theodore’s love for an AI – keeping in tune with her character as symbolising not only Theodore’s past but that of an outdated mindset (which, intriguingly, is the audience’s present). In fact, when talking to the receptionist at his workplace, Paul (Chris Pratt), Theodore’s mention that Samantha is an OS doesn’t even get as much as the bat of an eyelid by Paul or his girlfriend. You can’t help but feel that this acceptance is a succinct metaphor for society’s current battle to accept homosexuality and non-cisgender identities. In the future, we’ve overcome that pitiful state: love is love, period.
Visually whimsical and, thankfully, very held back on futuristic landscapes, Her lives off of the dialogue between Theodore and Samantha. Indeed, she never takes a physical form – strangely, as you might argue, since such a feat would be technologically trivial, and so surely a very conscious choice by Jonze. It’s a great choice at that, since you are forced to put yourself into their minds, this third space beyond the screen that only really exist between him and her. This feeling is not only reinforced by blacking out the screen completely when they first have sex with each other, but also through a rather creepy but powerful scene when Samantha has a girl act as her surrogate so that she and Theodore can be physically intimate.
Phoenix delivers a heart-crushing performance as he goes from depressed loner to crazily in love to lost soul. Jonze manages to constantly wrap you in a sense of melancholia even in the film’s happier moments, as the world continuously breaks down around and inside Theodore. Scarlett Johansson carries much of the film merely with her voice as she discovers her identity and grows with and eventually beyond Theodore. Chris Pratt is poignantly held back in his portrayal of Paul, while Amy Adams’ plays the understanding friend with the beautiful restraint that’s needed to leave the screen to Phoenix and Johansson.
Her might be set in the future and feature an AI, but it is ultimately a powerful, honest look at human relationships, particularly of love and the end of it. We fake things – like Samantha fakes sighing when talking to Theodore – and we let ourselves get carried away by the bubble we create around ourselves and fill with little truths. We laugh, we love, we cry – and in the end it doesn’t so much matter who caused those emotions, the important thing is that we felt them at all.
Her would have “only” received a rating of 4.5 stars, but as the movie fades out, Theodore breathes in and sighs – a minute and wonderful detail that elevates Jonze’s latest film to perfection. This is one not to miss, despite its depiction of a future in which horrible moustaches are en vogue.
At first look, Cuban Fury appears like one of those guilty pleasures that doesn’t need much justification beyond the fact that it’ll make audiences laugh. But, in what isn’t entirely unsurprising for a comedy starring Nick Frost, there is a lot more to like.
The movie tells the story of Bruce Garrett (Nick Frost), a lathe designer who was a gifted salsa dancer as a child but gave up on his dream when he was beaten to a pulp by bullies on his way to the UK National Salsa Championship. Although he enjoys technical drawing, he is a man without confidence and joy, a lack of spirit that is only made worse by the constant bullying coming his way courtesy of work colleague and alpha male Drew (Chris O’Dowd). When new boss Julia (Rashida Jones) arrives from the US and reveals that she loves salsa, Bruce’s heart skips a beat. He decides to go back to his old dance teacher Ron Parfait (Ian McShane) to freshen up on his moves so he can win Julia over with his passion. Drew, ever the restrained gentleman, meanwhile proudly proclaims he will do everything in his power to sleep with her.
There isn’t much more of a plot to the film, and that is perfectly fine because it lives off of its silly slapstick humour and the cast’s willingness to make fools out of themselves. Cuban Fury certainly lacks some of the craziness of Frost’s work with Simon Pegg, but it has just as much charm. In case you are wondering (and of course you are): yes, Simon Pegg does have a cameo appearance, and it’ll make you laugh out loud because it makes an absurd moment even stranger.
One of the film’s best features is that Bruce Garrett isn’t simply the chubby loser who has to convince his love interest that he’s a better man than the misogynist liar she’s currently hanging out with; it is, in fact, clear from the onset that Julia has taken a liking to him (even if he, in his lack of confidence, can’t see it). Refreshingly, and contrary to stereotypical rom-coms, the supporting cast receives great treatment, too. While Olivia Colman does a good job of the sort-of-alcoholic sister Sam, the true star is Kayvan Novak as over-the-top flamboyant Bejan, a fellow salsa dancer who befriends Bruce. You could even go as far as claiming that Novak steals the scene each moment that he is on screen, whether he is talking about throwing a grenade into some “bitches” at the club, or casually mentioning that he has to leave for his ball-wax appointment.
Frost and O’Dowd play well off of each other, but it is in the climactic dance-off on the roof that they both come into their own and deliver the fight that may just be the reason for the film’s Cuban Fury title. “What happens at lunch stays at lunch” they proclaim before proceeding to show off their dance skills to each other in increasingly ridiculous moves all the way to backflips. If you want absurdly silly, this is it.
Frost and O’Dowd both impress, unsurprisingly, with their comedic timing, and it is always fun to see lovable nerd Roy (O’Dowd’s career-making role in the televisio sitcom The IT Crowd) playing a sleazy low-life. The film may stick closely to that of an underdog story, but it is nice to see that Cuban Fury isn’t simply a love story. In fact, it isn’t actually one at all: it’s really about a man finding the confidence to pursue his dreams and stand up to his bullies.
Frost’s first solo outing is a feel-good comedy and a true pleasure to watch. The cast shines and, although it starts off slow, the dialogue gets funnier as the movie progresses. Kayvan Novak’s Bejan needs a spin-off, and it wouldn’t be entirely disastrous if Nick Frost made more movies without Simon Pegg. Cuban Fury is an endearing British comedy – not the best one ever made, but certainly a solid attempt.