Film Review: Flight Facilities "Across America"

Flight Facilities are a household name in Australian dance music but a never-before-seen mini documentary shows us that behind the polished performances are two good mates who make music for a living, and love it. Red Bull Media House  produced Across America during the duo’s coast-spanning tour of the USA in early 2015. It is hard not to get caught up in their incessant banter, self-deprecation and ability to transform any uncomfortable touring experience into a practical joke.

The film is edited as more like a memory flashback rather than a step-by-step guide to the touring journey. We start at one of their packed out shows in Las Vegas, jump to conversations in their tour bus, studio jams, free time and back to the concert halls. All the while the camera feels unobtrusive, as if we’re watching their backstage shenanigans as another member of the touring crew.

‘Of course, we see the classic flashes of fame, including quick cuts of girls screaming à la Beatles Shea Stadium to those same girls later getting their chests autographed with the FF logo. But the main storyline and most endearing aspect of the film is the opposing creative dynamics between the two: Hugo Gruzman aka the jokester, shown rolling in the snow in a Hawaiian shirt and boxers, alongside James Lyell (Jimmy) who does yoga and packs his suitcase meticulously on tour.

Across America uncovers valuable snippets in its interviews with the boys, their manager, Future Classic label staff and music journalists. We find out that the duo took an hour to create their first track together, which become a funky, rhythmic track “Big Fat Rio.” We also get to see childhood photos in their bedroom and footage of past live shows. It is a story of two unlike characters with like minds, who get on famously and saw a spark in their work from the get go.

While we don’t know where they are at times, Red Bull have done a great job of expressing the spontaneity of overseas performances and the freedom of the tour bus lifestyle. The two started out as DJs but possessed a knack for writing great original content which, as the film shows, translates across international dance floors. And while Jimmy notes that Flight Facilities have never broken industry records, “we’ve never been the top of the top,” it seems to be better that way because they truly live both the ordinary and the extraordinary.

Review Score: FOUR STARS (OUT OF FIVE

Flight Facilities: Across America premiered at an event in Sydney earlier this month and will will be available online soon.

Published on The Iris.

Film Review - "Paris/Berlin: 20 Years of Underground Techno" by Amélie Ravalec

Paris/Berlin: 20 Years of Underground Techno (2012)            ★ ★ ★ ★ 

While electronic music is doing supremely well in Australia at the moment, we can’t say that it’s always been this way. We can only dream of regularly having warehouse parties and living up to techno hotspots Paris and Berlin. With links to the underground and drug scene, it’s no surprise that the mysterious depths of techno music have plenty of back stories. And Amelie Ravalec, 20 year-old Parisian filmmaker, has spent the past three years on research and production for her documentary film Paris/Berlin: 20 Years Of Underground Techno.

The film screened internationally in 2012 and it has returned to screen at the Sydney Fringe Festival after earlier success in Perth and Melbourne. At Leichardt’s Italian Forum the robotic sounds echoed around the room and as the opening interview of the film denotes: “It’s meant to be loud.”

Ravalec comes from a city where 16-year-olds have years of rave experience at and foten go to school straight from the party. Although born decades after the birth of techno, she said during post-screening Q&A: “It’s not my story but I managed to tell it.”

Most exposure in Austraila to the beginnings of techno stem from German artists such as Kraftwerk and Ancient Methods (both of whom have played in Australia this year). The documentary aims to not only explore the nuances of their music but also the historical background. In a series of thorough interviews with DJs and producers who were part of the original scene – we learn that the inhuman, apocalyptic sounds of the EBM scene pay homage to the mood of frustration after the collapse of the Berlin Wall. All of which originated in chaotic Detroit.

With a tradition of social experiment and creativity, it’s hard not to admire how much the original characters were breaking down barriers. Once the Berlin techno scene gained momentum, French artists quickly took interest but did not anticipate having to challenge the original image of the techno scene as a place for homosexuals and junkies. Interestingly, the comparison between the two cosmopolitan cities shows up Paris as a lot more institutional – and the nightlife, more exclusive.

Ravalec has dug up a lot of archive footage (no small feat considering a good chunk of it is analogue), which put us in place of the ravers and anonymous techno creators.

Not only do we plunge back into the EBM underworld but the film also explores the consequences of the Internet for the scene. Where techno began as a faceless expression- where the ideal setup was dark, loud and anonymous – international acts are putting more and more effort into creating an image à la rock ‘n’ roll star.

Ironically, with the rise of mass electronic events the techno scene is heading back underground and the sound alternatively venturing into dark dubstep. And the message remains poignant. The crux of the film celebrates self-expression and creativity during a period where individuals felt like they almost had no control over their surroundings.

Ravalec is now working on a film on industrial music, “Industrial Soundtrack for the Urban Decay.”

Published on theAUreview.

Film review - "Oz the Great and Powerful" by Sam Raimi

Oz the Great and Powerful (2013)            ★ ★ ★ 1/2 

There is a trend in modern cinema of working off old classics – whether it is book, play or film. Instead of reproducing a staple of storytelling, director Sam Raimi creates his own world with slightly twisted characters boasting a clever script and sleek production.

Oscar Diggs (James Franco) is a small-time circus magician with meagre success – but when the infamous tornado hits Kansas he is transported from the dusty plains of Kansas to the magical Oz. When all its residents believe that he fulfils a prophecy to become their king, it seems as if he has received newfound fortune. However, a power struggle between three witches challenges his role and before long he is drawn into the problems of Oz.

Following from the original Disney production, the film opens in black and white before exploding into colour. The plot acts as a prelude to the original, yet with a darker undertone. The scenes are impressive and imaginary but the story is disconnected from the strong visuals.

It is one of the only films I have enjoyed watching in the 3D. Apart from the occasional 90s-style effects (spears flying at the audience, witches reaching out of the screen, fireworks exploding outwards) – we are invited into a world both fantastical yet realistic. Once the colour is switched on, Oz produces enchanting visuals in an Avatar-style environment.

The cast captures the historic magic of the circus in their own ways –James Franco as the wizard with his quirky facial expressions (and general laissez-faire attitude), Mila Kunis alluring yet surprisingly wicked as the dark witch Theodora and Michelle Williams as the good witch Glinda, bestowing a peaceful power reserved for the likes of Mother Theresa. Zach Braff brings a comical lightness to the power struggle, as a magician's assistant, and supporting Franco in his role.

The resolution harks back to stereotypes – Glinda the good (blonde, princess-looking, soft-spoken) triumphs over the evil, darker sisters. Disappointingly, the plot loses its modern twist and weakens its edge.

Like musical counterpart Wicked, Oz is more of a look at the morality of power than those in power. It’s been marketed at the young, but Oz goes beyond the simple family film. It’s quite a long film and terrifying at times (explosions and fight scenes not so PG) but by no means a laborious watch. For some reason, I’m left feeling less enchanted than at the start.

Film Review - Silver Linings Playbook by David O. Russell

Silver Linings Playbook (2012)            ★ ★ ★ ★

It’s not the catchiest title for a Hollywood film, but Silver Linings Playbook is a crowd pleaser. David O. Russell’s rom-com with a dark twist conveys the chaos of close relationships with a playful yet compelling story. There are moments to laugh, there are moments to cry – and if you can’t handle a soppy love story, there are pockets of spiteful witty dialogue slashing through the romance.  

 Silver Linings Playbook follows the rehabilitation of Pat (Bradley Cooper) after a diagnosis of bipolar disorder. After his wife has an affair with a fellow teacher at their school, his rage gets out of control. Apart from a few brief flashbacks, the film is primarily set after his release from rehab and is a realistic portrayal of his attempt at healing. 

In his neighbourhood lives Tiffany (Jennifer Lawrence), another slightly mad character. When she promises to help Pat win back his wife, he finds himself training for a ballroom dance contest in an effort to stay under control. His quest to rehash his marriage leads him to desperate measures and it’s only when the police get involved that things start calming down.

The setting is a calm, picturesque neighbourhood in Philadelphia yet the story is far from homely. It’s not so much an epic plot as a great selection of characters with unpredictable dynamics. Including the moment when Pat catapults Hemmingway’s A Farewell To Arms smashing a full glass window to his parents’ dismay. During the whole film, it seems as though those with a medical diagnosis become saner and the rest of the party delves into madness.

Comic relief and witty dialogue comes from acting veterans Robert De Niro and Jacki Weaver (as Pat’s parents) in a frenetic family dialogue with refreshing emotional sincerity. For a romantic comedy, the dialogue is choppy and free-flowing yet each character has their own voice.

The storyline flows naturally through the day-to-day crises of a rehabilitated mental illness patient with an appropriate sensitivity but also a ridiculousness that ensues hilarity. Therapy appointments are informal and frustrating but the bond between Pat and Tiffany is what truly resonates in the film. Her cheeky smile is endearing and his eccentricities steps up the lively dynamics of the script.

Little by little, we discover insecurities about each character which shed light on the complexities of a modern life. Russell brands the protagonists as heroes, although they come across as a little crazy, and shows that we all have our moments of weakness. Silver Linings Playbook is both entertaining and endearing – a great combination of human drama and new-school humour.

Film review - 'Argo' by Ben Affleck

Argo (2012)            ★ ★ ★ ★

Based on the true rescue operation of a CIA agent in 1980, Ben Affleck’s new bio-thriller Argo conveys the chaos of the situation with a dramatic twist. Affleck stays true to the story of now-retired agent Antonio Mendez and the mission, which remained classified until 1997.

Argo follows the rescue op of six fugitive American diplomats, who have previously fled following the attack of their embassy a year prior. There are genuinely traumatic moments in the film – we follow the group driving through a riot, suspenseful security checks and hiding in a basement.

This is no ordinary rescue mission – Mendez enters as a composed, articulate agent who decides to travel to Tehran posing as a Canadian film producer. True to history, the six hostages remained in the Canadian embassy for over a year. During the whole film, it’s clear that time is running out – and Affleck draws on this urgency in nail-biting, fast-chopping action scenes.

Comic relief and witty commentary on the Hollywood culture comes from acting veterans Alan Arkin and John Goodman as Mendez’ film industry contacts. For a thriller film, the dialogue is dense yet free-flowing and each character is well articulated. Cuts between the execs in the White House and CIA illustrate how risky and improvised the mission was –while subtlely acknowledging their ruthlessness as organisations.

Despite the filmic freedom – especially the intense finale – Argo is chillingly reminiscent to modern-day riot footage. Affleck authentically conveys the chaos of revolution and captures the spirit of the late 70s that the reality of our security in the move theatre is momentarily challenged.

Film review - "Les Misérables" by Tom Hooper

Les Misérables (2012)            ★ ★ ★ ★

Possibly the most hyped-up film of the 2012 Oscar season, Les Misérables is a melodramatic, romantic interpretation of the much-loved musical. Tom Hooper plays up to his all-star cast, indulging in lingering close-up shots and dramatic pauses. Although the scenery and music is polished and realistic, Hooper has applied the dynamics of theatre to a film which to some extent bypasses those unfamiliar with the original story.

Set in 19^th century Paris, Les Misérables follows the story of former prisoner Jean Valjean (Hugh Jackman) who spends decades in a perpetual chase after breaking parole. He chooses to lead a pious life and promises factory-worker Fantine (Anne Hathaway) that he will care for her child Cosette, who he finds living with two scam artists (Helena Bonham Carter and Sacha Baron Cohen, bringing their distinct eccentricities to the table as comic relief). Years on, Valjean and grown Cosette are living secluded in Paris, where she falls in love with a young revolutionary (Eddie Redmayne).

Jackman as Jean Valjean assumes his big-screen role with macho delivery and sentimental vocals. He is almost unrecognisable in the early scenes as a prisoner and his many transformations over time are a testament to his acting talent. Russel Crowe, although is wincingly off-pitch and hints at an Australian accent, illuminates the harshness of Javert and the villainy of the French authorities.

Hooper leads us through the overcrowded cobblestone streets and dark, gloomy wharves and we are drawn into a completely different world on screen. Operatic and grandiose, it is not an easy watch. Hathaway’s iconic performance of “I Dreamed A Dream” is far from X-factor charm and glamour. The screen is forever filled with action- gunshots, wailing women, horses, and even an elephant. The utter destitution of the miserable French is trumped out by the glamour of the picture.

Among the recognisable faces, surprisingly, the younger actors shone in their sincerity and talent.  Isabelle Allen as young Cosette portrayed the fragility and shame of a sad childhood, while Daniel Huttlestone as Gavroche was confident and charismatic - quite the scene-stealer.

Playing the two young lovers, Amanda Seyfried as Cosette and Eddie Redmayne as Marius steal attention from the older cast members. Their expressive vocals (although Seyfried’s part is shrill at times) make the movie the epic that it is. Hooper captures the spirit of the young revolutionaries but more in terms of their comrade-fuelled venture than a tragic fight for a free and just life.

What may surprise audiences is the complete lack of dialogue – that is, outside of the musical theatre. The entirety of the film is in song - for musical lovers it’s a dream come true – but for the average filmgoer it can get a bit overwhelming.

Les Misérables reminds us of the power of cinema to recreate a history with the emotional intensity of a full-scale production on stage. When you have actors singing out of the studio and centuries of history to cover, it’s a mammoth task. The filmic production lacks a sense of space and cultural context but it’s a star-studded production.

Film Review - "Looper" by Rian Johnson

Looper (2012)            ★ ★ ★ 1/2

Rian Johnson’s Looper is like 2010’s Inception with the gore of Die Hard – a sci-fi action film that doesn’t shy away from physical violence or the abstract complexity of a fabricated existence. It’s lucky then that the leading men of these two films, Bruce Willis and Joseph Gordon-Levitt, play the main characters (or character, if you’re getting technical about it).

Time travel has been invented by the year 2074 but is immediately outlawed, sending organised crime flying and making urban violence a daily affair. Futuristic tracking devices make it impossible for assassins to dispose of bodies secretly, and so future city slickers take it upon themselves to develop the strategy of ‘loopers’, those who deal with victims of assassination, in the past. They live the classy life – showgirls, nightclubs, flashy cars and drugs – but it all changes when looper Joe (played by Gordon-Levitt) encounters his future self (played by Willis), who has been sent back to 2044.

The urban scenes of 2044 are confronting – a dirty, disorganised, unrecognisable place high in crime and social disarray. It has the bustle of an Indian city with the dangerous alleyways of a Detroit or Chicago. Up against the messy futuristic lifestyle, the vast sweeping Kansan plains have survived – and they are Joe’s location for securing victims. The special effects are impressive and the dramatic images look great on the big screen. We’re left sitting in suspense for most of the film.

Emily Blunt’s character, Sara, is introduced halfway through although she plays a key part. (It’s a bit bizarre to hear a drawling southern accent in place of her usual British articulation.) It does take time for the film to set up but once it makes sense how the system works, it’s easy to suspend disbelief and get lost in the film. Pierce Gagnon as Cid, Sara’s child, is surprisingly mature. He delivers his lines with aggression and clarity, which makes the scenes a little uneasy considering he’s only 10 years old. In fact, there’s both a wickedness and likeability to almost all of the characters, a tempting mix.

Looper is one big chase and a question of who will win: the criminals, the authorities or the targeted. The plot weaves well together in its final moments with a poignant look at human relationships. It’s true that, although technology will forever be updated and crises aplenty, the nature of human beings doesn’t really change. I have to admit it’s a little bit of a tearjerker ending.

Film Review - "Moonrise Kingdom" by Wes Anderson

Moonrise Kingdom (2012)                      ★★★☆

Existential qualms already trouble Suzy Bishop (Kara Hayward) when she discovers a pamphlet in her family kitchen: “Coping With A Troubled Child”.  The new indie flick from director Wes Anderson combines the infinite imagination of the young with his classic commentary on the fragility of family relations.

Suzy has been keeping in touch with her penpal (how quaint), 12-year-old boy-scout and orphan, Sam Shakusky (played by Jared Gilman) after the pair met at a school play. Their correspondences eventuate into a plan to flee the unremarkable town and a disorderly search party follows.

The stylised cinematography portrays (Shakespeare-style) a place imagined yet realistic—New Penzance Island. The film captures the spirit of 1965 with the ‘Wes Anderson aesthetic’ recreating subdued sepia tones, individualistic costumes and existential dialogue: “Does it concern you that your daughter has just run away from home?” “That’s a loaded question.”

We begin with three young boys listening to Benjamin Britten’s “The Young Person’s Guide to the Orchestra” on a retro portable record player. Anderson’s swift camera movement from room to room draws attention to the fact that we’re indulging in a story. There’s something both innocent and considered in the young serious characters who don’t say more than they need to.

A light-hearted touch comes from the eccentric narration (by Bob Balaban), an old man in a beanie placed sporadically in various locations around the island. It’s these sorts of disruptions that put Anderson’s work somewhere between a film and a play. It’s a pleasant viewing experience. Filmed mostly on Rhode Island we’re exposed in wide shots of picturesque untouched nature and dollhouse buildings.

I was reminded of Peter Pan, not only from the mirroring escapade to exotic island, but by Suzy’s character, especially when she reads a story to the scouts perched around her, fascinated, à la Wendy and the Lost Boys. Her use of binoculars is her interpretation of a ‘magic power’, an endearing thought. She’s a disturbed quiet young girl, not unlike Margot Tenenbaum, from Anderson’s 2001 film.

My favourite scene is when the kids set up camp by an enclosed pebble-lined beach, a Chickasaw sacred site. They strip to their retro underwear, put on Francoise Hardy’s dreamy “Le Temps de L’amour” and dance. And learn to kiss. And feel each other up. It’s a bit awkward considering their pre-pubescent age but it’s sweet in a way.

Kudos to Bruce Willis- playing policeman Captain Shark, yet far from the usual tough guy act, as a sad vulnerable man. Anderson regulars Bill Murray and Jason Schwartzman are included – Murray as Suzy’s strict yet disillusioned father and Schwartzman a Cousin Ben, quirky scout leader. Tilda Swinton also makes an appearance, as uptight suited ‘Social Services’ bringing hilarity to a serious issue, in her own style.

The great part about centering a story on two kids is that for just under two hours we can suspend disbelief and escape with them. Fictional yet realistic, Moonrise Kingdom’s fantastical take on the world asks the simplest yet most important questions.

Film Review - "Friends With Kids" directed by Jennifer Westfeldt

Friends With Kids (2012)   ★ ★ ★ 1/2


It's not your typical family-friendly chick flick or romantic comedy, but Friends With Kids is both an entertaining and emotional watch. The story starts with a New York band of six friends, living the sexy childless life in Manhattan but after the characters hit their late 20s, it's a confusing mishmash of uncontrollable children and disillusionment. Two of the group Julie (Jennifer Westfeldt, also wrote and directed the film) and Jason (Adam Scott) decide to have a child together, while avoiding the difficulties of being together. The dialogue starts out witty and sardonic, with the pair realising the gritty reality that is early married life with children. Some scenes are in a sense overplayed, mother Leslie (Bridesmaid's Maya Rudolph) for one is for the most part a shrieking, hormonal mess and her counterpart Missy (Kristen Wiig) a drunk, depressed mute with a constant scowl. However, the film makes its point in focusing acutely on family strife and how kids change the dynamics of all close relationships.


The film's nearly exclusively set in Manhattan apartments - apart from the token ski trip to Vermont - and the domestic settings are a perfect opportunity to closely examine the nuances of everyday dialogue and action in the typical modern home. Almost a less funny version of television's Modern Family, Westfeldt brings a relatively feminist view to the parenting role. The women are highly emotional and out of control while the men seem to be clueless about their children and homely duties. Missy's husband Ben (John Hamm) brings a ruthless take on the inevitable disappointment of adult life, and his strong role seems to carry most of the film's messages. On the other hand, boyish father Alex (Chris O'Dowd) can be a bit immature but is not as irritating as his character's wife, played by Rudolph.


The ending is somewhat unsatisfactory and abrupt but the film is a good starting point for other more satirical, dialogue-led family films. There's a rollercoaster of emotions, ultimately a comedy, the film has its surprisingly tragic moments as well. It's simply worth seeing to watch Julie and Jason's experiment unfold throughout the story. 

Happy Birthday to Johnny Depp

            Johnny Depp proves to be one of Hollywood’s mysterious characters, with his filmic roles ranging from the spooky to eccentric. Born in Kentucky and raised in Florida, Depp himself has admitted to alcohol and drug abuse, but he’s avoided the major breakdown of some his co-stars.  Nevertheless, Depp is said to be Hollywood’s richest actor, Guinness World Book of Records 2012, with $75 million. He gained prominence from his principal role on the original television show 21 Jump Street during the 90’s and had a cameo appearance in the 2012 filmic remake. With 3 Academy Award nominations and a Golden Globe win for Best Actor, Johnny Depp has certainly left his mark on the Hollywood landscape. Of course his most popular performance is Captain Jack Sparrow in The Pirates of the Caribbean series, which, from 2003, catapulted him into the commercial film fan base.

            Perhaps his iconic early role is Edward Scissorhands in 1990, which brought about a succession of collaborations with Tim Burton (eight in total) – including 2005’s Charlie and the Chocolate Factory and this year’s Dark Shadows adaptation.  Edward was an eerie yet loveable character, and the story has become a classic for the young kids of the decade. It also sparked his four-year year relationship with Winona Ryder.

            One of the movies that passed under the radar, or at least which doesn’t compare to his current successes, is that of 1993’s Benny and Joon.  Depp plays an artistic quirky individual who develops an unlikely friendship with his friend’s autistic sister. It’s not his most commercial performance but it’s sweet and a flashback to classic silent-screen comedy. The late 90s saw Depp realise some darker, fantasising characters that have led to such roles, as he is most well known for today. 1998’s film adaptation of Fear And Loathing In Las Vegas has acquired somewhat of a cult following – with Depp playing the role of American hedonistic drug-taking writer Hunter S. Thompson (And not for the last time- appearing in last year’s The Rum Diary as the very same character).

           In 2004, Depp took on the role of another prominent writer, this time Scottish, as Peter Pan’s J.M. Barrie in Finding Neverland. Paired with Kate Winslet, he didn’t seem totally unconvincing from his usual American drawl. He especially took on the ‘lost boy’ character, or isolated man who keeps returning in his casting. However his dark, atypical personality doesn’t send fans away, but draws them in even further. Even in People Magazine Depp was voted ‘Sexiest Man Alive’ in both 2003 and 2009.

            Depp returned to his original musical roots with his frightening performance in Sweeny Todd: The Demon Barber of Fleet Street, a performance which ultimately won him his Golden Globe for Best Actor in a Motion Picture Musical or Comedy. The film heightened the gothic horror of the original film but Depp’s voice was a pleasant surprise to all and he suited the grim role. In 2009, once more, he was a villain – playing Chicago’s famous criminal John Dillinger in Public Enemies. The movie didn’t receive great criticism but it was a great portrayal of the classic 1920s crim landscape. In a slightly more playful role, in 2011 he appeared in the animated feature film Rango, as the main character, bringing his much-loved spunkiness and enigmatic persona.

Johnny Depp may be turning 50 next year but he doesn’t look like he’ll be stopping anytime soon.

As published on movies.com.au.

Film Review - "The Artist" directed by Michael Hazanavicius

The Artist (2012)                  ★ ★ ★ ★

An ode to the pre-talkies era, The Artist is up to win ten nominations including big prizes 'Best Picture', 'Best Actor' and 'Best Director'. For a film of few words (completely silent, shot in the classic black and white frame) it seemed a surprisingly natural viewing experience. Without the ability to lure audiences with witty one-liners, comedic sarcasm or romantic dialogue – The Artist draws upon simple, physical humour and sincere human emotion. It's an enjoyable watch, especially for cinephiles, and the loveable dog Uggie almost steals the show!

Jean Dujuardin is George Valentin- a much-loved silent movies actor, whose facial expressions and bold gestures cause his audiences to laugh in an uproar (or at least they look like they're enjoying themselves.) At one of his many film premieres he stumbles upon a keen fan, the young fresh-eyed Peppy Miller (played by Argentine beauty Berenice Bejo). Later, she progresses into the world of Hollywood glamour and fame by starting out as an extra, and then wooing film executives with her dancing skills, cheeky smile and emotional delivery. Ultimately, we follow Valentin's demise as an actor, when he refuses to accept the new technology of 'talkies' films- showing how quickly fame can disappear and loneliness ensue.

The Artist was shot in lower resolution frames and the classic silent film screenshot ratio to create a more authentic piece. Interestingly, the screenplay itself took longer to write than the actual production process- with the film swiftly completed in LA over 35 days. It is clear that Hazanavicius has done his research and his cinematographer Guillame Schiffman beautifully shot the scenes with soft lighting, atmospheric background and character focus. The combination of original supporting music (Ludovic Bource) and slick alluring costumes (Mark Bridges) articulates the vision of 1920s Hollywood the film aims to portray. The combination of American and French staff on set brings European sensuality to a traditional American creation.

There is a rather simple structure, the film follows the characters chronologically throughout their Hollywood careers and there are few settings – the filming studios, the stars' homes, the public cinemas. However, it's hard for any audience member- young, romantic, cynical or learned- not to appreciate the creativity and refinement which oozes out of this timeless, romantic classic.

Top 10 romantic movie moments

Regardless of the genre or time period, a romantic bond between the two main characters in a film has conquered the hearts of its audience. From the heartbreaking scenes to dramatic declarations of love, each of the films below has its own moment which really stands out in time as a romantic on-screen moment. Interestingly, for half of them the lovers sadly do not end up together at the end of the film. For Valentines Day, here is my top 10 romantic movie moments- most of them familiar:

1. The Notebook- "It still isn't over!"
There's something about reconnected lovers that seems to make for a great narrative- Noah and Allie, young lovers, are separated for a number of years, but when they reunite sparks fly and their passion is brought to the surface. This scene takes place in the pouring rain soundtracked by dramatic strings but it's a cliché that difficult to resist.


2. Romeo + Juliet- Meeting through the fish tank
Baz Luhrmann's stunning cinematography is showcased at this point of the film when the famous young lovers meet. He has drawn from Shakespeare's original imagery to depict the fantastical costumes and aquarium setup, and a young DiCaprio and Claire Danes naturally communicate the youthful innocence of first love. Soundtracked by Des'ree's 'Kissing You', it's both emotionally charged yet so simple.

3. Pride and Prejudice- "Surely you must know, it was all for you."

The 2005 adaptation of Austen's much-loved book saw a strengthening of the developing romance between Elizabeth Bennet and the classic heartbreaker Mr Darcy. In this scene, the troubled lovers, who have previously refused a relationship due to their own pride, now realise that they are unable to control their sensitivities. They meet each other at dawn in the fields and Mr Darcy articulates almost too perfectly how he feels - a tender monologue that would melt anyone's romantic doubts.

4. Love Actually- "To me, you are perfect."
A more unconventional love story, the narrative that seemed the most poignant was Mark's muted declaration of love to his best friend's new wife Juliet. In a quiet yet theatrical manner, he progresses through hand-written posters explaining his unrequited feelings. What makes this moment so romantic, is that he pronounces his timeless adoration, but accepts its impossibility- an admirable act.

5. Titanic - "I'm flying"
One of the most successful and popular romantic movies of all time, Titanic plays upon the classic rich-girl-falls-in-love-with-the-wrong-poor-boy setup. Jack woos her with his daring and grand gestures, and he is absolutely in control during the entire scene. Perhaps it's Rose's ultimate trust in this stranger or the audience's knowledge of the miserable ending that makes it so touching. It's also a sensational first kiss.


6. Moulin Rouge!- Come What May

The only thing better than an on-screen heart-wrenching dialogue is the same scene performed in a musical. In the film's dramatic finale, courtesan Satine accepts her sincere love for poet Christian and the two sing a duet that reaches astronomical heights in terms of stage presence, chorus involvement and an emotional climax. When lovers make up after a fight on-screen, it just can't happen without fireworks, literally.


7. Breakfast at Tiffany's- "I don't want to put you in a cage. I want to love you."
Sassy New Yorker Holly Golightly finally submits to the romance of her neighbour Paul in the final scene of the movie. Holly insists that she doesn't believe in commitment but her vulnerable, confused self finally admits that she can't live without the people that she loves. This scene is a classic Audrey Hepburn moment and a romantic gesture imitated in various other movies and television shows.


8. Say Anything
One of John Cusack's most renowned roles as romantic underacheiver Lloyd brought a sense of seriousness and maturity to the typical teenage summer romance. Early on, school captain Diane rejects his relationship proposal and Lloyd spends the majority of the film depressed and broody. It's when he finally gets himself up again and is determined to pursue his passion that his boldness oozes into every bit of dialogue and action. "What I want to do for a living- is I want to be with your daughter," the 19-year-old exclaims. And who can forget the famous boombox moment?

9. 10 Things I Hate About You- Patrick's serenade
It seems ridiculous that such romantic drama would occur in a high school setting but there were no complaints when Heath Ledger's character bursts into song to serenade a stubborn love interest. He plays the classic bad boy in the '90s film and so its even more surprising that he takes it upon himself to perform a ballad in public. This scene shows a romantic moment a little more comedic than most.

10. The Way We Were- "Your girl is lovely, Hubble."
Finally, one of the most melancholy love stories- the actual romance itself is short and sweet, but the unpredictable twists and turns of life ultimately separate the animated Katie and Hubble. At the end of the film, the couple meets - Katie now a single mother to their young daughter, and Hubble engaged to another woman. Barbra Streisand running her fingers through a young Robert Redford's hair shows that their relations are not completely over, and the wistful titular theme song in the background makes the moment even more pitiful.

Film Review - "The Descendants" directed by Alexander Payne

The Descendants (2011)            ★ ★ ★ ★ 

Recent winner of the Golden Globe for Best Motion Picture –Drama, The Descendants is a summer film which reminds us that sometimes it’s okay not to exist as an ideal, model family –and its descendants often stray from their allotted path. It’s not altogether a happy ending for the film, although there is a sense of resolution from the rippling drama running throughout it. Director Alexander Payne maintains the motif of Kaui Hart Hemmings’ novel- with the protagonist reminding us that families are like an archipelago (take Hawaii- for example), closely clustered yet inherently individual.

The film begins rather suddenly, with Matt King (George Clooney) sitting by his wife Elizabeth (Patricia Hastle) in hospital, as she lies unconscious (and in a powerful coma) before him. Meanwhile, he is responsible among his extended family for deciding what will become of the Hawaiian virgin land on pristine Kauai which has remained in the family trust for 150 years, and is now too much of a burden to hold on to. All this unfolds while Matt, alone, juggles raising his tricky 10-year-old daughter Scottie (played by Amara Miller) and dealing with his misbehaving 17-year-old Alex (of TV fame Shailene Woodley, who received a Golden Globe nominee for her role as supporting actress). The story is mainly filmed from Matt’s eyes, but through its portrayal of generational interactions it tackles the complexities and intricacies of family life, anywhere really.

The entire film is seeping with raw emotion, tension and temperamental intensity. George Clooney’s performance is worthy of his Golden Globe win (Best Actor- Drama). His impassioned soliloquies throughout the story seem difficult to perform, yet are executed theatrically and with dignity. It’s almost as if his enraged frustrated rants at his comatose wife could be performed on stage with the same level of personal involvement for the audience. In fact for a drama, The Descendants is particularly melodramatic, but it does not seem artificial. These are real family crises. Even Shailene Woodley delivers her lines as angsty 17-year-old Alex with an acute intensity and energy, swearing enough to shock the audience into wondering how she gets away with it.

The cinematography is well executed, breaking up the heated dialogue-laden moments with silent landscapes, allowing the audience to contemplate and deliberate while the characters on the screen digest the often harsh and hard-hitting conversations. Hawaii, as a setting, complements the film’s atmosphere with stunning backdrops suiting the active easy-going lifestyles of the characters but also acting as a classic antithesis to the total dissonance of the King family life. It’s hard not to get sentimental –even close friends are dragged into the swirling mess of misunderstanding and madness surrounding Elizabeth King. And to top it all off –before the accident she was having an affair.

Comic relief is aplenty and sometimes it’s hard not to laugh at Clooney’s over-developed infuriation at his impossible circumstances. Alex’s slightly dopey friend Sid (Nick Krause) delivers his inappropriate butt-ins with spot-on timing and their blatantly offensive manner is a recipe for chuckling. As the film progresses we delve deeper into the characters and their relationships, and there are several heart-warming moments that will see this film become a “timeless classic” – as Alexander Payne claimed when he accepted his Golden Globe. One thing is for sure; it’s a must-see, or at least an excuse for a good cry.

Film Review - "The Iron Lady" directed by Phyllida Lloyd

The Iron Lady (2011)            ★ ★ ★ ★

Meryl Streep performs an almost one-man show in this insightful Margaret Thatcher biopic. Initially, Streep portrays Thatcher as a weak octogenarian who becomes the central point of the entire film. Although we follow Thatcher’s rise to power from her pre-university life chronologically, the film frequently returns to an isolated and dependent woman reflecting on her past life. With hallucinations triggered by the smallest noise or vision, it’s a question of the extent to which one is formed by their background and past actions.

What the film does well is explore how Margaret Thatcher did not seek consensus in politics. Streep’s deliberative speech and stern expressions portray an assertive and determined public woman. The insight into turbulent parliamentary life, [clearly dominated by men at this time], draws attention to the quieter, more secretive, and dangerous, backchat behind the scenes. The film can be indulgent in the way that there is time to demonstrate how certain decisions were informed at the time, both according to Thatcher’s public and private life.

The position of women, especially those of a lower social class runs throughout the film into the conflicts caused between family and political life. Although she remains in a close relationship with her husband Denis (played by the eccentric Jim Broadbent), there is a period of withdrawal when Thatcher seems to be overwhelmed by the scale of her role as Prime Minister. The interweaving of footage from past and present and various mashed news montages, shows just how influential ‘The Iron Lady’ was on the global stage.

Thomas Newman’s score (Academy Award Winner Best Music –American Beauty, Finding Nemo) adds elements of gravity and sincerity to the biopic. It certainly deserves a commendation of some sort as I felt that it added emotion to a story of a figure who is known for her severity and almost brutality. There is much to admire about the passionate and determined protagonist although the history surrounding Thatcher’s story is controversial. The Iron Lady is a great informative watch which is sure to win awards for its dramatic conviction and filmic complexity.