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little fockers Archives - Funerals & Snakes

Review: New Year’s Eve, The First Grader, Red State and Courageous

By Cinema and Reviews

For years now I’ve been fighting a single-handed defence of the later career of Robert De Niro (no defence, of course, being necessary for the early career which featured Mean Streets, Taxi Driver and The Deer Hunter). This defence has several arguments. Firstly, his decline hasn’t been nearly as pronounced — or as strange — as Al Pacino’s. Secondly, he was making some unusual decisions even during the eighties and, frankly, one Harry Tuttle — the renegade central heating engineer in Brazil — or foul-mouthed bail bondsman Jack Walsh (Midnight Run) will get you a free pass for an awful lot of We’re No Angels.

In the nineties, too, he would make choices that fans of Raging Bull and King of Comedy would think were beneath him — Mad Dog and Glory, Frankenstein — but also pull out Wag the Dog and Jackie Brown. It’s been clear for a while now that De Niro is something of a workaholic — and an actor who waits for projects as good as Goodfellas is an actor who doesn’t work all that often.

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Review: Black Swan, The King’s Speech, The Fighter, Desert Flower, Unstoppable, Burlesque, Little Fockers, Green Hornet and The Hopes and Dreams of Gazza Snell

By Cinema and Reviews

Following up on the 2009 surprise hit The Wrestler, Darren Aronofsky has offered us another film about people who destroy themselves for our entertainment — this time in the rarefied world of ballet. Tiny Natalie Portman is plucked from the chorus of the fictional but prestigious New York City Ballet for the dream role of the Swan in a hot new production. It’s the chance of a lifetime but her fragile psychology shows through in her performance even though her dancing is technically perfect. Maestro Vincent Cassel tries to reconstruct her — as you would a first year drama school student — while domineering stage mother Barbara Hershey is pushing back in the other direction. Something has to break and it does.

Black Swan is exceptionally well made, beautiful and challenging to watch — and Portman’s performance is nothing short of amazing — but films that aspire to greatness need to be about something more than, you know, what they’re about and once I’d decoded was going on I couldn’t see enough under the surface to justify the hype.

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