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Review: The Great Gatsby, Bekas, Fast & Furious 6 and The Last Sentence

By Cinema and Reviews

The Great Gatsby still

For all the digit­al glit­ter and ana­chron­ist­ic hip-hoppery that sig­ni­fies our latest re-entry into Luhrman-land, The Great Gatsby itself takes fun­da­ment­al inspir­a­tion from a black and white clas­sic from 1941. Featuring a flash­back fram­ing device, a lonely and heart­sick tycoon star­ing out of the win­dow of a grot­esque castle, and even a breath­less deathbed “Daisy” uttered as if it summed up an entire life (like “Rosebud”), Gatsby is no less than Baz Luhrman’s Citizen Kane. Even his star, Leonardo DiCaprio is start­ing to resemble a Wellesian hero, at least in the jow­els if not the girth.

The Great Gatsby posterSo, no pres­sure, then, Baz – you’re only mer­ging the great American nov­el and the greatest movie of all time. Of course, he can’t pos­sibly suc­ceed on his own unima­gin­ably ambi­tious terms, but he falls a bit short on the basic “tell a story” level too – even if he man­ages to make some sequences sing.

Set in 1922 (and writ­ten by F. Scott Fitzgerald in 1925, well before the Jazz Age came crash­ing down into the Great Depression), Gatsby is the story of one man’s rein­ven­tion out of the trauma of World War One and into the longest, biggest (and most illeg­al) party the world had ever seen.

[pullquote]Fast & Furious is vast and curious[/pullquote]DiCaprio’s Gatsby has built a busi­ness empire out of the drug stores and speak­easies of Manhattan and a Xanadu on the shores of Long Island, all the while gaz­ing long­ingly across the water at the house where Daisy Buchanan (Carey Mulligan) lives. Daisy is the last piece of his puzzle, she will make him whole and she will help him gain accept­ance into the high soci­ety that scorns his dubiously-earned new money. He may also genu­inely be in love with her, of course.

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Review: Arthur Christmas, Immortals, When a City Falls, Rest for the Wicked and Submarine

By Cinema and Reviews

I believe that it should be illeg­al to even men­tion the word Christmas in any month oth­er than December. Yup, illeg­al. No one should be allowed to even breathe it, let alone have parades, dis­play mince pies in super­mar­kets or throw staff parties. If, as a once-great nation, we can restrict fire­work sales to three days before Guy Fawkes I’m sure we can man­age to pull our col­lect­ive yuletide-obsessed heads in for a few weeks and focus all that atten­tion on only one month a year.

Arthur Christmas posterAt least that’s what I thought until last Friday. That was when I saw the new pic­ture from England’s Aardman Animation, Arthur Christmas. I was pre­pared, based on my afore­men­tioned bah-humbuggery – and some unpre­pos­sess­ing trail­ers – to be scorn­ful and yet I was won over. Won over to the extent that I might as well be wrapped in tin­sel with a fairy on top. Arthur Christmas made me believe in Christmas a week before I was ready.

This film is digit­al 3D rather than the stop-motion clay mod­els that made Aardman fam­ous, but the inven­tion, wit, pace, struc­ture and com­mit­ment to theme are all securely in place, brought to life by an awe­some UK voice cast (Jim Broadbent and Bill Nighy both do out­stand­ing work) and some bril­liantly clev­er visuals.

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