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1. Midnight In Paris (2011)

Film makers as they find themselves in the latter stages of their lives do one of two things – look backwards or look forwards. Unlike Clint Eastwood’s gloomy vision of the after life Hereafter (2010) Woody Allen decides to recount a golden age of artistry and Parisian elegance in Midnight In Paris (2011). A blend of fantasy and comedy are on offer here as Owen Wilson plays a budding novelist caught up in the beauty of the French capital whilst searching for artistic inspiration. Juxtaposed is fiancée Rachel McAdams a repressive force to his new found bohemian longing, the couple are looking for very different things from their idyllic settings. 

 

Wilson of course is Woody from 30 years ago with blinding neuroticism delivered pitch perfectly, and our central character finds himself in a Parisian Time Machine. At this point Nostalgia and the supporting cast come to prominence, we meet renowned literalists, surrealist painters and composers among others who revel in Gallic inspired artistic hay days. Allen cleverly conjures up his legends in a historical paradigm, which sort of plays out like a displaced episode of Friends. The dialogue is whimsical, light-hearted fare which isn’t ruined by the Allen constant of triangulated romance. In the end Midnight In Paris is an enjoyable piece of Allen comedy filled with whit and charm.

7/10 

The Three Musketeers (2011)

Alexander Dumas’ famous novel has seen as many on big screen, small screen, stage and animated adaptations as any piece of literature, but few have looked like Paul W.S Andersons latest version. Of course there are the signature archetypes of flashing swords, and heaving bosoms but Anderson attempts a fantastical spin on the tale with whacky weaponry and crazy constructs such as flying maritime ships. 

It’s the bona fide stupidity that feels as though it’s from the same world as the “Pirates – Franchise”, Which is both the films strength and weakness – The swordsmanship is full of entertaining cut, thrust with plenty cat and mouse action sequences, but the dialogue is riddled with corny cliché aided little by a mixed bag of a cast despite the top efforts of baddies Christophe Waltz and even Millia Jovovich shows that she can act, yet she also symptomatic of the films issues as her portrayal of Milady iscoupled with over the top gymnastic histrionics. The Musketeers themselves are a likeable bunch are outdone in the performance stakes by the enemy, as none have the charisma to make you want to cheer them on  – Enjoyable but forgettable at the same time.

6/10 

The Stoning Of  Soraya M (2008)

Cynics have and will write Soraya M’s story off as a mere anti Middle-East, American funded propaganda, the way in which the subject matter is handled paints a very bleak view of Islamic life in a patriarchal dominated rural Iranian village. However The Stoning of Soraya M is a film that should not be taken purely on face value, as beneath the surface lies a transcendent piece of topically fuelled drama laden with political, cultural and spiritual embattlement. Think of the inner turmoil in John Patrick Shanley’s Doubt (2008) with the vitriolic oppression of the anger inducing Mississippi Burning (1988), only in set Persian desserts.

The catalyst for the goings on is Ali a purveyor of patriarchal tyranny which manifests in physical violence and psychological bullying against his disenchanted wife Soraya, as well as unashamed neglect of his two daughters in favour of his two sons who witness proceedings in what in essence is a 101 teaching in misogyny. When Ali becomes a want away husband having fallen for a school girl from a neighbouring village, things turn ugly when his plans to emancipate himself from his marriage become a deadly plot. 

Faith and spirituality form key thematic structures, as Soraya and her devoted Aunt Zahra find a cathartic strength through their belief which carries them through the ordeal, and the unwavering power of their prayers  is emotionally taxing and somewhat beautiful. In contrast the Holy figure (Mullah) uses and abuses his status to feed his and his cohorts sycophantic desires, the irony being that the oppressors are the only ones to doubt their religion.

Spiralling toward the inevitably climax (the title gives little away) the film remorsefully savours every detail of the barbarously punitive method, which is both a calculating and morose ritual. The atmosphere created is mixture of sorrow, hate and joy - Not for everyone but Soraya M is a haunting tale of civil rights that is ultimately a disturbing yet rewarding watch.

9/10