Religulous While American comedian and political satirist Bill Maher may not be as well known outside of the US as we would like, all that is about to change as he embarks on a journey throughout the world - well the Middle East and parts of America - to unravel his own quest about the impact and dangers of organised religion in the spellbinding documentary "Religulous".
Director Larry Charles made an impact at Toronto two years ago with his mock documentary "Borat". Charles directs the Maher-produced film, but this time it is Maher doing what he does best: conducting wide-ranging interviews in order to find out for himself why religion is so rampant in this country in particular.
There are personal interviews with his mother and sister, interviews with religious leaders and politicians, and in all, the result is a film that is both anarchically hilarious and truly fascinating. It's not a particularly cinematic film, shot in a raw style so as one truly gets to know Maher's diverse subjects.
The film is audacious and compelling. No group is spared and everyone is crucified in this fascinating, hilarious and provocative film that will lead to copious discussions long after the film's final credits. A brilliant masterwork, one can hope that "Religulous" will be seen en masse both in the US and around the world. In these uncertain times, this film is a must.
RocknRolla One of the most eagerly awaited films of the year is Guy Ritchie's latest crime caper, "RocknRolla" - a fast-talking, plot-driven, hilarious stunner of a film that will blow audiences away as long as they pay close attention to the film's crazy plot.
In a nutshell, a Russian mobster orchestrates a crooked land deal, putting millions of dollars up for grabs and attracting all of London's criminal underworld led by the amoral Lenny Cole [Tom Wilkinson], the ambitious One Two [Gerard Butler] and a crooked, cold, sexy accountant [Thandie Newton].
To try and explain these characters' connections would take up more space than is possible here, but suffice it to say, the film's ending, in true Ritchie style, is the ultimate payoff. "RocknRolla" is very British, and while a major Hollywood studio is releasing it, Ritchie has refused to tone it down, from language to violence.
This film shows what a remarkable filmmaker Ritchie is, from the way he audaciously uses editing, as he cuts from character to character and scene to scene. This is a sharp, fast and kinetic work, a film that is a visual feast, and also a masterpiece of dialogue and character.
Wilkinson steals the film as the underworld figure that epitomizes manipulation. He is simply magnificent, relishing the character and chewing the scenery at every turn. Butler is droll and charming, while Newton is exquisite as Stella. Full of wonderful villainy, this is cinematic gangsterism as only Ritchie can convey, pulling apart the mythology of the genre and contemporary London. "RocknRolla" is a stunningly mesmerising and exhilarating entertainment not to be missed.
Appaloosa Directing just his second feature, Ed Harris' "Appaloosa" is a classic Western based on the popular novel about two self-appointed US Marshals hired to clean up a town run by a murderous rancher [Jeremy Irons]. Harris stars as Virgil Cole, who is teamed up with friend Everett Hitch [Viggo Mortensen]. Into Cole's life comes Allie [Renée Zellweger], an independent woman of sorts, desperate to find a man to protect her from the harshness of the West.
"Appaloosa" is a Western that takes its cues from the likes of "Rio Bravo", thus hving a classic Western structure. Yet it takes its time to delineate characters and does so with skill. As with Westerns of old, "Appaloosa" is about men and violence, the lawlessness of the late 1800s in post-Civil War America. This film bristles with violence and humanity, and explores the nature of morality in an amoral world.
Harris not only directs this fine film with clarity of vision but also delivers another stellar performance, though its Jeremy Irons, as the film's multi-faceted antagonist, who steals the film. The movie's one flaw is the miscasting of Zellweger, who seems incapable of doing little more than either pout or smile forcibly in a one-note performance that detracts from the major plot of the film. Beyond that, we have a finely textured, riveting Western that marks a welcome return to a classic American genre.
