In the East there is an expression, “Same same, but different” which seems applicable to the most recent feature film by animation living legend, Hayao Miyazaki. After massive international success with Princess Mononoke (1997) and the Academy Award winning, Spirited Away (2001), his latest film is challenged by the shadow of perhaps unreasonably high expectations. Howl’s Moving Castle was a disappointment visually. Based on the children’s’ fantasy novel of the same name, by Diana Wynne Jones, the sequel to that novel is called “Castle in the Air”, but other than a similar title and concept, there is no connection to Hayao Miyazaki’s infinitely superior film, Castle in the Sky.

If you thought that Spirited Away was hard to follow, with its surreal story line, then just try this one! To get the most out of Howl’s Moving Castle I suggest you check both your expectations and all semblances of logical thinking at the door.
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Comme Une Image is one of the best French films of 2004. With a strong script, written by two of its leading actors, Jean-Pierre Bacri and Agnès Jaoui, it is as intelligent as it is refreshingly unpretentious. A French friend (I confess to having no independent knowledge of the French language) explained that the title is from a typical expression a parent might say to a child. To be quiet “like a picture” also implies in the French an association with stillness to wisdom. It comes then as no surprise that the characters with the least to say are not only the most likeable but also the ones from whom the others have the most to learn.
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After the success of the Stiller-hit “Meet The Parents” a sequel was nothing more than to be expected. With this movie, Stiller concludes an impressive string of movies in the year 2004. However, I think if Stiller continues in this way, he risks becoming a one trick pony (if he isn’t already). Not only does he appear reluctant to stray from his familiar comedy path, but his characters are always the same in every movie (with the exception of his hilarious character in Dodgeball). He keeps on playing the insecure, doubtful and sometimes manic guy he always does, and that starts to tire me.

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Today, the members of the Academy announced the nominees for the 77th annual ceremony scheduled for Sunday 27 February 2005. Winner is The Aviator with eleven nominees, followed by seven nominations for Finding Neverland and Million Dollar Baby and six for Ray. Biggest ‘losers’ are Collateral and Eternal Sunshine of the Spotless Mind, both with a disappointing two nominations. A full list of all nominees.
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A biopic is usually made after the central character has passed away. In the case of Ray, depicting the life and music of Ray Charles, Charles himself was closely involved with the production and adjusted the script (reading it in Braille) to fit his own recollection. Although Charles passed away last year, this picture about his life, directed by Taylor Hackford, completely absorbs you, even if you are not that much into soul music and r & b. The reason lies within one man: Jamie Foxx.
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In cinematic history there are several movies that stand out for a certain reason; movies which you should see at least once in your life if you consider yourself a real film enthusiast. Because of their story, cinematography, acting and dialogue, controversy or sheer uniqueness, these movies command a special place in movie history. This movie is certainly one of them. David Mamet wrote the original play and the adaptation for the screen and he couldn’t have done a better job. As most adaptations from plays, this movie is heavily dialogue-driven and with this cast that is no punishment. You’re left breathless and in awe for the full 100 minutes.

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The first collaboration between director Martin Scorsese and Leonardo DiCaprio turned out to be moderately disappointing, mainly because DiCaprio didn’t seem capable of giving a credible performance in Gangs of New York. Apparently the two of them got along well enough to justify doing two more films together. The first of these two, The Aviator, is based on the rather tumultuous life of Howard Hughes, a man obsessed with three things: movie-making (and the women that came along with it), airplanes and, most importantly, ultimate control.
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Despite not being a great Jim Carrey fan, I had been curious about this film for some time and finally got my chance to see it last week. As it never really made it in the cinemas here, I had on the one side prepared myself for a disappointment, but was at the same time hoping to discover an underrated gem for myself as I once did with Pleasantville. Unfortunately I didn’t and The Majestic passed by the cinemas for good reason.

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After the huge success of Le Fabuleux Destin d’Amélie Poulain (or ‘Amélie’), which seemed the perfect marriage between director Jean-Pierre Jeunet and his star Audrey Tautou, expectations were high for their next collaboration. Again, the typical style that Jeunet showed in Amélie is strongly present and Tautou seems to be in perfect place again. I liked Amélie a lot: I thought it was really original, and it’s safe to say that Jeunet pulled it off again with his latest feature. Nevertheless, this movie left me with a very ambiguous feeling.

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