Starting with a wonderful animated homage to the groundbreaking work of Charles Chaplin, this sets things off in a unique way. Old-school fans will pick up on the references to films like Modern Times and The Great Dictator, while the rest of the audience will hopefully react with a smile. There is a purity of intent in giving a nod to the past that runs counter to most American animated output.

There is also risk in having the majority of the language being used sounding almost indecipherable, but as typoglycemia works on the written text, you are soon able to understand way more than you originally thought you could. Being set in the roaring twenties also opens things up as you catch the little yellow orbs through a mythical jaunt that lands them in Hollywood during its transition from the silent era to the town’s Golden Age.

The love and care for the medium shines through, and its wild swings of imagination make one think that there was very little influence of the dreaded test market screenings that often blight originality in this art form. It will be very interesting to see if this unique approach yields rewards in a genre that often rewards conservative filmmaking.
Rob Hudson
www.facebook.com/UniversalPicturesAU/

The desire of the filmmakers to keep the musical element of the legend intact and to keep the unsavoury elements of the story so far from the viewers’ minds as to be non-existent is complete. Even the patriarch of the Jackson clan, Joe, is given a relatively smooth ride. This, unfortunately, reduces the story to a one-dimensional misreading of the facts.

That Michael could overcome such a harsh upbringing (for such a sensitive soul) and create the joy that he brought to millions is strongly understated. He did do amazing things and, for a short period of time, was a unifying entity on the world’s stage. Behind the scenes, he also showed a high degree of empathy, but his power and wealth were also used to weaponise his awful intent.

The film is bright (with oversaturated colours and a very loud soundtrack) and touches on storylines very familiar to even the casual observer, but it never treats him more than an uncomfortable entertainer. His ability to create pure joy is sold as a brand. By focusing mostly on the positive, Michael brings the bright lights to a story that deserves more. A life with complexity is reduced to a simple ideology: no mater what, the show must go on.
Rob Hudson
www.facebook.com/UniversalPicturesAU/

Clint Eastwood’s take on Navy Seal Chris Kyle’s (Bradley Cooper) autobiography certainly sets a scene of dread and foreboding as we follow Kyle and his descent into the war in Iraq.

Kyle is a good old boy from Texas, a former competitive cowboy and a very proficient marksman. His entry into the service is spurred on by the events of 9/11 and his upbringing with a very strong and opinionated father. This background is revealed is very broad strokes and lacks the nuance to really allow the viewer to relate to his on-screen character.

Once in the war zone, Kyle’s alpha male persona, the bleached out backdrop of the desert and the relentless graphic slaughter present such a one-dimensional portrait, it becomes difficult to connect with the film. His distance from his wife (played by Sienna Miller) and the obvious love she has for him also forms a very one-dimensional view. It’s not really until after his active service years that we see Kyle as anything other than a killing machine.

Being completely unaware of Chris Kyle’s real life story made the sting in the tail at the end of the film just that much more of a downer. Eastwood’s directorial style has always been to step out of the way of cinematic flourishes and let the main proponent’s actions define the story. Unfortunately, this time out that leaves the viewer with too much carnage and not enough characterisation.
Rob Hudson
www.americansnipermovie.com