Category Archives: Film

Film, inthemix.com.au, Review, Writing

Bananaz

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When you really think about it Gorillaz, the brainchild of Damon Albarn (Blur) and Jamie Hewlett (Tank Girl), is a pretty fucked up concept. You’ve got an animated band, made up from real world band members (the lead who is quite famous and identifiable in his own right) who think they’re famous, who go on tour in a real world setting. Bananaz is the documentary which follows the six year process of the Gorillaz from just past conception to the live tour of the animated Gorillaz rock band across America.

It’s a fly-on-the-wall, home movie kind of documentary, and director Ceri Levy shows you both the highlights and lowlights of the band’s career, and a hell of a lot of bickering and farting in between. The highlights are the massive Gorillaz Festival, with Dennis Hopper, De la Soul, Shaun Ryder, Nina Cherry and more joining Albarn on stage in the USA. One of the lowlights was the departure of the band’s bass player before their first tour of the USA, leaving Albarn vomiting with nervousness before going on stage. There’s no explanation given for his departure, and this annoyed me.

The other people in the film are generally playing second fiddle to the Albarn and Hewlett show. There’s an excellent scene with Buena Vista Social Club singer Ibrahim Ferrer, but then he’s nowhere else to be seen in the film. They chat a little to Haruka Kuroda who provides the voice of Noodle, but pretty much gloss over everyone else, including Dan The Automater and Dangermouse.

You do get a good feel for the personalities of both Albarn and Hewlett though. Despite their fame, they seem like typical British lads. There are unexplained scars and scratches on Albarn’s face, again never explained but I like to think it’s from some kind of bar brawl. Another classy act is where Albarn tries to scab a cigarette off Hewlett, and he’s told “fuck off, you’re a millionaire”. Hewlett has an awesome scene talking about how much he hates NME writers, his immaturity shows as he draws a massive dick as a portrait of one.

It’s a funny, charming movie, and seeing the behind the scenes of not only the performances but also the animation is interesting. The debate on how to do interviews as the Gorillaz is eye opening, as is Albarn’s handling of certain interview questions.

However, I felt a little lost at times, as words are mumbled and certain incidents glossed over, never properly explained or examined. I would have liked to see a more traditional documentary style applied in many cases, to get further insight and different points of view. It’s a good film for Gorillaz lovers, but those who aren’t fans may find things hard to follow and not explained quite well enough.

Film, inthemix.com.au, Review, Writing

Eric Bana Sketch Show

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Director: Kevin Carlin
Cast: Eric Bana, Robyn Butler, Stephen Curry, Bob Franklin, Rosalind Hammond, Dave O’Neil, Fred Rowan, Michael Veitch
Distributor: Shock
Classification: PG
Running Time: 245 Minutes

Before becoming bigger than any other Aussie actor, albeit through turning all green and angry, Eric Bana was a crown prince of Aussie comedy. His characters are legendary, from the bogan known as Poiter to Ray Martin, and the Eric Bana Sketch Show was his own vehicle to continue the great start he had in Full Frontal. Originally an hour long show, Channel 7 felt the Australian comedy loving viewers had too little of an attention span, and cut them down to half hour shows. Furthermore being on a commercial network were shown inconsistently and were cut in favour of adverts, sport and other assorted crap.

Given this whole double DVD runs for over 4 hours, Channel 7 were probably right about the attention span thing. Watching one or two episodes in a row is fine, but watching even one whole DVD in one sitting becomes a chore, and the viewer realises how unfunny sketch shows can be. Not saying that Bana is totally unfunny – there are some simply hilarious parts, such as Ray Martin’s interview with Arnold Shwarchenegger, and Groovy Pants Gus, but when watched in one continuous setting the jokes just seem repetitive, particularity Poiter’s interviews with “Aussie Icons”… mostly B-grade celebrities looking to boost their ‘stardom’.

There are some really good skits, and today’s Aussie skit shows could learn a little more about how to be clever AND funny from this series, although most of today’s comedy actors happen to appear in this show. The way each skit moves onto the next is very clever; for example, U2 may be parodied in one skit, and then the next skit starts with Eric in his car turning down the radio that is playing that U2 song. Although not entirely original, as Kenny Everett used to do a similar thing at times, it’s still executed quite well.

However, the skits suffer greatly from being about particular moments in time, and somehow just aren’t as funny as skits with the same characters that were (and still are) hilarious in Full Frontal / Fast Forward. Maybe it’s the writing, maybe it’s the direction, but it all seems rather flat, especially after the first DVD. Maybe if I had watched the DVD sporadically I would have found it funnier, but in one big, long continuous session it ranks as OK, but nothing great.

Special Features:
Photo Gallery
Fridge magnet

3/5 Stars

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Takedown

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Director: Joe Chappelle
Cast: Skeet Ulrich, Russell Wong, Tom Berenger, Chris McDonald and Jeremy Sisto
Distributor: Roadshow / Miramax/ Dimension
Classification: M 15+ (Medium Level Course Language, Low Level Sex scene, Sexual References)
Running Time: 92 Minutes

Takedown is the true story of the world’s most infamous hacker, Kevin Mitnick, based on the book by Tsutomu Shimomura and John Markoff. Mitnick was responsible for hacking the North American Aerospace Defense Command (NORAD), teleco Pacific Bell, as well as the Pentagon computers, and is apparently the only hacker to ever get onto the FBI’s most wanted list. Essentially the film is a chase movie, with Mitnick, played by Ulrich, running and hiding from the FBI, using his talents as a hacker to stay one step ahead.

The film begins in a sleazy stripclub, with a hacker offering Mitnick and his friend important information. It turns out this was in fact a FBI set up, but Mitnick ends up actually stealing the FBI files, and gets away with it. Mitnick becomes unstuck when he hacks Shimomura’s computer system. Shimomura, played by Russel Wong, is an egotistical systems admin whose cocky attitude attracts Mitnicks attention. The rest of the movie has Markoff running away from the FBI and Shimomura.

The main problem with the movie is the acting is just so inconsistent you don’t believe in or feel very much for any of the characters. Shimomura is portrayed in such a way that you get the feeling that even though he wrote the book, he doesn’t really like himself. He’s played as an egotistical prat, and there’s a feeling that he deserves to be targeted just because he’s such a complete tosser.

Mitnick is not represented in a much better light either. He’s obsessive and whiney, and similarly not very likable. At times you do feel for him, as his crime was simply hacking – he never sought to use it for monetary gain, although he could have quite easily used his talents for no good. Yet, at the same time there is no sense that he is doing good by exposing flaws in security systems, because he is so unlikeable.

Similarily, the movie sets up relationships that serve as plot devices and they seem rather vacant. There’s a love scene between Shimomura and his girlfriend which seems as if it was shot just to show a bit of T&A; not that there’s anything wrong with that, but it’s not even a great love scene and comes in at a really inappropriate time, and is not important to the plot at all.

Often you are left wondering where exactly the film wants to go – are they saying Mitnick was misrepresented, that Shimomura deserved it and that the charges that landed him in jail were hyped up; or is Mitnick a total tool who should be locked up for fraud? In a documentary maybe you could have the position of the filmmaker vary, but in a full feature movie it seems as if they changed the story half way through, and leave you with a vacant and unfulfilling movie that is neither here nor there. Even for fans of hacking and computer espionage, this movie have very little to offer. A documentary of Mitnick’s exploits would suit much better, and this B-grade movie is better left on the shelf.

Film, inthemix.com.au, Review, Writing

.Hack//Sign (Dot Hack – Sign)

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.Hack//Sign (episodes 1 to 5)
Director: Kôichi Mashimo
Cast: Mitsuki Saiga, Megumi Toyoguchi, Kazuhiro Nakata, Akiko Hiramatsu, Kaori Nazuka
English version: Brianne, Amanda Winn, Paul Mercier, Kim Mai Guest 
Distributor: Madman
Classification: PG : Low Level Animated Violence
Running Time: 125 Minutes

.Hack//Sign (dot hack sign) is a Japanese Manga series, and this is a 5 episode collection of the first series. The series deals with “the World”, an artificial reality game, similar to games like Asherons’ Call and Everquest – it has wizards, warriors, and monsters and quests. The game is played by millions of people around the globe, who can meet up, explore the world together, help each other out, or war against one another.

This series focuses on one player in particular – Tsukasa. We’re introduced to him in the first scene, where he wakes up dazed and confused. He is somewhat aloof, and rather unlikeable at first, but that’s because he’s not part of the “World” as we know it. We learn that he cannot log out of the world, and has special powers and allies that defy the logic encoded into the world. This makes him a target for the Crimson Knights, the game’s law and order force, and each episode follows Tsukasa’s quest to find out what has gone wrong, why he has all these special powers and cannot log out of the world.

Over the course of the series, Tsukasa meets other gamers, such as Mimiru, who at first dislikes Tsukasa because of his brashness and rudeness, but who slowly begins to understand him. Bear is a big, friendly giant, who also wants to solve the story of the boy who can’t log out. The sorceress BT and thief Sora are two players who want the abilities of Tsukasa for their own ends, and help Lady Subaru and Crimson Knights in their efforts to capture Tsukasa.

The DVD is best watched twice. With understanding of the series and how the world operates, working out exactly who the Crimson guards are and what they do, learning a little about the characters, a re-watch can help you make sense of what is sometimes a confusing and puzzling show. Rather than being a full on action series, .Hack//Sign is a lot more cerebral than many other manga cartoon series, relying on moody characters and interesting puzzles than violence and blood. The animation is adequate, nothing too fancy, but the “World” is brilliantly conceived. It has a decidedly Renaissance flavour, with a large Venetian styled city, gothic castles and lush open fields. Although the “real” world is mentioned, the only time it is seen is in a very small scene that is in grainy black and white, rather like a noir crime film, giving the impression that the “World” is more real than the “real” world.

Being only 5 episodes, I was rather disappointed with the end, as it leaves you hanging on. The story developed up until the end point is annoyingly incomplete, with little or no real clues to what is really happening, and who is really what. Who is the speaking voice? Who is the Sleeping Girl? What is that Cat thing? And, the most important of all, why can’t Tsukasa log out? You get an inking of the answers, but nothing concrete. I guess we’ll have to wait for episodes 6-26 before finding out what is going on.

But as an introduction to the series, it is quite good, although the extras should have fleshed out more detail about the “World” – thing’s I’d like to know are who made the game, how many players does it have, who controls what, how many regions there are and so forth, just to make it seem more realistic. As it stands, for extras there are just character profiles and sketches, plus the option to have to opening titles subtitled or not.

EXTRAS
Textless Opening
Textless Ending
Character Profiles
Character Gallery

Film, inthemix.com.au, Review, Writing

Sweet Revenge

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Director: Malcolm Mowbroy
Cast: Sam Neil, Helena Bonham-Carter, Kristen Scott Thomas, Steeve Coogan, Rupert Graves, Martin Clunes, John Wood
Distributor: Miramax
Classification: M 15+ : Low Level Violence, Low Level Course Language
Running Time: 86 Minutes
Special Features: None

This is one of those movies that has slipped under the radar of contemporary culture, but shouldn’t have. It’s a witty film, at times outrageous, and quite black in its scope. Based on Alan Ayckbourn’s hit play “The Revenger’s Comedies”, it’s one of the few play to film conversions that utilises the devices of the film medium to great effect, without losing the impact of speech, so important to a play – basically it doesn’t seem like you’re watching a filmed play.

The story starts as Henry Bell (Sam Neil) is standing on London Bridge, about to throw himself off. He has lost his home, job and wife, and can’t see any future for himself. He hears the cries of a woman, and rescues her, perhaps the bravest and most foolish thing he has done in his life.

The woman is Karen Knightly (Helen Bonham-Carter, looking nothing like the Michael Jackson clone she plays in Planet of the Apes), an eccentric country lass who also decided to off herself too. Over coffee, Karen convinces Henry that revenge is needed on those who led them to consider themselves worthless, and they return to her stately country mansion.

The next morning, Henry wakes up naked strapped to a bed, as Karen’s maid tidies the room. This is the beginning of Henry’s introduction to Karen’s world, a crazy, psychotic mix of wealth and worthlessness; a stunning indictment on the aristocracy of England. Its all here – fox hunting, horse riding, squirrel shooting, sexual indiscretion, and a simmering violence that explodes as Karen’s plans are put into action.

Helen Bonham-Carter is excellent as the twisted, manipulating Karen. At times she has an undefinable sexiness about her, and at other times is repulsive both in looks and actions. Sam Neil is rather good at playing the clueless Londoner who gets sucked into Karen’s world, and you believe right from the beginning that he is just a pawn in a massive game.

Steve Coogan (24 Hour Party People, I’m Alan Partridge) is wonderful as Henry’s arch nemesis, the leery and disgusting Bruce Tick, who, while is instantly dislikeable, doesn’t deserve Karen’s attentions. Kristen Scott Thomas does a reasonable job at playing Imogen Staxton-Billing, Karen’s arch nemesis, although the instant attraction between her and Henry is a little unbelievable. Martin Clunes (men behaving badly) plays Imogen’s unfaithful, uncaring husband Anthony, brilliantly, as is Rupert Greaves, who plays Karen’s crazy, bike-through-the-mansion riding brother, Oliver. The ensemble cast work well together, and while this film is not as good as other British comedies to come out in recent years such as Bend it Like Beckham or Snatch, I still found it to be enjoyable and amusing.

Film, inthemix.com.au, Review, Writing

Run Lola Run

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Director: Tom Tykwer
Cast: Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nina Petri
Distributor: Columbia Tristar
Classification: M 15+ (Medium Level Violence, Low Level Course Language)
Running Time: 77 Minutes
Special Features:
In German with English Subtitles OR English.
Commentary by director, writer and producer Tom Tykwer and actress Franka Potente
Theatrical trailer
Music video “Believe” by Franka Potente
Full-screen and widescreen anamorphic formats

I’m not one of these arty-wank type people that hate Hollywood and the Film Industry, but there’s something about European filmmaking that the Yanks simply just do not get. Maybe it is the centuries of art, style and culture that give European films that extra ‘something’. Run Lola Run is one of those films that when you watch it, you know that no American could make it. From its stunning visuals to its very suave style, to the incredibly sexy yet understated lead, Franka Potente, to the pounding techno soundtrack, this film simply slams Hollywood action films into the dirt.

The film starts with an odd scene with a philosophical dialogue spoken by what sounds like the German equivalent of William Burroughs, telling us we always ask the same questions, and get the same answers. As the camera zips through a crowd of people, it stops on a person in uniform, who has a soccer ball, which he kicks into the air. The camera follows the ball up, and then looks down onto the crowd, who form the words “Lola Rennt” (the German title). Then we break into animation of Lola running. Very swish.

We then are introduced to Lola (Franka Potente) and Renni (Moritz Bleibtreu). Renni is in a slight bit of bother, as he was involved in a jewellery scam and lost $100,000 on the train, and has 20 minutes to get the money or he will be killed. The next twenty minutes is on the edge of your seat drama, which ends with one of the main characters getting killed. In Hollywood films, no main character ever dies, unless through their death a greater outcome is achieved. But wait. Because this movie is a Sliding Doors type film, we get taken back to the start from when Lola drops the phone and starts running.

The way this film moves you along, giving you that sense of urgency, that sense of desperation, is incredibly well done. The camera sweeps along side Lola as she is running, or through groups of people, and shots are reversed and cut together is quick succession. Shapes, colours and images are juxtaposed in a medley of sight, colour and sound. The camera really drives this film, and this is a true example of what cinematography is all about. The soundtracks’ driving, pumping, techno rhythm pulsates along side the visuals, becoming part of the film, rather than just backing material.

Furthermore, there are some stunning, ingeniously directed scenes. In certain parts Lola runs past other people, and then we are shown an “and then…” – a quick succession of shots of that character and their future, over which the sound of a Polaroid is heard. This means nothing to the main story, but adds a depth to even the minor of characters, giving a sense of action and consequence that is often missed in other films. The use of animation is also great, and adds an extra intensity to the film.

The acting is superb, and Franka Potente is simply stunning with her fire red hair, and is very sexy, without having to resort to wearing skimpy clothes or flashing a bit of tit, as other Hollywood actors feel the need to do. Some people criticise this film for being too much like a video clip, but I have never seen a video clip that creates such a depth to the characters. All the actors interact with each other so well, responding brilliantly to even the most minor characterisation. There’s an energy and tension running through all the characters, and the scenes between Lola and her father, played by Herbert Knaup, can be very tense indeed.

This film is all about action and vision, so the dialogue is not the most important feature, but even if you don’t like subtitles, you can understand the movie. Of course, you can always choose to watch it in English. The added features aren’t too great, but the commentary is a welcome addition as you can hear the what and the why of certain scenes. But with the movie being this good, you don’t need any extras to sell it.

Film, inthemix.com.au, Review, Writing

R.O.D Read Or Die

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Director: Koji Masnuari
Cast: Kimberly Yates, Amanda Winn Lee, Jaxon Lee, Crispin Freeman, Daniel Raymont, Dean Haglund, Hal Lublin, Chad Fifer
Distributor: Walt Disney Home Video
Classification: M 15+ : Low Level Violence, Low Level Course 
Running Time: 90 Minutes
Special Features
Original Trailer
Historical Biographies
Interviews
Previews

Imagine if that clumsy, erudite, bespectacled librarian that seems to come inbuilt with all public libraries was really in fact a special agent with enormous powers over the structure and fabric of paper. That seems to be the basis of R.O.D: Read or Die, a 3 part action series, based on a Japanese Manga by Hideyuki Kurata (story) & Shutaro Yamada (pictures). R.O.D. details the story of Ms Yomiko Readman, part time schoolteacher and full time book nerd. She also has a special power over paper, allowing it to become as strong as steel, as flexible as rubber, and as deadly as a knife. This power has made her one of the Royal British Libraries top agents, Agent Paper.

From the state of Yomiko’s home you instantly know what type of person she is. Books take up every conceivable spot in her apartment. It’s plastered with sticky notes telling her to take this, eat that, and not to forget this, from the never again mentioned Nenene. Yomiko’s awoken by a phone call asking her to substitute at a school. Excitedly she runs out of her apartment, and goes shopping for… what else but books! It is here that she first encounters one of her many enemies, a weird grasshopper riding guy. At first she is totally oblivious to everything around her, apart from her books of course, and it is only when the grasshopper riding guy tries to steal her book does she show that under her meek exterior is a woman with powerful, if somewhat unusual, abilities.

From here, R.O.D. imaginatively gives a face-lift to the old formula of special agents vs. evil masterminds by introducing the Royal British Library’s Division of Special Operations, the bibliophile’s equivalent of Mi5 or CIA. With the help of Joker, the stereotypical English leader, Mr Drake, a gung-ho commando specialist and Nancy Makuhari, aka Ms Deep, an agile and buxom assassin with the ability to pass through solid objects, Agent paper must rescue her book from continued theft. Incidentally, Makuhari is a Japanese bastardisation of Mata Hari, the name of a famous Dutch spy from World War I, and the first hint at a much deeper story.

The people stealing the book are all clones of famous historical people, or people from books as it were, including a German glider inventor Otto Lilienthal, and the monk that Monkey Magic’s Tripitaka is based on, Genjo Sanzo, complete with the familiar funky robes, but a lot more butch than Monkey Magic’s hero. This group, known as the I-Jin, are led by Ikkyu, a monk bent on creating the world in his image. Each clone also has special powers, much like the “good guys”, and many an interesting battle is played out.

This Manga is obviously big budget, with superbly drawn animation utilising the best in computer and traditional drawing techniques. It has a very well developed plot, that’s involving and engaging, and doesn’t leave you feeling as though you need to understand Japanese iconography and language like other Manga can. The development of the main characters is excellent, and this is one of the few films I’ve seen that develops a strong female lead character without having to resort to T&A. The relationship between the two female lead roles is also well developed, and while it does hint at a sexual interest between the two characters, it doesn’t devolve into baseless, juvenile innuendo.

The special features are great, with a Biography of each of the character’s real life counterparts, which gives you a better appreciation of the story once you watch it again, but the interviews are all in Japanese with no translation available, which is very, very disappointing as they address questions such as “who’s idea was it to use historical figures” and “how have the fans reacted”, and I would love to know what their answers are. Apart from that one fault, this DVD is a must for Manga fans who want something a little different from the usual Giant Robot / Samurai/ Evil Tentacled thing, but still packed with action.

Film, inthemix.com.au, Review, Writing

Spirited Away

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Spirited Away
Director: Hayo Miyazaki
Cast: Daveigh Chase, Jason Marsden, Miyu Irino
Distributor: Walt Disney Home Video
Classification: PG
Running Time: 132 Minutes

From the maker of The Castle of Cagliostro and Princess Mononoke comes one of the most amazing animated films I have seen. I must admit that I like Anime animated films in general, as they’re often weird, funny, outstandingly illustrated, and address issues that ‘western’ cartoons wouldn’t touch with a huge pair of Mickey Mouse ears. Spirited Away won the Best Animated Feature Film at the Academy Awards in 2003, running against Ice Age, Lilo & Stitch, Spirit: Stallion Of The Cimarron, and Treasure Planet, as well as Best Film: Japanese, and also won Best Film at the Golden Bear Film Festival Awards in Berlin. I think it is so acclaimed because it is truly beautiful, if not entirely original.

The story begins with our protagonist Chihiro, voiced by Daveigh Chase who also voices Lilo in Disney’s Lilo & Stitch, and her parents leaving their old life for a new one. Chihiro is worried about losing her friends, and making new ones at her new school. Her Father attempts to take a shortcut up an old road, and they get lost. They get to a strange building, and walk through to find an abandoned amusement park. Chihiro’s parents get hungry, and follow the scent to a small store with a massive amount of food, and pig out. Chihiro, not hungry, wanders off, while her family is transformed into the pigs they are! She finds a big bathhouse, and is about to enter when a young boy, Haku, voiced by Jason Marsden from the Lion King II and Hocus Pocus, whisks her away from harm. He explains that she has stumbled upon a bathhouse for the spirit world, and to help her parents she must get a job.

It’s Chihiro’s qualities such as resolve, bravery and love that get her through a series of ordeals in a strange, funny and different world, obviously a parallel to her leaving her old life and moving on into a new one. The story has a similar feel to Alice in Wonderland or The Wizard of Oz, but the world it is set seems a lot more bizarre. Maybe because it’s Japanese there could be some symbolism I am missing, but there are a series of events and characters that are just so “out there” it makes me wonder what the creator was on when he wrote this script. Not that this is a bad thing, though, as it adds an extra dimension to the film, makes you THINK, rather than sit there and be entertained / numbed as western children’s films do.

The most amazing thing about this film is the illustration. It is truly, phenomenally beautiful. From the stunningly surreal characters such as the Boiler Man, to the gorgeous River Dragon Spirit, all the characters have well defined qualities brilliantly represented by simplistic yet wonderful animation and illustration. There are no obvious computer effects, but there doesn’t need to be. Furthermore, the backdrops are simply amazing, full of flashes of colour and shadow, creating mood to brilliant effect. The time and effort gone into creating this wonderfully, abstractly weird world are incredible, and puts Walt Disney to shame.

The ending is quite abrupt and happy, almost clichéd, but after all it is a children’s film. There are some dramatic scenes, but nothing too sinister or scary, especially compared to other Manga films, although there are some gross parts involving bodily fluids. Then again, if Ren and Stimpy are any indication, kids get off on that kind of stuff. All up Spirited Away is a great kids film, and is wonderful to watch as an adult as well.

Film, inthemix.com.au, Review, Writing

Harry Potter and the Chamber of Secrets

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Director: Chris Columbus
Cast: Daniel Radcliffe, Emma Watson, Rupert Grint, Tom Felton, Robbie Coltrane, Kenneth Branagh
Distributor: Warner Home Video
Classification: PG
Running Time: 161 Minutes
Special Features:
Menu Animation & Audio
Main Menu Audio & Animation
Listing-Cast & Crew
Featurette: Year One at Hogwarts
Theatrical Trailer
Featurette: Game Preview (6)
Deleted Scenes: 19
Gallery-Photo
Gallery: Certificates
Featurette: Required Reading
DVD-ROM Extras
Featurette: Conversation with J.K. Rowling and Steve Moves
Featurette: Build A Scene (Dumbledore’s Office);Tour Dumbledore’s Office
Interviews-Cast & Crew
Gallery: Production Sketches
Game: The Chamber Challenge; The Forbidden Forest Challenge
Game: Colin’s Darkroom; Tour Diagon Alley; Spellcaster’s Knowledge


Harry Potter is well known and well loved by people of all ages. Following the familiar pattern of all the books, we follow Harry from his holidays with the vile Muggles, the Durlsley’s, where Harry visited by a house elf, Dobby. Dobby wants to stop Harry going to Hogwarts at all costs, in order to save his life from an unknown threat. Dobby creates a ruckus that ruins Uncle Vernon’s chance at a promotion, and Harry is blamed and locked in his room.

His friend Ron Weasley, and Ron’s twin brothers Fred and George set Harry free in their dad’s flying car. After missing the train to Hogwarts, Ron and Harry steal the car and chase the train, eventually getting to school and winding up in trouble. That is only the start though, as Harry hears a mysterious voice, and people start becoming petrified by an unseen monster, and a bloody message tells the school that the Heir of Slytherin has returned and opened the Chamber of Secrets. Suspicion is instantly thrown on to Harry, and he and his friends must try and solve the riddle of the Chamber of secrets before more people get hurt, or even killed.

I’ve always thought that these films are brilliantly cast, and this one is no different. Maintaining the core cast, we get to see them as they’ve developed as actors and people, and give the notion of time passing as we can see they are getting older. New additions to the cast include Shirley Henderson, wonderful in the role as Moaning Myrtle, and the casting of Kenneth Branagh as Gilderoy Lockhart is inspired. Jason Isaacs is suitably sinister as Lucious Malfoy, and Dobby the house elf is wonderfully voice acted by Toby Jones. The acting has come along way, with the development of Ron and Malfoy’s characters is especially apparent. The way the younger actors interact with the animated sets and creatures is astoundingly believable.

The main stars of the film are the visual effects, from the excellently rendered Dobby, to the Whomping Willow, the Ghosts, and especially Hogwarts itself, with its massive spires and moving staircases. It is a wonderful blend of computer graphics and expertly designed sets, brilliantly lit and dressed with all manner of magical and mundane items. The time and consideration gone into making the world of Harry Potter believable shines through. Further demonstrating the improvement in visual direction of this film compared to the last is the Quidditch match, which is a fast and furious rollercoaster ride that demonstrates the speed and danger of the game captured so well in the books. I thought the first films’ Quidditch match was rather average, but this one makes it far more believable and exciting.

There are a few problems with the film. Whilst this film is darker than the first film, the book is far more sinister and spooky, and it doesn’t really come out that well. Then again, you can’t scare the kids too much. Also, the film does seem to be much like the first, in the way it progresses through the story. Certain aspects of the book that are important seem glossed over in the film. For example, Harry is believed to be the Heir of Slytherin by the students, but this is hardly impressed on the audience at all to the same degree in the book.

These are the minor things that can be overlooked, but a major problem is the speed at which the film moves. Certain things seem to jump along in an episodic nature, meaning you get the feeling the story has missed something, and whilst there are no gaping holes in the plot, it is not as coherent as the first film, or the book. Furthermore the film is long, 161 minutes long, which is a very lengthy time to sit still and watch a film, especially for a younger audience. Thank God for the Pause button!

The additional footage on the extra DVD is pretty much what you come to expect from DVDs, containing cut scenes (which interestingly enough do expound on the Heir of Slytherin theme), mini-doco’s, and behind the scenes footage. Whilst it pertains more to the cinephile in us all, there are a few kids based activities and games that will keep the younger audience happy, but there’s nothing outstanding, and the interview with JK Rowling and scriptwriter Steven Kloves is just tedious, as the same questions seem to be asked over and over.

All in all Harry Potter and the Chamber of Secrets is an enjoyable romp through a wonderfully designed, magical world, as it should be. Although long, and much the same as the previous film, and whilst it does seem to jump rather than flow, it is enjoyable to watch. The acting has improved, the visual effects are fantastic, the audio is well suited to the movie, and it captures the essence of the book and the world of Harry Potter really well.