Enoch-3

There's no doubt in my mind that 'Saving Private Ryan' is technically one of the best films ever. Janusz Kaminski should be congratulated for his cinematography, especially in the opening sequence. The sound effects are amazing, and I for one was particularly impressed by the part where the sound of raindrops on leaves imitated the sound of guns firing.

It's no understatement to say that Tom Hanks is brilliant. He has proven himself to be the most versatile actor in Hollywood, without exception. If the hype is true that 'Saving Private Ryan' is up against 'The Truman Show' to sweep the Oscars, and Hanks is up against Jim Carrey for Best Actor, then 'Ryan' and Hanks should win hands down.

Yet all the same I felt severely disappointed, maybe even cheated, by the movie. Beneath the main plot, a sort of sub-plot developed in which the audience is given glimpses into the internal emotions and mental turmoil of all involved, especially Captain Miller. At least, that's what I perceived the shaking hand and the "I'm a schoolteacher" bit to mean. The audience is sucked into thinking that, regardless of how many die, and whether or not Ryan is saved, this sub-plot is going to lead to Spielberg's big thematic message, his conclusion, his comment, at the end. But that resolution never comes, and there seems to be no point to the film, nothing it's trying to say. While that in itself is not disappointing, as many films have no message, what is frustrating is being led to feel as though a lesson is coming, and then not getting it.

In terms of the violence, I don't think the Omaha beach landing sequence is particularly gruesome, at least no more graphic than the part in the middle where Miller's men apply pressure to a stomach wound, and you feel the victim suffering as he turns white and dies.

And, not being an American but an Australian, there has been a lot made of the so-called Americanism of the film, how no black American soldiers seem to be mentioned, and how the other Allied troops are forgotten about, but I tend to think that's no more than pedanticism, taking a stereotypical swipe at a film where such bias has no glaring impact.

So in short, 'Saving Private Ryan' is technically brilliant, but it still left a very hollow feeling. 8 out of 10.

The film is called 'Armour of God', and the first half spends a great deal of time about it, but for anyone who's contemplating seeing this film: take it in your stride yet don't bother thinking about it. The film forgets about it in the end.

Let's face it, this is a typical Jackie Chan action-comedy vehicle, where the emphasis is on the immediate scene, so the plot will always take a back-seat to a good stunt. And good stunts there are many, including the opening sequence (in which Chan was infamously hurt during its filming), a breathtaking multi-car chase in the middle, and a death-defying leap onto a passing balloon at the end. And in terms of martial arts, this is no less than what you can expect from a typical Chan flick.

But the comedy aspects are often forgotten in a Chan film, and this is one movie in which the comedic elements do stand out as being worthy of mention. Much of it is provided by Chan's good friend, fellow Hong Kong megastar Alan Tam, who's better known as a singer and dramatic actor, but is reduced to a bumbling sidekick in this. This is no criticism, as it works very well.

One particular moment which would send Hong Kong audiences into raptures is at the beginning when Tam and Chan are seen as part of a band called 'Losers', wearing ridiculous 70's style wigs. This was a play on the band 'Wynners', one of the most popular groups in Asian music history, of which Tam (and the four standing behind him in this scene) were a part of.

You can tell there's not so much emphasis on technical merit as on ENTERTAINMENT through the fact that most of the other characters are played by westerners, particularly Europeans, and though during filming they spoke in their native languages, they were given Cantonese voiceovers. It's a touch annoying when what you hear doesn't match up to what you see the lips doing.

The shoot locations of Germany and Yugoslavia are great to watch, and the rolling countryside provides a nice atmosphere. And being a fan of Tam's music, I can say unashamedly that the use of his hit single 'Friends', written for this movie, was particularly apt, while the dramatic pop song 'Goddess of the Gale, Lorelei' for the final credits was equally suitable.

All in all, a satisfying action comedy for some mindless fun, but it is frustrating that all that time spent discussing the 'armour of god' is wasted at the end. 7 out of 10.

While it was generally accepted that Australian films are usually quite good and have a great deal to offer, it was also a subconsciously conceded fact that, in terms of getting recognition from, say, Hollywood, it would be a step-by-step process. 'Shine', however, allows Australian cinema to jump a few steps and really get some world attention.

Sure, there have been raging arguments recently as to how close (or how totally far away, as the case may be) the plot is from David Helfgott's life, there can be no doubt that this film is exceptional stuff.

The fact that Geoffrey Rush won as Oscar for this film says it all. He really was the one playing the piano in the second half of the film (though Helfgott recorded the sound), so he deserves great credit for that. But that is not to take away from the splendid performance of Noah Taylor, who had as much screen time as Rush, and of Armin Mueller-Stahl and Sir John Gielgud. The cinematography is probably underrated, while most of the sets are fabulously appropriate. And the music undoubtedly appeals even to those who avidly avoid classical music.

In a year when 'Jerry Maguire' was the only really good major studio flick, and independent films like 'The English Patient' and 'Fargo' won much acclaim, how good it was to see Australian cinema grasp the opportunity with both hands, and come out with something to be so proud of. 8.5 out of 10.