Keyser-Stanton

This movie has only just come out on DVD in Britain, that is a shamefully long time for a film to reach the country it was made in. But now it is here, and possibly finding a new audience, I thought I'd write a quick review. If you have read some of the other reviews, you will no doubt be aware of the 'kitchen sink' factor in this film. Well, I'm not going to deny that, the subject matter would not look out of place in a soap opera. . . .however it is the performances, the script and the fantastic style of this movie which pulls it out of the mundane and into the cinematic. Michael Winterbottom is clearly a director who like several of his British contemporaries such as Mike Leigh and Shane Meadows, believes that the drama around us in everyday life is worthy of the big screen. The film has a fine ensemble of characters, three very different sisters, their estranged brother and squabbling parents. The performances are brave and heartfelt in all cases, and even though the drama takes place over one weekend, the characters really do evolve. The most enticing thing about the film is the way it is shot and scored. Sean Bobbitt's time lapse photography and dogma style 16mm cinematography combined with Michael Nyman's emotive music is a really fantastic combination. This film shows London how the people who live there see it, namely from the ground. Nearly every film set in London now seems to have to include the Gherkin, the Tate modern and the Millennium wheel, what Winterbottom presents us with is something simultaneously far less and far more remarkable.

Jonas Åkerlund, one of the latest and most popular music video directors to

attempt to branch out into feature film, has overlooked the most vital element of any film. . .the story, 'Spun' has no story! You can assemble a cast of fine young actors (and Mickey Rourke), you can

shoot and edit the film with an amazing amount of skill, but if you have no story, what is the point? There are no characters that you could possibly identify with, or even like.

Jason Schwartzman plays the lead, a confused, self centered crack addict. We

follow him as he tries to obtain drugs, as he indulges his habit, as he ties a stripper to a bed, duct tapes her mouth and eyes and leaves her for days on

end. . .and through all of this we are accompanied by the gentle tones of Billy Corgan's sentimental score. It is a sad state of affairs if the filmmakers thinks we can forgive Schwartzman's character for his actions. 'Spun' is a text book example of style over substance, and not only that but a lot of the style is stolen from Darran Aronofsky's 'Requiem for a Dream'.

I sincerely hope Åkerlund pays more attention to narrative in his next feature film.

As a huge fan of Comic-Book films, I must admit that I get irritated when people berate a film like Spider-man for being unrealistic or unbelievable. If you want something real from a cinematic experience, then maybe you should go and

watch a Lars Von Trier film (that is not meant negatively, I think he's done some great work.) But Spider-man 2, more so than the first film, is of the Comic-Book genre. I believe Spider-man 2 is more like the film Sam Raimi would have made the

first time around, had he been braver, or received less badgering from the

studio (or whatever it was). A Comic-Book film has to be big and bold, and it has to have little regard for realism. . .because, such as in this case, the story is about a guy who acquires superhuman powers from a genetically modified spider. . . if that is the premise, and you know that before you enter the movie theatre, why on earth are you

complaining about a lack of realism. I loved this film, in all its outrageous, cheesy, fantastical, big budgeted glory. If you know how to watch a film of this genre, its a joy. We all know about sequels never living up to the expectations of the original film, but Spider-man 2 exceeds them. The story is well structured and carefully conceived, continuing many of the

themes from the first film. The wealth of screen writers that seem to accompany projects such as this have made a well rounded story and script. . .a rare

occasion when too many cooks haven't spoiled the broth.

Peter Parker's struggle with his identity is both comical and heart-felt, and Tobey Maguire does a fantastic job. Alfred Molina makes a superb villain, a hard act for James Franco to follow as the next nemesis to Spider-man.

The film is consistently stunning from start to finish, thanks to the amazing visual effects, and ace cinematographer Bill Pope (of Matrix fame). And once again, a Comic-Book film isn't a Comic-Book film without the huge

orchestral sound of Danny Elfman. After working on 'Batman', 'Darkman', 'Men in Black' and 'The Hulk'. . . its not surprising that he was picked for this gig too. . .and he does a fine job. Spider-man 2 is a fine effort and in my opinion, it is one of the best genre

sequels we've seen, along side the fantastic X-men 2.