Batman based song of the week

Words are great. We love 'em here at the Treehouse, and bandy them about willy nilly, sometimes using whole sentences in displays of uncharacteristic eloquence. But dammit all, they’re so 2008. As we creep towards the bright future, much like Doc Brown’s distaste for roads, where we’re going we won’t need words. For the rise of the video, though apparent for a good while now, has been ever more stealthily spreading it’s seductive tendrils. The video review is certainly no new thing, we’re big Yahtzee fans around here, and indeed even the Gametrailers reviews are things of much value, allowing viewers to see the words of the reviewers in their heads, sometimes literally. But surely the work of Rebecca Mayes eclipses all of these pretenders to the medium, for she is carving herself the niche in video gaming of video song reviews. She not only uses words, and a plethora of instruments, and catchy ditties, but also adorable little penguin outfits and tea sets. A brave new world of games reviews dawns. She was recently featured on Charlie Brooker’s excellent Gameswipe, with her review of Madworld, but this delightful love note to Batman: Arkham Asylum is at once pretty and insightful, and is surely her finest work to date. Ever a sucker for the incredibly talented I take off my penguin hat to her and bid her continue with this bold march towards a word free future. But then again, some faces are meant for radio, so please don’t think too harshly of us if we continue to spout a couple now and again around here. See more of the wonderful Rebecca Mayes at her home at The Escapist, but not I hasten to add, at her real home because that, sir, has a word, and that word is stalker.

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Review: Paranormal Activity

The marketers of indie flick Paranormal Activity must’ve had a helluva time with this one. A no-budget, skeleton cast and crewed horror spook-em up written and directed by newcomer Oren Peli, very much in the vain of Blair Witch and REC, clips from the footage probably didn’t lend themselves well to trailers. Which is presumably why the early trailer mostly consisted of massive banners quoting reviews; “you will never sleep again”, “you will poop you pants” and so forth they cried (both of which are a bit of an exaggeration) and the current trailer is in the style of the film itself, documenting an audience's terror in lovely night vision as though the main protagonist dusted himself down and kept on filming. And oh, how they scream, oh how they jump. Yes it’s the classic first person “found footage” scare-fest riding on the wave of some quite novel marketing buzz, this time though happily offering a semi-plausible reason as to why the protagonists might continue filming instead of putting down the camera and picking up a bat – a) they’re documenting spooky happening in their house, b) you can’t hit a ghost with a bat stoopid. Also, this footage has been found, and then some thoughtful soul has kindly edited it into a nice sub-90 minute package, and in so doing have crafted a highly competent little creepshow that delivers some genuine chills that will stay with you well after you leave the cinema and crawl back to your safe, dark little bed. Um.., what was that sound..?

The footage follows Micah and Katie, and handsome young couple living in a nice little house in a nice little area. They have a pool and everything. Micah has invested in a tasty new camera to document what’s been happening in this suburban cul-de- sac. It’s a blindingly simple conceit, and is executed brilliantly - the early scenes are utterly plausible, the pair of unknowns being extremely convincing as a happy couple, screwing around with Micah’s new toy and each other, and not taking the whole ghost thing too seriously. And so, they document their lives, setting the camera on a tripod in the corner of the bedroom to watch for spooky happenings while they sleep, in a static shot that we will come to dread, and generally creeping themselves out during the day by watching the footage we have just watched “live”. Things start off at a crawl and gradually ramp up. A door moving by itself, some strange banging sounds – the kind of thing we generally experience now and again, adding to the paranoia you’ll feel on returning home after viewing. But the haunting increases in intensity and violence as the days go on, culminating in a – well, I couldn’t possibly say how far it goes, but you may need to take something/someone to hold onto. It emerges Katie has been followed by this haunting for most of her life, and this demon, so sayeth the obligatory psychic expert who pops in for tea, is in some way connected to her - there's no point in running away. And so they don't, and despite at times wanting to, neither do we.

There was a real risk this could have turned into an episode of some TV ghost hunting nonsense with two nitwit protagonists jumping at noises and generally being dull and occasionally screaming at the camera. The horror, when it kicks in in earnest however, is quite dramatic, and after the gentle, lolling introduction, it comes as quite a shock when things get real. Soon the haunting is being really very creepy, and the night scenes become little wars of attrition where we fear the worst and are forced to watch helplessly as the pair try make it through the night, their fragile bodies at the mercy of whatever is stalking in the darkness; we all need sleep after all, and playing on this vulnerability, you really may have trouble dropping off the first night after you watch it. It taps into something quite primal that gets those neck hairs upright just thinking about it - that there might be something just behind your head right now - "I can feel it breathing on me" gasps Katie. Eu, creepsville!

The pacing of the film is in fact both its greatest strength, and ultimately it biggest flaw.While the slow early scenes build up gradually, making it all the more effective when things kick off properly, the movie is not well balanced as a whole. Much like a nervous teenager (if you’ll excuse a rather crass analogy), it warms you up with a lot of perfectly skilful foreplay, but then, just when things start getting really interesting, it makes a clumsy headfirst dash for the finish line. Once we’d got to the meat, I wanted more scares, more action! There were plenty of nice low budget places it could have gone, and that I assumed it would go, given the snail’s pace it had been building us up at, but instead it was all over in a flash, and left me feeling a bit, well, unfulfilled.

That said, this feeling is all testament to how well the near zero budget has been used, the special effects that are in there are extremely well done. Subtle and effective, they really manage to set the nerve endings jangling, and the audience I watched it with were full of gasps and moans and the sounds of straining one involuntarily emits when girding oneself for an impending inevitable shock. “Less is more” is the mantra here – you’ve never before heard such a dramatic reaction from an audience to a light turning on in a distant room, and some brilliantly used time-lapse shots inspired nervous giggling and under breath swearing aplenty – it’s enough to make you sleep with one eye open – and don’t think having someone sleeping nearby will help. Much of the terror stems from great sound design – a low rumble and footsteps can be infinitely more effective than a CG beastie, and of course it helps that our two protagonists, on whom the whole film hangs after all, are both superb to the bitter end - although S1nner found Micah to be a bit irritating.

So it’s all very effective; chilling, nerve wracking and manages to stay with you afterwards, so it must be, as the hype suggests, a classic horror film right? Well, yes and no. It should certainly be seen, and if you are to see it, it should be at the cinema surrounded by a jumpy audience, for what is here is top rate. But ultimately it's so threadbare, so lightweight, it cannot stand up to comparison next to “real” films of the genre. Not to be dismissive of Peli’s massive achievement of getting such a small picture to the big screen, but at the end of the day Paranormal Activity is really little more than a ghost train, a spook house – a cheap carnival thrill. For me, the half baked ending brought the proceedings to a close in a disappointingly abrupt spasm of terror that may have been pleasing at the time, but looking back you can’t help but feel if it had been just a little bit more fully cooked, it could’ve been a bona-fide knee trembler. But hey, everyone still loves the ghost train right? So hop on, enjoy, get home and leave the light on.

Paranormal Activity is released in the UK on the 25th November.

Treehouse rating

3/5

No really, what was that sound?

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Treehouse Photography Special - Macro

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Get your own

For those of you that don't know me, you won't know (is that some weird tautology there?) that I love photography. Yes, I admit it. I'm that sad, lonely figure walking around camera in hand jumping at anything that can be photographed. My preference is landscapes and macro and Munial suggested that I post some of my images to try and get some feedback (since I'm always badgering him). So, I will start posting a series of photographs monthly with different themes ... do let me know what you think as there is (probably) a big conflict of interest if I review my own stuff! This month's theme is macro (small stuff up close) and I've posted a very small selection from my vast library. Just bear in mind that the photographs are reduced in size and resolution for obvious reasons. Also, the watermark refers you to my website - apologies for the plug!

The camera I used was a Canon A710 IS purchased in 2006 which is a mid-range fully manual digital compact (not an SLR). I was recently visiting relatives abroad and my aunt decided she needed it more than me. I didn't know how to say no so I'm now about to purchase the Canon SX 200 IS. This is a direct replacement for the A series and it's all I need. It's a strong all rounder and a good size at a reasonable price. Although, the Nikon D5000 would be my budget digital SLR of choice for greater manual control. My theme next month may be 'lakes' and all things to do with lakes. If anyone has a better suggestion or wants to challenge me ... go for it! The photographs shown are a very small selection - I literally have thousands. If you like photography and would like to exchange tips etc, let me know.

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Review: The Imaginarium of Doctor Parnassus

Despite what Michael Jackson would have us believe, This is, in fact, it. This is Gilliam’s shot at the big time. Never mind the fact that he is one of the most brilliantly inventive, dedicated and passionate film makers ever, this is his last chance to show those money hogging, suit wearing bitches, that he can get bums on seats too. And I hope he does – I know a lot of people who have been to see this film, the type I wouldn’t imagine typically seeing a Gilliam film. Sure they came away with a predictable reaction – it was a bit weird – but they saw it, and enjoyed it.

But no doubt, a sound analysis: weird it is, as wonderfully weird as we’ve come to expect from Gilliam. A sprawling heap of wacky ideas and twisted notions, this is essentially his imagination made flesh, his brains scooped out and sloshed about onscreen in an orgy of colour and beauty, and when inside the titular imaginarium, it’s most analogous with his cartoons from Monty Python. The tale itself really is somewhat of a bafflement though, perhaps even more than is usual for Gilliam. Its a beautifully befuddling and warm fairytale about imagination and story telling, that is undoubtedly his finest film for years.

We’re in modern day London, announces the oddly medieval onscreen script, a weirdly tall and narrow horse and cart pulls through the darkened rainy streets. The show, for it is such, pitches up outside a busy nightclub where drunken revellers are spilling onto the street. The rickety cart opens and unfolds to reveal that perennial Gilliam favourite; a shabby flea circus theatre, ancient and ramshackle. Onstage the pitiful band of the immortal Dr Parnassus and his followers try to tempt the revellers with their fantastical tales. Parnassus sits motionless in a trance while his crew spin a wistful tale. Straight away the conceit is clear – the world has left these performers behind, the drunken revellers don’t care for stories or imagination and after a boozy bust up Valentina, Parnassus’ long limbed daughter, is chased through the stage mirror to the back of the stage. Except of course these travelling oddballs are the genuine article and the mirror in fact leads into the recesses of Parnassus’ entranced mind. Inside the imaginarium, reality is what you make it, and so each journey within is never the same twice. The reveller quickly meets a sticky end inside for reasons that become apparent later.

And so off they trot, after giving the dopey filth the slip for the missing pisshead, to find another pitch to tell their tales and expand some minds again. The crew is four strong. There’s Parnassus himself, Valentina, Anton – the downtrodden dreamer madly in love with Valentina, and Percy, Vern Troyer’s even-smaller-than-a-midget coachmen/advisor. Together they roll around the streets of London looking for punters to enthral with their stories, and to guide to blissful transcendence from their everyday lives through Parnassus’ fantastical imaginarium, but clearly times are tough. Valentina dreams of escape. Anton dreams of Valentina, and Parnassus simply dreams. And drinks.

Also, even more trouble is afoot, for it emerges that Valentina’s 16th birthday is approaching and Parnassus’ very long history is about to catch up with him. The story is gradually revealed throughout, but much is clear from very early on – a shadowy figure displays an unhealthy interest in Valentina and Parnassus knows him well. A thousand years ago, when he was a young monk (!) Parnassus had a little run in with a moustachioed Tom Waits with a knack for magic and a penchant for gambling. This was, he tells Valentina, the first time he struck a bet with the Devil. The good Doctor was locked in battle with Mr Nick to see who could save or destroy the most souls through offering simple choice to the folk who entered his imaginarium, a bet which Parnassus won and gained his immortality – which of course turned into a curse as times changed and he and his stories became ancient and irrelevant. But back to Valentina, and many hundreds of years later Parnassus meets his one true love, and Mr Nick crops up again to make another deal – in exchange for his youth given back to him allowing him to court this beautiful creature, Nick will claim any offspring they bear on reaching it’s 16th birthday. Well, the Doc agreed and lo and behold many many years of blissful marriage later, out pops Valentina. Oh dear – things are just looking up for Lily, and now it seems the Devil's going to cart her off for his amusement. But ever the gambler, Mr Nick, in the present now, makes another offer; if Parnassus agrees to resurrect their old favourite game - If he can "enlighten" five souls before Mr Nick, Valentina's soul can be saved.

The start of this new wager is marked by the arrival of a new member of the troupe – the enigmatic Tony (Heath Ledger). Found hanging by his neck under London Bridge, initially dead, he quickly comes back to life and becomes a central figure in the travelling show. Immediately an object of much fascination for Valentina and deep suspicion by the jealous Anton, Tony is a mysterious figure, never fully explained. Without a memory (so he claims) and with strange markings on his forehead and apparently some magic of his own, he tags along with the show, seemingly unfazed by the enchanting secrets behind Parnassus’ mirror, and together they set about saving souls and ultimately Valentina’s. But his murky past cannot remain hidden and as the competition hots up it becomes clear that Valentina's soul is at the mercy of her own choices, just like everyone else's.

So there is a plot. That is it. It is weird, no doubt – fantastical and imaginative and where anything can happen and does. At the heart of it is the notion explored in the early flashback scene, where the young Parnassus first meets Mr Nick. In it he explains that the monk's purpose is to tell the eternal story - the idea being that should they stop telling it, the world will cease to be. Nick proves that wrong by sucking their voices from their mouths. See, he croaks, we're all still here. Ah but, rebutts Parnassus, someone somewhere else in the world is telling the story, and so here we remain. Brilliant. It’s no surprise to learn the story was co-penned by Baron Munchausen creator CharlesMcKeown; the script positively drips the Baron’s whimsy; an immortal (ish) protagonist, the notion that storytelling is as vital to humanity as breathing, the power of the imagination to alter our reality – these themes are all central to Parnassus.

Much of the focus has however been firmly on this being Ledger’s last film, so what of the scenes he didn’t complete where other actors step in to fill his shoes? Whenever Tony enters the imaginarium he takes on a different form, appearing as Johnny Depp, Jude Law and Colin Farrell, each portraying the different sides of Tony. This is introduced in such a natural and organic away it’s hard to imagine that it was never intended all along. It would be nice to say Ledger is a revelation, but he is just plain good. A charmingly likeable aspect to what turns out to be a more complex character than we initially realise, much of his performance was to his credit improvised, and it is undoubtedly a solid one. The turns by the guest Tony's are all equally enjoyable, each bringing out a different aspect of a character.

Gilliam's focus looks to have been elsewhere however as he has clearly found a bit of a muse in Cole. While she too never blows us away with her acting chops, being as she is, just about passable, she is simply fascinating to look at, and Gilliam frequently seems unable to tear his lens away from her extraordinary face. Special mention must also be made of course of Tom Waits, who should probably always be cast as the Devil. His portrayal as the playful, whimsical Prince of Darkness is magnificently funny, as is Plummer's boozy old immortal himself.

The imaginarium itself is beautifully realised – vast in its scope, its juxtaposition to the drab real world is jarring, so full as it is of colour and mad ideas propped up on wacky notions. At times it descends into pure Monty Python territory, a Ben and Jerry landscape with chorus lines of dancing policemen – you half expect a giant foot to descend from the heavens to squash a villain. That said, the real world, relatively drab as it is, is made quite lovely too, London looking better than ever. As he did for New York in the Fisher King, in Gilliam’s London magic and mystery lurk in every nook and litter strewn alley. Quite how he makes these ramshackle existences so appealingly beautiful is beyond me.

Some more logical types may find the obscurity of the tale frustrating. Tony’s origin is never fully explained, and it is fair to say that he is a contradictory character – at once seemingly genuinely committed to helping Parnassus win the bet and saving Valentina, while at the same time (or at least in the final act) revealing his dark side of twisted morals and dodgy past. Does he deserve the ending he is met with? Not on the basis of what we see – but is this morality tale half the point? – that we are a bundle of contradictory impulses and notions eternally at odds with one another, and we will ultimately get what’s coming to us no matter what we do? No idea! Answers on a postcard please. What’s clear is that this isn’t the kind of movie in which one should expect the answers to be signposted, for essays could, and will be, written about what it's all about. It would be fair to say though that it does somewhat lose it's way in the final act, where the mystery descends into plain old head scratching.

But frankly sod all that, if you wanted your film to make sense you should have gone to see This is It. Possibly a bad example. Anyway, Parnassus is at heart a Gilliam fairy tale, told in his inimitable style, as full of wacky, humorous imagination as the imaginarium itself. So if you happen to like a Gilliam fairytale, you should happily settle in for his best in recent memory.

Treehouse rating

4/5

I-mag-in-aaaaatiooonn..

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DVD Review: 'Let The Right One In'

I’ve been dying to watch ‘Let the right one in’ for sometime now and I finally managed to see it on Sunday and it certainly did not disappoint. In fact, it did quite the opposite. It managed to meet high expectations and, on almost all counts, managed to exceed them. This is a very rare gem of a movie that has the same impact of some modern greats including Pan’s Labyrinth (high praise indeed!) and one that really resonates with the viewer. Quiet, intelligent, superbly made and, at its heart, a basic story of two 12 year olds struggling with the realities of life (one just happens to be a vampire). Do your senses a favour and watch it.

I’m so excited about this film that my brain has frozen and I’m not sure where to start this review. It’s actually quite hard to review the film without giving away key details of the plot and I really don’t want to spoil the film for anyone. Anyway, let’s get some facts out of the way first: Directed by Tomas Alfredson, ‘Let the right one in’ is based on a 2004 vampire fiction novel of the same name by Swedish writer John Ajvide Lindqvist (who also wrote the screenplay for the film). Some might classify this film as a horror film – yes it does have moments of horror and one of the main characters is a vampire but it’s more than just a horror film. Modern horror films are all about blood, guts and leaving little to the imagination. ‘Let the right one in’ is different. It’s so very different to, for example, Twilight (which I reviewed in February and hated) or modern gore fests such as the Saw series. It is, and please excuse the pun, more than just the sum of the (body) parts.

The film stars Kåre Hedebrant as Oskar, an intelligent 12 year old boy bullied terribly at school, a social misfit (actually bordering on psychotic) and living with his seemingly workaholic mother and seeing his apparently alcoholic father on occasion. Bullying has been in the news rather a lot this year and it’s interesting to see its considerable negative impact on Oskar (I’ll say no more). Lina Leandersson plays Eli, the new girl on the block and Oskar’s next door neighbour. She is pale, beautiful, feels no cold and is a vampire. The whole film really hinges on the strength of their performances. And boy do they both deliver. Where are the Oscars for such talents? I despair. In fact, the supporting cast are brilliant too. This is not just a film but a social commentary and, as such, the actors play out their roles as though they’re in a documentary. The subtext of much of the film is disturbing and leaves a lingering taste in ones mouth – there are suggestions of psychosis, paedophilia and then you have the murder/killing and death too. So it’s odd I think it’s a beautiful film.

The film is beautifully shot – the wintery landscape of Sweden providing a suitably dark, chilling and oppressive atmosphere. What strikes you most when you watch the movie is that, at its core, this is almost a coming of age movie about two children looking for companionship and is presented in a very ‘matter of fact’ way. There are moments of tenderness and sadness in the film that left a real impact on me and that you can relate to (to a degree). I really want to mention two specific scenes but I’ll give away the story so I’ll stop myself. For me, the friendship/relationship that blossoms outshine the moments of very ‘matter of fact’ horror which are brilliantly done in a both a subtle and sometimes not so subtle way. My point is that this film is not about the horror. The horror is one element of a film that is really about the relationship between two children. But it can be construed from the film that it’s more than that – there may or may not be manipulation involved. It’s not straightforward as I’ve portrayed and it is quite complex. The films leaves out huge chunks of the novel so I’d strongly suggest you read the book too if you want more back story (the film is lacking in detail at points and raises lots of misleading questions which the book explains).

One final point, an English language remake is on its way in 2010 set in the US. I’m not sure I want to see it. It’s not needed unless you can’t stand watching films with subtitles … yes, you know who you are you strange people!

Treehouse rating:

5/5

Fang-Tastic!!

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Too many DJ's: DJ Hero hands-on impressions

I finally managed to beat off the chavs to get close to the demo unit for DJ Hero that appeared last week in my local Game. I've been itching to have a look at the turntable close up, despite not actually being terribly excited for it based on what I'd seen, not to mention band games and the like are usually, with their peripheral proclivity, prohibitively pricey. But based on a mere ten minutes of scratch n' sniff, I might just have to make an exception.

The deck itself is pleasingly sturdy, the disc on the right (or left, southpaws), freely spinning unfettered as it should, and the "mixing desk" to the left (see above, reverse it) all present and correct with its cross fader, effect knobs and standard controller buttons tidily concealed under a flap. I thought I best start with the tutorial being offered, as the videos I'd seen hadn't permeated my imagination enough to actually gather what was happening in them. But it turns out it's dead simple, so I skipped it. Also Grandmaster Flash was embarrassingly drawing attention to my newbness really loudly in a crowded store.

DJ's of course, (and not mind, the ones you encounter at weddings who press play to Now that's what I call music 18), mix (or mash, to use the correct parlance) two, often entirely disparate tunes (choons), to make a new and usually improved mash up (song). The same happens here. Track one is the line on the left, track 2 is the line on the right. The one down the middle, as far as I could gather, is used to insert annoying sound effects and cause you to lose your streak. As with Guitar Hero, the iconic buttons zoom towards you on the mesmerically curving track, and you hit the corresponding real world button located conveniently on the deck under your fingers at the appropriate moment to keep that track in the mix. You may see the line jump from left to right and back again. This indicates where a cross fade is required, causing the favouring of one track over the other. Finally, there is what's called the scratchy scratchy move, where a button is depressed and you use the turntable to scratch a funky "eeriyt" into the groove. Simples.

Like Guitar Hero, this promises to be fiendishly addictive and hair tearingly difficult. That said, I blazed through the three demo tracks on normal without problem. There's obviously a lot more to it I don't appreciate yet - there was no specific direction required to get the scratch right, and I barely touched the effects knob. Coordinating all the button presses and crossfades required to keep up with the track, and then dropping in a tasty scratch, is just as rewarding as nailing a guitar solo, and indeed, a tiny crowd of gobby teenagers had quickly gathered to marvel at my mad skills (skillz). My only concern was the crossfaders tendency to leap unbidden out of its central groove, causing one of the tracks to fizz out like a fluff covered needle. No doubt with practice, a non existent problem, clearly one's hand should instinctively hover between the tracks like a Buddhist passing through life.

So I think I need to start saving for this one, because the deck remains fairly pricey for a game. And although it does lack the pick-up-ability of a dinky plastic guitar, based on this tiny slice of gameplay joy and with the knowledge that Activision have secured a genuinely impressive playlist, I have no doubt this will, once it gathers some momentum, be a huge hit. I certainly know what we'll be doing in the Treehouse this Christmas.

Hit the jump for some lovely official videos of a taste of the wonders that await you, and try, unlike I did, to use an iota of imagination of yourself causing these crunchy grooves..

Yes, yes! Sold.




This will never work, right?





Bowie wins. But you probably won't on expert..

More than the sum of its parts..

Check out the Dj Hero Youtube channel for more.

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Snack based song of the week

Peckish? Fancy some kind of bread based treat? How about a nice tasty sandwich? Ah the sandwich, where would we be without that wondrous, heaven sent pinnacle of snackdom? So many fillings, so many options, hard to know where to begin. But have you thought about it as hard as Dan Antopolski? Probably not I'll wager. Check out his ode to the humble, or not so humble sandwich, and marvel as he explores the fundamental nature of that most quintessential of snacks with a little help from Midge Ure. I'm sure he'd be the first to admit, it's not really a rap as such, but it is very funny. Black pepperr, black pepperrr..

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Getting to the 'Bottom' of things ...

Recently I was fortunate enough to travel to Cannes with work. It's a hard, strenuous job but someone has to do it. It was hot and my hotel was right next to the beach front. From my balcony, I could see the sea, the sand, the beautifully blue skies and the sunbathers. I was hot and sweaty in my suit so I decided to have a quick shower. Since I was in the bathroom I decided to use the loo (as one does) and read my paper. As my soft silky *ahem* skin touched the toilet seat I was greeted by a most pleasant warmth. I almost immediately jumped up thinking that someone had been me using my loo! But no, as I looked around I spotted a fantastically advanced control system for my toilet complete with temperature setting for my toilet seat!! The control system is something that would be more at home on the starship Enterprise (Klingons on the starboard bow captain!!!). I then noticed other settings and not one but two types of 'cleansing' sprays. One was 'front' cleansing and the other was 'rear' cleansing. Each came with individual controls for strength of erm spraying and temperature. And once you finish with the 'cleansing' you simply press the button for the 'dryer'. All I can say that if you have never had a dryer blow on your bum, you haven't lived. All this left me feeling rather peculiar but thoroughly clean.

I decided I didn't want to test the 'wand' cleaning function. Wasn't sure what would happen! And coupled with the 'oscillating' function, this toilet made going to the toilet very erm pleasurable. In fact, one could spend hours on this thing and not get bored! And if anyone knows what the heck the 'energy saver' timer switch is for let me know ...

Quite brilliant. I want one at home :)

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Review: UP

Pixar’s latest, after an interminable and, in this day and age, inexplicable delay, has finally drifted to these shores and happily I can report the wait was more than worth it. It’s been touted as their masterpiece, their finest film yet, but when a company’s output is of such a consistently high quality, it’s always bound to be a close run thing, and will more than likely come down to personal taste of whether you prefer lovesick robots, friendly sharks, or cantankerous old dreamers. “Up” though is certainly a real treat, full of action and adventure and typically brilliant characters, but as always, the laughs and thrills belie an unusually touching story, and a heartfelt message of finding friendship and redemption when least looked for. Aww.

The cantankerous geezer in question is Carl Fredricksen, who we join as a bespectacled tot in the 40’s, wide eyed in astonishment at the newsreel footage of the adventures in South America of intrepid explorer Charles Muntz. The young adventurer quickly runs into Ellie, a buck toothed tomboy who is as enamored by Muntz’s adventures as Carl, and so begins a lifelong love affair with adventure and each other. We skip through their lives together in an extraordinary montage. Forever the dreamers, they save to make their own way to south America following in the footsteps of their hero, to build their “clubhouse” atop Paradise Falls, but as with so many of our dreams and plans, they keep getting sidetracked to make way for more immediate needs. Before you know it, the pair are a grey haired couple, tragically childless and before they get a chance to make their trip together, Ellie dies, leaving Carl alone in the beloved house they shared, now surrounded by a building site. This is not, you’ll agree the usual fare for a kids movie. The montage is one of the most moving sequences seen on film in recent memory, establishing in one elegant sweep the whole raison d’etre for the main character and giving huge emotional weight to everything that follows. Yes he’s a grumpy old git, but in the context of his life and loss, you begrudge him not one moan. If only we could see the Pixar montages of real life old gits who annoy us.

If the whole thing sounds a bit heavy, things lighten up rapidly with the arrival or Russell, the wilderness scout on a quest to earn his assisting the elderly badge, with Carl firmly set in his sights as requiring assistance. Instantly adorable, the rotund camper is loved by everyone except Carl, cranky old curmudgeon as he is. Things come to a head when an incident with the encroaching builders means Carl is due to be shipped off to the retirement home and needs to think fast to avoid being dragged from his house. A balloon salesman all his life, the solution is obvious really. He attaches a million helium filled balloons to the grate of his fireplace, and floats his whole house off towards South America in a bid to fulfil Ellie’s dream. Only once airborne does he realize he’s inadvertently brought the impossibly cheerful Russell along for the ride and the pair quickly find themselves, through the magic of a Wizard of Oz style storm, actually at Paradise falls, but on the wrong side of the cliffs. A near crash landing leaves them stuck on the ground while the house floats overhead (a la “Adrift”), attached by just a hosepipe tied to Carl (a la “Diehard”), and an adventurous walk ensues. Along the way the pair pick up some more companions, Kevin the colorful chocolate loving bird – if you can class a 12 foot multicolored monster as a bird, and of course, Dug the Dog. An instant classic, Dug is the dopey mutt with a translator collar that gives him voice – anyone who has ever imagined what their dog is thinking will probably recognize a lot of his lines, and so amusing is he as a character it may prompt you to throw “squirrel!” into many conversations. Try it at work, see what happens. The quartet get themselves into all sorts of bother when it emerges that Kevin is in fact the monster of Paradise Falls that Muntz was seeking all those years ago, and in fact still is, aided by his pack of speaking hunting dogs, of which Dug is the abject failure, being as he is soft and cuddly, while top dog “Alpha” and his ilk are all slathering bullies, albeit with hilarious malfunctioning voices. Yes once Muntz gets wind of Carl and his companions the race is on, and Carl has to make some tough decisions about where his loyalties lie; fulfilling his beloved Ellie's dream or looking towards the well being of his troublesome new companions.

This is perhaps Pixar’s most personal movie, dealing as it does with the biggest of issues; how we live our lives, the dreams we strive for that seem impossible to reach, and finding redemption and friendship in the last place you look. The relationship between the old man and the wilderness scout is subtle and complex; throughout we learn that Russell’s Dad is less than perfect, and Russell’s real motivation for getting his wilderness badges is to seek his approval. Likewise, as the story develops, Karl learns to let go of his dead wife’s dream, and move on to the next adventure; life goes on and so must he. Again, sounds terribly heavy, but remember this story is told in the context of thrilling action set-pieces interspersed with lashings of brilliant slapstick from the hapless Russell. And the talking dogs, don’t forget the talking dogs. UP does however manage to get itself a little tangled in the telling as a result. A lot of the plot itself hinges on the least interesting character, the gormless Kevin, and Muntz as a villain is no great shakes – I found myself equally sympathetic to that poor mad old geezer who after a lifetime of trying to restore his good name is vanquished and (dare I say it) murdered by these meddling invaders! Poor guy, so much for his dream.

Snagged strings aside though, Up is a delight. Full of imagination that is so natural it can almost get overlooked, this is a story about a man who with nothing to live for floats his house away with balloons. Brilliant. The film is visually fantastic, each character a lovingly crafted caricature, and the level of detail and artistry on display, brought to life by the subtly immersive 3D, is staggering. But as with any Pixar movie, the story is key, and on the whole they have another winner. From an unlikely and unusual subject matter, they spin a yarn with real emotional clout that has messages for every viewer of every age – an extraordinary feat in itself – but to twist it into a thrilling action adventure comedy? Masterful.


Treehouse Rating:

4/5

Another brilliant and touchi- SQUIRREL!!

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Review: The Hurt Locker (Spoilers)

I’m not sure how to review this film. It's left me torn on how to rate it. It’s not a factual documentary but it’s not quite a traditional ‘film’ either. The plot revolves around key personnel from an elite US army bomb squad stationed in Iraq. Basically, it’s a ‘war really f*cks you up’ type of film. It’s effective in showing us the harsh reality of working in Iraq and risking your life defusing indiscriminately placed bombs (there are thankfully no clichéd ‘red wire/blue wire’ moments).

Kathryn Bigelow directs the film masterfully and manages to elicit some good humour and unexpected laughs from very tense situations. But I struggled with the main character, Sergeant William James played by the ever watch-able and excellent Jeremy Renner. His portrayal of a maverick ‘f*ck the rules’ bomb disposal expert is a mix between Johnny Utah and Bodhi – characters immortalized in Point Break – a previous Kathryn Bigelow film. He’s the unpredictable, rebellious, reckless, seemingly fearless one who’s holding on to an awful amount of pain. This time letting off a few rounds into the air while crying in agony won’t work to relieve the stress. Ok, ok I’ll quit with the Point Break references now if I must.

Parts of the film are tense. The heart starts pounding, you stop breathing and you wait for that inevitable ‘boom’ that may or may not arrive. For this reason the film cannot really be faulted. If you’re a real cynic though, you could just say that Sgt William James is a nut job who enjoys the thrill of defusing bombs instead of staying home with his baby boy and the boy’s mother, played by Evangeline Lilly. The civvy scenes do show him to be clearly bored and frustrated and his talk with his baby son seemed contrived. The cynical view wouldn’t do justice to the intention of the writer Mark Boal. I’m guessing the intention was to show the risks involved in doing a remarkably hard, thankless and stressful job where your main concern is simply staying alive. In this regard the film succeeds. But I can’t seem to escape my gut feeling that the film could have been so much more. If you want to see a film that shows the indiscriminate brutality of war and its affects on soldiers, you have a heap of quality films to choose from. My picks would be: Full Metal Jacket, Apocalypse Now and Platoon. If you want something more recent then I’d pick The Kingdom (directed by Peter Berg) which is underrated in my opinion. That’s not to say that The Hurt Locker is a bad film it’s just that it pales in comparison to the ones I’ve just mentioned.

Treehouse Rating: 3/5

Worth a watch in the cinema

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