jwaidoo

[jwaidoo]

Broken - Film Review

Broken is the debut feature from award-winning theatre director Rufus Norris, who has successfully helmed the West End revival of Cabaret   and most recently London Road at the National Theatre. An adaptation of a Daniel Clay novel, Broken focuses on three families living in a British cul-de-sac, whose lives become even more intertwined due to a number of unfortunate incidents involving various members of each family.

The film which begins in a startling manner, sets the tone for Broken and sort of reminds me of an episode of Casualty. Everything seems to be going so well and nice, but you know some major drama is lurking around the corner, and that’s exactly what transpires.  Broken begins with a young girl called Skunk (Eloise Laurence) witnessing a violent attack on her nice but dim neighbour Rick (Robert Emms). The attack is carried out by the resident nasty neighbour Mr Oswald (Rory Kinnear), and this incident sets of a tragic chain of events which are explored throughout the film.

There is a mixed bag of actors, varying from screen legend Tim Roth who delivers a solid performance as Skunk’s dad Archie, a hardworking attorney bringing up his family with the help of his nanny Kasia (Zana Marjanovic). Established thespian Cillian Murphy also pops up in the form of Skunk’s teacher and on/off boyfriend of Kasia. There is also the welcomed debut of newcomer Eloise Laurence who delivers a fantastic performance as the plucky adolescent Skunk. Laurence delivers a witty, charming performance as the young adolescent coming of age.   The performances from this assemble cast are very realistic and well thought out, with my only criticism being of Rory Kinnear’s over-acting as the leader of the most hated family in the neighbourhood, which bordered on cringe worthy at times.

Make no mistake Broken isn’t a feel good movie by any stretch of the imagination, it’s a downbeat, realistic drama focusing on everyday social issues. Norris delivers a fine effort for his directorial debut and it’s a film that is beautifully shot, and credit to Rob Hardy for the cinematography. However at times the film felt a bit too cluttered and it almost seemed as Norris was trying to squeeze in just a bit too much and particularly towards the end of the film, the melodrama started to overshadow the gritty realism that Norris had worked so hard to establish throughout the earlier parts of the film.

Broken isn’t a masterpiece, doesn’t attempt to answer any burning questions and its overall message certainly won’t leave you with any warm and fuzzy feelings inside, it’s still a very worthwhile watch. The film is a harsh, genuine look at the world in which we live in today, and the complicated, even fragmented lives that many people are living, seen through the eyes of young girl finding her feet in the world. 

[jwaidoo]

[jwaidoo]

Robot and Frank - Film Review

  Frank and Robot is a quirky little film from first time director Jake Schreier. The film is set in the future and unsurprisingly centres on Frank (Frank Langella), a retired jewel thief who is losing his memory, living on his own in a remote New England community. Enter onto the scene Robot (voiced by Peter Sarsgaard), bought for him by his son (James Marsden) to act as a helper around the house. However Frank’s cat burglar instincts soon re-surface when he realises the potential of his new, rather unique companion.

  You would be right in thinking this sounds like a bit of an odd, unremarkable sounding film, however don’t be deceived by its simplistic plot, because underneath is a truly heart-warming, poignant story about life, relationships and growing old.  Langella has always been a class actor and he is in fine form as the grouchy anti-hero, who reluctantly invites robot into his home. The relationship between Frank and the robot is a pleasure to watch, and inevitably the icy, insult ridden banter soon turns into a touching relationship between man and machine. Whilst this may sound a bit soppy, all credit goes to script writer Christopher D. Ford, who manages not to overdo it on the melodrama and sentimentality, but strikes a perfect balance with great touches of humour, drama and realism.

There are also solid performances from James Marsden and Susan Sarandon, however Liv Tyler pops up as Frank’s daughter and cements my belief that the only reason she continues to be hired is because of the status of her rock legend father. I’m yet to see Tyler deliver anything that resembles a convincing performance in any of the films I had the misfortune to watch her in. That being said, the film on the whole is a fantastic unique take on the conventional buddy movie and a breath of fresh air amongst the usual Hollywood blockbusters. Robot and Frank is the kind of movie that film festivals adore, however this fine demonstrating of filmmaking shouldn’t be simply regulated to indie festivals, it should be embraced by a mass audience because it is a great piece of filmmaking.  

 All credit to Ford and Schreier, who together have written and directed an emotional, thought-provoking, touching film that will move even the most hardest of individuals. There are even a number of unexpected twists and turns to keep you entertained throughout the film. The last fifteen minutes of Robot and Frank are particularly tender and whilst the film doesn't necessarily have the ending that you might expect or even hope for, it’s a testament to the honest and genuine nature of this film. 

[jwaidoo]

[jwaidoo]

This is 40 - Film Review

Judd “King of Comedy” Apatow returns with his latest comical caper, exploring the life of a soon to be forty year old couple, in the aptly titled This Is 40. Apatow has earned his King of Comedy status by helming various comedy films over the past years including The 40 Year Old Virgin, Funny People and Knocked Up. All of which star at least one member of the new comedy Brat Pack featuring Paul Rudd, Seth Rogen, Leslie Apatow and Jason Segel. 

This is 40 is a sequel of sorts, as Paul Rudd and Leslie Apatow reprise their roles as Pete and Debbie from Apatow’s Knocked Up, now take starring roles, rather than peripheral characters. We follow Pete and Debbie as they are both about to reach the grand old age of 40.  Whilst the couple aren’t particular relishing this fact (especially Debbie, who has a habit of pretending she is actually a few years younger), their date of birth is only one of their troubles, as Pete’s record label business is facing bankruptcy. On the surface, the couple are living the dream; they have a beautiful house in LA, two lovely daughters (played by Apatow’s real life daughters Maude and Iris), personal trainers etc. However, life isn’t as good as it seems, and we follow the family as Pete’s business, the couple’s marriage and family life all starts to unravel. 

This film is an autobiographical of sorts for Apatow, with a lot of the emotional turmoil and drama that is experienced in the film having a real personal meaning to the director. You couldn’t really get any more personal than having your real life wife and two daughters star in your film (however I wouldn’t be overly impressed with Paul Rudd playing a version of myself).  Now whilst This is 40 can be found in the comedy section, be prepared for a great deal of stark realism, and downbeat drama for a good majority of the film. With a running length of over two hours (yes , I said two hours), Apatow chooses to delve head first into the mundane of family life and turning forty, balanced out with his usual slapstick, gross out, laugh out loud comedy. 

The question is how well does he blend these two elements together? Unfortunately the answer is not particularly well. On one hand, the film has an air of realism and warmth to it when dealing with the family scenes and there are also some genuinely funny moments as you would expect from the director, particularly with a number of cameos from familiar faces such as Megan Fox, Jason Segel, Chris O’Dowd and Melissa McCarthy. But with such a long running length, it could almost be split into two films, with perhaps This is 40 – Part 1 (Emotional Drama) and This is 40 - Part 2 (Laugh out Loud Comedy).   

With This is 40, Apatow hasn’t delivered a terrible film, but it’s just not really up to the standards of the ”King of Comedy” and the film is more of a drama with comedic elements thrown in. This is 40 is by no means on par with any of the director’s previous efforts and could have easily been trimmed down to a more manageable hour and a half. So watch This is 40 with caution, as it certainly doesn’t bode well for anyone moving into their fourth decade of life, if we are to believe Apatow’s vision of reaching this particular milestone.  

[jwaidoo]

This is what happens when you corner a rat. I'll chew through you!!!

Catherine - This is 40 

[jwaidoo]

[jwaidoo]

[jwaidoo]

Hitchcock - Film Review

Hitchcock is based on Stephen Rebello‘s book Alfred Hitchcock and the Making of Psycho, but if you are looking forward to watching this film simply because you want a behind the scenes insight into how the classic 1960s horror film was made, you are in for a pleasant surprise. This film delivers so much more than just an insight into the psyche of the iconic director whilst creating his most successful film; it also tackles Hitchcock’s intricate relationship with his wife and (not always credited) writing partner Alma, played superbly by Helen Mirren (The Queen).  

The film starts with Hitchcock - played by a nearly unrecognisable Anthony Hopkins (The Silence of The Lambs) kitted out with a fat suit and facial prosthetics - riding high from the success of North by Northwest. In the midst of all the plaudits, the director chooses to focus on critics who suggest he is too old and should take a step back and allow a new generation to step into the limelight. This is highlighted by a key scene at the beginning of the film where a reporter shouts “You’re the most famous director in the history of the medium, but you’re 60 years old, shouldn’t you just quit while you’re ahead”. Thus begins his obsession to find a new, edgy film to develop that will ultimately prove his critics wrong. This obsession quite aptly draws him to the book Psycho by Robert Bloch and based on the life a notorious serial killer Ed Gein, and the journey begins to bring this book to life as his next feature film.   However Hitch, as he like to be known – “Just Hitch, hold the cock” he quite often quips to new acquaintances – has a problem. All of the elements to this story that attract him, Gein’s obsession with his mother, serial murders and necrophilia are the exact things that makes everyone around him think he is making a huge mistake, including his agent, wife and the boss of Paramount Studio. This ultimately results in the studio only allowing the film to be made if Hitch waives his director’s fee, finances the film himself (to the tune of $800,000) and in return, he would receive 40 percent of the profits. So throwing caution to the wind, with the eventual support of his wife Alma, together they risk their comfortable lifestyle and savings on the success of Psycho.  Director Sasha Gervasi (Anvil! The Story of Anvil) and screenwriter John J. McLaughlin (Black Swan) really bring this film to life in the unique way they approached Hitch’s obsession in making Psychoand took the unusual route of creating a surreal relationship between Hitch and the serial killer Ed Gein, in which they frequently talk to each other and Gein even offers Hitch counselling in various area of his life. Whilst this approach seems rather fanciful and over the top, it works extremely well and achieves the goal of conveying the director as a man on the edge, obsessive and desperate forPsycho to be a success.   Hopkins' portrayal of the iconic director is very believable and he delivers a solid performance which captures Hitch’s charm and humour as well as subtly demonstrating his insecurities over his age and weight alongside portraying his darker side.  The theme of age, youth and beauty is apparent throughout the entire film, with Alma’s incessant monitoring of Hitchcock’s diet, and the director’s lust for his beautiful leading ladies, as Hitch sits in his office studying their headshots as if he’s flicking through the pages of a Playboy magazine. The film also looks at Hitch’s jealousy (fuelled by his new found counsellor Ed Gein) over the relationship between his wife Alma and the younger more attractive writer Whitfield Cook (Danny Huston).  This really adds to the narrative that Gervasi and McLaughlin are trying to create in showing Hitch as a man spinning into hysteria under the pressure of successfully bringing Psycho to life.   Helen Mirren delivers a marvelous performance as Hitch’s frustrated long serving wife and writing/editing partner, who is tired of his fantasy romances with his leading ladies and constantly being in his shadow even though she is a key ingredient in his success over the years.  This ultimately leads to her forming a relationship with Whitfield Cook to develop a screenplay in the midst of her husband directing Psycho. This development further adds to the tension and disquiet between the married couple, which is alluded to throughout the film. Overall the dynamic between Mirren and Hopkins is electric and together they create some very memorable scenes and their relationship is one of the reasons this film is so compelling.  Hitchcock captures the glamour and excitement of Hollywood with great vivacity and sparkle when it focuses on the process of making the hit film Psycho; this is helped by the fantastic performances from supporting cast.  There are some small but noteworthy performances from James D'Arcy (Secret Diary of a Call Girl) who has an uncanny resemblance to his character Anthony Perkins, and he is superb as the nervous and quirky young actor. Scarlett Johansson (Lost in Translation) plays Janet Leigh with just the right amount of allure and authenticity.  Hitchcock is a fresh, entertaining and unique look at an iconic director that not only examines the man himself, but explores his relationships, motivations and inspirations during a very crucial period in his life. Hitchcock is not your average biopic but more of an imaginary insight into the mind of one of the most successful horror directors of all time whilst creating arguably his most cherished masterpiece.

[jwaidoo]

You're a hero, man! You will never pay for a drink for as long as you live

Harling Mays - Flight 

[jwaidoo]

[jwaidoo]

Flight - Film Review

It's been a long 12 years since director Robert Zemeckis has been at the helm of a genuine live-action film. Since Cast Away in 2000, the director has chosen to fully immerse himself in the world of animation and motion capture, with fine efforts such as The Polar Express as well a few questionable endeavors such as Beowulf and A Christmas Carol. However, just like his new film Flight, Zemeckis returns to the real world with a remarkable landing and shows little hangover from his lack of live-action features over the past years.

Flight stars a magnetic Denzel Washington (Training Day) as Whip Whitaker, an experienced commercial pilot with a penchant for liqueur and cocaine. Being as high as a kite at the same time as piloting an aeroplane seems like a recipe for disaster, however Whip has been successfully mixing his love for booze and flying with a great deal of success for some time. On one particular flight, a calamitous event takes place, and against all odds Whip successfully manages to land the plane with only a minimal loss of life and is hailed a hero for his endeavors. What subsequently follows is a roller-coaster ride of intrigue, drama, accusation and self-discovery as Whip's is forced to confront his personal demons, as the root cause of the accident is investigated.

Zemeckis helms Flight with the upmost precision. Similar to a take-off, the film begins slow and steady with a nonchalant scene which could lead the viewer to question if they had perhaps stumbled into the wrong cinema screen. However, everything is done with purpose as the director gives us an insight in Whip's state of mind and character. We find the pilot in a hotel room, wasted from an obvious heavy night. In the midst of an argument on the phone with his ex-wife, we find out that he is about to fly that morning and without a second thought , Whip swiftly inhales a line of cocaine , suits up and struts out of the hotel ready to rumble. This disconcerting opening gives a quick and direct insight into Whip's character, and Zemeckis captures this effortlessly. In stark contrast to the low-key opening scene is the eerily realistic sequence that follows, in which the aircraft runs into difficulties. Whilst Flight is much more than simply a disaster movie, the director captures the terrifying moments with much authenticity and the sequence quite simply, leaves you with your heart in your mouth, and all credit must go to Zemeckis for his marvellous vision in bringing these terrifying scenes to life with such honesty.

Flight's shining light is without a doubt Denzel Washington, an actor who never fails to deliver an amazing performance. Despite Washington's decision over the past few years to simply accept a pay cheque and sashay through bog standard action thrillers such as Unstoppable and Safe House, the actor has demonstrated the ability to still deliver great performances, even in average films. So the combination of a great director, a superb script with such a multi-faceted character in Whip Whitaker, the result was always destined to be an Oscar worthy project. Washington sinks his teeth into this role like a lion devouring his prey, and once again proves why he will go down in history as a Hollywood great. Denzel has this uncanny ability to be likeable in whatever role he plays, which is an attribute that could hinder a lesser actor. However his depth and range allows him to play a character who isn't the easiest to sympathise with, in a manner that really lets the audience understand and feel the pain and struggle that he is experiencing, even if you don't necessarily agree with the choices that he makes.

Relationships within the film are a key element and really give Flight an emotional edge and the performances of the superb supporting cast further boosts this already powerful film. Kelly Reilly (Sherlock Holmes) is excellent as a former drug addict struggling to get her life back on track. John Goodman (The Big Lebowski) excels as Harling Mays, Whip's long time buddy who helps the pilot to procure his drugs and really steals a number of scenes in the film with his wonderful performance.

Whilst Flight is essentially about an airline disaster, it's more about human nature, faith, mortality and ultimately redemption. The screenplay is powerful with some touching dialogue that really gives Flight a realism that is hard to find these days with Hollywood films. This is a superb drama with outstanding performances from everyone involved. Zemeckis returns with a sharp reminder as to why he is still firmly amongst the elite filmmakers in Hollywood and demonstrates his knack for poignant storytelling has certainly not been lost during his 3D and motion capture hiatus.

[jwaidoo]

[jwaidoo]

The Sessions - Film Review

    The Sessions is a film that epitomises Hollywood; let's take the real life story of a polio-stricken man, living with an iron-lung who is desperate to lose his virginity, and subsequently employs the services of a sex surrogate. Only in Hollywood could one attempt to turn this unfortunate situation into a comedic, warm and fuzzy, feel good drama.

The man in question is journalist and poet Mark O'Brien, played by John Hawkes (Lincoln). The film focuses on the disabled man, who needs the assistance of an iron lung for the majority of the day and is transported around on a gurney by various helpers. Despite his physical disabilities, Mark manages to fulfil a career in journalism by writing using a long stick held in his mouth. The journalist comes to the realisation that he may soon meet his maker, and not ever having experienced a sexual encounter with a woman, he decides it's time to tick that particular activity from his bucket list.

Despite such tragic circumstances, director Ben Lewin (The Favour, The Watch and the Very Big Fish) attempts to establish a very upbeat tone from the outset of the film. Whilst it's not hard to find sympathy for a man with Mark's disability, it's quickly established that Mark has come to terms with his condition and through his wit, charm and determination. The feeling of sympathy is swiftly replaced by admiration towards Mark. John Hawkes is absolutely fantastic in his portrayal and delivers a marvellous performance.

Religion has a central theme in The Sessions and with Mark being a Catholic; he seeks counselling from his local priest Father Brendan, played by William H Macy (Fargo). Now if we are led to believe that this is a true and honest account of Mark O' Brien's life, then it appears Father Brendan needs a confessional session of his own. Macy's portrayal of the beer swigging, generally distracted priest doesn't bode well for Father Brendan. After seeking advice on whether to proceed with his plan of using a sex surrogate to fulfil his carnal desires, the man of the cloth assures Mark that God will give him a free pass, due to his extenuating circumstances. In so doing, Father Brendan gives his blessing for Mark to go forth and break several of the Good Book's commandments including fornication, coveting another man's wife, adultery (the sex surrogate happens to be married).

So now enter the sex surrogate Cheryl, played by Helen Hunt (As Good as It Gets) who is quick to define the differences between a sex surrogate and a prostitute. She highlights that a prostitute wants repeat business, and she wants the opposite. They will have a set number of sessions, and during that period of time she will help him explore his (and her) body, which will ultimately lead to his sexual liberation. As always Helen Hunt delivers a great performance, and her interactions with Mark are very clinical and the scenes in helping Mark to shake off his virgin status are very matter of fact.

As audiences, we are constantly bombarded with sexualized images and scenes of a sexual nature in all manner of films. However the sex life's of people living with disabilities is a subject matter that is rarely broached and there shouldn't be a problem with exploring this issue. However, the whole concept that being a virgin is seen in The Sessions as some form of additional ailment, is one of the reasons I found it hard to warm to this film.

John Hawkes performance is the single most impressive aspect of this film, and this is where my appreciation for The Sessions ceases and my antipathy begins. Mark's physical disability is heart-breaking and he is certainly a man to be admired for striving through adversity to remain positive and live his life to the full. However, I've already watched a film about middle aged virgin on a quest to have his first sexual encounter and it starred Steve Carrell (The 40 Year Old Virgin). I enjoyed The 40 Year Old Virgin because it achieved everything is set out to be; a silly, slapstick, laugh out loud comedy.

The Sessions attempts to be a comedy of sorts instead of a drama and ultimately is just a very bland film, which at times leaves you feeling as emotionally detached as the awkward sexual scenes between Mark and Cheryl. But for the outstanding performances from John Hawkes and Helen Hunt, The Sessions would certainly have been destined for a straight to DVD release. Whilst this film has gathered much praise from sections of Hollywood and even scooped major awards at the Sundance Film Festival, the real winners are the Hawkes and Hunt, who through their considerable talent, manage to make the 98 minute running time of this dull and unremarkable film tolerable.

[jwaidoo]

Normally, Monsieur Candie, I would say "Auf wiedersehen." But since what "auf wiedersehen" actually means is "'till I see you again", and since I never wish to see you again, to you sir, I say, goodbye.

Dr King Schultz - Django Unchained 

[jwaidoo]

[jwaidoo]

Django Unchained - Film Review

Quentin Tarantino has never really played by the rules during his career in film making. From his early films, which have since become modern classics such as Reservoir Dogs and Pulp Fiction, to his recent work such as Kill Bill and Inglourious Basterds, even Death Proof. Tarantino has proved he's not afraid to take risks, or push the boundaries when demonstrating his artistry. In Django Unchained, Tarantino has undeniable created a vehicle to indulge in wild fantasy to such an excess, that he may need a stint in rehab to recover.

Django Unchained is a re-imagining of Sergio Corbucci's popular 1966 spaghetti western revenge film Django, which starred Franco Nero in the titular role. Keeping in line with the director's unorthodox style, Django Unchained attempts to combine the ambiance and style of a classic spaghetti western, with the delicate topic of slavery in the Deep South just before the Civil War. Tarantino essentially rips to shreds all history books on slavery and decides to tell a somewhat more whimsical tale.

We find Dr King Schultz (Christopher Waltz), an open-minded, well-educated German bounty hunter, who skilfully takes down a number of chain gang leaders in order to rescue a slave called Django (Jamie Foxx). Even though the good Dr doesn't participate in slavery, he does have an ulterior motive for temporarily liberating Django, because the slave has the ability to identify the notorious Brittle Brothers, who will provide Dr Schultz with a considerable reward once captured. So the two enter into an agreement; Django will help Scultz to capture the wanted men in exchange for his liberation. The story further develops when Django reveals that his wife Broomhilda, whom speaks the Dr's native language of German, was also captured and sold to separate master. After Schultz explains the German fable behind the name Broomhilda (which involves the damsel being rescued by a saviour), Schultz decides to help Django rescue his beloved wife, now feeling somewhat responsible for Django's new found freedom

When Tarantino makes a film, he doesn't cut any corners and from the outset Django Unchainedreally does feel like a classic spaghetti western film. The opening credit even uses an old version of the Columbia Pictures logo just to add to the effect. Django Unchained is everything you would expect from Tarantino. The film is as stylish as ever, with elaborate and beautiful costumes designs, fantastic cinematography that really capture the beautiful landscape of Django and Dr Schultz journey. There are quite a few old school zoom close ups of characters as they are introduced on screen, which are all great touches.

As with all Tarantino films, Django Unchained boasts a superb cast. Christopher Waltz (Inglourious Basterds) delivers an Oscar worthy performance as Dr Shultz. The actor effortlessly delivers such a charming performance as the rambling, gun totting bounty hunter and you can't help but warm to his mannerisms and quirks. Jamie Foxx is solid as Django and the chemistry between Foxx and Waltz is believable. The bond that develops between the two unlikely companions is very touching. The relationship could even be likened to a father/son type bond, with the bounty hunter imparting his knowledge of gun-fighting to the slave, even teaching him how to read and expand his vocabulary. Whist Foxx's performance is good, it's a much understated role and perhaps that was intentional by Tarantino bearing in mind the fact that Django is a slave. It's only during the latter part of the film that Django really comes into his own. Foxx is almost overshadowed by the various over the top performances from his fellow cast members. Leonardo DiCaprio (The Departed) plays slave owner Calvin Candie with much exuberance, indulging in Mandingo fighting; where slaves are pitting against each other in a fight to the death. The actor seems to relish playing such a loathsome character and succeeds in delivering a performance that portrays a truly despicable man. The award for the most surprising character must go to Samuel L Jackson (Snakes on a Plane) who plays a very much unexpected role and all credit must be given to Tarantino for the direction he took with that particular character and Jackson for delivering such a powerful performance.

Django Unchained has all of the trademarks of a true Tarantino film; the violence is brutal and uncompromising. There are some great stylish action sequences all set to a pulsating eclectic soundtrack, which again in true Tarantino style has everything from hip hop to Wild West classics. There are cute prolonged dialogues, funny anecdotes, everything you have come to expect from a Tarantino film is in Django Unchained, so if you are a fan of the director, you will no doubt be impressed with this fantasy tale.

However, Django Unchained is somewhat of a dichotomy, because for all the things that make this film entertaining; the action, comedy, fun, fantasy... these are all the same reasons that makeDjango Unchained uncomfortable viewing. This film is essentially about one of the darkest periods in the history of mankind and the film is far too jovial and entertaining to be a film about Slavery; a gruesome, brutal, disgusting time in history. Whilst audiences eat their popcorn and marvel at the director's cute use of dialogue, enjoy the comedic one-liners and slow-mo action scenes with Rick Ross music blasting in the background. Will they really walk away with a genuine insight into slavery? Of course not. Audiences may leave entertained to a certain degree, but at what cost? Tarantino is a visionary director, but as to whether this film comes close to resembling anything like a genuine slavery story - that's debatable. Yes, there are graphic scenes depicting the brutality that slaves endured, but graphic brutality is a given in any Tarantino film and isn't unique to Django Unchained.

Whilst one may be of the opinion that Django Unchained is supposed to be a story of fiction, the fact that Tarantino has chosen to make light of such a serious subject is where this film falters. There are a number of scenes that are intended to bring entertainment but instead come across as highly inappropriate. I find it hard to laugh at a bumbling group of KKK clan members who are about to embark on killing a person simply because of the colour of their skin, but get sidetracked into arguing over the fact that they can't see through the holes in the white sheets they have placed over their heads. This odd scene, which featured an equally as odd cameo from Jonah Hill (Superbad), came across as unfunny and awkward, and could of quite easily fitted into an episode of The Office.

Django Unchained is technically a good film and contains all the key ingredients that you would expect from Quentin Tarantino, so in that respect he has succeeded in making an entertaining film. However if you look at this film morally and ethically, I would have say Django Unchainedsimply left a bad taste in my mouth. If this film was simply a spaghetti western revenge film and the Slavery backdrop was non-existent, then I would be hailing Django Unchained as another Tarantino classic. However whilst this western, slavery, fantasy adventure film has all the hallmarks of a Tarantino classic, unfortunately the director didn't take enough time to consider the gravity in trying to re-write the history of slavery for entertainment purposes. Whilst Django Unchained is a wildly fanciful and unique concept, it should have perhaps stayed within the realms of Tarantino's vivid imagination.