A hardened convict (Frank Perry) serving a life sentence decides to escape from prison in order to reach his alienated daughter. The daughter's life hangs on a thread after suffering a drug overdose. Time is of the essence, as Perry puts together a motley crew of convicts and sets in motion an impetuous plan to escape.
Released in the U.S. on March 30th 2009, THE ESCAPIST features a capable cast of actors led my Brian Cox (Frank Perry), Joseph Fiennes (Lenny Drake), Dominic Cooper (Lacey) and Steven Mackintosh (Tony). The screenplay is co-written by Daniel Hardy and Rupert Wyatt and the film marks the feature length directorial debut of Wyatt.
The plot of THE ESCAPIST utilizes an incomplex tried and true recipe. Take one 'Jailhouse Savvy Lifer,' give him a reason to escape, mix in a few colourful inmates, a plausible escape plan and Voila! Add to that the 'Typical Penitentiary Sexual Predator' along with the 'Scared Straight Newbie' and then we have subplot. Frank Perry receives a letter from his estranged wife saying that their daughter is in a bad state following two heart failures. Unable to do anything while incarcerated Perry has nothing to lose and everything to gain, so the decision to escape is obvious. The plot is elementary when compared to such great prison break movies like THE SHAWSHANK REDEMPTION and THE GREAT ESCAPE. But what sets this film apart is purely plot structure. The film opens simultaneously by showing Perry's reason for escape and the beginning of the actual escape. This clever order of storytelling gives the film a fresh feel. Instead of using the entire first act to build up to the escape, this inventive use of parallel storylines keeps the film spontaneous. The story prevents itself from becoming lethargic with these sudden bursts of tense scenes.
The dialogue is a mish-mash of English and Irish slang providing authenticity to its characters. Simple dialogue for a simple plot.
I am a fan of films that display a unique visual atmosphere. The cinematography does not disappoint, it creates a harsh prison environment. The colour palette is faded and almost has a matte finish to it. It highlights the cold and dingy mood of an old prison. The editing is also a contributing factor to the overall feel of this movie. But what stands out is the unique score of the film. With its gritty violin riffs and fast paced drums, the score is the most memorable element of the film.
THE ESCAPIST is clearly an Actor's Movie. Comprised of a number of recognizable but unknown actors, this film relies on its ensemble cast. Joseph SHAKESPEARE IN LOVE Fiennes tries his hand as the 'Tough Guy,' but at times he seems too concerned about trying to look rugged. Dominic MAMMA MIA Cooper plays the new con on the block with fragility and nuance. Steven UNDERWORLD: RISE OF THE LYCANS Mackintosh gives a sinister and engaging performance as the resident sexual predator. But much of the acting praise is deserved by Brian X MEN 2 Cox, who also Executive Produced the film. Cox's role of Frank Perry was tailor-written for him and his commitment to the character is evident. I am unaware as to the extent of Cox's character research but he gives a believable performance as the 'slammer seasoned' Perry.
THE ESCAPIST is a good first time effort by director Rupert Wyatt who had only previously directed a few short films. Unfortunately the subject matter has been overused, and the characters are somewhat clichéd. But the ending gives this film a bit of redemption. The crafty twist at the conclusion sets this story apart and links the flashback scenes with the present scenes. The directing is well rounded and competent. Although the film is lacking in certain areas this is one of those British Indie Flicks that is worth the watch.
The SLKN films reviewed in the past have been given many negative ratings by the SLFC. Needless to say some of the films that come out are appalling.
This is why we feel it appropriate to direct our readers to the works of some future SLKN film makers. Call it a "ray of cinematic hope."
We've selected 6 short films made my Sri Lankans that display some originality. Of course Art is Subjective, so please take the time to view each short film. Then let us know which one is the best and why in our "comments" section.
When a daughter (Pooja) witnesses the murder of her politician father, she is forced into hiding for her own safety. The Underworld thug (Soththi) responsible for slaying the father is hell bent on doing the same to the daughter. This is why a "pure hearted Rambo" simply known as Leader is hired to guard Pooja, the only witness whose testimony can convict Soththi.
LEADER is written and directed by Ranjan Ramanayaka, produced by Ronney Bevan Perera and stars (quite obviously) Ramanayaka in the lead. The supporting cast includes Anusha Damayanthi, Anton Jude, Janesh Silva, Chathura Perera, Robin Fernando and Sandun Wijesiri. The female love-interest and villain are played by Indian actors Adeen Khan (Pooja) and Babu Anthony (Soththi) respectively.
As a film critic there are two simple pleasures I get from my work. The first is the pleasure of reviewing a film I absolutely love and the second is reviewing a film I unequivocally scorn. LEADER is one of those cinematic gems that undoubtedly belong in the latter category. Where O' where to begin? There are numerous factors a critic takes into account when reviewing any film. Call it our basic tools for textual analysis of fictional film. These factors allow us to recognize the techniques used in any given film to create meaning. But what if you come across a film that doesn't contain a shred of meaning? Then it is only fair to throw the textbook out the window, but in this case slapping the writer/ director across the face with it would be more appropriate. If man can train a chimpanzee to operate a space craft then why can't Ranjan Ramanayaka train himself to devise a better plot? Obviously chimps have a higher IQ than the typical Sri Lankan Commercial Film Maker (SLCFM).
The plot can be described as THE BODYGUARD meets THE THREE STOOGES. The story is shallow, the dialogue is infantile and the entire film feels wet behind the ears. The film begins with a sanctimonious narration of Sri Lanka's political history. The prologue is ideally catered to a seven year old mind and ironically this preachy start has nothing to do with the film's middle and end. It's as if Ramanayaka is making fun of corrupt politicians just for the sake of being controversial. He then conveniently forgets the bold beginning to his film by focusing on flexing is pectorals and trying to look cool for the remainder. It doesn’t take a genius to figure out that Pooja falls madly in love with Leader, he rescues her from a few close calls, defeats the dastardly Soththi, saves the day, and gets the girl all in time to get his chest waxed at the local beauty parlour.
"MORON: a person of borderline intelligence in a former classification of mental retardation." The dialogue is a clear indication that Ramanayaka the script writer believes all Sri Lankan cinema-goers to be morons. This is the only logical explanation I can fathom as to why the dialogue is so ridiculous. The words 'pathetic' and 'flaccid' come to mind when describing the humour and jokes in LEADER. I truly felt disgusted listening to the verbal interactions of the characters because it is evidence that comedy in Sri Lanka has not evolved in decades. That space chimp could have written a better script.
The cinematography is average at best and tries to visually annoy the viewer with triple split screen shots, zooming in and out and close-ups of Ramanayaka's flabby muscles. The film utilizes "Tom and Jerry" styled sound effects to remind us where and when to laugh. The dubbing of the lead actresses' dialogue is out of sync and unprofessional. Something every SLCFM does is copy or duplicate works of international filmmakers. Ramanayaka does not fail in this because as always he has blatantly sampled score music from MORTAL KOMBAT, MISSION IMPOSSIBLE, ripped off the 'machine gun guitar case' from DESPERADO and tried to re-create the slow motion gun battles from THE MATRIX.
The acting in LEADER simply takes "Bad Acting" to another level completely. Robin Fernando, the poor man's Abitabh Bachan shows that just because you're sporting the silver goatee don't make you "The Big B." Sandun Wijesiri is a disgrace to bad actors around the world. He is so inept in his performance (comedic or dramatic), even a coma patient could have done a better job.
Anusha Damayanthi's portrayal of her character is painful both physically (due to the sound of her voice) and mentally (due to why the hell is she still acting?). If I had a choice between watching Anton Jude's, Janesh Silva's and Chathura Perera's performances or receiving an enema…stick it in me doc!
The two Indian actors confirm that miscasting can be detrimental to a film. And last but not least Ranjan Ramanayaka proves that acting in a 100 films does not make you even capable, unless one possesses a biological cell of talent.
There are two types of cinema in Sri Lanka, Commercial Cinema and Controversial/Art House Cinema. Although there is a lack of art house films, there is indeed an abundance of commercial films. These commercial films can be divided into the sub-categories of Action, Comedy, Love Story and Kids Movie. Sri Lankan commercial cinema steals ideas from Bollywood, Bollywood steals ideas from Hollywood and ironically, Hollywood steals ideas from European cinema. Film is a medium that constantly recycles ideas, but the trick is to give the old idea a new spin. Unfortunately SLCFM's are oblivious to this concept. They choose to regurgitate the same old stories and have the gall to lie to audiences saying they've made a unique film.
LEADER is no exception, if there's anyone to blame it is certainly Ranjan Ramanayaka. The hiring of two unknown Indian actors is pointless and merely a failed gimmick to attract local audiences. Not only did the makers of LEADER take two acting jobs away from Sri Lankan actors, they increased expenditure by having to hire actors for dubbing. This film is a true example of narcissism at its best, not only is Ramanayaka the lead actor, screen writer and director he is also the costume designer, dance choreographer, song lyricist and playback singer. I'm surprised he didn't take up the role of on-location caterer as well. If that wasn't enough Ramanayaka has proclaimed himself to be the "Sri Lankan People's Actor," (shown during the opening credits). This level of self centered and egocentric behavior is probably a first in film history. Nearly half the film's duration is comprised of scenes where either Ramanayaka is flexing, posing, close-ups of his muscles, trying to look cool and also trying to look tough. The intro-scene alone, when Leader gets off the helicopter drags on for an eternity. The entire scene is Leader getting off the helicopter repeated 5 times (for our viewing pleasure), cut-to walking in a desert, walking up to an elephant, walking past a Buddhist temple, walking past a Hindu kovil, walking past a Catholic church etc. etc. etc. If I were suicidal, I would have probably slit both my wrists before he got to the temple.
LEADER is fundamentally a primitive film made by a bunch of amateurs. The story is boring, the action is absurd, the comedy is tragic, the love story is adolescent, the acting is unbelievably incompetent and the direction is frighteningly void of talent.
The most hilarious part of the LEADER experience is the fact that producer Ronney Bevan Perera intends to promote the film worldwide including some satellite television channels. I can understand a producer trying his best to get a profit from his investment but Ronney, you probably picked Ramanayaka's worst film to produce. If PARLIAMENT JOKES was bad and ONE SHOT was worse, then LEADER is by far the worst.
We the Sri Lankan People demand that Ranjan Ramanayaka stop ruining our cinema, stop humiliating us by screening your films abroad and JUST STOP MAKING FILMS ENTIRELY!!!
A certain member of the press working for a well known entertainment website has published a document obtained from the academy.
Whether it is true or not we will only know for sure tomorrow night. We at SLFC want to keep you informed about it. The list bares little surprises to our predictions. Click below if you want to find out.
The 81st Annual Academy Awards are just around the corner so we at the S.L.F.C. feel it's appropriate to make our picks for who should win Oscar gold. For those of you who are unaware of this little fact then let it be known; the Oscars is merely a popularity contest and those who deserve to win… rarely win. Actors, directors and film studios initially campaign for their films to get nominated and once that is accomplished they campaign themselves to death in order to utter those 6 magical words "I'd like to thank the Academy…"
So we took it upon ourselves to filter out all the Hollywood bullshit and simply pick the actor who gave the better performance, the director who did a better job, the picture that is justly the 'Best Picture' etc. But due to popularity campaigns the best choices may not necessarily win, we have noted this as well. So here are our picks;
BEST SUPPORTING ACTRESS
Amy Adams for DOUBT
Penélope Cruz for VICKY CRISTINA BARCELNOA
Viola Davis for DOUBT
Taraji P. Henson for THE CURIOUS CASE OF BENJAMIN BUTTON
Marisa Tomei for THE WRESTLER
SVF PICK: Penelope Cruz (Because; the other four roles were less impressive) DMP PICK: Amy Adams (Because; she is showing diversity as opposed to others) POPULARITY: Penelope Cruz(Because; she has been campaigning like she's running for office)
BEST SUPPORTING ACTOR
Josh Brolin for MILK
Robert Downey Jr. for TROPIC THUNDER
Philip Seymour Hoffman for DOUBT
Heath Ledger for THE DARK KNIGHT
Michael Shannon for REVOLUTIONARY ROAD
SVF PICK: Heath Ledger (Because; HAVE YOU SEEN HIS PERFORMANCE???) DMP PICK: Heath Ledger (Because; sympathy excluded,he truly was the Joker!!!) POPULARITY: Heath Ledger (Because; other than his performance everyone votes for the dead guy)
BEST ACTRESS
Anne Hathaway for RACHEL GETTING MARRIED
Angelina Jolie for CHANGELING
Melissa Leo for FROZEN RIVER
Meryl Streep for DOUBT
Kate Winslet for THE READER
SVF PICK: Kate Winslet (Because; she gave the more superior piece of work) DMP PICK: Kate Winslet (Because; her maturity of talent truly shows, plus about time she won) POPULARITY: Kate Winslet (Because; she won both golden globes this year and is a 6 time nominee)
BEST ACTOR
Richard Jenkins for THE VISITOR
Frank Langella for FROST/NIXON
Sean Penn for MILK
Brad Pitt for THE CURIOUS CASE OF BENJAMIN BUTTON
Mickey Rourke for THE WRESTLER
SVF PICK: Sean Penn (Because; Penn isn't acting a role, he is the role) DMP PICK: Sean Penn(Because; he made me empathize with the character) POPULARITY: Brad Pitt (Because; he has never won and only been nominated once 13 years ago) Mikey Rourke (Because; he won the golden globe and has resurrected his career and life similar to the movie)
BEST DIRECTOR
Danny Boyle for SLUMDOG MILLIONAIRE
Stephen Daldry for THE READER
David Fincher for THE CURIOUS CASE OF BENJAMIN BUTTON
Ron Howard for FROST/NIXON
Gus Van Sant for MILK
SVF PICK: Gus Van Sant (Because; his film has more poignancy) DMP PICK: Gus Van Sant (Because; he created a noble and personal film) POPULARITY: Danny Boyle (Because; it is the 'feel good movie of the year')
BEST PICTURE
THE CURIOUS CASE OF BENJAMIN BUTTON
FROST/NIXON
MILK
THE READER
SLUMDOG MILLIONAIRE
SVF PICK: MILK (Because; it is honestly the Best Picture) DMP PICK: FROST/NIXON (Because; overall it is well made) POPULARITY: SLUMDOG MILLIONAIRE (Because; everyone loves to jump on the bandwagon)
Deeply affected by the death of his one true love, agent 007 is out for revenge. He discovers that a secret organization is responsible for her demise and subsequently unravels a scheme to control Bolivia's most vital resource.
QUANTUM OF SOLACE is directed by Marc Forster. Daniel Craig stars as James Bond, with Judi Dench (M), Jeffrey Wright (Felix Leiter) and Mathieu Amalric (Dominic Greene) comprising the supporting cast. The latest "Bond Girl" (Camille) is played by Olga Kurylenko.
Although QUANTUM OF SOLACE is the 22nd film in the Bond franchise, it is only the 2nd film that uses the new "prequel" formula. This revamped modus operandi which places focus on 'realism' as opposed to 'spectacle,' may sound interesting on paper but it falls far short visually. The film begins a few minutes after the end of CASINO ROYALE, with a car chase through Nice and Monte Carlo, ending in Italy. This action sequence is chock full of music video style quick cuts that'll even make the Video Game Generation feel nauseated. The plot tries so hard to have a gritty real world conflict but ends up being a mind numbing bore. Gone are the days where Bond Villains aspired for world domination, no this villain is content with getting control of a developing country's water supply. I certainly hope that the 23rd Bond flick will not have its villain trying to control the supply of Sri Lanka's coconut arrack; now that would be an apocalyptic situation for us islanders. Watching the trailer, I felt intrigued by this sinister organization that has even managed to elude MI-6, but sadly the film depicted this secret establishment as a group of greedy chicken-shit businessmen. I felt that the writers were more concerned about how to present the clue or incident that will lead Bond to a new locale and simply failed to develop a plot. Having Bond travel from Italy to Haiti and then to Bolivia misdirects the audience into thinking there's a reason for all those frequent flyer miles.
The simple truth is that the plot is absurdly boring and pretentious, similar to another film co-written by Paul Haggis, CRASH (2004). Haggis is also responsible for penning this film's predecessor CASINO ROYALE, which was even more dreadful. Those witty one-liners that Bond is known for have been replaced by very little and at most times no dialogue at all. In fact Judi Dench's M speaks more than Bond. The suave secret agent of yesteryears has been swapped for a thuggish assassin hell bent on being a 'fighter, not a lover.'
The cinematography is needless to say faultless because this is after all a big budget extravaganza. It is clear that the money was mostly channeled into the special FX and set design departments. There are no complaints in regards to the technical aspect of the film.
Daniel Craig is undoubtedly a talented actor, he does justice to the material he has been given. Judi Dench and Jeffrey Wright are believable in their respective roles. Mathieu THE DIVING BELL AND THE BUTTERFLY Amalric is sorely underused as the two dimensional villain, who probably may be the most dreary villain in Bond history. But it is fact that Olga Kurylenko is by far the dullest and unexciting Bond girl of all time. Why do filmmakers delude themselves into thinking models can act, they shouldn't be even offered roles as movie extras. Confucius says, "a model to acting is like sumo wrestler to ballet dancing."
The only reason I was anxious to watch the 22nd installment of Bond is because it was directed by Marc Forster. He is definitely in my Top 3 of "Exceptional German Directors, working today." Forster's record speaks for itself by having directed quality films such as MONSTER'S BALL, FINDING NEVERLAND and more recently THE KITE RUNNER. But unfortunately for Forster, he seems to have been merely a director for hire which is why he cannot be entirely blamed for this horrid film. He too would have been forced to adhere to the new Bond rules which consequently constricted his natural creativity. Ultimately it is the producer's of the franchise who need to go back to the drawing board. Although Daniel Craig is a good actor, he is still not the best pick for the Bond character. The producers need to bring back the corny formula but give it 21st Century flair. Bring back the diabolical megalomaniac super villains with their scary and colourful henchmen. Bring back the cool Bond-Villain names like Goldfinger and Scaramanga. Bring back the sexy Bond-Girl names like Pussy Galore and Honey Ryder. Bring back Miss Moneypenny, bring back Q and his spy gadgets. Bring back Bond the misogynist dinosaur that treats women like disposable underwear. Bring back the foreplay; in fact bring back the freaking SEX. But most importantly bring back the grandeur and tone down the realism, because if I want realism I've got Jason Bourne, Ethan Hunt and even Johnny English for that.
When a truck driver (Sira) from the city begins to help a village farmer (Banda) to start up a grocery shop, the wheels of change are set in motion. The events that follow will lead the farmer to suicide. Subsequently his helpless wife (Siriya) agrees to marry the truck driver and move to the city. Unfortunately for her this is not the end of her woes.
SEILAMA (The City) is directed by H. D. Premaratne, written by Simon Navagaththegama and stars Ravindra Randeniya (Sira), Anoja Weerasingha (Siriya), Cyril Wickremage (Banda). The supporting cast includes Daya Tennekoon, W. Jayasiri, Menike Aththanayake and Dilani Abeywardena.
This story represents the fundamental differences of city and village life. The story is also a depiction of the two-faced nature of capitalism and what a necessary evil it is to any society. Although the financial benevolence of Sira is regarded by Banda as a blessing, it is the catalyst to his ultimate ruin. The plot masterfully examines the influence the city folk have on the untainted village family. Vices are forcibly introduced into the family. Banda is seduced by the affects of alcohol, a drink he did not partake of prior to meeting Sira. Banda's wife Siriya is raped by one of Sira's helpers and even their son is captivated by the sounds of radio.
These subtle social and behavioral changes are presented fascinatingly. Most Sri Lankan film plots begin to fizzle by the second act, but this not the case with SEILAMA. The plot is mature and complicated. It kept me interested and gripped until the end.
The script compliments the story with its use of straightforward dialogue.
Although the cinematography isn't spectacular, the appropriate use of close-ups made the characters more intimate. Certain shots stood out more than others, but all in all the atmosphere of the village and city is captured well.
The acting is natural and full of nuance. Veteran actors Ravindra Randeniya, Cyril Wickremage and Daya Tennekoon are impressive in their respective roles. But the stand-out performance is Anoja Weerasingha's portrayal of the innocent and tormented Siriya. It's 'method acting' at its best.
H. D. Premaratne's direction is competent but what makes this a unique film is its story.
Simon Navagaththegama's script is fresh and the entire story is paced well. The collaboration of the writer and director has produced an interesting film definitely worth watching.
