The Perks of Being a Wallflower (2012)

IMDb Top 250 Ranking - #250

This film was adapted from the cult-smash-novel of the same name and as a reviewer who read and loved the book before the seeing the film I can promise you, this lives up to any expectations and wishes you could have had. This is perhaps, of course, because the writer of the novel is also the writer and director of the film – he saw this beautiful project through to the end and he didn't let anything ruin its vision. As you can tell, I love both the book and the film with an intense and bordering-on over-the-top passion, so I’m sorry, but be warned, I will review this film with absolute bias. In my opinion it deserves no less…

Let’s start with its premise. We begin our story with 16-year old introvert Charlie played by the hugely talented upcoming-star Logan Lerman, who writes a letter to a stranger describing his fears and lamenting the torture of high school. He writes this letter in the hope that someone can exist that cares without judgement and fear of his past or his character. It’s a hopeful idea and its charming naivete is a theme which is carried throughout the film. For much of the film these letters are shown through a voice-over provided by Lerman, who describes his efforts to live life, with the help and encouragement of his two friends and confidantes Patrick (Ezra Miller, who you may recognize from the critically acclaimed We Need to Talk about Kevin) and Sam (Emma Watson). This is where our story begins and the many rises and falls that can be expected from day-to-day high school life are recorded with a refreshing originality and zest that I haven’t seen in a “coming-of-age” film for a very long time. Some of the highlights include an exploration of drugs, alcohol, sexual abuse, the minefield of first-relationships and love at first sight, homophobia, rejection and, above all, the fear that we haven’t been noticed. Or, as Chbosky (writer, director and all-round genius) so eloquently and charmingly puts it, a wallflower.

It’s such a fitting description of every person’s fear. I do mean every person, though in this film it is explored within the realm of teen-hood. To be a wallflower is both a blessing and a curse, or at least that is my impression from the film. The wallflower is often the best type of person, but that quality of ‘best-ness’ about them is hidden beneath a shy and vulnerable exterior that even the most talented coaxer will struggle to break through. (Shrek’s onion scene comes to mind at this point – a funny but oddly fitting comparison to make, I think). This is where Lerman’s immense talent is channelled, and he expresses the awkwardness and beauty of the wallflower with an understated eloquence. He isn't overly self-conscious and he doesn't exaggerate his characters goofy charm, he just seems to live the character on screen. 


Though the film, from my description thus far, may seem like a depressing coming-of-age teen drama, it is truly anything but. Serious issues are dealt with and handled by both the cast and the crew of this film with maturity and grace and the high-dose of comedy provided mainly by the “fag-hag” duo Patrick and Sam save this film from becoming an over-sentimental teen drama. I feel that’s a very important fact that you should know about this film. Yes, serious issues are dealt with and yes, they are handled in a setting which just screams ‘damn-this-is-gonna-be-so-cheesy’, but I promise you cheese and overly-sentimental dialogue don’t exist within this film. The cast and the immensely talented creator save this film from that fate. Instead we have something beautiful and heart-warming and heart-breaking and real. 

Another aspect of this film I must heap with praise is its soundtrack. If you read the novel then you would know that the music that Charlie and his unique friends surround themselves with is a huge part of their self-expression and self-discovery, so it stands-to-reason that Chbosky would place a huge amount of emphasis on this within the film. This is where the talented Michael Brooks comes in, who acted as musical supervisor to the film and compiled a soundtrack of 80s and 90s classics that express wonderfully each emotion and feeling that our protagonist feels throughout the film. It is through the music that we can perhaps best understand our semi-tragic protagonist and the blend of rock and ballad throughout guides us blissfully to the films wonderful and heart-wrenching conclusion.

Best Line: (FAR too many to choose from)

Sam: Why do I and everyone I love pick people who treat us like we're nothing?
Charlie: We accept the love we think we deserve.

To cut a long story short…
Would I recommend this? Hell yes (that’s as good a recommendation you’ll get from me ever, I’d wager). 
A film ramblers star rating? 

That’s it for now folks…

The Impossible (2012)

The Impossible is a film which will invariably cause conflict and backlash among critics and perhaps even victims of the event upon which this film is based. It is virtually impossible to avoid criticism when you are making a film which dramatizes a tragic disaster in human history – that event being the 2004 tsunami which struck Thailand on Boxing Day and claimed the lives of over 200,000 people.

In this film we follow the lives of the Bennett family, a perfectly normal family who were unprepared for the tragedy of the event and its repercussions. This is one stumbling block the film has faced in its critique, with many questioning the narrative approach. Why follow one family (who are English and don’t have to live with the long-term repercussions that a local Thai family would have to deal with) when you can look at many with a wider range of perspectives? This is a valid question, however I have to disagree with those who take this stance. I believe that by concentrating on one family we are forced to empathize with the emotional difficulties that they face. The unflinching depth to which the audience is shown this one family’s struggle is where the backbone of this film lies and heightens its sense of claustrophobia making the film much more realistic and emotionally resonant.

The film is based upon the real Belon family (who are Spanish in real life) and many of the events in the film depict the harrowing near-death experiences of the mother, Maria (played by Naomi Watts). The real Maria Belon, who hand-picked Watts for the role, acted as a consultant for this film and much of it was shot on location where the tsunami hit – which is a surreal and somewhat shocking piece of trivia that heightens the reality of the production. 

The film doesn't shy away from the true ferocity and destruction of those tsunami waves. Here we see the waves as they come crashing down and through the resort that the Belon/Bennett family were staying in. 

The shining stars of this piece are undoubtedly Watts, McGregor and the young Tom Holland who plays Lucas Bennett. It is with these three actors that much of the emotional burden of the film is left because there characters are the ones left with much of the responsibility. The film is separated into two parts – the first shows Maria and Lucas fighting to survive first the fraught tsunami waves and then Maria’s frequent encounters with death, the second part of the film shows McGregor trying to find the remaining members of his family with a heart-breaking determination and desperation. 

Watts gives an outstanding performance as a character suffering from the fear of the unknown while also struggling with the paradoxical need to maintain a show of responsibility for her child. With this performance Watts reminds us all that even adults get scared and need to be looked after, which is where Tom Holland’s character Lucas comes to the forefront. Holland’s character in this film undergoes a swift transformation from petulant teenager to responsible and kind-hearted adult with the burden of his Mother’s ailing health and he rises to this challenge admirably and with a youthful charm that reminds me of Jamie Bell in Billy Elliot (if you knew how much I love Billy Elliot then you would know this is quite a commendation!). 

The relationship between mother and child is subverted as Watts becomes increasingly dependent upon her frightened son, yet the love between these characters is a driving force of the film.

As ever McGregor gives an impeccable performance which, I’m sure, would resonate with many who have faced the possibility that they may never see their loved ones again. In one scene McGregor is burdened with a call home where he must admit that he can’t find his wife and son and in this scene, as McGregor breaks down in a room full of strangers, we see how his plight echoes on the face of all those he tells his story to. This is just one scene of many where the desperation of the situation is like a punch- to-the-face for the audience because suddenly this tragic disaster becomes a reality and not just something we saw on the news and read about in the newspapers. You can see this harrowing scene here: 

All-in-all (I’m sorry if I overuse that phrase in my posts) this film is a harrowing one which reflects not just a tragic event but also its tragic repercussions – mainly the loss of childhood innocence and the knowledge/burden that adulthood is, in part, just a title and state-of-mind. In desperate times, as this film teaches, humankind can only rely on the kindness of those around us and the hope that we can all rise (whatever our age or situation) to responsibility – even a responsibility that we fear, as Holland’s character shows in this film. This film is an inspiring tale of strength and hope and one which everyone should see...

To cut a long story short…Would I recommend this? Yes, but be warned that this is heart-breaking and in no way plays up to Hollywood ideals of a happily-ever-after. 
A film ramblers star rating? 

That’s it for now folks…

Hansel & Gretel: Witch Hunters (2013)

Fairytale stories and the fables that we remember from our childhood are popular subjects for film and television right now, you only need to look at programmes such as Once Upon a Time, the 2011 flop-film Red Riding Hood and Jack the Giant Slayer (to name a few) to see that. Why is that, I wonder to myself? Is it because Twilight opened up the gates for a reinterpretation of traditional stereotypes – the vampire who is good… Or maybe because Hollywood has run out of original ideas? Or is it, just maybe, because everyone enjoys revisiting a familiar tale… The interesting thing about this tale is, though we remember it vaguely, it was never something brought to screen (not to my knowledge, anyway) for our childhood innocence to enjoy, meaning this film right here can do pretty much anything it wants – which is where the fun begins.


Rather than rehash a familiar tale writer and director Tommy Wirkola has transported the audience into the future, taking us on a journey set after the brave Hansel and Gretel defeat the terrible child-eating witch, and puts a unique spin on the story. The fact that Wirkola has made our childhood heroes adult is very important to the plot, because let me tell you right now, this film is NOT for kids. As our protagonists grow and their lifestyles morph into bloodthirsty witch hunters with a passion for slicing and dicing, so do their…language. Innocence and precociousness take a back seat to the “F#!*cks” and “Sh*#s” that come (in a hilarious nature might I add) from our protagonists mouths. Not to mention the odd dash of sex they add from time to time. As I said, not for kids. This places the film in a unique position and could very well have been the one thing that ruined it, though happily it didn't if the plans for a sequel are anything to go by, because it very much isolates the audience and relies on sentimentality for the childhood tale to draw cinema-goers in. If my opinion is anything to go by, then it is very much worth the purchase. Which brings me on to the cast and film portion of this post…


We begin our tale with the protagonists as children, witnessing their first witch murder, and boy does it get bloody up in that joint. Fast-forward to adulthood and we see Hansel and Gretel as professional witch hunters tasked with finding the coven which is responsible for the kidnapping of 12 children – of course it’s not long before the duo figure out that there is much more than your average ‘kidnap-and-eat’ scenario going on. 


Cue a bunch of awesome action sequences involving punches, cursing and the odd stab-wound here or there as well as a scene near the end which is oddly reminiscent of this moment in The Lion the Witch and the Wardrobe:

Except with less Minotaur's and dwarves and more strange looking witches with very bad teeth.

In terms of quality, this film has it in spades. The aesthetic style is reminiscent of films such as Sleepy Hollow, Red Riding Hood and Van Helsing, where much of the action takes place in a sleepy village and the inhabitants don’t seem to trust anyone: even the heroes! While the film is in keeping with the expectations of such a genre it does mix it up a little, and the plot takes a few twists and turns, which may surprise die-hard fans of the original fairy-tale. The surprise-twist definitely affects the genesis and development of the characters and adds a depth that opens this film up to a sequel. I don’t want to give away too many SPOILERS (so you might want to look away now if you want the film to remain a surprise) but for Gretel, the whole being a witch-hunter is something very close to home and her own situation.


All-in-all this film is definitely worth the view, the star-studded leads are excellent in all of their foul-mouthed-kicking-butt glory. Jeremy Renner and Gemma Arterton have the perfect onscreen chemistry as brother and sister and bring a life to these characters previously unseen. If you’re a fan of either of these I would highly recommend this production, it is an excellent addition to their already eclectic and increasing resume. 


Best line: (It seems fair to give the two main characters’ best lines…equal opportunity and all that. Plus I couldn't pick, both are hilarious and Hansel’s (Renner) is particularly well-placed within the film)


#1 Gretel: The curse of hunger for things that crawl. I fucking hate that one. 
#2 Hansel: Whatever you do, don’t eat the fuckin’ candy!


To cut a long story short…
Would I recommend this? Yes, if your open to the idea of a classic childhood tale being turned on its head (albeit in an excellent and believable way). A film ramblers star rating? 

That’s it for now folks…

Tonight You're Mine (original title You Instead) (2011)

The one thing I love about the British film industry is that it’s not afraid to take some risks. They fund independent projects which don’t always make a lot of money, but they don’t care, or at least that isn't there number one priority. They don’t reproduce a set of Hollywood-idealized plots, and they don’t make sequels or prequels as if they’re life depended on it. What they do is even better - they make something original. And originality and quality is what we have with Tonight You’re Mine – its quirky, its British and its bloody good.

It tells the story of two feuding rock stars who are handcuffed together for 24 hours at T-in-the-Park where they are both due to perform. Obviously a whole host of random drunken debauchery ensues and we see how, in the midst of the madness of brilliant music and classic British weather, their relationship develops from one of feuding and bickering to friendship and romance. Maybe not love, because come on, we British aren't deluded, you don’t fall in love with someone in 24 hours, but you can fall ‘in’. Big difference. This is something the film does rather brilliantly – it depicts the ‘in’.

Of course we haven’t just got these two; we have a whole host of British actors who make up this young and refreshingly contemporary set of characters. The lesbian couple; the sexy-American-rock-star-geek, the much-older boyfriend and, of course, the drunk that everyone sends home early. It wouldn't be a British film without that character now would it? Don’t worry, these might sound like a whole lot of stereotypes and cliches for one film, but they aren't handled in this way. The story-lines progress and develop naturally – no character seems forced or unrealistic. Thank god, huh?!

One thing that might be off-putting for some viewers is the films aesthetic style, which is very dark and claustrophobic - probably to reflect the protagonists situation. This darkness, along with the documentary-style filming, gives the film a reality that is often missing in larger productions. In fact, certain sections look like they've been pulled straight from a handheld camcorder. This might seem shoddy to the Spielberg-lovers of this readership, but is refreshingly contemporary and fits in with the feel of the film. This film isn't supposed to be pristine quality, because it reflects the dirty and wonderful of the festival-world – which is anything but pristine.

Music plays a big part in bringing these two characters together.

The leading duo play their roles to perfection in this 80 minute film and it is refreshing to see two faces without stereotypical beauty, which isn't to say they aren't attractive – but doesn't it just bug you when only the ‘ridiculously-good-looking’ (I hope some of you recognize that reference) find love in the end? I know it annoys me!

The leading lady is played by British actress Natalia Tena whom some might recognize as Tonks in the Harry Potter franchise. Here she plays the feisty and opinionated Morello, who doesn't take crap from anyone. Not even hugely successful rock stars with model girlfriends. To me the role was perfectly cast and the humour we saw in Harry Potter is very much present in this production – clearly Tena is as feisty and contagious a person as she plays in this film. Our leading man is played by Luke Treadway whose good looks alone make him perfect for the dirty rock-star we all love-to-hate and hate-to-love. Here Treadway gives me another reason to gush over the British film industry because they have left the romantic lead in the hands of a relatively unknown but hugely talented actor – something you don’t see much of in a Hollywood blockbuster these days (I don’t mean to hate on Hollywood, hell I watch and love many of those films as well, but I can’t help but brag a little. Call it my patriotic duty.) Treadway’s character seems like a bit of a bad-ass but the charm with which he plays this character stops you from hating him.

All-in-all we have a top-notch British film and, though it might not be for everyone, its contemporary feel give it a sense of reality which younger audiences will definitely appreciate. The film might be a little bit cheesy, but I swear, only a little. Like a cheddar perhaps. It definitely ain't blue-cheese material.

Best line: (This can be seen in the trailer if this post has piqued your interest enough…)

Adam: We need an industrial sized tool.
Fire Marshall: I think I found one.
Morello: Really?
Adam: Oh aha ha a comedian.

To cut a long story short…
Would I recommend this? I would, but I feel like it would only appeal to a minority which is unfortunate really. 
A film ramblers star rating? 

That's it for now folks...

Les Miserables (2012)

This is an incredibly intimidating production to review, in part because the film itself is an epic onslaught on the senses, but also because there is so much to talk about and its hard to know where to start. Which makes me wonder, where do I start? Well, at the beginning I guess…

Les Miserables, or ‘Les Mis’ as it is known in the theatre-loving world, is a musical production based on the 19th century novel by Victor Hugo which chronicles the life of Jean Valjean, a convicted bread-thief who, after serving 19 years for his “crime”, is freed and sets out to create a new life under the guidance of God. This does not go down well with Russell Crowe’s character, Jalvert, who makes it his life mission to track Valjean and send him back to prison. This is where our story begins, though certainly not where it ends, for it sets in motion a whole host of events which involve saving tragic-Fantine’s orphan child Cossette and raising her in the midst of a French Revolution. Like I said, there's a lot to get your head around…

Director Tom Hooper (The King’s Speech) does so though, and with incredible flair and an imagination and determination which ensured that this multiple Oscar-winning production will go down in film history. Here Hooper has assembled an incredibly talented set of actors and brought to life one of the most celebrated novels and theatre-productions in history, for the screen. The typical course of action on a musical production, especially one of this magnitude, is to pre-record the soundtrack and have the stars lip-sync on set. Here, however, Hooper took a different approach and recorded every song live on set, in order to capture the spontaneity and emotional responses of the actors – a move which has been praised by both his cast and critics alike. A feat like this has never been attempted before, making Hooper, ironically enough, somewhat of a revolutionary…

The shining stars of Les Miserables, these two showcased their broadway credentials and earned Oscar nominations in the process.

The cast make an outstanding job of bringing to life these inspiring characters, even down to the last revolutionary extra – most of whom are made up of West End extras that starred in the various stage versions this story has inspired. Hugh Jackman plays his part of reformed criminal and surrogate father Valjean with an intense-zeal that made it hard to believe any acting was involved at all, Jackman lived and breathed this character and the passion with which he brought this character to life emphasises this fact. Jackman’s final scenes are excruciatingly painful to witness, because he imbues them with such pain and vulnerability. I really do wonder how he missed out on an Oscar for this performance, because it was certainly well-deserved. One Oscar-winning performance, however, comes from America’s quintessential girl-next-door Anne Hathaway who takes on the brief but cutting role of Fantine. Her rendition of ‘I Dreamed A Dream’ is simply exquisite. There really are no other words for it. I won’t lie, usually I’m not a big fan of Hathaway, for reasons I’m not quite sure of, but in this film those feelings are swept aside by her visceral performance of the tragic Fantine. Perhaps she shone in this film to an Oscar-worthy level because so much of her performance was method. She endured a great deal of physical transformation in order to do justice to her character and that really shows in her performance. Hathaway’s Fantine is pure empathy. She lives the life of that character, and because of this, so do we, the stunned-into-silence audience. Another casting-choice worthy of commendation is that of Helena Bonham Carter and Sacha Baron Cohen, who are reunited after their starring turn in Sweeney Todd (another stage to screen adaptation), who inject this film with a little comedy to lighten the load. This comedy-duo are truly marvellous, their hyperbolic idiocy and conning-cunning are just what this film needs to relieve some of its emotional burden. Though perhaps not the most talented musical performers in the entire cast, this fact is of little consequence, because without them, and I mean these two actors specifically, this film might’ve fallen a little flat. We all need a little comedy in our lives to ward off the desolation after all, and who better to provide that than Carter and Cohen?

A visually stunning scene in which our revolutionary heroes begin the battle for freedom.

The aesthetic quality of the film is also something to marvel at, from the reconstruction of the streets and alleyways of revolutionary France down to the costume design and makeup. The films aesthetics feel authentic to a 19th century France fighting poverty and the right-to-freedom. Hooper isn’t afraid to make his actors look unbecoming, in fact he welcomes it, and this attention to detail is what makes him the fantastic and fearless director he is. I particularly admired the barricade scene in which we see our revolutionary heroes/victims throw together a shoddy wall of furniture behind which they defend themselves from the armies they fight against. The scene felt raw and thrown-together – which I 100% mean as a compliment! The period detail is excellent and every person who was involved truly deserves a pat on the back (that’s a very English sentiment from me, not one I usually express…)

All-in-all this film is truly amazing and I only hope I’ve managed to convey my awe for this film and the admiration I feel for both the actors and the director. If you haven’t already, which I find hard to believe, then please make it your mission to see this film – you won’t regret it, even if you’re not really a fan of musical productions.

Best moment/s: (I know I say this every time, but there really were WAY too many to choose from, though I have managed to cut it down to two…)

#1 The first scene in which we are greeted by the comedy-duo Carter and Cohen – they regale us with the song ‘Master of the House’ and really make it their own. A fantastic stand-out performance.
#2 The final scene of the film in which we are reunited with the sadly departed of the cast, and they sing one of the greatest musical songs in history ‘Do you hear the people sing?’. If you don’t shed a tear or two over this then there is something wrong with you. That’s blunt, but true. Sorry.

To cut a long story short…
Would I recommend this film? Well I think the answer is fairly obvious, but YES! A film ramblers star rating? 

That’s it for now folks…

Eight Below (2006)

You might have a few preconceived notions about this film, which I feel the need to clear up before I can begin with the actual review/opinion portion of this post. Don’t worry, I’m not going to spend too long on this, but it is necessary, so bear with me.

First of all, this is a family drama by Disney so right now anyone over the age of 15 is probably thinking ‘this isn't a film for me’. You are wrong. This film may be by Disney but that doesn't mean it’s just for kids, this packs a punch and a half and I defy any adult not to shed a tear or two over this one. It’s reminiscent of Marley & Me in that respect. Not only will it tug at any person who has a heart, but it also raises some interesting ideas about how far a person would go to rescue the ones they love, whether that person is human or canine. Don’t dismiss yourself because you don’t think this film is for your demographic; personally I’m not sure this film has an age demographic. If you like a good film then here’s your ticket.


Second of all, the cast. If, like me, you’re not a fan of Paul Walker because he seems like a one-trick-pony who can only do action-hero/bad-guy/heart-throb then please just leave those thoughts at the doorstep for a moment. Walker shines in this production, because for once he’s playing a character whose sole purpose isn't to get the girl (though he does) or catch the bad guy and look cool doing it – this character has an emotional connection to the canines he is trying to save and that emotion is etched into every action he takes and every plea he makes. Paul Walker isn't the only casting choice I would like to address however, because while he does make up much of the film, it is also the canine cast whose journey we explore. These guys aren't just there to coo over either, these guys are characters. They have their own characteristics and story lines and they are just as heart-breaking and believable as the human cast. I was genuinely flabbergasted by the talent these beautiful canines display – and flabbergasted isn't a word I use lightly.


Now for the review portion, to reiterate my previous statements – this film is truly great. It follows Jerry (Walker), an Antarctic guide who is forced to leave his beloved team of sled dogs behind in the Antarctic winter to fend for themselves after he and his colleague are injured in the field. Obviously this doesn't go down well and while Jerry tries and fails for many portions of the film to get back out there and see if he can save his team, we follow the journey of the dogs and witness how they survive the treacherous winter and lack of food, not to mention dangerous predators. 

Loyalty and friendship are where the heart of this film lies. 

If you’re an animal lover then be warned, you will most likely cry at regular intervals of this film. While I love a good tear-jerker I often make it my mission not to succumb to the tears, but I failed with spectacular fashion at this one; and let me tell you, I am not a graceful crier. Picture crocodile tears and a horribly blotched face - hence the try-not-to-cry-at-films-mission. Whenever it comes to animals that face danger or pain, however, I have no control over my tear ducts. Which makes me wonder - has anyone else ever experienced the overwhelming need to cry when a dog dies in ANY film, yet can remain stoic and tear-free when it comes to human death? (Sam from I Am Legend comes to mind, along with Marley from, need I say it, Marley & Me). Does this say more about me, or the age in which we live where death doesn't seem a shocking thing to witness on film?

Moving swiftly on…

It might interest you that this film was inspired by true events, so naturally I researched just how closely the film stays true to these ‘events’. I was surprised to find that, though it was moved about thirty years into the future and the Antarctic team was changed from Japanese to American, it does remain quite faithful to the original and harrowing tale. The film depicts a much happier ending however (SPOILER), with most of the sled dogs surviving the impossible conditions of the Antarctic winter, while in reality only two of the sled dogs survived in a team of fifteen. A tragic and harrowing fact which makes you appreciate the vulnerability of your pet-pooch just a bit more, huh?

All-in-all, this is a film I would recommend to pretty much anyone and I enjoyed the style and emotion with which it was made, no hammy acting, no cliche – which is a risk in a film like this. Just an excellent family drama for any and all ages.

Best line:
Jerry:You gotta take chances for the things you care about...

To cut a long story short…
Would I recommend this? ABSOLUTELY. 
A film ramblers star rating?

That’s it for now folks…

Bel Canto (2001) (novel)

Bel Canto is Patchett's fourth novel and is based on the Lima Crisis of 1996.

I first read this book a little over a year ago, and was attracted to it mainly because it had picked up several awards and prestigious accolades – most notably the Orange Prize for Fiction and the Faulkner Award for Fiction. Quite a reputation to live up to, but it more than fit the bill and in fact reinvigorated my passion for reading, which had grown stale due to commitments in my student life. It is for this reason that it seems appropriate that this book be the first I share with you readers.

First to give a general outline of the book - it follows the experiences of an international group of political/famous hostages and the terrorists who are keeping them prisoner, and shows the deepening relationship between the two groups who each come to think of the other as there form of freedom. The book lends its name from an Italian operatic term, and this seems oddly fitting, because, like opera music, this book has many rises and falls and an uncanny ability to sneak into your subconscious and surprise you with its power. I think the concept of such a book was brilliant on Ann Patchett's part because it is such an original way to look at the terrorist/hostage situation (rather than just taking a "oh-these-evil-terrorists-have-ruined-my-life", "what-to-do" slant). Not to disrespect such a subject, but a refreshing perspective can be good for the soul, and this book certainly offers that fresh perspective. Instead of studying the terrorists for their crimes, Patchett instead studies them for their lives and their hopes, and most importantly, I feel, their logic. Though I suppose it is important and respectful to remember that Patchett’s interpretation of this terrorist culture within the novel is purely fiction.

Another aspect I enjoyed in this novel was the direction Patchett took the narrative. By keeping it largely in third-person she avoided the reader from only getting one perspective and view-point, though still maintained an emotional "spirit" (cliché, I know) which allowed the reader to empathise and understand nearly every character, which is quite a feat considering the multitude of nationalities we are dealing with in this novel.

If you are interested in more of Patchett's (pictured above) work then you can view her website HERE. I would recommend Bel Canto along with another of her novels State of Wonder. 

My favourite characters, as I'm sure most people who have read the novel would agree, were Gen (first and foremost), Carmen and, oddly (considering he was mainly a bit-part character), Father Arguedas. These characters really stood out for me because there emotional journey were the ones which seemed to personify the direction of ALL the characters and the changing relationship between terrorist and hostage.

I'm not going to give any spoilers but I also loved the two romantic relationships which developed through the course of the book (one more than the other).

A warning, if you're a reader who NEEDS a happy and somewhat obvious ending then I'd reconsider 'Bel Canto'. I must admit I didn't particularly enjoy the ending - it just didn't satisfy the emotional connection I felt for a few particular characters. It is also one of the most surprising endings I have ever read. Seriously, I DID NOT see it coming - though to Patchett's credit it is also probably the most realistic ending.

To cut a long story short…
Would I recommend this novel? Yes. I loved this novel. Though word of warning, it took me about 60 pages to really get into it - so to reluctant readers, be patient. Star rating?

That’s it for now folks…

Syrup (2013)

Syrup is quite the enigma, as Max Barry intended, I’m sure. Based on the cult novel, the film explores the power of marketing on the human soul and society’s reliance on marketing to harness a sense of reality in what is essentially the circle of money and consumerism. The film relies on sex and image to drive this realisation in, and where better to start than with the beautiful cast. The cast almost amplifies the whole point the film is trying to make, for we have Shiloh Fernandez, an upcoming heartthrob in reality who seems to ooze bad-boy-delinquency and who plays a down-on-his luck creator and business manager – the image certainly fits the package. Then of course, there is Amber Heard, playing Six. Yes, Six. All part of the image, because when you say Six you think of sex and sex almost always leads to a yes – in business, that is. Here the character has been perfectly cast and though we never quite get a grasp on the person behind the image, there is always a hint that Six wants to give more. And we want to see it. Which is, of course, the whole point of the film - it’s all a marketing ploy. 

The basic premise of the film is that Scat (Fernandez) wants to become the living embodiment of the American Dream, and what better way to do this than through marketing. Everybody lives and breathes marketing, without seeming to realise it. This leads to the creation of first Fukk, and then Kok – yes, all very sexual. Because as this film proves again and again in various ways – sex sells. Yet along the way he faces many marketing and advertising disasters – mainly his campaigns biting him in the arse after someone dies because of the direct influence of his advertising savvy. This just emphasises the point of the film.

This was a random film I found, I’d never heard of it before and quite frankly I was mainly attracted to it because of the cast. There’s irony for you. Nevertheless I just loved its style and direction and the cast are perfect, both for the irony they lend to the point of the film and for their talent in executing it in a non-clichéd way, which could have happened, if it had been left in the hands of a cheesier bunch of actors.

Give it a go, not because I’m telling you. Not because it is a cult-smash. And definitely not because of the sexy cast. But because you will appreciate the lesson you learn, though it seems excruciatingly obvious when you think about it afterwards…

To cut a long story short...
Would I recommend this? YES. A film ramblers star rating?

That's it for now folks...