This made me feel like I was watching Darwinian propaganda in a primary school classroom. Yet it is sparsely narrated with a wiseman’s perspectives of his own beliefs, which are not in the least forceful, merely a little too conjured. Well produced and nice footage, but not stunning or involving enough for me when compared to Baraka, or any one of many more focused natural world type productions. Cool for younger kids I’m sure.

This was really powerful and awed me tremendously, in much the same vein as Joan of Arc, but without the unfortunate demise and quite so much war-mongering. Indeed this instalment of Elizabeth’s march is full of wonderful moments of introspection and heavenly light, reminding me somewhat of The Fountain, yet with infinitely more foundation. Blanchett naturally does a stunning job of conveying Elizabeth’s predicament, and ultimately her convictions towards her country and people. The costumes were stunning, as were the dizzying camera pans and shots from on high, but the use of cathedrals rather than palaces as one would expect, overemphasises the religious angle. Given that the film covers the war between Spain and England and the religious division, this is partly to be expected, and you certainly walk away with a trace of fervour having been infused into your blood. I’ll be seeing this again, and I can recommend seeing it on the big screen.

This film is quite unexpected. Darren Aronofsky has the ability to stir your reactions, in Pi and Requiem for a Dream he does so violently and without remorse. In The Fountain he does so all to subtly at times, weaving a story across time and awareness, about death, belief and love. It actually brought a couple of tears to my eye—almost unheard of. And this set with all the oil lamps and unending arches, oh man, I want to be there.

Some of scenes are unbearably new age with transcendental posturing, but are nonetheless beautiful and help one perhaps understand the mind of the main character—something Aronofsky brings to the fore. The distinct stories weave together but ultimately the plot is morbid, perhaps not unexpectedly.

Are there three stories—past present and future? I felt that “future” was really an escapist mental state, manifesting his desire and actions to do good for his wife.

I admit I’d drunk a bottle of red before this; but the film really struck me, the constant shifting focusing of the camera and lighting drew me in like a moth; I was captivated by the glances of Manhattan such as a water-tower from China Town, the lighthouse under GW bridge; but perhaps it helps that I’ve spent time there. Meg Ryan was unlike I’ve seen her before but I’m not so sure about her role, in fact the characters and story seemed a little inconsequential; the film was certainly somewhat explicit but not particularly gory. I didn’t find the ending the least bit unsatisfactory, indeed the overall mood was almost alongside the likes of Kristof Kieslowski. Yes there is no resolution, but the story concludes.

This is pretty wacky and good for a few laughs if only at the slight ridiculousness. It somewhat reminded me of Jay and Silent Bob Strike back in that it seems to be more of an ongoing in-joke than a story. You feel a bit like you’re being talked down to with a string of apparent life-lessons, and indeed the production quality comes off as ‘after-school-special’. Albeit with Gary Oldman, which was amusing.

I was really absorbed by this, the stunning scenery, less than pretty representations of the darker side of man’s lust for power, and a strangely slanted ethical stance from Leo’s character that comes across as being singularly more human, than fabricated for the benefit of Hollywood, and despite the fairly good action shots. Left me feeling quite affected against consumerist urges and even more aware of what the upstream impacts might be. Certainly quelled my feelings for returning to London rather than doing more travelling…

Cretu has evolved. Actually I haven’t heard the more recent preceeding album Voyageur, so I’m speaking only from my familiarity with all the other albums. The sound of this album is resolutely ambient techno with a fusion of the new age and ethnic elements from his prior works. The blended and downbeat effect of which I’m really liking, and feels very much of the time.

Clearly I’ve been watching too much of The O.C. as I’m starting to like the music too much. I’ve also been too harsh in forming opinions, indeed I was previously rather derisive of anyone who claimed to like bands such as Modest Mouse, I mean there’s nothing accomplished about them (this opinion is typified by unexciting tracks like Black Cadillac). It may be true that the power of association is at play here,, but they have put out some funky riffs on this album (I’m lovin’ Float On) that I rather enjoy at the moment in place of my usual fare. Maybe it’s a phase.

What a truly incredible and suprising journey. It starts out in a humourous way that might be confused with Borat, and rather unexpected, but after the first couple of chapters turns towards a gentle and at times sad reflectivity. There’s a lovely score, and an ending that provides a clever observation—of what is humankind.

If you’re prepared to not get too involved in the plot, or the characters, then it’s a decent kind of romance. Personally what kept me watching was the scenery and architecture. It helped that Sandra and Keanu don’t hurt the eyes, but the dog was the most interesting character.