The Sunday Mail (Queensland) - TV Guide - - WEEK IN MOVIES - WITH LEIGH PAATSCH


GREEN ZONE 9.30PM, 7MATE The third Iraq war movie in three weeks is brought to you by the ill-fated hunt for weapons of mass de­struc­tion. Matt Damon stars as a whis­tle-blow­ing sol­dier who knows there is some­thing fishy about the Coali­tion of the Will­ing’s rea­sons for storm­ing Bagh­dad in 2003. While the world waits for ev­i­dence of WMDs, Damon wages a one-man war to prove there is no ev­i­dence at all. The meaty sub­ject mat­ter and Damon’s sure­footed pres­ence el­e­vate this adrenalised ac­tion thriller above the ex­pected av­er­age. The only stick­ing point is the herky-jerky, hand­held cam­er­a­work bla­tantly over-used by di­rec­tor Paul Green­grass. There are min­utes at a time where view­ers will feel as if they are trapped inside a rolling car.


FROZEN RIVER 1PM, NINE A low-bud­get US drama fea­tur­ing a pow­er­ful and de­servedly Os­car-nom­i­nated per­for­mance from the un­her­alded Melissa Leo. She plays an aban­doned housewife who is forced to take dras­tic mea­sures – be­com­ing a driver for a peo­ple-smug­gling ring – to put food on the ta­ble. The film can­not hide its rough edges and some­times loses nar­ra­tive fo­cus, but Leo goes from strength to strength with a de­fi­antly gritty dis­play.


THE SPE­CIAL RE­LA­TION­SHIP 1PM, NINE A su­perb fac­tual drama from screen­writer Peter Mor­gan. Dur­ing the mid-1990s, US pres­i­dent Bill Clin­ton (Den­nis Quaid) and Bri­tish prime min­is­ter Tony Blair (Michael Sheen) be­came close friends and diplo­matic al­lies. The drama hinges on a grad­ual shift in the power dy­namic of the po­lit­i­cal odd cou­ple. Hob­bled by his in­fa­mous dal­liance with Mon­ica Lewin­sky and the threat of im­peach­ment, the on­cemighty Clin­ton shrinks in stature be­fore the viewer’s eyes. Mean­while, the earnest yet ma­nip­u­la­tive Blair comes out of the Kosovo cri­sis as a ma­jor player on the world stage. A wor­thy ad­di­tion to Mor­gan’s work as a mod­ern his­to­rian of the big screen.


THE TWI­LIGHT SAGA: BREAK­ING DAWN – PART 2 8.30PM, ABC2 THERE is a not-so-fine line be­tween preach­ing to the con­verted and prey­ing on the conned. But there’s no point com­plain­ing now. The Twi-hards went into this deal with their eyes wide open and their brains switched off. That it has taken five in­stal­ments to tell a story that prob­a­bly war­ranted two mat­ters lit­tle. Most Twi­light trag­ics would have hap­pily sat through 10 movies to keep the phe­nom­e­non go­ing. So here it is. The end of the long, long line. Mopey ex-mere-mor­tal Bella Swan (Kris­ten Ste­wart) is now a vam­pire. She is also as strong as five pro-wrestlers. Be­ing mar­ried and all, Bella and her long­time love toy Ed­ward Cullen (Robert Pat­tin­son) can now knock vam­pire boots when­ever they like. I could go on. But let’s move on, shall we?


KATY PERRY: PART OF ME 9.30PM, ELEVEN While Katy Perry: Part of Me ad­min­is­ters the same dosage of promo pif­fle as other pop­tas­tic con­cert do­cos, there is also some strong, off-mes­sage ma­te­rial you don’t of­ten see. So don’t pay too much no­tice to the pass­ing pa­rade of yes-peo­ple blurt­ing out the blink­ing ob­vi­ous about Ms Perry, and fo­cus in­stead on her cel­e­brated in­abil­ity to self-edit. If she feels like a good cry, she’ll have one right in front of the cam­eras. Perry also works her­self to the limit and oc­ca­sion­ally falls apart from sheer ex­haus­tion. Again, the cam­eras roll on.


EASY VIRTUE 3.25PM, ABC A faintly mem­o­rable pile of pif­fle. In the early 1920s, a stuffy Bri­tish fam­ily floun­ders when a favoured son (Ben Barnes) im­pul­sively mar­ries a flighty Amer­i­can di­vorcee (Jessica Biel). The film is saved by pacy di­rec­tion of Aus­tralian Stephan El­liott and the racy repar­tee of play­wright Noel Coward.


GUL­LIVER’S TRAV­ELS 7.30PM, TEN As­pir­ing travel writer Le­muel Gul­liver (Jack Black) takes an as­sign­ment in Ber­muda, but ends up on the is­land of Liliput, where he tow­ers over its tiny cit­i­zens. Do not get this mixed up with the time­less novel by Jonathan Swift, as all sim­i­lar­i­ties end with the big-guy-lit­tle-world stuff. This goofy fam­ily com­edy pegs its chances on blast­ing Jack Black with spe­cial-ef­fects-driven slap­stick. It’s harm­less es­capism, but lacks any es­sen­tial wow­ness.

Larger than life: Jack Black runs into trou­ble after he meets the tiny cit­i­zens of Liliput in Gul­liver’sTrav­els.

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