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


BAT­TLE­SHIP 7MATE, 6.30PM Aw, Ri­hanna just sank your so­lar sys­tem-hop­ping bat­tle­ship! In the $200 mil­lion film “in­spired by’’ the board game, the ex­plo­sive ef­fects that ac­com­pany a suc­cess­ful strike are re­alised in graphic de­tail by Ge­orge Lu­cas’s vis­ual ef­fects house ILM. Direc­tor Peter ( Han­cock) Berg’s ver­sion of the clas­sic naval com­bat sce­nario in­tro­duces a new di­men­sion – space. But the film works best dur­ing the rel­a­tively low-tech se­quence that pays homage to the orig­i­nal game. This may have made a bet­ter video game.



X-MEN: DAYS OF FU­TURE PAST NOON, PRE­MIERE This Marvel block­buster starts out fast, fu­ri­ous and funky – let’s go to the 1970s, ev­ery­one! – be­fore fiz­zling out to a forced, flat ef­fort. De­signed as a joint ven­ture to bring us the best of both X-Men worlds (ie the Pa­trick Ste­wart-led orig­i­nal se­ries, and the new James McAvoy one), the sto­ry­line grad­u­ally gets caught up in an in­co­her­ent tan­gle from which it can never prop­erly free it­self. The best part about Wolver­ine (Hugh Jackman) tak­ing an ur­gent time-travel trip to Water­ga­teera Wash­ing­ton is when he briefly crosses paths with su­per-fast slacker Quick­sil­ver (Evan Peters). A big cast labours hard, but not al­ways for the greater good. Ef­fects work can be breath­tak­ing at times, as ex­pected. Co-stars Jen­nifer Lawrence, Michael Fass­ben­der and Ellen Page.



THE TRU­MAN SHOW 9.30PM, ELEVEN Aus­tralian direc­tor Peter Weir ex­tracts an as­ton­ish­ing per­for­mance from Jim Car­rey as the poor stooge who doesn’t know his en­tire life so far has been broad­cast around the world. It’s kind of


funny, kind of sad and leaves you with the nag­ging feel­ing that one day there will be a re­al­ity-TV show just like this.


DRIVE 8.30PM, SBS2 There can be no deny­ing Drive presents pay­ing pas­sen­gers with one in­cred­i­ble ride. Ryan Gosling plays a soli­tary fig­ure known only as Driver, a part-time movie stunt­man not above help­ing the best crooks in Los An­ge­les make a quick get­away. This mys­te­ri­ous fig­ure is forced to come out of his shell af­ter be­friend­ing a lonely neigh­bour (Carey Mul­li­gan) and her young child. With both hands on the wheel and the pedal pressed flat to the floor, this bril­liant, fo­cused crime thriller pro­ceeds swiftly to­wards true cin­e­matic great­ness. On the way, the movie swerves, brakes, speeds up and slows down with as­ton­ish­ing pre­ci­sion. The po­tently min­i­mal per­for­mance of Gosling con­firms his rep­u­ta­tion as one of the best ac­tors of his gen­er­a­tion, while Dan­ish film­maker Ni­co­las Wind­ing Refn’s


com­mand of at­mo­spher­ics is as in­tim­i­dat­ing as it is ir­re­sistible.


THE BOY IN THE STRIPED PY­JA­MAS NOON, SEVEN A su­perb adap­ta­tion of John Boyne’s novel bears wit­ness to the unyield­ing hor­ror of the Holo­caust through the eyes of a child. Though staged as a gen­tle fa­ble, the film roughs up the viewer re­lent­lessly by con­trast­ing in­no­cence and evil of equal pu­ri­ties. Im­pres­sive new­comer Asa But­ter­field plays Bruno, a naive young Ger­man boy who does not re­alise his mil­i­tary fa­ther’s lat­est post­ing is a con­cen­tra­tion camp. The story is dis­turbingly spare on ac­tual de­tail. The viewer’s mind races to fill the gaps be­tween what lit­tle Bruno knows and the full ex­tent of what he will soon learn. Dev­as­tat­ingly mem­o­rable, sin­cerely sor­row­ful.



WEL­COME TO THE JUN­GLE 9.30PM, ONE Brawny, brain­less and thor­oughly en­dear­ing ac­tion


flick star­ring charis­matic wrestler-turned-ac­tor Dwayne John­son (aka, The Rock). A flimsy, fast-paced tale of a res­cue mission to the Ama­zon is slyly su­per­seded by great comic in­ter­play be­tween John­son and co-star Seann Wil­liam Scott (Sti­fler in Amer­i­can Pie), and the bizarre vil­lainy of Christo­pher Walken. The ex­pertly choreographed com­bat scenes carry just the right dash of comic-book camp, too.


GAL­LIPOLI 8.30PM, TEN We should be for­ever grate­ful that the task of film­ing one of the defin­ing mo­ments in Aus­tralian his­tory went to Peter Weir, one of our great­est di­rec­tors. An un­usual en­try in the an­nals of anti-war films, in that it doesn’t dis­credit the blind pa­tri­o­tism that sent so many young Aus­tralians to an un­nec­es­sary demise. Mas­ter­fully blends the epic tragedy of the Gal­lipoli land­ing with a time­less trib­ute to the thor­oughly Aus­tralian con­cept of mate­ship.


Bad to the bone: Ryan Gosling gives a mes­meris­ing per­for­mance in Drive.

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