We Were Here D i r e c t e d b y D a v i d We i s s m a n , B i l l We b e r S t a r r i n g E d Wo l f , P a u l B o n e b e r g , Daniel Goldstein Released November 25
ne of the first documentaries to take a detailed look at the emergence and impact of AIDS, David Weissman and Bill Weber’s challenging film serves as a reflective account of the arrival of the disease in San Francisco’s gay community in the 1970s. Using a combination of interviews and archive imagery, We Were Here chronicles the rise of the epidemic from its roots as an unknown virus, erroneously referred to as ‘gay cancer’, to its status today where, though prevalent, it has become treatable. Focusing on the experiences of five individuals, all of whom lived in San Francisco prior to and during the epidemic, each recounts personal and often deeply upsetting tales of their encounters with the disease. Though only one is afflicted with the disease, they are all victims in their own way. Their reasons for sharing are intensely personal. “None of my friends are around from the beginning,” explains Daniel Goldstein, who is HIV-positive. “I want to tell their story as much as I want to tell my story.” He lost two partners to the disease and considered suicide – an account that is no doubt applicable to many who lived through the epidemic and have learnt to cope with the aftermath.
Keen to emphasise the point that the gay community did not sit idly by as the disease spread, the filmmakers and their interviewees shine a light on these events in a way that mainstream media has rarely achieved. This is the story of a community that came together in the face of a devastating event, working tirelessly to curb the effects of an uncontrollable outbreak that was killing their friends and families. We Were Here is a fitting tribute not only to those who lost their lives to the illness but also to those who selflessly gave their time and compassion to help others. The end result is an honest, frank and often moving documentary. Paul Weedon
Anticipation.
In-depth analysis of an event often skir ted over in mainstream media.
Enjoyment.
Insightful, honest
and moving.
In Retrospect. A n e y e opening piece of cinema. Compulsive viewing.
Tower Heist Directed by Brett Ratner S t a r r i n g B e n S t i l l e r, E d d i e M u r p h y , Té a L e o n i Released November 2
ith Tower Heist, Brett Ratner returns to the yucks-and-chases styling of Rush Hour, bringing it to bear on an unimpressive crime-caper narrative which roughly succeeds in rehabilitating Eddie Murphy post-Norbit but fails in almost every other respect. Ben Stiller revisits the unthreatening everyman persona seen in Night at the Museum as the jobsworth building manager of high-class high-rise The Tower. Stiller is the counterpoint to Alan Alda’s super-rich penthouse dweller. When Alda is arrested for some unnamed financial swindle, and the service staffs’ pensions are declared MIA (ding ding! Is that the superficial social-commentary bell?), Stiller decides to assemble a hilariously inept crack team, break into Alda’s penthouse and steal his hidden millions. Hilarity – ahem – ensues. Writers Ted Griffin (Matchstick Men) and Jeff Nathanson (Men in Black III) admittedly hit the mark with a handful of choice lines,
mostly uttered by Matthew Broderick, one of the few cast members who impresses. Other commendations go to Téa Leoni, who drags more laughs from a drunk scene than she has any right to before visibly losing patience with the numb-skulled plot. And Murphy’s Trading Places-style motormouth crim also hits most of the notes, if not necessarily in the right order. But the caper narrative is toothless, faltering in the second act with several lame plot developments and some confusing editing before completely abandoning credibility and resorting to a checklist of tired tropes: there’s dramatic dangling from high-rise windows; liftapproaching-liftshaft-ceiling-with-heroes-ontop suspense; and a completely unnecessary car-speeding-through-traffic sequence. The biggest calamity, however, is Ratner’s portrayal of The Tower’s service staff, his betrayed working classes, who appear to
enjoy universally harmonious interpersonal relationships and faultless ethical codes. As if it wouldn't be possible to sympathise with working men and women robbed of their pensions if they didn’t all get along all the time, bantering about their different ethnicities like a collection of entry level stand-ups. This is Titanic syndrome: sure, they’re poor, but look how much fun they’re having below decks! Christopher Neilan
Anticipation.
Ratner crimecomedy? It’ll be rubbish.
Enjoyment. O h l o o k , i t ’s r u b b i s h .
In Retrospect. Ye p , t h a t was rubbish alright.
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