Byron Shire Echo – Issue 21.03 – 27/06/2006

Page 29

Byron Shire Echo June 27, 2006 29

www.echo.net.au

FAVOURITE MOVIE QUOTATIONS

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OVER THE HEDGE Awakening from hibernation, a bunch of woods critters discover that half of their forest has been lost to fifty-four acres of manicured, airconditioned suburbia. A newcomer, a racoon with ulterior motives, tries to convince them that the humans’ fast-food is preferable to their nuts and berries. Only the tortoise, Vern, his shell replacing the overalls of American Gothic, instinctively rejects the shyster’s takeaway treats. The vulnerable gang include a neurotic squirrel, a melodramatic possum trying to teach his reluctant daughter the traditional ways and a black sista skunk who is a long way removed from Pepe La Pew. It moves at a frantic pace and, though aimed primarily at the very young, it follows the trend to incorporate gags for grownups by refering to the likes of Citizen Kane and A Streetcar Named Desire. The crippling irony of the film’s dig at consumerism – ‘take only what you need’ – is that you know that those involved, especially the actors whose voices are used, will be firmly ensconced in that manicured, air-conditioned bubble. What it means is that everybody else should have a social conscience and forswear the gluttony and waste. Clever and visually brilliant, with the Verminator a standout. John Campbell

This documents the free street concert staged in Brooklyn, September ‘04, by comedian Dave Chappelle. The artists are proudly black, but Chappelle’s inclusive approach keeps a rein on the event’s underpinning agit/prop becoming combative. Nevertheless, it is about those who were there for the occasion and those to whom it spoke. The photography is often clumsy and the film works best when the performances are cut with scenes of the recruitment of guests from Ohio – the students of the university marching band are infectiously joyous at their ascension to celebrity’s air. There are pulsating, spinetingling moments but, to an outsider, the rappers’ repeated penis-grabbing looks plain childish – it’s a man’s world in the ghetto. Many of the words are lost in the mix so, unless you are of the faction that is devoted to rap and therefore likely to be familiar with the material, it is difficult to halt the gradual slide from being energised to enervated. The stars’ swagger and hipper than thou swearing is textbook, but you’d only be stamping DAG in fluoro on your forehead to suggest that the exercise is simply more hero worship. In the end, its positivity outweighs its pretension. John Campbell

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X-MEN 3 X-Men: The Last Stand delivers on all the momentum and pathos of the first two instalments. In this film mutants have made significant political strides, even gaining official representation in the form of the blue, furry Dr. Henry McCoy (Kelsey Grammer), who has been named secretary of Mutant Affairs. Political strides notwithstanding, the anxious standoff between humans and mutants has reached a crisis point, and the slowbuilding momentum of the last two instalments finally reaches escape velocity. The mutants, as ever, are divided between two camps. On the one hand, there are the militant followers of Magneto (Ian McKellen), who see a war between humans and mutants as the inevitable conclusion to their uneasy draw. On the other, the reform-minded followers of Dr. Charles Xavier (Stewart), who believe in working within the system (hence the hairy representative). But they now face a new, tenebrous evil whose potential for harm is cloaked in good intentions. A “cure� has been developed by a pharmaceutical company that can divest the mutants of their special powers. It’s the anti-weirdo vaccine, basically. Welcome to straight camp. X-Men has to be the best ensemble superhero adventure to date and the closest cinematic rendering of the Marvel Comics Universe that it’s based on. It’s a complex blend of characterization and action that began with the first Blade in 1998. It’s just that good.

Red: [narrating] I have no idea to this day what those two Italian ladies were singing about. Truth is, I don’t want to know. Some things are best left unsaid. I’d like to think they were singing about something so beautiful, it can’t be expressed in words, and makes your heart ache because of it. I tell you, those voices soared higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free. Shawshank Redemption

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