INVICTUS (12A)
It means well, but can’t avoid being frequently cheesy and patronising
With his third movie as director in the space of just over a year, this time taking on the true story of how Nelson Mandela (Morgan Freeman) used sport as a means to ease racial tensions in South Africa, Clint Eastwood once again delivers a film that’s as well crafted as ever, but one that’s riddled with dramatic weaknesses.
Following Mandela’s release from prison and a potted history of post-apartheid South Africa that begins with his becoming president in 1994, we learn that his early days in office are fraught with difficulty, with mistrust still running deep between blacks and whites.
Matt Damon meanwhile plays Francois Pienaar, the captain of the Springboks national rugby team.
With the exception of only one black player, the all-white team still represents apartheid to black South Africa, who refuse to support them, notwithstanding the fact they’re rubbish on the field.
But with the world cup due to be held in South Africa the following year, Mandela sees an opportunity to unite a nation, and looks to Pienaar and his teammates to win the trophy for the entire country.
He tells Pienaar how, during his years in prison, he looked to the words of a 19th century poem, Invictus, which contains such inspirational lines as “I am the master of my fate, I am the captain of my soul.”
This is a film that means tremendously well, but can’t avoid being frequently cheesy and patronising. Eastwood, soon to turn 80, seems to be turning into a dreadful sentimentalist in his old age. So while Invictus can still be moving at times, certain elements really hurt it, especially the inclusion of a truly hideous song, Colorblind, the lyrics of which would embarrass David Brent.
Eastwood’s insistence on filling out many of the roles with non-professional actors can also give it the amateurish feel that blighted Gran Torino. Thankfully, the bulk of the performance work falls on Freeman and Damon, and they are both impressive, especially Freeman who imbues Mandela with tremendous dignity and gravitas while stopping short of doing an impersonation.
Flawed yes, but the inspirational nature of the story can’t help but be effective, and as a tribute to the unifying power of sport and to one of the most important figures of the 20th century, it’s beyond reproach.
Director: Clint Eastwood
Running time: 133 mins
ASTRO BOY (PG)
Almost entirely devoid of heart or charm
Based on a Japanese comic book, this animated adventure takes place in a world where robots do everything for people, and where Nicolas Cage voices a scientist who has developed a powerful energy source that the corrupt president (Donald Sutherland) wants his hands on.
When his son gets killed during a weapons demonstration, stricken with grief, he builds a robot boy to replace him, but realises he can’t replace his son.
Any film that can kill off a child in its opening minutes is just asking for trouble, and what follows is a great deal of bruising action almost entirely devoid of heart or charm.
A lazy and illogical plot and irritating characters don’t help and it’s all incredibly violent and unpleasant, sort of like Robocop but, y’know, for kids.
Director: David Bowers
Running time: 94 mins
THE PRINCESS AND THE FROG (U)
A long way from Disney’s golden age
Disney make a valiant attempt to take us back to the traditional hand-drawn fairytale after years of uninspired computer generated fare, but The Princess and the Frog arrives as a mixed bag.
Our heroine is Tiana, a waitress in 1910s New Orleans who takes a shine to a visiting European prince.
Through an ill-explained chain of events, the prince is turned into a frog by a sinister sorcerer, and when Tiana kisses him, she also turns into a frog, forcing the pair to journey through the bayou in search of the voodoo queen who can return them to human form.
For all of new Disney boss John Lasseter’s assertions about going back to storytelling basics, the story is one of the weakest elements here. Tots in the audience were heard to ask “What’s happening?” and it’s a perfectly valid question.
The swampy ragtime vibe is atmospherically realised, but the film never quite develops its own personality, borrowing from past glories like The Little Mermaid and The Emperor’s New Groove.
In fact it so desperately wants to be The Little Mermaid (with which it shares its directors) that it all but recreates the character of Sebastian in the shape of a Cajun firefly. A few of the songs are strong, but there may be a couple too many in an attempt to cover up for the shortcomings in the narrative.
And while it’s still better than a good percentage of the 3D muck that passes for animation these days, there’s a long way to go if Disney are to recapture their second golden age from the early 90s.
Directors: Ron Clements, John Musker
Running time: 97 mins
YOUTH IN REVOLT (12A)
Wry rather than funny
You wait ages for a character named Francois, then two come along in the same week. Here it’s Francois Dillinger, the alternate persona of the smart and sensitive Nick (Michael Cera), whom he invents to try to win a girl (Portia Doubleday) he meets on holiday.
Though she’s sent away to an exclusive school, he concocts a series of schemes in order to be with her, many of them perpetrated by the rebellious and disdainful Francois.
While it’s nice to see Cera stepping out of his nervous comfort zone, at least for part of the time, he’s getting a little long in the tooth to still be playing teenagers, and this is a film much too beholden to quirkiness.
No teenager in history speaks the way these kids do and it’s wry rather than funny, while the rambling nature of the plot coupled with the unlikeable characters ensures interest wanes long before the end.
Director: Miguel Arteta
Running time: 89 mins
