Stranger than Fiction (2006)

Harold Crick (Will Ferrell) is a man obsessed with numbers. He is known at work - as a senior agent with the IRS - as someone who can do mathematical calculations incredibly quickly. His whole life is governed by numbers, and punctuality.

Every morning, he brushes each of his teeth 72 times - 36 from side to side and 36 up and down - walks the same number of steps to the bus stop, catching the same bus every morning to work, taking the same breaks at the same time for the same amount of time each day.

To all outside observers, his life seems uninteresting and uneventful. He would probably describe it the same way himself.

But lately, he has heard a female voice narrating his every action, as though he is a character in a novel.

Harold Crick (Will Ferrell) and Ana Pascal (Maggie Gyllenhaal).

The voice is that of reclusive literary novelist Karen Eiffel (Emma Thompson), who is struggling with writer’s block writing her current novel, ‘Death and Taxes’. To her, Harold is nothing more than a figment of her imagination, a character she is free to do with as she pleases.

But to Harold, this is his real life. He has his own feelings, and does as he pleases. As he is performing an audit on community-minded baker Ana Pascal (Maggie Gyllenhaal), he is also developing romantic feelings towards her which, for the longest time, she definitely does not reciprocate.

As Harold struggles with the voice in his head, he seeks the advice of literature professor Jules Hilbert (Dustin Hoffman), particularly after he hears his narrator say that he is about to die.

Harold Crick (Will Ferrell) and Professor Jules Hilbert (Dustin Hoffman).

At the same time, Eiffel has been assigned help of her own: author’s assistant Penny (Queen Latifah), whose main aim is to see Eiffel finish her manuscript by the publisher’s deadline.

The screenplay, by Zach Helm, is incredibly clever, seamlessly blending the narration of Harold’s life (told in a very literary style) with the actual actions of Howard’s day-to-day existence. The relationships between the various characters are all very well crafted, in particular, the developing friendship between Harold and Ana.

There is not a lot of music underscoring the film, but what little there is - primarily at the most poignant moments of the story - works very well. Composers Britt Daniel and Brian Reitzell rely mainly on the use of a solo guitar - significant to the plot as you will notice - to accompany the moments of the film that are scored.

Karen Eiffel (Emma Thompson).

Roberto Schaefer’s cinematography is adequate, though not exceptional. I have no intention of criticising it, however, as the story itself does not require exceptional cinematography. There are only a few scenes which feature dramatic changes in lighting requirements, and these are done well anyway.

It is the performances of the cast, however, that make this film what it is. In particular, Ferrell and Thompson absolutely shine in their roles. Both of them prove that they not only have brilliant comic timing, but they are both able to go to the dramatic depths necessary, and have abilities as serious dramatic actors as well. Hoffman and Gyllenhaal also do very well in their supporting roles.

Director Marc Forster has made a very entertaining and very moving film here. I wou”d definitely recommend it to anyone who has yet to see it. There are some very good messages about the nature of life and love, and about what it means to be truly human.

8 out of 10.

The Producers (2005)

Based on the multi-Tony Award-winning musical, which itself was based on the 1967 film written and directed by Mel Brooks, this film tells the story of two men and their crazy scheme to make millions of dollars.

Broadway producer Max Bialystock (Nathan Lane) is at his wits' end. He hasn't had a successful show in years; every single show he produces seems to fail. His latest show, Funny Boy - a musical-comedy retelling of William Shakespeare's Hamlet - closed on its opening night.

Public accountant Leopold Bloom (Matthew Broderick) is assigned to look over Bialystock's accounts. He notices that there is a discrepancy in the books for Max's latest show, to the tune of two thousand dollars: funds raised that were not spent on the show itself, given that it closed so quickly. He mentions to Max that under the right circumstances, a producer could make more money with a flop than he could with a hit, as the show would close long before it cost the full amount of investment.

Max Bialystock (Nathan Lane) and Leo Bloom (Matthew Broderick).

At this, Max's ears prick up, and he and Leo hatch a plan to make a lot of money in a short amount of time. They decide to find the worst script they can - a show that is sure to close as quickly as possible - hire the worst director and the worst actors, raise much more money than the show will require, open - and quickly close - the show, taking their money and heading to Rio.

The script they come across is titled 'Springtime for Hitler' - basically a love letter to Adolf and Eva Peron - written by former Nazi soldier now living in New York, Franz Liebkind (Will Ferrell), who is over the moon that they have shown interest in his script, believing he can finally clear the Führer's name.

They hire the worst director they know, Roger DeBris (Gary Beach), who wants to make the show 'as gay as possible', as he believes this is what a Broadway show needs to succeed. DeBris, his personal assistant Carmen Ghia (Roger Bart), and the rest of his production team set about bringing the show to life.

Franz Liebkind (Will Ferrell).

The first actor hired is Swedish beauty Ulla (Uma Thurman), who is hired as Leo and Max's secretary/receptionist, and later cast as Eva Peron. Max and Leo both think they have a chance with Ulla romantically, which is technically the only reason they hired her in the first place.

Everything seems to be going to plan, until the show proves to be the biggest hit on Broadway in years.

The screenplay, written by Mel Brooks and Thomas Meehan, is basically identical to the book of the Broadway musical; indeed, it was these two who wrote the book, and the film is basically a screen realisation of the show. There are one or two songs - and scenes - missing from the film, but these are cut primarily for length and cinematic flow (these songs/scenes do feature in the supplementary material on the DVD of the film). As you might expect if you are familiar with Mel Brooks - and certainly if you have seen the musical, or the original film - the screenplay is absolutely hilarious.

The songs were all written - both music and lyrics - by Mel Brooks, and are likewise hilarious, and very well-written. The film's soundtrack also features underscoring, written by Glen Kelly, which utilises themes and motifs from the show's score, expanding and re-using them in a more traditional cinematic context.

Ulla (Uma Thurman).

One of the most enjoyable aspects of this film - aside from the comedy itself - is the choreography of the numerous big dance numbers. Choreographer Susan Stroman - who also was the film's director - has done an incredible job bringing these songs and dances to life. They are all well-matched to the tone of the rest of the musical, and have a very 'Mel Brooks' feel to them.

The cast performances are also good, with the definite standouts being Lane and Broderick. These two Broadway alumni - who also premiered their same roles on Broadway when the show opened - are truly in their element here. Having worked together numerous times before, they have a great chemistry together, and play off each other exceptionally well. Will Ferrell also does very well as Liebkind (he did not play the role on Broadway, but certainly has made it his own here), his excellent comic timing and delivery are perfect for the character.

Director Susan Stroman has made a wonderfully enjoyable film here, a fantastic adaptation of a very successful Broadway musical. No matter how many times I watch this film - and it has been a few at this point - I enjoy every single moment of it. If you haven't seen it yet, you absolutely must watch it soon (also check out the original 1967 film, which stars Zero Mostel and Gene Wilder as Bialystock and Bloom).

8 out of 10.

Megamind (2010)

Metro City has long been terrorised by super-villain Megamind (Will Ferrell) and his trusty sidekick Minion (David Cross). But where there is evil, there is always good to save the day every time, in the form of hero Metro Man (Brad Pitt) who, as the film begins, is being honoured with a museum dedicated entirely to him.

Of course, Megamind cannot let this celebration go off without getting involved, and he does, kidnapping local news reporter Roxanne Ritchie (Tina Fey), a plan which he knows will get Metro Man’s attention.

It does, and in trying to save Roxanne, Metro Man is killed, and it would seem that Megamind has won, and evil is victorious.

It isn’t long, however, before the shine wears off for Megamind. With no hero to fight, being bad just doesn’t seem as much fun any more.

And so, he sets about creating a new hero to battle: Roxanne’s cameraman Hal (Jonah Hill), who becomes Titan, the hero Megamind intends to fight over and over again. But Hal isn’t content with being the good guy, instead choosing to turn evil and terrorise Metro City to even greater lengths than Megamind ever did.

It is up to Megamind and Roxanne to join forces to battle Titan, and save Metro City once and for all. But convincing the rest of the city isn’t going to be easy.

This film has an amazing soundtrack (there are a lot of great things about this film, but I wanted to mention the soundtrack first). There are so many classic rock songs to enjoy: Bad to the Bone (George Thorogood), Highway to Hell and Back in Black (AC/DC), Crazy Train (Ozzy Osbourne), Mr. Blue Sky (ELO), Welcome to the Jungle (Guns n’ Roses) and Bad (Michael Jackson), to name just a few. And they all fit seamlessly into the soundtrack, complementing the score as well as the visuals and plot points along the way.

The script (by Alan Schoolcraft and Brent Simons) is incredibly clever, with plenty of fun wordplay (including a fabulous exchange between Megamind and Minion centring around the words ‘good’ and ‘bad’) and clever references to a slew of other great films that give older viewers plenty to enjoy, all under the guise of a ‘kids’ film.

The casting – as I find is generally the case with animated films – is truly inspired. Every performer brings their all to their character, and is perfectly suited to their role. Will Ferrell is great as the villain-turned-hero, with just the right touches to his voice to sound ever-so-slightly unhinged (think Mugatu from Zoolander).

There are even a few great cameos from other actors, including Ben Stiller (who was a producer on the film) and J. K. Simmons as the city’s bumbling prison warden.

With the combination of a great voice cast, and the ever-increasing technological capabilities of computer animation, characters are just as capable of moving the audience emotionally as any great performance from an actor in a live-action film. The emotions present in Roxanne’s eyes are worthy of particular mention; and with Tina Fey’s wonderfully expressive voice a part of the whole package, this character conveys even stronger emotions than most human performers.

Director Tom McGrath has created a very enjoyable film, with rich characters who have detailed internal and external conflicts, a film that still stands the test of time several years after its initial release.

But don’t just take my word for it. Go check it out for yourself.

8 out of 10.