If ever there was a film that entirely satisfied expectations, that film would be The Simpsons Movie. If ever there was a film that totally evaded the (very real) threat of potential disaster, that film would be The Simpsons Movie. If ever there was a film that did not dare to inch at all beyond expectations, to push the envelope or to surprise, that film would be The Simpsons Movie. After twenty years, eighteen seasons and 400 episodes, this film brings nothing new to The Simpsons franchise, but it would be silly to suggest that this is in any way disappointing. After all, the movie does offer a fleshed-out insight into something warmly familiar. The plot development is much stronger than your average episode, and, once the usual digressions are disposed of, there’s a very pleasing, if predictable, narrative arc that the whole family can enjoy. And yes, there’s even a tiny slither of character development thrown in, just for good measure. This is no Citizen Kane (the storyline is catalysed by Homer’s decision to leaky silo of pig droppings into Lake Springfield), but, for what it is, The Simpsons Movie is just pleasing enough – a predictable romp through a world we know all too well, peppered by appearances from forgotten supporting characters, and driven by a fresh sense of humour that harks back to the earlier television seasons (the ‘classic’ years.)
Rating: 7.5
Sicko, Michael Moore’s latest exercise in documentary filmmaking, isn’t as spectacularly extravagant as his previous efforts. He still attacks relentlessly, this time striking the financially corrupt and morally bankrupt system of American HMOs, (Health Medical Organisations, or health insurance companies,) while also managing to direct some Republicans into the firing line. He still pushes the overtly emotive score and observes the circumstances through heart wrenching, personal, tear jerking experiences. He still pulls grand publicity stunts; this time travelling to Guantanomo Bay, the only place on American soil where medical aid is offered within a fair and just framework. And of course he still visits his favourite country, Canada, for a game of ‘compare and contrast’ (and this time also travels to England and France.) And yet, despite all these consistencies, the gaping difference is his own withdrawal from the spotlight. This is still distinctly ‘Michael Moore,’ but the very fact that we do not see his face until halfway through the film is indicative of the fact that he has at last taken a backseat, and finally allowed his material to speak for itself. This is his most maturely restrained, and therefore most convincing, effort yet.
Rating: 7.6
Yoko Ono is full of praise for the latest John Lennon doco, The US vs. John Lennon, and it’s not hard to see why. Amongst the expansive back catalogue of documentaries inspired by members of The Beatles, here is one that actually does not deplore her! In fact, this film practically reveres the woman, celebrating the many ways in which she inspired Lennon, and this is a surprisingly refreshing turn. This, however, is as far as the freshness goes. The interview subjects are varied (politicians, media personalities, musicians, activists and Ono herself,) but they seem to all be expelling the same well worn Lennon clichés. Some of the editing effects are just a little tacky, and their attempt to evoke tension falls on deaf ears. And, most significantly, although Gore Vidal alludes to it, there’s no attempt to look at the parallels between Vietnam and Iraq, and Nixon and Bush (an angle which would have made for a much more original documentary.) Overall, this is a powerful portrait of political passion (and if you have any doubts the interviewees will confirm this for you, over and over again), and it is a genuinely intriguing insight into a musical icon; however, as it titters so precariously on the verge of outstanding, it just lacks that extra impetus, or that edge of novelty, required it to push it out of staleness.
Rating: 7.0
