Debbie Sims has spent the last twenty years getting over Macaulay Culkin being stung to death by bees. To help her through the pain she likes watching things on screen and stage and writing about them on her blog. When she grows up she would like to be Katharine Hepburn. Or Buzz Lightyear. Or just someone who doesn’t hear the hum of bees every time she closes her eyes.
Website URL: http://screened.tumblr.com/
Walken plays Peter, the cellist and patriarch of a world-renowned string quartet. He is diagnosed with Parkinson’s Disease, and so decides that this their 25th anniversary season will be his last. The remaining members of the group are devastated by the news, and their lives together begin to unravel.
One death is a tragedy, and a million deaths is a statistic. If that is true, states narrator Dylan Mohan Gray in his directorial debut Fire In The Blood, then this is a story about statistics - the shocking, and shockingly recent, statistics regarding the unjust provision of AIDs medication around the world, and the incomprehensible number of deaths that could have been prevented in Africa were it not for the questionable values of the profit-driven West.
Peter Morgan, writer of many excellent films including Frost/Nixon, The Damned United, and probably most famously, The Queen, has a lot to say in his screenplay for 360, touching on the interconnectedness of our lives, on destiny, on how sometimes seemingly small decisions can have an unknowingly large impact on people we may never even meet. Trouble is, on this occasion he doesn’t say it particularly well.
Chernobyl Diaries, or Dumb Americans Tour Europe (ft. Zombies), starts off as a home movie of a holiday. Waving in front of the Eiffel Tower! Waving in front of the Tower of London! Waving in front of the Danube! So obviously the next place they would want to tick off waving in front of is… the Chernobyl nuclear power plant! And, in keeping with all movies of other people’s holidays, it’s really boring.
Confirmation seems a time full of coming-of-age potential for the artier European filmmaker. Last year’s Love Like Poison explored the nascent sexuality of its 13 year old protagonist, and now in Corpo Celeste the approach of confirmation also marks the approach of adulthood for our heroine as she tries to find a place in this strange world for religion, and for herself.