IN: Review: (originally a response to a movie reviewer who said A Bug's Life was too much, too fast--he was "dazed and exhausted" by the visuals, and seemed to ignore the story completely)

Okay, first off, I'm 26 years old, have a job, go to school, and have a fiance'. So maybe I'm nuts and just really good at hiding it...but not only did I NOT come away from A Bug's Life exhausted or dazed, it wasn't until I saw it the second time that I could even begin to truly appreciate the artistry and humour of the spectacular visuals--because the first time I went to see this movie, I got so wrapped up in the story and the characters that I FORGOT that I was supposed to be sitting there being "wowed" by each frame visually. How can you not empathize with Flik and his road-to-heck-paved-with-good-intentions life? "Heck" indeed, I found myself identifying with that little ant (not to mention some of the other bugs) in a lot more ways than one...and that, in itself, says more to me about what an incredible movie this is than a whole book on its beautiful eye candy. Of course, it's beautiful (every blade of grass, the tree, the rain...). Of course, what they can do with technology is amazing (you can read their lips! try it!). But this movie is not just a masterpiece of art and tech, not just an dazzling explosion of movement and color. No, A Bug's Life would be static if it were all that and no story. But, I'm glad to say, it's not! A Bug's Life has real heart. Yes, there's a lot going on, storyline-wise as well as visually, but that's because the story and characters actually have some depth to them! Just because it's a kids' movie doesn't mean you should have to turn off your brain at the theatre door--kids are smarter than you think! Besides that, I think that the PIXAR crew made this for themselves, even before their kids...and it shows, in the amount of heart in has. This movie is moving, touching, funny, intriguing, and generally engrossing. The character development in such an ensemble cast is amazing, there's a major amount of character growth, and not just of the main character--so rare in animation and often in movies in general. It doesn't hit you over the head with its points once it's made them--every scene, every frame has a reason in the storyline for being there, and there are no gratuitous shots. Not always stating explicitly in words exactly what is going on means subtlety, to me, folks; it means not "dumbing down" your movie and assuming the audience is stupid, which it mostly is not. All I can think is, if you can see A Bug's Life and not feel anything at all, then you must have never made a big mistake, hurt your friends, had a crush, fallen in love, been frustrated that no one would listen to you, lied to someone you care about, felt like a social misfit, gotten excited over a new idea, come up with a great idea, had what you thought was a great idea backfire, been awkward one moment and confident the next, felt the pressure of responsibility, stood up for yourself and your loved ones, stood alone against the crowd, felt like a failure, felt like a big success, felt the need to make a difference with your life in the lives of others...well, you get the point. Final words: A+ rating from me; please, if you're going to see it try to see it in the theatre (pan and scan video is NOT going to work for this movie); if you loved Toy Story you'll most likely love this (PIXAR knows how to make movies with heart); if you do love it see it multiple times or you STILL won't know what you're missing (the amount of detail and subtlety here is considerable); and whenever you're feeling really low, just pretend it's a seed, okay?
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IN: Review: John Ford is one of the most influential and best remembered American filmmakers in the history of film, his name usually associated with the western film genre. However, John Ford's arguably best film is not a western at all but a seedy drama set in the Irish fight for independence in the early 1920s: 1935's The Informer.

Times are tough on many in Ireland and the burnt out Gypo Nolan is caught in a web of poverty and desperation - and the walls are closing in. Gypo is big but he is not the brightest bulb on the tree, has a warm heart but a short fuse, and never seems to really think things all the way through but he is not a criminal or a self-centered pig. Walking the streets starving with no where to live, the hulking Gypo Nolan finds the prime lady in his life, Katie Madden, on the streets soliciting herself because of her own desperate situation and starts to dream about taking her to the United States if he only had the 20 Pounds to pay for it. As luck would have it, his friend Frankie is back in town with a 20 Pound price over his head and Gypo is desperate enough to inform the police of Frankie's whereabouts. Gypo, with the new 20 Pounds of blood money earned, finds this foggy night particularly foggier as guilt swells all over him and the IRA invests all their resources to find Frankie's informer.

Victor McLaglen portrays the fallen Gypo Nolan and definitely deserved the Best Actor Oscar he was awarded for this film. His brutish, stupid, and tender turns give the character dimension and McLaglen is only second to Dudley Moore's character Arthur Bach from the 1981 film Arthur as the most entertaining cinematic drunk. Margot Grahame's performance as Katie Madden is also excellent but she and McLaglen are the only members of the cast who truly impress. Preston Foster is especially miscast as an IRA head, mainly because he is most obviously not Irish, and J. M. Kerrigan borders on irritating throughout his role in the film but this disappointing supporting cast is the film's only poor point.

Often overshadowed by some of Ford's better known westerns like The Searchers or The Man Who Shot Liberty Valance, The Informer is easily one of John Ford's best films - if not his very best. Beginning what would be a long career of Oscar nominations and wins for John Ford, The Informer won four Oscars including one for him for best director in 1936. Ford and company's use of shadows and light in the film is particularly engaging and vital to telling the story. Gypo's walk through the streets is narrated by the gloomy state of the town and the glaring accusations of the street lamps, each shadow constantly reminding him of his dark deed. Ford's command of this technique was amazing to watch; if The Informer was made 10 years later (thus making the genre requirements) it would probably be considered one of the best films noir of all time but that does not hinder it from being remembered as an excellent classic film.
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IN: Review: I am a college student studying a-levels and need help and comments from anyone who has any views at all about the theme of mothers in film, in the mother. Whether you have gone through something similar or just want to comment and help me research more about this film, any comment would much greatly appreciated. The comments will be used solely for exam purposes and will be included in my written exam. So if you have any views at all, im sure i can put them to use and you could help me get an A! I am also studying 'About a Boy' and 'Tadpole' so if you have seen these films as well, i would appreciate it if you could leave comments on here on that page. Thank you.
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