FILM REVIEW: THE ADJUSTMENT BUREAU

Universal Pictures

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Matt Damon on the run in New York city is nothing new; that's how he capped off his tenure in the Bourne films. But this time he's being pursued not by agents of the US government but by those of the Lord. Actually, he goes by the moniker of The Chairman, amongst others (Frank Sinatra? Aslan?), and runs his operation like a hands-on public service, albeit far more efficient and far better tailored.

Yes, the Lord would seem to have a penchant for TV's Mad Men; his agents dressed in snazzy suits and not-so-inconspicuous trilby hats. He also has that show's John Slattery as one of his top men, Richardson. It's his, and others', job to make sure the world runs according to a preordained plan, a plan that is jeopardized when Damon's political hot shot, New York congressman David Norris, goes off the map and falls for Elise, a contemporary ballet dancer.

As Elise is played by Brit actress Emily Blunt, you can hardly blame the guy. Norris heeds Richardson's warnings at first – that neither will be happy if they remain together – somewhat compensated by the promise of great things to come should he go it alone. But as Norris would know, no one is getting the keys to the White House without a First Lady; the US voters are not about to elect an unmarried man. They may have gone black in 2008, but they're not about to go 'pink' any time soon.

But what is power without love? Norris decides he can't live without Elise and Heaven, or The Bureau, be damned! Damon and Blunt have a wonderful, easy going chemistry but the silly goings-on around them lessen rather than heighten the impact of an impossible love. I could have done with a lot more of their courtship and a little less of the men in suits and their god-bothering.

I'm not overly familiar with the work of Philip K. Dick, upon whose short story The Adjustment Bureau is based, other than being aware that his work was the basis of Blade Runner, one of the seminal sci-fi films of all time. Fighting fate and destiny, and whether or not our future's are indeed preordained, were at the centre of Minority Report, another Dick adaptation, but there's very little sci accompanying the fi in The Adjustment Bureau.

I don't know if debuting director, George Nolfi, who penned Ocean's 12 and co-penned The Bourne Ultimatum, has changed the elements of Dick's original story, toning down the sci-fi elements and upping the celestial? Either way, it won't be just fans of Philip K. Dick who are disappointed by The Adjustment Bureau. Fans of Matt Damon won't be too pleased either, especially as it comes so soon in the wake of Hereafter. I suggest they go catch True Grit for a second (or third) time.

FILM REVIEW: THE GIRL WHO KICKED THE HORNET'S NEST

Rialto Distribution

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What started with a bang with the highly effective serial killer mystery, The Girl With The Dragon Tattoo, has ended with a whimper with the third and final installment, The Girl Who Kicked The Hornet's Nest, the second longest and least satisfying of the three film versions of Stieg Larsson's million-selling Millennium trilogy of books. To paraphrase Variety, it's been a series of diminishing returns.

Originally made for Swedish television, those roots are never more apparent then in this third film which would be much better suited to a screening over two nights on SBS than one 142 minute session at your local cinema. Hornet's Nest also makes abundantly clear just how uninteresting the character of crusading journalist Mikael Blomkvist (and, if we're being honest, actor Michael Nyqvist) really is.

But then, the real star of the Millenium series, books and films, has always been Lisbeth Salander, and Swedish actress Noomi Rapace, who returns once again and in fine form. That's even as Salander is recovering in hospital from the bullet wounds inflicted by her father, Soviet defector Zalachenko, and her half brother during the climax of the second film, The Girl Who Played With Fire.

Once recovered, it's off to prison to await trial on the attempted murder of said father and possible incarceration in a psychiatric institution, most likely the same one she was sentenced to as a child when she first attempted to kill her father in an effort to stop him beating her mother.

Other men, mostly government and security officials, were involved with silencing Salander to protect Zalachenko and their interests, and it's Blomkvist who must uncover these mens' identities and reveal their past injustices if he is to save her. Friendly tip: if you've not read the books or seen the first two films, this is not the place to start.

All of this could be thrilling, and may very well be in the book, but as directed by Daniel Alfredson, who also directed The Girl Who Played With Fire but significantly not Tattoo, it's all rather plodding, with far too much exposition and not nearly enough action – or Salander.

It reaffirms my belief that David Fincher (and Sony Pictures) would be wise to make his version of The Girl With The Dragon Tattoo (currently filming in Sweden and due for release this December) a stand alone thriller. The sequels, while perfectly suited to Stieg Larsson's literary intent to shine a light on the ugly underbelly of Swedish society, are, in my opinion, unnecessary in the Hollywood version.

But there is an audience for these films and I can understand that many, most likely fans of the books, will rock up to The Girl Who Kicked The Hornet's Nest if only for a sense of closure. Despite the efforts of Noomi Rapace, saying a final farewell won't prove as difficult as it should have.

FILM REVIEW: WASTED ON THE YOUNG

Paramount Pictures

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There is a scene in Wasted On The Young where a female student confides to a male student that their private school seems like a parallel world. That's probably the best way to approach Ben C. Lucas's debut feature, where the events resemble nothing (I hope) like a real high school or adolescence (certainly not those of my experience).

Adults are virtually non-existent in this world; we never once see a teacher and the newly married parents of Darren (Oliver Ackland) and Zack (Alex Russell) have gone away and left the new step brothers alone in the upper middle class home that is as sterile as it is modern. Darren and Zack already have an uneasy relationship but it's when Zack, the unofficial king of the school – captain of the swim team, handsome and arrogant as all hell – decides to throw a house party that tensions escalate.

At this party, Xandrie (Adelaide Clemens, bearing a striking resemblance to Michelle Williams), a fellow student who is as keen on Darren as he is on her, is drugged and left to the devices of Zack and two of his cohorts. It is the aftermath of this incident – the cover-up and lying, the indifference and cruelty of the student body – which leads first Xandrie, then Darren to take extreme measures to right the wrongs.

For the most part, Wasted On The Young plays like a high school thriller, effectively depicting how social networking not only fuels and proliferates bullying but has desensitized the student population to the suffering of others, be it mere teasing, playground fisticuffs, or even gang rape. The absence of adults making a point about the generational disconnect modern technology creates.

But it's in the third act, when Darren sets in motion his rather convoluted plan of revenge against Zack, where Lucas's film came undone for me. The sickly feeling I'd had in my stomach from the film's beginning – where we flash to the end of the first act and the immediate aftermath of the rape; we just know something wicked this way comes – is replaced by the dismay of a young writer-director losing his way. Wasted On The Young loses any pretensions of exploring its young protagonists' dire situation and merely exploits it, and us.

But there's no denying Lucas has talent. The film, shot in Perth, looks good and is slickly edited, at times resembling a music video. And the young cast (though not as young as they should be) all deliver strong performances. I'm sure we'll be seeing a lot more from all of them in the future, and for Lucas, youthful exuberance may give way to focus and restraint.

OSCARS REPORT 2010 #7: AND THE OSCAR GOES TO?

In just under a week (Feb 28 AEDST) at the Kodak Theatre, the winners of the 83rd Academy Awards will be announced. Here then are my final predictions in the major categories. Feel free to tell me who you think will walk away with a gold statuette.

BEST SUPPORTING ACTRESS

As much as I'd like to invoke the patriotic card, Jacki Weaver will not triumph here, but how great has it been to have her in the mix? Even though Melissa Leo (The Fighter) has won the lion's share of critics' awards, I don't think she'll win; she's not even the best supporting actress in her film (fellow nominee Amy Adams is!). I expect Hailee Steinfeld to win, to earn True Grit one of its few major prizes. Steinfeld really should be in Lead, but she's in Supporting and she gives the best performance of them all.

BEST SUPPORTING ACTOR

Geoffrey Rush's recent BAFTA win suggested to some that the tide which had swung in The King's Speech's favour was bringing everyone with it. Not that Rush would be undeserving but Christian Bale (The Fighter) is equally terrific. It is definitely between these two and I think Bale will win, but I'll be just as happy to be wrong and have Rush come away victorious.

BEST ACTRESS

As much industry respect as there is for Annette Bening, and however much people say "it's her time", it will be a shock if Natalie Portman does not win Best Actress for Black Swan. Her darkest, most demanding role to date simply cannot be denied. Maybe if they'd put Bening (The Kids Are All Right) in Support, where she belonged, the four-time nominee wouldn't be going home empty handed again.

BEST ACTOR

If I had a house, I would put it on Colin Firth winning. The king is dead, long live the king! There isn't even a close-running spoiler, although if I had to pick one, I'd nominate Oscars co-host James Franco (127 Hours). The guy's everywhere at the moment and people seem to really like him. Of course, Jesse Eisenberg (The Social Network) would be a far more deserving usurper.

BEST DIRECTOR

Everyone was stunned when Tom Hooper (The King's Speech) won the DGA's top honour a few weeks back, but in spite of how much the Academy supposedly loves that film, I'm sticking with David Fincher (The Social Network) to win.

BEST PICTURE

If critics awarded the Oscars then The Social Network would win BP hands-down; the film has scooped every critics' award and guild pre-cursor to be one of the most awarded films in history. And yet, The King's Speech is considered the favourite to win. Some say because "it's the kind of the film the Academy likes", that it's a safe choice and feel good. But it's also a pretty darn terrific film. Then again, The Social Network is perhaps as close to a near-perfect film as we've seen in years. The Academy anointed both No Country For Old Men (2007) and The Hurt Locker (2009) when "experts" suggested those kinds of films couldn't win, so maybe TSN has a real shot? I'd be happy with either winning but I'll go with the momentum and tip The King's Speech.

In Brief:

Original Screenplay: Has to be The King's Speech but I'd love for The Kids Are All Right to get some love.

Adapted Screenplay: There can be only one: Aaron Sorkin for The Social Network. Hands-down the best written film in recent memory.

Animated Feature: Toy Story 3 is the highest grossing animated film of all time. It's also nominated for BP and the third and final film in a much-loved trilogy. Pixar won't be denied.

Best Foreign Language Film: Not having seen any of this year's nominees, and with no critical darling a la A Prophet or The White Ribbon (both of which lost out last year), I'll go with the Golden Globe winner In A Better World, although Inarritu's Biutiful does feature Best Actor nominee Javier Bardem and could sneak in.

Best Documentary: The smart money says GFC-related Inside Job will win but how cool would it be if street artist Banksy won for his mockumentary (or whatever it is!) Exit Through The Gift Shop? Probably not, since the Academy has asked that the identity-hiding artist not attend the ceremony should he be donning a mask. Oh, well.

What are your predictions? Who do you think will win ? Who do you want to win? Let me know, and by all means, feel free to disagree!