When British cinema gets it wrong, we get it spectacularly wrong but when we get it right, we can produce some of the finest movies around. I'm glad to say that The King's Speech definitely falls into the latter. This is a triumph.
The second son of King George V has a problem; he stammers, especially when forced to make public speeches. Having seen doctors who claim they can cure him, his wife, Elizabeth, is desperate to find someway of getting him over it and so heads to a small street in London where she meets speech therapist Lionel Logue, an Australian failed actor who doesn't bow down to ceremony. Reluctantly Bertie, the nickname for the royal, meets Mr Logue and so begins an awkward working friendship while Bertie has to deal with the death of his father, his brother's relationship with Wallis Simpson and his eventual crowning just before war breaks out.
A lot has already been written about Colin Firth's extraordinary performance but it is incredible. Tipped to win this year's Oscar, here is a man who cannot control his speech problems and so is equally frustrated, angry and slowly losing any will to correct it until he is forced to. You genuinely feel his pain and it is, without a doubt, Firth's performance of a lifetime.
Geoffrey Rush is perfectly cheeky as Logue, a man who is unfazed by his student's status and he delivers another pitch perfect performance. As does Helena Bonham Carter as the future Queen Mother. With a sparkle in her eye, she brings a human touch to her persona.
That's one of the things that works so well. You get a feeling that these are more than Royal, they are human, they are just like everyone who views them. They are all played with affection and never with any malice.
Tom Hooper's direction is also interesting. He could have quite easily pointed the camera at his actors and let them do the work, but his framing makes it even more fascinating to watch.
One word of warning, however, is the language. This is a 12A in the UK, and yet there are a few scenes in which the F word is uttered, nah, shouted more often that Hugh Grant's opening gambit in Four Weddings and a Funeral. Amazing how times have changed.
Along side a historical story that very few would actually know about, this is an incredibly uplifting tale of an underdog fighting against the odds. It is witty, touching, and very moving but it will leave you with a real spring in your step. Come Oscar night, expect this to carry off a handful of awards, none more so than for Mr Firth.
Friday, 14 January 2011
Monday, 10 January 2011
Tangled: Review
Disney's Tangled is the company's 50th full length animated feature, and while not all of the studio's output have been masterpieces, the disappointing early 80s period and, most recently the past few movies, including the last one, The Princess and the Frog, I am pleased to announce that they are definitely back to form with this delight.
An old woman finds a magic flower that keeps her young, until it is taken by the King's guards to help the King's ailing wife while she is in childbirth. The magical powers pass over to the young princess that has been born, in her blonde hair that can never be cut. The old woman steals the princess and hides her in a tower in the forest. 18 years later, the princess Rapunzel, dreams of leaving the tower to see the floating lights that appear on her birthday. Meanwhile, rogue Flynn has just stolen the princess's crown and, escaping from the guards, he climbs the tower and is knocked out by the long haired girl. She gives him an ultimatum: she will return the crown if he will escort her to see the lights. So heading off and being pursued by the old woman, guards, two brothers who were double-crossed by Flynn, and the horse of the head of the King's guards, the couple start to fall in love.
This is an animated treat from start to finish. Using CGI, the company have taken a classic tale and given it a modern spin while still keeping the spirit of what made Disney great in the beginning. Plenty of colour, terrific characters and some hummable tunes.
The voices are suitably apt: Mandy Moore makes for a cute Rapunzel, while Chuck's Zachary Levi is delightfully smooth as Flynn. The pair are upstaged by a brilliant creation in the form of Maximus, a white horse with dog-like traits.
There are plenty of laughs to be had for the adults escorting the younger viewers, who will find the cuteness and slapstick hilarious. The songs are not as memorable as other Disney songs, but still are easy on the ear and a big musical numbers involving local thieves and crooks is both inventive and very funny.
If there is a quibble, it's the pointlessness of releasing it in 3D, once again proving that the technique is only here to milk the money cow. Aside from that, this is Disney finest hour since The Lion King and you will have plenty of fun and maybe shed a little tear. If I was to compare this to anything, then Enchanted comes to mind, and I was definitely enchanted by this.
An old woman finds a magic flower that keeps her young, until it is taken by the King's guards to help the King's ailing wife while she is in childbirth. The magical powers pass over to the young princess that has been born, in her blonde hair that can never be cut. The old woman steals the princess and hides her in a tower in the forest. 18 years later, the princess Rapunzel, dreams of leaving the tower to see the floating lights that appear on her birthday. Meanwhile, rogue Flynn has just stolen the princess's crown and, escaping from the guards, he climbs the tower and is knocked out by the long haired girl. She gives him an ultimatum: she will return the crown if he will escort her to see the lights. So heading off and being pursued by the old woman, guards, two brothers who were double-crossed by Flynn, and the horse of the head of the King's guards, the couple start to fall in love.
This is an animated treat from start to finish. Using CGI, the company have taken a classic tale and given it a modern spin while still keeping the spirit of what made Disney great in the beginning. Plenty of colour, terrific characters and some hummable tunes.
The voices are suitably apt: Mandy Moore makes for a cute Rapunzel, while Chuck's Zachary Levi is delightfully smooth as Flynn. The pair are upstaged by a brilliant creation in the form of Maximus, a white horse with dog-like traits.
There are plenty of laughs to be had for the adults escorting the younger viewers, who will find the cuteness and slapstick hilarious. The songs are not as memorable as other Disney songs, but still are easy on the ear and a big musical numbers involving local thieves and crooks is both inventive and very funny.
If there is a quibble, it's the pointlessness of releasing it in 3D, once again proving that the technique is only here to milk the money cow. Aside from that, this is Disney finest hour since The Lion King and you will have plenty of fun and maybe shed a little tear. If I was to compare this to anything, then Enchanted comes to mind, and I was definitely enchanted by this.
Saturday, 8 January 2011
127 Hours: Review
There are some movies you can watch and they pass over you like lying in a stream. Others will test your mental state and push the boundaries. Then there are those, like 127 Hours, that is not only a emotional roller coaster but a pure piece of cinematic art.
Aron Ralston is a reckless young man who escapes the rat race by going off on his bike to the beautiful canyons of Utah. He meets two girls and shows them a secret hidden lake deep in the heart of the canyon. He knows this place like a guide. He leaves them to continue his own personal adventure, not realising that his life is going to change when, while heading down another cavern, he knock a large boulder, falls and gets his right hand trapped between the walls of the cavern and the rock. With no one around and having not told anyone where he was going, Aron is alone and so begins six days in which he starts to re-evaluates his life while fighting to survive, even to the point of taking drastic matters.
Very few movies have you completely captivated by the plight of a single character but for most of the 95 running time, we are alone with Ralston, watching this man full of life, who laughed while falling head first off his mountain bike, slowly going insane while fighting for his life, and it is the brilliance of both director Danny Boyle and an extraordinary performance from James Franco.
Franco is amazing, showing the full depth and range of a man who, if anyone else were in his situation, would probably just give up. He doesn't and we get to see every agonising moment, watching him realise that family is important as well as his own importance on this earth. It is an incredible performance and one that will not be forgotten in a long time.
Danny Boyle's film is a visual treat. He doesn't just stay with Aron's plight, he takes us on a journey through a man's consciousness, using every trick in the book. It works magnificently. From split screen to quick zooming to seeing things from the video camera that Ralston uses to leave messages to his family, Boyle keeps the film moving.
The editing is crisp and sharp, the colours and use of the scenery is stunning. If you thought that Boyle couldn't manage to better Slumdog Millionaire, he has.
This is a film that will stay with you for a long time after you view it. And as for that 'infamous' scene you might have heard about. Yes, it is very grisy but don't let it put you off. This is an triumph in the art of cinema, and a triumph of the human condition. Run to see it.
Aron Ralston is a reckless young man who escapes the rat race by going off on his bike to the beautiful canyons of Utah. He meets two girls and shows them a secret hidden lake deep in the heart of the canyon. He knows this place like a guide. He leaves them to continue his own personal adventure, not realising that his life is going to change when, while heading down another cavern, he knock a large boulder, falls and gets his right hand trapped between the walls of the cavern and the rock. With no one around and having not told anyone where he was going, Aron is alone and so begins six days in which he starts to re-evaluates his life while fighting to survive, even to the point of taking drastic matters.
Very few movies have you completely captivated by the plight of a single character but for most of the 95 running time, we are alone with Ralston, watching this man full of life, who laughed while falling head first off his mountain bike, slowly going insane while fighting for his life, and it is the brilliance of both director Danny Boyle and an extraordinary performance from James Franco.
Franco is amazing, showing the full depth and range of a man who, if anyone else were in his situation, would probably just give up. He doesn't and we get to see every agonising moment, watching him realise that family is important as well as his own importance on this earth. It is an incredible performance and one that will not be forgotten in a long time.
Danny Boyle's film is a visual treat. He doesn't just stay with Aron's plight, he takes us on a journey through a man's consciousness, using every trick in the book. It works magnificently. From split screen to quick zooming to seeing things from the video camera that Ralston uses to leave messages to his family, Boyle keeps the film moving.
The editing is crisp and sharp, the colours and use of the scenery is stunning. If you thought that Boyle couldn't manage to better Slumdog Millionaire, he has.
This is a film that will stay with you for a long time after you view it. And as for that 'infamous' scene you might have heard about. Yes, it is very grisy but don't let it put you off. This is an triumph in the art of cinema, and a triumph of the human condition. Run to see it.
Tuesday, 28 December 2010
Love and Other Drugs: Review
Thank you, Love and Other Drugs! Not including some of the tasty treats coming soon, recently the cinema have been dishing up some absolute turkeys (Little Fockers, Gulliver's Travels, even Tron: Legacy to an extent) but I am glad to say that, while not the greatest rom-com ever, this is a film that had me laughing (and sweating as the cinema had their heating full blast!)
Jamie Randell is a cocky, self assured womaniser who can turn on the charm for his own personal needs as well as hoping to rise the ladder selling pharmaceuticals to doctors. His life is completely uncomplicated until he meets Maggie, a beautiful young woman who is suffering from stage one Parkinson's disease. He isn't looking for love and neither is she but what they are looking for is uncomplicated sex without the hang-ups. Unfortunately Jamie is starting to see things differently and his future, including selling Viagra, is changing.
You might be surprised to know that the film is directed by epic film maker Edward Zwick, who has given us Glory, The Siege, The Last Samurai and more recently, Defiance. Don't be that surprised, as he was also the producer of the hit TV show thirtysomething, a mix of comedy and drama around young upwardly mobiles facing all kinds of life problems. So he manages to handle the material here with a huge amount of sensitivity.
It being a romantic comedy there are the rom-com cliches, except this time they don't feel faced like in others.
Jake Gyllenhaal, as Jamie, is far too nice to be regarded as a bastard and even though we are suppose to hate him at the beginning, you cannot help but like it. Ably supported but the ever reliable Oliver Platt and Hank Azaria, there is a nice comic turn by Josh Gad as his slobbish younger brother, and even though every rom-com has to have one, his turn is actually funny.
Anne Hathaway is the star of this film. Not only is she one of the screens natural beauties, her performance is a dream. Never taking the Parkinson's disease to the extreme, she carries herself brilliantly, with warmth and humour (and she gets to show more of her than we've seen before, if you know what I mean.)
Mixing the comedy with real pathos, there is one scene that is both hilarious and moving, in which Maggie goes to a convention made up of Parkinson's sufferers, telling their stories and it is one of the high points of the film.
Those who read my reviews will know that the rom-com is not my favourite genre. When done bad, they can be awful. Gladly this is one of the good ones and instead of heading off to see Jack Black being unfunny or the Little Fockers being genuinely disappointing, try this sweet natured tale instead. Word of warning, however, it contains a lot of sex scenes...and I mean a lot, so maybe don't take your gran with you.
Jamie Randell is a cocky, self assured womaniser who can turn on the charm for his own personal needs as well as hoping to rise the ladder selling pharmaceuticals to doctors. His life is completely uncomplicated until he meets Maggie, a beautiful young woman who is suffering from stage one Parkinson's disease. He isn't looking for love and neither is she but what they are looking for is uncomplicated sex without the hang-ups. Unfortunately Jamie is starting to see things differently and his future, including selling Viagra, is changing.
You might be surprised to know that the film is directed by epic film maker Edward Zwick, who has given us Glory, The Siege, The Last Samurai and more recently, Defiance. Don't be that surprised, as he was also the producer of the hit TV show thirtysomething, a mix of comedy and drama around young upwardly mobiles facing all kinds of life problems. So he manages to handle the material here with a huge amount of sensitivity.
It being a romantic comedy there are the rom-com cliches, except this time they don't feel faced like in others.
Jake Gyllenhaal, as Jamie, is far too nice to be regarded as a bastard and even though we are suppose to hate him at the beginning, you cannot help but like it. Ably supported but the ever reliable Oliver Platt and Hank Azaria, there is a nice comic turn by Josh Gad as his slobbish younger brother, and even though every rom-com has to have one, his turn is actually funny.
Anne Hathaway is the star of this film. Not only is she one of the screens natural beauties, her performance is a dream. Never taking the Parkinson's disease to the extreme, she carries herself brilliantly, with warmth and humour (and she gets to show more of her than we've seen before, if you know what I mean.)
Mixing the comedy with real pathos, there is one scene that is both hilarious and moving, in which Maggie goes to a convention made up of Parkinson's sufferers, telling their stories and it is one of the high points of the film.
Those who read my reviews will know that the rom-com is not my favourite genre. When done bad, they can be awful. Gladly this is one of the good ones and instead of heading off to see Jack Black being unfunny or the Little Fockers being genuinely disappointing, try this sweet natured tale instead. Word of warning, however, it contains a lot of sex scenes...and I mean a lot, so maybe don't take your gran with you.
Sunday, 26 December 2010
Gulliver's Travels: Review
For months now, every time you went to the cinema you were forced to watch an advert for Orange phones that was also an advert for Gulliver's Travels. Finally the film is here so hopefully we won't have to be inflicted with that unfunny advert again. I can only hope the same for this pathetic excuse of a comedy, and this has managed to elbow its way to the number 3 spot of the worst films of 2010.
Loosely (and I mean loosely) based on Jonathan Swift's classic satire, Jack Black plays Gulliver, a mail room worker for a New York newspaper who has a massive crush on a travel writer. He pretends to write about some of his so-called travels and is given the opportunity to go to Bermuda. On his journey, his boat gets sucked into a whirlpool that catapults him to Lilliput, a land filled with little people, and he is the beast. He is also the only hope they have of saving the land from another island, and a power hungry leader of the Lilliput army.
To be honest with you, the plot doesn't really matter, because this is a Jack Black movie, so we get Jack Black slacking, mugging, dancing and rocking it out. That's where the problem with this movie lies. Jack Black, it can be officially announced, is NOT funny. Sure he was brilliant in High Fidelity and School of Rock was superb. Even Tenacious D are terrific, but we've seen this act so many times it is beyond boring.
There is a terrifically talented cast involved here, all wasted. Jason Segel does a very good job with the English accent while Emily Blunt is always watchable but it looks like these two have wandered into the wrong movie. Billy Connolly, Catherine Tate and James Cordon might well have not even bothered to turn up, their parts are so insignificant and Chris O'Dowd (from The It Crowd) seems to be the only one to give his role the proper attitude and that is to ham things up as much as possible.
So it is left to Black and even he looks bored with the whole thing. The film, as with almost every film out now, is in god-awful 3D and is a complete waste of time. Only the Scrat short before the main feature is worth wearing the glasses and at 3 minutes long, it is far funnier than anything that happens in Gulliver's Travels.
Wondering why it's so bad? When gags involve wedgies, weeing on people and, worse of all, a Lilliput solider almost being crushed by a falling Black, only to be saved by Black enormous bum crack, then you know how basic this film is. Let's not forget the completely pointless and cringe-worthy end musical number, so we can have jack Black singing Edwin Starr's War!
If you haven't had enough of Christmas Turkey, then go see this miserable piece of tripe. Personally, it's not even fit to go into a Turkey curry!
Loosely (and I mean loosely) based on Jonathan Swift's classic satire, Jack Black plays Gulliver, a mail room worker for a New York newspaper who has a massive crush on a travel writer. He pretends to write about some of his so-called travels and is given the opportunity to go to Bermuda. On his journey, his boat gets sucked into a whirlpool that catapults him to Lilliput, a land filled with little people, and he is the beast. He is also the only hope they have of saving the land from another island, and a power hungry leader of the Lilliput army.
To be honest with you, the plot doesn't really matter, because this is a Jack Black movie, so we get Jack Black slacking, mugging, dancing and rocking it out. That's where the problem with this movie lies. Jack Black, it can be officially announced, is NOT funny. Sure he was brilliant in High Fidelity and School of Rock was superb. Even Tenacious D are terrific, but we've seen this act so many times it is beyond boring.
There is a terrifically talented cast involved here, all wasted. Jason Segel does a very good job with the English accent while Emily Blunt is always watchable but it looks like these two have wandered into the wrong movie. Billy Connolly, Catherine Tate and James Cordon might well have not even bothered to turn up, their parts are so insignificant and Chris O'Dowd (from The It Crowd) seems to be the only one to give his role the proper attitude and that is to ham things up as much as possible.
So it is left to Black and even he looks bored with the whole thing. The film, as with almost every film out now, is in god-awful 3D and is a complete waste of time. Only the Scrat short before the main feature is worth wearing the glasses and at 3 minutes long, it is far funnier than anything that happens in Gulliver's Travels.
Wondering why it's so bad? When gags involve wedgies, weeing on people and, worse of all, a Lilliput solider almost being crushed by a falling Black, only to be saved by Black enormous bum crack, then you know how basic this film is. Let's not forget the completely pointless and cringe-worthy end musical number, so we can have jack Black singing Edwin Starr's War!
If you haven't had enough of Christmas Turkey, then go see this miserable piece of tripe. Personally, it's not even fit to go into a Turkey curry!
Thursday, 23 December 2010
Meet The Parents: Little Fockers: Review
In 2000, Meet The Parents hit our screens and it was a laugh riot of embarrassing situations and misunderstandings. Then came the sequel, Meet the Fockers, in which we were mildly amused by the embarrassing situations and misunderstandings. Now, ten years on, we get the second sequel and we are hardly amused by the embarrassing situations and misunderstandings.
Greg and Pam Focker are now a happy family with their twins who are on the verge of being 8. Jack, father-in-law from hell, has decided that Greg needs to prepare himself for leading the Byrnes family onwards, as he is suffering from heart problems, although Jack is still suspicious of Greg and when Greg is asked to help promote a new drug by the beautiful Andi Garcia, Jack is concerned that Greg might become more than involved with her and ruin his whole family.
I was a huge fan of the original film. It made me laugh harder than most comedies around at that time and it still does. The comedy of errors worked brilliantly, mainly because Robert De Niro and Ben Stiller had such great rapport together. Meet The Fockers was amusing but not as funny, yet by introducing Dustin Hoffman and Barbra Streisand as Greg's parents and their overly sexual ways, took the series to another level. The trouble with Little Fockers is that there is no where else to go with the story. We know that jack doesn't like Greg and Greg will usually do something that makes him even more disliked by Jack but you cannot carry a series on that one premise.
The makers this time throw everything they have in the story, with subplots galore, none of which really work. Introducing Jessica Alba as the oh-so-no-funny Andi Garcia and making her behave like a 60s drop-out isn't funny. Having Harvey Keitel as a builder who seems to be ripping Greg off seems pointless. Even Ms Streisand's now cameo appearance with her sexual TV show, just isn't funny.
In fact, nothing in this film is funny. We get a scene in which Stiller has to inject DeNiro in the penis after he takes a new Viagra drug, only to have the 8-year-old boy enter the room, which is more creepy than cringy. Where Greg accidentally knocks over an urn of ashes in the first film, which was played out beautifully by all, this time he almost cuts off his finger while carving a turkey. Oh how we laughed as the family get covered in blood.
The ironic thing about this movie was that Dustin Hoffman wasn't suppose to be in this one, but after test audiences found it woefully unfunny, they re shot scenes with him in and these actually turn out to be the parts that do work.
If ever a film series needs to be put to bed, this is it. A shameful excuse of a comedy that makes you want to dig out the DVD of the original and watch how the series started off as being hilarious. This gag-less mess just needs to be forgotten and the otherwise talented cast need to move on with other projects that are better.
And by the way, just because the name Focker sounds like something rude, doesn't mean we have to hear the same gag over and over again. It was funny the first time, not anymore.
Greg and Pam Focker are now a happy family with their twins who are on the verge of being 8. Jack, father-in-law from hell, has decided that Greg needs to prepare himself for leading the Byrnes family onwards, as he is suffering from heart problems, although Jack is still suspicious of Greg and when Greg is asked to help promote a new drug by the beautiful Andi Garcia, Jack is concerned that Greg might become more than involved with her and ruin his whole family.
I was a huge fan of the original film. It made me laugh harder than most comedies around at that time and it still does. The comedy of errors worked brilliantly, mainly because Robert De Niro and Ben Stiller had such great rapport together. Meet The Fockers was amusing but not as funny, yet by introducing Dustin Hoffman and Barbra Streisand as Greg's parents and their overly sexual ways, took the series to another level. The trouble with Little Fockers is that there is no where else to go with the story. We know that jack doesn't like Greg and Greg will usually do something that makes him even more disliked by Jack but you cannot carry a series on that one premise.
The makers this time throw everything they have in the story, with subplots galore, none of which really work. Introducing Jessica Alba as the oh-so-no-funny Andi Garcia and making her behave like a 60s drop-out isn't funny. Having Harvey Keitel as a builder who seems to be ripping Greg off seems pointless. Even Ms Streisand's now cameo appearance with her sexual TV show, just isn't funny.
In fact, nothing in this film is funny. We get a scene in which Stiller has to inject DeNiro in the penis after he takes a new Viagra drug, only to have the 8-year-old boy enter the room, which is more creepy than cringy. Where Greg accidentally knocks over an urn of ashes in the first film, which was played out beautifully by all, this time he almost cuts off his finger while carving a turkey. Oh how we laughed as the family get covered in blood.
The ironic thing about this movie was that Dustin Hoffman wasn't suppose to be in this one, but after test audiences found it woefully unfunny, they re shot scenes with him in and these actually turn out to be the parts that do work.
If ever a film series needs to be put to bed, this is it. A shameful excuse of a comedy that makes you want to dig out the DVD of the original and watch how the series started off as being hilarious. This gag-less mess just needs to be forgotten and the otherwise talented cast need to move on with other projects that are better.
And by the way, just because the name Focker sounds like something rude, doesn't mean we have to hear the same gag over and over again. It was funny the first time, not anymore.
Monday, 20 December 2010
This year there have been two very different movies about facebook: the story of the beginning with the excellent The Social Network, and now this cautionary tale of what is real and what is not in the cyber world.
Two filmmakers, Ariel Schulman and Henry Joost, decide to make a movie about Ariel's brother Nev, a photographer of dancers, and his growing friendship with an 8-year-old girl who sent him a painting and now they correspond on facebook. She lives with her mother and father in a small town and has a sister, Megan. After speaking to the mother, Angela, he starts a relationship with Megan, a beautiful looking woman. Everything seems to be perfect. A little too perfect.
We have been told not to give away too much about this film, and so I will respect the film makers request. To be honest, it would really spoil this well made, clever and thought-provoking documentary which deals with how we all live in a world of lies and deceit.
We never know whether this film is truth or not. If it is, then there are moments of pure emotion that you would find hard to get from any other movie. If it is fabricated, then this is one of the best dramas of the year. This is where the film falls down. You sit watching and you become immediately captivated by the forming of the relationships that Nev makes, that when the first bomb drops, you genuinely feel for him, so if this is the real McCoy, then watching a man's heart literally shatter is a hard enough experience.
The Internet is a really positive place to be in, but in the hands of someone who doesn't fully grasp life, it can be a tool of destruction, and you do wonder how someone can do what is done here.
If you do see this film, and I strongly recommend you do, because it is moving, uplifting, funny and incredibly interesting, don't give away what happens. You will spoil it for those who haven't seen it and can enjoy it.
Two filmmakers, Ariel Schulman and Henry Joost, decide to make a movie about Ariel's brother Nev, a photographer of dancers, and his growing friendship with an 8-year-old girl who sent him a painting and now they correspond on facebook. She lives with her mother and father in a small town and has a sister, Megan. After speaking to the mother, Angela, he starts a relationship with Megan, a beautiful looking woman. Everything seems to be perfect. A little too perfect.
We have been told not to give away too much about this film, and so I will respect the film makers request. To be honest, it would really spoil this well made, clever and thought-provoking documentary which deals with how we all live in a world of lies and deceit.
We never know whether this film is truth or not. If it is, then there are moments of pure emotion that you would find hard to get from any other movie. If it is fabricated, then this is one of the best dramas of the year. This is where the film falls down. You sit watching and you become immediately captivated by the forming of the relationships that Nev makes, that when the first bomb drops, you genuinely feel for him, so if this is the real McCoy, then watching a man's heart literally shatter is a hard enough experience.
The Internet is a really positive place to be in, but in the hands of someone who doesn't fully grasp life, it can be a tool of destruction, and you do wonder how someone can do what is done here.
If you do see this film, and I strongly recommend you do, because it is moving, uplifting, funny and incredibly interesting, don't give away what happens. You will spoil it for those who haven't seen it and can enjoy it.
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