Friday 22nd August 2025
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The Films of 2008

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This year in Britain started well with a wave of award-winning films from the States. No Country For Old Men, The Diving Bell and the Butterfly, Juno, There Will Be Blood and Sweeney Todd were all spectacular films. However, the biggest release of the early months was that self-hyped orgy of mystery, Cloverfield, an excellent popcorn film with skyscraper-sized monsters trashing the majority of the United States.

There were quieter releases to be enjoyed. The Orphanage was a magnificent and intelligent thriller. In Bruges shot, swore and brutalised its way to brilliance as one of the funniest comedies for some time. Meanwhile, the stylish animation of Persepolis provided an insightful look at an Iranian woman’s life and identity.

When summer arrived Iron Man was one of the better releases, with an excellent performance from Robert Downey Jr, WALL·E was a wonderful film, as Pixar brought the magic of cinema to the screen for a new generation of film-goers, but the summer belonged to the stunning The Dark Knight which had the performance of the year from the late Heath Ledger.

However, there were disappointments. Indiana Jones and the Kingdom of the Crystal Skull was the most crushing of these, as Spielberg created an entertaining if incoherent piece that blew itself apart with a useless title and a mad, alien-filled ending. Prince Caspian was bigger and better than its predecessor but still failed to capture the magic of Narnia. Nevertheless, both of these had more quality behind them than Mamma Mia! – dreadfully embarrassing and so terrible it was impossible not to enjoy, particularly as Meryl Streep blasted away with her rather idiosyncratic singing.

Come autumn the big release was Quantum of Solace, which was a disappointment, though not as bad as it could have been, whilst one of the year’s lowlights was Brideshead Revisited, which was anaesthetically dull and oh-so-terribly stiff upper lip. Hellboy 2 proved to be even worse than the original and was a classic example of a film that you didn’t need to bother watching if you’ve seen the trailer.

There were many surprises, though, particularly later in the year. Keira Knightley delivered a nuanced performance in The Duchess whilst Josh Brolin was magnificent as President Bush in the otherwise unsatisfying W. The Italian gangster film Gomorrah was genuinely impressive, as was the bold Holocaust drama The Boy in the Striped Pyjamas: somewhat over-sentimental but the bleak message still hit home. Waltz with Bashir, an Israeli-made animated documentary, was an incredible, stylish, and moving personal journey through a horrible piece of history.

As for the rest of the year, much anticipated are Australia, which will see Kidman and Jackman smooch their way through a good two-hour epic; Che, featuring Benicio del Toro as the revolutionary hero; and Valkyrie, starring the predictable Tom Cruise (but the latest word is that it has been postponed until next year).

So all in all it has been a rather disappointing year: the summer blockbusters that promised to deliver didn’t , and the Yule tide colossi turned out to be rather small. Bring on 2009.

 

What’s on the box this Christmas?

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Advent is nearly upon us, so like the rest of Oxford, it is high time Cherwell got into the festive mood. And what better way to do this than help our readers get their heads around what constitutes a good Christmas film? So there we are: sipping a glass of mulled wine, sitting in front of a roaring fireplace listening to Frank tell us how he’s got some corn for popping, and flicking through the two week bumper edition of the Radio Times desperately trying to decide what to watch.

Do we opt for Frank Capra’s It’s A Wonderful Life, focusing on death, suicide and Christian moralising? Or maybe we wish to watch Scrooge yet again learn that basic human emotions are actually quite enjoyable? Or perhaps a film about a clinically insane man ranting about being Kris Kringle in Miracle on 34th Street? Ultimately, we do want one of the above, as Christmas is not a time for cynicism or critical viewing, but a time for much willing suspension of disbelief and hope that the world can be a nice place, at least for two hours or so.

However, there may be some Christmas classics that have slipped under the radar. Take for example the French film Joyeux Noel, which plays on the heartstrings in a very compelling and moving fashion. It’s set around the World War I Christmas truce, in which a temporary ceasefire was called and British, French and German soldiers came together to celebrate the day Christ was born. Of course, it would not be long before their superiors gave orders to the contrary, but for a short while it was “Joyeux Noël”, “Frohe Weihnachten” and “Merry Christmas” all around. The Shop Around the Corner is rather more light- hearted, a 1940s rom-com starring James Stewart and Margaret Sullivan as the leading couple. Your usual tale of two feisty youths convinced they do not like one another gradually realising that in fact they do. It is arguably the founder of Yuletide rom-com.

A Christmas Carol is perhaps one of the more heartwarming Christmas films, as we watch mean old Ebenezer learn from the error of his ways and become a good person. The best version is of course the one that sees Kermit and Miss Piggy step to the fore with the rest of the Muppets, singing and dancing their way through the various ghostly confrontations.

One does not immediately associate gratuitous violence with Christmas, but the 1984 gore-fest Gremlins proved that the two go together beautifully, and with hilarious consequences. However, scarier than little green knawing monsters is Father Christmas himself gone psycho. So it’s decapitation for the naughty children and survival for the good ones in Silent Night, Deadly Night; a night of terror for the trapped, scantily clad teens in Black Christmas and death-by-snowman in the atrocious Jack Frost. For those who still like violence, but of a more action-packed variety, then Bruce Willis single-handedly taking on a skyscraperload of terrorists all to the sound of merry Christmas tunes proves to be compulsive viewing.

However, sharp-teethed, pint-sized green monsters and big gun-wielding musclemen aside, the title of top Christmas film must go to a wonderfully British rom-com that is actually ten rom-coms in one. Yes, it is Love Actually, filled with enough Colin Firth wetness, Martine McCutcheon chubbiness and big-boobed blonde girls to keep the whole family happy. Providing you can overcome the trademark Keira Knightley letterbox grin and Hugh Grant being cast as a sour Prime Minister, you’ll realise just how funny it is.

 

Lost kids and exploding dogs

Changeling
5 Stars

What just happened?
3 Stars

It is rare to come across a movie which is as beautifully directed, powerfully acted and utterly moving as Clint Eastwood’s Changeling. Not simply another Hollywood blockbuster, it is a breath of fresh air at the cinema.

Screenwriter J. Michael Straczynski masterfully adapts this true-crime story, bringing to life the shocking events which occurred in Los Angeles in 1928 when Walter, the nine-year-old son of Christine Collins (Angelina Jolie), a switch-board operator, goes missing. The LAPD are less than helpful. However after five months they bring Christine, along with the press, to the train station to be reunited with a boy who they claim to be her son.

One problem: this boy is not Walter. Yet instead of the police admitting their mistake, they persuade Christine to take the child home on a ‘trial basis’. Obviously experiencing emotional imbalance at such a time, she must simply be mistaken. Why would the boy call her ‘mother’ if she was anyone else? Sure he may have shrunk two inches and be a little more circumcised than she remembers, but all these changes are perfectly viable, the LAPD doctor assures; he has been missing for five months.

The audience chuckle with incredulity at the ‘professional’ assertions of the doctor, yet any laughter has a somewhat bitter aftertaste when aligned with Jolie’s entirely convincing and heart-rending portrayal of Christine’s helplessness. We watch as she transforms her terror into a relentless personal crusade, exposing the corruption of those in power. The star-studded cast give consistently excellent performances, especially Jolie, whose skill as an actress is really given credit in this non-action-movie role. Apart from one disappointingly cheesy ending line, it is no wonder that Changeling has been nominated for the Golden Palm award for best movie of the year.

What Just Happened? isn’t a spectacularly good film, but neither is it jaw-droppingly bad. It’s an example of the “Hollywood films that satirise Hollywood” genre, ranking above Burn Hollywood Burn but below The Player. Watching it is a bit like watching a boozed-up sixth former stumble through a comedy routine about George Bush: you agree in principle with what’s being said, and there may be moments of comic brilliance, but it’s been done before, with more subtlety, panache and originality.

The film has a number of positive points. The cinematographer, Stéphane Fontaine (The Beat That My Heart Skipped) is excellent, and there are some gorgeously shot scenes.

The acting is uniformly very good. Sean Penn and Bruce Willis play themselves. Robert De Niro stars, fresh from the critical drubbing of Righteous Kill. He plays Ben, a producer attempting to mediate between his studio’s desire to make money and his director’s desire to create Great Art.

Michael Wincott’s show-stealing turn here as the perennially drugged film director is worth the price of entry. He shoots a film which concludes with the execution of both the hero and the hero’s loveable dog. There is a close-up shot of a bullet imploding in the dog’s skull and splattering viscera onto the camera, a shot which effectively also kills Ben’s career as a producer. It is a mark of how bleak the humour of the film is that this is possibly its funniest moment.

Best of all, the script largely avoids obvious laughs and cheap gags, going instead for black, observational humour.

For example, as Ben enters the bathroom after the icy reception of his latest film, he encounters a film critic and asks his professional opinion. A squirming silence ensues. “I liked the soundtrack,” the critic eventually manages. It does have a very good soundtrack.

So we hope that you opt for Angelina Jolie’s star turn in Changeling this week if you want to sink your teeth into something that will prove more thought-provoking, and more entertaining.

 

Cherwell win website of the year award

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Cherwell has won the Guardian Student Media Award for ‘Student Website of the Year’ at the 2008 ceremony.

Cherwell were nominated for the award earlier in the year, along with ‘Student Publication Design of the Year’, which was won by another publication.

On the website award win, former Editor-in-Chief of Cherwell, Henry Clarke Price, said, “It’s a great testament to all the hard work of the Cherwell team over the past year”.

Cherwell’s website was recently re-designed in a new initiative to promote online and multimedia content.

OxStu win

Former Editor of The Oxford Student, Hannah Kuchler, won ‘Student Reporter of the Year’ at the Guardian awards.

She commented, “I’m really happy. I’ve always said OxStu doesn’t print lies”.

Choir football strikes violent note

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The annual choir football tournament was marred by controversy this weekend, with the first red card in the competition’s history.

In the match between Christ Church and Worcester-St Peter’s, a rough challenge by a Worcester player almost resulted in a fight, as one of the Christ Church players pushed over someone from the Worcester team, and threw a punch at him.

The fight was immediately broken up by referee John Murton (Bass, Magdalen). He commented, “The Christ Church player turned what was a minor scuffle over a tackle into a potentially violent situation and for that he had to be sent off.”

One of the other players said: “They were being aggressive all the way through the competition, and much too competitive; not really in the spirit of choir football.”

Lincoln went on to win the competition.

 

Oxford trains were 13 seconds from crash

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Two trains carrying up to 300 people came within thirteen seconds of crashing into each other just outside Oxford.

The First Great Western services between London Paddington and Oxford came close to disaster in August 2007 after one driver failed to stop at a signal.

A report on the incident discovered that his train continued through Didcot Junction without authorisation, narrowly avoiding another service operating in the opposite direction.

According to investigators, “Had the circumstances been slightly different this event could have resulted in the two trains colliding.”

 

The Pillowman Preview

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Trying to approach Martin McDonagh’s The Pillowman as the story of the attempt to uncover the culprit of a series of murders will not do. Nor is it adequate to see the play’s protagonist, Katurian, as something equivalent to Hamlet. This play requires a new audience, a new economy of representation, and new tools of critical interpretation.

For a start, the cliché that the play is set in some vaguely ‘Kafkaesque totalitarian state’ needs a definite rethink. Indeed, the idea of Kafka himself as the novelist of the ‘totalitarian state’ is in itself suspect – it is a reading that stinks of the liberal humanist hypocrisy of comfy American college campuses, and in any case, it offers no help in our understanding of McDonagh’s play. A more effective analysis of The Pillowman needs to account for its rhizomatic quality, its multiplicity of fictions that never quite cohere and which always remain out of joint.

Dan Wilner’s production of The Pillowman therefore comes as a great relief. It seriously engages with the play’s many fictions, working hard to establish both the interpersonal web that forms the base of characterisation, and the provisional nature of Katurian (played by Rory Fazen), a children’s author whose tales of infanticide are eerily mirrored in real life events. Although Fazen’s performance can at times feel flat, the moments when he really gets to grips with the character are rewarding.

The highlight of this production, though, has to be Krishna Omkar and Jacob Lloyd’s ‘good cop/bad cop’ double-act. Revealing a biting comprehension of the rhythm underpinning the interrogation scene, Omkar and Lloyd’s performance shows how an intellectual knowledge of the power relations that structure a dramatic dialogue can be translated into affective acting.

The blocking is well thought out, and works to increase the play’s startling tone; likewise the set-design is purposeful. Wilner has made a good fist of the material McDonagh has provided, making The Pillowman an opportunity to end Michaelmas with a rewarding piece of contemporary theatre.

The Pillowman will be showing at the Burton Taylor Studio from Tuesday to Saturday of 8th week, at 7.30pm.

4 Stars

OUSU elections dogged by technical problems

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Hundreds of students are still waiting to be emailed codes which allow them to vote in OUSU’s annual elections this week.

OUSU staff sent 19,000 emails to students last night, expecting that all would have received the messages (with personalised codes included) by this morning.

However, reports suggest that technical problems have meant that only some emails have been sent out, with hundreds still waiting to be delivered.

The polls close at 6pm on Thursday evening.

Bod aims to save English-language opera

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The Bodleian Library has launched an appeal to raise £85,000 by 6 January 2009 in order to conserve a manuscript of the first opera written in English.

‘Erismena’ was written by Pietro Franceso Cavalli and was probably performed in England for the first time during the 1670s.

The Bodleian is trying to acquire the manuscript after it was sold from the Music faculty’s collection in 1797.

The aim to raise £85,000 for ‘Erismena’ has become part of the ‘Oxford Thinking’ campaign, which hopes to raise £1.25bn for the University as a whole.

Emma Kirkby, an Honorary Doctor of Music at Oxford University, said, “I am tremendously excited to hear that an entire Cavalli opera manuscript has survived – in an English translation, decades before Handel came to this country, and that there is a chance for the Bodleian Library to acquire this landmark of our musical history. I earnestly hope the means can be found to achieve this.”

Travel: Syria

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Itravelled to Damascus from Heathrow Airport to start my year abroad in Syria, leaving behind my university, a goldfish called Tony, my girlfriend and a cherished Nectar card. Having accepted the lack of in-flight entertainment offered by SyrianAir, I resigned myself to watching the flies in the plane dance around each other and wondered if they had come on board at Heathrow and they too were going to be surprised by what they would find in Syria. As I pondered the future, the words ‘Islam’, ‘dictatorship’ and ‘axis of evil’ floated politically-incorrectly in my mind.

The first thing that struck me, though, when I reached Syria was the fashion clash, the totally different clothing styles. On the one hand, there was the sea of beige worn by traditional Syrians, blending into the yellowness of the land, the noisy taxis and the dusty architecture. The aura of blandness was even more marked amongst the women, who wore beige or grey trench coats – a la Ian Curtis – or black robes leaving only their faces, their eyes or nothing at all to reveal the individual within. But these same women can be seen shopping in Syria’s many raunchy lingerie shops (revealing all of Victoria’s secrets) – one can’t judge a Burka by its cover.

However, in areas such as the Damascus University or Bab Touma in the Old City, the Syrian fahionistae sport the famous Syrian ‘wet look’ that makes Danny Zuko’s hair in Grease pale in comparison. In these fashion hot spots, Syrians arm themselves with fake D&G tank tops, large fly-eyed sunglasses, and jeans so tight that one wonders whether the men are concerned at all for their fertility.

The conflict between Islamic culture and ‘the West’ is also noticeable in the attitudes of Syrian men in Damascus towards foreign women. There exists in Syria a very distinct form of sexual tourism, allowing Syrian men to indulge in otherwise forbidden sexual practices with female visitors before settling down with their locally-bred virgin brides. The sheer number of Syrian men on the market means that foreign students have a very wide range of good-looking Syrians from which to select a temporary partner with whom they could perfect their Arabic. This version of East meeting West does not help to overcome the prevailingly negative male attitudes towards Western women, as they indulge in a complicated Syrian version of doublethink allowing them simultaneously to find both welcome relief from the rigidities of their own society and evidence that their society is superior to the moral decadence of the West. And of course woe betide any Syrian woman rash enough to have an affair with a foreign student.

Another interesting phenomenon in Syria is the striking amount of physical contact between men. Being a homosexual in Syria can lead to prison. However, on a social level, contact between men is more than accepted; the sight of soldiers holding each other’s hands, and their AK-47s, and of boys caressing each other in the street, laying soft kisses on each other’s cheeks, is commonplace. In the Hammans (baths), men wipe each other down with sponges and lather each other up with soap. The strong sensuous current of such exchanges sits oddly with the strongly religious nature of Syrian society, and allows a level of public same-sex contact which would look out of place on the – supposedly – more liberal streets of London.

The Syrian state’s unrelenting attitude towards homosexuality is a stark reminder of some of the darker sides of the country: the phone tapping, the censoring of the press and internet and the infamous secret police.

However, there is no point coming to Syria and being shocked by the lack of Western democracy – whatever that label means. Syrians do live under dictatorship, but – as it was explained to me – it is their dictatorship. Ever since Al-Asad took over the country in the bloodless coup of 1970, Syria has enjoyed a remarkable period of stability. Bars and nightclubs have popped up around Damascus and the internet is more available than ever before. I also struggle to imagine how democracy would function in a country such as Syria, where France’s colonial ‘divide and rule’ policies did not help to unite the disparate Alawi, Muslim and Christian denominations.

Talking about politics with Syrians, however, is difficult. Little news filters down into the streets. It’s hard to believe that during my time in Damascus, Israeli air planes bombed what appears to have been a secret nuclear site and the assassinations of a Hezbollah leader and a senior Syrian general took place. In any case, when word of any such events does get out on the street, Mossad (the Israeli intelligence agency) is the presumed culprit.

I probed some Syrians about politics and the only answer I could get was – “it’s different here.” This at first felt like a way of avoiding the conversation, but they may in fact have revealed something important. Many Syrians are very conscious of both their country’s flaws and the failings of the West. What, they would ask, is the point of democracy when Tony Blair was still able to drag England into Iraq despite most of his electorate thinking it was a bad idea? Where does Guantanomo Bay fit into democracy?
Fair point, I suppose.

East met West on the Syrian rugby pitch, but even there the gap was much in evidence. During the course of the year I played for a rugby team known as the Zenobians (which rather pretentiously presented itself as the Syrian national team). In the build up to a game against the Lebanese team, our French coach from Toulouse gave a motivating pre-game talk, saying, in a very heavy southern French accent; “There is no questioning the outcome of the game. We will win”. One of the Syrian players said “In shaa’ Allah”: (God willing). The coach responded “No, we WILL win this game.” He then asked the translator to communicate the certainty of victory to the players; the translator said emphatically – “We WILL win this game.” But then he paused, and himself added an instinctive “In shaa’ Allah”. Luckily for us and the coach, Allah did want us to win that day.

When I returned to England, I was shocked by the warmth of my response to everything that England offered: the Tube, the ordered queues and page three. (For the first time, I really did want to know what luscious blonde Debbie from Watford had to say to the troops in Iraq). Above the sound of busy Londoners commuting, the buskers and the screeching of the Tube brakes I could hear an anonymous voice asking me “Please mind the gap”. And you know what?

I did.