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I watched a documentary film recently. It was called 'Deliver us From Evil'. It was about a Catholic Priest who raped and molested over a hundred children. It was phenomenal.

Father, O'Grady, Oliver


This film, I admit was very hard to sit through. The film really delved into the mindset of Oliver O'Grady the priest and even had interviews with him outside of the courtroom. The effect at the beginning had almost a soothing effect, almost as if the story of his past was being told through his perspective and therefore allowed me or the audience to side with him. It was all about forgiveness at the beginning. However, this couldn't be more far from the truth by the time the end credits began rolling. As the film progressed, everything began to unravel and the audience by the end is given a clear, and might I add, very unbiased look at the unnerving facts. I have much to say about this film. Not only for its contents and being a brilliant film, but also the truth behind the film and how much of an important issue this is in our lives today.


Father, O'Grady, Oliver


Plot/Facts
Oliver O'Grady grew up in Ireland until he was shipped to the United States to become a priest of a small town in California. There, he molested and raped hundreds of children under the supervision of higher authority. Knowing what was happening beneath them, the higher powers of the Catholic Church moved the priest instead of charging him with rape. They protected him and the church from humiliation and swept whatever secrets under the rug. O'Grady was moved 4 or 5 times until finally, he was captures by the authorities and charged. He was shipped back to Ireland where he now remains, free from any further charges or sentences. His victims ranged from 9 months to 15 years and consisted of boys and girls. His actions have caused grief not only to his victims, but also to their families and communities. The few who were interviewed in this documentary all had severe mental disabilities and had all at one time or another battled depression. The film does not rely on a narrative commentator, but instead is comprised of interviews with O'Grady, his victims, courtroom recordings of his trial, interviews with the higher bishops, their lawyers and authority men (cops). The result combines all of those sources to deliver a story of heartache and repulsion of one man.


O'grady, priest, church


Firstly, can I just ask....WHAT KIND OF SICK FREAK WOULD RAPE A 9 MONTH OLD BABY?!?!?! That to me is just pretty much the most vulgar thing a human being can do. Ripping and exploiting the innocence of such a young child, who doesn't even know how the world works yet is just disgusting. Imagine walking in on someone doing that. Too much.

Secondly, now this is a major issue that his film is exploring. I'd like to know everyone else's thoughts towards Church Paedophilia and how it is handled in the present day. According to the film, around 10% of priests in America have been reported for sexual misconduct. Whether they were true accusations is another matter, but the fact remains, 1 out of 10 priests could have illegally touched a child inappropriately. That is a huge number. And the fact that they're priests does not help. I mean, aren't priests supposed to be the divine being? The one man who retains all the grace that God has given humanity. How could O'Grady have been preaching about greed, about love, about family, about sin when he was raping young children? That baffles me. He would've been thinking about touching kids 24 hours a day, 7 days a week to have had so many victims.

O'grady, priest, church


Is this man forgivable? Do you think for what he's done, if he was sorry, would and could God forgive him and allow him into heaven? For all the lives he had destroyed, I'm not sure. Would God have appointed this man to be God's communicator? Could God have selected him to be the bridge between humanity and God?

O'grady, priest, church


The film really highlighted the severity of this issue very strongly. It's angle was very different, blaming higher authority rather than just the perpetrator himself. Father O'Grady's superiors did nothing to stop his actions and therefore, they must also be blamed. During one case, the higher authority actually replied to one abused victim, saying, it only counts as sexual abuse when the child is a male. That to me, just proves that the Catholic system would do anything to preserve is prestige and trust among its followers. Can you also blame O'Grady's past? He claimed he was also sexually abused by a priest when he was 10. He also admitted he was involved in initiating and participating in sex with his brother and sister when he was young. Obviously these things contributed/caused his behaviour but should they excuse him from taking responsibility for his own actions? Why the priests? Is it because they are forbidden to ever get married, have kids or have sexual intercourse? Is it because it is human nature therefore to disobey those rules and do what is forbidden?

O'grady, priest, church


Whether you believe in God or not, I think this is a film everyone needs to watch. Although it is quite heavy and by the end, you feel like you have been cheated by the very people you trust, you will be glad you knew this part of society lives among us.

I give this film 4.5 STARS OUT OF 5.

Peace out.
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YEAR ONE WAS THE BEST FILM EVER!!!

June 22nd 2009 10:36
PSYCHE. That is how much of a joke the film Year One is. It was bad. Really, really quite bad. Year One's director, Harold Ramis, who is definitely not a bad director or writer, having written Groundhog Day, the Ghostbusters Trilogy and Analyse This/Analyse That, surprisingly delivers a dry and very nonsensical film. I rarely question the film when I am watching it, but during Year One, I found myself constantly thinking "What happened to that snake" and "How can so many different tribes from different time periods from different parts of the world all be in walking distance from one another?".....!?!?!?!?!



The entire film was very fragmented in its editing style, often failing to explain certain things and just jumping to the next scene. I felt was disoriented from this and it was such a huge obvious flaw that I'm surprised the studios didn't do something about it. Now, the plot is very very simple. A man, Zed (Jack Black), eats the forbidden fruit in his tribe and is outcast into the 'unknown world'. His best friend, Oh (Michael Cera) follows him and the two of them meet a whole heap of quirky characters. Ultimately, Zed and Oh arrive at 'Sodom', a place of sin, and Zed convinces himself that he is the 'chosen one', who is supposed to bring rain to the community.



The film is OBVIOUSLY banking solely on the combined hilarity of Jack Black Humour and Michael Cera Humour. Both actors are so distinct in their humour that audiences are willing to see this film just for the possible hilarity that might result from the two actors' mouth. Well, I'm sorry to say this, but they FAIL to deliver any funny lines. Yes, I did laugh out loud, but that was only during the moments where I could not believe something was happening on screen, like feces eating or urine trickling down Cera's upside down face. The humour utilised in the film was cheap, overdone and quite beneath this previously witty screenwriter.



As for the rest of the characters...Christopher Mintz-Plasse commonly referred to as Mclovin' from the much loved movie 'Superbad' is predictably the same character as his other roles...relying too much on his comical face and failing to make much sense. The worst character however, was Oliver Platt, who played a cross dressing high priest. His character was SOOOOOOOOOO ridiculous and really was that bad cherry on top. His on screen annoyance includes trying to seduce Michael Cera by making him rub hot oil all over his very hairy chest, and his horrible blue eyeshadow.

The only saviour for me was Hank Azaria! Oh praise that man. Not only voicing The Simpsons, this man is a true character actor, emersing himself in almost every role he's ever played. He was very believable as Abraham, the father who tries to circumcise the world...and although he only had a small role in the film, he did not fail to impress!

I think the biggest problem with the humour in the film was that it often took things way too far. It did not leave much for the audience to imagine or decipher, pretty much feeding us with vile humour and tasteless jokes. Often the humour ends with Jack Black's first response...but the scene continues for another 2 minutes on the same topic, really milking that laughter.

I give this film 2 STARS OUT OF 5.
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I'd Let This One In

June 18th 2009 14:38
Now, I saw 'Let The Right One In' a couple of months back. I'd written a review about it because it was so deserving of one! Here it is...

Let The Right One In


Let The Right One In is a modern interpretation of a star crossed love story, set in a small town in Stockholm where two young children overcome adversary under the most extraordinary circumstances. Filmmaker and screenwriter Tomas Alfredson and John Ajvide Lindqvist respectively create a unique analysis of the vampire genre, combining an original, dark and deceptively threatening fantasy with the evolution of a relationship equally disturbing. Underneath this disturbance however lies tenderness, a gritty realism, which actors Lina Leandersson and Kåre Hedebrant help achieve. The relationship between the two protagonists, Eli, played by Leandersson and Oskar, played by Hedebrant is provoked by a series of events, which contribute to the gradual development of an ambivalent bond between two outcasts. Cinematographer Hoyte Van Hoytema incorporates pale coloured tones and the significance of white snow as a motif to emulate Oskar and Eli’s emotional subtly. Johan Söderqvist’s score creates a chilling atmosphere to the film, adding drama and intensity, but also contemplation and unnerve. Altogether, Let The Right One In is a crafty combination of cinematic construction and emotional substance, made to reinvent the boundaries of romantic horror.

Let The Right One In


Let The Right One In opens on a repressive, wintry suburb in 1980s Sweden, frozen in time as Oskar is revealed, pale and clutching a knife. Oskar is a product of a broken environment, subject to a divorce, bullying from school and void of attention. He seeks refuge in Eli, yearning discipline and trust as he battles his mounting fear and loathe for his school bullies. Eli equally seeks companionship and eventually both find solace in each other’s loneliness. Afredson’s assured visual mastery of grey and grit, captures the stony and unyielding mood of bleak frustration within the people surrounding the two protagonists as the outside world becomes redundant to the pair’s love.

Let The Right One In forces you to grapple with the psychological weight and violent nature of the survival instinct, and because that weight is being placed on children who are barely at the threshold of adolescence, the gravity of their choices resonates in a profound way that adults could never convey. There is a constant, pervading tension surrounding Oskar as he is always susceptible to Eli’s blood thirst. Several times, assisted through animalistic sound effects, Eli is submerged in a beastly trance, almost unable to control her most fundamental urges. However, as much as those tense episodes come close to chaos, the two characters’ bond is greater. To Oskar, Eli is his first real friend who through love, gives him the courage and encouragement to face up to his demons.

Let The Right One In


Although Eli and Oskar’s relationship pervades the film, the other supporting characters ultimately propel drama and present adversity. Paternal love drives Eli’s father to murder, mutilation of his own face and finally suicide, all to protect and gain her love and respect. Their relationship is turbulent from the beginning, as his first murderous attempt fails to bring any blood back to Eli. Eli, her face hidden from the camera verbally harasses her father for failing to accomplish this simple task and the audience is left sympathetically drawn to the father’s contorted face. There is no uncertainty the father’s final sacrifice is overwhelmingly painful and powerful, his death saving his daughter. However his death also abandons her, leaving her exposed and vulnerable. Oskar becomes her only saviour and evidently, this catalyses their relationship into more profound grounds.

The tone and mood of the film is established by the subtle and bleached discolouration, which ostensibly creates a mundane world surrounding our two protagonists. Established by the opening shot of snow, gently floating in the dark night, we as the audience is transported into another world, where unease and shadow consume the minds. Numerous close-up shots are used to evoke intense emotion of sadness, guilt, anger and frustration. The camera is often placed behind doors, walls and barriers to create a sense of protection and secrecy as both protagonists are hiding shades of darkness within themselves. The sound used in the film successfully amplifies the natural sounds of its fictional and isolated universe, allowing audiences to only hear what the characters would hear such as brushing of teeth, wind whistling and isolated footsteps. However, most notable is the silence, the stillness that creeps along keeping the viewer mystified and engaged.

Let The Right One In


Let The Right One In is layered with meaning embedded in its characters, visuals, plotline and sound. It assembles the innocence of love and emotional desolation, while humanising the supernatural. Ultimately, it is a film that reflects human nature, challenges the conventions of the typical vampire genre and delves deeper by employing children as the representations of humanity and its flaws.

I give this film 4.5 STARS OUT OF 5. Amazing!
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Pontypool = PontyCrap!

June 18th 2009 05:56
Ok. So, I watched Pontypool at the Sydney Film Festival a couple of days ago. I went in with extremely high expectations mostly derived from raving reviews and the fact that the director had done reasonable work in the past. MAN OH MAN WAS I DISAPPOINTED...It's been a while since I've watched a truly annoying film. I do believe the last really annoying film I watched was 'The House Bunny'. That film just embodied all the wrong messages to give to our younger generation of women in a society that's tried very hard to destroy patriarchal systems. Basically, throughout the film, girls only became popular after a physical makeover of some sort. It was a step back in all that society's achieved.

BUT, back to Pontypool. GAHH! The frustration was climatic! Here's a little about the film


[ Click here to read more ]
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Braindead, Dead or Alive?

June 17th 2009 15:27
Both! Braindead and Dead Or Alive are the titles to the same gory zombie film by Peter Jackson (Yes the Lord of the Rings Director). I recently watched this film on Youtube (check it out below)

Braindead Part 1
[ Click here to read more ]
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Why yes...yes it is. The Hangover for those 2 hilariously amusing hours is indeed better than alcohol! The film itself, although lacking extremely comedic stars like Adam Sandler or Will Ferrel, does utilise the 3 main actors really really well. They are almost perfect for the role and each man has their own comedic role within the threesome. The humour is vulgar and sometimes oh so very cruel but so damn funny!


[ Click here to read more ]
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FIlms Galore

June 17th 2009 13:50
Hello fellow internet users. I just sounded extremely nerdy just then so I'll refrain from using the word 'fellow' from now on. I'm here to provide you with the most current reviews on films as they arrive (as slow as they do) in Australia!

I am a film student and am therefore freakishly obsessed with films in general.
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