The White Ribbon is not for everyone, but those with the patience to see its entirety will experience a unique window into the world of the German pre-war village; complete with social conflict, mystery and lots of subtext.

With the current economic crisis in the United States, the sequel to Oliver Stone’s white collar drama Wall Street seems like an apt idea. Wall Street: Money Never Sleeps (more easily known as ‘Wall Street 2′) is coming soon, but has the original motion picture stood the test of time to deserve another outing at the box office? If the current economy was in better shape, then I may have reservations. However, recent concern over the United States economy means a sequel is not only justified, but very intriguing. In light of this, I have decided to review the 1988 original on DVD to see whether this franchise is worth a look.

So much is put on young twenty-somethings to find their perfect match and settle down, but in a world where they’re positioned by their ranking (yes, that’s right), it presents a real challenge. Having little direction in life and being told you’re only a ‘five’ out of ten surely couldn’t be doing you any favours. Even so, when Kirk (Jay Baruchel) finds himself in contact with ‘hard 10’ Molly (Alice Eve), sparks seem to fly – and pigs too.

Plots are for pussies and characters are for target practice.

That’s the mentality French writer/producer Luc Besson must swear by, if going by his back catalogue of supremely stupid, but undeniably exhilarating action movies such as The Transporter, Kiss of the Dragon and Taken. In other words, he specialises in making the kind of movies you don’t ever admit to enjoying.

The interrelation between a group of people and the happenings for them on this marketing and consumer bonanza of a day tie a complicated knot, untangled throughout an entertaining romantic comedy.

Valentine’s Day involves a cleverly constructed plot, using simple but relatable life situations including adultery, virginity, single life, work, sexuality, national service and how can we forget, love. It’s a wonder how all of these themes are engaged without an equally busy screenplay, but a casual ‘fly on the wall’ approach gives the viewer the chance to look in on the excitement.

“The other day I cried”, mumbles Claireece ‘Precious’ Jones (Gabourey Sidibe) to the audience.

Fair enough, too. Precious is a morbidly obese, illiterate and pregnant African-American teen living in 1987 Harlem, surviving off the welfare collected by her disgustingly abusive mother. On occasion, her drug-addicted father drops in to rape her. He is also the father of both her children, the first of whom has Down’s Syndrome. If there were a checklist of all the issues a teenager could possibly have, it’s safe to say poor Precious would tick each and every box.

“But guess what…” snaps Precious in response to her earlier sentiment. “F*** that other day. That’s why God or whoever make new days.”

It’s this remarkably optimistic attitude present throughout Lee Daniels’ second feature that turns an otherwise traumatic take on the human condition into a surprisingly uplifting drama. No matter what unimaginable hurdles Precious must face, hope for her is never lost.

“But guess what…” snaps Precious in response

It’s in the natural order to see politicians lead journalists and the public in circles. Their job serves as spin to make the public feel good about who is representing them, and they are excellent in making us feel that we need whatever they provide. At the time of writing Adelaide sets a good example with their stadium debate: two parties promising different versions of the same outcome. Many think it’s the greatest prospect for the city yet; others think the money could be spent elsewhere. Either way it’s happening and it all comes down to who we vote into power. Because it’s these people who call the shots. And whatever democratic government you’re looking at it’s the same principle. But when the stakes are much higher, communication is the most important key.

If most have the idea that an Australian musical isn’t plausible, then most wouldn’t know what they’re talking about. After all, Muriel’s Wedding is arguably a loose musical; with the ABBA soundtrack used as an emotional outlet. You can throw Priscilla: Queen of the Desert in there too. But since Chicago, Hairspray and Mamma Mia! making the successful transition from Broadway to Hollywood, the musical has stepped up a notch to become a potential powerhouse genre. Look at what the High School Musical films did for Zac Efron. So what for the stars of Bran Nue Dae, the first dynamic Australian musical to ever hit screens? Yes, dynamic – because it actually pokes fun at social issues and everyone can hold a decent tune. Even Ernie Dingo. Quite simply, the fact that no other true musical made in this country comes to mind makes it a stand-out. It’s truly worth a watch.