Last week the Cruisemeister held on to the number one spot and Meryl Thatcher was the highest new entry at number 3 on the box office chart, so I'm feeling a little smug - what with my first box office predictions from last weekend being right. This weekend I'm seeing the film that I've chosen as top film and I suspect Steven Spielberg's World War One epic will deservedly take it's place at the top of the charts. If you're looking for something less mainstream there's Michael Fassbender shagging everything in sight and the collapse of the financial services system, both of which look excellent. Please note that we are also starting the year with our first complete dud, earning just one blob, but you'll have to find out what it is. First though, the film of the week is War Horse.
War Horse
Steven Spielberg proves he's a master tear jerker once again, and I mean that as a good thing, with his deliberately Fordian adaptation of Michael Morpurgo's classic children's story. I cry watching the trailer (thanks to John Williams and Benedict Cumberbatch) so goodness knows if I'll make it through the screening later today. Emily Watson also stars.
Runs like a Gay Excitometer: ●●●●●●●○○○
Margin Call
Writer-director J. C. Chandor has won plenty of plaudits for his cinematic debut, with the first significant narrative based on the economic collapse in 2008. Kevin Spacey, Zachary Quinto, Stanley Tucci, Jeremy Irons, Mary McDonnell and a dozen other recognisable stars form part of the chain of command trying to identify and ultimately offload toxic debt in this David Mamet like view of investment banking.
Runs like a Gay Excitometer: ●●●●●●●○○○
Shame
The final of the three big hitters from this week. Turner prize-winner Steve McQueen's long hard look at sex addiction with Michael Fassbender as a seemingly high-flying executive who's life unravels as his addiction slips completely out of control. Carey Mulligan is his needy sister.
Runs like a Gay Excitometer: ●●●●●●●○○○
Tatsumi
Animated biopic, which seems unlikely, until you discovers it's about Manga pioneer Yoshihiro Tatsumi, whose short stories, also included in the narrative in part created the medium of Japanese graphic artistry.
Runs like a Gay Excitometer: ●●●●●○○○○○
Useful Life
Interesting addition to the current theme of movies about/informed by movies (The Artist, Drive etc.) this Uruguayan picture follows a recently unemployed art-house projectionist filling his days unable to go to the cinema. I expect it's a narrative we could all relate to.
Runs like a Gay Excitometer: ●●●●●○○○○○
Kartalus Son Darak
Turkish comedy, with a sextet of women trying to cheer up the psychologist who's just moved into their apartment block. It's a limited audience, but should do well in it's small market.
Runs like a Gay Excitometer: ●●●○○○○○○○
Nanban
Tamil comedy of which, as is traditional in these things, I know nothing about the plot or characters, other than the poster's very bright and the trailer's quite fast. Nanban is literally translated as friend.
Runs like a Gay Excitometer: ●●●○○○○○○○
Vettai
Police soap opera from India with two brothers, one of whom is a detective the other fighting crime outside of the establishment. Could be an interesting look at vigilantilism, but probably just descends into familial homilies.
Runs like a Gay Excitometer: ●●●○○○○○○○
Darkest Hour
Yes, it's Chris Gorak's Moscow set alien invasion movie which garners the first all-important one blob excitometer rating. Saving the budget by having invisible aliens isn't so much the issue as saving the budget by having a weak script and uninvolving characters. Almost so bad it's unmissable.
Runs like a Gay Excitometer: ●○○○○○○○○○
Saturday, 14 January 2012
Horror of the trenches (Out this week - 13/01/12)
Wednesday, 28 September 2011
Drive
2011. Dir: Nicolas Winding Refn. Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Ron Perlman and Albert Brooks. ●●●○○
I saw two films this weekend, one after another, I struggled to choose which one to review first. Would it be the one that I was anticipating the most, the one with better reviews, the one I liked best or the one I was most disappointed by (try and guess what my score tomorrow will be) but in the end I went for Drive the film I saw first. Neatly packaged and uniquely stylish Nicolas Winding Refn's ode to the 80's action flicks of Michael Mann and Walter Hill is a tight surprising affair that fully justifies the Best Director prize at Cannes, but alas all the flashy work seems to obscure this picture has nothing to say.
At the heart of the story is a touching tentative romance between part-time stunt man, part-time getaway driver Ryan Gosling (an iconic man with no name) and his seemingly single mother neighbour Carey Mulligan. Their late night joy rides (yes that is his idea of a date) are interrupted by her jailed hubby (Oscar Isaac) getting released and doing one last job to pay off a mob debt. Naturally Gosling gets pulled in and it all spirals out of control.
There are some delightful scenes, whether it's Gosling and Mulligan's first kiss, romantic, artificial but softly lit, projected in slowmotion before the punctuation of extreme grotesque violence that is excessive but not gratuitous. There's a slow conversation between limping mechanic Bryan Cranston and his old friend criminal kingpin Albert Brooks (both of whom are at the top of their game) with weary Brooks nicely contrasting Cranston's forced chirpiness. The two car chases, the first which accentuates the professionalism and chess like prowess of Gosling in out foxing the police, whilst the second showcases pure speed when faced with a bulkier and more agressive persuer.
These scenes and more are prove Winding Refn is one of the more exciting action directors working today, each beat drags the story forward, each shot adds more to the character development.
Gosling probably gives the most persuasive performance, agonising over the line deliveries, icy cool behind the wheel but visually disturbed when making a phone call, he's a man who only feels real to himself when behind the wheel, shifting through the gears. Christina Hendricks also does fine in a minor role as a gangster's moll, fully realising the panic in the back seat during a car chase.
Each shot and edit is carefully selected to create and accentuate the mood, even the neon pink title cards evoke memories of rolled up jacket sleeves, and whilst the superficial allusions to Arthurian mythology and underlying artificiality and desire to be a film character are racked up there's nothing behind this facade. The scarcity of back story (and it's not just Gosling with gaps) and plot holes - there's a particular piece of information which a character clearly knows before he is told - indicate that Winding Refn is more focussed on the style than the substance.
I suppose the problem was I just didn't care about any of the characters, their futures seemed destined by the format, decisions appear unrelated to rational decision making. At the end I didn't want to know what happened in the next 20 minutes, always a barometer about whether the film works for me. I suppose I can grudgingly recommend the film, it's pretentious arsty aesthetic has been collecting a legion of fans, but don't expect to be engaged beyond the visually arresting moment.
Friday, 23 September 2011
Looking for a real man (Out this week - 23/09/11)
There's a scent of sweat in the air this week, an odour of testosterone floating from the man-packed cinemas, and frankly if you're not into gorgeous guys flexing their muscles or parading naked in the locker room then there may not be a choice for you this week, with even the counter programming choices seeming to accentuate heroism and grit. It's a tough competition for top choice, with a very high average score on the exciteometer (best since February) but in the end I'm plumping for Tom Hardy and Joel Edgerton rippling in film of the week Warrior.
Warrior
It's underperformed in the States, I expect partly because of the image of Mixed Martial arts and the marketing not really knowing where to go but everything I hear about Gavin O'Connor's sports movie sounds great and with it's two protagonists on the cusp of becoming major stars this is probably the most exciting opportunity to see them let loose.
Runs like a Gay Excitometer: ●●●●●●●●○○
Drive
Ryan Gosling movie number 1 - The art-house thriller. Directed by edgy wunderkind Nicolas Winding Refn this is both an archetype and deconstruction of the 80's action pic with Gosling as a nameless driver becoming the hero in his warped story. Carey Mulligan, Albert Brooks and (oddly) West Side Story's Russ Tamblyn co-star.
Runs like a Gay Excitometer: ●●●●●●●●○○
Crazy, Stupid, Love
Ryan Gosling movie number 2 - The touching comedy. The best reviewed Steve Carell movie for years concerns parallels the marital crisis of it's lead with the equally complex love lives of his children. Carell and Gosling are joined by Julianne Moore, Marisa Tomei and Emma Stone.
Runs like a Gay Excitometer: ●●●●●●○○○○
Mademoiselle Chambon
Gallic romance between the homeschool teacher and parent that springs out of a natural closeness and shared hopes for the child in the middle. Showing it's French side is the unshocking revelation that the father's still married. That kids gonna need serious therapy.
Runs like a Gay Excitometer: ●●●●○○○○○○
Tucker & Dale vs Evil
Hilarious looking Sundance break-out that subverts the murderous hillbilly and innocent students cliches by simply placing the Louisiana heroes close to unspeakably unlucky accidents, each one making them appear more culpable to the partying teens.
Runs like a Gay Excitometer: ●●●●○○○○○○
Killer Elite
It may have the killer cast of Robert De Niro and Clive Owen but that's not enough to make this confused Jason Statham vehicle look any more bearable. Especially given the critical mauling it received at Toronto.
Runs like a Gay Excitometer: ●●●○○○○○○○
Soul Surfer
I'm not sure whether there's a market for overtly Christian movies here in the UK, we cinema goers tend to be a secular bunch, but if there is one then this true life story of a teenage surfer (AnnaSophia Robb) who's won't let her arm being bitten off by a shark stop her from becoming a surfing champion, thanks to her family support and faith, deserves to make the grade. Helen Hunt and Dennis Quaid co-star.
Runs like a Gay Excitometer: ●●●○○○○○○○
Yaara O Dildaara
Bollywood picture that will, according to it's ratehr grand tagline, reinstate your faith in true love. In Punjabi.
Runs like a Gay Excitometer: ●●●○○○○○○○
Mausam
Also looking to pull the same crowd is this Indian-British co-production that heavily features the Royal Air Force in it's publicity and romantic subplots, everyone loves a man in uniform.
Runs like a Gay Excitometer: ●●○○○○○○○○
Tapes
There always seems to be one homegrown horror that sneaks into British cinemas, and this week you have the opportunity to witness through found footage (yawn) a suspected swingers party turn out to be hiding a bunch of devil worshippers. Luckily this isn't showing in Manchester.
Runs like a Gay Excitometer: ●●○○○○○○○○
Saturday, 28 May 2011
Carey Mulligan
Happy Birthday to
Carey Mulligan
26 today
The elfin British star, who rose to prominence in 2009's An Education as the precocious Jenny, has had a hell of a couple of years working with Michael Mann, Jim Sheridan and Oliver Stone (among others). Coming next will be the iconic role of Daisy Buchanan in Baz Luhrmann's The Great Gatsby.
Saturday, 12 February 2011
The clue's in the eyepatch (Out this week - 11/02/11)
I can't quite believe it's happening, but after two and a half years of previewing the weekly releases I'm coming to a major milestone - it's the first movie to get a perfect score. The reviews have been cracking, it's from a director(s) and cast that I truly admire, it's picked up awards and nominations from major organisations - whilst I have had my doubts frankly it's hard to ignore it even if it didn't actually make my countdown for most anticipated film for 2010! So later today I will go to see , this weeks film of the week True Grit. 
True Grit
Without doubt this is the most exciting Western proposition in nearly 20 years. The Coen brothers returning to Charles Portis' novel for this exciting tale about redemption and loyalty all seen through the eyes of a 13 year old girl. By the way the talk that this is not a remake of the earlier movie is slightly undermined by the eyepatch, which was an invention of the first film.
Runs like a Gay Excitometer: ●●●●●●●●●●
Gnomeo and Juliet
Smart looking children's adaptation of Shakespeare most famous romantic tragedy set to the music of Elton John. The changing of the characters to Gnome's is odd but is at least understandable for the kids. The eclectic cast backing James McAvoy and Emily Blunt in the leads ranges from the highbrow Michael Caine, Maggie Smith and Julie Walters to the bizarre trilogy of Ozzy Osbourne, Jason Statham and Hulk Hogan!
Runs like a Gay Excitometer: ●●●●●○○○○○
Never Let me Go
Kazuo Ishiguro's subtly sci-fi love triangle set in an alternative 1970's UK somehow never managed to capture the pre-screening buzz it elicited. Nevertheless the melancholic style and triumphant central performances by Carey Mulligan, Keira Knightley and Andrew Garfield makes this an interesing proposition.
Runs like a Gay Excitometer: ●●●●●○○○○○
Just Go with It
Dreadful looking Adam Sandler vehicle where he somehow manages to drag Jennifer Aniston and Nicole Kidman into the mess with him. Plot seems to revolve around Sandler pretending Aniston is his wife in order to attract another (younger) woman.
Runs like a Gay Excitometer: ●●●○○○○○○○
Nothing to Declare
French Buddy Cop Comedy (be warned) about the closing of the French-Belgian border in the ninety's. Plenty of national stereotypes abound. Should appeal to the Top Gear crowd - if it weren't actually in French.
Runs like a Gay Excitometer: ●●●○○○○○○○
Patiala House
Akshay Kumar headlines this UK set Bollywood movie about a second generation Sikh, the central question is whether supporting your family or following your dreams is more important or whether you should have to choose.
Runs like a Gay Excitometer: ●●●○○○○○○○
Son of Babylon
Iraqi drama about a 12 year-old boy Ahmed and his Grandmother crossing the country to find Ahmed's missing father who might have been released after the fall of Saddam Hussein.
Runs like a Gay Excitometer: ●●●○○○○○○○
Yogi Bear
The questionable regurgitation of 1960's cartoons reaches a new low with Hanna-Barbera's most famous Bear, most famous for it's "Best things come in Bears" first poster. You can understand why Dan Aykroyd desperately needs the work but Justin Timberlake has no excuse fr this boo boo.
Runs like a Gay Excitometer: ●●●○○○○○○○
Bizarrely missed from 04/02/11
New York, I Love You
Not sure how I missed the release of this themed collection of shorts in the same vein as Paris Je t'aime. I've already got the DVD and will review - as part of my normal film reviews - in a few weeks.
Runs like a Gay Excitometer: ●●●●●●●○○○
Wednesday, 13 October 2010
Wall Street: Money Never Sleeps
2010. Dir: Oliver Stone. Starring: Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan and Eli Wallach. ●●○○○
When the producers first considering a belated sequel to 1987's Wall Street the probably envisioned a searing look at both the insatiable greed and the obscene politics that created the financial meltdown of 2008. By resurrecting the anti-hero of the previous film - yuppie iconoclast Gordon Gekko as performed to oscar winning effect by Michael Douglas - they had a ready made sneering villain all they needed was Oliver Stone to bring back his righteous anger. Unfortunately Allan Loeb and Stephen Schiff's screenplay humanises Gekko and muzzles Stone leaving Wall Street: Money Never Sleeps a pale (even dull) imitation of it's predecessor.
As in 1987 the plot follows a young man torn between father figures. In 1987 it was Charlie Sheen (who has a fun cameo with a bitter aftertaste) who couldn't decide between following his father's (literally it's Martin) airline mechanic or Gekko's example of insider trading. Here it's Shia LaBeouf tossing his loyalties between old school trader Frank Langella, corporate shark Josh Brolin, fusion physicist Austin Pendleton and Douglas. However where Sheen could show the struggle and the script clearly delineated the two opposing forces here all of the potential father figures come with the same set of pros and cons and LaBeouf is unable to present the emotional burden placed upon him.
Shia's failure to convince with each of these relationships, as well as the ones with his mother (Susan Sarandon) or leftwing blogger girlfriend (Carey Mulligan) is a major issue with the movie. I honestly don't know why LaBeouf keeps getting high profile roles with quality directors; when did he put in a good performance? Personally I'd say he was quite good in 2003's Holes but it's been decidedly downhill since then.
This isn't the only problem. One of the main reasons that Gekko worked so well in the original was because whilst he was a gloriously quotable bastard there was a clear legal line he stepped over when insider trading. The most recent crash was perfectly legal if morally dubious so the badguys, mainly the superbly oily Josh Brolin but also his mentor Eli Wallach grunting and whistling through his lines with aplomb, are repugnant but have to resort to same crimes as Gekko in order to be punished.
The script even sits back from fully condemning Wall Street, clearing pointing out it doesn't fully understand all the concepts involved with these high end debt products but regularly reminding them of the values involved.
Most distressingly Gekko is given a heart. The plot contrives to make Carey Mulligan Gekko's estranged daughter (there's also a son who committed suicide!) so there's plenty of making up for Gordon to do, whilst he's still double dealing on all of the other characters. The final scene in particular (there are others but thy aren't always what they seem) involves Douglas making a number concessions to the character, and there are many occasions when Gekko insists he's human.
The film isn't all bad - Douglas does remind us how good his performance was in the original and the costumes are gorgeous and obscene. Director Oliver Stone does his best with the flat script using splitscreen and CGI to jazz up the trading a the use of Goya's Saturn devouring his Son is exemplary but the blunt visual motifs usually fail bubbles and dominoes among them.
Overall I would say this is a film worth missing. Just rent out the original for a far more invigorating look at the wolves in our financial services industry.
Saturday, 29 May 2010
Musical Blog-a-thon
When Encore's World of Film & TV (have you read the blog? Well worth the visit) first mooted the idea of a Musical blog-a-thon I was initially sceptical. They may be a few corners of the web that will clear out throats and belt out a supportive tune for our own personal favourites but we are preaching to the converted. The rest of the world will shrug and carry on with their general disregard for this much maligned genre.
Therein lies the problem. Musicals are not, in themselves a genre, it's a style of storytelling and due to the theatricality of the style it can be off-putting. We do not, in life, suddenly burst into song so accepting characters to do the same requires a suspension of disbelief that is over and above most movie going experiences. It is not surprising therefore that 2 of the most critically acclaimed and commercially successful musicals from the last ten years have wavered from the traditional formula - Chicago played the musical numbers within the subconscious of the stars, and Moulin Rouge created a world where every act was theatrical and the singing was a natural extension of that world.
If the rise of naturalistic story telling has hampered the musical form what then is the future. There are currently few big budget musical productions being prepped, in the last 18 months of reading the news only 4 come to mind (forgive me if there are more); Steven Soderbergh's Cleo which appears to be going the over-theatrical route, 1990 Tony Award winner City of Angels which takes place in the mind of the main character, Nightclub based The Song is You where the music accompanies the story rather than propels it and the Carey Mulligan starring My Fair Lady update.
It's this last picture that I aim to focus on for the rest of the post. Partly because it's a story that can only be told in a naturalistic way, partly because the remake has a huge amount of responsibility and partly because I love the original so much. So read on for five reasons why My Fair Lady could rescue the Hollywood Musical, and one reason why it means so much to me.
1. The story is timeless
Alan Jay Lerner may have based his musical on George Bernard Shaw's 1913 hit play (albeit removing the tricky prologue and epilogue's and changing the ending) but that's story is simply a modern retelling of the Greek Myth popularised by Ovid. Pygmalion himself was a (fictional) sculptor who's love for his work is so great that the sculpture comes alive. This concept of a work of art coming to life through overwhelming desire is seen in variations as different as Frankenstein, Pinnochio and Laura. In Shaw's version Eliza Doolittle is no longer an inanimate object but the idea that working on her to make her more desirable will corrupt dialect expert Henry Higgins into falling in love is clearly reflective of the original story.
Here is Rex Harrison as Henry Higgins realising he loves his creation:
2. The songs are catchy
With musical theatre the score must either be so good that the listener appreciates the quality of the writing (see just about anything by Sondheim), or you need to leave the auditorium toe tapping away (try anything by Andrew Lloyd Webber). I won't pretend the music in My Fair is particularly well written, but by God it does make you want to join in.
Stanley Holloway's getting married in the morning - I expect you know this one.
3. The love story is complex and real
What exactly are the dynamics of the central romances in My Fair Lady? Well Freddy Enysford-Hill falls for Eliza on first meeting her. Eliza, who's father abandons her, has a thing for older man Higgins. Higgins devoutly states he will never let a woman in his life at the beginning, questions why women can't be more like men and when presented with Eliza on a plate (sorry about the spoiler) doesn't rush to hold her but leans back and asks for slippers (am I the only one wondering what the exact relationship between Higgins and Pickering - "What a fine pair of babies playing with their life size doll" - could be). In short everyone falls for the wrong person, and no-one knows how to truly express their feelings.
This is best expressed in Audrey Hepburn's (Marni Nixon's voice) dismissal of words:
4. It's so awfully British
Being set in Edwardian England has some great advantages for musicals. Primarily because we can understand every line of dialogue and singing (even the accents are very well enunciated), and partly because it will actually be easier to believe the characters breaking into song. Trust me it will work...
Rex Harrison explaining why English is so important.
5. Behind the scenes the craft is incredible
The original is beautiful, every scene is packed with gorgeous detail and period flourishes. Whilst the update will struggle to better it if it comes anywhere close to the creativity exhibited then it will be gorgeous to watch.
Here's the Ascot Gavotte which very nicely showcases the gorgeous costuming, frivolous design and impeccable choreography.
6. When I was a boy I knew every word
The very personal reason I want this to succeed is based on my own childhood. I am truly a child of the VCR, invented and mass produced when I was living in Hong Kong my family were one of the few people to have them when we returned to the UK. There were limited recordings available - naturally I wore out Star Wars and the few Disney titles that were around as well as an unhealthy fixation with Carry On films. My Grandparents were musical fans though and felt that the overt sexuality in Rodgers and Hammerstein pictures like South Pacific and Carousel was too much for me but that My Fair Lady, for all the reasons above, was more suitable. So every couple of weeks as a fresh faced 6 year old I would go to visit them and spend nearly three hours starring at Cecil Beaton's delightful costumes. I did, as I stated above, know every word. So it's very important to me personally that they get this new version right and not sully the original.
