Things are looking pretty grim in cinemas here in the UK, and I don't just mean the subject matter of the few films that come close to getting me into cinemas. I'm not sure why it is but the first couple of weeks of September have been pretty poor the last couple of years, I imagine that the end of the summer holidays (and here it really feels like summer has ended ended) means that the kids quadrant won't be watching new movies but it's too soon for the serious awards fare. Of course there's bonnets and brides which should get a few punters in but for me the film of the week is Post Mortem.
Post Mortem
Most South American film industries have a proud heritage of looking back at the darkest periods of their history so it's no surprise that Chile wants to address the 1973 Coup against Salvador Allende. Taking the unusual route of charting the furtive relationship between a shy morgue worker and a burlesque dancer who goes disappears in the aftermath, this film illustrates the parallels between assessing the bodies and the broken state.
Runs like a Gay Excitometer: ●●●●●○○○○○
Jane Eyre
If this latest adaptation of Charlotte Bronte's classic gothic novel breaks out then expect the arthouse cinemas to have the twinset and tweed crowds queuing round the block for that nice Judi Dench and a few period costumes. I probably sound cynical as news from the US is that Cary Fukunaga's film with Mia Wasikowska and Michael Fassbender is a superb retelling that could even reap some awards notice.
Runs like a Gay Excitometer: ●●●●●○○○○○
Troll Hunter
If you're getting fed up with found footage horror movies then stand by for a shot of adrenalin from this Scandinavian monster mash with a bunch of students coming across a troll hunt and getting up close and personal with the grotesque beasties.
Runs like a Gay Excitometer: ●●●●●○○○○○
Friends with Benefits
You have to wonder if Mila Kunis talked to Natalie Portman during the making of Black Swan, or whether they took the professional rivalry to heart, whatever happened Kunis seems to have drawn the longer straw on the shagging mates stories, coupled with Justin Timberlake and supported by the extremely talented Richard Jenkins, Woody Harrelson and Patricia Clarkson. Some of the trailer looks quite funny too.
Runs like a Gay Excitometer: ●●●●○○○○○○
Lonely Place to Die
There are two Brit thrillers out this week, of which this Scottish set kidnap drama looks slightly more efficient and terrifying with a quintet of mountaineers rescuing a trapped girl, but finding a whole lot of trouble from shady underworld types. Shame the trailer gives away each of the deaths.
Runs like a Gay Excitometer: ●●●○○○○○○○
Mere Brother ki Dulham
It's a well worn story in this bright and fast moving Bollywood release with a downtrodden brother desperately trying to arrange a marriage for his superstar sibling. Naturally when he finally finds a suitable match they end up falling for each other. Utter hokum of course, but fun looking hokum at least, with a surprisingly feminist leading lady.
Runs like a Gay Excitometer: ●●●○○○○○○○
Teja Bhai and Family
Malayalam gangster comedy about a notorious con trying to go straight for love. The trailer looks as complex and incomprehensible as you can imagine.
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Colombiana
The first of the American big releases to get squashed by The Help's fantastic box office run shares a common heritage with many of Luc Besson's feminist heroes but it seems Zoe Saldana drug cartel orphan doesn't has the emotional heft of Leon or Nikita.
Runs like a Gay Excitometer: ●●○○○○○○○○
Holding
More homegrown violence set against the very best of Britain's National Parks with this "heart-pounding suspense thriller set on a farm in England's beautiful rugged Peak district". Not too far from where I live then.
Runs like a Gay Excitometer: ●●○○○○○○○○
Friday, 9 September 2011
Autopsy of History (Out this week - 09/09/11)
Wednesday, 7 September 2011
One Day
2011. Dir: Lone Scherfig. Starring: Anne Hathaway, Jim Sturgess, Patricia Clarkson, Rafe Spall and Ken Stott. ●●●○○
One Day is a beloved book. David Nicholl's 2009 romantic novel spent an age at the top of the best-selling lists, won the 2010 Galaxy book of the year and inspired dozens of books clubs to cluck over the changing fortunes of Em and Dex. I hated it, but it succeeds at what it tries to achieve.
The 2011 page to screen adaptation has crashed and burnt on the international box office, taking just $21m so far in global sales and failing to even achieve the number one spot in the UK. Fans of the novel have nitpicked over every details, loathing the cuts and despairing of Anne Hathaway's accent. I liked it, but it fails to hits it's goals.
I say all this to illustrate the massive gap between the written word and cinematic art, between our expectations of literature of film, between each patrons empathy and understanding of the characters and situations presented. Or one man's meat is another man's poison.
The central conceit of the novel is that it follows our soulmates over 20 anniversaries of their first meeting, catching up with their trials and tribulations by presenting their thoughts on each St. Swithin's Day between 1988 and 2008. In the novel there is political and cultural parallels to the death of yuppieism and disillusionment with New Labour which are jettisoned for the film and replaced with sly commentary on changing fashion and technological advances (curiously though Emma local swimming baths remain freakishly unchanged for the majority of the films running time, no neo-facist supergym identity or slide concessions there).
Although plenty of experience of romantic comedy staples will ensure all readers/viewers are keenly aware Em and Dex are meant to be together they both drift aimlessly away from each other for the majority of the novel, delving into increasingly unsuitable relationships and experiencing alternating highs and lows of personal and professional success. Only in the final reel when Dex has had fatherhood thrust upon him and Em finds hidden layers in confidence through her children's novels can either character grow up and admit to the mutual attraction and the necessary compromises and strains in any relationship. In the novel we get an insight into the motivations of the central couple, experience their inner monologues each year to feel their yearning, and yet oddly it's only in the film that I fully appreciated the relationship had to wait for 17 years before it had a ghost of a chance of succeeding, that until then it would have failed.
That success lies in the casting of the central couple. Anne Hathaway has form playing the intelligent girl refusing to trade on her looks (Devil Wears Prada, to some extent Love and Other Drugs), and indeed she doesn't disappoint, underplaying the caustic Em and allowing the vulnerability to shine through. (To address the elephant in the room the accent was fine, inconsistent but only in a "I have a regional accent that I'm ashamed of" way which worked in the context of a de-politicised movie but would not have been the accent of the Trotskyite anti-war demonstrator we have in the novel). Sturgess too is on top form, humanising the frankly ghastly Dexter, a character I despised in the novel, his haunting eyes remind us through the 'Largin' It' period of ultra-excess that underneath the coke-snorting swagger there's a little boy who's lost his ability to communicate with real people.
Rafe Spall is also deservedly picking up plaudits as Emma's long term boyfriend Ian, a failed stand-up with a manic desire to please and an instinctive shuffling presence. Although like in the novel there's little explanation to why the couple ended up settling for each other as both seem to be aware there's no future in the relationship. Ken Stott also does a fine job as Dex's father, stand-offish and decidedly British the one to one he has with Dex at the end is knowing and full of acceptance of their shared experiences.
Why then, if the performances are generally so good, does this film fail? It's purely because Nicholl's has adapted it from his highly acclaimed book. Being keenly aware of the fans delight in seeing their favourite scenes and hearing their favourite quotes he over-indulges their fantasies retaining the idealised language and packing in the most delicious incidents. And whilst pronouncements such as "If I could give you just one gift, do you know what it would be? Confidence. That or a scented candle." or "I love you, Dex, so much. I just don't like you anymore." are just as delightful on the screen as you would hope the average five and a bit minutes per year gets exhausting. By messing with the timelines and reducing the number of visits, as sacrilegious as that sounds, might has eased that tension. Really what was the point of playing "Where are you Moriaty?" without any understanding of the rules or context of the game, except to please the hardcore fans, and when a year is reduced to three strokes in the pool you have to wonder why it was worth even putting up the graphic.
Spoilers in the net paragraph - I couldn't think of another way of explaining my dislike of one one plot element.
I also have a big problem with the ending of the film, no not 2006 with it's crushing inevitability, but the storyline that links 05 to 06, given the lack of time spent on Em's maternal ambitions and the weight of the final conclusion it seems like a faked pass in very poor taste.
Spoilers over now.
Lone Scherfig directs with the same crisp detachment that she made An Education but without the purposeful plot of her previous films more was needed to keep the audience engaged.
Overall whilst One Day is nice enough and a passable way to spend a lazy afternoon it can only really be considered as a disappointment to the legion of book-lovers to whom this adaptation was squarely aimed.
Wednesday, 19 January 2011
20 for 2011: 10 - One Day
Moving into our top ten we have literary adaptation One Day.
After the critical and commercial set back that was Love and Other Drugs Anne Hathaway is in dire need of a rom com success story, and this could just be it. Set over a period of 20 years David Nicholl's self adapted screenplay follows Emma (Hathaway) and Dexter (Jim Sturgess) on every St. Swinthins day as their lives intertwine and the romance they should have had drifts apart and together again. It's a delicious concept about fate and patience and making the best of what you have - both of them get involved in hideously inappropriate relationships along the way.
Unfortunately I recently read the novel and by the end I simply couldn't care about the characters. The traits Nicholl gives them to make them rounded or more realistic are just about enough to ensure both of the leads are irritating. Hopefully the screen version has managed to tidy this up - I hope so for Anne sake.
To my shame this is the only film in the 20 most anticipated directed by a woman, An Education helmer Lone Scherfig. Sarah Polley's Take this Waltz and Catherine Hardwicke's Red Riding Hood just missed the cut. Should I have included anything else?
Friday, 22 October 2010
Penpals Forever (Out this week - 22/10/10)
Last weeks situation is about as far from this week as you could imagine - previously we had a small number of releases with a very clear film of the week, now we're facing an onslaught of movies with nothing standing out but lots in contention for the coveted title. Part of the reason for that is half-term so with all the little kiddiewinks taking a break from studies it's no wonder the studios are pushing out a variety of animation and teen-friendly products. Anyone's guess who's going to lead the box office, but my choice is Mary and Max.
Africa United
Not exactly timely release for this football World cup inspired road movie, as four Rwandan teens must make their way across the continent in order to use their cup final tickets. Interesting view of the cultural impact of sport in a fascinating and diverse continent.
Runs like a Gay Excitometer: ●●●○○○○○○○
Alpha and Omega
Our first animated movie for the half term is the least inspired looking with two wolves separated from the pack and on the quest to return to their families. Dannis Hopper gives his last performance in a supporting role.
Runs like a Gay Excitometer: ●●●○○○○○○○
The Arbor
Award-winning Bradford born playwright Andrea Dunbar had her first play produced at 19 but was dead from alcohol consumption within 10 years having written some of the most provocative plays about Thatcherite Britain. This part-documentary/part-verbatim theatre looks at the experiences of her mixed race daughter.
Runs like a Gay Excitometer: ●●●●○○○○○○
Carlos
It'sthe shortened version (only 2.5 hours) of Olivier Assayas' mini-series about the infamous Venezuelan terrorist Carlos the Jackal. Whilst I hear incredible things about the quality of the work, I suspect a more fulfilling experience would be to rent the full works and watch the whole 6 hours.
Runs like a Gay Excitometer: ●●●●○○○○○○
Easy A
Emma Stone shines as a high school teen who allows the rumours of her promiscuity to reign in order to protect a friend - rather then shy away from the accusations she embraces the limelight. Could be this years Mean Girls. Stanley Tucci, Patricia Clarkson and Thomas Haden Church bolster the adult talent.
Runs like a Gay Excitometer: ●●●●●○○○○○
Legend of the Guradians
Anthropomorthism has been a staple of animation and fantasy storytelling for gnerations. So here is the natural amalgamation with a Lord of the Ring type fable as played out by owls. Classy Anglo-Australian cast led by Hugo Weaving, Helen Mirren and Geoffrey Rush.
Runs like a Gay Excitometer: ●●●●●○○○○○
Mary and Max
Less bombastic animation can be found in this stop-motion picture tracing the relationship between a shy Aussie teenager and her Asperger's suffering penpal in New York. Absolutely unique visual storytelling. Toni Collette and Philip Seymour Hoffman are the writing leads.
Runs like a Gay Excitometer: ●●●●●○○○○○
Paranormal Activity 2
The first Paranormal Activity was a smash-hit sleeper, taking an original idea, a small budget and clever clever sound design to create a scary phenomenon. This is the highly unnecessary sequel. Watch it if you dare.
Runs like a Gay Excitometer: ●●○○○○○○○○
Ramona and Beezus
Apparantly massively popular as young teen fiction characters with a heavy duty range of books, nevertheless the trailer looks remarkably full of bathos and utterly missable.
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Red
This action comedy looks like great value as retired (and extremely dangerous) CIA agents Bruce Willis, John Malkovich, Helen Mirren and Morgan Freeman must find out who trying to assasinate them. Ernest Borgnine and Richard Dreyfuss are also on hand in one of the oldest cast lists of all time.
Runs like a Gay Excitometer: ●●●●●○○○○○
Stoning of Soraya M
Shoreh Aghdashloo stars as a woman fighting against gender intolerance in Iran, especially the barbaric punishment met out on a the titular character after having been accused of adultery.
Runs like a Gay Excitometer: ●●●●●○○○○○
Wednesday, 7 July 2010
Whatever Works
2009. Dir: Woody Allen. Starring: Larry David, Evan Rachel Wood, Ed Begley Jr, Patricia Clarkson and Conleth Hill. ●○○○○
The philosophy of this film, which Larry David's Boris is keen to point out on numerous occasions, is that life is hard and transient enough that we should all strive for our own temporary measures of happiness, for Whatever Works. At heart it's a message of tolerance and forgiveness, that happiness is so fleeting we should hold on to it however it's obtained and not to begrudge other people's methods. Beautiful. Unfortunately the movie had the opposite effect on me, I left the cinema less happy then when I went in and I'm willing to forgo other people's happiness if this sort of tangled mess is the result.
I'll start in a positive way by listing the elements of the film I liked: the concept of Boris breaking the fourth wall and alienating the other characters was interesting (although it wasn't done well or with any consistency), Evan Rachel Wood gave a passable ditzy blond of the Mira Sorvino school of Allen heroines, the score was the usual easy jazz we've come to expect from Allen's movies and... No, don't expect any more, that's all I liked.
The flimsy plot follows bitter, nihilistic, semi-suicidal Boris, and the path of his relationship with Wood's Southern runaway Melody. Boris is clearly the Allen proxy but David shouts his way through the performance with none of the nebbishnish and self-deprecation that would have made the character work, he's not even rude and funny which would bring the audience some way around liking him. You have to wonder what naive Melody sees in him, and no the Pygmalian references in the film won't wash because Boris takes no pleasure in either the transformation (if there even is one) or the process of enabling this transformation.
Time, according to one of the direct to camera monologues (that's one where no-one notices him as opposed to the ones where people stare and question), passes and out of the blue Melody's parents played with gusto but no feeling by Patricia Clarkson and Ed Begley Jnr arrive separately as gargantuan stereotypes of deep south prejudices. Allen clearly doesn't know what to do with people outside of his usual social groupings has them immediately and without much warning lose their previous fears and anxieties and become a nymphomaniac and proud homosexual respectively.
I would say it was the influence of Allen's own Manhattan that sets these people free of their bonds, but you'd hardly know it was set in New York. The heady atmosphere of the city ever-present in Allen's greatest movies is barely noticeable with the location feeling the same as any other major metropolis.
All this, and much more, is squeezed into the 92 minute film making it feel like an eternity had passed before the end credits.
I want to end with more positivity, to praise Clarkson's costumes or the set decoration of David's duplex, but I can't. Sure these elements work, but they're uninventive and bordering on the cliched. Perhaps if I end with the one line that made me laugh out loud (and bear in mind it was an empty theatre so I didn't have an excuse for not guffawing often). Boris has just awoken from a nightmare panicking about is imminent demise - I did say the character was like a neuroses greatest hits for Allen didn't I? - and Melody suggests watching a film to calm down:
Boris I have stared into the abyss.
Melody We'll watch something else then.
Even that wasn't as good as I remember.
Wednesday, 28 April 2010
Shutter Island
2010. Dir: Martin Scorsese. Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingley, Max von Sydow and Michelle Williams. ●●●●○
I'm not much of a reader. Sure, like anyone I can devour an airport paperback in a couple of sittings, but these are few and far between. I spend much more time between books, with dogeared classics drifting around my desk waiting for the first chapter to be tried agian. Occasionally though I make a bit of effort. It could be because I love the author's style (Michael Chabon, J.G Ballard) or because I've heard great things (The Time Traveler's Wife, Curious incident of the dog in the night-time) OR because I hear there's going to be a movie made form it. Which how I came to read Dennis Lehane's Shutter Island.
I hated it.
But that negative experience meant that I could, when the film came out, watch it with a understanding of where the plot was going and pre-warned about the style. Lehane, who specialises in adult crime thrillers (Mystic River and Gone, Baby, Gone have both been sucessfully adapted to the big screen), set out to write a genre piece, a gothic mystery with a dramatic twist. As a novel I felt it didn't work as the ending was too neat, too cliched to be true. Of course it's a film cliche, anyway, so naturally it works better in that medium.
As the film starts we see a ferry coming out of the mist on it's way to the titular island and its maximum security institute for the criminally insane. Before we've had a chance to fully register the characters Marshalls Teddy Daniels (DiCaprio) and Chuck Aule (geddit???!!! - Mark Ruffalo) are being thundered away from the dock in an open top jeep to a soundtrack of intense classics.
The plots own macguffin is escaped prisoner Rachel Solando who's miraculously squeezed through her bars and disappered into the inhospital island, and the Marshalls have been called to help track her down. Not that that's the only thing on DiCaprio's mind. Whilst he's there he must find out the truth about the secret mind drugs that sinister phychiatrist's Ben Kingsley and Max von Sydow are dishing out and avenge the murder of his fragile wife Dolores Chanal (Michelle Williams) by the arsonist Andrew Laeddis who may also be, unregistered, in the island. Meanwhile he's suffering from violent headaches, dreaming about his wife's murder, suffering from flashbacks to World War 2. And, to top it all off, there's a big storm coming.
If all of this combined makes it seem like there's an awful lot going on, you're right. But remember most of these events are red herrings. The film is packing in incident and characters to confuse you, to obscure the truth from your vision. Like the fog in the opening, we aren't meant to understand the full implications of the search until that thrid act reveal. Although you could read those last two paragraphs and in effect solve the entire mystery.
Marty knows what he's doing with the story, in what must be his most satisfying film since Goodfellas. The sensibility of the novel and the genre is a ball that Scorsese is more than happy to pick up and run with. Every underlined clue, every musical cue, every jumpy edit seems to be perfectly judged to reinforce the storys central conceit. It is both a pastiche and a modern response to the melodrams of the 40's and 50's where the heroine (usually) begins to doubt her own security and sanity The Spiral Staircase, Gaslight and Sorry, Wrong Number all come to mind.
To that end we also completely forget it's a Scorsese picture, wih it's use of a classical soundtrack and heavy handed symbolism it's about as far away from his past masterpieces as you can imagine. Only the concentration camp shoot out with it's relentless tracking shot is a clue to who you're working with.
In the lead role DiCaprio continues to grow as an actor, able to convey much with a look or a throwaway line. Even the more outre choices - like the completely gonzo scribbling - seem to fit with the characters arc. The way he plays the final scene by the doors of the asylum is incredible, a massive awareness of his situation combined with a confidence about the path he must follow.
I expect in 10 years time we'll look back at this period in DiCaprio's career (with this Inception and Clint Eastwood J. Edgar Hoover biopic) when he truly matured into the greatest actor of his generation
Ben Kingsley also givs a rare performance as the doctor in charge, slipping from playfulness through exasperation to dismissive sometimes within a single speech.
As you would expect in a Scorsese picture the design is solid, with Dante Ferretti's (Casino, Interview with the Vampire) production design inside Robert Richardson's (Inglorious Basterds, Powder Keg) lens meaning every frame is a piece of art.
Overall this is a wonderful throwback to the films of yore, only let down by it's lack of ambition, with no commentary about the world outside of the film.
Monday, 25 August 2008
Pieces of April
2003. Dir: Peter Hedges. Starring: Katie Holmes, Patricia Clarkson, Derek Luke, Sean Hayes and Oliver Platt. ●●●○○
Pieces of April has a relatively simple premise. April Burns (Holmes) prepares a thanksgiving meal for her family and things don't go entirely to plan. There are comic situations arising from April's broken oven, and pitch balck performances from the family from hell on their way to see her.
Indeed as a comedy it works, there are a lot of laughs to be had watching April trying to prepare the food or in Joy's (Clarkson) asides. When she asks her daughter to stop singing you really don't know whether to laugh or to want to give her a slap.
One of the main problems with the film is that very few of the characters come across as sympathetic or rounded. Only Oliver Platt delivers anything beyond a braod caricature as he tries to keep the family together.
Indeed some of the supporting characters seem to be completely irredeemable - yes, Sean Hayes we're looking at your bizarre performance, and Alison Pill as April's sister is given nothing positive to say in the entire film. Also I find it extremely difficult to believe that Aprils knows as little as she does about cooking - her appaling attempts to peel an onion are one thing but surely no-one would be stupid enough to attempt to mash uncooked potatoes for as long as she keeps it up.
Even the set decoration doesn't make much sense - the claustrophobia and student kitsch appeal of the main apartment work well, but the other apartments almost appear to be in different areas of the city, with vastly different sized flats. I just can't imagine that the Sean Hayes character would spend that much money on a new oven and yet stay in that block.
Tami Reiker's handheld camerawork gives a nice lo-fi feel to the proceedings and Laura Cunningham's costumes and the hair an make-up team make each character feel more lived in than some of the performances do.
Overall I would say Pieces of April is a pleasant little comedy with unpleasant characters. Fairly enjoyable fluff but not enough to go out a buy it.
