tag:blogger.com,1999:blog-27180464655629294512024-03-14T18:49:01.470+00:00Beames on FilmRobert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.comBlogger528125tag:blogger.com,1999:blog-2718046465562929451.post-60690738593623082602017-10-17T14:54:00.001+01:002017-10-17T14:55:51.331+01:00Faulty Projector Podcast #1: Genre Film<iframe allowfullscreen="" frameborder="0" height="284" src="https://www.youtube.com/embed/JAx8P0xKzqM" width="504"></iframe><br />
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It's been a while! I've been out of the film journalism game for some time and have completely neglected this blog (an attempt to turn this blog into comic book reviews failed to re-ignite my enthusiasm for criticism), but my long-time friend Dennis Routledge-Tizzard has invited me to co-host a new podcast with him named after his movie blog <a href="https://faultyprojector.blogspot.co.uk/" target="_blank">Faulty Projector</a>.<br />
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I'll update here with the new episodes. They are just on YouTube at the moment, though hopefully at some point we'll find a simple way to make them more conveniently accessible.<br />
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This episode is nominally on the topic "Why Isn't Genre Film Take More Seriously?" though I'm not certain we get around to really discussing that even though the episode massively overran. But we've got the first one in the can anyway and we'll fine-tune what we do as we go along.<br />
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I have another couple of movie-related and non-movie-related creative projects in development which I hope to share in the near future. In the meantime, any feedback on this podcast would be appreciated.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-61187027898352322242015-08-19T19:20:00.003+01:002015-08-31T12:32:33.995+01:00Phonogram: the Immaterial Girl #1 - Review<div>
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Writer: Kieron Gillen</div>
Artist: Jamie McKelvie<br />
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Colourist: Matthew Wilson</div>
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Letterer: Clayton Cowles</div>
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After a five year gap since the previous mini-series, Phonogram has finally returned with The Immaterial Girl and - if this first issue is any indication - it continues to get better with each new volume. If the original arc, Rue Britannia, showcased the raw cleverness of Gillen's writing and stylishness of McKelvie's art in the early stages of their collaboration and comic book careers, then the next chapter, The Singles Club, brought with it a new focus and sense of discipline. It was tighter, easier to follow and never felt convoluted or got metatextual to the extent that it alienated the reader.</div>
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But whilst The Singles Club was more fun to read and far easier to follow, it was a little less ambitious than the story that had come before - essentially being a collection of one-shots, each focussing on a different character with the entire series taking place over the same club night out. The Immaterial Girl seems like both an obvious progression and combination of everything that came before. It's slick, disciplined and accessible like the second volume, with the ambition and world-building scope of its predecessor.</div>
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<tr><td class="tr-caption" style="text-align: center;">As a Brighton lad myself, the perfect attention to detail here is appreciated.</td></tr>
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This time the story takes previous supporting regular Emily Aster and thrusts her into the spotlight, exploring her backstory. In doing so it jumps between different times of her life and, with them, naturally transports us to different musical 'scenes' with their own affectionately rendered fashions and obsessions - a set-up which plays right into Gillen and McKelvie's interests as they geek out over clothing, music, places, and fictionalised versions of people they knew. [To emphasise the amount of love and care that goes into detail: an offhand reference to the White Stripes having played "across town a few days ago" in the Brighton of November 2001 is completely accurate, according to a quick Google search.]</div>
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It could easily be read as smug or self-indulgent but what makes Phonogram (and with it the entire Gillen/McKelvie oeuvre) so great is that it's completely anti-cynical. It's fundamentally a celebration of loving whatever it is you love and doing it with total commitment - and though we see that via a tour through what moves and inspires the creators, you never get the feeling they're looking down on anything else (even if the characters themselves may be on occasion). The best example of this comes when a phonomancer* asks a random guy about his take on pop trio the Sugarbabes only to throw a punch he responds "my <i>real</i> take or ironic?" The guy isn't being punched for not liking the Sugarbabes (well, mostly) but for being pretentious and insincere. He's embarrassed about what he taps his feet to and that is why he must bare the brunt of Seth Bingo's pugilistic fury. Such is the verdict of Phonogram.</div>
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<tr><td class="tr-caption" style="text-align: center;">So good.</td></tr>
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I don't usually care a great deal about spoilers as a rule, but I genuinely don't want to write too much about what happens over the second half of the issue because it's really inventive and surprising (even if it is skillfully foreshadowed earlier in the issue). So go and read the comic because it's great stuff by brilliant creators - including regular colourist Matthew Wilson and letterer Clayton Cowles. I'll just conclude by writing that volume three is shaping up to be something really special and potentially more emotionally satisfying than the previous ones which have largely traded on being clever and funny. The first issue here has it all and is a really good indication of where Gillen and McKelvie are now as creators. Viewing it alongside those other two (still <i>very</i> good) arcs gives a strong indication of how their collaborative voice has matured.</div>
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As far as new readers go, I'd tend to echo the creators themselves in saying that The Singles Club is a perfect introduction to the style and humour of the thing, but I'd add those who know them from Wicked + Divine (another current Image title) or their run on Young Avengers at Marvel will have no problem jumping on here. You can probably come in completely cold too, but you'd probably get a bit more from it if you're plugged into their particular sensibilities beforehand.</div>
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*In Phonogram the idea that music is magic is made literal, with phonomancers those who can manipulate this power. Incidentally, the idea that songs are spells is best encapsulated in a small backup story in this issue, written by Gillen and drawn by Sarah Gordon, called Everything is Nothing, in which a Taylor Swift song that reminds a guy of a recent breakup is referred to as a "curse song". The man is question is compelled to play it seventeen times back to back and it summons his ex's ghost... because metaphor. It's a really good backup story.</div>
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Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-60269209305334717012015-08-14T15:11:00.002+01:002015-08-14T15:21:05.890+01:00Beames on Comics?<div class="separator" style="clear: both; text-align: center;">
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Since moving to Barcelona at the end of 2014 I haven't updated this blog at all - as a result of settling in a new country, a lack of access to new film releases, and (mostly) apathy. Sad to say, but I haven't been keeping up with movies in 2015 and therefore there's been no real reason to continue this blog in its original form. However, thanks to the wonders of digital publishing, I am still able to buy new comics each Wednesday - something I've been doing now for about four years - and so I'm in a rather better position to write about those than I am about movies as things stand. Maybe that'll change but that's the reality right now.<br />
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I've actually been thinking about writing comic book related articles and reviews for the best part of two years but I've allowed silly things to stop me up to this point. Laziness is certainly one of them ("I'll start blogging again <i>next </i>week") but mostly, stupid as it will sound, every time I've sat and the keyboard and felt like writing about a comic book I've been put off by the fact of having to actually think of a name for a new blog (Beames on Film was always intended as a placeholder to just get me started actually writing) added to the minor hassle of setting it up.<br />
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So I've basically decided to cut the crap and just start writing again on this existing blog, which started last night when I posted <a href="http://beamesonfilm.blogspot.com.es/2015/08/action-comics-43-review.html" target="_blank">a comic book review</a>. For all I know it might be pointless: even a consistently popular monthly comic book has very low circulation in 2015, so comic books (despite their over representation in broader popular culture in recent years) remain an extremely niche bit of 'popular' entertainment.<br />
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To put some figures on that, every month Batman sells around or just over 100,000 copies. And that's <i>Batman</i> - most comics sell far fewer copies than that. Admittedly this doesn't account for digital sales, which the industry doesn't publish, but the number of sales is likely still low even given our wildest estimations of what digital sales might be. Do digital sales double readership of Batman? Do they quadruple physical sales? Even then we are talking about a niche unit of entertainment, smaller than any TV show or movie or pop song or vaguely popular YouTube video you can think of.<br />
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<tr><td class="tr-caption" style="text-align: center;">Happier times.</td></tr>
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Compare that with the latest movie adaptation of the Fantastic Four which bombed last weekend at the American box office, earning around half of its already low projections following terrible reviews and general negativity surrounding the movie. By all accounts that film is a financial disaster and a big blow to its backer, 20th Century Fox. An embarrassment. I'm a massive nerd and I love the Fantastic Four and I have no interest in seeing it at all... that's how badly it's doing. But if that film has so far grossed around $65 million then - even allowing for insane ticket prices - at least three million people have seen it so far. Incidentally the comic book itself was cancelled earlier this year due to low sales (about 30,000 copies a month, <i>globally</i>).<br />
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And that's not even accounting for the fact that popular culture and the mass media report on and engage in dialogue around even those movies people don't flock to see. So even a film that absolutely "fails" there's still a good chance the average person on the street has heard of it. So, to come back round to my point, it could be that talking about single issues of new comic book releases is so impossibly niche that nobody even reads this blog - which used to do ok numbers on movie reviews. <b>Because even small movies are huge things</b>.<br />
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So I'm obviously not doing this for the hits. Why am I doing this? Basically it comes down to the fact that over the last few years I've really gotten into comics after years of being interested but having zero idea where to start, so for starters I'd like to review comics with an eye on new reader friendliness and accessibility, which isn't really an angle I've seen covered much.<br />
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From what I've seen and experienced, conventional wisdom amongst comic book readers is that it's pretty easy to become a comic book reader: you go into a shop, pick up something you like the look of and buy it. And bang, you're buying comic books. But the reality is that comic books (at least the mainstream superhero kind) are intimidating to the uninitiated - and in some cases that can go for the stores they are sold in and the gatekeepers who work there as much as the books themselves.<br />
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<tr><td class="tr-caption" style="text-align: center;">Honestly, I've read this comic and I'll be damned if I know, Cap.</td></tr>
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Let's stick with the books though. In terms of the big, mainstream superhero comics, many of the best known ones have been running in an ongoing, continuity intensive way for at least fifty years and in some case a good deal longer. Now I've heard the point made, and it's a good point, that audiences jump into ongoing stories all the time when they watch a soap opera or join a TV show half way through whilst flicking channels. This is true, but whilst your average episode of Eastenders might reference that somebody you've never heard of is having a baby, or has died or is going through a divorce, these are all fairly familiar scenarios. However, comic books are often full of strange concepts and governed by an internal logic which doesn't tally with everyday experience.<br />
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I first started reading monthly, single issue comics in around 2011 and, for the first two years, I barely read anything without Wikipedia on hand. Understanding much of what was going on in, say, Avengers vs. X-Men required more work and research than I think a sane person would ordinarily invest in entertainment media.<br />
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So there're complicated backstories and convoluted, decade-spanning plotlines to try and understand. Then there's the peculiar publishing model which means, without research, it's often difficult to look at a shelf and understand which books come in what order. Trying to piece together, for instance, the correct reading order for Ed Brubaker's (completely brilliant) run on Captain America can be a confusing process even for the initiated.<br />
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<tr><td class="tr-caption" style="text-align: center;">Kamala Kahn as Ms. Marvel is a great example of a step in the right direction. And it helps that the comic is also excellent.</td></tr>
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And this is all before we even come to the huge inclusivity/accessibility issue that is the ongoing question of representation, with the overwhelming majority of books written by (and largely for) straight, white men.<br />
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Anyway, I've rambled on writing this post for a lot longer than I originally intended. Basically, I'm going to give this a go and see if it's fun writing about comic books for a while. If it goes well and people do seem interested then maybe I'll try and write for other people or start a dedicated blog. Maybe I'll talk about film now and then but, for the most part, I'm going to be talking about comics, likely with an emphasis on flagging up things that could serve as good jumping on points for new readers.<br />
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Watch this space for reviews and features in the coming months. I hope they're of interest to somebody!Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-58485758100269575892015-08-13T19:45:00.003+01:002015-08-14T22:36:20.627+01:00Action Comics #43 - Review<div class="MsoNormal">
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<span lang="EN-GB">Words: Greg Pak<o:p></o:p></span></div>
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<span lang="EN-GB">Art: Aaron Kuder<o:p></o:p></span></div>
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<span lang="EN-GB">Colours: Tomeu Morey<o:p></o:p></span></div>
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<span lang="EN-GB">Letters: Steve Wands<o:p></o:p></span></div>
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<b><span lang="EN-GB">ALWAYS SPOILERS</span></b><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB">It’s fitting that my blogging about comics should begin with a piece about the latest issue of
a title that (for better or worse) changed the medium as we know it, especially
as the story within is so 'of the moment'. With Action Comics #43, Greg Pak and
Aaron Kuder present the third issue in an arc that has been really compelling up
till now, as Superman squares off against a group of wholly unsympathetic riot
cops looking to beat down a group of assembled ordinary Joes, who’ve peacefully
gathered for a pro-Superman rally in Clark Kent’s neighbourhood.<o:p></o:p></span></div>
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<span lang="EN-GB">It’s an interesting hook, bearing in mind contemporary US news
events, which puts the Man of Steel in his element as an optimistic and inspirational figure and defender of the downtrodden. He
may be shorn of his immense power (more on that in a bit) and decked out in
jeans and an S-logo t-shirt following his identity having been leaked (more on
that in a bit), but this is Superman at his purest: as a form of wish fulfilment
and embodiment of ‘goodness’. And it’s been a really fun couple of issues so
far.<o:p></o:p></span></div>
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<span lang="EN-GB">To briefly
recap, issue #42 ended with a genuinely suspenseful cliffhanger moment as, after taking
a lot of punches with stoic, good grace befitting the last son of Krypton,
Superman finally relented, punching the officer in charge. Of course, this is exactly what
the bad guy was hoping for and set up some interesting questions, namely: how is Superman going
to deal with the fallout of having assaulted a cop? Especially having provided an excuse for a squad of riot police to beat the crap out of his
assembled friends and neighbours. How on earth was he (being Superman the character <i>and</i> Pak as writer) going to resolve this one?</span></div>
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<span lang="EN-GB">Somewhat
anti-climatically this is all resolved by page two of the issue. It begins with a great opening splash,
in which Superman realises exactly what he’s done (“Me... punching a cop? In <i>anger</i>? This isn’t what <i>Superman’s</i> all about. This is <i>bad...”</i> ) which further raises tension for the
reader, only for Pak and Kuder to reveal that the officer in question – Sergeant Binghamton
– is a more literal monster. He's in fact one of the Shadows, a mysterious new enemy currently being
established over in the pages of Gene Luen Lang and John Romita, Jr’s Superman. This has the effect of instantly letting Superman off the hook and also saves the assembled innocents as the riot cops turn their capacity for violence upon their unmasked sergeant.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">In a great little character moment, Superman's answer to the cop's "how'd you know. Superman?" is a straightforward and completely honest "I didn't".</td></tr>
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<span lang="EN-GB">This is potentially a
problem, for the issue and potentially the whole arc, because the stakes were
raised somewhere higher than “will Superman beat the monster?” to somewhere
infinitely more interesting. Perhaps there was internal (and quite understandable) reluctance
at DC comics to have Clark Kent punch a cop, so it makes sense that Pak and Kuder would go the route of revealing Binghamton as an even less ambiguous monster, eligible for
guilt-free punching. Yet it might have been more interesting a problem for Superman
if nobody else around had seen the officer’s true nature, with our hero still
having to face the consequences of that act with all their teased implications.<o:p></o:p></span></div>
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<span lang="EN-GB">Which isn't
to say the situation blows over without any moral consequence. Pak is smart enough to have
our hero wrestle with what he <i>intended </i>to
do - which was to punch a cop in the face in anger - noting his sense of “shame
and relief” after the fact. Still the story loses a lot of the momentum and
sense of curiosity which had been built up so skilfully in the preceding
chapters.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Yet even if it doesn't continue on the
trajectory I'd have found most immediately rewarding, over the rest
of the issue it becomes clear that Pak wasn't necessarily interested in telling “Superman
vs. Police Brutality” so much as a more optimistic and constructive tale about people overcoming
their differences and banding together for a common good. It's about a </span>community healing rather than the easy thrills one might derive from Clark punching back – even if the characters are bound by genre
convention to do this by fighting somebody else (monsters!). (Sidenote: a superhero
title called <i>Action Comics</i> would make an unlikely forum for a tale of peace and anti-violence after all.)</div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxmZ223psV126svWW1t8QlK4ia98JjE7TPQfNUR8zRoMjykHpmNacHAD1VLvMZe7sWbFNzvZbMvtpcGOtdYtf8p8AtOFtBN8qo3ntK81Dnunda5mLGa2ZixgnsYPej-YUStV0gGQ-37MU/s1600/ac43-2.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxmZ223psV126svWW1t8QlK4ia98JjE7TPQfNUR8zRoMjykHpmNacHAD1VLvMZe7sWbFNzvZbMvtpcGOtdYtf8p8AtOFtBN8qo3ntK81Dnunda5mLGa2ZixgnsYPej-YUStV0gGQ-37MU/s400/ac43-2.png" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I love Greg 'The Incredible Hercules' Pak's writing as a rule, but this attempt at making Jimmy Olsen seem cool/relevant made me laugh and it's a perfect encapsulation of the 'hip' DC YOU branding. #auto-uploading</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB">In the end the comic is smarter for taking this approach than I had initially given credit on reading that second page reveal. As the </span>police and protesters aligning against Shadow-possessed government officials it suggests a conflict between Superman and the institutional causes of systemic inequality rather than just the foot soldiers themselves. As the "to be continued" text sums up nicely, with a playful hokeyness that's visible throughout the book, "Does Superman Know You Can't Beat City Hall?"</div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">But putting current affairs and specific story beats to one side, where this story arc has really shone so far is in its deceptive simplicity and accessibility.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This brings
me back round to Superman’s vague, undefined loss of a portion of his power and
the aforementioned detail that his secret identity has been leaked to the
public, apparently putting him out of favour with elements of the population
and government*. That all sounds like business that would intimidate or alienate
a new reader, yet happily this isn't the case at all.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8ysQb77SyI5tZdWk38hcgGcEI2-oK8aOIPhR890OHF5rw-udvjUp8npokuvVGOu4lSOIh2XEQQTgUavi8E63nE_TlI-e_vUH4vWxuCgSye93r8Yi1k02N1NO8Jsh_oVaIPwT8dE3eqk/s1600/ac43-3.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8ysQb77SyI5tZdWk38hcgGcEI2-oK8aOIPhR890OHF5rw-udvjUp8npokuvVGOu4lSOIh2XEQQTgUavi8E63nE_TlI-e_vUH4vWxuCgSye93r8Yi1k02N1NO8Jsh_oVaIPwT8dE3eqk/s400/ac43-3.png" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">There's no convincing some people, apparently.</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB">I jumped
onto this series with #41, at the start of this arc (which more broadly forms
part of a nominal crossover event called “Truth” taking place over all the
Superman books), and it’s written in such a way that makes it very easy to just
roll with this status quo. It’s quite amazing in the modern era, but this
is genuinely an arc you could hand to somebody completely new to superhero
comics and they'd get what’s going on. Better still I think #43 pulls the same
feat even as it comes in the middle of an arc. Everything you need to know to
enjoy this comic is presented in the pages of this comic and is supported by coherent storytelling. That shouldn’t be
such a big deal but it’s far from the norm in comics.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">If you'll indulge a little anecdotal case study to support this point: my wife is reading and enjoying this arc, with no prior Superman
knowledge (save the general pop culture kind) and zero investment in the
broader DC universe whatsoever. This is something even the very best writers at
“the big two” find extremely difficult to do and it’s something more comics
need to do if they're ever going to attract significant numbers of new readers
instead of just selling comics to nerds who already like comics (like this
writer). Which I don’t mention as a business problem (although it is) so much
as an inclusivity issue. Ultimately, a wider range of people reading comics will translate into a wider range of people writing comics.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">So if you
know somebody who’s into the movies or TV shows (or the cosplay or the t-shirts
or the video games or the action figures) but doesn't know where and how to
jump into the books themselves (which was me circa 2011), this issue and this story form a
brilliant jumping on point.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">It’s smartly
written and purely enjoyable - easily one of the best superhero books coming
out at the moment.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">*T</span>here's potentially something about the current immigration debate here but I won't go into it for fear of using up all my SJW tokens in my first comic review.</div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-13754882642046269912014-12-29T17:55:00.002+00:002014-12-29T18:06:39.536+00:00My Top 30 Films of 2014: 10-1A very USA-centric top 10 this year, though I haven't seen 'Leviathan' and didn't rate 'Ida' which accounts for the absence of two of the foreign language movies that have appeared in a lot of end of the year lists. 'Interstellar', 'Gone Girl' and 'Mr. Turner' also did very little for me. The latter probably should have made this list somewhere near the other end but I forgot I'd seen it until just this moment, which is not a great sign in its favour.<br />
<br />
Here are the other two parts of this list:<br />
<br />
<a href="http://beamesonfilm.blogspot.com/2014/12/my-top-30-films-of-2014-30-21.html" target="_blank">30-21</a><br />
<a href="http://beamesonfilm.blogspot.com/2014/12/my-top-30-films-of-2014-20-11.html" target="_blank">20-11</a><br />
<br />
Below are my personal favourite ten movies of 2014:<span id="docs-internal-guid-f17eaad5-909a-af37-f16f-8876f2b20713"></span><br />
<div>
<span style="font-family: Arial;"><span style="font-size: 15px; line-height: 17.25px; white-space: pre-wrap;"><br /></span></span></div>
<div>
<b>10) Noah, dir. Darren Aronofsky, USA</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/the-amazing-spider-man-2-calvary-noah.html" target="_blank">"On the face of it you'd think there couldn't be much worse in this world than a big screen Bible story starring Russell Crowe, but the director's decision to tell it as a full-blown High Fantasy-influenced myth - complete with rock monsters, flaming swords and magical potions - makes for something highly entertaining, yet also thought-provoking as it becomes something of a discussion about the Old Testament in the post-flood second half. For his part Crowe is perfectly cast as a biblical patriarch in the old mould: an uncompromising zealot who would murder a child if God willed it of him. It's his decision to collaborate with God (referred to throughout as 'the creator') in wiping out the rest of humanity that forms the bulk of the third act soul searching and causes conflict between Noah and his long-suffering family."</a><br />
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One of the year's most divisive films, I haven't met too many people willing to defend Aronofsky's 'Noah' let alone admit to liking it. Yet it was undoubtedly one of the bravest, most insanely risky movies in recent memory: an expensive biblical epic that - for all the talk of the powerful American Christian cinema audience - seemed destined to be a notorious failure. The marketing did it no favours, painting it as a very boring looking tale of a couple of beardy blokes fighting in some mud, but what that didn't show was all the High Fantasy-tinged craziness or the Old Testament soul searching. For a long time in the second half of the film Noah is essentially the villain and following God ("the creator") is cast as a type of madness which brings him to the brink of committing acts of unambiguous cruelty.<br />
<b><br /></b>
<b>9) 12 Years a Slave, dir. Steve McQueen, UK/USA</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/01/12-years-slave-gloria-short-term-12-and.html" target="_blank">"[W]e're, along with Solomon, witnessing the rape of enslaved women, children torn from mothers and sold to the highest bidder, lynchings, and many other appalling acts of brutality. And we see many faces of slave ownership too, from the paternalism and impotent liberal-guilt of Benedict Cumberbatch to the blind hate of Paul Dano, who seems to take great pleasure in beating and tormenting the slaves as a means to reinforcing his own fragile sense of self-worth. Then there's the mercurial Michael Fassbender as the alcoholic and unpredictable Edwin Epps, whose religious fervor and cold conviction that his slaves are nothing more than property makes for an especially nasty villain... Though there is a sense that all involved are victims with slavery an institution that ultimately demeans everybody... '12 Years a Slave' is manifestly McQueen's most conventional and mainstream film to date, with his visual artist background and arthouse sensibilities more keenly felt in the cold and self-consciously difficult 'Hunger' and 'Shame'. What this film does is wed the director's compassion for difficult characters and interest in exploring unpalatable human truths with something more heartfelt and genuinely emotional - something built for an audience."</a><br />
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Having triumphed at the Oscars and succeeded in finding an audience, Steve McQueen's slavery drama has probably lost a bit of the kudos that's been associated with the video artist in the past - with less accessible, less widely seen critical darlings like 'Hunger' and 'Shame'. But don't hold its success against it: whilst the film is certainly more audience friendly than past efforts, its this marriage between McQueen's uncompromising, hard-hitting sensibilities and conventional narrative that makes '12 Years a Slave' so brutally effective.<br />
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<b>8) Inside Llewyn Davis, dir. Joel Coen & Ethan Coen, USA</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/02/the-wolf-of-wall-street-inside-llewyn.html" target="_blank">"Llewyn is an interesting character. Superior, aloof and prideful - refusing to sell out his artistic sensibilities, living hand to mouth and playing 'real' folk music with thankless results and no commercial future. A user and a man without responsibility or attachments. Yet he is on occasion, paradoxically, upstanding and decent in his quiet way. Both humble and egotistical. Emotionally detached and yet harbouring his own grief and inner turmoil. A complex and nuanced character perfectly suited to Isaac's intelligent and introspective demeanor. He's not a hero in any sense; he's infuriating and maybe a little pretentious - but he's entirely human. The Coen's get criticised often for not liking their characters enough, but this kind of nuanced depiction of people - with all their faults and idiosyncrasy - to my mind comes from a place of empathy and understanding. I think they understand people very well, but they aren't afraid to admit that we're all basically a bit rubbish."</a><br />
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The titular Llewyn Davis - played by Oscar Isaac - is something like a spiritual successor to Barton Fink, that pretentious, not wholly self-aware, not wholly likable early Coen's creation, whilst the film itself has the subtlety and relative plot-lightness of the more recent and criminally underrated 'A Serious Man'. Throw in the fact that it has a soundtrack to rival 'O' Brother Where Art Thou' and you have a winning combination. As well as being a neat little character study the whole thing also looks and feels like you've stepped into the cover of <i>The Freewheelin' Bob Dylan</i>, which a nice place to some spend time.<br />
<b><br /></b>
<b>7) The Lego Movie, dir. Phil Lord & Christopher Miller, USA</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/02/her-lego-movie-and-armstrong-lie-review.html" target="_blank">"[P]acked with funny moments, charming characters and surprising Lego character cameos (which I won't spoil here). It's also way more subversive and socially aware than you expect from a movie based on a toy license - with the evil President Business (Will Ferrell) using an army of robotic micro-managers to ensure optimum social conformity. In the same vein, it's a love of chart music and chain restaurants that tips off ass-kicking heroine Wyldstyle (Elizabeth Banks) to the fact that generic, smiley Lego construction worker Emmet (Chris Pratt) might not in fact be "the special" - a prophesied "master builder" who will restore free-thought and fun to a land oppressed by the tyranny of the instruction manual."</a><br />
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I was initially a little underwhelmed when I first stepped out of the cinema from 'The Lego Movie' last summer. Though I enjoyed it a lot there was no question all the best gags had been put in the trailer. However, watching it again over Christmas - after buying it for my kid brother - it was more consistently funny than I'd remembered. The big laughs were still all those moments spoiled by the trailers, but there's a constant trickle of great sight-gags, character moments and bits of business that get a lot of charm and humour just from the way the Lego characters have been animated. Best of all though is how Miller and Lord's movie manages to make a toy license movie seem completely un-cynical, even whilst being overtly subversive from start to finish. There's no "franchise" movie like it.<br />
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<b>6) The Wolf of Wall Street, dir. Martin Scorsese, USA</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/02/the-wolf-of-wall-street-inside-llewyn.html" target="_blank">"Funnier than most straight comedies, Martin Scorsese's biopic of stockbroker Jordan Belfort is consistently entertaining over its daunting three hour running length. In many ways it's very similar to 'Goodfellas', albeit following a different (less physically violent) type of criminal, but the beats are the same and the same questions remain, namely "why would somebody choose to live this life?" - with the suggestion made that we will all envy the Belfort even as we come to despise him as a human being. And despicable he is. For all the moral panic about the film failing to condemn its protagonist, Scorsese and star Leonardo DiCaprio paint a picture of a charismatic but morally bankrupt figure, ultimately without any real friends or meaningful human connections. He's an out of control, drug-addicted monster by the film's final third, punching his wife (Margot Robbie) and driving his young daughter into a wall. If you think the film doesn't make his life seem unappealing enough, or that it doesn't show the dark and sinister side of his character, then I don't know what version of the film you saw."</a><br />
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Comedies rarely run too much long than 90 minutes, presumably because keeping an audience laughing for much longer is very difficult, especially as most comedies are not simultaneously asking for too much audience investment in plot or character development beyond what is customarily expected. Yet Martin Scorsese's 'The Wolf of Wall Street' had me in stitches for a lot of its three hour running time, which is some feat. True, the film is probably not considered an out-and-out comedy: it's a crime drama and biopic about a real-life villain who got rich on Wall Street by making a lot of other people poor (and he is most certainly not portrayed as a good or likable person), but it's so much funnier than, say, '22 Jump Street'. To my mind it's the year's best comedy. Jonah Hill should have won an Oscar.<br />
<b><br /></b>
<b>5) Gloria, dir. Sebastián Lelio, SPA/CHI</b><br />
<b><br /></b>
What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/01/12-years-slave-gloria-short-term-12-and.html" target="_blank">"'Gloria' is a particular joy due to its nuanced and atypical portrayal of a middle-aged woman, with the title character multifaceted and shown engaging in activities - such as clubbing, drug taking, having lots of sex, drinking, gambling - usually restricted to the under-40s as far as movies are concerned, none of which are played for easy laughs.A claustrophobic film, during which the camera never strays away from the protagonist (I'd be hard pressed to recall a single shot Garcia isn't in), director Sebastián Lelio has crafted something deeply compassionate and empathetic with a deceptive lightness of touch. It isn't showy and there isn't a loose scene or sequence in it, instead this is a well-crafted character piece told with great economy and forward drive that plants the viewer firmly in the shoes of its brilliant and quietly tragic central character."</a><br />
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I'm not certain this is officially a 2014 release, with UK screenings apparently happening in 2013, but the cinema I worked at got it back in January and it is so bloody good I'm not leaving it out on a technicality. 'Gloria' is a bittersweet little Chilean movie about a middle aged woman who gets drunk, does drugs, and has sex with a frankness, joyfulness and lack of judgment that isn't really seen in movies. It's a "feelgood movie" in a lot of ways. A fist-pumping "yes!" of a film with a terrific central character. There's a little melancholy to it, with Gloria feeling lost and lonely - a single woman in Santiago whose daughter is contemplating a move to Europe - but ultimately this isn't the story of a woman finding happiness and self-worth in a man but on her own terms.<br />
<b><br /></b>
<b>4) Nightcrawler, dir. Dan Gilroy, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"'Network' for the modern age, 'Nightcrawler' is a darkly comic and very disturbing thriller which casts Jake Gyllenhaal in a potentially career redefining role as Louis Bloom - a sociopath who, lacking in empathy or anything approaching a moral code, is perfectly suited to filming grisly accidents for an unscrupulous TV news network... It's pretty grim and though not physically violent (with one notable exception in the opening scene) Bloom is a menacing, unsettling presence who seems to threaten an aggressive outburst during every encounter. It speaks to writer-director Dan Gilroy's skill that he never releases that pressure valve. To allow that outburst would grant the character a level of interest in other people and a degree of emotion that he just doesn't have. Much scarier is how coldly and calculatedly he seems to regard everybody in his orbit. There's something of Patrick Bateman in him and maybe a slice of Travis Bickle too. The film itself invites that company not only with its lead character but with its complexity and quality."</a><br />
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Jake Gyllenhaal gave one of the year's best performances in this unsettling and tense thriller about a sociopath who finds his calling in the ambulance chasing world of American cable news. The actor vanishes into the role, undergoing a physical transformation which goes beyond the evident weight loss: it's something unhinged behind his eyes that makes the whole thing so creepy, especially when he is trying to appear charming or happy. The tension - born from this central performance - never lets up all the way through the movie, with the feeling that something terrible is always about to happen. And it often does, though never in the explosive display of violence you expect. It's queasy and compelling from start to finish.<br />
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<b>3) Locke, dir. Steven Knight, UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/05/x-men-days-of-future-past-godzilla-wind.html" target="_blank">"A masterclass in terms of showing what you can achieve with one (admittedly world class) actor and a tight, disciplined screenplay, 'Locke' is literally a film in which Tom Hardy drives down a British motorway for around an hour and a half, juggling problems at home and work on his phone. It begins with him getting into his family car in Birmingham and ends with him taking an exit ramp off the M40 and, though hugely important to Hardy's Ivan Locke and to the disembodied voices we hear on the other end of his carphone, the problems he faces are refreshingly down to earth. If given a small budget, one actor, and the brief to make a film entirely set in a moving car, it would be tempting to inject high-octane drama by making, say, something about a man with a bomb on his backseat who is having to deal with terrorists as he drives against the clock to rescue his wife and kids - but Locke gets a lot out of far less. It's consistently tense and thoroughly gripping even though it's about a man who's simply trying to get to resolve marital problems whilst also trying to co-ordinate what we're told is the "biggest concrete pour in Europe" (outside of military and nuclear). High stakes on both fronts, but on a relatable, human scale."</a><br />
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Who knew a film that consists entirely of a bloke driving down an English motorway talking about concrete pouring could be so riveting? On paper 'Locke' shouldn't work, even with an actor as watchable as Tom Hardy in the central role, yet Steven Knight's tight little movie gets by on one actor and a consumer car without ever being the slightest bit boring. Hardy's Welsh accent is a little bit hammy and the voices on the other end of the phone sometimes don't quite ring true (his kids especially) but it doesn't do anything to diminish how good - and how unique - this movie is. Reportedly made for less than $2 million (which is probably less than the catering bill on some Hollywood movies) the film stands out as an example to aspiring filmmakers about how far you can go with a clever, disciplined screenplay.<br />
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<b>2) Boyhood, dir. Richard Linklater, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"As well as the thrill of seeing these characters age and change in such a unique way, the film presents a look at attitudes and lifestyle in Southern Texas - with events likes the invasion of Iraq and election of Barack Obama in the background, as well as obligatory changes to cell phones and video games - as the family move around the Lone Star State. If there's an ongoing plot it's in seeing Mason constantly pressured into not being himself by a succession of douchey stepdads, shortening his hair against his will and taking an interest in sports. You get a sense of what it must be like to be an introverted, creative kid in Linklater's home state and so, in some sense, this might even serve as a semi-biographical film about its director. Incidentally his daughter Lorelei plays Mason's older sister and she steals every scene she's in with natural screen presence."</a><br />
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It has a few clunky moments but overall 'Boyhood' is something very special. Not only is it a fascinating and relatively authentic window on the ageing process - not just for its young stars but for the older actors in the supporting cast - but it also manages to be a movie about a period of time in Southern Texas and, incidentally, a look at a lot of other changes that occurred over the years of its making (notably in glimpses at the rapidly changing state of mobile phones and video games). It's a document of a place and time(s) that will only get better with age, as its strange time capsule quality becomes even more evident and exotic. It wasn't quite my favourite film of the year but I think there's an argument to be made that it's one of the most significant and interesting films of the decade.<br />
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<b>1) We Are the Best!, dir. Lukas Moodysson, SWE/DEN</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/the-amazing-spider-man-2-calvary-noah.html" target="_blank">"It's uplifting without being schmaltzy, with an infectious enthusiasm for jumping around and generally being a 13 year-old misfit that I would have loved to have seen at that age... There just aren't that many films that depict adolescence with the kind of heart and complexity displayed here. The three leads are all incredibly interesting, lovable, fully-formed characters who you really root for in spite of, or rather because of, their naivete, stubbornness and half-formed pseudo-political ideas. As fun as it is, the film also cuts to the heart of what it means to be an outcast: to feel isolated, unloved and alone. We see their daily interactions with cruel classmates, weary teachers and odd parents - with three contrasting family dynamics proving its how you fuck up your children as opposed to if - and glimpse more than a little casual everyday sexism, that's so constant as to be mundane. Yet there is a fierce optimistic streak running through it too and the film is smart enough to also understand (and embrace) how the girls' self-conscious outcast status is to some extent a construction of their own design. A film that says so much about youth, friendship, being an outsider, and the unaffected joy of music."</a><br />
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An unalloyed joy of a movie. Whilst being very honest and heartfelt in its presentation of the difficulties of being a young person (in particular an unconventional young woman) it's also an overwhelmingly sweet and good natured film - without ever being the least bit twee. It's imbued with a love of music and an affectionate recognition of some the arrogance that comes with youth (the girls think they know everything about everything), but mostly it's all about a love of running around, waving your hands in the air, shouting at the top of your voice - in that way you can really only get away with when you're small. For those of us that are no longer small, the movie bottles that feeling and allows you to experience it all over again.</div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-2696727269179153572014-12-28T00:49:00.000+00:002014-12-28T00:58:51.524+00:00My Top 30 Films of 2014: 20-11<i>Films 30-21 on the list can be found <a href="http://beamesonfilm.blogspot.co.uk/2014/12/my-top-30-films-of-2014-30-21.html" target="_blank">here</a>.</i><br />
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<b>20) Captain America: the Winter Soldier, dir. Anthony Russo & Joe Russo, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/captain-america-winter-soldier-under.html" target="_blank">"[It's] is tonally very different to the rest of the Marvel Studios oeuvre to-date... this one is more of a conspiracy thriller and - without going all Nolan Batman and jettisoning fun and colour - it's a comparatively gritty and grounded affair. Much like the Ed Brubaker run in the comics, which introduced this film's antagonist the Winter Soldier, it does a neat job of including lots of outlandish and far-fetched comic book elements - from the winged exploits of Anthony Mackie's Falcon to the newly computer-bound consciousness of Toby Jones' Arnim Zola - with something altogether more grounded and grave... The action is hard-hitting, well choreographed and visceral, whilst the main players exhibit the sort of good chemistry needed to make all the bits in between fun. Especially Chris Evans in the starring role - an actor who imbues the title character with as much subtle depth as he does obvious decency."</a><br />
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The increasing confidence of Marvel Studios was demonstrated earlier this year - even before they released a wacky sci-fi comedy about a wise-cracking racoon - as the Disney-owned comic book moguls proved how versatile their superhero properties can be whilst remaining in a shared cinematic universe. 'Winter Soldier' is a sequel to both the nostalgic, World War II-set Joe Johnston movie 'The First Avenger' as well as Joss Whedon's mega-blockbuster 'The Avengers', two very distinct superhero movies with vastly different tones, and it succeeds in following both whilst again being completely different: in this case a 70s-style espionage thriller. It's a very good one, even if it has to go headlong into an explosion-fest for the final 20 minutes, with a tense atmosphere and - in Chris Evans and Scarlett Johansson - two terrific lead actors.<br />
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<b>19) Two Days, One Night, dir. Jean-Pierre Dardenne & Luc Dardenne, BEL/ITA/FRA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"Subsisting on the sort of tight concept I tend to love, the Dardenne brother's latest stars the always-excellent Marion Cotillard as Sandra: a severely depressed woman who is ready to return to work only to discover that her colleagues have voted her out of a job [after] her bosses decide to cut costs by making staff choose between Sandra and their annual bonus payment... When Sandra convinces them to recall another vote after the weekend she has the titular timeframe to convince each individual to back her over personal financial gain... It's an interesting moral question which the film explores in all its complexity as Sandra visits each person in turn and makes the same basic argument with mixed results... Perhaps the film treats an attempted suicide too casually and Sandra's apparent defeat of bed-ridden depression by the credits is a little too sudden, but this is a complex and original film which deserves to be seen. Especially as the Dardenne's again display an impressive knack for marrying social realism with something more hopeful and optimistic than that term usually suggests."</a><br />
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One of the best ideas for a movie this year, there's not a lot to dislike about this small-scale, entirely humanist drama which essentially features a dozen versions of the same conversation all playing out differently. It could easily be a little slight but instead Marion Cotillard helps imbue the whole thing with a consistent and palpable edge of emotional turmoil that prevents it from getting stale.<br />
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<b>18) Her, dir. Spike Jonze, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/02/her-lego-movie-and-armstrong-lie-review.html" target="_blank">"You meet somebody for the first time and instantly hit it off. As feelings develop, you nervously pursue a romantic relationship. The early days of that relationship are filled with laughter and a spirit of adventure - you never want to be apart from that person, who now occupies all your waking thoughts. Months go by and you settle into a bit of a muted groove. You get a phone call from that person whilst at work, and they can tell you don't want to talk. It's become slightly awkward all of a sudden, or at least there's a strange distance developing between two supposedly intimate people. Eventually it ends, possibly when one of you has outgrown the other. In Spike Jonze's 'Her', Jaoquin Phoenix's Theodore Twombly experiences something exactly like this with Samantha (portrayed by Scarlett Johansson) - the difference being that Samantha is a sophisticated OS (operating system) rather than a traditional human partner. But the rhythms and patterns and core experience of the relationship seem to be exactly the same in Jonze's non-judgmental and highly plausible account of the not too distant future."</a><br />
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A movie released last year in the US and included in the Oscars last March, so it feels ancient at this point, but (with the exception of 'Snowpiercer' which has still not been released here theatrically) I base my list on UK release dates, so here it is! 'Her' is like a schmaltzy episode of <i>Black Mirror</i>, which I mean in a good way. There's shades of grey and room for debate about how healthy or real Joaquin Phoenix's romance with a Scarlet Johansson voiced AI is, but mostly it's an uncommon story of optimism about technology and the future. It's non-judgemental and sweet whilst still being smart.<br />
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<b>17) The Wind Rises, dir. Hayao Miyazaki, JAP</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/05/x-men-days-of-future-past-godzilla-wind.html" target="_blank">"In almost every Miyazaki film to date his passion for machines, engines and, especially, aircraft has loomed large... so in many ways, though it is less fantastical and magical (and it does still have those qualities stylistically), 'The Wind Rises' does have the air of a great passion project and represents an extremely personal sign-off. In the dream sequences, which are many, Miyazaki indulges his childish imagination, creating wondrous and impossible aircraft and contriving to have two of his heroes converse in what is ultimately aviation hobbyist fan fiction... Miyazaki's obsessions enter the film in other ways too, with Jiro's drive and single-minded dedication to pursuing his chosen profession, perhaps at the expense of his personal life, another recurring theme... At its core it's a film about choosing to pursue your creative dream even if it might be appropriated for nefarious purposes. Some have criticised the director for not going far enough to address the fact that Horikoshi ultimately designed efficient engines of war and destruction which were quickly put to devastating purpose in expanding the Empire of Imperial Japan... That said, given some of that negative reaction I was surprised how much the oncoming war underpins the entire film from its opening dream sequence (interrupted by bombs and destruction) to it's bittersweet final moments as Jiro finally perfects his plane only to be suddenly overwhelmed by the reality of what it will be use for next."</a><br />
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It's not Miyazaki's best film (in fairness it faces tough competition for that title) but he's never made anything so obviously personal. Nominally it's an animated biopic, about a controversial aviator no less, but it isn't hard to see parallels between the loosely adapted life of Jiro Horikoshi and Miyazaki's own - with it very easy to substitute famed aircraft inventor with famed animation director. Seeing as fictionalised regrets about his personal life take centre stage near the end, perhaps this has more to say about the filmmaker's own reflection on a life lived in obsessive pursuit of dreams. Being the legendary filmmaker's final work before retirement (though he said that a decade ago) it seems fitting that it's his most reflective and melancholic. Special mention must go to the film's understated and quietly terrifying depiction of the Great Kanto Earthquake, which stands out as one of the finest sequences Miyazaki ever devised.<br />
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<b>16) American Hustle, dir. David O. Russell, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/01/the-hobbit-desolation-of-smaug-secret.html" target="_blank">"It's been trailed like a derivative, Scorsese-influenced crime film, but David O. Russell's 70s-set 'American Hustle' is best viewed as a black comedy. Every brilliant performance, every hackneyed line, every haircut, every sequence is a little warped, a little odd - from Jennifer Lawrence doing the housework whilst miming along to Live and Let Die to Christian Bale's pot-bellied, comb-over sporting conman seducing Amy Adams in the lost property room of his dry cleaning establishment. That doesn't mean to say it isn't a decent and occasionally tense crime film, with its share interesting twists and turns in the plot, but it reminded me more of the Coen Brothers than 'Goodfellas', being about a group of variously flawed, morality bereft shysters who are often as pathetic and incompetent as they are resolutely unlikable. It's saying something that Jeremy Renner's charismatic local mayor is the only one of the bunch with any integrity and he's the victim at the centre of the big con."</a><br />
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As with 'Her' this is another one of those movies from the last Oscars that just about slips onto this year's list with it's early 2014 UK release date. Viewed as this year's answer to 'Goodfellas' it's a little overblown and trivial-seeming, but seen as (I think intended) as a black-comedy populated by uniformly messed-up, unlikable characters I think it works brilliantly. It is operatic and over the top but Jennifer Lawrence's housekeeping scene, not to mention everything to do with the "science oven", is amazing. It's also great to see a movie that isn't completely cynical about politicians and their intentions, which is a real rarity in popular culture at large. Jeremy Renner is corrupt as the flashy, local mayor, but he is also the nearest thing the film has to a good guy. He might get his hands dirty but he's doing it with solid gold intentions. It's easily the most interesting part he's had since 'The Hurt Locker' made him a star.<br />
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<b>15) X-Men: Days of Future Past, dir. Bryan Singer, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/05/x-men-days-of-future-past-godzilla-wind.html" target="_blank">"They have fixed the X-Men movie franchise and in a classy way that makes it possible to make new movies with the 'First Class' cast without fear of bumping into any of the old baggage that once lay in the way. It's a smart movie that celebrates the past, but definitively makes way for the future. It's a rare sequel/prequel that actually elevates everything that came before and makes it all seem, finally, like it all sort of makes a certain fuzzy kind of sense. I like problem movies, which is to say movies which seem to have set themselves a problem and solved it... this movie seems to have been conceived as a way to address continuity mistakes and to help rejuvenate and reboot the franchise. It's a placeholder movie, paving the way for new stories with a couple of hours of energetic rebuilding work, basically. Yet it also works on its own terms somehow, and is fast-paced, fun and contains terrific fight scenes not matched by any X-Men movie and, possibly, by any superhero movie to date. For the first time I'm excited to see a new X-Men movie... It's not often movie number seven is the best in the franchise, but Fox's X-Men just got really good and it only took about 15 years to get there."</a><br />
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This probably benefited from sub zero expectations on my part. I've never been overly enthusiastic about Fox's X-Men franchise - with its drab, leather-clad versions of colourful comic book heroes and Wolverine-centric narrative - even disliking the widely praised 'First Class'. Yet Bryan Singer's return to the franchise he launched over a decade ago (and without which there might never have been a Marvel Studios or Sony Spider-Man franchise) has proven hugely beneficial, with the director using a time travel story as the vehicle to strip away almost everything terrible that happened in the previous movies (most notably the events of 'X-Men: the Last Stand') and leave the whole thing in a place where I'm actually excited to see what they do next. Also, between the slowed-down Quicksilver (Evan Peters) set-piece and the imaginatively implemented portal-opening powers of the obscure Blink (Fan Bingbing) this movie had the stand-out action moments of 2014. At least outside of 'The Raid 2' (if you're curious: it didn't make my list on account of being way too long and not interesting at all outside of the punching scenes).<br />
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<b>14) Under the Skin, dir. Jonathan Glazer, UK/USA/SWI</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/captain-america-winter-soldier-under.html" target="_blank">"A masterclass in editing and sound design, Jonathan Glazer's 'Under the Skin' stars Scarlett Johansson as an alien who takes on the form of a human female and uses this guise to seduce lonely, socially isolated men, who she then traps and harvests for... some reason probably much clearer to those who've read the Michel Faber novel. Though I'd argue the question of why she captures these men and what exactly becomes of them is a secondary concern in a film that works primarily on the level of visceral, sensory experience. In lieu of much specificity or explanation, this is simply the story of an outsider assimilating and attempting to fit in (albeit with nefarious intent), learning a certain degree of compassion for humanity and gradually becoming more unsettled by and attached to her newly acquired body...Moments of intense body horror and a heart-pounding finale combine with this playful casting and Glazer's technical mastery to create something truly memorable - potentially even destined for cult status."</a><br />
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Strange, unsettling, almost unknowable. I haven't read the book but I suspect, like a Kubrick movie, the novel might have been more of a loose jumping off point than the basis of a strict adaptation. I might be wrong, but this movie is '2001' levels of oblique in a way I can't imagine the book being. Nothing is really explained and it's not certain at times what is literally taking place, though that doesn't make the imagery any less haunting or powerful. The scene on the beach, with the baby left on its own, is easily one of the most shocking of the year. Meanwhile, Scarlett Johansson disappears so convincingly into her role as an alien that whole sequences appear to have been shot with the mega-famous actress blending in entirely amongst an unsuspecting public. It's also responsible for some of the year's best moments of horror, even though it isn't really a horror movie, with lots of nightmarish stuff happening with bodies.<br />
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<b>13) The Past, dir. Asghar Farhadi, FRA/ITA/IRN</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/captain-america-winter-soldier-under.html" target="_blank">"In a style familiar to fans of his earlier films, such as 'A Separation' and 'About Elly', director Asghar Farhadi's maiden effort outside of Iranian cinema is still a tightly wound and faultlessly humane drama, peppered with extraordinary revelations and populated by nuanced and fully-formed characters who are lead by circumstance to ponder profound ethical questions... After a half-dozen twists and turns we come to understand the various conflicting points of view all involved in the unfolding crisis, which this time revolves around the theme of forgiveness and moving on from what has happened before - of leaving an old life behind as you head into another. Something which none of the characters can quite face doing, at least without difficulty and heartache. Nobody in contemporary cinema (at least that I know of) is quite as brilliant as Farhadi when it comes to creating ensemble casts in which every character is so complex and well drawn. As with his other films, the four central characters here - along with another three or four supporting cast members - are each worthy of audience investment and sympathy, portrayed and written with great compassion."</a><br />
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Filmmaker Asghar Farhadi ventured outside his native Iran to make this French-set drama, but all of his hallmarks and concerns are still palpable with trademark focus on multifaceted, complex characters struggling with questions of morality. It's not quite got the gut-punching hook of his masterpieces 'About Elly' and 'A Separation' but it's still top-tier drama with faultless performances from its ensemble cast. I'll take a minor Farhadi movie over the best work of a lot of other filmmakers every single time.<br />
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<b>12) The Grand Budapest Hotel, dir. Wes Anderson, USA/GER</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/03/the-grand-budapest-hotel-only-lovers.html" target="_blank">"If the move from 'Bottle Rocket' to 'Rushmore' onto 'The Royal Tenenbaums' marked a gentle progression of his style, Wes Anderson's subsequent films - 'The Life Aquatic', 'The Darjeeling Limited' and even the animated 'The Fantastic Mr. Fox' - took the recognised tropes of that style and crystallised it into something that often flirted with self-parody. Then 'Moonrise Kingdom' came along and seemed to indicate a maturation of his by now well established visual motifs, storytelling themes and even the highly stylised performances drawn from his familiar band of recurring actors. It was a refreshing change of pace... At a first glance his latest, 'The Grand Budapest Hotel', superficially resembles a return to the larger-scale, ensemble-driven fare that directly preceded 'Moonrise Kingdom', though it's actually a subtle synthesis of the two being expansive, broad, imaginative and, well, grand, whilst also being restrained, focused and tightly wound... Even as its focus remains on character detail and small-scale interactions, it's easily the most traditionally plot-heavy of Anderson's films - helping again to separate it from what's come before - and, even if death and grief play a part in all but one of his other movies, it's also one of the saddest - with an overriding feeling of entropy and a sense of sadness at the passing of time."</a><br />
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As a long-time fan of Wes Anderson his films have always touched me on an emotional level that I gather they just don't for a lot of people. I get that: they could easily seem cold and detached. Yet the emotional stuff is usually in the details, like Anthony agreeing to wear a yellow jumpsuit in 'Bottle Rocket' when he sees the guileless and enthusiastic Dignan faced with the unbearable cynicism of Futureman. Or Steve Zissou throwing away his earring petulantly when he overhears somebody laughing at it, only to sheepishly pick it back up again moments later. Or all of 'Moonrise Kingdom'. But the emotional stuff is much more evidently to the foreground in 'The Grand Budapest Hotel', which has a consistent elegiac tone and features more than one death. Told from what might be a fourth person perspective, coming decades after the events of the narrative, in a world in which the titular hotel is crumbling into the ground, the whole thing is really very sad indeed. Something punctuated by Ralph Fiennes extremely funny and charismatic central performance as the last of a dying order.</div>
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<b>11) Guardians of the Galaxy, dir. James Gunn, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/08/dawn-of-planet-of-apes-edge-of-tomorrow.html" target="_blank">"When the film was announced a couple of years back, it was regarded as a make or break movie for Marvel's growing cinematic universe: can the studio that started with the (relatively) gritty and grounded 'Iron Man' convince us of a talking raccoon and tree double-act? There was no going back and I'm sure the spectre of Jar Jar Binks must have loomed over the project, at least for nervous studio executives. Well they've more than gotten away with it and, after this, you'd have to wonder if there's too much in the company's comic book continuity they couldn't now bring to the screen with well-placed confidence."</a><br />
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In terms of pure enjoyment at the movies this year, 'Guardians of the Galaxy' would be right at the top of the list. That's not to say, with a note of condescension, that James Gunn's Marvel blockbuster is merely 'enjoyable' rather than 'good' - it is a very good film all ways around (great comic performances, entertaining action, a whip-smart script, stand-out soundtrack) - just that on balance the immediate thrills and (multitude of) laughs have been eclipsed by a bunch of films which gave me a lot more to think about and talk about after the credits. That's not to denigrate 'Guardians' though. It's definitely a contender for the best Marvel comics adaptation to-date, my teary-eyed love of 'Captain America: the First Avenger' notwithstanding, and given the consistently high quality of those movies I mean that as high praise indeed.<br />
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<i>Come back soon for the top 10.</i>Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-75759052236361798432014-12-26T21:50:00.001+00:002014-12-28T00:55:52.344+00:00My Top 30 Films of 2014: 30-21Happy holidays, everybody. Hope you had a lovely time.<br />
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Much like <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-30-21.html" target="_blank">last year</a>, I post this annual best of list with the caveat that I haven't seen as many festival movies as I had in previous years and, in fact, my cinema attendance has been well down overall (for many reasons, including moving to a country where I don't speak the language and where almost everything is dubbed). But like last time around I'm sticking to a top 30 format because of the excuse it provides to revisit a greater number of movies. Even allowing for that fall in attendance and lack of much in the way of serious arthouse cinema-going, 2014 was not a vintage year for cinema. I didn't see anything this year that would have cracked the top five in 2013, though there were still a lot of interesting movies released and many, including a large swathe of those in this first installment, were ultimately flawed and uneven but proved interesting anyway.<br />
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<b>30) Edge of Tomorrow, dir. Doug Liman, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/08/dawn-of-planet-of-apes-edge-of-tomorrow.html" target="_blank">"Criminally overlooked this summer by audiences who've become increasingly sick of Tom Cruise over the last decade or so, 'Edge of Tomorrow' is a genuinely smart and thoroughly entertaining piece of high concept sci-fi which takes its cues from video games and features Bill Paxton at his sarcastic, army man best. It also stars Emily Blunt as a highly capable and supremely badass soldier who used to have the strange alien power since acquired by Cruise's combat-shy press officer: an ability to come back to life after being killed, waking up in the same point about a day earlier a la 'Groundhog Day'."</a><br />
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Pretty slick and exciting sci-fi fare featuring a great co-starring performance by Emily Blunt - who proves herself a compelling action lead. There's not a ton more to add about it here so I'll pad this out by musing about the film's title. Originally holding the more eye-catching title 'All You Need is Kill', which was apparently changed because of fears the word "kill" would lack widespread appeal plastered on every bus stop, the film has since been marketed and released on DVD with packaging that seems to further modify the title to <a href="http://www.amazon.co.uk/Live-Die-Repeat-Edge-Tomorrow/dp/B00BC36TYU/ref=sr_1_1?s=dvd&ie=UTF8&qid=1419614817&sr=1-1&keywords=live+die+repeat" target="_blank">'Live. Die. Repeat.'</a> - which smacks of a complete lack of confidence in "the product" if nothing else. Anyway, whatever it's called it's worth a watch even if you're usually allergic to Tom Cruise.<br />
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<b>29) Snowpiercer, dir. Bong Joon-ho, KOR</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"The first half of 'Snowpiercer, 'The Host' and 'Mother' director Bong Joon-ho's maiden English-language effort, is one of the best things I've seen all year. Smart, funny, with inventive action set-pieces and an oddball sense of humour, the highlight being an inspired supporting turn from Tilda Swinton. However the second half of the film is one of the worst movies I've seen this year, from Ed Harris' 'Matrix Reloaded' style clunky, cod philosophy explanation of how his train-based society works to the film's spectacularly misjudged "I know what babies taste like" monologue (which star Chris Evans does his best to sell but it's not happening)."</a><br />
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Some of the most interesting cinematic moments of the year - from Tilda Swinton's shoe monologue to the presentation of a strange, train-based dystopian society to the battle that we see first person through night vision goggles - came in Bong Joon-ho's 'Snowpiercer'. Yet the South Korean has not been as successful as his compatriot Park Chan-wook (a producer here) in translating his talent into English - with last year's 'Stoker' a much more even and satisfying movie. There's a lot to love here, but the second half of the film is so messy and, at times, ridiculous that it doesn't make it any further up the list than this.<br />
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<b>28) Dawn of the Planet of the Apes, dir. Matt Reeves, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/08/dawn-of-planet-of-apes-edge-of-tomorrow.html" target="_blank">"Not as tightly focussed or emotionally satisfying as Rupert Wyatt's 2011 'Rise of the Planet of the Apes' - the prequel movie for which this is the direct sequel - as it broadens the focus from one rapidly evolving ape, Caesar (Andy Serkis), to a whole array of primates and significantly less interesting human characters, but Matt Reeves' 'Dawn of the Planet of the Apes' is exciting and filled with great moments. The opening 20 or so minutes are particularly breathtaking, as the film opens on an organised and socialised ape hunting party communicating in sign language whilst chasing deer through the Muir Woods near San Francisco. All the scenes between the apes are really well done, technically and in terms of storytelling, with Caesar and his brethren clearly compelling enough to carry an entire film if Fox so wished, even though it would be a clear break from the apes versus humans formula of the series."</a><br />
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It would be here for that "ape takes a tank" shot alone but there's not a lot wrong with this sequel, even if it doesn't match its immediate predecessor which had the benefit of being less sprawling and focussed on one character. It's Andy Serkis' ape Caesar who remains the most interesting presence here and it's always very good when he's the focus but, perhaps in service of the brand, there are also a lot of less interesting human characters. Many of them, notably Gary Oldman's would-be villain, suffer as a result of not being in the film enough to be interestingly developed but conversely have just enough screentime to make you miss the apes. None of the stuff with the humans is <i>bad </i>necessarily, just not as good.<br />
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<b>27) The Boxtrolls, dir. Anthony Stacchi & Graham Annable, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"Not in the same league as 'Coraline' or 'ParaNorman' (the best animated film of this decade so far), but Laika's latest stop-frame animation is still very polished and endearing, with its heart very firmly in the right place. But intention isn't everything, of course, and a cross-dressing villain has perhaps rightly invited criticism that the film is transphobic, which I can't rebuff with any force... This is made all the more unfortunate by the way it undermines the film's great message of tolerance and not being afraid of those who are different from you."</a><br />
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<b><br /></b>Typically beautiful animation from Laika, though this is easily their least satisfying film, partly because of a potentially transphobic plot twist and partly because the production design is a little drab. Yet it's heart is still very much in the right place, with some interesting things to say to its young audience about a scaremongering media and incompetent authority figures, as well as the perils inherent in trying to be somebody you're not.<br />
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<b>26) Blue Ruin, dir. Jeremy Saulnier, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/05/x-men-days-of-future-past-godzilla-wind.html" target="_blank">"With a low budget crowd-funded on Kickstarter and a very slight plot, 'Blue Ruin' is a taut thriller that mostly gets by on atmosphere, with the camera often uncomfortably close to Dwight (Macon Blair) who, when we first meet him, is a soft-spoken, reclusive vagrant - apparently sleep-walking through the past several years of his life in a traumatised stupor and living on a beach in a rusted, blue Pontiac. This changes when a local cop informs him that the man who killed his parents is due to be released from prison, prompting Dwight to start moving with a zombie-like single-mindedness on a quest for revenge. He starts up his old car, gets himself a gun, and heads out on a path of endless and empty ultra-violence with no clear winners."</a><br />
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A revenge thriller without the usual romanticism/tawdry fantasy element, 'Blue Ruin' (to my mind anyway) is about the reality of that idea: that revenge is not only a mutually destructive act but also an inherently childish one. Our protagonist is stuck in a juvenile state caused years before by the death of his parents, which he never moved beyond, and finds support on his anti-social rampage in the form of an old high school friend who is equally well adjusted. There's an air of early Coen Brothers menace tinged with black comedy to the whole thing, which on the film's very low budget suggests director Jeremy Saulnier is one to watch.<br />
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<b>25) Muppets Most Wanted, dir. James Bobin, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/the-amazing-spider-man-2-calvary-noah.html" target="_blank">"Disney's sequel to 2011's well loved 'The Muppets' might not hold together as neatly as a movie, lacking that earlier film's pathos and clearly defined character arc, but it's every bit as fun (and possibly more so) thanks to a high gag-count and some typically enjoyable musical numbers from Flight of the Conchords' Bret McKenzie... Also extremely fun to watch is Tina Fey as the Kermit-obsessed warden of the gulag, stealing the show with her performance of one of the film's most toe-tapping songs and getting some of the best gags. It's a bit baggy in places but made with obvious love and a complete lack of cynicism, something backed up by dozens of celebrity cameos which feel less like an attempt to sell tickets and more like genuine expressions of the affectionate regard held for these fading icons within popular culture. 100% joyful from start to finish."</a><br />
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One of the funniest out-and-out comedies of the year and there isn't a duff musical number in the whole thing . I can't decide what the best song is, but it's between the catchy, Tina Fey sung "Big House", Constantine the Frog's disco-infused love song "I Can Give You What You Want", and the "Interrogation Song" as sung by the year's stand-out comedy double-act (Sam the Eagle and a scene-stealing Ty Burrell). I've rewatched it a bunch of times, including one occasion where it made a transatlantic flight feel far less arduous, and I expect I'll watch it many more times over the years.<br />
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<b>24) The Hunger Games: Mockingjay Part 1, dir. Francis Lawrence, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/12/review-round-up-2014-catch-up.html" target="_blank">"It's not as exciting as the second movie or as focussed as the first, but this is the one where the hitherto wobbly political themes start to actually get interesting and take on added weight. In that sense it's the cleverest so far. It's also refreshing to get moving on the wider plot across Panem - outside of the titular games (this film has none) - which finally takes centre stage after being glimpsed at the margins of the previous films. All in all a satisfying run-up to the final chapter that even manages to craft a decent ending out of the arbitrary half-way point as hewn from the source novel."</a><br />
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The added room for character development and the slower pace afforded by the increasingly common, dollar-sign inspired "part 1" format means we get to see the franchise's impressive supporting cast a little more than we otherwise might have if the series was racing towards its conclusion. In terms of action it doesn't hit the highs of the previous movie, 'Catching Fire', but it's clearly head and shoulders above other tween-lit adaptations.<br />
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<b>23) Only Lovers Left Alive, dir. Jim Jarmusch, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/03/the-grand-budapest-hotel-only-lovers.html" target="_blank">"Languid and atmospheric - with musing about art, literature and music taking precedence over matters of plot - 'Only Lovers Left Alive' casts two supremely watchable actors, Tilda Swinton and Tom Hiddleston, as Eve and Adam, a pair of above-it-all vampires whose love has spanned the centuries. Making the most out of its compelling leads, slick editing and a terrific soundtrack, the combined effect is something that washes over you for an enjoyable two hours without leaving much in the way of a long-lasting impression. That said, it is interesting to see vampires played as these eternal art critics, whose often downright snobbish opinions are invested with an unassailable amount of cultural capital when compared with us mere mortals."</a><br />
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Perhaps not destined to live long in the memory but Jarmusch managed to do something relatively fresh with vampires, which is an achievement in its own right. With little plot to worry about, the pleasure here comes from listening to one of the year's best soundtracks whilst watching two of the most consistently interesting actors of recent years lounging about, talking about the arts whilst being amusingly world-weary and condescending.<br />
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<b>22) Nymphomaniac, dir. Lars von Trier, DEN/BEL/FRA/GER</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/03/the-grand-budapest-hotel-only-lovers.html" target="_blank">"There is always, nagging in the background, the question of morality (to what extent are Joe's actions potentially "wrong") though the film makes no judgments in most instances - except when combatively challenging the judgements of others (for instance regarding the subject of so-called 'sex addiction' and, in it's bravest and best scene, attitudes towards pedophiles). Even its ending, that could read as a pessimistic final judgement on humanity - or, at the very least, men - is more even-handed than it might first appear, with denial of experiencing sexual urges the ultimate villain of the piece rather than an interest in or enjoyment of sexual behaviour itself."</a><br />
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Shown in some territories, including the UK, over two installments, Lars von Trier's latest doesn't really feel like something that's meant to be seen that way. It's one long, disturbing, rambling movie with an arbitrary break in the middle. But taken as a whole film it's always interesting and occasionally brilliant stuff, typically confrontational and sometimes very funny. Charlotte Gainsbourg is brilliant in it as the older version of the sex-obsessed Joe, whilst Uma Thurman is particularly memorable in a one-scene cameo that constitutes one of the funniest scenes of the year, playing like something out of Chris Morris' <i>Jam</i>.<br />
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<b>21) Calvary, dir. John Michael McDonagh, IRE/UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2014/04/the-amazing-spider-man-2-calvary-noah.html" target="_blank">"Hinging on a stunning central performance by Brendan Gleason, as a good man and dedicated priest in a rural Irish town, 'Calvary' is writer-director John Michael McDonagh's typically tragicomic follow-up to 'The Guard'. Behind that great performance is a screenplay which not only boasts a lot of smart and darkly funny dialogue but also a simple yet ingenious premise... Even-handed to a fault, the supporting cast of broad archetypal characters - played by the likes of Aiden Gillen, Dylan Moran and a particularly superb Chris O'Dowd - air a number of popular (and generally justified) grievances against the church's exploits, whilst in return Lavelle is shown to be a pretty smart and witty guy who more often than not has an amusing rebuttal, even if he doesn't always mount a counter-offensive. It's as much about the Catholic church as an institution as it is about religious belief and the very idea of a good priest - or even a good man - as it is a compelling, occasionally tense crime mystery and acidic, jet-black comedy."</a><br />
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<b><br /></b>Lower down on this list than it probably should be - I know many people have this near the top of their list and I won't argue - but for me it fell short of matching John Michael McDonagh's first film, 'The Guard', and verging into more melodramatic, emotionally manipulative territory. Still it's beautifully made and Brendan Gleeson has never been better, whilst Chris O'Dowd comes close to stealing the spotlight with a nuanced and complex dramatic performance that suggests a previously unseen depth from an actor more closely associated with playing affable comedic nice guys.<br />
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<i>Read entries for films 20-11 <a href="http://beamesonfilm.blogspot.co.uk/2014/12/my-top-30-films-of-2014-20-11.html" target="_blank">here</a>.</i>Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com1tag:blogger.com,1999:blog-2718046465562929451.post-74999553247005887132014-12-21T01:42:00.002+00:002014-12-28T11:44:21.056+00:00Review Round-up: 2014 Catch-up<div class="separator" style="clear: both; text-align: left;">
I've not written anything on here in a long while since I've moved to Spain and missed a lot of movies. However on returning to the UK for Christmas I've been on a catch-up binge. Here's some brief thoughts on what I've seen.</div>
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<b>'Lucy' - Dir. Luc Besson (15)</b><br />
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The last half-hour is probably a little too action-y - with a full-blown gunfight between an Asian criminal gang and French police which is a lot less fun than everything that precedes it - but Luc Besson's 'Lucy' is otherwise a terrifically paced and entertaining slice of brainless nonsense. In fact it's a rare thing in this age of overblown, bloated Hollywood fare: a zippy little 90 minute movie that manages to wrap up long before it's worn out its welcome. Scarlett Johansson makes a very strong case for that elusive Black Widow solo movie as she kicks the asses of all present as an American tourist who stumbles into the wrong place and winds up overdosing on a new drug that unlocks the untapped potential of the human brain, granting her powerful abilities but also making her seem cold, alien and inhuman. It's a bit like watching her character from Under the Skin parading around with superpowers, which is pretty great.<br />
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<b>'The Boxtrolls' - Dir. Anthony Stacchi & Graham Annable (PG)</b><br />
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Not in the same league as 'Coraline' or 'ParaNorman' (the best animated film of this decade so far), but Laika's latest stop-frame animation is still very polished and endearing, with its heart very firmly in the right place. But intention isn't everything, of course, and a cross-dressing villain has perhaps rightly invited <a href="http://fandomsandfeminism.tumblr.com/post/98002408509/the-boxtrolls-is-transmisogynist" target="_blank">criticism that the film is transphobic</a>, which I can't rebuff with any force even if my own view on it more closely aligns with <a href="http://www.themarysue.com/boxtrolls-transphobia/" target="_blank">this defense</a>.<br />
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This is made all the more unfortunate by the way it undermines the film's great message of tolerance and not being afraid of those who are different from you. This is the studio that presented audiences with an openly gay high school jock character in 'ParaNorman' (revealed in a line which can be dismissed as throwaway, but is actually deeply embedded in that film's message) and 'The Boxtrolls' attempts to be similarly right-on as it tells another story where the great evil is basically intolerance which drives people to scapegoat those who are different to them as the cause of society's ills (something for which there is no shortage of real world parallels). Though as with the recent <a href="http://comicsalliance.com/batgirl-37-criticized-for-transphobic-content-creative-team-apologizes/" target="_blank">Batgirl comic controversy</a>, it seems serious errors in judgement have been made here.<br />
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<b>'Hercules' - Dir. Brett Ratner (12A)</b><br />
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<b><br /></b>Could have been fun. The Rock as Hercules! He throws a horse! But it's ultimately just very boring, especially as Brett Ratner's film half-heartedly tries to walk away from presenting Hercules as the literal son of Zeus with the apparent aim of grounding the stories and explaining away their fantastical elements as exaggeration. Yet it neither commits fully to playing it straight or to making a big, brash, campy film about a demigod, existing somewhere unsatisfying between those two points.<br />
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<b>'Snowpiercer' - Dir. Bong Joon-ho (TBC)</b><br />
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*SPOILERS*<br />
The first half of 'Snowpiercer, 'The Host' and 'Mother' director Bong Joon-ho's maiden English-language effort, is one of the best things I've seen all year. Smart, funny, with inventive action set-pieces and an oddball sense of humour, the highlight being an inspired supporting turn from Tilda Swinton. However the second half of the film is one of the worst movies I've seen this year, from Ed Harris' 'Matrix Reloaded' style clunky, cod philosophy explanation of how his train-based society works to the film's spectacularly misjudged "I know what babies taste like" monologue (which star Chris Evans does his best to sell but it's not happening).<br />
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This isn't helped by a final scene which makes no sense (they get eaten by that polar bear, right?), following a truly superfluous action sequence which sees some sort of fancy dress party revellers attacking Song Kang-ho's character with seemingly no objective in sight. With a premise this convoluted and insane (the last surviving humans all live on a train around the world built conveniently by a mad industrialist before the apocalypse hit) the first half works because it seems self-aware and broadly satirical, but the more po-faced it becomes - the more melodramatic it gets - the harder it is to enjoy.<br />
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<b>'Jodorowsky’s Dune' - Dir. Frank Pavich (TBC)</b><br />
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An entertaining if slightly shallow look at one of the great unmade movies, which doesn't lack charm and enthusiasm even if it principally consists of talking heads making grand ("it would have been better than 2001 and Star Wars") statements. Most frustrating the the continual insistence of all involved that this Dune adaptation would have been so powerful in terms of its ideological content that it would change humanity. Indeed Nicholas Winding Refn, of 'Drive' fame, suggests the reason this massively expensive, potentially 8-hour long arthouse film wasn't made by Hollywood studios was a fear of said epoch-bending ideas. Yet all we get in this doc, really, is a lot of (really awesome) concept art, with these nebulous 'ideas' never really explained. An enjoyable watch but I personally didn't fully buy into the cult of this unmade film, which would certainly have been interesting but, on this evidence, I'm not sure would have been good.<br />
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<b>'Teenage Mutant Ninja Turtles' - Dir. Jonathan Liebesman (12A)</b><br />
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Ugly, over-detailed CGI characters in a loud and cynical blockbuster re-working of a late-80s cartoon/toy nostalgia property featuring Megan Fox, brought to the screen by Michael Bay. This latest attempt to reboot the 'Teenage Mutant Ninja Turtles' for today's kids invites obvious comparison to the risible 'Transformers' franchise. It's not quite as bad as all that though and, with Bay only acting as a producer and Jonathan Liebesman directing, it never gets nearly as offensive. It doesn't quite have the leery male gaze to the same extent as 'Transformers' and thankfully ditches the broad racist caricatures and militaristic politics too, though if you want to go there it's probably guilty cultural appropriation perhaps inherent to the franchise.<br />
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So it isn't 'Transformers' level bad, but that's not to say it's good though or that it succeeds on any level. Like their robots in disguise counterparts, the turtle redesigns are overly busy and extremely unappealing and their voices never feel like they fit, whilst the usually excellent Tony Shalhoub is an odd choice to voice their sensei Splinter. Most puzzling is the wholesale lifting of plot points and sometimes specific action beats from 2012's 'The Amazing Spider-Man' (itself not a great movie). There's the convoluted way William Fichtner's villain, Fox's reporter and the turtles are all connected by coincidence, and more directly a scene on a rooftop in which the baddie is thwarted from releasing some chemical McGuffin into the city, ultimately climaxing in a television tower falling down.<br />
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<b>'Interstellar' - Dir. Christopher Nolan (12A)</b><br />
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*SPOILERS*<br />
If something takes itself seriously enough people will take it seriously in return. That's what 'Interstellar', and the broader Christopher Nolan canon, has taught me based on the reactions of movie fans. Yes, this is <i>cerebral sci-fi</i>. <i>Intelligent cinema</i>. A <i>thinking person's blockbuster</i>. We know that because of the tone, the cinematography and the music. It screams "take me seriously!" Like 'Inception' and the Batman (sorry "Dark Knight") trilogy before it this is something silly dressed up so that people who take themselves very seriously can still enjoy it and not feel too juvenile. Like the bit in 'Batman Begins' where Michael Caine explains how he mail orders Batman's ears in bulk to avoid suspicion, 'Interstellar' follows the proud Nolanverse tradition of explaining and explaining and explaining everything presumably out of a paranoid, insecure fear that somebody in the audience might think the whole thing is stupid. "It's not stupid!", cries 'Interstellar', "it all makes sense! The robot explained how it all worked!"<br />
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'Interstellar' is the story of a small-town farmer who breaks into a military installation, is tasered and held prisoner and then refuses to answer any questions or co-operate at all and is then told "we can only answer your questions if you agree to fly this spaceship for us". Because that makes sense. Yes, Cooper (Mathew McConaughey) used to be a pilot before the film's post-apocalypse scenario occurred but that's still an enormous logical stretch. Not that it would matter most of the time: I enjoy films with wonkier premises and crazier logical leaps than that, but they don't tend to take themselves so seriously to such an oppressive degree. Similarly, and I'm going all-out spoilers here, we are asked to believe a man who regrets abandoning his daughter for decades will leave her on her deathbed without argument after about 2 minutes of conversation because she says "you shouldn't have to see this" and he's like "ok then, dying daughter" before rushing off to win Anne Hathaway in spite of the fact there was no romance plot between them in the entire movie. But her never-seen boyfriend has died off-camera so she's his by default now, I guess. Because movies. Oh and he also never asks about his son once when he gets back.<br />
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The music is always telling you how to feel in the most overbearing, melodramatic way possible and the dialogue explains everything to the point where there is little room for existential discussion a la '2001' (so much dialogue in the bookcase scene detailing where Cooper is, why he is there, what it means - Nolan would have just explained the obelisk and the bedroom scene at the end of Kubrick's masterpiece would have included a monologue). There's even a moment when you see a spaceship smash into a frozen cloud and before I could finish saying "frozen clouds are a cool idea" in my mind a character on-screen had said "frozen clouds". Again, there's a paranoia there about somebody not understanding exactly what that was and a terrified Nolan had to have somebody explain lest anyone have to think about it too long.<br />
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The space stuff is amazing, in terms of the scale of what is rendered on screen and the way it plays with the idea of what time relativity would mean for astronauts, which is pretty mind-blowing. I have no idea if it's accurate (I presume it is based on the latest knowledge of how these things work) but the depictions of a black hole and a wormhole, as well as the planets visited, are pure cinema. It's technically very well made, as you would expect, and as such is not a bad film or a bore even though it is overlong. There's a lot to like about it but not so much that I could ever hope to like it as much as it so transparently likes itself.<br />
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<b>'Ida' - Dir. Pawel Pawlikowski (12A)</b><br />
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'Ida' is a European arthouse film du jour. To the extent where you'd only have to modify it very slightly to make it an amazing, pitch-perfect parody of what a festival favourite, black and white Polish film would be. It's 80 minutes long, supposedly, but it must be pulling some of that 'Interstellar' time relativity stuff because it's 80 minutes that feels like two hours. Everybody loves it though so I am probably missing something deep and profound. However I have decided - somewhat facetiously - that positive reviews by critics are akin to the oft-derided spin of estate agents, where "cosy" means "small".<br />
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In its round-up of the year's best movies, <i><a href="http://www.theguardian.com/film/filmblog/2014/dec/03/the-10-best-films-of-2014-no-8-ida" target="_blank">The Guardian</a></i> wrote of it: "Pawlikowski never dwells on the social or political points: the aunt is a compromised Stalinist lawyer; Poland is in the grip of cold-war communism; and Ida herself is forced into existential self-doubt. Yet these things lie lightly over the film – nothing is hammered home, or pointed up."<br />
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To me this translates as "none of the interesting themes and historical, socio-political context are explored at all". Similarly the claim that the film is "so delicate you are afraid [it] will collapse in the first puff of wind" may mean "it's insubstantial and its premise is stretched thinly over the running time".<br />
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I have to admit, for me it's this year's example of that annual film that comes out that makes me feel like I just don't understand cinema - the film everybody else says is amazing and I can't see what they are talking about. It's not that I hated 'Ida' or found nothing of merit in it, just that it didn't personally speak to me or move me very much. I'll say this for it: I liked the off-centre framing of a lot of it, with the characters pushed to the margins. I also thought the idea (spoiler warning) of a nun having a few days of sex, booze and rock 'n roll before returning to the convent was potentially interesting. Is the idea that she is in a better place to make her vow now that she knows what she's giving up? Does that make her vow more meaningful than those of her fellow nuns who have never indulged? Interesting ideas and set at a fascinating time in Polish history, with the second world war and its atrocities a living memory and the socialist government in full swing - I just wish there was more to it.<br />
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<b>'Boyhood' - Dir. Richard Linklater (15)</b><br />
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Richard Linklater's 'Boyhood' generated a lot of buzz due to the curiosity of its production: shot over 45 days spanning an eleven-year period, the film dramatises adolescence as we follow Mason (Ellar Coltrane) - who starts the film as a small boy of six and ends it a college student. Not only do we see the young actor who plays him go through physical changes almost from scene to scene, but naturally we also see those changes in the actors around him (like his parents played by Patricia Arquette and Ethan Hawke). Being a sprawling epic about one boy's childhood there isn't really an overarching plot, but rather it's a series of small developments and micro-plots held together by an emphasis on character development. And it works really well.<br />
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As well as the thrill of seeing these characters age and change in such a unique way, the film presents a look at attitudes and lifestyle in Southern Texas - with events likes the invasion of Iraq and election of Barack Obama in the background, as well as obligatory changes to cell phones and video games - as the family move around the Lone Star State. If there's an ongoing plot it's in seeing Mason constantly pressured into not being himself by a succession of douchey stepdads, shortening his hair against his will and taking an interest in sports. You get a sense of what it must be like to be an introverted, creative kid in Linklater's home state and so, in some sense, this might even serve as a semi-biographical film about its director. Incidentally his daughter Lorelei plays Mason's older sister and she steals every scene she's in with natural screen presence.<br />
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Not just one of the best films I've seen in 2014, but a genuine contender for a place among the best of the decade so far.<br />
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<b>'Two Days, One Night' - Dir. Luc Dardenne and Jean-Pierre Dardenne (15)</b><br />
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Subsisting on the sort of tight concept I tend to love, the Dardenne brother's latest stars the always-excellent Marion Cotillard as Sandra: a severely depressed woman who is ready to return to work only to discover that her colleagues have voted her out of a job. Having learnt they can manage without her on payroll, her bosses decide to cut costs by making staff choose between Sandra and their annual bonus payment. In her absence they overwhelmingly voted for the money, but when Sandra convinces them to recall another vote after the weekend she has the titular timeframe to convince each individual to back her over personal financial gain.<br />
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It's an interesting moral question which the film explores in all its complexity as Sandra visits each person in turn and makes the same basic argument with mixed results. Some are outright hostile, some can't look her in the eye, many are sympathetic but insist they need the money, whilst others agree to back her for reasons ranging from solidarity to shame. Perhaps the film treats an attempted suicide too casually and Sandra's apparent defeat of bed-ridden depression by the credits is a little too sudden, but this is a complex and original film which deserves to be seen. Especially as the Dardenne's again display an impressive knack for marrying social realism with something more hopeful and optimistic than that term usually suggests.<br />
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<b>'Nightcrawler' - Dir. Dan Gilroy (15)</b><br />
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'Network' for the modern age, 'Nightcrawler' is a darkly comic and very disturbing thriller which casts Jake Gyllenhaal in a potentially career redefining role as Louis Bloom - a sociopath who, lacking in empathy or anything approaching a moral code, is perfectly suited to filming grisly accidents for an unscrupulous TV news network. Riz Ahmed is almost equally impressive as the glassy eyed, vulnerable young intern he manipulates and Rene Russo is perfectly cast as the news director he threatens and simultaneously covets - without hint of warmth or desire - as a sexual outlet. Bill Paxton also makes for an interesting foil as a cocky, alpha male rival in his quest for accident and murder footage, but there's no doubt this is Gyllenhaal's show.<br />
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It's pretty grim and though not physically violent (with one notable exception in the opening scene) Bloom is a menacing, unsettling presence who seems to threaten an aggressive outburst during every encounter. It speaks to writer-director Dan Gilroy's skill that he never releases that pressure valve. To allow that outburst would grant the character a level of interest in other people and a degree of emotion that he just doesn't have. Much scarier is how coldly and calculatedly he seems to regard everybody in his orbit. There's something of Patrick Bateman in him and maybe a slice of Travis Bickle too. The film itself invites that company not only with its lead character but with its complexity and quality.<br />
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<b>'The Hunger Games: Mockingjay Part 1' - Dir. Francis Lawrence (12A)</b><br />
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The theoretically difficult "part one" literary adaptation is by now almost its own sub-genre. As studios seek to eek every bit of profitable life out of popular franchises with limited lifespans (this is based on the third of a trilogy of books) conventional wisdom says the 'Harry Potter & the Deathly Hallows Part One's of this world are all set-up and no pay-off - at their worst they could be considered extended trailers for their concluding sequel. However, as with the aforementioned penultimate Potter (the only other film of this trend I have personally seen), I found 'The Hunger Games: Mockingjay Part 1' to benefit greatly from the sort of extended character development and patient build-up stuff this practice lends itself to, whatever its cynical intentions at boardroom level. What we have is a movie that doesn't have to hurtle along towards the action climax but which instead can spend a bit of time (like Potter) moping about in the woods and giving screentime (and still too little) to the film's incredible supporting cast.<br />
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Julianne Moore enters the series here, as the president of the rebel organisation that rescued Jennifer Lawrence's Katniss at the end of the second film, whilst Woody Harrelson, Elizabeth Banks, Jeffrey Wright and Stanley Tucci make welcome returns in eye-catching character roles. As does the late Philip Seymour Hoffman who gives presence and integrity to an understated and uncharacteristically calm part as one of Moore's advisors. Then we have Natalie Dormer as a ridiculously cool propaganda filmmaker, with this year's best on-screen haircut. The weak links remain the two love interests: hunky bore-fest Gale (Liam Hemsworth) and wet-blanket bore-fest Peeta (Josh Hutcherson). Neither is the fault of the actor but rather the characters themselves, who are equally boring in the novels. (Sam Clafin's Finnick Odair is far more charismatic and interesting.)<br />
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It's not as exciting as the second movie or as focussed as the first, but this is the one where the hitherto wobbly political themes start to actually get interesting and take on added weight. In that sense it's the cleverest so far. It's also refreshing to get moving on the wider plot across Panem - outside of the titular games (this film has none) - which finally takes centre stage after being glimpsed at the margins of the previous films. All in all a satisfying run-up to the final chapter that even manages to craft a decent ending out of the arbitrary half-way point as hewn from the source novel.<br />
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<b>'Gone Girl' - Dir. David Fincher (18)</b><br />
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It goes without saying that 'Gone Girl' is technically excellent, gripping, peerlessly made stuff. It's a Fincher movie, for God's sake. The guy knows his craft. The casting is excellent across the board, with some surprising choices (like Neil Patrick Harris as a slightly sinister stalker and Tyler Perry as a slick lawyer with a shit-eating grin). It's all top-level stuff. Only I really didn't like it very much. I've argued with people about whether or not it's outright misogynistic (there are a lot of good arguments that it is and a lot of strong evidence in that direction) but ultimately I come down on the side of this being a black-hearted film that just hates all humans equally. People suck and are bad for each other and are inclined to bring out the worst in each other, it seems to say.<br />
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Rosamund Pike's character - the "abducted" wife - is perhaps the most obviously 'evil', but Affleck's husband is almost equally manipulative and not somebody you'd ever want to meet or be friends with. Arguably the only two characters who aren't completely hateful are female, in the form of Affleck's sister (Carrie Coon) and Kim Dickens' detective. Yet these could easily be written off as "some of my best friends are women" plants to support Affleck's consistent mistrust and dislike of (most of) the women in his life (from his wife's mother to the shrill lady on the TV), seeing as they mostly ally with him throughout.<br />
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You can discuss the ins and outs of the film's sexual politics all day and never come to an agreement. I'll probably leave it at "they are troubling" for now and just say it wasn't ultimately my cup of tea. I've really grown to like Fincher's output in recent years as he moved away from what I considered the nihilism and nastiness of films like 'Seven' and 'Fight Club' towards films like 'Zodiac' and 'The Social Network' - which were equally grim, disturbing and dark but had more of a human dimension. For me 'Gone Girl' is a step back towards that older stuff. I know a lot of people would rate 'Seven' and 'Fight Club' as his best work, so maybe for those folks 'Gone Girl' is possibly a return to form. Personally, for all its technical prowess I found nothing to like here.<br />
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<b>'Mr. Turner' - Dir. Mike Leigh (12A)</b><br />
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A lot to admire, not least of all Timothy Spall's deservedly lauded performance, but Mike Leigh's biopic of the late life and career of famed landscape painter William Turner left me oddly cold. There are plenty of interesting character moments and colourful period details and it's also a rare period piece that doesn't glamourise the past, painting London as very modern, lived-in place, but still (unlike the vast body of Leigh's work) didn't make me feel any way in particular. Perhaps that's born of a lack of investment in the subject matter, I don't know. It's possibly down to the fact that Turner, as portrayed by Spall, is a gruff, grunting, mumbling figure who often seems apathetic towards everything except boats and landscapes. There's something deeper going on with this man who denies the existence of his children and treats his housemaid so callously, but who is depicted as falling deeply in love in his twilight years and who weeps over the loss of his old dad. A nuanced, interesting character study, but lacking something I can't quite identify.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-15401729925222460832014-08-01T21:59:00.001+01:002014-08-01T22:02:32.624+01:00'Guardians of the Galaxy', 'Dawn of the Planet of the Apes', 'Edge of Tomorrow', 'Maleficent', '22 Jump Street', 'Of Horses and Men', and 'Grace of Monaco'<div class="separator" style="clear: both; text-align: left;">
First post here in a very long time and likely my last for an even longer while, as I'm moving to Spain - and to a place with no cinema. Before I do, I'm going on a road trip around the US this month, so maybe I'll use this blog as a place to keep some kind of travel diary. Haven't decided yet. At any rate, my film watching has really slowed down this year to the point where I'm not even seeing a film every week. This review round-up represents every new film I saw at the cinema between now and that previous update in May (although I did somehow find time to watch 'X-Men' three times!).</div>
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<b>'Guardians of the Galaxy' - Dir. James Gunn (12A)</b></div>
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Representing the biggest risk for Marvel since their shared movie universe began, 'Guardians of the Galaxy' is hardly based on household name characters considering the company's deep bench of well-known characters. In fact, until relatively recently Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Rocket (a gun-toting raccoon voiced by Bradley Cooper), Drax (wrestler Dave Bautista) and Groot (a tree-like creature voiced by Vin Diesel) were not even especially well known to superhero comic book fans, with that incarnation of the space-faring anti-heros not appearing until 2008, coincidentally the year Marvel kicked off their own movie studio with the first 'Iron Man'. Yet the movie, directed and written by a similarly left-field choice in James Gunn, looks set to be a huge hit with audiences due in no small part to a whip-smart and irreverently funny screenplay and fine comic performances across the board. It goes without saying that's in addition to some great, hi-octane action and immersion into a colourful and imaginative world.</div>
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It's primarily about a group of misfit characters coming together with the villain of the piece Ronan the Accuser (Lee Pace) only a couple of steps up from Christopher Eccleston's forgettable Malekith in last year's 'Thor: the Dark World', but the baddies and fantastical, world-threatening mcguffins work as required as the loose framework around which to pin a hugely enjoyable combination of strange characters. By the end you not only understand who each of these people is but also believe they've been through enough together to form deep bonds of camaraderie and friendship. It's also the funniest Marvel movie yet, very much accentuating the latter part in action-comedy even more so than Shane Black's frequently hilarious 'Iron Man 3', with a lot of really fun character business between the scenes of colourful, awesome stuff exploding.</div>
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When the film was announced a couple of years back, it was regarded as a make or break movie for Marvel's growing cinematic universe: can the studio that started with the (relatively) gritty and grounded 'Iron Man' convince us of a talking raccoon and tree double-act? There was no going back and I'm sure the spectre of Jar Jar Binks must have loomed over the project, at least for nervous studio executives. Well they've more than gotten away with it and, after this, you'd have to wonder if there's too much in the company's comic book continuity they couldn't now bring to the screen with well-placed confidence.</div>
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<b>'Dawn of the Planet of the Apes' - Dir. Matt Reeves (12A)</b><br />
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Not as tightly focussed or emotionally satisfying as Rupert Wyatt's 2011 'Rise of the Planet of the Apes' - the prequel movie for which this is the direct sequel - as it broadens the focus from one rapidly evolving ape, Caesar (Andy Serkis), to a whole array of primates and significantly less interesting human characters, but Matt Reeves' 'Dawn of the Planet of the Apes' is exciting and filled with great moments. The opening 20 or so minutes are particularly breathtaking, as the film opens on an organised and socialised ape hunting party communicating in sign language whilst chasing deer through the Muir Woods near San Francisco. All the scenes between the apes are really well done, technically and in terms of storytelling, with Caesar and his brethren clearly compelling enough to carry an entire film if Fox so wished, even though it would be a clear break from the apes versus humans formula of the series.<br />
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The human characters, led by Jason Clarke and an underutilised but perfectly cast Gary Oldman, are not bad by any stretch of the imagination, but they suffer by comparison to the more charismatic and fascinating apes. Also upstaging the human cast is a brilliantly realised post-apocalyptic San Francisco, which looks seamless and very real, almost as if they'd trashed the real city even if it must in reality be combination of sets and CGI. My only real criticism of the thing is in the way the central rivalry between Caesar and the abused former lab chimp Koba is resolved, which is impossible to discuss here without major spoilers. That aside, it's an entertaining, large scale sequel which lives up to its predecessor in terms of visual effects and scope even if it doesn't surpass it in terms of character development and heart. Which isn't to say it lacks those things either: I just like 'Rise of the Planet of the Apes' a lot.<br />
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<b>'Edge of Tomorrow' - Dir. Doug Liman (12A)</b><br />
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Criminally overlooked this summer by audiences who've become increasingly sick of Tom Cruise over the last decade or so, 'Edge of Tomorrow' is a genuinely smart and thoroughly entertaining piece of high concept sci-fi which takes its cues from video games and features Bill Paxton at his sarcastic, army man best. It also stars Emily Blunt as a highly capable and supremely badass soldier who used to have the strange alien power since acquired by Cruise's combat-shy press officer: an ability to come back to life after being killed, waking up in the same point about a day earlier a la 'Groundhog Day'.<br />
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It's slick and fast-paced and it even features a gratuitous scene of Cruise riding a motorcycle through London - something which might have been annoying once upon a time, at the height of his popularity and star power, but which is now so clearly ridiculous that it's swung round into near greatness. It comes unstuck in the finale, which ditches the gimmick in a misguided attempt to up the stakes, when all you really want to see at that point is a sort of perfect playthrough of the entire day, but it gets far more right than wrong and takes itself the right amount of seriously to work.<br />
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<b>'Maleficent' - Dir. Robert Stromberg (PG)</b><br />
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If all you want to 'Maleficent' is Angelina Jolie chewing the scenery and doing a strange British accent then you'll be very happy. However, as a huge fan of the 1959 Disney version of 'Sleeping Beauty' - which this purports to be a retelling of from the point of view of the iconic villain - it felt like a missed opportunity. Particularly as it takes the position that the original was propaganda and straight-up lies perpetrated by the evil king (the only genuinely bad performance ever from Sharlto Copley), thereby retelling the story with major differences rather than merely colouring in the edges and adding depth to the baddie. It also removes iconic elements, such as Maleficent turning into that awesome dragon in the last act (instead a shapeshifting familiar played by Sam Riley does that bit, to underwhelming effect) and, though at odds with the more sinister tone of the piece (the breaking of the title character's wings plays like a truly horrific date-rape scenario) the movie retains the comic relief fairy characters - here played with unsettling motion capture technology that renders them unintentionally disgusting and frightening.<br />
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Another massive problem is that by seeking to add depth and explanation to a fairytale that only works because it's vague and features characters who are broad archetypes the movie renders Princess Aurora completely annoying and simple-seeming in her constant, fairy-mandated happiness, whilst King Stefan's decision to protect his daughter by sending her far away from the palace, to a cottage right on the border with Maleficent's forest domain does not hold up well to even minimal scrutiny. It's also a sad fact that, as great a character actor as she is, nobody has ever seen Imelda Staunton and thought "there's somebody whimsical and fun", with her casting as the main kooky fairy particularly jarring. Though she undeniably looks the part - something this whole projected seems entirely predicated upon - Jolie is also not at her best here, turning Maleficent even more resolutely into a cartoon even as the film wants so desperately to flesh her out. The whole thing also has that ugly, over-designed Tim Burton's 'Alice in Wonderland' production design that is a far cry from the minimalism and stylistic elegance of Eyvind Earle's work on the classic animation.<br />
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<b>'22 Jump Street' Dir. Chris Miller & Phil Lord (15)</b><br />
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Coming directly off their huge success with 'The Lego Movie', co-directors Chris Miller and Phil Lord have now firmly established themselves as two of Hollywood's top talents in the realm of comedy movies. Adding to their earlier success with the original 'Cloudy With a Chance of Meatballs' and break-out live action hit '21 Jump Street', the duo clearly understand funny, whether it's an animation for children or sex, violence and expletive ridden fare for adults (or at least older kids). '22 Jump Street' is another great example of the sort of smart, joyful and zany (in a good way) thing they do, subverting cliches and making self-aware jokes about cop movies and sequels along the way. Much like the original film - a re-tooled adaptation of a widely reviled Johnny Depp TV series from the 80s - this sequel is comfortably better than it has any cause to be.<br />
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Jonah Hill and Channing Tatum are again really fun to watch as two cops sent undercover to infiltrate a college for a sting operation and unlikely BFFs. Like the first one, this is primarily the story of a sweet and sincere friendship and that's where most of the fun comes from. Tatum in particular is hilarious and charmingly dumb as the football playing jock of the team. Ice Cube also returns in scene-stealing form as their ballbusting boss, whilst relative unknown Wyatt Russell is perfectly cast as the easygoing ball player who nearly breaks up the central bromance.<br />
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<b>'Of Horses and Men' - Dir. Benedikt Erlingsson (15)</b><br />
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A series of tangentially connected short stories revolving around, naturally enough, humans and their relationship with horses in one isolated Icelandic community, 'Of Horses and Men' is downbeat with an odd sense of humour. It also contains far more sex and death than you might expect, with most the characters, horse and human, not surviving their story unscathed (if at all).<br />
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At first, the opening story seemed to me to be a savage critique of the way men treat women, as trophies and extensions of their own pride and ego, as one horse owner struts around the village on his favourite female horse before shoot that horse after she is set upon by a randy stallion from another field. It's the idea that women can be seen as damaged goods, sullied by sexual contact, whereas the male who initiated the encounter is not punished or in any way demeaned by the ordeal. There's also a really refreshing and progressive story about a young, Swedish woman who is depicted as the most competent and dedicated horse wrangler in a community otherwise populated by self-destructive drunks and irate farmers. But then the end credits proudly state that the film is made by horse owners to express a love of horses, so maybe it's really only about horses after all. It's an odd one.<br />
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<b>'Grace of Monaco' - Dir. Olivier Dahan (PG)</b><br />
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It's the terrible, car crash movie you heard bombed with critics at this year's Cannes Film Festival, but the worst thing about 'Grace of Monaco' is that it manages to be bad without ever being particularly funny with it. This is no 'Diana' in terms of providing derisory sniggers, though I'd argue it is a worse movie. Certainly in terms of narrative structure. For all its faults and however dubious it is as a work of supposed biography, 'Diana' at least has a coherent structure and tight focus, which sees that particular tabloid princess falling in love with a surgeon in the lead-up to her premature death in 1997. But 'Grace of Monaco' is a confused affair, spending an equal amount of time with Tim Roth's Ranier III (as he fights against Charles de Gaulle's bid to make the principality pay taxes to the French state) as it does with Nicole Kidman's pouty movie star-turned-royal. With the exception of Parker Posey's "why is she in this?" turn as a sinister French maid, the film is just utterly boring.<br />
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An anti-tax, hilariously anti-French (all the Monacans are played as English, whilst de Gaulle and his compatriots are almost Pythonesque in their Frenchness) screed in which an American celebrity has to learn to become a model princess, it ends with Kidman giving a rambling speech that somehow averts a war between France and Monaco by utterly charming de Gaulle, which is not only unearned but makes no sense at all. Roth and Kidman are phoning it in, the sets look sparse and lifeless, the cinematography is like something out of a bad perfume ad and it also boasts one of the worst big screen portrayals of Alfred Hitchcock ever seen - which is saying a great deal. 'Grace of Monaco' is horrendously awful. A film where nothing is right at any level of the production, even by accident. Avoid it.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-8628638387400680532014-05-28T00:01:00.003+01:002014-12-28T22:58:29.770+00:00'X-Men: Days of Future Past', 'Godzilla', 'The Wind Rises', '20 Feet from Stardom', 'Blue Ruin', 'Locke', 'A Story of Children and Film', and 'Tracks'<div class="separator" style="clear: both; text-align: center;">
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<b>'X-Men: Days of Future Past' - Dir. Bryan Singer (12A)
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<b><br /></b>Regular readers of this blog will know I'm a huge fan of the Marvel Studios movies to date, with my enthusiasm for 'Captain America: the First Avenger' and 'The Avengers', in particular, leading me to become an avid reader of the comics themselves. I like the Sam Raimi 'Spider-Man' series a lot too (even the third one, with reservations) and I even have time for Ang Lee's much-maligned 'Hulk' and, over on the DC side of things, I am overall a fan of the Christopher Nolan Batman trilogy. Yet, even though I'm of that generation that grew up with the Saturday morning cartoon series in the 90s and had parents who owned and loved an extensive collection of the Claremont/Byrne comics, I have never been a huge fan of Fox's X-Men movie franchise. The first one was pretty good - certainly better than I remember expecting it to be after seeing the title characters disappointingly decked out in unexciting black leather outfits - and its direct sequel, 2003's 'X-Men 2', was better still, but I've never been nostalgic about the series at all. And that's in spite of the fact that, with a couple of exceptions, the casting has always been superb.<br />
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That cast is probably why the series has limped on within the same continuity for over a decade now, even after the third entry 'X-Men: the Last Stand' killed off several main characters and pissed fans off by being completely terrible in almost every way: how do you recast Ian McKellan as Magneto or Patrick Stewart as Professor Xavier? To say nothing of the fact that Hugh Jackman, a near unknown when he was first cast in 2000, practically <i>is</i> Wolverine. The solution was to go backwards a few years ago with 'X-Men: First Class' (which most seemed to love and I completely hated bar its, again, exceptional casting), keeping the option open of making more Jackman Wolverine movies (2013's 'The Wolverine' was legitimately pretty great, whilst 2009's 'X-Men Origins: Wolverine' is best left forgotten) and enabling the recasting of key roles without inviting the same unkind comparisons that might have persisted had it been a straight-up reboot.<br />
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Now, seven movies in to Fox's X-Men movie franchise, they've finally made one I unequivocally love. Bryan Singer, who helmed the first two movies, returned to the director's chair to tell a very X-Men story: one involving not only the comic book series' staple of time travel but also spinning a tale specifically designed to address and repair perceived to an increasingly elaborate and inconsistent continuity. Put that way, 'X-Men: Days of Future Past', which is loosely based on a classic Chris Claremont and John Byrne story, is possibly the most comic book movie ever. The series that once felt the need to make jokes about heroes wearing "yellow spandex" has now fully embraced the madness of comic books and I couldn't have had a bigger smile on my face whilst watching it. Especially at the ending, because here's the thing: Singer and writer Simon Kinberg have done it.<br />
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They <i>have</i> fixed the X-Men movie franchise and in a classy way that makes it possible to make new movies with the 'First Class' cast (primarily James McAvoy, Michael Fassbender and Jennifer Lawrence) without fear of bumping into any of the old baggage that once lay in the way. It's a smart movie that celebrates the past, but definitively makes way for the future. It's a rare sequel/prequel that actually elevates everything that came before and makes it all seem, finally, like it all sort of makes a certain fuzzy kind of sense. I like problem movies, which is to say movies which seem to have set themselves a problem and solved it. It's partly why I liked Joss Whedon's 'Avengers' as much as I do. By all rights that movie should have been a huge mess: too many characters to juggle, too many egos on set, too much extended universe baggage to make it appeal to new audience members - yet it all clicked into place.<br />
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The same applies to 'Days of Future Past' in that this movie seems to have been conceived as a way to address continuity mistakes and to help rejuvenate and reboot the franchise. It's a placeholder movie, paving the way for new stories with a couple of hours of energetic rebuilding work, basically. Yet it also works on its own terms somehow, and is fast-paced, fun and contains terrific fight scenes not matched by any X-Men movie and, possibly, by any superhero movie to date. For the first time I'm excited to see a new X-Men movie. In fact, now I'm excited to see the recently announced Channing Tatum Gambit movie. It's not often movie number seven is the best in the franchise, but Fox's X-Men just got really good and it only took about 15 years to get there. Oh, and Quicksilver is awesome.<br />
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<b>'Godzilla' - Dir. Gareth Edwards (12A)</b><br />
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<b>Can't talk about this one without a mild SPOILER that won't be a surprise to anyone who's seen the more recent trailers, but some may want to avoid until they've seen the film.</b><br />
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The obvious way to reboot 'Godzilla' for a modern audience would be to re-tell that great original story from Ishiro Honda's 1954 classic, with all its post-war nuclear paranoia and pitch-perfect melodrama, as scientists work against hope to prevent the gigantic scaley metaphor from wiping out humanity one city at a time. He emerges from the sea, we get terrified, he fights the army, we somehow beat him back, the end. That first movie is popularly acknowledged to be the best of a series that, depending on who's counting, now extends to around 40 entries all sticking to a tried and tested formula which typically sees Godzilla fighting other giant kaiju whilst we humans look on helplessly. It's a "proper movie" that still holds up, in other words, whilst the sequels went the way of 'Rocky'. So it's fascinating to me that Gareth Edwards, director of DIY critical darling 'Monsters', has effectively bypassed this obvious route to respectability and gone straight into this prospective franchise in the spirit of those sequels. It's a weird choice but he more or less pulls it off with an entertaining monster smash-up even if it's not the more grounded and cerebral film many were expecting.<br />
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Godzilla is, charitably, a supporting player here, arriving around the hour mark and seldom seen until the big final showdown in which he rescues hopeless humanity from no less than two other gigantic terrors, after which he is declared the "king of monsters" by the TV news and celebrated in the streets. He's not the main hero and nor is he the epic antagonist, but instead serves as an elemental force of nature who sweeps in and, as Ken Watanabe's scientist has it, "restores balance" when things are at their bleakest. Until that happens we have to make do with a bunch of really good actors with varying degrees of little to do (Elizabeth Olsen, Juliette Binoche, Sally Hawkins, Brian Cranston, David Strathairn) and a lot of Aaron Taylor-Johnson as a military guy who, for one reason or another, follows the monsters around the world, acting as witness to a lot of city destruction and a number of futile US military attempts to thwart the beasts.<br />
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It lacks a little on the human side, but one thing Edwards' movie gets spectacularly right is the special effects on the monsters, which pull of that difficult trick (notoriously hard with CGI) of giving the creatures weight and scale. These are impressive things that easily dwarf aircraft carriers and skyscrapers. One of the most fun aspects of this movie is that Godzilla and his kaiju cousins are completely indifferent to us, only attacking when we get in their way, something best shown by scenes which show the American navy travelling alongside Godzilla as he makes his way inland. He could smash them up in moments were he bothered, but we're insects to him - which is probably the clearest way the film retains any of the original's fear of destructive forces outside of our control. Despite the cheering at the end, there is little indication that Godzilla has gone out of his way to save humanity, just that his vague objective matched up with our own this time around.<br />
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Far from perfect and not as complete or fully realised a vision as last year's more ambitious and imaginative 'Pacific Rim', Edwards' latest monster movie is a strange inverse of his last one: great at delivering epically sized beasts laying waste to civilization in suitably entertaining ways and a little bit shoddy when it comes to character work. Perhaps if a supporting player like Bryan Cranston were the star instead of the bland Taylor-Johnson then things would be very different, but as it stands this is a film that has just enough thrills to make you forgive its shortcomings.<br />
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<b>'The Wind Rises' - Dir. Hayao Miyazaki (PG)</b><br />
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Supposedly representing the final film from legendary writer/director Hayao Miyazaki, co-founder of Japanese animation powerhouse Studio Ghibli, 'The Wind Rises' is a relatively low-key affair which serves partly as a biopic of aircraft engineer Jiro Horikoshi - designer of the famous 'Zero' fighter plane during the Second World War - and, oddly enough, also as a loose adaptation of a short story by Tatsuo Hori called <i>The Wind Has Risen</i>, which concerns a woman suffering from tuberculosis. It's a strange blend, especially as it means half the story (the part concerning Jiro's love for his sickly wife Naoko, which becomes increasingly pronounced in the final third) bares no obvious correlation with the life of the person the film is directly about, but it works in injecting what might have been a fairly dry tale about an aviation pioneer with the heart and romanticism associated with the filmmaker.<br />
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In almost every Miyazaki film to date his passion for machines, engines and, especially, aircraft has loomed large - most notably in 'Castle in the Sky' and 'Porco Rosso' but also visible in the joy of flight experienced on the catbus of 'My Neighbour Totoro' or the broom in 'Kiki's Delivery Service' - so in many ways, though it is less fantastical and magical (and it does still have those qualities stylistically), 'The Wind Rises' does have the air of a great passion project and represents an extremely personal sign-off. In the dream sequences, which are many, Miyazaki indulges his childish imagination, creating wondrous and impossible aircraft and contriving to have two of his heroes converse in what is ultimately aviation hobbyist fan fiction, as Jiro regularly checks in with the Italian airplane designer Giovanni Caproni, who forms his imaginary mentor. Miyazaki's obsessions enter the film in other ways too, with Jiro's drive and single-minded dedication to pursuing his chosen profession, perhaps at the expense of his personal life, another recurring theme.<br />
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At its core it's a film about choosing to pursue your creative dream even if it might be appropriated for nefarious purposes. Some have criticised the director for not going far enough to address the fact that Horikoshi ultimately designed efficient engines of war and destruction which were quickly put to devastating purpose in expanding the Empire of Imperial Japan - and it is fair to say he doesn't admonish Jiro for anything more severe than maybe not paying his (fictionalised) ailing wife enough attention. That said, given some of that negative reaction I was surprised how much the oncoming war underpins the entire film from its opening dream sequence (interrupted by bombs and destruction) to it's bittersweet final moments as Jiro finally perfects his plane only to be suddenly overwhelmed by the reality of what it will be use for next.<br />
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I'd argue Miyazaki effectively creates an air of menace and unease for most of the running time, with the foreshadowing of the coming destruction keenly felt during a haunting portrayal of the Great Kanto earthquake of 1923, as it levels Tokyo amidst an eerie sense of calm and quiet resignation of defeat in the face of a greater power - one of the greatest sequences he's ever conceived. The anti-war theme also comes to the fore in Jiro's dreams and the question of whether to "live in a world with or without pyramids", as Caproni puts it to him, is central. Then there's the kindly German traveller who (voiced to great effect by Werner Herzog in the English language dub) speaks gravely about the great evils being perpetuated by Japan's Nazi allies in Europe and who is suddenly forced to flee from the secret police. Ultimately this distaste for (though never outright rejection of) war is what sours Jiro's greatest achievement.<br />
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As you'd expect by now, the animation is peerless and beautiful, rendered all the more majestic by Joe Hisaishi's sweeping score. Miyazaki always nails small character moments and this film is no exception, from the effortless poetry of Naoko pulling her quilt over the sleeping Jiro as he rests at her side to his light and joyful depiction of something as simple as a paper airplane drifting on a breeze or a group of kids squeezing cartoonishly into the narrow confines of a giant biplane. Without much in the way of conflict to power the narrative, or anything like the fantasy of 'Howl's Moving Castle', 'Spirited Away' or 'Princess Mononoke', this is a film of small moments and wonderful details, no less joyful than those he's given us in the past. He threatened retirement in the past and then came back with some of his most celebrated work, so here's hoping this isn't the last of Hayao Miyazaki. But, if it is, this personal and intimate film is a great way to go.<br />
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<b>'20 Feet from Stardom' - Dir. Morgan Neville (12A)</b><br />
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Controversially taking the Best Documentary Oscar earlier this year when it beat the fancied critical favourite 'The Act of Killing', '20 Feet from Stardom' may not be as exceptional a film in terms of form or content, but it's still a very entertaining doc, especially for those with a predilection for the girl groups of the 50s and 60s. The great Darlene Love is probably the best known of the film's subjects, as it explores the careers of remarkable singers (more often than not black women) who found themselves, for one reason or another, working as back-up rather than making the breakthrough as solo acts. There's all the expected <i>VH1 Behind the Music</i> style accounts of the highs and lows of fame and fortune, as some make it and others fall into obscurity and even out of music altogether, but it's pretty shallow when it comes to insight and is far from a definitive account of any era or artist. The main reason to watch is to see and hear these brilliant singers given a long overdue spotlight, and to learn anecdotes about their careers in music which saw them working behind everyone from Ray Charles to Stevie Wonder via Springsteen and Bowie.<br />
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<b>'Blue Ruin' - Dir. Jeremy Saulnier (15)</b><br />
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With a low budget crowd-funded on Kickstarter and a very slight plot, 'Blue Ruin' is a taut thriller that mostly gets by on atmosphere, with the camera often uncomfortably close to Dwight (Macon Blair) who, when we first meet him, is a soft-spoken, reclusive vagrant - apparently sleep-walking through the past several years of his life in a traumatised stupor and living on a beach in a rusted, blue Pontiac. This changes when a local cop informs him that the man who killed his parents is due to be released from prison, prompting Dwight to start moving with a zombie-like single-mindedness on a quest for revenge. He starts up his old car, gets himself a gun, and heads out on a path of endless and empty ultra-violence with no clear winners.<br />
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Whilst clearly relishing the imaginatively executed scenes of violence, and clearly taking influence from the black humour and dark-hearted menace of early Coen Brothers movies, director Jeremy Saulnier also makes revenge seem appropriately childish. His baby-faced protagonist seems stuck in infanthood after losing his parents and seems perpetually afraid and incompetent, as opposed to cool and in control, a fact which serves as a nice counterpoint to the place revenge now seems to occupy in media in a post-Tarantino world. He gets his guns from a similarly childish old school friend, who displays a juvenile male's love of firearms and murder that is without conscience or understanding of consequence. That's not to say Saulnier isn't perhaps having his cake and eating it, with part of the thrill of 'Blue Ruin' definitely coming from the well-crafted scenes of death and violence, but it's an interesting and welcome aspect and one which elevates this interesting film above the crowd.<br />
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<b>'Locke' - Dir. Steven Knight (15)</b><br />
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A masterclass in terms of showing what you can achieve with one (admittedly world class) actor and a tight, disciplined screenplay, 'Locke' is literally a film in which Tom Hardy drives down a British motorway for around an hour and a half, juggling problems at home and work on his phone. It begins with him getting into his family car in Birmingham and ends with him taking an exit ramp off the M40 and, though hugely important to Hardy's Ivan Locke and to the disembodied voices we hear on the other end of his carphone, the problems he faces are refreshingly down to earth. If given a small budget, one actor, and the brief to make a film entirely set in a moving car, it would be tempting to inject high-octane drama by making, say, something about a man with a bomb on his backseat who is having to deal with terrorists as he drives against the clock to rescue his wife and kids - but Locke gets a lot out of far less. It's consistently tense and thoroughly gripping even though it's about a man who's simply trying to get to resolve marital problems whilst also trying to co-ordinate what we're told is the "biggest concrete pour in Europe" (outside of military and nuclear). High stakes on both fronts, but on a relatable, human scale.<br />
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The only criticism I have of 'Locke' is that some of the voices on the other end of the phone sound theatrical and exaggerated rather than naturalistic, which is jarring when Hardy's adopted Welsh accent comes across as conversational and a little more nuanced, which has the effect of making it feel like the two sides of the conversation are coming from different films. Though that's a minor quibble at most because Hardy delivers a central performance that is captivating from beginning to end, even as/especially when he monologues about the minutiae urban planning and the construction industry in great detail. In fact his Alan Partridge-like fixation on pedantic, humdrum details lends the film a lot of humour even as you find yourself on the edge of your seat wondering if he can get the council to approve a vital 'stop and go' on a minor road at short notice.<br />
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<b>'A Story of Children and Film' - Dir. Mark Cousins (PG)</b><br />
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In the vein of his celebrated television series 'The Story of Film: An Odyssey', critic-turned-filmmaker Mark Cousins turns his encyclopedic knowledge of cinema onto films from around the world depicting children, shining a spotlight on a number of little-seen gems and forgotten classics along the way. Using footage of his young niece and nephew playing in his front room as a sort of framing device, he identifies what he thinks are true expressions of childhood on camera and then uses films - ranging from the blockbuster 'E.T' to Iran's 'The White Balloon' and the Albanian 'Tomka and His Friends' - to illustrate how these traits and ideas have best been depicted on film.<br />
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It's as much a celebration of cinema and childhood as it is a work of criticism and film history, with the definite article in the title of his aforementioned series replaced with a more subjective 'A' this time around. Admittedly, some of the links Cousins draws between the films feel like a stretch (I'm still not sure what his segways to the art of Van Gogh have to do with anything) but it's primarily made up of clips from some truly beautiful films, presented here with an enthusiasm to match the intellect.<br />
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<b>'Tracks' - Dir. John Curran (12A)</b><br />
<b><br /></b>The based-on-a-true-story tale of one young woman's nine month trek across the best part of 2,000 miles of inhospitable Australian desert, from the Northern Territory town of Alice Springs to the Indian Ocean on the west coast, John Curran's 'Tracks' struggles to convey a sense of either time or distance. Like many walking films before it, such as Peter Weir's 'The Way Back' or even John Hillcoat's adaptation of 'The Road', the great swathes of land covered by the protagonist are lost in the edit in the name of brevity, with the film instead taking us from incident to incident - which seems antithetical to the nature of the story being told. The ever-watchable Mia Wasikowska plays Robyn Davidson as a loner who prefers the company of animals to people, yet the film - even with frequent flashbacks to a traumatic childhood - never really gets to the heart of why that is, or why it is she decides upon this arbitrary and extremely dangerous goal.<br />
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We don't really even get to see her deal with isolation for any great stretch of time, as the film bumps Robyn into numerous people seemingly every other scene - from Adam Driver's well-meaning photojournalist to empathetic aboriginal elders and bemused white settlers. It's ultimately a movie hamstrung by an apparent belief that the only way to advance the story or develop its central character is through dialogue and contrived drama. I can't help but imagine Robyn Davidson's months in the outback must have, in truth, consisted of very little of either. Her biggest struggle, perhaps after ensuring a reliable supply of drinkable water, must have been against boredom and madness. This should have been a tale of remoteness, quiet self-reflection and perseverance, but what we have instead is a fairly conventional romance story about a woman who just needs to learn to let people in, principally by learning to love Driver's manic pixie dream-boy.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-69854353912542484342014-04-22T20:20:00.002+01:002014-04-22T23:20:36.177+01:00'The Amazing Spider-Man 2', 'Calvary', 'Noah', 'Muppets Most Wanted', 'We Are the Best', 'The Double', 'The Raid 2', and 'Labor Day'<div class="separator" style="clear: both; text-align: center;">
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<b>'The Amazing Spider-Man 2' - Dir. Marc Webb (12A)</b><br />
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Like its immediate predecessor, 2012's 'The Amazing Spider-Man', what's frustrating about Marc Webb's sequel is that it isn't totally, utterly terrible on anything like a consistent basis: it's that the film is sometimes an utterly perfect superhero comic adaptation between the (more frequent) instances where it's completely and utterly terrible. For instance, ignoring the boring opening scene in which it needlessly focuses on the death of Peter Parker's parents, the film starts with Spidey (Andrew Garfield, mumbling less than in the last film) swinging around a sunny New York City (this one isn't entirely set at night like the last) attempting to stop a robbery, aiding police in pursuit of a pantomime villain played by overacting's Paul Giamatti. It's one of the instances where the Spider-Man from the comic book page, and your childish imagination, is right up there on the screen, swinging through the streets with all the joyousness that makes him such an appealing character. He wisecracks the badguy to great effect and the animation is fantastic in that it presents the character in a way which is entirely comic book: he moves and bends like a cartoon character and not like a real person. It's terrific.<br />
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Then we cutaway to Gwen Stacy (Emma Stone), Peter's girlfriend, giving the painfully earnest and obviously prophetic graduation speech that Parker is typically late to because that's sort of Spider-Man's entire thing. And the fun leaves the movie for a few minutes. Then Spider-Man shows up again and it's awesome! Then the emo, sub-'Twilight' drama kicks in again. And so on. Now both leads are highly watchable and they have a chemistry that makes some of the straight-up romance scenes work very nicely, but these moments are self-conscious and overwritten, with musical cues that always tell you, right on the nose, exactly how to think and feel at any given moment. What they are not, generally, is fun to watch. Then there's poor Jamie Foxx, a decent actor who is given a truly thankless task as villain Electro, who has some unbearably embarrassing scenes which mostly involve talking to himself whilst the soundtrack starts to rap whatever he just said in the background. The Times Square action showdown between him and Spidey is laughable when it should be, if you'll pardon the pun, electrifying simply because of the terrible dialogue and cringe-inducing musical choices.<br />
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So it goes. There are some more excellent bits: Dane DeHaan predictably enough makes for a delicious comic book villain, as Peter's lifelong friend Harry Osborne (absent from the last film) who takes on the mantle of arch-nemesis the Green Goblin here. His late-film team-up with Electro is really fun to watch, as he taunts and intimidates members of the cartoonishly evil Oscorp board. Likewise the climactic action sequence, though hamstrung by its regrettable staging (taking place on the oversized cogs of a giant CGI clock), is tense and its climax emotional, if only because of the quality of the actors involved and prior attachment I feel to these characters. Yet there's so much crap in between the good moments that we're again left with a Spider-Man movie that is neither awful or brilliant or even consistently mediocre, but an unholy hybrid of all three. Which is disappointing and maybe the worst of all possible worlds because of the false hope proffered by the very best moments here.<br />
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<b>'Calvary' - Dir. John Michael McDonagh (15)</b><br />
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Hinging on a stunning central performance by Brendan Gleason, as a good man and dedicated priest in a rural Irish town, 'Calvary' is writer-director John Michael McDonagh's typically tragicomic follow-up to 'The Guard'. Behind that great performance is a screenplay which not only boasts a lot of smart and darkly funny dialogue but also a simple yet ingenious premise. The film begins with an unseen person making a confession to Gleason's Father James Lavelle that he was sexually abused by a Catholic priest as a child and that, one week from now, he'll murder Lavelle on the local beach - the logic being that murdering a good priest for the sins of the church (inviting a fairly obvious Christian parallel) will mean more than murdering a bad one. The rest of the film follows Lavelle's daily life leading up to the prophesied event, as he runs into various members of his flock, all of whom have some sort of historic axe to grind with the Catholic church as an institution, which serves the dual function of allowing for some interesting contemplation about the role of the church in contemporary Ireland whilst also handily setting up a half-dozen potential murderers.<br />
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Even-handed to a fault, the supporting cast of broad archetypal characters - played by the likes of Aiden Gillen, Dylan Moran and a particularly superb Chris O'Dowd - air a number of popular (and generally justified) grievances against the church's exploits, whilst in return Lavelle is shown to be a pretty smart and witty guy who more often than not has an amusing rebuttal, even if he doesn't always mount a counter-offensive. It's as much about the Catholic church as an institution as it is about religious belief and the very idea of a good priest - or even a good man - as it is a compelling, occasionally tense crime mystery and acidic, jet-black comedy.<br />
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<b>'Noah' - Dir. Darren Aronofsky (12A)</b><br />
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Already one of the year's most divisive and controversial releases, Darren Aronofsky has risked alienating both secular and religious audiences with an epic adaptation of the story of Noah's Arc from the Old Testament book of Genesis. On the face of it you'd think there couldn't be much worse in this world than a big screen Bible story starring Russell Crowe, but the director's decision to tell it as a full-blown High Fantasy-influenced myth - complete with rock monsters, flaming swords and magical potions - makes for something highly entertaining, yet also thought-provoking as it becomes something of a discussion about the Old Testament in the post-flood second half. For his part Crowe is perfectly cast as a biblical patriarch in the old mould: an uncompromising zealot who would murder a child if God willed it of him. It's his decision to collaborate with God (referred to throughout as 'the creator') in wiping out the rest of humanity that forms the bulk of the third act soul searching and causes conflict between Noah and his long-suffering family.<br />
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Aronofsky is working on a large canvas here, though this succeeds where his previous attempt at something fantastical, theological and expensive - 'The Fountain' - failed, being more coherent and straight forward in a narrative sense, which gives the theological or moral concerns of the film more immediacy. Though none of his visual flair or tendency towards the poetic is diminished by this more conventional approach, with some particularly memorable and magnificent sequences standing out - such as a time-lapse montage of a trickle of water forming a mighty, continent-spanning river and a brilliant 'Tree of Life' style sequence that features the biblical story of creation being told over images of the formation of the universe as we presently understand it through science. And whilst these visuals impress, and the fallen angel/stone golems excite during a 'Lord of the Rings' style battle against Ray Winstone's army of damned humans, where it really excels is in its complex grappling with ideas.<br />
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The assumption with religion, at least in movies, tends to be that if you accept the existence of God then you must worship him. By setting this story in a world where 'the Creator' unambiguously exists the film instead seems to ask the question of <i>should you follow him</i>? This isn't the crisis of belief which we see explored time and time again, but an active challenge to God's moral authority. This is a vengeful and violent Old Testament deity who doesn't seem to have our best interests at heart. He damned his angels for helping Adam and Eve - and cast them out of heaven for exercising an innocent curiosity about the world around them. When Noah suggests he has been chosen by God not for being the best man, but for being the one prepared to get things done, what could read as a cliche action movie line actually suggests quite a frightening prospect. Not least that the nominal hero of the movie is actually a callous psychopath, with the sense growing ominously that his family are trapped on the arc with somebody dangerous and unhinged. As a result 'Noah' is a much smarter film than many might be expecting.<br />
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<b>'Muppets Most Wanted' - Dir. James Bobin (U)</b><br />
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Disney's sequel to 2011's well loved 'The Muppets' might not hold together as neatly as a movie, lacking that earlier film's pathos and clearly defined character arc, but it's every bit as fun (and possibly more so) thanks to a high gag-count and some typically enjoyable musical numbers from <i>Flight of the Conchords</i>' Bret McKenzie. This time the gang is tricked by Ricky Gervais' Dominic Badguy (amusingly described by Rowlf as "honest and humble") into embarking on a European tour during which Kermit is spirited away to a Siberian gulag and replaced by his evil doppelganger: Constantine, the world's most dangerous frog. Dominic and Constantine plan to use the tour as a cover to steal artifacts from the museums of Berlin, Madrid, Dublin and London.<br />
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This great Muppet caper prompts intervention from the year's most surprising and enjoyable comedy double-act as an FBI agent (Sam the Eagle) and an Interpol Detective (Ty Burrell) seek to pin the blame on our framed heroes, whilst mocking each other's crime solving acumen and competing to see who has the biggest badge. Also extremely fun to watch is Tina Fey as the Kermit-obsessed warden of the gulag, stealing the show with her performance of one of the film's most toe-tapping songs and getting some of the best gags. It's a bit baggy in places but made with obvious love and a complete lack of cynicism, something backed up by dozens of celebrity cameos which feel less like an attempt to sell tickets and more like genuine expressions of the affectionate regard held for these fading icons within popular culture. 100% joyful from start to finish.<br />
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<b>'We Are the Best!' - Dir. Lukas Moodysson (15)</b><br />
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A truly special film, Lukas Moodysson's coming of age story 'We Are the Best!' is a rare type of movie. It's uplifting without being schmaltzy, with an infectious enthusiasm for jumping around and generally being a 13 year-old misfit that I would have loved to have seen at that age - even if the film's curious '15' rating by the BBFC would have made that a difficult prospect. The plot concerns a group of young, female social outcasts, Bobo (Mira Barkhammar), Klara (Mira Grosin) and Hedvig (Liv LeMoyne), who decide to form a punk band - more or less with the soul intention of pissing people off. Though they have a passionate interest in music from the start, and take the band increasingly seriously as the story progresses, it's this fearless irreverence and defiant attitude that makes the characters and the film so compelling.<br />
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It's an obviously apparent truth to say they don't make a lot of films of this quality about the experience of teenage girls but, more broadly, there just aren't that many films that depict adolescence with the kind of heart and complexity displayed here. The three leads are all incredibly interesting, lovable, fully-formed characters who you really root for in spite of, or rather because of, their naivete, stubbornness and half-formed pseudo-political ideas. As fun as it is, the film also cuts to the heart of what it means to be an outcast: to feel isolated, unloved and alone. We see their daily interactions with cruel classmates, weary teachers and odd parents - with three contrasting family dynamics proving its <i>how</i> you fuck up your children as opposed to <i>if</i> - and glimpse more than a little casual everyday sexism, that's so constant as to be mundane. Yet there is a fierce optimistic streak running through it too and the film is smart enough to also understand (and embrace) how the girls' self-conscious outcast status is to some extent a construction of their own design. A film that says so much about youth, friendship, being an outsider, and the unaffected joy of music.<br />
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<b>The Double - Dir. Richard Ayoade (15)</b><br />
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There is so much to love about 'The Double', the second feature film directed by Richard Ayoade following his instant classic 'Submarine'. It has a brilliant cast of intelligent actors, making perfect use of the intense and twitchy Jesse Eisenberg - as both a downtrodden schlemiel and the obnoxious personification of his id who ruins his already crummy life - and Mia Wasikowska as another slightly broken person rendered similarly anonymous by an uncaring dystopian state. The supporting cast is a laundry list of other perfomers I really admire, such as Noah Taylor, Sally Hawkins, Wallace Shawn, Tim Key, Paddy Considine, Chris O'Dowd and Chris Morris, as well as roles for Craig Roberts and Yasmin Paige, the young stars of his earlier film. It deals with themes of social isolation and awkwardness that I tend to enjoy seeing explored and has a brilliant concept as adapted from a novella by Dostoyevsky. It also has a style that seems to me like a blend of 'Brazil' and 'Punch-Drunk Love' - two of my favourite films.<br />
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So why did it leave me so cold? Why didn't it connect with me on an emotional level, even as I recognise that it was very clever and quite beautifully executed from a technical standpoint? I ask rhetorically here because I don't know the answer myself, at least after a single viewing. (I'm sort of working it out as I type this.) There's nothing I could point to as being 'wrong' with it and, conversely, so much that I could describe enthusiastically. In particular the staging of scenes and the lighting was really terrific, whilst the fractured, off-kilter musical score by Andrew Hewitt was quietly effective at creating discomfort and tension. So why wasn't I engaged by it? The best I can come up with now is that there isn't enough lightness there, not enough hope or happiness in this world to make you think our heroes have anything worth striving for. In both 'Brazil' and 'Punch-Drunk Love' it's love that makes the world worth living in, despite all the other crap going on that makes you question humanity, and that's what Ayoade is seemingly trying to evoke here with the relationship between Eisenberg and Wasikowska. But it somehow falls flat, perhaps because she never seems like she's into him and he just seems like a creepy stalker.<br />
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In 'Brazil', Sam Lowry is able to dream of a life beyond the stale, bureaucratic dystopia he inhabits because of an idealised love affair that he dreams will take place. It doesn't matter that (spoiler warning) it doesn't, because we join him in feeling like it could. We badly want it to happen for him and the ending is a punch to the guts because we don't get our way. Similarly, 'Punch-Drunk Love' has Barry Egan live in a world rendered cruel by his own internal struggles with anxiety and confidence, and he hopes to break free of his inhibitions and give his experience of life meaning - in a frightening and often hostile world - through a love which will validate his existence and give him peace of mind. This works because Emily Watson's character genuinely likes him too and, in fact, initiates contact (making it more about him overcoming his emotional problems than about him "winning the girl"). 'The Double', as I see it, is combining both of those narratives but something has been lost in translation. I feel like the film wants to make my heart soar when the up-tempo J-Pop song comes on in a dingy cafe or when Jesse dances down the corridor, towards the camera (in a shot lifted directly out of 'Punch-Drunk Love') as the lighting cues change around him in harmony with the music and mood. But it didn't and I'm as confused as anyone as to why that was.<br />
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<b>'The Raid 2' - Dir. Gareth Evans (18)</b><br />
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There's a scene in the second 'Bill & Ted' film where they're falling into a seemingly bottomless abyss. At first they are screaming, terrified of the expected collision with the ground below, but minutes later they are simply bored - memorably playing a game of 20 Questions to pass the time as they continue downwards. Psychologists might chalk this up as an example of the hedonic treadmill, which sees human beings return to a sort of stable emotional baseline after a while regardless of positive or negative events, in other words: there's only so long you can be terrified for. That might seem like an odd way to open my critique of Welsh filmmaker Gareth Evans' 'The Raid 2', a sequel to his well received 2011 Indonesian martial arts film, but it's the only way I can explain how I felt watching the film's intense but lengthy fight sequences.<br />
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Choreographed with imagination and performed with incredible skill, any five minute clip of a fist fight in 'The Raid 2' would be jaw-dropping and pulse-raising. The fights are fast, frantic and brutally violent, and they get more and more extreme as the film continues. Yet there's only so long I can be thinking "wow, this is intense" before my mind starts to wander and I find myself thinking "what's for lunch?" only to pull back and realise the same fight is still going on and plucky rookie cop Rama (Iko Iwais) still hasn't dealt that killer blow we know is coming.<br />
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I don't mean to seem so negative about the movie, which I actually enjoyed hugely for the most part. It's spectacular for a good portion of its length and the epic gangster drama which unfolds is consistently engaging (if convoluted and occasionally confusing), even if it lacks the tightness of the original's ingenious concept. But it turns out the film's two and a half hour running time tests the limits of my attention span when it comes to unrelenting, first-driven carnage.<br />
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<b><br /></b><b>'Labor Day' - Dir. Jason Reitman (12A)</b><br />
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Telling the tale of how one mentally ill woman (Kate Winslet in full-on 'middle-American housewife' mode) falls in love with (and makes hasty plans to move to Canada with) a convict she's just been kidnapped by (Josh Brolin) over one blissful, romance-filled weekend, 'Labor Day' is the unhappy spectacle of lots of very talented people having a very bad day. To start with, Brolin's escaped convict is the most cliche example of a dreamy, manly-man as it's possible to be: fixing the kitchen sink and the car; cooking a mean chili con carne in the most sensual way possible; playing baseball in the yard with her son (Gattlin Griffith) and the nice disabled boy from across the road; serenading Winslet on the acoustic guitar - all in a tight-fitting white t-shirt. Despite his rarely mentioned manslaughter charge, which never seems to bother Winslet & son in the slightest, he's presented as the dream answer to every trite utterance of "that boy needs a man in the house" across the span of American popular culture.<br />
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Aside from teaching us, in hyper-incestuous erotic fashion, how to make a mighty tasty looking peach pie (in an extended cooking scene almost pornographic in detail) there is very little of worth to take away from 'Labor Day'. Overwrought drama and convoluted tension playing out over events that (being charitable) very quickly begin to stretch credibility. There's even a teenage romance sub-plot, which gives us a particularly egregious example of the manic pixie dream girl (Maika Monroe) phenomenon. Winslet and Brolin are fine actors and they demonstrate good chemistry together as romantic interests, but that isn't enough to save this from being one of the year's worst so far.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-35745790094087945452014-04-02T01:12:00.003+01:002014-04-02T09:14:44.600+01:00'Captain America: the Winter Soldier', 'Under the Skin', 'The Past', and 'Starred Up': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'Captain America: the Winter Soldier' - Dir. Anthony & Joe Russo (12A)</b><br />
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A sequel to both Joe Johnston's charmingly Spielbergian WWII-set origin story 'Captain America: the First Avenger' and Joss Whedon's superhero team-up crowd-pleaser 'The Avengers', 'Captain America: the Winter Soldier' is tonally very different to those films and indeed to the rest of the Marvel Studios oeuvre to-date. Directed by the Russo brothers, this one is more of a conspiracy thriller and - without going all Nolan Batman and jettisoning fun and colour - it's a comparatively gritty and grounded affair. Much like the Ed Brubaker run in the comics, which introduced this film's antagonist the Winter Soldier (alluded to by the writer's cameo as one of the scientists behind his creation), the film does a neat job of including lots of outlandish and far-fetched comic book elements - from the winged exploits of Anthony Mackie's Falcon to the newly computer-bound consciousness of Toby Jones' Arnim Zola - with something altogether more grounded and grave.<br />
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The casting of Robert Redford as the political face of world peacekeeping force SHIELD, Alexander Pierce, is one of many nods to the classic thrillers of the 70s, as this film delves into more morally grey territory than its predecessor. Where once there was a struggle between the 'greatest generation' and the Nazis, Cap (Chris Evans) now finds himself in a world he doesn't recognise and which has seemingly abandoned the principles of freedom he fought so hard for in the 40s. Now SHIELD is starting to look like something more tyrannical and oppressive than it seemed when Nick Fury (Samuel L Jackson) first burst onto the scene at the end of the first 'Iron Man' film - creating huge, automated airborne battleships capable of detecting and erasing threats before they happen: in an obvious nod to both modern drone warfare and the NSA surveillance scandals of the last few years.<br />
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Against this background is a well-crafted superhero romp, which is also something of a mini-Avengers team-up as Cap unites with the aforementioned Falcon and Scarlett Johansson's espionage specialist Black Widow to stay one step ahead of SHIELD and discover the truth behind the agency's corruption - thwarted at every turn my a mysterious new enemy with a link to Cap's own past: the Winter Soldier (Sebastian Stan). The action is hard-hitting, well choreographed and visceral, whilst the main players exhibit the sort of good chemistry needed to make all the bits in between fun. Especially Chris Evans in the starring role - an actor who imbues the title character with as much subtle depth as he does obvious decency.<br />
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<b>'Under the Skin' - Dir. Jonathan Glazer (15)</b><br />
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A masterclass in editing and sound design, Jonathan Glazer's 'Under the Skin' stars Scarlett Johansson as an alien who takes on the form of a human female and uses this guise to seduce lonely, socially isolated men, who she then traps and harvests for... some reason probably much clearer to those who've read the Michel Faber novel. Though I'd argue the question of why she captures these men and what exactly becomes of them is a secondary concern in a film that works primarily on the level of visceral, sensory experience. In lieu of much specificity or explanation, this is simply the story of an outsider assimilating and attempting to fit in (albeit with nefarious intent), learning a certain degree of compassion for humanity and gradually becoming more unsettled by and attached to her newly acquired body.<br />
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Johansson is perfectly cast in the role, especially as the film is set in Scotland and she adopts a clean, regionally non-specific English accent when talking to her co-stars - mostly comprised of non-actors, supposedly oblivious (at least at first) to the fact they were part of a film. The audience is aware that she's a Hollywood movie star pretending to be English and, even if they don't consciously realise it, those she approaches must also have sensed this unease with and disconnect from the star in their midst: familiar yet just different enough to sow seeds of doubt. She's an impostor playing an impostor and it works brilliantly, especially as she glides around British high streets and shopping centres in her black wig and incongruous fur coat.<br />
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Moments of intense body horror and a heart-pounding finale combine with this playful casting and Glazer's technical mastery to create something truly memorable - potentially even destined for cult status.<br />
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<b>'The Past' - Dir. Asghar Farhadi (12A)</b><br />
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In a style familiar to fans of his earlier films, such as 'A Separation' and 'About Elly', director Asghar Farhadi's maiden effort outside of Iranian cinema is still a tightly wound and faultlessly humane drama, peppered with extraordinary revelations and populated by nuanced and fully-formed characters who are lead by circumstance to ponder profound ethical questions. Ali Mosaffa stars as Ahmad, an Iranian man who travels to France to finalise a divorce from his wife Marie (Berenice Bejo, star of 'The Artist') from whom he has been separated for four years. Whilst there he is immediately thrown, quite against his will, into an unfolding family drama that he otherwise has nothing to do with, as Marie begs him to have a heart-to-heart with her eldest daughter from a previous marriage, Lucie (Pauline Burlet), in order to find out why she's taken against her mother's new partner Samir, played by 'A Prophet' star Tahar Rahim.<br />
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After a half-dozen twists and turns we come to understand the various conflicting points of view all involved in the unfolding crisis, which this time revolves around the theme of forgiveness and moving on from what has happened before - of leaving an old life behind as you head into another. Something which none of the characters can quite face doing, at least without difficulty and heartache. Nobody in contemporary cinema (at least that I know of) is quite as brilliant as Farhadi when it comes to creating ensemble casts in which every character is so complex and well drawn. As with his other films, the four central characters here - along with another three or four supporting cast members - are each worthy of audience investment and sympathy, portrayed and written with great compassion.<br />
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<b>'Starred Up' - Dir. David Mackenzie (18)</b><br />
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Muggin' everybody off, and generally causing no small amount of bovva on his cell block, in this gritty British prison movie is rising star Jack O'Connell as damaged, young offender Eric Love - a teenager prematurely moved up to big boy jail because of how violently he behaves. In service of drama, Eric is improbably moved to the same prison, and indeed the same wing, as his equally unhinged father Neville (the always intense and brilliant Australian Ben Mendelsohn) where he comes face-to-face with his past and some the issues which have played a part in his becoming a violent offender in the first place. Without explicitly stating it, there's undoubtedly a history of physical and mental abuse between them that's telegraphed mainly in how O'Connell's body language and demeanor change when confronted by his old man. Apparently known to audiences for his role in teen drama <i>Skins</i>, O'Connell makes an impressive transition to the big screen here: as charismatic as he is frightening and unpredictable.<br />
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The central drama concerns how Eric becomes a pawn in a broader game played between a powerful fellow inmate (Peter Ferdinando, who was excellent in the low budget crime film 'Tony'), a crooked and cruel prison warden (Sam Spruell), and a well-meaning volunteer psychologist (Rupert Friend). Friend's psychologist lobbies the skeptical prison establishment to get Eric placed in his self-help group (which they want to see fail for reasons of pantomime vindictiveness), where he can talk through his problems and learn to deal with his emotions without resorting to violence, whilst the prison authorities mostly just want to smash his face in - to the extent where all the police seem like irrational villains. It's the interactions between the various prison staff that ultimately bring the film down, though scenes between inmates (and especially those in Friend's group) are often gripping and compelling.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com1tag:blogger.com,1999:blog-2718046465562929451.post-78200188706668327142014-03-14T14:48:00.002+00:002014-03-14T14:48:55.029+00:00'The Grand Budapest Hotel', 'Only Lovers Left Alive', 'Nymphomaniac', 'Dallas Buyers Club', and 'A New York Winter's Tale': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'The Grand Budapest Hotel' - Dir. Wes Anderson (15)</b><br />
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If the move from 'Bottle Rocket' to 'Rushmore' onto 'The Royal Tenenbaums' marked a gentle progression of his style, Wes Anderson's subsequent films - 'The Life Aquatic', 'The Darjeeling Limited' and even the animated 'The Fantastic Mr. Fox' - took the recognised tropes of that style and crystallised it into something that often flirted with self-parody. Then 'Moonrise Kingdom' came along and seemed to indicate a maturation of his by now well established visual motifs, storytelling themes and even the highly stylised performances drawn from his familiar band of recurring actors. It was a refreshing change of pace, which felt paradoxically both less self-conscious and yet more intensely focused. At a first glance his latest, 'The Grand Budapest Hotel', superficially reassembles a return to the larger-scale, ensemble-driven fare that directly preceded 'Moonrise Kingdom', though it's actually a subtle synthesis of the two being expansive, broad, imaginative and, well, grand, whilst also being restrained, focused and tightly wound.<br />
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Though bookended in such a way that potenitally makes it a fourth-hand account of events, the film primarily follows Ralph Fiennes as the mannered and enigmatic Gustav H, widely-respected concierge of the titular hotel. After a regular guest and occasional lover (Tilda Swinton) dies in mysterious circumstances, Gustav goes on the run with his faithful lobby boy (Tony Revolori) and - with a big European war looming ominously in the background - attempts to solve the mystery, clear his name and uncover the secrets of her will - the contents of which set of their own chain of murderous events. Even as its focus remains on character detail and small-scale interactions, it's easily the most traditionally plot-heavy of Anderson's films - helping again to separate it from what's come before - and, even if death and grief play a part in all but one of his other movies, it's also one of the saddest - with an overriding feeling of entropy and a sense of sadness at the passing of time.<br />
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Fiennes, as the archetypal Anderson protagonist (with a passion for teams, uniforms and all things un-cynical), displays a great gift for comic timing and delivery, fitting in alongside cameos from members of the established troupe - from Owen Wilson to Bill Murray. Though most of the famous faces that dominate the film's marketing campaign have extremely brief screen time, it feels like a calculated use of star semiotics rather than an attempt to boost box office, with recognisable actors imbuing blink-and-you'll-miss-them characters with immediate personality. If a venerable and charming character actor like Bob Balaban pops up on the screen for a moment as an important hotelier it has an effect, and attracts a degree of audience investment in that minor character, that filling the role with an equally competent yet comparatively unknown actor would not. Not to say that's an approach that would suit every movie (sometimes a hotelier only need be a hotelier) but it's entirely appropriate for a Wes Anderson film, where characters are expected to arrive fully formed and to jump off of the screen.<br />
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<b>'Only Lovers Left Alive' - Dir. Jim Jarmusch (15)</b><br />
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Languid and atmospheric - with musing about art, literature and music taking precedence over matters of plot - 'Only Lovers Left Alive' casts two supremely watchable actors, Tilda Swinton and Tom Hiddleston, as Eve and Adam, a pair of above-it-all vampires whose love has spanned the centuries. Making the most out of its compelling leads, slick editing and a terrific soundtrack, the combined effect is something that washes over you for an enjoyable two hours without leaving much in the way of a long-lasting impression. That said, it is interesting to see vampires played as these eternal art critics, whose often downright snobbish opinions are invested with an unassailable amount of cultural capital when compared with us mere mortals. You're never going to impress these guys with a boast that you discovered a band before they were popular, because they knew William Lawes and Schubert and are good friends with a still-living Christopher Marlowe (John Hurt).<br />
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With their longevity also comes, naturally enough, a nonchalance towards the passage of time and history (and even mortality itself), with a world-weary cynicism directed towards us "zombies" when Adam asks if we've yet started the, apparently inevitable, Water Wars yet. In this version we're the monsters, though not through our violence but through stupidity and ignorance and, worst of all, appallingly bad taste. There's an underlying tension, with violence often a distinct possibility due to the nature of the protagonists, but Jarmusch avoid treading that well-worn path for the most part, instead offering something more contemplative and mood-driven.<br />
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<b>'Nymphomaniac' - Dir. Lars von Trier (18)</b><br />
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Technically divided, 'Kill Bill' style, into two standalone parts (volumes I & II), Lars von Trier's 'Nymphomaniac' does not really work on those terms. It's one ambitious, lengthy and typically (perhaps knowingly) controversial movie which only makes sense - thematically and narratively - viewed as a complete whole. In it Charlotte Gainsbourg plays Joe, a self-described nymphomaniac whose lifelong pursuit of love-free sex has contributed to her questioning whether she is a good or a bad person. On hand to judge is a middle-aged virgin named Seligman, who takes Joe into his disheveled, drab apartment after finding her beaten unconscious in a neighbouring alley. Determined to discover why she believes she's such a bad person he insists that she tell her life-story up to that night - interrupted only by his trite observations and strained analogies - and it's this recollection of events (which feature Stacy Martin as young Joe), mostly in chronological order, that occupy the bulk of the film.<br />
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Set in a dour and nondescript Northern European country, that seems to be something between England and the director's native Denmark, von Trier tells this story with his trademark mix of uncompromising, gritty frankness and confrontational, occasionally uncomfortable use of acerbic black comedy (one scene with a show-stealing Uma Thurman could easily be a sketch from Chris Morris' <i>Jam</i>). Divided into individually titled chapters, 'Nymphomaniac' uses different scenarios and brings in a number of disturbing and extreme characters to explore a wide range of sexual practices and fetishes, whilst also discussing (or providing a platform to discuss) attitudes towards them.<br />
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There is always, nagging in the background, the question of morality (to what extent are Joe's actions potentially "wrong") though the film makes no judgments in most instances - except when combatively challenging the judgements of others (for instance regarding the subject of so-called 'sex addiction' and, in it's bravest and best scene, attitudes towards pedophiles). Even its ending, that could read as a pessimistic final judgement on humanity - or, at the very least, men - is more even-handed than it might first appear, with denial of experiencing sexual urges the ultimate villain of the piece rather than an interest in or enjoyment of sexual behaviour itself.<br />
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<b>'Dallas Buyers Club' - Dir. Jean-Marc Vallée (15)</b><br />
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Sporadic as posts are on this blog, in the time since I saw 'Dallas Buyers Club' both its lead actors - Matthew McConaughey and Jared Leto - won Academy Awards for their respective roles in this watchable but fairly telegenic little biopic, made on a commendably low budget and built almost entirely around the charisma and skill of the two actors. McConaughey stars as Ron Woodroof, a brash, ignorant and oddly likable Texan electrician who's diagnosed with AIDS and given approximately 30 days to live by the local hospital. Heterosexual and prejudice, he is ostracised by his like-minded friends and forced to abandon his old life. Leto plays Rayon - a transsexual Woodroof reluctantly joins forces with as a business partner (and later befriends) after taking it upon himself to increase his life expectancy (and in doing so make a good living) importing effective yet legally unapproved drugs into America from abroad - giving the FDA and American Pharmaceutical industry the finger during the height of the AIDS crisis in the 80s.<br />
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Both actors are terrific, with Leto a big surprise after moving away from acting and focusing on his music career in recent years - and he perfectly underplays a role here that other actors might have made bigger or brasher. But it's McConaughey's film with the actor, whose relaxed charm and good looks had so long seen him associated with dire rom-coms, deservedly receiving mass acclaim - as much for his other recent, stunning work as for this. It's a meat and potatoes, by-numbers, "based on a true story" drama in many respects - solid but unspectacular. Though the two headline performances, combined with the extraordinary nature of the true story itself, make it stand out above similar movies of its kind, and its comparatively slender budget makes it admirable.<br />
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<b>'A New York Winter's Tale' - Dir. Akiva Goldsman (12A)</b><br />
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After stunning audiences with his complete inability to sing in 'Les Miserables', Russell Crowe has outdone himself again in the shambolic mess that is 'A New York Winter's Tale' with his complete inability to do an Irish accent - made even funnier by the fact he's acting opposite actual Irishman Colin Farrell, who must've been struggling to suppress the giggles throughout the production. Not that Farrell has too much to feel smug about either, after adding this dreck to a dubious filmography that stands as a mockery to the great talent displayed in films like 'In Bruges' and 'The New World'. Joining them on this ignoble quest to shit away the last vestiges of credibility and integrity are Will Smith - whose last big roles came in 'Men in Black 3' and the Razzie-dominating 'After Earth' - who makes an unconvincing Satan and Jennifer Connelly, who confirms the difficulty faced in finding work for actresses in their 40s (even Oscar-winning ones) by accepting the thankless role of "mum of small child", and only turning up when the movies nearly over.<br />
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Standing uncomfortably in the middle of all this cinematic horror is poor Jessica Brown Findlay, a young, British actress who actually comes out of this looking fairly good but who probably won't find putting this on her CV a terrific boon going forward. There's far more that's wrong with this tonally inconsistent, shallow and cynical exercise - which spends most its time peddling comforting nonsense about how special each and every one of us are and culminates in a quest to save a sweet, little photogenic child from imminently terminal cancer - but those criticisms can be neatly summed up into a dismissive "everything is total rubbish". Which saves us all a lot of time.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-74788742692855211952014-02-19T11:41:00.002+00:002014-02-19T14:34:05.068+00:00'Her', 'The Lego Movie', and 'The Armstrong Lie': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'Her' - Dir. Spike Jonze (15)</b><br />
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<b>SPOILER WARNING</b><br />
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You meet somebody for the first time and instantly hit it off. As feelings develop, you nervously pursue a romantic relationship. The early days of that relationship are filled with laughter and a spirit of adventure - you never want to be apart from that person, who now occupies all your waking thoughts. Months go by and you settle into a bit of a muted groove. You get a phone call from that person whilst at work, and they can tell you don't want to talk. It's become slightly awkward all of a sudden, or at least there's a strange distance developing between two supposedly intimate people. Eventually it ends, possibly when one of you has outgrown the other. In Spike Jonze's 'Her', Jaoquin Phoenix's Theodore Twombly experiences something exactly like this with Samantha (portrayed by Scarlett Johansson) - the difference being that Samantha is a sophisticated OS (operating system) rather than a traditional human partner. But the rhythms and patterns and core experience of the relationship seem to be exactly the same in Jonze's non-judgmental and highly plausible account of the not too distant future.<br />
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Anyone expecting something broadly critical of our perceived contemporary over-reliance on and obsession with smartphones and computers is in for disappointment. This isn't a piece about the perils of technology, going for trite and easy targets - such as the widespread idea that we don't pay each other enough attention anymore because we're more interested in our Facebook pages. Instead it's a sincere exploration of love as a concept that looks at how this "form of socially acceptable insanity", as Theodore's sympathetic friend Amy (Amy Adams) puts it, works and what it means. If anything, Samantha's status as a non-human - as a more advanced, faster-thinking intelligence - enables the exploration and interrogation of entrenched concepts about the nature of love and traditional relationships. For instance, Samantha's ability to seemingly love potential thousands of people and fellow AIs with equal strength simultaneously (and Theodore's jealousy and indignation at this development) calls into question the possessive and perhaps selfish nature of most human love.<br />
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That's not to say the film is completely uncritical of why a person like Theodore - who Phoenix embues with tenderness, warmth and a certain lovelorn, world-weary sadness - might choose to date an OS over a human being. Through interactions with his ex-wife (Rooney Mara) we learn that he has difficulty expressing himself to others in person and finds people difficult, something also demonstrated by his career as a successful writer of other people's letters for the (I hope) fictional BeautifulHandwrittenLetters.com - with letters here almost de-romanticised as a method of communication that permits distance and perhaps even insincerity. That he's apparently a very good and well respected writer of other people's letters speaks to the fact that Theodore is not somebody who has trouble understanding emotions or feeling them, but that his difficulty lies with expressing himself openly. With the exception of a few isolated scenes (and one of those is an awkward date with Olivia Wilde's Amelia), Theodore is generally depicted alone among anonymous crowds or in his spacious apartment. But it's a sort of sun-soaked, almost triumphant isolation that seems extremely appealing, as he casually saunters around a very clean version of Los Angeles.<br />
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Perhaps dating an OS is giving him unhealthy permission to retreat further from public life, or perhaps it's the perfect relationship for somebody who's more comfortable keeping people at arms length. Do we all crave a relationship we can switch on and off? That we can put in our pocket and take on our travels? How you feel about that probably depends on your own feelings on technology and its rapid integration with every aspect of our lives, as much as it does your current mood regarding other human beings and the state of your love-life. Jonze certainly doesn't seem to be judging either way with this eerily prescient look at the future of love which, like all good science fiction, has just as much to say about the present day. 'Her' seems to show us a world we might soon inhabit, where complex relationships between humans and increasingly sophisticated synthetic life become the norm - and that's mostly OK.<br />
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<b>'The Lego Movie' - Dir. Phil Miller and Chris Lord (U)</b><br />
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The worst thing I can say about Phil Miller and Chris Lord's hyperactive and characteristically gag-heavy 'The Lego Movie' is that the trailers were unquestionably front-loaded with all the best jokes. But that's not really the fault of the movie itself, which is still packed with funny moments, charming characters and surprising Lego character cameos (which I won't spoil here). It's also way more subversive and socially aware than you expect from a movie based on a toy license - with the evil President Business (Will Ferrell) using an army of robotic micro-managers to ensure optimum social conformity. In the same vein, it's a love of chart music and chain restaurants that tips off ass-kicking heroine Wyldstyle (Elizabeth Banks) to the fact that generic, smiley Lego construction worker Emmet (Chris Pratt) might not in fact be "the special" - a prophesied "master builder" who will restore free-thought and fun to a land oppressed by the tyranny of the instruction manual.<br />
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The animation is superb, with Miller and Lord using an almost stop-frame aesthetic to bring the toy world to life, but through CGI doing things you might never be able to do with traditional animation methods. The world is filled with amazing details, like the ocean made to resemble a pattern of tessellating blue and white Lego studs, whilst supporting characters like Benny the Spaceman (Charlie Day) and, yes, Batman (Will Arnett) are given life and personality that defies their limited Lego brick designs. Perhaps the best bit is that, without giving anything away, the writer-directors have managed to not only make a supremely enjoyable animated movie using the visual style and various licenses of the Lego brand, but also a film that is ultimately about Lego itself. Without being at all cheesy or seeming cynically motivated in the least, the film quickly becomes a celebration of imaginative play, creativity and childhood itself, with an enthusiasm that's infectious.<br />
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<b>'The Armstrong Lie' - Alex Gibney (15)</b><br />
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Whilst not ostensibly as 'important' as his acclaimed and invariably powerful docs on corporate corruption, WikiLeaks or wars in the Middle East, Alex Gibney's look at the scandal that threw the career and reputation of cancer survivor, humanitarian and former multiple Tour De France champion Lance Armstrong into disrepute is still a compelling watch, whether you care about cycling or not. That's because, in true Gibney style, 'The Armstrong Lie' is more about our willingness (and the willingness of the news media) to be deceived by an appealing narrative than it is about sport and illegal doping practices. A cancer survivor who wasn't expected to make it comes back into the sport he never threatened to be the best at and, not only does he become a champion, but he completely dominates for the best part of a decade. It's a hopeful story about life after cancer and man's resilience in the face of adversity, so heartwarming and inspirational that everybody wanted to believe it.<br />
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That's the secret behind the Armstrong lie of the title: in spite of years of investigative journalists uncovering evidence of the athlete's use of performance enhancing drugs, in spite of testimony against him from former friends asserting that he used these drugs extensively throughout his seven Tour wins, and despite his public hiring of an Italian doctor known to be a specialist in developing ways to help cyclists cheat under the radar - he got away with it (to some extent, right up until the moment he confessed on Oprah in 2013) precisely because we all collectively willed it to be true. In his narration, Gibney admits that he was also in the thrall of Armstrong's public persona and larger-than-life success story - willing his subject to win, against the critics and fellow cyclists, during his ill-conceived 2009 comeback to professional cycling (which was originally supposed to be the focus of Gibney's documentary before the truth about Armstrong's use of drugs became public).<br />
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Armstrong is an interesting subject who, though he comes across thoroughly badly (in retrospect) in archive footage of interviews and press conferences - as he aggressively defends himself against allegations of drug use to the point where he frequently goes on the attack - is nonetheless an entertaining public speaker and frequently a charismatic presence on camera (for instance, when passionately explaining why kids love bikes). His is certainly a larger than life story worthy of telling, if in reality that's for vastly different reasons than we originally thought. What does seem clear is that the entire sport was rife with doping at the time in which he competed and your sympathy for Armstrong ultimately rests on how much you respect a professional competitor's "will to win" above all else and how much weight the "everybody else was doing it" defence carries.<br />
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Ultimately public anger at Armstrong, over and above his perhaps equally crooked fellow athletes, is perhaps completely justified and long overdue. Not only because he used drugs to build a reputation that made him a fabulously wealthy and powerful global celebrity (like no cyclist before or since), but because of what he actively tried to make himself represent and the damage his corruption does to whatever genuinely noble causes he was involved in. Gibney's doc gives him a forum to mount his case and it's one that is selfish, delusional and supremely arrogant. In retrospect the whole thing - the hero worship, the story, the celebrity, the sporting triumph - all seems so hard to believe. Gibney's film exceeds its bounds to become the story of our collective gullibility in the face of attractive mistruths.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-69230326474552388652014-02-08T09:02:00.003+00:002014-02-08T09:04:38.327+00:00'The Wolf of Wall Street', 'Inside Llewyn Davis', and 'August: Osage County': review round-up + A Tribute to Philip Seymour Hoffman<div class="separator" style="clear: both; text-align: center;">
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<b>'The Wolf of Wall Street' - Dir. Martin Scorsese (18)</b><br />
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Funnier than most straight comedies, Martin Scorsese's biopic of stockbroker Jordan Belfort is consistently entertaining over its daunting three hour running length. In many ways it's very similar to 'Goodfellas', albeit following a different (less physically violent) type of criminal, but the beats are the same and the same questions remain, namely "why would somebody choose to live this life?" - with the suggestion made that we will all envy the Belfort even as we come to despise him as a human being. And despicable he is. For all the moral panic about the film failing to condemn its protagonist, Scorsese and star Leonardo DiCaprio paint a picture of a charismatic but morally bankrupt figure, ultimately without any real friends or meaningful human connections. He's an out of control, drug-addicted monster by the film's final third, punching his wife (Margot Robbie) and driving his young daughter into a wall. If you think the film doesn't make his life seem unappealing enough, or that it doesn't show the dark and sinister side of his character, then I don't know what version of the film you saw.<br />
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The performances are great across the board, with DiCaprio getting to demonstrate a deft comic timing and lightness of touch we haven't seen in years, whilst physically he's also required to do some incredible and very odd things. Yet the star performer is Jonah Hill as his business partner and supposed best friend Donnie Azoff, who owns the best moments and generates the biggest laughs in a film full of them. Matthew McConaughey is typically brilliant in what amounts to an extended cameo at the start and Kyle Chandler is similarly memorable as the straight-laced, incorruptible FBI agent seen in just a few key scenes. I also have to mention how enjoyable and inspired the casting of Rob Reiner is as Jordan's hot-tempered father - a force of nature who blusters into several key scenes to great comedic effect.<br />
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It's typically slick and punchy from beginning to end, carried briskly along by DiCaprio's playful narration and it never really stops for air. That Scorsese continues to make such dynamic, exciting and contemporary films in his 70s (long-serving editor Themla Schoonmaker is showing the likes of 'Spring Breakers' how it's done at 74) is quite something and possibly part of what makes his a unique and enduring voice.<br />
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<b>'Inside Llewyn Davis' - Dir. Joel & Ethan Coen (15)</b><br />
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A slight and deceptively simple entry into the Coen canon, in the mould of the criminally underrated 'A Serious Man', Oscar Isaac stars here as the title character - a struggling folk singer, moving from couch to couch in the Greenwich Village of 1961. As he bumbles from sometime lover to casual acquaintance we're introduced to a number of strange and variously pathetic and/or unlikable characters, given life by a half-dozen impactful cameos from the likes of John Goodman, Carey Mulligan and Justin Timberlake. In the Coen tradition all of them seen to have some measure of private sadness, whether it's a hidden box of unsold records, a crippling drug problem or a decision to sell-out artistically and settle down in the suburbs. Llewyn is vaguely contemptuous of nearly all of them and yet he is simultaneously beholden to them as he endlessly rotates through his New York contacts for places to stay or people to hitch a ride with.<br />
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Llewyn is an interesting character. Superior, aloof and prideful - refusing to sell out his artistic sensibilities, living hand to mouth and playing 'real' folk music with thankless results and no commercial future. A user and a man without responsibility or attachments. Yet he is on occasion, paradoxically, upstanding and decent in his quiet way. Both humble and egotistical. Emotionally detached and yet harbouring his own grief and inner turmoil. A complex and nuanced character perfectly suited to Isaac's intelligent and introspective demeanor. He's not a hero in any sense; he's infuriating and maybe a little pretentious - but he's entirely human. The Coen's get criticised often for not liking their characters enough, but this kind of nuanced depiction of people - with all their faults and idiosyncrasy - to my mind comes from a place of empathy and understanding. I think they understand people very well, but they aren't afraid to admit that we're all basically a bit rubbish.<br />
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<b>'August: Osage County' - Dir. John Wells (15)</b><br />
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I imagine a slight variation on this short conversation accounts for every single factor behind the making, distribution and ultimate viewership of 'August: Osage County': it goes "hey, Chris Cooper! We got a great part for you." "Yeah?" he replies "What's the movie about?" "Well, I'm glad you asked, Chrissy boy. It's an adaptation of a stage play about a dysfunctional mid-Western family dominated by a cruel matriarch and rocked by incest, substance abuse and general misery." "Oh, I dunno" replies Mr. Cooper "that sounds kinda interesting but I think I'll pass." "That's a shame, pal, because Meryl was personally extremely interested in you coming aboard with us." "Excuse me? Meryl?" "Yeah, didn't I mention Meryl Streep is taking the lead part?" "Oh my lord! Meryl Streep!? Where do I sign! This is going to be amazing!"<br />
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I think that's an accurate transcript of how this film came to be and the sum total explanation of why audiences are going to see it, in spite of the fact that it's a hoary old bag of cliches adding up to a glorified episode of 'Eastenders'. Though it's easy to see why Meryl Streep took the role: she's this out of control, bitchy, shouty monster of a mother, parading around in a bad wig with a drink in one hand and a fag in the other - falling over, maniacally cackling and not so much chewing the scenery as violently chomping it to within an inch of its warranty. It's a role and performance preconfigured to make audiences say "oh, how brave!" And as Meryl Streep sprints over the top, all of the other actors race to join her - most notably Julia Roberts, whose "eat the mother-fucking fish, bitch" rant rivals that bit in 'The Paperboy' (where Zac Efron, Matthew McConaughey and David Oyelowo watch Nicole Kidman masturbate) for shear "oh my god, what am I watching and is it really happening?"-ness.<br />
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There's one very nice father and son sequence between Chris Cooper and Benedict Cumberbatch, which is the closest the movie comes to feeling genuine and intimate. Then there's the film's real stand-out performance, delivered by Julianne Nicholson who plays Streep's meek and downtrodden youngest daughter with tenderness, vulnerability and genuine heart. But the rest is all histrionics and 'dark heart of the rural American family' tropes that we've all seen a thousand times before in better movies. Maybe Tracy Letts' play works better on the stage, where hammy excess is often part and parcel of the experience - but this big screen adaptation borders on ridiculous as it goes from one melodramatic family revelation to the next in all its plate-smashing pomp.<br />
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Finally, I've been saddened by the passing of Philip Seymour Hoffman - a man who could legitimately have claimed to have been the actor of his generation. He was certainly one of my all-time favourites and I'm upset that we won't be seeing whatever he might have gone on to do as an actor and director. As an actor he was always believable and could be relied upon to be the best thing in the rare bad movie that he appeared in. He was one of those talents that elevated bad material and made great material really sing. There is no such thing as a bad Philip Seymour Hoffman performance, at least not that I've seen.<br />
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In tribute, below are some clips of my favourite of his roles.<br />
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A good scene (and great performance) from a less than great movie...<br />
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And one from the best film ever made...
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I'm genuinely going to miss this guy.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com1tag:blogger.com,1999:blog-2718046465562929451.post-34554663666850166092014-01-20T16:40:00.000+00:002014-01-20T16:40:34.321+00:00'12 Years A Slave', 'Gloria', 'Short Term 12' and 'Last Vegas': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'12 Years A Slave' - Dir. Steve McQueen (15)</b><br />
<b><br /></b>A towering achievement and one, I suspect, that will loom large over the careers of many involved - not least writer-director Steve McQueen and star Chiwetel Ejiofor. The film follows Solomon Northup (Ejiofor) a free and comfortably middle-class black man in the mid-nineteenth century - a few decades short of the Civil War and abolition of slavery - who's tricked into leaving his wife and family in New York to perform as a violinist in Washington DC, only to be abducted and sold into slavery. As you can guess from the title, and the fact Northup later published the memoir upon which the film is based, his ordeal is not quickly resolved and we see this man accustomed to a certain level of respect and hyper-polite, cravat-wearing cordiality in the free north subjected to number of horrific, dehumanizing abuses once he is sold down south - a contrast that underlines much of the subsequent tragedy.<br />
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Soon we're, along with Soloman, witnessing the rape of enslaved women, children torn from mothers and sold to the highest bidder, lynchings, and many other appalling acts of brutality. And we see many faces of slave ownership too, from the paternalism and impotent liberal-guilt of Benedict Cumberbatch to the blind hate of Paul Dano, who seems to take great pleasure in beating and tormenting the slaves as a means to reinforcing his own fragile sense of self-worth. Then there's the mercurial Michael Fassbender as the alcoholic and unpredictable Edwin Epps, whose religious fervor and cold conviction that his slaves are nothing more than property makes for an especially nasty villain - even if, like everybody else, he's played with great humanity. Obsessed with Lupita Nyong'o's Patsey, Epps ends up using the film's most tragic character as an unwilling pawn in a domestic feud with his wife, played by Sarah Paulson, leading to several of the film's most shocking single moments of violence. Though there is a sense that all involved are victims (though some unquestionably bigger victims that others) with slavery an institution that ultimately demeans everybody.<br />
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Perhaps Hans Zimmer's conventional and overwrought score (sections of which are lifted note for note from 'Inception') is the film's only real weak-spot, with McQueen's use of diagetic music (songs sung by the slaves and Soloman's violin playing) much more genuinely heartfelt and raw than any moment the orchestra comes in. Indeed some of the sustained close-ups and long takes are made all the more memorable and stunning because they take place in complete silence. Though ultimately Ejiofor's performance is so strong, telegraphing a great deal of subtle character change over the film's titular time-frame, that it's difficult for anything to spoil it. '12 Years a Slave' is manifestly McQueen's most conventional and mainstream film to date, with his visual artist background and arthouse sensibilities more keenly felt in the cold and self-consciously difficult 'Hunger' and 'Shame'. What this film does is wed the director's compassion for difficult characters and interest in exploring unpalatable human truths with something more heartfelt and genuinely emotional - something built for an audience.<br />
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<b>'Gloria' - Dir. Sebastián Lelio (15)</b></div>
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Paulina Garcia gives a sensational performance as the title character - a beguiling turn that earned her the Silver Bear for best actress at last year's Berlin Film Festival, playing a divorcee who combats feelings of isolation and unhappiness with hedonism and a slightly desperate attempt at romance. It's a perfect character study which is warm and humorous and sometimes even triumphant without compromising the well observed reality of the character and her underlying sadness. 'Gloria' is a particular joy due to its nuanced and atypical portrayal of a middle-aged woman, with the title character multifaceted and shown engaging in activities - such as clubbing, drug taking, having lots of sex, drinking, gambling - usually restricted to the under-40s as far as movies are concerned, none of which are played for easy laughs (as is the case in 'Last Vegas' - reviewed below).<br />
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A claustrophobic film, during which the camera never strays away from the protagonist (I'd be hard pressed to recall a single shot Garcia isn't in), director Sebastián Lelio has crafted something deeply compassionate and empathetic with a deceptive lightness of touch. It isn't showy and there isn't a loose scene or sequence in it, instead this is a well-crafted character piece told with great economy and forward drive that plants the viewer firmly in the shoes of its brilliant and quietly tragic central character.<br />
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<b><br /></b><b>'Short Term 12' - Dir. Destin Daniel Cretton (15)</b><br />
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More interesting when focused on the kids rather than the equally troubled adult care workers, 'Short Term 12' is an earnest and heartfelt American indie drama about a temporary care home for abused or otherwise traumatised youngsters. Brie Larson stars as Grace, a care worker who finds it difficult to listen to her own advice when it comes to dealing with her own difficult, abuse-ridden past, and she has rightly earned plaudits for the role which she plays with charm and great strength. However the stand-out actor is without doubt Keith Stanfield as Marcus, one of the troubled young people in Grace's care, who unfortunately isn't the focus of the film's main plotline even if he steals every scene he's in. It's tough and emotional without seeming cloying or manipulative, though a few strands are resolved a bit too satisfactorily at the end in a way which, though admittedly heartening, feels dishonest.<br />
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<b>'Last Vegas' - Dir. Jon Turtletaub (12A)</b><br />
<b><br /></b>Simultaneously offensive to older people - with "look! Old people doing young people stuff is funny!" being the film's only gag - whilst nakedly making a run on the so-called grey pound, Jon Turtletaub's nostalgic and sentimental romp is a waste of a fine cast. Featuring a fun and terrifically watchable Kevin Kline, a typically winsome Morgan Freeman, a suitably slick and slimy Michael Douglas and another lethargic, "where do I have to stand?" turn from Robert De Niro, 'Last Vegas' alternates between brash 'lads gone wild' antics, with wet t-shirt competitions, strippers and the dubious spectacle of veteran actors drinking spirits from an ice sculptures nipples, and schmaltzy, safe, judgmental moralising - the effect being that this is neither an "oh no they didn't!" amoral farce or a bittersweet foray into the trials of ageing and the power of friendship, though it obviously wants badly to be both. Falls flat as a comedy and as a drama, leaving a sour aftertaste.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-88042098129171058392014-01-06T19:12:00.001+00:002014-12-27T13:35:43.311+00:00'The Hobbit: the Desolation of Smaug', 'The Secret Life of Walter Mitty', and 'American Hustle': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'The Hobbit: the Desolation of Smaug' - Dir. Peter Jackson (12A)</b></div>
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This second part of Peter Jackson's 9-hour adaptation of what's quite a slender children's book, 'The Hobbit: the Desolation of Smaug' has the same problems as its predecessor bar the songs. It's long, baggy, a bit twee, overloaded with un-engaging CGI chase sequences and full of pointless fan service for Jackson's original 'Lord of the Rings' trilogy, with lots of business teasing the origins of things that ultimately happen in those other films. I didn't like the original trilogy - which feels like the sort of derivative, high fantasy trash Tolkien inspired rather than Tolkien itself - and I couldn't stand 'The Hobbit: An Unexpected Journey' either, so I won't spend long writing about this one. You're either a fan or not as this point, I would imagine. What I will say is that this second chapter is a marginal improvement on the first, mostly because there's a really terrific CGI dragon involved. True, you have to wait almost two hours (and sit through a lot of Orlando Bloom) to get to that dragon, but it is pretty spectacular when you do eventually get there.</div>
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On the subject of the derided high frame rate version (which plays at 48 frames per second as opposed to the usual 24), I was actually pretty impressed by the technology - even if it made this particular film look over-lit and cheap looking, like something you'd see on an HD TV channel rather than a major Hollywood movie. Perhaps the main benefit of watching the film in HFR was that I didn't get any sort of headache or eye-strain from nearly three hours of 3D movie. The other immediately noticeable boon was the fact that HFR seems to completely eradicate the motion blur which you usually get during sequences that involve fast panning shots with lots of action in 3D films. So basically, as it stands, it's a technology primarily aimed at improving the experience of 3D. I think it's also fair to say that the current cheap looking examples of the technology are far from representative of what it could potentially do if a film is lit specifically with the format in mind, as I'm guessing Jackson's films weren't (due to the fact the vast majority will be experiencing them in plain, old 24fps). I'm betting James Cameron will shoot 'Avatar 2' in this format and that's when we'll see it take off, just like 3D did back in 2009.</div>
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<b>'The Secret Life of Walter Mitty' - Dir. Ben Stiller (PG)</b><br />
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The longest, glossiest advert I've ever seen. Ben Stiller's adaptation of 'The Secret Life of Walter Mitty' treats its audience with contempt, presenting itself as a completely sincere and resolutely anti-cynical movie, about living life to the full and self-improvement (in the most trite and superficial of ways), whilst bombarding the viewer with the most blatant, in your face product placement I've ever witnessed. Live life: Fly Air Greenland! Live life: order a Papa John's! Live life: eat a delicious Cinnabon! Live life: sign up for eHarmony! All movies feature product placement, of course, but 'Mitty' goes the extra mile of dedicating close-up after close-up to prominently branded drink cartons and suspiciously perfect looking airline food and by having the words "Papa John's" be perhaps the most often repeated in the entire movie with the possible exception of the character's name and (urgh) "the quintessence of life".<br />
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Most movies feature, say, a Heineken logo in the background (which this does, of course), but leave it at that. However 'Mitty' - which presumably made a high percentage of its money back from the off, entirely from these deals - folds product placement into the narrative directly and at every turn. It features two entire conversations about Papa John's (more specifically about how there's a Papa John's in Iceland, which is depicted as the only place in an otherwise barren land where people come together), a half-dozen phone conversations with an overly-friendly customer service guy from eHarmony (played by Patton Oswalt) which even features a line about how great service they provide is, a trip to Cinnabon (featuring lines like - and I'm paraphrasing - "you need a Cinnabon!" and "that's a plate of delicious, sugary goodness right there, my friend!") and many, many, many others. It's all just shots of Stiller Living Life(TM) (skateboarding, travelling, fighting a shark, looking at a rare species of leopard, playing football with tribesman etc) which marry the aforementioned products to a broadly appealing lifestyle. "Look at Mitty go", the film seems to cry, "be fun like him! Life is far too short! Travel abroad! Meet people! Buy a Papa Johns!"<br />
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These aren't the only problems with Mitty. It's not funny (an example of a 'funny line' Mitty wishes he'd said, to his boss with a stupid beard: "do you know who looks good in a beard? Dumbledore." Zing!) and all the character's imagined fantasy sequences are so over the top ridiculous that there's no investment in them when they occur. The romance plot, between Mitty and Kristen Wiig's character, is perfunctory and unearned, and in many ways a little creepy - barely knowing her when he buys her a young son a gift and then dropping contact with her entirely because a man answered her door one time. Wiig, who I generally like, has the thankless task having to perform an acoustic guitar version of David Bowie's Space Oddity, with a pained expression on her face as if it's the most profound song of all time and she's just written it. Most symbolic of the film's dramatic deficiencies is the "nasty boss" stock character who shows up to downsize Mitty's workplace (played by Adam Scott) seemingly fresh from the set of a pantomime. He's so over the top mean to his employees - and Mitty in particular - that it doesn't relate to the world outside of the film at all. It's all bombast and sentiment devoid of real feeling or anything meaningful to actually say about the world outside of its relentless barrage of well-worn platitudes.<br />
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<b>'American Hustle' - Dir. David O. Russell (15)</b><br />
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It's been trailed like a derivative, Scorsese-influenced crime film, but David O. Russell's 70s-set 'American Hustle' is best viewed as a black comedy. Every brilliant performance, every hackneyed line, every haircut, every sequence is a little warped, a little odd - from Jennifer Lawrence doing the housework whilst miming along to Live and Let Die to Christian Bale's pot-bellied, comb-over sporting conman seducing Amy Adams in the lost property room of his dry cleaning establishment. That doesn't mean to say it isn't a decent and occasionally tense crime film, with its share interesting twists and turns in the plot, but it reminded me more of the Coen Brothers than 'Goodfellas', being about a group of variously flawed, morality bereft shysters who are often as pathetic and incompetent as they are resolutely unlikable. It's saying something that Jeremy Renner's charismatic local mayor is the only one of the bunch with any integrity and he's the victim at the centre of the big con.<br />
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Horrible people screwing each other over for the most part, but the film's refreshingly kind to the political class, who it depicts with uncommon humanity - with the mayor, as flawed and corruptible as he is, doing everything he can to help his constituents, who he earnestly strives to serve. It's careerist cops and conniving criminals who are shown to be the baddies here (even as protagonists), when we're usually sold the idea that organised criminals represent some sort of fraternity of direct, honest, old fashioned men with a strict code, as opposed to the lying, scheming cads that run the country. Instead when Bale's middle-rung financial criminal and Cooper's upwardly mobile, increasingly unhinged cop clash, there's no code of conduct or pretense of cool - nobody is in control or charismatically playing all the angles and holding all the cards. There's only a kind of ruthless, self-interested, survival of the fittest capitalism in play - and it's conscientious, civic-spirited people who get hurt in the crossfire.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-10326446382628392002014-01-03T17:14:00.002+00:002014-01-03T17:29:59.680+00:00My Top 30 Films of 2013: 10-1<i>For the first two parts of this list see <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-30-21.html" target="_blank">30-21</a> and <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-20-11.html" target="_blank">20-11</a>.</i><br />
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<b>10) Side Effects, dir. Steven Soderbergh, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/03/the-paperboy-side-effects-and-outrage.html" target="_blank">"Not the film you expect it to be following a twist at the halfway point, 'Side Effects' is a gripping thriller that takes many an unusual turn, stretching credibility all in the name of entertainment value. Partly a commentary on the power wielded by big US pharmaceutical companies over the medical profession - and on the power of doctors over patients - and the over-prescription of anti-depressants, the cold and methodical nature of the first half is reminiscent of the dry and earnest 'Contagion'... The second half is tense, gripping and hugely entertaining, though it's undeniably quite contrived and a little silly. Never more so than whenever Catherine Zeta-Jones appears as a rival psychiatrist who looks more like someone's idea of a "sexy librarian" roleplay fantasy than a medical professional. There's something exploitative about some her scenes with Mara in particular, but it didn't hamper my enjoyment of Soderbergh's latest in a run of recent (and varied) successes... Like most vintage Soderbergh, this isn't a film without flaws: but it's interesting, bold and dynamic cinema full of surprises."</a><br />
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It's over the top, elements of it are pretty trashy and the plot perhaps jumps the shark at least a couple of times, but 'Side Effects' is Soderbergh as a kind of Hitchcock for the RED Camera age, crafting a tense, high-concept thriller that keeps you guessing from start to finish. Or at least it keeps you guessing from the moment halfway through when it becomes clear that's the type of film this is, with the opening sections feeling like a genuine, straight attempt to chronicle the experience of one woman who falls prey to Big Pharma. It still is that film, of course, even as the plot takes a turn for the extreme, but it works on a less literal and procedural level than something like 'Contagion'. Through its twists and turns we still see the immense power of the pharmaceutical companies, who exercise a frightening control over doctors and those diagnosed with mental health issues - so it still has something to say about contemporary America. Yet the great joy of the film is the way it takes obvious pleasure in setting up a seemingly straightforward polemic (patient = victim, Big Pharma = bad), only to subvert our expectations and do something more interesting instead.<br />
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<b>9) The Place Beyond the Pines, dir. Derek Cianfrance, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/04/in-house-place-beyond-pines-and-finding.html" target="_blank">"Visually it's stunning, as shot by Steve McQueen's regular DP Sean Bobbitt, and somehow structurally tight in a way that belies its long running time. Factor in the fact that both Gosling and the recently Oscar-nominated Bradley Cooper are on top, career-defining form and it's potentially a modern American indie classic. It's not the crime thriller a lot of people will be expecting (it's really a fairly patient and introspective drama), yet 'Pines' isn't for want of horribly tense moments or spectacular sequences - notably a one-take car chase shot from the perspective of police cars in pursuit of Gosling's motorcycle."</a><br />
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At the time of release, conventional wisdom seemed to be either that 'The Place Beyond the Pines' was only good for the first of its three distinct sections or that it was only let down by a baggy final third. I can see where that criticism stems from, of course. In the first instance, the narrative shift that occurs early on moves the film away from the one that was trailed and highly anticipated - and some people aren't going to be as interested watching a Bradley Cooper movie about a put-upon, workaday cop as they are a cool Ryan Gosling movie about a renegade, bank robber on a motorcycle with Eva Mendes for a girlfriend. On the second notion, the final chapter - which brings the children of Gosling's robber and Cooper's cop (played by Dane DeHaan and Emory Cohen, respectively) into conflict - is certainly a slower burn than the previous two and isn't about cops and robbers at all, shifting focus to more divisive cinematic fare: angsty teenagers. But these three connected yet distinct little dramas, which appropriately enough come one after the other with a sense of legacy, tell a compelling story about fathers and sons - and that's what 'The Place Beyond the Pines' was really about all along. Not photogenic, young pretenders to the throne of James Dean or the perils of being "one good cop in a corrupt force", but it's about choice and consequence and what we leave behind - it's about how the decisions of the father effect the life of the son. It explores these ideas moodily and beautifully over three acts that form a more fascinating whole and which would lose all meaning in isolation.<br />
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<b>8) In the House, dir. Francois Ozon, FRA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/04/in-house-place-beyond-pines-and-finding.html" target="_blank">"Ozon's film is always fresh and imaginative. For instance, we occasionally witness the same events told by Claude [Ernst Umhauer] in different ways, responding to the directions of his tutor. His style of storytelling and preoccupations also change in reaction to [Fabrice] Luchini's advice. We see Luchini pop-up and offer critique to his student, even as events in the titular house unfold, in a device that feels like something out of the best Woody Allen comedy. There's obviously something about storytelling as voyeurism going on here throughout - and also the way events can be warped and manipulated when described to an audience, but what I found especially intriguing is the way Ozon's screenplay - based on a Spanish stageplay by Juan Mayorga - eventually finds a way to come full circle and investigate the homes of the protagonists: their growing obsession with this one, pretty ordinary family, ultimately saying more about their own unhappy lives. Literature as theraputic release or as harmful self-delusion? The ending left me uncertain."</a><br />
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The word that springs immediately to mind when I think of Francois Ozon's 'In the House' is 'clever', though it isn't smug or overly self-conscious about it as it weaves deftly between fantasy and reality, multiple accounts of events and stories within stories - exploring how we project our own perceived inadequacies and disappointments onto the art we create and, sometimes, onto lives of complete strangers as they exist in our imagination. It's also slyly funny and charmingly perverse in the director's usual style, as ever resting just on the border of camp.<br />
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<b>7) The Great Beauty, dir. Paolo Sorrentino, ITA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/09/blue-jasmine-rush-in-world-great-beauty.html" target="_blank">"It's a beautifully sad film punctuated by a bouncy, euro-dance soundtrack, which perfectly encapsulates the gilded cage that Rome has become for its protagonist. And it's also capable of being extremely funny, and more than a little wise with some really pithy dialogue worthy of future quotation. As you might expect from Sorrentino, it's sharply observed and offers a stinging, satirical rebuke to aspects of contemporary Italian culture: from a conveyor-belt approach to cosmetic surgery to the empty pretension of Rome's young avant garde set. Yet it's also a tender and sincere piece in which sex, death and the Catholic church all play a part. And gosh is it pretty to look at."</a><br />
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"I didn't just want to go to parties. I wanted to have the power to make them a failure." One of the best lines in a film full of them, most delivered with urbane wit by star Toni Servillo, playing a jaded intellectual who, on turning 65 at the film's outset, reflects on the dissatisfaction of his life to that point. He might be a self-styled king of parties, holding sway over the nightlife and certain intellectual circles in the most glamorous corners of Rome, but Jep Gambardella is otherwise a failure in his own estimation: with love and literary inspiration (he is said to have written one great novel) both abandoning him in his mid-20s, plunging him into a state of perpetual apathy and empty encounters with women. Sorrentino blends the modern (kitsch dance music and CGI flamingos) with the classically beautiful and culturally refined, painting a portrait of a modern day Italy rife with contradiction. Here we're shown a devoutly religious state that revels in licentiousness and hedonistic excess, with both equally vacuous. There's a sad overriding feeling of entropy over the whole movie, as if Rome and Jep, who have both seen better days, are both about to crumble into the Tiber. Yet, as you'd expect with something called 'La grande bellezza', it's also inherently life-affirming and, well, beautiful.<br />
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<b>6) No, dir. Pablo Larrain, CHI</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/03/lore-stoker-no-and-robot-frank-review.html" target="_blank">"In attempting to do the unthinkable and aid the "No" cause to victory - in an election assumed by most to be a formality, only staged to legitimise the regime's power - [Gael Garcia] Bernal's Rene successfully uses the language of vapid, feel-good empty consumerism rather than engaging in traditional political discourse... The film's final shots ingeniously play on our concerns about his victory, seemingly pondering whether a victory gained with empty, cynical consumerism can only lead to an empty, cynical and blandly consumerist society. It's a compelling point that renders the campaign's victory - almost a happy endpoint for the director's loose "Pinochet trilogy" - bittersweet.
The decision to shoot the film on 80s cameras is likewise ingenious, allowing the fictionalised drama to blend seamlessly with contemporary news footage and the original campaign clips themselves. In featuring the original adverts - with their crude comedy sketches, cheesy imagery and despicably catchy jingles - the film also becomes a historical document and a sort of documentary about that period in the nation's history, further enhancing how engrossing and fascinating the whole thing is."</a><br />
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As the morally ambiguous protagonist of Pablo Larrain's latest masterpiece, Gael Garcia Bernal is perfectly cast. Not only is he a fine actor and effortlessly charismatic screen presence, but his place here also serves to represent the film in a microcosm. Much like the shallow, US-influenced political ad campaigns devised by his character were a break from the daily grind of life under the dictator, he represents the only bit of Hollywood glamour in the film's otherwise grainy and dour reproduction of 1980s Chile. It's star semiotics exploited to the movie's great benefit. Supporting Bernal is Alfredo Castro as his opposite number, playing the same role for the other side of the campaign and almost equally morally blank - Castro, the haggard star of Larrain's previous two Pinochet films ('Tony Manero' and 'Post Mortem'), in both of which he plays deeply disturbing psychopaths, is an altogether different animal in front of the camera and they play off each other brilliantly before even a word is spoken. As much as it's a good account of events that happened very specifically in Chile in 1988, what's brilliant about 'No' is its timely look at a culture of style over substance and of the victory of comfortable consumerism over political idealism. The dark beauty of 'No' is that it ends with the overthrow of a murderous tyrant and asks us if we really got a happy ending. <i>How</i> you win and <i>how </i>you argue are vitally important.<br />
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<b>5) Mud, dir. Jeff Nichols, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/04/iron-man-3-oblivion-look-of-love-and.html" target="_blank">"'Mud' is a beautiful and moving piece of work. Sincere and populated by warm, genuinely loving characters right through the cast. It goes unexpected places and sidesteps every cliche you think you can see coming along the way. Overwhelmingly it's a film about love - in all its forms - in all its fragility and with all its pitfalls, but which ultimately manages to be warm and optimistic without compromising the gritty stuff. Love is hard and sometimes impermanent, it says. You might throw everything into it and get your heart ripped out, or even find yourself publicly humiliated as a result of unrequited affection. Yet it's worth it: it's the best thing we have and the only thing in this world worth having. That is basically the lesson learnt by the young hero through his trials and tribulations, but all without seeming twee or saccharine in the slightest. Quite an achievement - and a noble one at that."</a><br />
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A breathtaking coming of age movie set on the Mississippi River, 'Mud' is about two young boys (played by the impressive Tye Sheridan and Jacob Lofland) who encounter a charismatic fugitive (Matthew McConaughey) holed up in the wreckage of a boat they had hoped to salvage for themselves. In an effort to get "their" boat back the boys agree to help this mysterious stranger, who calls himself Mud, bringing him supplies and getting messages to his lover, Juniper (Reese Witherspoon), based in the nearby town. Before long Ellis, the boy played by Sheridan and the film's emotional centre, becomes personally invested in the success of Mud's romance with Juniper, not least of all because he needs his adolescent faith in everlasting love reaffirmed at a time when his parents head towards divorce. 'Take Shelter' director Jeff Nichols has spun an old-fashioned yarn - about boys playing by the river, picking up sticks and hiding a secret in their den - that's as much a bittersweet rumination on the nature of love as it's about growing up.<br />
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<b>4) Bullhead, dir. Michael R. Roskam, BEL</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/03/oz-great-and-powerful-bullhead-and.html" target="_blank">"Matthias Schoenaerts, of 'Rust and Bone' acclaim, stars in this troubling and deeply moving Belgian thriller about meat and hormones. Ostensibly the meat in question is beef and the hormones are the various illegal testosterone supplements used to bulk it up - a dodgy practice Schoenaerts' Jacky specialises in, working with dangerous criminal gangs. But it goes further with Jacky himself a testosterone-filled piece of meat, driven (by horrific childhood trauma) to take the same illegal substances, turning him into a sweaty, aggressive and sex-obsessed bull... 'Bullhead' really seems to be an examination of what makes us functioning human beings - as opposed to animalistic bags of hormones, rutting and smashing in each other's skulls. One nasty and violent change to Jacky's anatomy turns him from one into the other, questioning how much control we have over our bodies and our behaviour. At what point does chemistry and biology take over?"</a><br />
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An odd one this, because 'Bullhead' is a bit uneven with some odd bits of toilet humour (possibly lost in translation) that confuse the tone and, in my view at least, some fairly needless police procedural drama - but when it's squarely about Mattias Schoenaert's intimidating cattle farmer Jacky you can't take your eyes off the screen. Such a titanic physical performance, with the handsome leading man somehow turning himself into this large, sweating, panting man-bull in front of director Michael R. Roskam's camera, Schoenaert's leaves you devastated by the year's bleakest, most intensely upsetting finale. It also has an interesting central premise that it explores in a variety of ways, with the idea that humans are bags of meat controlled by little more than hormones feeding its way into depictions of the sex trade and a retirement home - which is less heavy-handed in practice than it sounds on paper.<br />
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<b>3) Gravity, dir. Alfonso Cuaron, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/11/gravity-thor-dark-world-and-hannah.html" target="_blank">"Essentially 'Gravity' is the story of one human's clawing, panting, sweaty fight for survival against desperately long odds, as Sandra Bullock's Dr. Ryan Stone - a small-town medical engineer with minimal NASA training - tries to avoid being struck by a calamitous cloud of satellite debris and somehow make it back to Earth without a spaceship after her mission goes horribly wrong. Though Stone has some very real, physical challenges to overcome - such as a depleting oxygen supply and the aforementioned debris field - the chief obstacle she faces is her own weary indifference to life itself. The film is about what it takes for this person to make the difficult decision to live when lying down and dying would be much easier - and, even, more comforting. Through various visual metaphors and lines of dialogue we come to see Stone as someone eager to shut all of the world out in some doomed bid to return to the womb: where George Clooney's charismatic, veteran astronaut sees wonder, Stone appears indifferent and complains of feeling physically ill. At its heart this is a small-scale story about an introverted, deeply personal problem - albeit projected onto an epic and exciting story."</a><br />
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Beyond admitting the unmistakable fact that it's a groundbreaking technical achievement destined to redefine how we depict space on film and that it's almost peerlessly tense for its whole running length, many who saw (and even enjoyed) 'Gravity' have sighted "the script" (by which people tend to mean dialogue and story, even though everything that happens in that movie will be in the screenplay) as a terrible, near-embarrassing Achilles heal. The argument runs that Alfonso Cuaron's film is a shallow, silly thrill-ride and nothing more. First of all: so what if it is? Most heavy, life-changing dramas are not spectacular technical achievements that empty the entire cinematic toolbox in order to excite and astound us and keep us on the edge of our seats. But secondly: no, 'Gravity' isn't dumb or shallow or badly scripted or poorly written. It's simple and the characters (all two of them) are fairly broad archetypes, sure, but the story told in 'Gravity' is not a perfunctory excuse to take the audience on an amusement park ride. It's a human drama that uses this extreme situation as a way to tell a character-driven story in a total-cinema, sensory experience way. At its heart this isn't a movie about a rookie astronaut trying to get back to Earth against all odds: it's about choosing to live when it might be easier not to. It's about finding something to live for, whatever that might be. I saw 'Gravity' twice and found it extremely moving in part because of its directness and disarming simplicity.<br />
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<b>2) Stoker, dir. Park Chan-wook, USA/UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/03/lore-stoker-no-and-robot-frank-review.html" target="_blank">"'Stoker' is a stone-cold masterpiece in terms of direction, cinematography, editing and sound design. The plot itself is perhaps predictable and lacking in the sorts of twists and turns many have come to associate with the director of the Vengeance trilogy and 'Thirst', but the way the story is told is of the highest order. Some of the transitions between scenes are simply incredible, notably a shot that seamlessly goes from an actresses hair to a field of grass.
The plot basically amounts to: hyper-sensitive and isolated teen, India Stoker, is troubled after the death of her father and resents her cold, dissatisfied mother (Nicole Kidman). After the funeral her estranged uncle Charlie (Matthew Goode) turns up and decides to stay in their house - only he has a secret and is more than willing to murder to protect it. But what it's really about - in keeping with the title's allusion to Bram Stoker of Dracula fame - is sex and death, both by way of touching lady-necks. Chan-wook is looking at the ability of blood, violence and mortal danger to both repulse and attract us - examining the erotic power of horror. In this context it's only natural that, after a spate of murdering, India comes to associate carnal desire with bone-snapping acts of violence, whilst seeming to fall for her mysterious and deadly new surrogate daddy. In other words, there's a lot going on here."</a><br />
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I pretty much cover why I loved 'Stoker' in the excerpt above. As with 'Gravity', it's a technical achievement of the very highest order - in this case due to incredibly imaginative, seamlessly implemented editing choices and especially terrific sound design. There's also a really visceral quality to the whole thing which will come as no surprise to fans of Park Chan-wook's previous Korean language movies, with sweat, dirt, blood and sex ever-present characters alongside a brilliant cast of actors - each of whom I've seen many times before and never been struck by. But here Matthew Goode is a sinister force of nature, Nicole Kidman is deliciously watchable as the protagonist's cold mother, and Mia Wasikowska is brilliant too, seemingly channelling early-90s Winona Ryder to perfection. I always describe it to people as a vampire movie without any vampires, due to its fascination with the awakening of female sexual desire and the relationship between sex and death, as well as the fact that Goode places his (apparently massive) hands around the necks of his victims. It's a fairly straightforward movie on a plot level, but there's a lot going on under the surface of 'Stoker', which makes it such a rich and rewarding experience.<br />
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<b>1) Frances Ha, dir. Noah Baumbach, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/world-war-z-this-is-end-field-in.html" target="_blank">"Co-written by Baumbach and luminescent star Greta Gerwig, the film depicts Frances as she drifts between temporary, low-wage jobs, flits between various apartments and generally struggles to belong in the world of adulthood that she is nominally now considered part of. A wannabe dancer who looks destined to fall short of being quite good enough to really make it, this is the story of a wide-eyed kid who is gradually coming to the realisation that they might not get to be an astronaut and may have to accept being just another normal person. But that's OK. Baumbach and Gerwig deliver this timely and sobering message with a lightness of touch and touching humour that stops it from being in any way bleak: Frances maybe a bit of a fuck-up, but she's a loveable fuck-up and one I can certainly relate to. This isn't simply one of the best films I've seen this year but, personally, it's the rare kind of film I can see making a lasting impression in the way very few films can lay claim. Usually, at the very best, films find ways to challenge or perhaps just effectively articulate how you feel about the world. But, for me 'Frances Ha' seems to bring into sharp focus truths about myself that actually help me better understand the world I live in and my own place in it. That's a rare thing for a film to do."</a><br />
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A supremely personal choice for my best film of the year, 'Frances Ha' is not pure cinema in the way 'Gravity', 'Stoker' and 'The Great Beauty' can claim to be - I still haven't seen it on a big screen myself, regrettably seeing it via a DVD screener instead - but nothing reached down into my soul this year like Noah Baumbach and Greta Gerwig's bittersweet, black and white comedy-drama. It's a movie that speaks, I think, to a fairly common problem faced specifically by people around my age (late-20s) downwards: that of aimlessness and dissatisfaction with your confused place in world. A sense that your place in the world isn't what you were promised - by the media, by the education system, by your parents. Gerwig's frustrating-yet-lovable Frances perfectly encapsulates this struggle to come to terms with reality and accept defeat, to some extent, in regards to her dreams, in that she will never be the dancer she has always dreamed of becoming. But the movie isn't pessimistic or downbeat in telling this story, and that's probably why it works. This isn't a tale of unrelenting, self-absorbed woe (that would be boring and irritating), but ultimately a testament to how falling short of your own lofty expectations is perfectly OK. It's somehow always realistic and a little tragic, whilst simultaneously being uplifting and optimistic. And that's why I love it. It isn't a denial of life's disappointments, but it's defiantly upbeat in the face of them.<br />
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<i>For the first two parts of this list see <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-30-21.html" target="_blank">30-21</a> and <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-20-11.html" target="_blank">20-11</a>.</i>Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-35557525208855579032014-01-01T11:43:00.003+00:002014-01-01T11:43:38.304+00:00Genuine Cuteness Vs Contrived Cuteness<div class="separator" style="clear: both; text-align: center;">
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I've been thinking a little about why Disney's 'Frozen' didn't work for me and I've realised that - equally grating as the bad Broadway-style pop songs - is the way little children are presented at the start of the film. Specifically the toddler version of Princess Anna, whose big round face, massive eyes and constant shrill giggling feel like the product of somebody typing the word CUTE into some sort of character generator machine. Make no mistake, children are (or at least can be) cute. Real children, that is. Children are one of the hardest things to get right in media - films and video games in particular - because there is a really fine line between genuinely cute movie children and cynically cute children, born of contrivance and engineered to manipulate an audience.<br />
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The difference between the two should be clear, but I'm going to provide video examples anyway to illustrate my point.<br />
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First, here is a clip of Mei from Miyazaki's 'My Neighbour Totoro':<br />
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<iframe allowfullscreen="" frameborder="0" height="295" src="//www.youtube.com/embed/kHN-3glH8G4" width="400"></iframe><br />
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Mei is cute because she behaves like a child. The animation is subtle and perfectly observed. She is dumpy and clumsy in a very realistic way that causes you to recall actual children you know, and her one, loud, exaggerated shriek of delight in the above clip also rings very true. The clip I really wanted, but could not find, was perhaps the best example of this genuine, organic cuteness born of creating a compelling, young character (as opposed to going about it in reverse): the bit where she puts on an oversized straw hat, picks up a trowel, slings a big bag over her shoulders and tells her dad she's "just off to run some errands". Perfect. Just the sort of strange thing a child might actual say.<br />
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Here is what happens when it all goes horribly wrong. Here is an egregious example of contrived cuteness...<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/aTQi-VvGZTA" width="420"></iframe><br />
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I didn't know this character was called "Agnes", but immediately found loads of clips and pictures by typing "Despicable Me cute girl" into Google. This is appropriate, because Agnes is not a character. She's a high-pitched voice and big eyes, saying the word unicorn every second line. She isn't designed to resemble an actual child. She's designed to appeal to people who go "awwwww" when they see a picture of a particularly photogenic animal.<br />
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Disney usually don't fall into "The Agnes Trap", but young Princess Anna is exactly this way. Yes, I'm fixating on something really small at the start of the film, but I expect better of Disney animators. Rant over. Return to your cat pictures, internet.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-64116689413114907972013-12-31T17:42:00.001+00:002013-12-31T17:42:11.658+00:00My Top 30 Films of 2013: 20-11<i>For the first part of this article, detailing 30-21, click <a href="http://beamesonfilm.blogspot.co.uk/2013/12/my-top-30-films-of-2013-30-21.html" target="_blank">here</a>.</i><br />
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<b>20) Philomena, dir. Stephen Frears, UK/FRA/USA</b><br />
<b><br /></b>What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/10/philomena-captain-phillips-le-week-end.html" target="_blank">"It's a testament to star Steve Coogan's screenplay (written with Jeff Pope), Stephen Frears' light-footed direction and Judi Dench's nuanced lead performance that 'Philomena' isn't the most depressing film of the year, even if it's still a reliable tearjerker. It's based on the heartbreaking real-life story of just one of many teenage girls became indentured servants to nuns in 1950s Ireland after falling pregnant, many having their babies taken from them by the Catholic church - and sold to wealthy families overseas. It's a story almost tailor-made to provoke outrage, indignation and buckets of tears from an audience - and rightly so, but the strength of this film adaptation lies in its steadfast refusal to wallow. In fact it's frequently quite funny amid the weeping and ruminating on the pros and cons of religious faith."</a><br />
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From the cosy, yellow theatrical poster, the presence of Dame Judi and the "from the director of 'The Queen'" tag, you could be forgiven for avoiding 'Philomena' on the grounds that it's probably one of those middle of the road dramas, targeting grey pound as inoffensively as possible. But it isn't that movie at all, even it does nothing that would see it lose any appeal to that audience. It's both a tear-jerker and a crowd-pleaser, combining moments of crippling sadness (the true life tale it's based on is hideous) and gentle comedy to brilliant effect - each making the other more palatable. It also looks more deeply at the concept of "faith" than most movies do, that term usually being thrown about to imply great depth where there is none. Here Steve Coogan's atheist journo and Judi Dench's devout Catholic play against each other in a way which showcases how blind religious faith can be both a healing crutch and a stupefying form of self-delusion. For her part Dench is brilliant as the title character, apparently reveling in the chance to play somebody with such spirit and warmth after a great many years of being typecast as the opposite.<br />
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<b>19) We Steal Secrets: the Story of Wikileaks, dir. Alex Gibney, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/pacific-rim-monsters-university-bling.html" target="_blank">"An amazing piece of work: balanced, stylish, thrilling, sick-making - sometimes funny and never less than compelling. Alex Gibney takes on Wikileaks and Julian Assange in this revealing documentary that - like many of the contributors - is on one hand in awe of its subject and on the other immensely troubled by him. Bound up with the potentially world-changing and arguably heroic activities of Wikileaks itself - which, among other things, helped bring to light the ugly reality of the conflicts in Iraq and Afghanistan - is the increasingly odd story of Assange, the organisation's founder: whose behavior has been increasingly antithetical to the ideals the whistle-blowing website stands for in the eyes of supporters. It's neither a hatchet job, nor a celebration, but an examination of flawed human beings. It's a sad portrait of a man who seems equal parts a brilliant idealist, a paranoid loner, and self-styled international celebrity."</a><br />
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Walking a delicate middle-ground between respect for its subject, as a brilliant idealist standing for a great many good things, and disquiet about his character and recent behaviour, Alex Gibney's tense, gripping doc about the story of Julian Assange and his Wikileaks organisation is compulsive viewing. The sort of documentary that leaves you sad, angry and better informed about the world in which we live. Ultimately the film transcends its subject matter and, to me at least, makes a more universal point about the problems inherent in binding political causes to fallible, human individuals, as Assange the person threatens to undermine the credibility of Wikileaks the organisation and the ideals for which it stands. A tough watch, at times, but a vital one.<br />
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<b>18) Blue is the Warmest Colour, dir. Abdellatif Kechiche, FRA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/11/the-hunger-games-catching-fire-blue-is.html" target="_blank">"The film's quieter character moments, as Adele deals with the different stages of her relationship with Emma, navigating interactions with her friends and family, are great work. Certainly the two "dinner with the in-laws" scenes, that do so well to contrast Adele and Emma's backgrounds, education, interests and aspirations, all through attitudes to food and parental interactions, are miniature masterpieces. However, the film falls down when it comes to some extremely long sex scenes that stretch the running time in an unfavourable direction and which break from the film's otherwise naturalistic tone by presenting sex in a way which suggests you've stumbled onto Channel 5 post-watershed."</a><br />
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The target of many fair criticisms about its portrayal of lesbian sex - the film even attracting criticism along those lines from the writer of the source graphic novel, Julie Maroh - 'Blue is the Warmest Colour' is a great film hiding within a rather baggy and overlong mostly-good one. Basically, if you cut (or merely edited down) the ridiculous sex scenes, you'd be left with a brilliant coming of age drama, boasting 2013's strongest single performance from an actor. Adèle Exarchopoulos is incredible portraying a character who goes from high school student to school teacher over a span of several years, subtly altering her posture and demeanor over the course of the film to reflect recognisable changes in age and character. Co-star, and co-Palme d'Or winner, Lea Seydoux is also really great (as ever) but this is Exarchopoulos' movie. One of several cases on this year's list where a strong central character, played to perfection by the right actor, has elevated an entire film (also see 'Nebraska' and 'The World's End').<br />
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<b>17) Iron Man 3, dir. Shane Black, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/04/iron-man-3-oblivion-look-of-love-and.html" target="_blank">"The script somehow blends all the best elements of a buddy cop movie (notably in Downey Jnr and Don Cheadle's team-up), a sort of Capra-esque Christmas movie (it'll sound shit on paper, but Iron Man's pairing with a smalltown kid is entirely winsome), an espionage thriller, a deft political satire (maybe overselling that a touch, but what the film does with Kingsley's villain is inspired) and a classic modern superhero movie. It's a 'Kiss Kiss Bang Bang' style deconstruction of action movie tropes and a faithful sequel to both 'Iron Man 2' and 'The Avengers' - which it references whilst also managing to be its own thing completely. It bravely takes Tony Stark out of the suit for most of the movie - putting him in more peril than ever before, and allowing him to be more genuinely heroic - whilst also still recognisably being a Marvel comics adaptation. It does a lot of things and it does most of them excellently. And it's probably the only superhero movie to have a satisfying "end boss" fight to boot."</a><br />
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Pure popcorn in the very best sense. Spectacular set pieces (like when captive Tony fights those henchman whilst in various stages of suited up) married to some of the year's best gags (the Ben Kingsley reveal, the buddy cop dynamic between Tony and Rhodey in the third act), 'Iron Man 3' has admittedly suffered on repeat viewing now that I know what to expect (a great part of the pleasure is that it isn't the film it was advertised as being), but it was a film I watched with a bloody, great grin on my face in the cinema. Though an avid Marvel comics fan, and broadly a fan of Marvel Studios' film output, 'Iron Man' has never been something that's excited me too much (even though Robert Downey Jnr is terrific in the role) and given that 'Iron Man 2' is probably the worst of the in-house Marvel movies, the fact that this one was so much fun was a really great surprise.<br />
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<b>16) A Field in England, dir. Ben Wheatley, UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/world-war-z-this-is-end-field-in.html" target="_blank">"This bizarre, sometimes unfathomable, mix of pitch black humour and sleep-disturbing horror won't be a surprise to fans of Ben Wheatley's other films - or at least to those who've seen the equally macabre 'Kill List'. Set during the English Civil War, 'A Field in England' follows a group of deserters as they flee a battlefield, stumble upon some magic mushrooms and become embroiled in an unsettling, occult treasure hunt, whilst ostensibly looking for the nearest pub. The performances, from the likes of Reese Shearsmith and Wheatley regular Michael Smiley, are enjoyably exaggerated and thespy, the sound design is magnificent and Laurie Rose's black and white cinematography yields wonders that belie the film's tiny budget - facts that all combine to create a unique sensory experience."</a><br />
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Ben Wheatley's fourth feature was arguably his strangest and (relatively speaking) least commercial to date: a psychedelic and characteristically macabre film set during the English Civil War and starring Reece Shearsmith and Michael Smiley. Though released on TV, DVD and online on the same day it hit cinemas it's also paradoxically his most cinematic movie, relying extensively on an atmosphere created by unsettling sound design, Laurie Rose's austere monochromatic cinematography and startling editing work done by Wheatley and screenwriter Amy Jump. Like the best cinema, it demands to be seen on a massive screen in a dark room, with the volume cranked right up. Though the script is clever and full of funny lines, which beautifully mix the sacred and profane to comical effect, it's the haunting images and long takes that linger in the mind, burrowing deep into your subconscious. Earlier in this list I said 'Elysium' was a film destined to be swiftly forgotten by most who see it. 'A Field in England' is conversely a film most will struggle to forget, though many may try.<br />
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<b>15) Pacific Rim, dir. Guillermo del Toro, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/pacific-rim-monsters-university-bling.html" target="_blank">"Packed with jaw-dropping set-pieces, characteristically striking visuals and boasting gorgeous production design, it's a visual treat and the sort of thrill-ride you only get from the very best Hollywood fare. Even the 3D - post-converted, but apparently given more time and attention than usual - is a treat, adding texture to the rain effects in particular, as the Jaegers battle the Kaiju at sea. From a character point of view it's broad, but certainly not dumb or empty: the drama feels humane and ties into the action rather than being a perfunctory afterthought. It's also pleasing how international the whole thing is. Yes: it's an American movie, so the American pilot and American mech win the day. But, on the flip-side, rarely is an action movie of this kind less militaristic or nationalistic than this. There's a Russian mech, a Chinese mech and we're told the Australian mech is the best of the bunch - the most successful and effective around - allowing a sense that this is truly humanity fighting together in its darkest hour."</a><br />
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Let's settle something right now: 'Pacific Rim' is a really good film. I've seen it dismissed out of hand, but worse still I've seen it receive the faintest of praise: as a guilty pleasure or a decent movie of its kind. Yet Guillermo del Torro's monster versus mech blockbuster is stunning, from the fully-realised setting, to the designs of the various fighting creatures and robots themselves - it's a masterful and entirely complete movie on almost every level. As I said in the review excerpt above, the human characters are indeed broadly painted, exaggerated archetypes, but that doesn't mean that the film is stupid or that the writing is bad. 'Pacific Rim', and I mean this in an entirely non-condescending way, knows exactly what it is and what it is trying to achieve and succeeds on its own terms. And, in its own small but meaningful way, it subverts many grating genre cliches, for instance, by downplaying the antagonism between the military types and the scientists (who ultimately respect each other and work towards the same goal - seriously, how often do you see that?!) and by having a main character in Charlie Hunnam's Raleigh Becket who isn't a macho, meat-head douchebag. He's a calm, respectful and introverted character as seen in a half-dozen small character moments that most people won't notice because they've already decided a film about giant mechs fighting even bigger monsters is beneath their contempt. Well those people are missing out on some pretty great cinema.<br />
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<b>14) The Hunger Games: Catching Fire, dir. Francis Lawrence, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/11/the-hunger-games-catching-fire-blue-is.html" target="_blank">"This is a teen-focused blockbuster in which riot police shoot a helpless old man in the head for whistling, in which handsome bore Gale (Liam Hemsworth) is bloodily flogged to within an inch of his life, and in which a frail old woman is corroded to death by a cloud of poisonous gas. So being able to care about the central relationships, and take a certain amount of pleasure in them, is a huge plus. [Jennifer] Lawrence is terrific again in the central role, playing a Strong Female Character TM whose strength is not solely found in her toughness and aptitude with a bow, but in the fact she is written with considerable character flaws. She's stubborn, calculating, sometimes extremely cold, but no less a hero, and that combination unfortunately warrants pointing because multi-faceted female characters are still so rare in mainstream blockbusters. Katniss likes bows and hunting and boozing with Haymitch [Woody Harrelson] and tormenting her country's sinister president (Donald Sutherland) on national TV, but she also enjoys dresses and hunky boys and adores her young sister. She's a wonderful creation and one that seems particularly well suited to Lawrence's strengths as an actor."</a><br />
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A friend of mine saw this and described it to me as being "as good as 'The Empire Strikes Back'!" I immediately dismissed that notion out of hand at the time, but watching the film (in IMAX) a week later it didn't seem like such an outlandish claim. 'The Hunger Games: Catching Fire' is not destined to have the same cultural standing as the first 'Star Wars' sequel - along with 'The Godfather Part II', probably the best direct sequel going - but it is a huge step-up from the original movie (which was decent but unspectacular) in every way. The world is more fully realised, the games themselves are more intense, the characters are at a more interesting point in their arc, the social satire comes right to the fore this time around and the scale of the thing just feels much more epic. Is it as good as 'Empire'? Of course it isn't. But the fact it merits serious comparison is praise enough. Grimy, moody and tough as nails, tweenage entertainment doesn't come any better.<br />
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<b>13) Blue Jasmine, dir. Woody Allen, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/09/blue-jasmine-rush-in-world-great-beauty.html" target="_blank">"To my mind, it's his most perfect movie since 1999. Its closest contender for that accolade, 'Midnight in Paris', is easy-going, charming, inventive and often very funny - but 'Jasmine' vaults over it by virtue of genuine dramatic heft and, with Cate Blanchett in the title role, a lead performance for the ages. It's rare for a Woody Allen film - even a vintage 70s/80s one - to be so tragic, sad and consistently tense as this. It made me uncomfortable and anxious throughout, and the funny lines don't feel like jokes or witticisms in the Allen style, but are born of great characterisation. There's a lot of heart and feeling in this one and no easy answers about life's troubles, nor is there an Allen surrogate figure making sardonic wisecracks to soften the blow. It's a brave and disturbing movie, whilst still feeling like a Woody Allen film - unlike some of his previous attempts at prioritising drama over comedy, such as artistic misfires 'Match Point' and 'Cassandra's Dream'."</a><br />
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The latest in a long line of loudly touted critical "returns to form", 'Blue Jasmine' is the first to really warrant that tired old line. By far, the best Woody Allen film in over a decade - and there have been some decent ones in that time - and one that genuinely deserves a place in his pantheon alongside the classic dramas of the 70s and 80s. Though funny in places, in a dark, uncomfortable way, this is one of those occasions where Woody in serious Bergman-esque dramatist mode has decided to eschew his usual comedic style and go for something more bleak and hard-hitting. And it's maybe the only occasion where that approach has completely worked - at least since the "serious" half of 1989's 'Crimes and Misdemeanours'. I've never felt so unsettled or emotionally devastated by one of his films, with his classics usually working on an analytical and intellectual level, even in their approach to love and death. Yet Cate Blanchett sells the hell out of this self-absorbed, self-destructive, alcoholic force of nature, giving one of the best performances in a year of great individual performances.<br />
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<b>12) A Hijacking, dir. Tobias Lindholm, DAN</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/06/populaire-hijacking-fast-furious-6.html" target="_blank">"Even-handed and intelligent, director Tobias Lindholm's film doesn't lay the blame at the feet of the corporation - it doesn't present the board as villains for not immediately caving in to all the pirates demands - and doesn't even really vilify the pirates (even if they are often quite frightening and capable of great violence). Instead it seems to simply present the experience as what it is: something terrifying and life-changing for everybody involved, right down the anxious families of those held captive. [Søren] Malling's CEO is shown as a man under great pressure, who - though not subject to the appalling conditions of the ship's crew - has his life upended by events to a very similar degree. What the film doesn't do is explore any of the political or economic conditions that have made piracy increasingly common, but that's the subject for a preachier, less visceral movie: one potentially less devastating, shocking and emotional."</a><br />
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If 'Captain Phillips' wins any Oscars at all it'll be a massive joke. Not because it's a terrible movie (though it's not a good one), but because - for all its militaristic, gung-ho bombast - it isn't even this year's best movie about Somali piracy. Step forward 'A Hijacking', which isn't the tale of one brave, selfless hero outwitting a host of pirates with wily schemes and 'Home Alone' style death traps, but rather a traumatising little human drama about a group of very ordinary men who are held captive for the best part of a year on the open ocean, whilst their harried employer haggles dollar by dollar for their release with a penny-pinching boardroom and a hostage negotiator who's presumably paid by the hour. Whether you're in the boardroom with the increasingly stressed CEO or on the cargo ship with the captured crew and almost equally morale-sapped pirates, 'A Hijacking' is tense and gripping because of the strange banality of the day to day instances we're shown. There are no hi-octane gun battles here: just ordinary people separated from their families with no way of knowing when they get to go home. With empathy that should be enough.<br />
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<b>11) The Act of Killing, dir. Joshua Oppenheimer & Christine Cynn, NOR/DAN/UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/the-act-of-killing-and-stories-we-tell.html" target="_blank">"What makes the film so extraordinary and thought-provoking is that this isn't the story of a group of mad individuals, but seemingly something that runs much deeper and across the entire country. It's a reminder of many things, not least the fact that it doesn't take much to vilify a group of people and encourage a state-sponsored pogrom, but also that there's no such thing as "good" or "evil" people - that, unpalatable as it may be, most of us are capable of either in almost equal measure, guided by the hand of history as it shapes the society around us. These are men who talk of their love of dancing in the street after watching Elvis Presley movies. Men who collect crystal Tinkerbell statues and wear pink fedoras in earnest. Men who give as much thought to how to choreograph a musical number as they did to finding the most efficient ways to kill. It's also a monument to the power of art to help people better understand themselves, to encourage empathy and as a vessel for exploring existential questions."</a><br />
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Why is art important? Does it really enrich the soul? 'Act of Killing' seems to provide a definitive answer to those questions, as a bunch of state-sponsored mass murderers - to this day celebrated for their crimes, killing suspected communists in 60s Indonesia - come to feel something like remorse (or at least a shred of empathy for their victims) after being asked to reenact their brutal crimes against humanity - ostensibly for a movie commemorating their deeds. If the directors (one of whom, like much of the crew, remain anonymous in the film's credits for their own safety) had approached these men with a microphone in the traditional way, and simply asked them to account for their crimes, they would simply have been met with long-ingrained anti-communist rhetoric, indignation or even a complete refusal to participate in the film. But through art - through some tacky, garish re-enactments staged by the participants for the film - these men are cleverly led to a place where they seem to truly reflect on their crimes, perhaps for the first time. They are forced to think about their deeds and, in a crude way, watch them back as a detached audience member. They come to consider their actions for the first time and, as best exemplified by one extended scene of retching that's hard to watch, begin to understand the magnitude of what they've done to other human beings. It's too little too late for the families of those who were slain, who have still never been acknowledged by the regime. It won't satisfy those who hunger for Old Testament style justice for crimes such as these. But on a humanistic and spiritual level, what this film achieves is a total triumph.</div>
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<i>Check back soon for the final top 10!</i></div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-18054961352901558242013-12-31T10:03:00.003+00:002013-12-31T13:01:03.830+00:00My Top 30 Films of 2013: 30-21Yay! I have a working computer for the first time since August! Now I can get this end of year business underway...<br />
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After a fallow year for this blog, both in terms of the number of posts I've made (several hundred down on previous years) and the number of films I've actually seen (I haven't been to any major film festivals this year ad my cinema attendance in general is way down), my annual top 30 list for 2013 is looking much more US-centric than usual, with fewer gems and more blockbusters. However, I chose to stick with a top 30 format anyway, because I like the excuse to recap about a whole load of movies I enjoyed (10 just isn't enough) and remind myself what I liked this year.<br />
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Notable absentees from the list which have been rated highly elsewhere include 'Before Midnight' and 'The Selfish Giant', both of which I didn't see, and 'Django Unchained, 'All is Lost' and 'Upstream Color' - which I have varying levels of contempt for. So, without further delay, here are entries 30-21:<br />
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<b>30) Elysium, dir. Neill Blomkamp, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/08/the-way-way-back-elysium-and-planes.html" target="_blank">"It isn't 'District 9' but Neill Blomkamp's follow-up is as ambitious and imaginative as it is clunky. There's a lot of ham-fisted, panto-quality, over-acting involved - notably from Brazilian actor Wagner Moura as "Spider" and Jodie Foster, who seems to be playing a Disney villain in a film happening in her own imagination - while the childhood flashback sequences are a bit cheesy and obvious and, I'll concede, its movement between irreverent, splatter-gore comedy and cloying, string-music backed scenes of children on crutches in peril speak of a tonal mishmash. But it's also got some decent dystopian world building and spectacular design work, as well as some interesting politics for a mainstream blockbuster - with our hero, Matt Damon, framed as an insurgent against the robot drones, unhinged mercenaries and satellite surveillance footage of the film's privileged bad guys - white, wealthy elites living far above a shanty town and predominantly Hispanic Los Angeles in the shiny, clean space station paradise of the title."</a><br />
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I'm under no illusions about this one: it's no classic and far from a perfect movie. Perhaps understandably, it doesn't live up to expectations that followed in the wake of modern genre classic 'District 9', but it also fails on its own terms, sometimes in fairly spectacular fashion. However it's also a rare animal in today's Hollywood: an original movie, not a sequel or based on any other property (however much it rips-off a half-dozen video games) and that does count for something. It's also an imaginative and bold movie in its way, packed with interesting concepts and with a laudable social conscience - even if the latter is undermined at times by the film's own sickly love of comic, cartoon violence. And for all the wayward performances, there's also Sharlto Copley's brilliant turn as a ruthless mercenary. Perhaps this one is destined to be forgotten, if it hasn't been already - and that'd be no big loss for cinema. Yet I still feel like tossing a bone its way for the things it did right.<br />
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<b>29) Behind the Candelabra, dir. Steven Soderbergh, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/06/populaire-hijacking-fast-furious-6.html" target="_blank">"Even as it follows Liberace in his twilight years, with his peak decades behind him, the film manages to show us the highs and lows of his life: giving us glimpses of his performances on Vegas stages, in front of adoring fans, as well as showing us the loneliness and pitiful sadness born of that mix of hyper-fame/wealth and keeping such a large aspect of his life a (admittedly poorly kept) secret. He's a paranoid figure and a man with few (arguably no) real friends - or meaningful connections of any kind, beyond the revolving door of pretty boys that he keeps in his "palatial kitsch" mansion. We can only speculate about how close to reality the film gets, being based on the memoirs of a man who unsuccessfully sued Liberace, but the film is quite perfect at plunging the viewer headlong into the despair and loneliness we can imagine comes with extreme celebrity."</a><br />
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Infamously afforded TV movie status in the US, after squeamish studios rejected the project apparently describing it as "too gay" before HBO stepped up to pay the tab, but luckily international audiences saw Steven Soderbergh's latest (his first film since supposed "retirement" earlier this year) in cinemas where it belongs. Michael Douglas would certainly stand a good chance of winning an Oscar in February if it weren't for that silly television business (though the Emmy Award should be in the bag, Mike!), with his vulnerable and downright tyrannical take on flamboyant entertainer Liberace. Though there's a sardonic tone to the whole thing, it's nonetheless a sincerely tragic drama about isolation and megalomania, and a universally relatable tale of love and loss.<br />
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<b>28) Stories We Tell, dir. Sarah Polley, CAN</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/07/the-act-of-killing-and-stories-we-tell.html" target="_blank">"Polley edits together disparate, sometimes contradictory accounts of her mother's life, to tell a nuanced tale that is equal parts sad and joyful in its depiction of a person's life and their secrets. The narration, written and delivered by Polley's (non-genetic) father, Michael, is especially poignant and even beautiful. It's less effective, however, when Polley takes a more proactive part in events - making her own observations and reading excepts from letters with a humourlessness that's hard to stomach. Especially as she brings the focus of the film onto the making of the film itself, drawing attention to some of the techniques and advantages of its construction in a faintly self-congratulatory spirit that almost spoils things. Almost, but not quite: because 'Stories We Tell' is a fantastic piece of work, even (at times) in spite of its director. A celebration of a person's life that never shies away from the complexity of their character: a humanistic film that explores a woman's infidelity without judgement and with uncommon understanding."</a><br />
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One of the year's most memorable and moving documentaries, Sarah Polley investigates the identity of her genetic father and uncovers a few long-hidden truths about her mother's life and marriage through editing together the (somtimes differing) accounts of family history as given through interviews with members of her extended family and friends. It's as much about memory and family history and childhood in general as it is about Polley and her parents, with it almost guaranteed to tug on each audience members heartstrings for one reason for another - though it isn't at all cloying. Perhaps Polley's own attempts to give meaning to events border on pretentious - no doubt they'd fall squarely into the category of what Werner Herzog's character in 'Julien Donkey-Boy' would call "artsy fartsy stuff" - but its modest shortcomings are easily overlooked.<br />
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<b>27) Thor: the Dark World, dir. Alan Taylor, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/11/gravity-thor-dark-world-and-hannah.html" target="_blank">"The film recovers from a fairly pedestrian (and overly serious) first act as soon as the fan-favourite, trickster is unleashed upon the movie in a big way, with Loki and Thor forming an unlikely and completely terrific buddy comedy partnership which (all-too-briefly) elevates the movie to a higher stratosphere. The rest of the film is entertaining, to be sure - especially when supporting characters under-served by the first film come to the fore, such as Jaimie Alexander's Lady Sif and Ray Stevenson's Volstagg - and the action is also suitably exciting throughout, especially during a London-set climax that borrows much from the finale of the original 'Monsters Inc.' to fun effect. It's overall a solid bit of action-comedy fare. But there's no denying it's only when Loki is on-screen that it really feels like anything genuinely special is happening."</a><br />
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It's Tom Hiddleston's movie whenever he's on the screen, which is really where the problem lies with Marvel's 'Thor' sequel : because the highly watchable actor - who plays the conflicted and ever-conniving villain Loki - is not the star and not in the film nearly often enough. Or maybe he's in it too much. Would the film overall be better had extensive re-shoots near release not increased the popular actor's role, overshadowing everything else? We'll never know. Though I suspect that more cohesive film might have been far less instantly gratifying. In the end it's little more than a bunch of great big set-pieces, filled with exciting action and populated by characters I love, made with a lot of humour and obvious affection from all involved - and with possibly the best ending of any of the Marvel movies to-date. 'Thor: the Dark World' doesn't always know exactly where it's going or what it's doing, but it doesn't really matter too much whilst you're on the ride.<br />
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<b>26) In A World..., dir. Lake Bell, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/09/blue-jasmine-rush-in-world-great-beauty.html" target="_blank">"The voice-over industry squabbling is pretty funny, but the film's trump card is the presence of Bell herself as a confident, likable lead. Carol is the sort of silly, immature, wisecracking character women don't normally get to play in Hollywood - usually consigned to playing tutting shrews in comedies about 30-something man-babies and rarely getting the funniest lines. It appears Bell's answer to that particular imbalance has been to make her own damn film - and I'm glad she did. Especially as it means we have a female character whose relationships with her father and vague love interest (Demitri Martin) are demonstrably equally important as that with her sister (Michaela Watkins). In other words, she isn't defined exclusively by her relationship to male characters even if the film is about her relationship with a male-dominated industry."</a><br />
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A genuine surprise package, I hadn't even heard of this film, or its director/writer/star Lake Bell, until it appeared as a last-minute addition to the programme at the cinema where I work. Turns out it's one of the year's smartest and funniest out-and-out comedies, boasting such delights as Eva Longoria playing herself - sending up her own limited acting range by playing a cockney character in one of many enjoyable films-within-the-film - and taking place within the bitchy and ultra-competitive world of actors who specialise in voice-over work for movie trailers. It's gets a little heavy-handed in the last ten minutes or so, but the bulk of the movie is terrific fun.<br />
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<b>25) Spring Breakers, dir. Harmony Korine, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/04/spring-breakers-and-trance-review-round.html" target="_blank">"This is a shamelessly trashy and exploitative movie that just works. It entertains, amuses and shocks in equal measure, and with regularity, throughout its tight running time, not least of all when James Franco is on screen as self-styled hustler and d-list rapper Alien - a role he completely vanishes into and for which he deserves award recognition. Some bits are really spot-on at pinpointing the seedy, mutually destructive nihilism and cultural bankruptcy of the American Dream - such as when Franco and the girls gather around the piano for an earnest performance of a Britney ballad that all present really do seem to believe represents a high cultural watermark. Another great scene consists solely of Alien showing off his increasingly pathetic "shit" in his mansion: an itinerary that includes different coloured shorts, several aftershaves and "Scarface on repeat". His extreme, gormless pride at this haul is the perfect rebuttal to MTV Cribs and everything it represents."</a><br />
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Love it or hate it (and, honestly, I alternate between the two on a near-daily basis) 'Spring Breakers' was probably the year's movie that best captures the zeitgeist of our historical present. We live in vacuous, cynical times. Times when it often seems that commodities, hedonism and celebrity are more valuable than human life - that they represent the only version of success. 'Spring Breakers' is not really an outright attack on that notion, though it definitely sees the funny side, but a pure expression of those values and the feelings they can inspire - good and bad. Perhaps this is a vacuous movie, and one which grimly and nihilistically treats people (from its self-consciously exploited teen stars to the gangsters mowed down in the finale) like disposable cattle every bit as much as our society. But, to paraphrase the Nolan-Batman, perhaps 'Spring Breakers' is not the movie we need right now, but it's most certainly the one we deserve.<br />
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<b>24) The World's End, dir. Edgar Wright, UK</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/08/the-worlds-end-and-wolverine-review.html" target="_blank">"Simon Pegg plays Gary King, a middle-aged man who hasn't moved on since the greatest night of his life: attempting "the golden mile" - a 12 pub crawl across his home town - with his closest mates. However, decades later, everything has changed except for Gary. The pubs themselves are now identikit chain pubs and all his mates have moved on with their lives and moved away from the small town of their youth. Many of them, including Nick Frost's Andy, actively hate Gary - making things all the more uncomfortable as he pathetically attempts to get the gang back together for one last crack at the mile. It doesn't go well and only gets worse when the robots turn up. That was originally meant as descriptive, but actually forms a pretty good anchor point to start my critique because, for me at least, the film was far more entertaining and engaging before the science fiction elements kicked in. The "former friends coming back together in their sad little home town for a pathetic pub crawl" story was actually really well worked for the first half-hour, with nuanced characters and genuine pathos for Gary: a complete prick, but one you feel crushingly sorry for nevertheless."</a><br />
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A comedy that isn't all that funny. An action movie where you don't really care about or enjoy any of the fights. A sci-fi film where the sci-fi premise just serves to undermine the really compelling character drama of the first half-hour. Viewed in these terms 'The World's End' is a major failure. But that would be to overlook perhaps the year's stand-out character: Gary King. We all know our own Gary King, or perhaps we even sometimes feel like <i>we are</i> our own Gary King - chained to imagined glory days, clinging on to friendships years past their use by date and to the benefit of nobody. The character is well-observed perfection, as played by Simon Pegg with disarming sincerity. With his inadequacies - his lack of self-awareness, his immense sadness masquerading as this life-and-soul-of-the-party, tragi-comic Peter Pan figure - this shambling, pathetic manchild represents a triumph of acting and writing worthy of the countless awards it stands absolutely no chance of even being nominated for.<br />
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<b>23) Wreck-It Ralph, dir. Rich Moore, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/02/wreck-it-ralph-review.html" target="_blank">"It's sweet and tells its story smartly, but where 'Wreck-It Ralph' really sings is with the sight gags, inspired puns and myriad of game references. It's an out-and-out comedy in an age where a lot of the classier animated movies - vintage Pixar, 'ParaNorman' - are increasingly dramas-with-jokes (not a criticism) and it converts an unreasonably high number of jokes to actual laughs. (More than most live-action comedies released in the past decade - though I realise that isn't necessarily too much of a yardstick.) It's a joy from start to finish. A little slice of happy, but without being overly saccharin... well, the least it can be considering it's a Disney movie set predominantly in a candy land featuring an adorable little girl teaching a surrogate father figure how to be a better man. But it pulls it off, without being too earnest and without smirking. It's a very genuine little movie made with obvious love of video games."</a><br />
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Was 'Wreck-It Ralph' really released this year? Feels like several years ago, but maybe that's because Disney Animation Studios just released 'Frozen'. In a fairly crappy year for mainstream animation (Studio Ghibli's 'From Up On Poppy Hill' was pleasant but unspectacular, Pixar's latest sequel was instantly forgettable and 'Frozen' was no 'Tangled', though it transparently wanted to be) it's nice that 'Ralph' is representing the art-form on this list, with its breezy storytelling, likable characters and plethora of genuinely funny gags.<br />
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<b>22) Much Ado About Nothing, dir. Joss Whedon, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/06/man-of-steel-great-gatsby-and-much-ado.html" target="_blank">"If the idea of a group of wealthy, LA pals, shooting a black and white Shakespeare film whilst on holiday sounds like a recipe for a slightly self-indulgent and incestuous love-in, then it is at least one that works. Not only is 'Much Ado' a really heartfelt and sincere version of the play, featuring stunning performances from [Amy] Acker and [Fran] Kranz in particular, it's also riotously entertaining and laugh-out-loud funny in a way most probably won't associate with 17th century iambic pentameter. Without deviating substantially from the original play, Whedon has created something that feels fresh and modern and, in part due to the naturalistic delivery of his cast, is very easy understand for a contemporary audience - giving the old English verse a new lease of life."</a><br />
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Filmed during Joss Whedon's downtime from making 'The Avengers', with a cast and crew comprised solely of past collaborators, there's a playfulness and laid-back charm to this adaptation of Shakespeare's <i>Much Ado About Nothing</i> which is well in keeping with the spirit of the play. The verse is delivered with naturalism that makes it immediately, clearly understandable and in such a way that the comedy comes across - and not merely in a dry "I understand why that was supposed to be funny" kind of way, but in a way that's direct and belly-laugh inducing. Many of the performances from the assembled cast of TV actors are revelatory, with former 'Angel' and 'Dollhouse' supporting player Amy Acker standing out for particular praise as Beatrice.<br />
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<b>21) Nebraska, dir. Alexander Payne, USA</b><br />
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What I said: <a href="http://beamesonfilm.blogspot.co.uk/2013/11/the-hunger-games-catching-fire-blue-is.html" target="_blank">"Though not written by director Alexander Payne (the film was penned by Bob Nelson) the film has a great deal in common with his other work, being most successful as a low-key character piece. Scenes involving the extended Grant family are especially funny, and feel very true, whilst [Bruce] Dern's guileless, bewildered character becomes heartbreaking as his son [Will Forte] uncovers more about his past and compromise of a relationship with his cantankerous mother (played to great effect by June Squibb). It hits a few bum notes along the way, with some of the more outlandish comic beats feeling out of place and with one subplot resolved in a way that jarred against the otherwise affable spirit of the piece, but Dern's performance is something special and there are moments of genuine greatness."</a><br />
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A few contrived moments of incident (a lawnmower stealing caper) and outlandish humour (June Squibb flashing her vagina to a tombstone) detract slightly from what is otherwise a really nice, low-key family drama, in which veteran actor Bruce Dern gives what might be a career-defining performance. 'Nebraska' is near-perfect whenever it's simply observing uncomfortable family moments, as estranged relatives struggle for conversation whilst sat in front of a television, whilst Dern ensures there's a real, three-dimensional character at the film's heart - an embittered and emotionally withdrawn old bastard whose layers are slowly pealed back to reveal the quiet, everyday tragedy of missed opportunity and bad luck.</div>
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<i>Check back soon for numbers 20-11.</i></div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com1tag:blogger.com,1999:blog-2718046465562929451.post-35121312432010063252013-12-16T23:26:00.000+00:002015-08-13T21:26:07.559+01:00'The Hunger Games: Catching Fire', 'Blue is the WarmestColour', 'Jeune & Jolie', 'All is Lost', 'Diana', 'Nebraska', 'KillYour Darlings'; and 'Frozen': review round-up<div class="separator" style="clear: both; text-align: center;">
Not got a functioning computer at present, so here's some belated reviews as written on an annoying touchscreen keyboard on a tablet... for that reason they will be short.</div>
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<b>'The Hunger Games: Catching Fire' - Dir. Francis Lawrence (12A)</b><br />
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The first film in the series was a solid, if unremarkable, adaptation of Suazanne Collins' teen fiction novel <i>The Hunger Games</i>, which succeeded mostly due to the marriage of a highly watchable, young star (Jennifer Lawrence) with an engaging high concept (a dystopian future sees poor communities forced to sacrifice their children to a Battle Royale-style deathmatch, which is then served back to the populace as a gaudy reality TV show) - further boosted by memorable supporting turns from the likes of Woody Harrelson and Stanley Tucci. However, this follow-up - based on the second book in the trilogy, <i>Catching Fire</i> - is much improved, providing a superior dose of hi-octane blockbuster entertainment, cranking up the stakes far beyond just the survival of the principle cast, and doing a lot of interesting world-building along the way.</div>
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As with the novels, this is the chapter in which the wider world of Panem is fleshed out and the political ramifications of Katniss' defiant attitude during the last games are explored - and it makes for more interesting viewing as a result. With Katniss now touring the various dishevelled districts of her world as a reluctant, all-conquering champion, the book's first person narrative - and in turn the film's - can now take in a far broader world view. And now that her arena rival/love interest/neighbour Peeta (Josh Hutcherson), well-meaning PR guru Effie (Elizabeth Banks) and alcoholic mentor Haymitch (Harrelson) are established characters she's known for a year (as opposed to sources of varying levels of irritation), there is more room for fun and warmth amidst the story's oppressively bleak setting.</div>
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This is a teen-focused blockbuster in which riot police shoot a helpless old man in the head for whistling, in which handsome bore Gale (Liam Hemsworth) is bloodily flogged to within an inch of his life, and in which a frail old woman is corroded to death by a cloud of poisonous gas. So being able to care about the central relationships, and take a certain amount of pleasure in them, is a huge plus. Lawrence is terrific again in the central role, playing a Strong Female Character TM whose strength is not solely found in her toughness and aptitude with a bow, but in the fact she is written with considerable character flaws. She's stubborn, calculating, sometimes extremely cold, but no less a hero, and that combination unfortunately warrants pointing because multi-faceted female characters are still so rare in mainstream blockbusters. Katniss likes bows and hunting and boozing with Haymitch and tormenting her country's sinister president (Donald Sutherland) on national TV, but she also enjoys dresses and hunky boys and adores her young sister. She's a wonderful creation and one that seems particularly well suited to Lawrence's strengths as an actor.</div>
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<b>'Blue is the Warmest Colour' - Dir. Abdellatif Kechiche (18)</b></div>
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Loosely adapted from a well regarded graphic novel by Julie Maroh, this tale of the rise and fall of a romance between two young women garnered the Palme d'Or at this year's Cannes Film Festival. Fittingly Steven Spielberg's jury took the unusual step of giving the prize to the lead actresses, Adele Exarchopoulos and Lea Seydoux, as well as director Abdellatif Kechiche, and it's easy to understand why as both are superb. Particularly Exarchopoulos, who plays her namesake Adele over a span of several years - taking her from naive, teenage schoolgirl to lovelorn, primary school teacher, subtly adapting her mannerisms and posture along the way. Seydoux is comparatively under-served by the story - as the blue-haired Emma she's a tempestuous object of affection, as seen through Adele's eyes - but she's nonetheless an engaging presence.</div>
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The film's quieter character moments, as Adele deals with the different stages of her relationship with Emma, navigating interactions with her friends and family, are great work. Certainly the two "dinner with the in-laws" scenes, that do so well to contrast Adele and Emma's backgrounds, education, interests and aspirations, all through attitudes to food and parental interactions, are miniature masterpieces. However, the film falls down when it comes to some extremely long sex scenes that stretch the running time in an unfavourable direction and which break from the film's otherwise naturalistic tone by presenting sex in a way which suggests you've stumbled onto Channel 5 post-watershed.</div>
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It feels as though (perhaps commendably) Kechiche has sought to confront viewers with a lot of quite graphic sex so as to honestly portray this on-screen homosexual relationship, without presenting this passionate love affair as chaste or being seen to shy away from the subject matter. But that approach backfires spectacularly when sex ends up being presented in such a perfectly posed and idealised way, without a hair out of place or merest suggestion that bodily fluids are involved. As a result it's a far from perfect, Jekyll and Hyde of a movie, that goes disappointingly from intense, emotional and immaculately acted scenes of dramatic honesty to tedious and downright laughable depictions of the physical act of love. Adele Exarchopoulos might have given the year's best performance, but the film itself falls some way short of her greatness.</div>
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<b>'Jeune & Jolie' - Dir. Francois Ozon (18)</b></div>
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Perhaps this one's 'Blue is the Warmest Colour' in reverse, as frank depictions of and attitudes towards sex are undersold by a lacklustre drama which feels a little too detached and bloodless. Writer-director Francois Ozon's portrayal of an underaged prostitute named Isabelle (Marine Vacth), whose apparent indifference to love and sexual intimacy leads her to exploiting her obvious sexual power for quick cash (or perhaps in a self-destructive bid to feel something), is certainly non-judgemental and interesting enough to sit through, but there's definitely something missing. A bit of commentary or satire or maybe even a bit of fun.</div>
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My podcast co-host Toby King commented that it wasn't trashy enough to have much fun with or serious enough to really satisfy on a dramatic level, and there certainly is a strange tone to the piece that makes me wonder if there's a bit of sly, nuanced humour involved here if you're a native French speaker. Something lost in the translation perhaps? I certainly wouldn't put that past Ozon, a director who usually crafts much more cerebral and provocative films than this, such as this year's incredible 'In the House'. There's an interesting opening shot which sees Isabelle's brother ogling her on a beach through a pair of binoculars as she bathes topless, hinting at something about voyeurism and the gaze of male audience members, themselves invited to gawp at this gorgeous and frequently-naked 22 year-old model, portraying a girl just turned 17. Yet there's nothing in the rest of the film which seems to suggest an ambition to challenge the spectator in any way. Not a failure, but an unsatisfying watch in retrospect.<br />
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<b>'All is Lost' - Dir. J.C. Chandor (12A)</b></div>
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I'm generally a great admirer of movies like this. Little movies that feel like exercises in discipline and restraint, with a couple of limited sets and a few characters. Polanski's 'Carnage' was a terrific example last year, with four great actors arguing in a New York apartment for just over an hour. A few years back 'Moon' similarly entertained me with its two Sam Rockwells, old fashioned special effects and the disembodied voice of Kevin Spacey. This time it's veteran Hollywood star Robert Redford alone on a small boat for a whole movie, trying to survive tidal waves and hold off the inevitable suggested by the title. It's a solid premise, backed by a seasoned screen actor - a bona fide movie icon. There's no dialogue or contrived human drama: it just begins with a random accident and we follow the steadily worsening aftermath. It sounds brilliant.</div>
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It isn't.</div>
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Being a tight, disciplined little movie of this kind only works if you have enough compelling story to tell or enough of a character to develop over 90 or so minutes. 'Moon' packed in a high concept and a devestating emotional twist, to go with an interesting aesthetic. 'Carnage' uses four variously bitter and unlikeable human beings to explore social mores, affectations and middle class hypocrisy, with a savage wit. By contrast 'All is Lost' is, for the most part, a man in tan chinos looking increasingly grumpy as he stares out to sea, eating beans from the tin. Director J C Chandor, who also made the execrable Wall Street drama 'Margin Call' (a film similarly concerned with the plight of the wealthy and the WASPy), has so little to actually say in this film that several different scenes play out multiple times in a way which would be a veritable screenwriting crime in a movie with more business to take care of (note the two identical scenes in which Redford sees a big ship, fires a flare, shouts, and is not rescued).</div>
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It opens with a little monologue in which Redford talks about a life of mistakes and wanting to make amends and achieve forgiveness and ends (SPOILER) with a flash of white light as he's (take your pick) rescued by fisherman or taken into the afterlife by God. So there's a bit of strained religious guff in there if that floats your boat - pun very much intended - but otherwise this film, marketed as being about "endurance" and "survival" is really just an extended, unwelcome glimpse into the life of an uninteresting older chap as he looks very confused at sea.</div>
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<b>'Diana' - Dir. Oliver Hirschbiegel (12A)</b></div>
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From the director of 'Downfall' comes another drama about the final days of a mad person with a strange cult of personality, as Naomi Watts joins a no-star cast for mass career suicide in 'Diana'. A film so bad and so funny that it caused me to reevaluate my position that so-called "funny-bad" movies don't exist. It's tone deaf (strange Richard Curtis style rom-com that ends in a fatal car crash), absolutely bonkers (Diana becomes a stalker and, at one point, disguises as a scouser she calls Rita Johnson), gravely offensive (British people stop whenever she enters a room and gawp at her, with a maddening degree of reverence. One man even says "cor blimey!"), and very likely entirely made up. "Wall to wall 22-carat bollocks" to quote Watts' Diana, and surely it must be as one of the world's most famous, continually followed people (whose death was perhaps even caused by the hounding of paparazzi) spends every other sequence alone in a London park or wandering around a public hospital talking about how operations are "exciting". At one point she stands outside her lover's house shouting in the middle of the street. I would bet my 22-carat bollocks none of this ever happened. It's pretty funny though. Destined for cult status, perhaps.</div>
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'Nebraska' - Dir. Alexander Payne (15)</div>
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A late-career highlight in the career of star Bruce Dern, 'Nebraska' sees the veteran actor taking on the role of Woody Grant: a retired, cold and hard-drinking Montana resident who develops an unhealthy obsession with a sweepstakes letter that claims he's due a $1 million prize, to the consternation of his concerned family. After several attempts to walk to Nebraska on foot - in order to collect his winnings from the company that sent the letter - his extremely meek and kind-natured son, played by comedian Will Forte, agrees to drive him to the offices himself. Along the way Grant Snr passes through his hometown, running into old acquaintances and seldom seen relatives, all of whom suggest they are due a portion of his winnings.</div>
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Though not written by director Alexander Payne (the film was penned by Bob Nelson) the film has a great deal in common with his other work, being most successful as a low-key character piece. Scenes involving the extended Grant family are especially funny, and feel very true, whilst Dern's guileless, bewildered character becomes heartbreaking as his son uncovers more about his past and compromise of a relationship with his cantankerous mother (played to great effect by June Squibb). It hits a few bum notes along the way, with some of the more outlandish comic beats feeling out of place and with one subplot resolved in a way that jarred against the otherwise affable spirit of the piece, but Dern's performance is something special and there are moments of genuine greatness.</div>
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'Frozen' - Dir. Chris Buck and Jennifer Lee (PG)</div>
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Taking obvious and direct cues from the recent success of 'Tangled' - arguably the first computer animated movie to really click for Disney Animation Studios following a string of mediocre (and consequently forgotten) duds - 'Frozen' is the tale of a another princess who is forced to grow up locked away from the outside world by her parents. This time, however, there isn't a wicked crone in sight, with this film's kindly monarchs spiriting away Elsa, their eldest daughter (and heir to the throne), because of fear about her magical ice powers. Meanwhile their younger daughter Anna, who's (through no fault of her own) also been raised in this slightly abusive 'Dogtooth'-esque set-up, is a perky, Manic Pixie Dreamgirl type who longs to marry a prince and can't understand why her older sister is so remote and serious. Then the ice powers make a mess of coronation day, people freak out, Elsa runs away and a succession of Broadway-style power ballards of variable quality begin. There's a toyetic talking snowman called Olaf and a reindeer named Sven, because Disney animated musical.</div>
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If I seem uncharacteristically dismissive here - given my love of quality animation (which this undoubtedly is) and classic Disney musicals - it's because 'Tangled' and 'Wreck-It Ralph' have raised the bar after years of relative disappointment and 'Frozen' doesn't quite hit the mark. It feels like a nakedly cynical attempt to replicate 'Tangled' and cross it with the runaway Broadway success Wicked (about a good and a bad witch, the latter having been most famously portrayed by Elsa voice actress Idina Menzel). I love a good musical, when the songs hit their mark, but I left 'Frozen' humming the songs from 'Tangled' and honestly couldn't remember how any of the many power ballads went if pressed. That's not to say it's a bad movie. In a disappointing year for animation it's probably the pick of the bunch, at least out of Hollywood's output. It's also fair to say that the ending is satisfying and fairly progressive.</div>
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<b>'Kill Your Darlings' - Dir. John Krokidas (15)</b></div>
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Chronicling the beginnings of the Beat Generation of writers and poets, from the early meeting of the key figures up until David Kammerer's murder at the hands of Lucien Carr, 'Kill Your Darlings' focuses on the relationship between Carr (played by the unsettling young Michael Shannon that is Dane DeHaan) and Allen Ginsberg (Daniel Radcliffe) - though it also makes a feature of their friendship with William S. Burroughs (Ben Foster) and Jack Kerouac (Jack Huston). It's solid and unspectacular stuff about a group of interesting people though, as with that recent abysmal adaptation of 'On the Road', it does make all involved seem like irritating pricks as opposed literary pioneers or great wits. That's not to criticise the performances though, with Radcliffe, DeHaan and Foster all putting in a good shift. It's just not that stunning a film, despite revolving around a bunch of 20th Century celebrities and their involvement in a grizzly murder.</div>
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There's a little bit of half-hearted stuff here about anti-semitism (Ginsberg is mocked for being Jewish, whilst WWII lurks in the background, as gleaned from radio bulletins) and homophobia (gay men being arrested in clubs and Carr using a hideous "honour killing" law as his defence against having killed his male lover) but it never comes to anything particularly and the film doesn't ultimately feel as though it has a point it wants to make about anything. Just another bit of "weren't the Beat Generation interesting?" guff and, to be honest, I'm starting to doubt that they were...</div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-77411257912379676182013-11-19T17:33:00.001+00:002013-11-19T17:33:23.097+00:00'Gravity', 'Thor: The Dark World' and 'Hannah Arendt': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'Gravity' - Dir. Alfonso Cuaron (12A)</b></div>
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It's been a long wait since Alfonso Cuaron's last film, with modern masterpiece 'Children of Men' coming out all the way back in 2006, but at least it's been worthwhile: 'Gravity' is comfortably one of the year's stand-out pieces of cinema. It's an unrelentingly tense amusement park ride of a film that has the courage to wear its heart of its sleeve and which could even revive mainstream 3D from its complacency coma, with perhaps the most compelling use of the technology seen to date. As well as being a showcase for jaw-dropping visual effects, 'Gravity' also shows us a more kinetic and violent depiction of outer space than we're used to, with astronauts smashing into things and endlessly spinning in the void with no way of slowing down. It's perhaps destined to be to the space movie what 'Saving Private Ryan' has long been to pop culture depictions of the D-day landings, acting as a lasting cinematic reference point and a representation of the truth in the public imagination, whatever its actual (and completely irrelevant) scientific inaccuracies.</div>
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Essentially 'Gravity' is the story of one human's clawing, panting, sweaty fight for survival against desperately long odds, as Sandra Bullock's Dr. Ryan Stone - a small-town medical engineer with minimal NASA training - tries to avoid being struck by a calamitous cloud of satellite debris and somehow make it back to Earth without a spaceship after her mission goes horribly wrong. Though Stone has some very real, physical challenges to overcome - such as a depleting oxygen supply and the aforementioned debris field - the chief obstacle she faces is her own weary indifference to life itself. The film is about what it takes for this person to make the difficult decision to live when lying down and dying would be much easier - and, even, more comforting. Through various visual metaphors and lines of dialogue we come to see Stone as someone eager to shut all of the world out in some doomed bid to return to the womb: where George Clooney's charismatic, veteran astronaut sees wonder, Stone appears indifferent and complains of feeling physically ill. At its heart this is a small-scale story about an introverted, deeply personal problem - albeit projected onto an epic and exciting story.</div>
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I'll perhaps write more about the film and its themes when more people have had the chance to see it. In the meantime I'll just tell you that it had me awestruck, terrified, nervous and thrilled, pretty much for its entire duration.</div>
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<b>'Thor: The Dark World' - Dir. Alan Taylor (12A)</b></div>
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Despite the strain of having to serve as the sequel to two different movies and enduring a fraught production history which saw original director Patty Jenkins replaced by TV veteran Alan Taylor, unhappy stars, last-minute re-writes and several rounds of re-shoots - 'Thor: The Dark World' is a pretty decent bit of summer fun. It's not necessarily the most cohesive or consistent entry in the Marvel Studios canon - not as exciting as 'The Avengers', as funny as 'Iron Man 3' or as perfectly formed as 'Captain America: The First Avenger' - but it's still a damn good time at the pictures, mostly thanks to the performances of, and chemistry between, Chris Hemsworth and Tom Hiddlestone as feuding Norse god brothers Thor and Loki.</div>
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The film recovers from a fairly pedestrian (and overly serious) first act as soon as the fan-favourite, trickster is unleashed upon the movie in a big way, with Loki and Thor forming an unlikely and completely terrific buddy comedy partnership which (all-too-briefly) elevates the movie to a higher stratosphere. The rest of the film is entertaining, to be sure - especially when supporting characters under-served by the first film come to the fore, such as Jaimie Alexander's Lady Sif and Ray Stevenson's Volstagg - and the action is also suitably exciting throughout, especially during a London-set climax that borrows much from the finale of the original 'Monsters Inc.' to fun effect. It's overall a solid bit of action-comedy fare. But there's no denying it's only when Loki is on-screen that it really feels like anything genuinely special is happening.</div>
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So great is Hiddleston's presence in the role that he overshadows everything else that's going on in the movie, relegating Christopher Eccleston's villain Malekith to the role of peripheral irritant rather than that of the desired world-ending threat. His increased presence here also sidelines Natalie Portman and the Jane Foster-Thor love story, which was a hugely enjoyable part of what made the first film tick. It's perhaps no surprise that one Shanghai theatre <a href="http://www.movieweb.com/news/thor-and-loki-embrace-in-thor-the-dark-world-shanghai-poster" target="_blank">accidentally displayed a fan-made poster</a> in its lobby, depicting Thor and Loki embracing: their's is the real love story here, albeit one that is tragically doomed. For what it's worth, 'Thor: The Dark World' does successfully feel like a sequel to both 2011's 'Thor' and last year's mega-hit 'The Avengers', addressing how events fit in to the immediate aftermath of both stories in ways that should satisfy fans of the overriding Marvel Cinematic Universe arc. It's an entertaining, sometimes brilliant, often muddled misstep, but one that leaves the "franchise" in an exciting place and will leave fans longing to see what happens next.</div>
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<b>'Hannah Arendt' - Dir. Margarethe von Trotta (12A)</b></div>
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This brisk and tightly focussed biopic of the Jewish-German philosopher and political thinker Hannah Arendt, portrayed charismatically and without much in the way of showy affectation by Barbara Sukowa, looks specifically at the period of her life for which she is perhaps most famously remembered: her controversial coverage of the 1961 trial of Nazi Adolf Eichmann in Israel for <i>The New Yorker</i>. Margarethe Von Trotta's compassionate film looks at the ensuing controversy over Arendt's dismissal of the Nazi, who would be executed for his role in the Holocaust, as a petty bureaucrat and as evidence of the "banality of evil": essentially that the greatest threat of society and morality is those individuals who refuse or are unable to think for themselves. Those who hide behind procedures and rules and orders in an unthinking way, paying little interest in the consequences. It's a compelling idea and one that the film explains and explores well.<br />
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It's frustrating watching a thinker being chastised by intellectuals and educators for trying to think, as opposed to merely behaving in a reactionary and crowd-pleasing way, yet in showing this 'Hannah Arendt' paints of a picture of its subject as a brave and fascinating genius whose various published works should be eagerly sought out. A German-language film, albeit set in New York with several American actors, sometimes the English language scenes feel clunky, and it does seem to present Israel as some sort of romantic idyll, but overall this is a really interesting drama about the perils and pitfalls of daring to think and of the calamities that await our species should we refuse to. It may be a period piece, but the subject matter is timeless.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0tag:blogger.com,1999:blog-2718046465562929451.post-78068487429768937702013-10-29T23:23:00.002+00:002013-10-29T23:23:20.781+00:00'Philomena', 'Captain Phillips', 'Le Week-End', 'The Pervert's Guide to Ideology', and 'How I Live Now': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'Philomena' - Dir. Stephen Frears (12A)</b><br />
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It's a testament to star Steve Coogan's screenplay (written with Jeff Pope), Stephen Frears' light-footed direction and Judi Dench's nuanced lead performance that 'Philomena' isn't the most depressing film of the year, even if it's still a reliable tearjerker. It's based on the heartbreaking real-life story of just one of many teenage girls became indentured servants to nuns in 1950s Ireland after falling pregnant, many having their babies taken from them by the Catholic church - and sold to wealthy families overseas. It's a story almost tailor-made to provoke outrage, indignation and buckets of tears from an audience - and rightly so, but the strength of this film adaptation lies in its steadfast refusal to wallow. In fact it's frequently quite funny amid the weeping and ruminating on the pros and cons of religious faith, as Coogan - playing journalist and former Blairite spin doctor Martin Sixsmith (upon whose book the film is based) - and Dench's Philomena Lee go on the road in search of the latter's long lost son.<br />
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When I say the film looks at the nature of "faith" I don't mean that it does so in that nebulous, infuriating, shallow way most movies use the term - as a byword for all that's good and noble, and insisting that those without "it" are less fully realised individuals. No, 'Philomena' genuinely looks at the nuts and bolts of day-to-day faith and how it can impact on a person's interactions with the world around them, for good or ill. How it can be both a great help to Philomena in her times of need and, in some cases, a great hindrance - giving her lingering feelings of institutionalised guilt and shame where none need exist. Her unwavering Catholicism also prevents Lee from seeing her continued abuse at the hands of the church for what it is, as nuns conspire to withhold information from her and cover their tracks decades down the line. Coogan is restrained and effective as Sixsmith, eschewing anything like Partridge mannerisms or phrasing (something which couldn't be said for his portrayal of Paul Raymond in 'The Look of Love'), whilst Dench just about steals the show creating a compelling, fully-formed character unlike anything she's played in recent memory.<br />
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<b>'Captain Phillips' - Dir. Paul Greengrass (12A)</b><br />
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The unlikely hybrid of a hi-octane, shaky-cam Bourne thriller, an Oscar-baiting "true life" drama, and the 'Home Alone' franchise (courtesy of some nifty booby-traps), Paul Greengrass' 'Captain Phillips' - which stars beloved everyman Tom Hanks as the title character and based on his controversial memoir - manages to turn <a href="http://nypost.com/2013/10/13/crew-members-deny-captain-phillips-heroism/" target="_blank">failure, incompetence,</a> regional strife and neo-colonialism into a great American success story. Whereas this year's other Somalian piracy film, taut Danish thriller 'A Hijacking', provides a fairly dry, procedural account of a modern piracy ordeal, mostly focussing on the shipping company board room and their reluctance to lose too much money versus the unravelling mental state/physical health of a crew incarcerated for months on the open ocean, this is (in the pejorative sense I usually stay away from) a very "Hollywood" account of similar events.<br />
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There's a selfless hero, punch-ups, gun battles, booby traps, and even little on-ship espionage missions as the plucky crew battle the intruders like an elite counter-insurgency outfit. There's lots of army hardware on show too via lengthy and gratuitous tracking shots of aircraft carriers, shots of marines suiting up for duty, and of army men jumping out of planes for reasons that aren't clear but presented in a way that hopefully looks cool. By the time the climatic half-hour is playing out there're no less than three huge American warships, a squadron of gunboats and an air-dropped platoon of elite commandos versus a tiny (distractingly cute) orange lifeboat manned by four variously rubbish Somalian pirates. It's a bold and unconventional storytelling technique to try and get you to root against the underdog. Maybe this is an accurate account of how it all went down, but it's difficult to stomach all the bluster and bombast regardless.<br />
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Though credibly performed by Somali non-actors, the pirates each have one defining personality trait and narrative purpose. There's the angry one who's a potential liability, the delusional leader with a little man complex, the young, doe-eyed one we're given permission to feel empathy towards, and the guy who drives the boat and says or does nothing else of note (poor bastard). Meanwhile our hero is your average all-American ship captain, which we know because of a ludicrous monologue to his wife (Catherine Keener, no less) at the start of the film, which gives us plenty of "life is hard" truisms about the state of modern America to let us know he's just a regular schmo like the imagined audience. For his part, Hanks delivers a fine performance, especially when dealing with the post-event shock at the film's conclusion - even if his Mayor Quimby-style Boston accent comes and goes.<br />
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To give 'Captain Phillips' its due it's a technically "well made" thriller with its share of tense moments, though - for me at least - a lot of that tension evaporates once the pirates are off the ship (about half-way through the movie) and the bulk of the crew are safe. Again, 'A Hijacking' is compelling because it's about helplessness and a complete lack of control for a frightened crew effectively abandoned by those in authority, whereas this one's about a single, brave hero - a leader of men - trying his best at every turn to outsmart, outmanoeuvre and out fistfight his captors. It's hard to feel as much concern or empathy for that, especially when Captain Phillips himself is the only thing at stake for more than half the movie. And as the American warships circle, and reconnaissance drones fly overhead, we're all too aware that he comes out OK, because the damn thing's based on his book. That leaves the pirates as the sole "victims" of the film's last act, as we grimly wait to see how the mightiest military force in history will erase them from existence with sick inevitability.<br />
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<b>'Le Week-End' - Dir. Roger Michell (15)</b><br />
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From writer Hanif Kureishi and director Roger Michell - collaborators on 'Venus' and BBC TV series 'The Buddha of Suburbia' - 'Le Week-End' is a bittersweet comedy about an old married couple whose kids have finally left home, leading them to go to Paris to see if anything at all remains of their love aside from a pathetic mutual dependency. Played to perfection by Lindsay Duncan and Jim Broadbent, Meg and Nick Burrows are an all-too recognisable middle class English couple, quietly despairing and getting on each other's nerves. Both are charming and infuriating in almost equal measure, though you wouldn't necessarily want to spend any time with these people - especially when they are together. The film's at its best in a quiet and considered first half during which they squabble about hotel wallpaper and ponder which Parisian restaurant to eat in - careful not to pick one that's too touristy. This stuff is nuanced and compellingly watchable.<br />
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However, the film suffers from excess amounts of contrived incident and an over-reliance on coincidence, as if somebody at a meeting somewhere along the line decided something more traditionally filmic had to take place for fear we'd all get bored. A compromise in the name of box office that would be entirely in keeping with Michell's half-hearted desire to make the film in black and white that resulted in two versions of the movie appearing in some cinemas (I saw it in colour, for the record). It becomes bogged down by grand gestures, big, public displays, and contrived wacky happenings involving Jeff Goldblum (funny though his appearance here may be) that distract from a very honest and real depiction of relationships that had been taking place up to that point. It ends up feeling like a missed opportunity, though Broadbent and Duncan are reliably brilliant throughout so it's never a slog to sit through.<br />
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<b>'The Pervert's Guide to Ideology' - Dir. Sophie Fiennes (15)</b><br />
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Essentially it's over two hours of Slovene philosopher Slavoj Žižek directly addressing the camera, broadly outlining some of his cultural theories in a wry manner for the documentary camera of director Sophie Fiennes. He shows a lot of movie clips to illustrate his points - citing examples of his theories in everything from Nazi propoganda documentary 'A Triumph of Will' to forgettable Will Smith vehicle 'I Am Legend' - and frequently appears in costume on mock sets of various films as he analyses them, but enjoyment of this hinges entirely on one's interest in the nature of ideology - or at least this man's particular take on it.<br />
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For my part, with an amateur interest in philosophy, I found it interesting though a little scattershot in approach, darting quickly between ideas before I felt they'd been adequately explained and at times making broad, unsubstantiated statements that could have benefited from a more rigorous engagement with the subject matter. But overall - speaking as someone not previously acquainted with Žižek and not well-read on philosophy in general - it was a decent and illuminating way to spend some time. Though I do know a few philosophy students who thought it was facile and a complete waste of time, so take my view on this subject with a great big chunk of salt.<br />
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<b>'How I Like Now' - Dir. Kevin MacDonald (15)</b><br />
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Perhaps Meg Rosoff's original novel is worth a read, with a glance at Wikipedia confirming it's very different from this movie adaptation, but this film is boring, laugh-out-loud stupid and pretty darn cynical in its attempts to milk pennies from the 'Twilight' crowd with its tween romance plotline - with shirtless falconry and well-lit cow-whispering uncomfortably dominating proceedings that otherwise include: children being executed, an atomic bomb going off in London (killing "thousands" apparently), and a grisly rape scene. It also doesn't help that our "hero" Daisy, played by Saoirse Ronan, is a terrible prick for no reason at all (unless we buy into the film's hand wave explanation of "daddy issues") - moving to England to stay with her cousin's and being nakedly horrid to all of them immediately upon arrival in the face of constant kindness.<br />
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The tone is jarringly all over the place, the characters make no sense, and the near-future dystopia depicted is lacking in any commentary or satire: all that we're supposed to care about is whether Ronan will be able to continue bonking her hunky cousin once the ill-defined "terrorism" stops. This is a film where a young boy starts swigging alcohol from a previously unseen hip-flask during one supposedly poignant scene and we're not supposed to laugh. It's a film in which the lead character says the title out loud. A film where handsome farmhands display an unexplained - and never again mentioned - ability to communicate with cows, which is brushed off with a shrug and another surly pout from our infuriating, charisma-less lead One of the year's very worst - and I'm a self-confessed sucker for an apocalypse movie.Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com1tag:blogger.com,1999:blog-2718046465562929451.post-80277744298679862262013-09-20T21:58:00.002+01:002013-12-30T22:15:42.062+00:00'Blue Jasmine', 'Rush', 'In A World...', 'The Great Beauty', 'About Time' and 'Riddick': review round-up<div class="separator" style="clear: both; text-align: center;">
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<b>'Blue Jasmine' - Dir. Woody Allen (12A)</b><br />
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The words "a return to form" seem to have been ascribed to every Woody Allen film since the mid-90s to the point where I'm genuinely surprised any professional critic would actually use them in a review. But what that curious phenomenon seems to show is that however lacklustre some of his recent canon have been perceived as by many - including, from time to time, this reviewer - they've always managed to feature enough reliably great performances, some sharp lines of dialogue and often an ingenious central concept that means they're always <i>somebody's</i> "best since Manhattan" (or whatever the yardstick for Woody greatness is this month). In other words, every 'Curse of the Jade Scorpion' or 'Scoop' has something to recommend it and, to paraphrase Mark Twain, reports of Allen's decline have been greatly exaggerated.</div>
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I often wonder if, say, 'Melinda and Melinda' had been by a new filmmaker whether critics would have been much more impressed. We'll never know the answer to that one for sure, but it's difficult to argue against the idea that Woody is to some extent a victim of his own successes. That's not to say all of his movies have been golden (there are one or two I can't stand *cough* 'You Will Meet a Tall Dark Stranger' *cough*), just that we need to have a little perspective. He's a 77 year-old man who still manages to write and direct a new feature every single year. I don't single out his advanced years to be patronising, but rather to point out that he's still vital, creative and seemingly just as concerned with pondering the human condition as he was in the 60s - at an age when most of us close ourselves off and become reactionary <i>Daily Mail</i> readers (huge generalisation, but you get my point). Anyway, I say all this to cover my ass before getting into his latest film.</div>
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I'm gambling that displaying an awareness of the critical discourse surrounding his movies will lend me a bit of credibility (or else let me off the hook) when I somewhat inevitably say: <i>'Blue Jasmine' is a triumphant return to form! Woody's best since 'Sweet and Lowdown'!</i><br />
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And it is. To my mind, it's his most perfect movie since 1999. Its closest contender for that accolade, 'Midnight in Paris', is easy-going, charming, inventive and often very funny - but 'Jasmine' vaults over it by virtue of genuine dramatic heft and, with Cate Blanchett in the title role, a lead performance for the ages. It's rare for a Woody Allen film - even a vintage 70s/80s one - to be so tragic, sad and consistently tense as this. It made me uncomfortable and anxious throughout, and the funny lines don't feel like jokes or witticisms in the Allen style, but are born of great characterisation. There's a lot of heart and feeling in this one and no easy answers about life's troubles, nor is there an Allen surrogate figure making sardonic wisecracks to soften the blow. It's a brave and disturbing movie, whilst still feeling like a Woody Allen film - unlike some of his previous attempts at prioritising drama over comedy, such as artistic misfires 'Match Point' and 'Cassandra's Dream'.</div>
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Blanchett gives a titanic performance as a force of nature who sweeps through the film delivers lines like "there’s only so many traumas a person can withstand until they take to the streets and start screaming" with an intensity that's nearly frightening. Her part is fantastically well-written to begin with, but she takes the material to another level and manages to make Jasmine a sympathetic character in spite of her selfishness and self-defeating attitude, probably because she really nails representation of the character's mental problems and crippling dependence on drink and pills. The supporting cast is also brilliant, with Sally Hawkins particularly good value as the sympathetic sister and comedian Andrew Dice Clay giving a surprisingly effective performance as her wounded ex-husband. It's a difficult film to find fault with, though I might have taken issue with Hawkins' beautiful San Francisco home (which can't be cheap) being dismissed so often as some kind of shameful hovel had the film not convinced me so thoroughly in every other respect.</div>
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No question, this is one of the year's best and it's safe to say we have a clear favourite for the Best Actress Oscar.</div>
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<b>'Rush' - Dir. Ron Howard (15)</b></div>
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In keeping with Howard canon to date, this F1 racing biopic - which explores the 70s rivalry between brash, womanising Brit James Hunt (Chris Hemsworth) and clinical, cold Austrian Niki Lauda (Daniel Brühl) - is a polished, competently put together crowd pleaser that doesn't take any risks. A decent crop of actors, giving charismatic performances, in a "based on a true story" tale of man's triumph over adversity, the will to win and every other hackneyed sports movie cliché available. I'll say this for it: 'Rush' races by, no pun intended, and isn't at all boring, but it's very difficult for me to pinpoint why that is. Maybe it's because it's loud and there are lots of fast cars in it? Perhaps it's all the gratuitous female nudity that serves neither plot nor character? It's probably got the most to do with the pleasure of seeing Brühl's Lauda being relentlessly dickish to various people. Yeah, it's probably the last one.</div>
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Peter 'The Queen' Morgan's screenplay leaves nothing unexplained, with race commentators and track announcers enabling the writer to commit the cardinal sin and tell even as he's showing, more or less at all times. You'd expect a bit of hokey exposition in the race commentary, explaining the sport to those unfamiliar or establishing the context of various races in the drivers' careers, but Morgan and Howard go further - having an almost ever-present commentary that updates us helpfully on the simplest of things. I'm exaggerating slightly but the commentary at times says things like "here are the two rivals, the by-the-book Austrian Niki Lauda and his playboy British challenger James Hunt. Of course, they don't like each other all that much after the incident in the last scene you saw, but they both want to win here today, with points to prove on their various competing philosophies on life. One thing's for sure though: the duo have a grudging, mutual respect that will really come into the fore in the third act." And when the commentary isn't doing that the soundtrack is, notably as Bowie's "Fame" plays during a montage of Hunt being famous.</div>
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Everything is technically top-notch but there's no character or originality to the way this movie's been put together. You always get exactly what you've come to expect and no more. It is literally a longer version of the trailer. Stylistically it's a collage of bits you've seen (over)used elsewhere. Such as the obligatory bird's-eye shot of crowds holding umbrellas in the rain (because it's pretty) and the low-angle, over-exposed shaky-cam shots of Hunt drinking beer that show us he's on an out of control bender driven by despair. It's like every scene in the screenplay caused Howard to ask himself "now, how has this been done well before in other people's movies?"</div>
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<b>'In A World...' - Dir. Lake Bell (15)</b></div>
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The promising directorial debut feature of writer and actress Lake Bell, 'In A World...' is a smart comedy about a vocal coach, Carol Solomon (Bell), who dreams of breaking into the male-dominated world of voice-over work - with no gig as prestigious as narration for the trailers of epic movies. It's a vocation her competitive and egotistical father, Sam Soto (Fred Melamed), is at the top of and - as a terrible sexist with no faith in his daughter - he's grooming another man, Gustav Warner (Ken Marino) to take his place in the industry. So Carol, with the help of a sound technician played by meek, niceguy comedian Demetri Martin, goes against the odds, and against her father's advice, to try and win the chance to say those famous words of the title over the teaser trailer for the film adaptation of a <i>Hunger Games</i> style teen-lit phenomenon.</div>
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The voice-over industry squabbling is pretty funny, but the film's trump card is the presence of Bell herself as a confident, likeable lead. Carol is the sort of silly, immature, wisecracking character women don't normally get to play in Hollywood - usually consigned to playing tutting shrews in comedies about 30-something man-babies and rarely getting the funniest lines. It appears Bell's answer to that particular imbalance has been to make her own damn film - and I'm glad she did. Especially as it means we have a female character whose relationships with her father and vague love interest (Martin) are demonstrably equally important as that with her sister (Michaela Watkins). In other words, she isn't defined exclusively by her relationship to male characters even if the film is about her relationship with a male-dominated industry.</div>
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Light and breezy, consistently funny and overflowing with charm, the film's only misstep is a final ten minutes in which too many moral lessons are learned and the film's female-empowerment message is spelled out in clunky fashion, when it was already implicitly clear from the synopsis. It's also jarring to see [<b>SPOILER WARNING</b>] the film let Carol's father off the hook in such spectacular fashion when he's spent the entire movie not only discouraging his daughter but actively placing obstacles in her way. Don't get me wrong, you expect some kind of father-daughter reconciliation, but Sam's speech - in which he expresses pride in his daughters' achievements - feels disingenuous after what precedes it, and therefore it doesn't quite pack the feel-good punch you feel the movie is going for.</div>
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<b>'The Great Beauty' ('La belleza grande') - Dir. Paolo Sorrentino (15)</b></div>
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A total and utter cinematic treat from the supremely talented director of 'Il divo', Paolo Sorrentino, 'The Great Beauty' stars Toni Servillo as a once promising author who got sucked into the decadent Rome party scene after his one great success, 40 years prior, and is now deeply unfulfilled - his lifestyle lacking any real beauty or appeal. He's a man who, in his own reckoning, "wanted not just to be the king of parties, but the power to make them failures": and in that respect he has been a great success. A dominant presence amongst the city's fading intellectual class, all equally unhappy in secret - an isolated, self-loathing and hopelessly vain bunch who you feel have been playing out the same social gatherings for decades.<br />
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It's a beautifully sad film punctuated by a bouncy, euro-dance soundtrack, which perfectly encapsulates the gilded cage that Rome has become for its protagonist. And it's also capable of being extremely funny, and more than a little wise with some really pithy dialogue worthy of future quotation. As you might expect from Sorrentino, it's sharply observed and offers a stinging, satirical rebuke to aspects of contemporary Italian culture: from a conveyor-belt approach to cosmetic surgery to the empty pretension of Rome's young avant garde set. Yet it's also a tender and sincere piece in which sex, death and the Catholic church all play a part. And gosh is it pretty to look at.</div>
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<b>'About Time' - Dir. Richard Curtis (12A)</b></div>
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It's difficult talking about Richard Curtis' latest twee, upper-class comedy 'About Time', because though I really didn't take much from it, didn't find it at all funny and found elements of it's central premise a little troubling - I'm reluctant to tear a strip off something so faultlessly kind. Yes: Curtis paints Britain as a strange fantasy world, supremely exportable to foreign cinema markets and alien to most people that actually live there, and he does (infamously) tend to whitewash what is - and has been for centuries, by the way - a multi-cultural country. What's more, the idea that only men in the film have the power of time travel is more than a little sexist, and in a peculiarly contrived sort of way - which literally robs female characters of agency during this story. However, I really do think he means well. I think he's overall a kind sort of person with broadly decent intentions, even if I don't seem to share his world-view, and whilst that doesn't make me <i>like </i>his films any more than I otherwise would, it does make me baulk at the idea of kicking them in the groin quite so hard as I might usually enjoy.</div>
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One of the peculiar features of 'About Time' is that there is really no conflict at any point... at all. Domhnall Gleason's character begins the film a decent chap and ends the film more or less an unchanged (if slightly older) man. When the plot presents him an opportunity to cheat on his luminescent girlfriend (Rachel McAdams) he wisely refuses it first time around. He's ultimately supposed to be imparting some lesson to us about not wasting what little time you have, punctuated here by his using time travel to get to spend more time with his dapper, wise old father (Bill Nighy) - yet Gleason's character <i>always </i>makes the most of his time with his father throughout what we see of his life. He is seemingly not a man with any regrets and, quite honestly, he's a pretty much the last person in all of fiction worthy of the gift of time travel, given that he pretty much just likes life the way it is. For a film ostensibly about time travel, there are incongruously long stretches where none takes place. Personally I find this lack of any antagonism or conflict refreshing: maybe there should be more films where people are basically decent and are allowed to like each other. But it isn't really the stuff of great drama or, it turns out, comedy.</div>
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Yet there's something genuinely sweet about a film where, during the inevitable wedding speech (as compulsory in a Curtis as the American girlfriend, kooky sister and well-meaning but mad old relative) the best accolade a father can bestow upon his son is that he is a kind man. Not a clever man or a wealthy man (though Gleason's character is shown to be both) but a kind one. You can (and should) find fault with many aspects of this film and of Curtis' wider filmography - certainly in his representations of social class and evident institutionalised sexism - but we could all do with a little more kindness and it be very churlish of me to spit from a great height upon something as painfully well-intentioned as this bit of old dross.</div>
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<b>'Riddick' - Dir. David Twohy (15)</b></div>
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I'm going to start this one with the positive and then get on to the regrettable, regressive and wrong-headed sexual politics later on, because what 'Riddick' gets wrong it gets so catastrophically wrong that if my kinder comments followed they could seem in bad taste by association. OK? Let's go...</div>
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'Riddick' is the third entry in a series kept alive only by Vin Diesel's 'Fast and the Furious'-led star-power, as he attempts to ham-fistedly bludgeon his character from the well-received 2000 sci-fi/horror 'Pitch Black' into pop-culture significance. The logic seems to be that if night-vision afflicted convict-turned-anti-hero Richard B. Riddick(TM) appears in enough movies and video games, and is presented as a sufficient enough "badass", he is guaranteed to enter the pantheon of cult movie heroes, alongside Bond, Indy and the dog from 'Marley & Me'. It's an interesting theory, even if it doesn't seem to be panning out that way (there's no evidence people are any closer to caring). Regardless, Diesel has his fans and 'Riddick' does enough to satisfy that audience - even if it's destined to do next to nothing for anybody else.</div>
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That said, there's something strangely hypnotic about the film's opening 40 minutes in which a mostly-silent Riddick (a wise scripting choice, given Diesel's difficulty emoting and reading lines) stalks the arid wasteland of an anonymous alien world killing increasingly large CGI beasts. Birds, fish, dogs, giant scorpions: Riddick can best them all when it comes to punching and stabbing and running and grunting. Like a survivalist's wet dream, Riddick spends a significant chunk of the movie living in a cave, crafting weapons out of bits of bone. In all seriousness, it seems like it might be an attempt to chronicle ancient man's assent to the top of the food chain, as he's tormented by various creatures before becoming the area's main predator. At which point he sets his sights on greater quarry: man.</div>
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Then we get the slightly less compelling, but still oddly watchable second act in which Riddick is mostly absent and presented as some sort of horror movie monster (we occasionally see an outstretched hand), as he stalks two teams of bounty hunters who have been dispatched to the planet to capture him. One of them is a lady (Katee Sackhoff) and, as we learn through clunky and grotesque banter, she is a lesbian. This will be important later. In this section the film feels like a low-budget, over-lit, cheesy-as-fuck version of the original 'Alien', with Riddick filling in as the unknowable antagonist. Which is pretty jarring and unusual given it's a movie called Riddick and the third film in which this character has appeared, but I've got to admit I have a lot of admiration for this because it's so unexpected as to verge on brilliant.</div>
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A 'Wall-E' style first act in which our hero barely speaks and doesn't interact with any other humans, and then a second act in which he mostly disappears and the film shifts focus to being about a bunch of new characters. That's sort-of marvellous. Note: also of considerable joy to me, there's no more to the plot of this movie than the fact that Riddick is stuck on an alien world and wants to get off it. It's simple and doesn't waste time with an unnecessary, convoluted nonsense: the goal is clear and when it's reached [spoiler warning!] the movie ends. Right away. That sounds like a very simple thing to praise a movie for, but it's amazing how many modern films can't tell a simple story and don't know how to end without half an hour of various characters meeting to say goodbye. It's as if studios think we view every movie as some beloved relative and it's feared we all need sufficient closure before we can let go.</div>
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I've got to say, if that's all the film was - and if the last act was <i>just</i> Riddick punching mercs and monsters and stealing a spaceship - then 'Riddick' would probably get a mostly enthusiastic review from this critic. However (and it's a <i>huge</i> however), you run into difficulty when your edgy, amoral, loner anti-hero starts dispensing rape threats and it's not something the film can ever (read: should ever) expect to recover from. When Riddick is captured by mercs at the start of the third act, he grimly explains - in tedious and predictable fashion - how he's going to kill various male elements of the cast. But for Sackhoff's lesbian, tough-girl he has something else in mind: basically he says he's going to "go balls-deep" in her, and she's going to ask him to "real sweet-like". He also gloats that he saw her nipples earlier in the movie, perving whilst she was showering (in a gratuitous topless scene). This is just creepy. Not charming. Not funny. It's unpleasant and leaves a very bad taste. He is trying to intimidate (and simultaneously woo?) a woman by bragging about seeing her tits to room of her co-workers whilst she is present. That's literally what our hero is doing in that scene. She is defiant, at first. But... you know how the film ends, right? Of course you do.</div>
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Sackhoff's lesbian straddling Vin Diesel and asking him to fuck her is the film's sad, loserly idea of the ultimate display of masculinity for our hench male hero. He turns a lesbian whilst ascending into a spaceship from a battlefield strewn with the corpses of all the space aliens he killed. Teenage male empowerment fantasies simply don't come any less subtle or mature than this. It's the highest possible calibre of gross, macho bullshit. It spoils what is otherwise a pretty weird and (if not always for the intended reasons) entertaining movie.</div>
Robert Beameshttp://www.blogger.com/profile/03989843762343798504noreply@blogger.com0