Where I've been this last week + Flick's Flicks October

I've not updated here in almost a week, probably the longest the site has gone without any "content" since it started back in January this year. So I wanted to post this as a stop gap to provide my excuses.

Basically, since my last post I've been busily writing programme copy for the upcoming CineCity Film Festival. Then I attended one of Europe's youngest and most obscure festivals: Lithuania's Kaunas International Film Festival. I returned to England from that yesterday and today was occupied with interviewing Oliver Stone in London (for 'Wall Street: Money Never Sleeps') before watching 'Made in Dagenham'. Then tonight I worked the bar at the Duke of York's - returning to my day job.

October's edition of Flick's Flicks is up too. I am still hosting the show whilst regular host, Felicity Ventom, is on maternity leave - and I look set to continue into until the new year, which means I'll be recording two more episodes. Here is the latest:



Check back soon for reviews of Palm D'Or winner 'Uncle Boonmee Who Can Recall His Past Lives' and Brit movie 'Made in Dagenham', as well as a interviews with Oliver Stone and Ilona Jurkonytė: the director of the Kaunas International Film Festival.

'Wall Street: Money Never Sleeps' review:

Love him or loathe him, Oliver Stone is an interesting modern American filmmaker. Stone is not a director whose work I generally enjoy, or even particularly admire, but (as I have no doubt written here before) the source of my interest in him is twofold. Firstly, I am fascinated by the fact that he remains something of a chronicler of contemporary American history, covering everything from sporting life ('Any Given Sunday') to counterculture and popular music ('The Doors').

The filmmaker has made three films directly about the Vietnam War and as many covering American presidents, including one, 'W.', whilst the subject was still the incumbent. He also made his 9/11 movie, 'World Trade Center', within five years of the tragedy. Similarly films he has written but not directed, such as 'Scarface', have just as much to say about the American experience and (invariably) the evils of capitalism. This recurring interest in certain themes and issues is what marks him out as an auteur. This leads on to my second reason for finding Stone interesting.



I also really respect the fact that in an age where overtly polemical storytelling and documentary making is discouraged (or at least readily disregarded) Stone remains energised by a sincere politicism which he won't compromise. Whether you agree with him or not: Oliver Stone always wants to tell you something. More than that, he wants to convince you of something and even improve your understanding of the world. This is a rare trait – and, I think, a rather welcome one. Yet I must always come back to the fact that, in spite both these qualities, I am never moved to actually like his work. A fitting example of “good Stone/bad Stone” can be gleamed from his latest movie: 'Wall Street: Money Never Sleeps'.

A sequel to 1987's original 'Wall Street', 'Money Never Sleeps' is a self-consciously timely look at the world of banking and finance in the wake of the current worldwide economic difficulties (archive news footage of which Stone blends into the film). Michael Douglas steps back into his Academy Award winning role as Gordon Gekko, who when as film begins in 2002 has spent the last eight years in prison as result of sleezy, insider trading crimes committed in that previous movie.



The first film focussed around Charlie Sheen's Bud Fox, but save for a small cameo role, this is not his story. Instead the sequel stars Shia LaBeouf as an opportunistic, up-and-coming Wall Street trader who begins a clandestine friendship with Gekko after becoming engaged to his estranged daughter, played by the illuminescent Carey Mulligan. As you'd expect, Stone wastes little time being subtle and early on Gekko gives a speech in which he tells us exactly what to think about corporate greed (whilst promoting his book “Is Greed Good?”).

The evils of Wall Street are also shown to us via high-level meetings in which a cast of really good old character actors, including Frank Langella and Eli Wallach (a scene stealer at 94), enact the sort of backroom deals that run the world. These scenes are reminiscent of situation room bits in 'W.', in which a lot of exposition is sold as dialogue. Also present is Josh Brolin as the film's antagonist, Bretton James (the “son of Satan”), the film's avatar for the ultimately self-destructive A-morality of corporate greed. Brolin, a last minute replacement of Javier Bardem (who chose to be in 'Eat, Prey, Love' instead), is flat as James, lacking the charisma that would make his attitude and lifestyle seem appealing. By contrast Douglas imbues the similarly morally bankrupt Gekko with considerable gravitas.



Stone makes it abundantly clear where his politics lie and what he thinks of these characters and this is the director at his most heavy-handed. The camera is forever circling characters, often zooming and panning around, often seemingly at random. But amongst his usual hyper-active grasp of cinematic style he does manage some genuinely inspired visual motifs, such as a graphic that likens the New York skyline to a diagram of boom and bust economics – a fitting metaphor, given how closely the growth of the city was itself tied up with the growth of international capitalism (with skyscrapers built by the biggest tycoons of the early twentieth century).

But generally, the director's bombast approach left me as cold as it ever has. He is helped a little in this instance by solid performers, with even LaBeouf shinning. But the focus on the relationship triangle between LaBeouf, Mulligan and Douglas is surplus to requirements (not to mention deadly dull) in a film which would do better to keep its eye on Wall Street. The resolution of this storyline is also pretty dire, feeling rushed and contrived – it seems to come from nowhere, not based on anything we have seen in the preceding two hours.



'Wall Street: Money Never Sleeps' is, to my mind, the quintessential Oliver Stone film. It's overlong, brash, simplistic and oddly proud of itself at the same time. The camera is never still, the dialogue is trite and feels written, with an emphasis on style over substance which runs counter to Stone's obvious genuine interest in his chosen subject matter. However, it is also, like the rest of his work, boldly topical and daringly propagandist.

In the end it feels reminiscent of watching him interview South American leaders earlier this year in ‘South of the Border’, having unprecedented access to people like Raul Castro and Hugo Chavez, but in the end wasting the opportunity asking them to play soccer with him or enquiring about how many pairs of shoes they own. I'm thrilled that he is out there making these films, usually attracting big stars and big budgets. I just wish that he had the intellect or the artistry to support his obvious ambition - and, what I believe, are good intentions.

'Wall Street: Money Never Sleeps' is out in the UK on the 6th of October and is rated '12A' by the BBFC.

Reasons to be cheerful - part 1

I haven't seen any new films since 'Alice in Wonderland' last week (though I may have to go and see 'Shutter Island' today), so I haven't really had anything to write here for since last Wednesday. So, to rectify this, I'll do what I always do when I have nothing to write about... I'll post up some trailers. So here are some trailers for upcoming films to look forward to this year, in no particular order:

Wall Street: Money Never Sleeps: I'm not a huge Oliver Stone fan; however I am always interested in him as a chronicler of modern American history. Over his career he has made movies about American wars, presidents and sporting events, which (however flawed) will probably stand the test of time. He made ‘World Trade Center’ just five years after the tragedy, and made ‘W’ whilst George Bush was still in office. ‘Wall Street 2’ is doing the same thing with the recent (current?) economic crisis and, with Carey Mulligan in a supporting role, should be interesting at the very least. This trailer seems to focus on the family drama, but one hopes the film will be a little more about Wall Street.


Inception: I am a big Christopher Nolan fan, so this one is a no-brainer for me. I can't wait to see this movie. I have next to no idea what the hell is happening in this trailer, but I'm sure it's going to be good ('Memento', 'The Prestige' and 'The Dark Knight' weren't bad, afterall).


Tron Legacy: I love how faithful this film looks to be to the 1982 original,which simultaneously advanced computer effects whilst setting them back, due to its dissapointing box office. I can't wait to see Jeff Bridges return as Flynn (with CG work done to make him look like he did in the original!).


Toy Story 3: Another obvious one. I haven't seen a bad Pixar film yet, so I have complete faith in 'Toy Story 3', even though it is the first in the series not to be directed by John Lassester. I'm sure it's in good hands... even if this trailer suggests the humour maybe a little broader this time around.


Cemetery Junction: I still haven't seen Ricky Gervais directoral debut 'The Invention of Lying', which had quite average reviews. However, I am really keen on his second feature from what I've seen. I especially like that Ricky Gervais has seemingly (from the looks of the trailer) cast a lead who understands how to deliver his dialogue in the same way he would himself (much like Woody Allen has done in the past).


Greenberg: I'm not too sure about this from the trailer, but I am a huge fan of Noah Baumbach's 'The Squid and the Whale'. So I remain optimistic about 'Greenberg'.


Four Lions: One of my all-time heroes, Chris Morris (TVs 'BrassEye', 'The Day Today', and ‘Nathan Barley') has followed his frequent collaborator Armando Iannucci (who directed last year’s brilliant ‘In the Loop’) into cinemas, with this satirical comedy about British wannabe suicide bombers. I really, honestly, can’t wait. A friend of mine saw it at Sundance and liked it, so I expect it to live up to my (huge) expectations.


And finally... The Expendables: This looks stupid and will probably be politically offensive in about fifteen million different ways, but it also looks like a lot of 80s-esque action fun. I expect it to be a quotable load of tosh, and from the looks of this trailer it won't disappoint.


I am also looking forward to a number of films which don't seem to have trailers yet, so I'll give a few "shout outs" here: The Coen Brothers have a re-make of the classic Western 'True Grit' coming out this Christmas, staring Jeff Bridges in the role that won John Wayne an Oscar back in 1969. 'Let Me In' maybe interesting: it is the (inevitable) American re-make of the Swedish vampire film, 'Let the Right One In'. It could surprise people. Who knows? 'The Social Network' is also coming out this year. It is directed by David Fincher (who I don't really like) and written by Aaron Sorkin (whose TV work I like, but whose film work always stinks) and is about the founders of Facebook (which sounds like a stupid idea), but I am interested in it against my better judgement.

I'm sure the films which eventually feature on my top ten at the end of this year are ones which are unknown to me at the time of writing. A lot of the best films take you by surprise. But this lot will entertain me for sure.

Also, if you haven't already checked it out, there has been a new edition of the Splendor Cinema/Duke of Yorks podcast up since last week. Jon and I are joined by a special guest to analyse last weekend's Oscar results. Enjoy!