'Leaving' review: I Am Bored...

In recent times Kristen Scott Thomas has moved easily between big budget Hollywood movies such as 'The Golden Compass' and interesting little British films like 'Nowhere Boy'. There is nothing especially odd or exceptional about this. But what is rather more remarkable is that she has spent just as much time carving out a career in French language fare like 'Tell No One' and 'I've Loved You So Long'. We are used to seeing European actors move into English language film, but the reverse is rare. I can recall seeing Jodie Foster make a brief cameo appearance in Jeunet's 'A Very Long Engagement' a few years ago, but I am hard pressed to think of any other notable examples.

The latest in this vein of interesting Gallic offerings starring Scott Thomas comes in the form of Catherine Corsini's 'Leaving', the tale of a bored bourgeois housewife (Suzanne) who begins a love affair which both enables her to experience passion and live life again, as well as causing drama and friction within her family. It is in many ways very similar to the Italian-language film 'I Am Love' - which coincidentally also stars an English actress in Tilda Swinton. In 'Leaving' the object of Suzanne's sexual desire comes in the form of a builder who her wealthy husband has employed - distractingly played by the evil Captain Vidal from 'Pan's Labyrinth', the Spannish actor Sergi López.



This tale of sexual reawakening, forbidden love and of the impact of divorce upon a family, can be interesting. When handled properly it can be intense and deeply moving. However 'Leaving' is the single most dull movie I have sat through this year. All the characters (including the children) are unlikeable, the human emotions and events that are depicted are completely silly and handled with an unappealing level of earnestness. There is not really a moment of humour or levity. Instead we are treated to boring and faintly irritating movie which lurches from one uncomfortable sex scene to the next with only the blatant product placement for Peugeot holding any interest.

Suzanne travels between France and Spain frequently in her ultra-reliable French-made car, with a car ad aesthetic taking over whenever she glides across the picturesque countryside. I was not much of a fan of the aforementioned 'I Am Love', however after viewing 'Leaving' I can appreciate that movie's score, it's cinematography and it's set design - all of which are self-consciously "arty" yet provide a level of interest and entertainment missing here in this bland and conventional drama.



On a dramatic level the film has very little to offer. Kristen Scott Thomas' Suzanne could be seen to behave in a way which is interestingly morally grey and her husband's initial reaction to her infidelity is intriguing and sympathetic as it is one of extreme and inconsolable grief. However, seemingly unsure of how to navigate these characters through a story of emotional complexity and moral ambiguity, the film almost immediately finds safer, more surefooted ground. The husband (played by the Israeli-born actor, Yvan Attal) is soon turned into a two-dimensional villain and audience sympathies are reassuringly left to lie with the protagonist. With this lazy writing any hope that 'Leaving' might shed some light on the human condition quickly vanishes and we can set ourselves to autopilot until the film's contrived and completely overblown conclusion.

In the end Kristen Scott Thomas' grasp of French is impressive and I applaud her versatility, however 'Leaving' has little to recommend it. If you want to see an up-market version of this story, watch 'I Am Love'. If you want to see a really good film about temptation and desire for a married woman gone numb, then watch 'Brief Encounter'. This film has no real reason to exist.

'Leaving' is rated '15' by the BBFC and can still be seen in selected cinemas across the UK.

All moved in: Back to work...

As I said a week ago, I haven't updated very much recently due to moving house - though thankfully not as literally as in the 'Gold Rush' (which I re-watched the other day for an upcoming Chaplin podcast... and that is synergy). But now that is all behind me and I will be returning to my more frequent updates.

A lot has happened since I last wrote anything here. Firstly, I am due to get a regular guest slot on Brighton's Radio Reverb, reviewing films. I am having a meeting with the host of a breakfast show tomorrow to see what I can offer and what format my slot will take. Secondly, the UK Film Council has been dissolved by the Tory government. Jon has written a typically excellent piece on his Splendor Cinema blog, but you should also read this 2007 Guardian article by Alex Cox to get a really spot on account of the council and its failings during its decade of operation. Thirdly, Jon and I recorded a podcast all about the films of Stanley Kubrick as part of our "Pantheon" series chronicling great directors and it should be up on iTunes and the Picturehouse website very soon.

And whilst I am still yet to see 'Toy Story 3' or 'Leaving' (which is playing at the Duke's until Thursday), I have had the opportunity to watch Joon-ho Bong's 'Mother', a brilliant South Korean thriller which is released in the UK in late-August (20th?) across Picturehouse cinemas (the same week as the excellent looking French animation 'The Illusionist'). I will review that film, and record a podcast on it, closer to the time of release.



I have also just watched the first Nicaraguan film made in over 20 years: 'La Yuma' - which I believe will be playing at this year's Cinecity Brighton Film Festival (and for which I hope to write the programme copy). The story of a spirited young female boxer trying to get by in a tough Managua neighborhood, I will review 'La Yuma' closer to the festival which comes to the Duke of York's in a few months time. Last year's festival included advance screenings of 'A Prophet', 'Ponyo', 'Dogtooth', 'Micmacs', 'The Road', 'Humpday' and 'Limits of Control' (among others) so keep an eye out for the programme when it is available.



Last night I watched a 2004 Herzog documentary called 'The White Diamond', which was typically bizarre and mesmerising. In it you can see all the ingredients of Herzog's philosophy of 'Ecstatic Truth' as he follows another dangerous obsessive: this time an English scientist determined to fly his airship over the forest canopy of the Guyana rainforest - a man haunted by the senseless and violent death of a colleague during a similar expedition ten years prior for which he feels responsible. Quite moving and very absurd, 'The White Diamond' is a must see documentary for anyone who enjoyed 'Grizzly Man', 'Encounters at the End of the World' or 'My Best Fiend'.



Anyway, that is all for today. Expect reviews of 'Toy Story 3' and 'Leaving' later this week (probably Thursday and Friday respectively). Until then: listen to the most recent podcasts and check out my last episode of 'Flick's Flicks' if you haven't already done so.

2010 so far...

We're more than halfway through 2010 now and I am about seven months into my blog. Personally, the year so far has been very exciting. It started with a (brief) appearance on BBC Radio Sussex talking about the results of the Golden Globes. Since then I have recorded a bunch of podcasts, reviewed a lot of films and had a lot of amazing opportunities. I have been to a premiere, interviewed stars and written entries for a book. I have also very recently had the pleasure of filling in as temporary host on 'Flick's Flicks', which has been another new and enjoyable exercise.

But (more interestingly for everyone who isn't me) 2010 has also been a very good year for films so far. My friend and fellow film writer, Dennis, today asked me what my top ten films of the year would be up to this point and this has proven a difficult task.



There have been lots of "good" films this year to choose from. Films like the enjoyable 'Kick-Ass' and the extraordinary 'Dogtooth' have failed to make my final list. I could also have put the re-issue of 'Rashomon' in the list (and it would have been very high up) but decided against it. The Cuban boxing documentary 'Sons of Cuba' could just as easily have found its way into the top ten, as could Chris Morris' hilarious 'Four Lions'. It also pains me to leave out Disney's 'The Princess and the Frog' which I really loved every traditionally animated second of.

Anyway, my final list is as follows:

10) Life During Wartime (Solondz/USA)
9) The Father of My Children (Hansen-Løve/FRA)
8) Lebanon (Maoz/ISR)
7) Cemetery Junction (Gervais and Merchant/UK)
6) Capitalism: A Love Story (Moore/USA)
5) Ponyo (Miyazaki/JAP)
4) Greenberg (Baumbach/USA)
3) No One Knows About Persian Cats (Ghobadi/IRN)
2) Micmacs (Jeunet/FRA)
1) The Happiest Girl in the World (Jude/ROM)

These may not be anything like the objective "best" of the year (if such a thing exists), but they are probably the ones which have stuck in my mind and impressed me the most. They also all moved me, many of them to tears. I think there are two big reasons why 'The Happiest Girl in the World' has emerged as an unlikely winner so far this year. The first is that I had no expectations going into the film. Absolutely none. It was able to surprise me. The second is that it is a film of patience and with a simple premise. There are few actors, one setting and the premise is explored fully as a result. The characters are multi-layered and their motivations interesting. The film can also be taken as a look at contemporary post-Communist Romanian society or of the film industry as a whole - and equally could be read as neither.



'Micmacs' was purely joyful from start to finish, though I know many people who really hated it so I think it is a Marmite experience. Regardless, I left it buzzing. 'Persian Cats' hit me a bit like 'Happiest Girl' and came from out of nowhere to really leave an impression upon me. 'Greenberg' hit a nerve with me and I found myself relating to it in a similar way to how I did when I saw Baumbach's 'The Squid and the Whale'.

'Ponyo' is Miyazaki, so it is splendid from start to finish. Michael Moore is as polemical as ever in 'Capitalism', but I agree with him, so I guess I don't mind. I really felt moved by some of the stuff in it too. Especially the part where he explains how FDR backed a group of striking workers and sent in the army to protect them from the police. 'Cemetery Junction' is the most American British film ever made - in a really good way. A fresh and exciting look at British youth that refuses to ignore 1970s social issues, but refuses to be depressing and really feels like Reading's answer to 'American Graffiti'.

'Lebanon' is a fantastic account of the brutality of war from the inside of a tank. Again, like 'Happiest Girl' it is one idea used to its maximum potential and effectiveness. The fact that it is based on the director's real experiences makes it even more vital and compulsive viewing. 'Father of My Children' takes a non-judgmental, un-sentimental look at a suicide: both the cause and the aftermath. And 'Life During Wartime' is daring and strikes exactly the right comic note in uncomfortable territory.



This is how I feel tonight. Who knows? I may change my mind entirely by the end of the year and many of these films may not feature in my 2010 poll. Some may be higher up and others may enter the list which have so far been left out. But I suppose these lists can really only ever be a platform for discussion and an interesting diversion. Hopefully it may also have encouraged you to check out a few movies you may not have considered. If that happens on even one occasion I will have been proud to invest the time in making it. Probably because it didn't take that long.

I can't wait to see what the rest of 2010 has to offer. Come back in January to find out where things stand when it's all behind us.

August's edition of 'Flick's Flicks' is here!

I mentioned yesterday that Monday morning saw me recording next month's edition of the Picturehouse preview show 'Flick's Flicks'. Well its director and editor, James Tucker, has been super quick off the mark this month and has already put the finished show up online. I feel like it is an improvement on my first (the July episode).

I now only have one more episode to present before the rather more photogenic Felicity Beckett gets back from maternity leave. So watch this space for the September edition of the show.

Also, 'Giant Sand' were pretty awesome last night. They sound a bit like every Dylan record since Time Out of Mind, but much better (and a damn site better than Dylan was in Cardiff a few years ago - I want my money back Bob!). To make things even better, the singer-songwriter, Howe Gelb, bought me a pint after the gig. Which was nice.

'Giant Sand' tonight at the Duke's, plus moving house delays me seeing 'Toy Story 3'...

Aside from the being the oldest functioning cinema in the land, Brighton's Duke of York's Picturehouse also occasionally serves as a music venue. In the past year artists such as Duck Baker and 'Angus and Julia Stone' have taken the stage and tonight it is the turn of Arizona rock band 'Giant Sand'.

I have never seen them (or heard of them), but I am planning to go along tonight and check them out all the same... and you should too!

Anyway, not strictly film related, but I am moving house this week and so probably won't be updating very much at all. This is a shame as there are few films I look forward to more than those by Pixar and I would very much like to see and review 'Toy Story 3' this week. I'll see what happens. Failing that it will be reviewed next week at the latest! I can't wait. I have been a little sceptical since seeing an underwhelming clip at a Disney conference back in April. But almost everyone who has seen it seems to have loved it, so far, so I'm sure it will be good even if it isn't as great as 'Up' and 'Wall-E'.

Finally, I recorded the August edition of 'Flick's Flicks' yesterday with the smashing James Tucker. In it I previewed the August line-up coming to Picturehouse cinemas, including 'The Illusionist' (below), South Korean drama: 'Mother', 'The Girl Who Played With Fire' and 'Scott Pilgrim vs. the World'. Check it out when it is online at the start of next month.

'Predators' review: A decent start ruined by a silly alien...

What do 'Jaws' and the original 'Alien' have in common? They are both films which expertly create tension and fear in an an audience by deliberately refusing to show the titular creature. Aside from the occasional glimpse, the creature is unseen and becomes enigmatic, intriguing, more exciting. Of course, with both these examples there was a practical consideration in that the directors knew that with limited technology, showing the creature would look phenomenally silly. So when your "monster" is basically very, very silly anyway, with long fingernails and dreadlocks, it should be a no-brainer: don't show us the monster.

It is a lesson that should have been learned by the makers of the original 1987 actioner 'Predator', as well as its much-maligned 1990 sequel 'Predator 2' (AKA 'Predator: Pig in the City'). Both of which show rather too much of the Rastafarian alien then is really wise. As soon as a man in a rubber suit starts running towards the camera I am no longer scared. Worse than that: I am no longer taking the movie seriously. OK, so both those movies jump the shark way before the Predator turns up. 'Predator' has a adrenaline fuelled, explosive gun battle in which muscle bound tough-guys make evil Latino people explode by the score, all to the tune of familiar 1980s Schwarzenegger zingers ("stick around!"). The sequel sees a gun crazed Danny Glover enter a strange, dystopian LA that feels like something out of a long lost Paul Verhoeven movie. The streets are full of various over the top, ethnic scumbags who need culling.



Both films strain credibility long before the man in the rubber suit makes an appearance. However, the tragedy of the latest installment in the franchise, the Robert Rodriquez produced 'Predators', is that for the first half hour it is actually fairly well made and quite engrossing stuff. It returns the series to the jungle setting of the original (albeit this time on another planet) and sees a group of macho-types from around the world dropped into the middle of a game preserve, apparently to serve as quarry for the blood-sport obsessed aliens.

Director Nimród Antal creates a good atmosphere and is helped by a cast of decent and appealing actors in the various roles, including Adrien Brody, Alice Braga, Topher Grace and Danny Trejo. Antal quickly establishes all the characters personalities and backgrounds and starts the movie at a breakneck pace with Brody falling out of the sky into the jungle before the title pops up. The film is at its strongest as the unlikely band of misfits band together and try to work out what is going on. As an audience we know they are soon going to be picked apart by bloodthirsty aliens, which creates a decent tension as we ponder "when is it going to happen and who will be the first to die?"



It is far from perfect even at this stage, with the dialogue mostly consisting of people shouting "what the fuck is going on?", "where the fuck are we?" and "what the fuck is that thing?" The characters aren't especially deep, instead they are broad archetypes. But this is forgivable and the actors bring a lot to their roles, especially Brody who some may think is an odd choice here as a beefcake-commando, but he lends plausibility, intelligence and depth to a role which could just so easily have fallen to Vin Diesel.

The thing is after the initial honeymoon period the Predators themselves turn up. And from then on things get progressively sillier and sillier to the point that by the end most the initial goodwill has dissipated. Seen in daylight and in long sustained full-body shots, the Predators are perhaps the most ridiculous antagonists imaginable. The film reaches its nadir during one sequence which sees two men in Predator suits punching each other for about five minutes, which is easily as appealing as seeing two CGI robots punching each other in a certain Michael Bay movie.



There is also a fundamental problem with the concept suggested in the title: that this time there is more than one Predator. Upping the number of Predators diminishes their threat rather than increasing it. Predators used to eat units of commandos for breakfast, but now they are hunting in packs and struggling to kill Topher Grace? But maybe these are rubbish Predators anyway, on some sort of game-tourism weekend. Whereas previous Predators used to take the trouble to land on Earth and seek out bad-asses (and Bill Paxton) to skin alive, this lot are content to land on a local hunting ground and use their heat-sensor equipment (which seems like cheating to me) to hunt disorientated primitives.

In the end 'Predators' is quite disappointing. Not because I had especially high hopes going in, but because the opening minutes suggested it could have been better. But then the men in their rubber suits started running towards the camera and I was no longer tense. Worse than that: I was no longer taking the movie seriously. Maybe that is my problem. Maybe I am not supposed to be taking this movie seriously. But if you're in the market for silly, stick on the 1987 original and have done with it. 'Predators' is neither good enough, nor silly enough to warrant too much attention.

'Predators' is rated '15' by the BBFC and is on general release in the UK.

Herzog on "Ecstatic Truth"

This is over a decade old now, but I've only just come across it and it's interesting and amusing. If, like me, you are a fan of eccentric German film-maker Werner Herzog, then this is a great read. In this "declaration" Herzog decries Cinéma vérité and asserts his own rules for "ecstatic truth" in documentary film-making. Anyone who has seen one of his documentary films (such as 'Grizzly Man' or 'Encounters at the End of the World') will see how all this applies. It is fascinating. It could all read as pretentious, but I honestly don't think Herzog has any time for pretension. As you can see in the accompanying video below - there is always a humility and an earnestness to what he says. He speaks a lot of sense here (italics are mine - to highlight the best bits!):



“Minnesota Declaration” / Truth and fact in documentary cinema

Werner Herzog
Walker Art Center, Minneapolis, Minnesota, April 30, 1999

LESSONS OF DARKNESS

1. By dint of declaration the so-called Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants.

2. One well-known representative of Cinema Verité declared publicly that truth can be easily found by taking a camera and trying to be honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. “For me,” he says, “there should be only one single law; the bad guys should go to jail.”

Unfortunately, he is part right, for most of the many, much of the time.

3. Cinema Verité confounds fact and truth, and thus plows only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.

4. Fact creates norms, and truth illumination.



5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.

6. Filmmakers of Cinema Verité resemble tourists who take pictures of ancient ruins of facts.

7. Tourism is sin, and travel on foot virtue.

8. Each year at springtime scores of people on snowmobiles crash through the melting ice on the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this: “You can’t legislate stupidity.”

9. The gauntlet is herby thrown down.

10. The moon is dull. Mother Nature doesn’t call, doesn’t speak to you, although a glacier eventually farts. And don’t you listen to the Song of Life.

11. We ought to be grateful that the Universe out there knows no smile.

12. Life in the oceans must be sheer hell. A vast, merciless hell of permanent and immediate danger. So much of hell that during evolution some species—including man—crawled, fled onto some small continents of solid land, where the Lessons of Darkness continue.