'Mother' review: The best thriller film since Jackson's...

Later this month comes the UK release of 'Mother', a South Korean thriller directed by Joon-ho Bong, who made his name with the excellent 'The Host' and 'Memories of Murder'. The story of an unnamed women (Kim Hye-ja) whose only son, the mentally handicapped Do-joon (Won Bin), is accused of murder. The protective mother then takes it upon herself to prove her son's innocence by mounting her own criminal investigation. The film is suspenseful and tense, but also darkly funny throughout.

Joon-ho is supremely skilled at mixing genuine tension with humour in this way. Maybe Sam Raimi and the Coen Brothers strike the same delicate balance when working at the peak of their powers, with these filmmakers able to inject absurdist black comedy into horrific events without detracting from their impact. Like those American directors, Joon-ho is able to make his scenes of graphic violence extremely visceral without verging anywhere near the "torture porn" end of the spectrum. As Jon said on the last Splendor Podcast, there is also something of an obsession with bodily fluids in his work, with urine, saliva, blood, vomit and sweat, which contribute to this feeling of tangibility.



But for all the grimy detail, 'Mother' is certainly not an ugly film. In fact it is quite the opposite, with Hong Kyeong-pyo ('Brotherhood') lighting the film beautifully. It is also not a realist film, being highly stylised whilst retaining credibility at all times, even when a lawyer begins a bizarre karaoke as a way of talking to his client or when a couple of youngsters start a fight with a bunch of old businessmen on a golf course.

Kim Hye-ja is really outstanding as the titular mother, playing her with a touching fragility, but also bringing across her obsession and resilience superbly. The film is at its very best when exploring the disturbing, almost incestuous relationship between the mother and Do-joon, played by the model-turned-actor, Won Bin. He is pretty effective too, carefully avoiding pastiche in his portrayal of mental disability. Jin Goo is also really good as Jin-tae, a local ne'er-do-well and friend of Do-joon. He seems born to play a charismatic troublemaker.



It is difficult to say too much more about 'Mother' - at least in terms of plot developments - without spoiling the film. I will say only that its conclusion is surprising and highly satisfying. I recently compiled a list of the best films of 2010 so far. I hadn't seen 'Mother' at that point, but if I had have it would certainly place high up on that list. How high? I am not sure. I think that question warrants some perspective. But expect to hear about it again in my end-of-year review.

'Mother' is, without qualification, the best thriller film I have seen in several years. If 'The Host' and 'Memories of Murder' suggested Joon-ho Bong was one to watch, then 'Mother' confirms his status as a major talent.

'Mother' has been rated '15' by the BBFC and is released across the UK on the 20th of August. Come and see it at Brighton's Duke of York's! Jon and I talked about in the latest Splendor Podcast.

'A-Team' review: Big, loud, oh-so-silly fun...

I'll say right off: I've never seen an episode of the 'A-Team', the cult 1980's action series, so it not for me to say whether Joe Carnahan's new franchise re-boot movie is faithful to the spirit of the TV show. What I can say is that this new film, starring Liam Neeson, Bradley Cooper, Sharlto Copley and Quinton Jackson as the titular group of vigilantes, was surprisingly enjoyable. In fact, whether I was laughing at the film or with it, I spent most of its running time with a silly grin on my face.

This is not to say that 'The A-Team' is an especially good movie. To start with, the politics of the thing are slightly dubious to say the very least, from the cartoon Mexicans at the beginning to the sleezy sexism of Cooper's character 'Face'. And the "moral" lesson learnt by B.A Baracus (Jackson) - that, as Walter Sobchak would say, "pacifism is nothing to hide behind" - is faintly disturbing. It is also true that Carnahan's direction is incoherent during the action scenes, with fast editing and a dizzying number of close-ups, and he treats the audience with very little respect offering a flashback every few minutes to help re-explain plot points and even who characters are. Oh, and the CGI is pretty ropey throughout (but especially at the end).



But despite these many flaws, 'The A-Team' is actually fairly good fun. The main reason for this is the central performers. Liam Neeson is great, chewing the scenery as Hannibal and lending the role gravitas, and 'District 9' star Sharlto Copley is excellent as Murdock, the ace pilot busted out of an insane asylum. Cooper is reliably charismatic. Quinton Jackson, a former UFC fighting champion, is the least absorbing of the four main actors, but at least he doesn't stray into an impression of Mr. T. Elsewhere in the cast, Patrick Wilson is entertaining as a duplicitous CIA operative and Brian Bloom does a decent job as a nasty mercenary solider. Jessica Biel is a forgettable, spare part as Cooper's love interest - but she is almost blameless: let's face it, 'The A-Team' isn't going to be packed with great female characters.

Another reason the film is watchable is that everything that happens is so darned over the top ("overkill is underrated"). When Hannibal explains one very, very silly plan to the team, one of his men responds "this is bat shit crazy!", to which the old man replies "it gets better!" These men relish the impossible. It is like that scene in 'The Fantastic Mr. Fox' where Mr. Fox suggests a daring and convoluted route through a farm, oblivious that there is a completely clear path nearby which goes safely around all the obstacles. The difficulty (or impossibility) is the fun part and soon you are watching a tank fall out of an exploding aeroplane and hearing someone in a control room is exclaim "they're trying to fly the tank!" Ridiculous, but quite brilliant all the same, and certainly never less than entertaining.



In terms of raw "dumbness" there is really little to separate this movie - and everything that happens in it - from one directed by Michael Bay. However, there is less genuine bravado on show here. Whether it is intentional or just a happy accident, 'The A-Team' feels more like a parody of bravado. Everyone is clearly insane, nothing that takes place makes sense and everything explodes - especially when it logically shouldn't. It is a colourful and exaggerated cartoon version of reality. Nothing that takes place is milked for cool. In fact, cool is more or less absent here. And as someone who detests cool, I mean that in a really good way.

'The A-Team' isn't going to win any awards. It isn't going to get a five star review from The Guardian or be christened Film of the Month by Sight and Sound. And nor should it. There is much to dislike and criticise about it. But in a world where I have to sit through the "worthy" likes of 'Leaving' on a weekly basis, I am pleased and refreshed to be able to see something so self-consciously stupid. I'll watch a fun cheesy film over a dull film any day of the week.

Is 'The A-Team' a work of art? Probably not. But I'm not going to sit here stroking my chin denying that I smiled from beginning to end. If you've seen 'Inception' and 'Toy Story 3' (both far superior films) already and want to sample some light, blockbustery fun: then maybe you can call... 'The A-Team'. Cue music.

'The A-Team' is rated '12A' by the BBFC and is playing across the UK. You can hear Jon and I arguing about 'The A-Team' in our latest podcast.

'Toy Story 3' review: Pixar falling short of greatness...

Pixar have created a big problem for themselves. Their last two features, 'Wall-E' and 'Up', have been universally heralded as masterpieces and sit comfortably alongside the greatest animated films ever made. Of course, the studio was already well ahead of its American competitors before that - at least artistically. Films such as 'Ratatouille', 'The Incredibles', 'Finding Nemo' and the original 'Toy Story' are easily up there with the work of international masters, such as Miyazaki ('Spirited Away'), Ocelot ('Kirikou and the Sorceress') or Chomet ('Belleville Rende-vouz').

After a filmography that only really boasts one dud (the 2006 film 'Cars'), the California based animation studio have set the bar remarkably, even dauntingly, high and, with 'Cars 2' on the way and now operating under full Disney ownership, the honeymoon period could be set to end for the team that pioneered the now-dominant CGI animation art form. It is with this concern in mind that I went to see the latest entrant into the Pixar canon: 'Toy Story 3'. But does it live up to, or even surpass, the lightness of touch, the wit and the sophistication of last year's 'Up'?

In a word: no.



This is not to say that 'Toy Story 3' is not charming and funny. It is. There are plenty of endearing new characters (notably "Mr. Pricklepants" voiced by Timothy Dalton) and it is fun seeing Woody, Buzz and the gang again. But whereas the question at Pixar has always seemed to be "where can we go next?" - with them constantly pushing at boundaries (both technical and narrative) - this sequel feels as though it has been inspired by accountants and people eager to sell a few more Buzz Lightyear figures this Christmas.

Well, maybe that's a little harsh. There are some good new ideas in the film, which sees the toys being donated to a nursery. The animation of the toddlers is amazing, with the animators doing a terrific job of capturing their movements. In this respect, the film is as detailed and lovingly put together as anything they have produced. Michael Keaton is fun as Ken - the male counterpart to Barbie - as is Ned Beatty as "Lots-O'-Huggin' Bear". The gags are perhaps broader than usual, with lots of in-jokes (a Totoro toy is prominently featured), film references ('Cool Hand Luke' is explicitly quoted) and sight gags, but 'Toy Story 3' on the whole stays true to the Pixar tradition of dealing with genuinely adult themes, such as loss, death and even mid-life crisis. And it must be said that the opening sequence, which takes us into a childs imagination as he plays with the toys, is brilliant.



But whilst Jessie the cowgirl's story in 'Toy Story 2' was genuinely quite moving, helped in no small way by a splendid Randy Newman song ("When She Loved Me"), the tearjerker moments in this sequel feel forced and contrived. 'Up' reduced all except the most hard-hearted to floods of tears in its opening moments and justly received plaudits for doing so in such an elegant way, and it feels almost as though this feat has gone to Pixar's (collective) head. One wonders what great sorrow will befall Lightning McQueen next year. Maybe his tyres will deflate to the strains of a string quartet or his lady-car will take a tumble off a cliff and explode. Whatever they do it won't work: because I don't care about a talking car and, it turns out, care only a fraction more for Mr and Mrs Potato Head et al. The prolonged curtain call that ends the film feels similarly manipulative and calculated as the action which proceeds it.

Far be it from me to go on a Kermodeian rant about 3D, but I have to say that the novelty (and it is a novelty) is really starting to wear off now. I have enjoyed a few 3D titles over the last year and have been impressed by the way that the most recent films have used the technology to create depth rather then to make stuff pop out of the screen. But I am no longer impressed because I have now been there and seen it already. I saw 'Avatar' and now I'm over it. Now all I am noticing is the increased admission price (over £20 for my girlfriend and I) and the splitting headache upon leaving the cinema. The 3D is tastefully implemented in 'Toy Story 3', but you gain precisely nothing from seeing it this way.



If I sound unenthusiastic about 'Toy Story 3' it is only because of Pixar's own exceptionally high standards. Without doubt it is fun film and - along with 'Inception' - it is the must-see blockbuster movie of this summer. But am I wrong to expect a little bit more from Pixar? However much of a good time 'Toy Story 3' is, it doesn't hold a candle to any of their previous three films. Personally, I enjoyed Disney's return to hand-drawn animation, 'The Princess and the Frog', quite a bit more. And with sequels to 'Cars' and 'Monsters Inc.' in the pipeline, could Pixar's golden age be behind them? Or do they have another 'Up' in them? I hope for the latter, but on this evidence there is some cause for concern.

'Toy Story 3' is rated 'U' by BBFC and can be seen almost everywhere in 3D and 2D versions.

'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.