'Skeletons' review: An amiable and gently amusing British comedy...

Last week I hosted a Q&A with Nick Whitfield, the writer and director of the low budget British black comedy 'Skeletons'. The film won the Michael Powell Award for Best New British Feature Film at this year's Edinburgh International Film Festival and stars two relative unknowns, Andrew Buckley and Ed Gaughan. The duo play a pair of professionals whose job is to investigate the skeletons in their clients (literal) closet. But the pair have their own difficulties with the work, as Buckley's Bennett gets too empathetic towards his clients (whose vices range from secretive Latin dance lessons to use of prostitutes), whilst Gaughan's Davis is "on the glow" (addicted to using the procedure to revisit his own past) - a fact the duo must disguise from their boss, the Colonel, played by Jason Isaacs, in a spirited and memorable turn as a gruff Yorkshireman.

The first feature film from Whitfield, 'Skeletons' is a beneficiary of UK Film Council funding, without which the film would never have been made, according to the director. Shot on location across the Midlands, the film is primarily set in the countryside as the besuited protagonists walk from job to job. The film's best moments occur during this walking, as Davis talks about such topics as the lack of moral ambiguity surrounding Rasputin. The interplay between the two leads is funny and Gaughan in particular is really watchable. Written with the two actors in mind, the dialogue and characters are perfectly suited to these actors. The film feels something like a cross between 'Ghostbusters' and 'Alan Partridge' - mixing the spiritual and paranormal with the mundane and the regional.



There are instances where the comedy misfires slightly, with a tired, sub-Chuckle Brothers exchange of "you're unprofessional", "no you're unprofessional", "no you're being unprofessional" being among the less successful moments. But generally the film is gently amusing throughout, even if never side-splittingly hilarious. That may sound like faint praise for a comedy film, but 'Skeletons' gets along fine with these gentle laughs of approval, with its pleasant and amiable tone. It is also uncommonly ambitious and fantastical for a low budget British feature. There is no gritty, kitchen sink realism here as we plunge into territory not too dissimilar from that recently mined in Christopher Nolan's (much bigger budgeted) 'Inception': not only in its premise, but in its fascination with the nature of reality and with Davis' character mirroring DiCaprio's Dom Cobb as he finds himself haunted by the past.

It is refreshing to encounter a film of this modest means which isn't frightened to tackle the imagination and isn't afraid to get quite abstract and surreal (it is a film where an accident can turn you Bulgarian and a man can live in a rusty old landlocked boat next to a power station). With 'Skeletons' Whitfield also shows that he is not shy about combining this humour and inventiveness with genuine emotion - the film ultimately being about loss and acceptance. 'Skeletons' is not perfect, but it is a pleasing and intriguing debut film from a writer and director with a unique voice in British cinema, and perhaps it forecasts something wonderful for the future. If he can get the funding. Let us hope that the demise of the UK Film Council does not put a premature end to this emerging talent.

'Skeletons' is rated '15' by the BBFC and is still touring the country accompanied by its director, Nick Whitfield, who is doing Q&As at selected Picturehouse cinemas. A full write up on the Q&A will appear on this blog during the week.

'Separado!' review: a cultural oddity in an experimental style...

Gruff Rhys, the man behind the Super Furry Animals, has co-directed, written and starred in a documentary so small that, at the time of writing, it is still "awaiting 5 votes" on the IMDB. That film is 'Separado!', a quirky little movie, less than an hour and a half long, which charts Rhys' journey from Wales to Patagonia (South Argentina) in search of his distant relatives who joined many hundreds of Welsh in emigrating to that part of the world in the late 19th century. On his journey, through Brazil as well as Argentina, Rhys traces the legacy of his Welsh ancestors and looks at the interesting musical hybrid between Latin and traditional Welsh music which can still be heard in parts of South America today.

It all started when Rhys saw an Argentinian gaucho singer named René Griffiths singing in Welsh on BBC Wales as a child. After finding that they were in fact related, the musician became interested in tracking down the man himself. On his journey to find René Griffiths, Rhys meets many other distant relatives and encounters a whole range of other musical performers, including a Brazilian musician who has invented his own instrument - a cross between a guitar and a drum machine. He also puts on several low-key concerts and looks a little bit at the cultural, historical and economic causes and effects of this strange chapter in Welsh history (which apparently played a key role in Argentinian history too - allowing the government to successfully claim the disputed South from neighbouring Chile).



On this trip we see that many Patagonian places have Welsh names and that many still speak the language. Rhys even manages to meet an old man who is closely and directly descended from the original Welsh settlers (who is also proudly in possession of the first organ brought to Argentina by these pioneers). Impressively, he does all of this speaking three languages over the course of the film, speaking Welsh, English and having a decent command of conversational Spanish to boot.

All of this is shown in a really surreal and unconventional way too, with Rhys teleporting himself between locations after donning a huge Power Ranger helmet, and with many bizarre and trippy musical interludes. In fact the film is as much about making music as it is about anything else. There is really nothing to criticise here. The film is barely long enough to get boring. The history is fascinating in itself and seeing the modern Welsh communities of Patagonia (and hearing their music) is an intriguing cultural oddity. Rhys comes across very well too, and spending time in his company is hardly a chore, even for someone who isn't a fan of his music, such as I (not because it's bad, but because I am not familiar with it).

Perhaps the movie could put many off with its unconventional and experimental form, but even then the chance to see this South American road trip is too good to miss. It also has a serious point, underneath all the quirky-ness, about how important it is to hold onto cultural identity - a fact which is perhaps more pressing today for Welsh-speakers than it was in the 1860s. There is also the brutal irony (not lost on the filmmakers), that in escaping persecution from the British, like many other colonials, the Welsh played a part in the persecution of another native people (in this case the Tehuelche, who were removed by the Argentine government now in control of the region). If you can find it playing and have even a minimal interest in any of the above, then there is probably something for you in 'Separado!'.

'Separado!' is so small it hasn't even been rated by the BBFC. But it can be found playing one-off shows at various cinemas, including many Picturehouses.

'Le Concert' review: If Jim Davidson could play violin...

'Le Concert', directed by the Jewish Romanian-born director Radu Mihaileanu, is a big cultural melting pot of a movie. On the surface (and from most posters) a French production boasting 'Inglourious Basterds' star Melanie Laurent, though many of the actors and much of the dialogue is Russian. Fitting then that the story concerns a once-great Orchestra conductor, Andreï Filipov (Aleksei Guskov), thrown out of the Bolshoi for standing up against racial intolerance towards Jews under Brezhnev. But, 30 years after the this injustice, Filipov intercepts an invitation to play in Paris, intended for the Bolshoi and resolves to take a rag-tag group of Russians, from all walks of life (including a wealthy oligarch), to France disguised as the professionals.

Yet, for a film which makes a feature of the fight against racially motivated intolerance, 'Le Concert' is pretty happy to indulge in stereotype. Uncomfortably so: the orthodox Jewish musicians miss practice because they are hawking their wares across Paris from out of a suitcase; the unskilled workers immediately leave the hotel and become illegal immigrants working menial jobs; the gypsies make their living from stealing and forging documents and an Arab restaurateur threatens one patron by saying "they call me Muhammad Al-Qaeda". Some may see this as a good-natured celebration of difference, but I couldn't help but squirm uncomfortably in my chair as racial caricature after racial caricature was exploited for humour in this movie which very quickly descends into farce.



'Le Concert' certainly thinks it is a comedy and it isn't afraid to go pretty broad with it. An oligarch's daughter's wedding is marred by an all-out gangland shootout, for example (which feels as misjudged and out of place as it sounds), whilst the gypsies fake 80-odd passports very publicly at an airport. Maybe this is a very broad cartoonish way of commenting on corruption and criminality in contemporary Russia, but it strains credibility. Especially as the film plays it relatively straight at other points. It is also a film which is terrifically critical of the old Soviet Union and communism, with plenty of jokes about the old regime, so adding that to the cynicism about the modern era, you get a film which is pretty nihilistic.

Melanie Laurent is the film's saving grace, as she has an intensity about her which is always stirring. She is one of those actors who can communicate so much with a subtle change of expression. Aleksei Guskov is also pretty good, always portraying his character with a touching sweetness as well as a dangerous obsession. But mostly everyone in 'Le Concert' shouts their lines at one another in a way which is very unappealing and engaging. It is a film which seems to hate Russian people. For example, when the 80-odd strong Orchestra arrives at their hotel they are all continuously shouting all at once, bursting through the doorway en masse and surrounding the hotelier, waving their arms in the air frantically. These people are idiots, their characters thinly drawn and unsympathetic and, as a result, their plight is uninteresting.



The film scooped several César awards earlier in the year, for Best Sound Design and Best Music, and these were probably deserved. The Tchaikovsky music performed at the titular concert is mesmerising and intense. The fact that the final scene is more or less a long unbroken musical performance is the film's strongest suit - and in that respect it ends of a high note (no pun intended). But for much of the film's running time, it is nothing more than a misfiring comedy of racial difference that feeds off the very intolerance it claims to be in opposition to. A woeful film.

'Le Concert' is rated '15' by the BBFC and is still on a limited release in the UK.

'Skeletons' Screening + Q&A with Director Nick Whitfield

Update: The Q+A went really well and Jon actually recorded the audio for a potential future podcast. I will write something up about the film and the event sometime in the week. My original "that night" time frame was optimistic! Come back later for the full lowdown.

Original post: I am delighted (and a little nervous) to be hosting an on-stage Q&A with writer/director Nick Whitfield after a screening of his film 'Skeletons' at Brighton's Duke of York's Picturehouse this Friday (tomorrow) at 6.30pm. This means I need to spend the rest of today watching the screener DVD very kindly sent to me by Soda Pictures, making notes and forming interesting questions. Please come along and check out the film. You will also have a chance to ask Nick your own questions after the show.

'Skeletons' won the Michael Powell Award for Best New British Feature Film at this year's Edinburgh International Film Festival. Expect a review of the film and a write-up on the whole affair tomorrow night.

'Skeletons' is rated '15' by the BBFC. Tickets can be purchased online via the Picturehouse website.

'The Sorcerer's Apprentice' review + My slot on Radio Reverb

Yesterday I posted a review of Disney's latest blockbuster, 'The Sorcerer's Apprentice', over at Obsessed with Film - so check that out! It is rather less inflammatory than my last bit of writing for the site, so hopefully I can leave the witness protection program now.

'The Sorcerer's Apprentice' is rated 'PG' by the BBFC and released this Friday (13th) in the UK.

I have also neglected to mention that I have, for the last two weeks, been acting as a regular film reviewer for a breakfast show on Brighton's Radio Reverb, hosted by a lovely lady named Ridder. The show is from 8-10 on Friday mornings and my regular guest slot is around 9.10. So listen in online or on 97.2 FM if you're a local person.

Don't forget to tune in!

'Knight and Day' review: Light-hearted summer fun...

'Knight and Day', starring Tom Cruise and Cameron Diaz and directed by James Mangold ('Walk the Line'), is the latest movie in what has almost become a sub-genre of action romantic-comedies. Films like this year's Jennifer Aniston vehicle 'The Bounty Hunter' and 'Date Night' starring Steve Carell and Tina Fey, have found varying degrees of success by blending gentle humour with low-key action. But it is probably Doug Liman's 2005 film 'Mr. & Mrs. Smith' that 'Knight and Day' resembles most closely: the leads of both having genuine star power and sex appeal, whilst the action is rather more violent, high-octane and central to proceedings.

There is something old fashioned about 'Knight and Day'. Mangold avoids the fast-cutting, music video style of direction which now the norm in action films. Instead we are allowed to see clearly what is going on at all times, making the actions scenes (especially the car chases) more exciting then they otherwise would be. The sound design is equally good with the dialogue always clearly audible. When Tom Cruise's rogue spy, Roy Miller, talks to the terrified fish-out-of-water June Havens (Cameron Diaz) whilst hanging onto the bonnet of her car, he is improbably easy to hear through the car windshield and over the gunfire and the traffic. This is stark opposition to the hyper-realist sound mixes used in films like 'Miami Vice' - and I for one welcome it.



It is also old fashioned in its use of stunt work and location shooting, with Tom Cruise clearly doing a lot of the motorcycle and sports car driving himself, over the streets of Austria, Spain and the US. There is undoubtedly a lot of CGI going on (clearly in the case of the plane crash and probably in the case of the Pamplona bull running sequence), but that doesn't detract from the immerse nature of many of the action set-pieces. Many of them are only a few notches more realistic than those in the recent 'A-Team' movie and they are a lot of fun. Mangold is also pretty brave in that he allows many bits of action business to occur off-camera (for instance when Diaz is unconscious). It is almost as if the director is admitting that it is immaterial how our heroes escape certain situations: we know that they will emerge victorious and it is as if we are simply being told to enjoy the ride.

There is also a good deal of chemistry between the two stars, re-united here after playing opposite one another in Cameron Crowe's 'Vanilla Sky' back in 2001. Cruise is good value, knowingly playing up to his current off-screen persona as slightly mentally imbalanced in a film that, for at least some of its running time, requires you to question whether he is a who he says he is, or, in fact, a dangerous fantasist. Diaz is fidgety, hyper-active and irritating, as ever, but she is not without a certain charm and seems to shine especially bright opposite Cruise. It is to the duo's credit that the film manages to survive some very cringe-worthy and cliché dialogue (notably when talking about their aspirations) down to the goodwill the pair engender.



There are also some decent supporting actors here, such as Peter Sarsgaard (last seen seducing Carey Mulligan in 'An Education'), who plays the agent assigned to apprehend the duo by any means necessary, and Paul Dano ('There Will be Blood', 'Little Miss Sunshine'), whose nervous, young scientist is probably the comic highlight (though that is mainly due to his ridiculous facial hair).

However, it isn't a perfect film by any stretch. John Powell's score is terrible, seemingly shouting "hey! It's a comedy!" during the fight scenes and announcing "hey! We're in Spain!" during the Pamplona action. A good score supports the on-screen action, whereas this one often works directly against it. There is also a nasty, generic Spanish-speaking villain, as has become recent Hollywood custom (notably in this summer's 'A-Team' and 'The Expendables'). It is also not a very humanistic movie, with Cruise murdering FBI agents everywhere he goes (which is apparently OK).

Much of the comedy falls flat, but in the end it is pretty good-natured, light-hearted action-adventure that wins the day. 'Knight and Day' is similar to 'A-Team', in that it is a loony action movie which doesn't take itself at all seriously. But 'Knight and Day' is much better made than that, has better visual effects and the action is directed far more coherently. It also has less plot exposition than any film this summer, which is also quite refreshing. It is no masterpiece and it isn't advancing the art of film making in any way - quite the reverse, 'Knight and Day' seems to look backwards to (dare I say it) a simpler time. But that is perhaps its single greatest feature. Perhaps because of this, it is also the best of the recent action rom-coms by some distance.

'Knight and Day' is rated '12A' by the BBFC and is out now across the UK.

'Gainsbourg' review: Fun, imaginative, but insubstantial...

Most comic book adaptations are pretty far removed from their source material. There are a few notable exceptions to this. Frank Miller was credited as a co-director, along with Robert Rodriquez, for the almost shot-for-shot 2005 adaptation of his comic book 'Sin City'. Similarly, Daniel Clowes worked closely with director Terry Zwigoff in 2001, co-writing the adaptation of his own 'Ghost World'. But otherwise comic book movies (as diverse as 'X-Men', 'The Road to Perdition' and 'V for Vendetta') are a separate animal, sometimes even disowned by the comics original creator (see any Alan Moore adaptation). Usually, the rights to make the comic are purchased by a studio and somebody unconnected to the material is hired to make a movie. Sometimes, as with most superhero movies, only the characters - and possibly their origins - are retained, the plot lines often differing wildly from anything in the comics' own continuity.



But in France, the home of auteur theory, a couple of quirky, creator-led adaptations have come to cinemas in recent years. In 2007 Marjane Satrapi co-wrote and directed the quite brilliant animated version of her graphic novel 'Persepolis'. And now Joann Sfar has written and directed a biopic of the legendary French singer-songwriter, Serge Gainsbourg, based on his own comic book. And, just like Satrapi's film, 'Gainsbourg' is highly stylised, playful and experimental whilst never straying too far away from reality. So when Guillermo del Toro regular Doug Jones turns up in a bizarre costume representing both Gainsbourg's self-image and on-stage persona, it doesn't seem out of place. Nor does it seem in opposition to the performances from many of the quirky and eccentric supporting players such as Yolande Moreau (who has a small role as the singer and actress Fréhel).

For fans of post-war French popular music, I am sure 'Gainsbourg' is a must-see film, featuring lots of musical performances and with actors playing various singers the 50s up to the 80s including France Gall, Boris Vian, Juliette Gréco, Les Frères Jacques and, of course, Jane Birkin and Brigitte Bardot. However, as I personally know very little about Serge Gainsbourg or the wider French music scene, 'Gainsbourg' proved a fairly frustrating film. It is episodic, taking us from Serge's childhood up to near the end of his life, hardly stopping for breath along the way. Everything is painted in broad brushstrokes, scenes are brief sketches and icons are played as icons rather than real people. It is a film about myths which simply serves to repeat them. There is certainly fun to be had here, but there is no insight to be gained. Those in the know might appreciate the lightness of touch on show here, but I for one needed more of a context for each (seemingly unconnected) event.



"How popular is he at this point?" and "How did he go from writing songs for cabaret acts to sleeping with Brigitte Bardot?" were among the questions I was asking which went unanswered. When a record producer tells Gainsbourg and Birkin (played ably by the British Lucy Gordon who tragically committed suicide soon after the production finished shooting) that their new single "Je t'aime... moi non plus" will spark mass controversy, we are never shown the results. Refreshing brevity for those in the know, perhaps, but I needed a bit more information. It is a film made for fans - and that's fine - but don't expect to find out anything you couldn't glean from the man's wikipedia entry.

The film does make a connection between the central figure's adoption of his stage persona and his growing up Jewish in Nazi occupied France, suggesting that a degree of self-loathing manifested itself as bombast sophistication and self-conscious elegance. This is conveyed via Doug Jones' absurdist caricature costume representations of Gainsbourg, which interact with the real, more introverted version of the man (played an uncanny doppelganger in Eric Elmosnino) as well as with the other characters in each scene, crossing a line between fantasy and reality. The childhood scenes, in which young then Lucien Ginsburg (Kacey Mottet Klein) is followed around by a huge, Nazi propaganda-inspired caricature Jewish head, are a real highlight.



But in the end it is very much the breezy and whimsical comic book movie version of this icon's life. Not without some arresting visuals, imaginative touches and stirring renditions of classic pieces of kitsch pop (the enthusiastic, up tempo recital of 'Baby Pop' is a highlight). Sfar's film is willfully enigmatic, like the man himself - and I am sure that was the intention - but ultimately it made me hungry for a more in-depth look at Serge Gainsbourg's life and career. Maybe this renewed interest is the film's real achievement.

'Gainsbourg' is still playing in the UK and is rated '15' by the BBFC. It is doing fairly well in the UK too, and is still hanging on in the top ten.