Talking Movies

April 21, 2018

From the Archives: 27 Dresses

The second deep dive into the pre-Talking Movies archives finds a review which gets quite thoroughly side-tracked by James Marsden.

This film is meant to be about perennial bridesmaid Jane Nichols in her quest to finally be the one walking up the aisle at her 28th wedding. Katherine Heigl though is, surprisingly, too bland in the lead to hold our attention so it should really be titled Everything Goes Right for James Marsden. If you’ve been following the career of poor Marsden you will have seen him lose the girl to Wolverine and Superman and get stitched up royally by Lena Headey in Gossip. 2007 represented something of a breakthrough for Marsden as he managed to at least not get screwed over in Hairspray before in Enchanted he finally got a girl…not the girl admittedly, but still it was one more girl than he’d managed to get up to that point. Now finally Marsden appears in a film where the script’s structure makes it clear that, barring genre-bending catastrophes, he has to get the girl.

27 Dresses won’t change the world of romantic comedies but it lacks any bite whatever. Marsden, a cynical reporter stuck in a hellish job writing romantic froth about society weddings, meets lovelorn PA Jane. They, of course, don’t get on. He steals her appointments book to check his hunch that she’s a wedding junkie and so writes a story about her 27 weddings as bridesmaid/fixer. Aline Brosh McKenna, the screenwriter of The Devil Wears Prada, disappointingly forgets to bring any of that film’s acerbity to this script. Judy Greer does her best to have some fun with her role as Jane’s best friend, traditionally the role in romantic comedies that actors enjoy playing the most, but her bitchy lines aren’t a patch on Emily Blunt’s equivalent repartee in Prada. Sadly this film just lacks any pizzazz. Marsden who romped his way through Enchanted is having noticeably less of a good time here.

Perhaps he’s subdued by the presence of Malina Akerman as Jane’s obnoxious sister, who immediately snares Jane’s boss (Edward Burns-sleepwalking his way towards his paycheque) and asks Jane to be her bridesmaid and plan their wedding, ending all hope of Jane finally consummating her unrequited love for him. Akerman has appeared in some of the worst films of the past year, The Invasion, The Brothers Solomon, and The Heartbreak Kid and has one of the most grating screen presences imaginable. Theoretically pretty in a square jawed blonde sort of way she just lacks any sort of charm to make an audience care about her character’s various humiliations in this film, actually we cheer them on! Marsden is having some fun but 27 Dresses is just curiously anaemic as a romantic comedy. The funniest sequences involve montages of Heigl at various weddings which set up the closing visual gag which is sweet and funny but this is really one for Marsden completists only.

2/5

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April 20, 2018

From the Archives: Juno

In the first in a series delving into the days before Talking Movies proper, here’s the first review I sent to Dublinks.com 10 years ago.

Juno, despite the plethora of Oscar nominations, is a good film with a great central performance rather than a truly great film. First-timer writer Diablo Cody’s script is full of sharp one-liners, most of which are delivered by Ellen Page, the eponymous heroine who becomes “a cautionary whale” at her high school after accidentally getting pregnant. Juno decides to have the baby and give it up for adoption. The unlikely father is Superbad’s Michael Cera, a diffident member of the school athletics team. (As Juno’s father quips “I didn’t think he had it in him!”) The problem with Juno is that much like director Jason Reitman’s previous film Thank You for Smoking it’s highly enjoyable but quickly fades in the memory as you forget all the barbed lines of dialogue.

20 year old Ellen Page deserves the enormous praise she’s receiving as she mordantly carries the entire film as the prematurely jaded, wisecracking Juno McGuff. This role is a worthy follow up to her incendiary turn in 2006’s Hard Candy. Someone really should remake The Big Sleep with Page as Phillipa Marlowe because on the evidence of this she could Bogart her way through anything… Reitman assembles a great cast around Page but Jason Bateman and Jennifer Garner stand out as the highly strung yuppie couple that Juno picks to be the adoptive parents of her child. They might be a bit too desperate for children to actually be good parents while Bateman’s Mark might get on just a bit too well with Juno. ‘Might’ is the operative word though, because it’s refreshingly impossible to tell where everything is going.

The script constantly subverts expectations. Even Spider-Man star JK Simmons is required to actually act for the first time in ages rather than bark insults and chew scenery, his Mr McGuff is quietly depressed by his daughter’s predicament. Juno is not as funny as Superbad but what it lacks in laughs it makes up for in charm, from the indie soundtrack to the quirky animations that indicate the progression of the pregnancy and Reitman’s audacious decision to end the movie with a DIY musical number. This is an indie delight.

4/5

April 18, 2018

Any Other Business: Part XV

What is one to do with thoughts that are far too long for Twitter, but not nearly long enough for a blog post. Why round them up and turn them into the fifteenth portmanteau post on television of course!

His Faults Are Legion

Decorum is important. So is the stylistic and aesthetic goal of urbanity. One might go so far as to call it an ethical goal too. But then Legion season 2 hoves into view… I had never seen any of Noah Hawley’s Fargo TV show, but I tuned into season 1 of Legion because it starred Dan Stevens and Aubrey Plaza, who have featured prominently hereabouts in best acting nods. 3 episodes in, my notes were: “great verve with music, offbeat as hell, style to burn – literally nothing has happened”. That was a fair judgement. Because, despite highlights such as Plaza shouting “Unhand the reptile, space captain!”, this is an FX show where the only FX are the cable logo. It’s like all the money for action was spent on the pilot, and Hawley was left wondering how to hide its absence for the remainder of the episodes. His solution? Take Wes Anderson’s X-Men to heart, apparently. Almost zero content was hidden with funky stylistic affectations, endlessly repeated scenes, and an industrial quantity of psychobabble. When you see as many analysis and interrogation scenes as in this you can be sure something has gone badly wrong in the writers’ room. This is a show pretending to be deep and smart that is in fact entirely empty, and incredibly slow-moving and boring. Even Dan Stevens’ charisma wilts under the strain, Plaza alone remaining undimmed by the tedium to the end. And then there’s the pretension to high art and social conscience with the ‘treatment of mental illness’. … The only reason this show exists is because he does have superpowers. Pretending that it’s a serious treatment of schizophrenic delusions is tacky and almost irresponsible. I will not be watching season 2 because I have rarely seen a show disappear up its own arse so quickly, Sherlock at least took three seasons. Apologies for failures in decorum and urbanity.

 

Photo by Virginia Sherwood/NBC

“I could wear a hat!”

Among the many pleasures of Blindspot is Ennis Esmer’s recurring character of Rich Dotcom. Who has managed in season 3 to pull off to a degree what he was proposing in season 2 when he memorably pitched the characters of Blindspot the set-up of The Blacklist, with himself in the Red Reddington role of super-criminal CI; hence his desperate final touch as he was led back to prison – “I could wear a hat!”

 

It Never Got Weird Enough For Limitless

I caught the The Bruntouchables episode of Limitless on RTE 2 last night, not long after star Jake McDorman was interviewed eating al fresco in Cork by an RTE presenter apparently unaware this charming American was an actor. The sheer barrage of whimsy, madness, and fun that is Limitless made me recall what in retrospect seems a huge blunder that at the time was not obvious at all. On its initial run on Sky the episode with Pulp Fiction style chapters following different characters ended on Hill Harper’s Boyle, and with minimal dialogue in these scenes we were instead given an Emma Thompson-Stranger Than Fiction-style voiceover about his activities. Unusual, but hardly crazier than most of the show’s conceits; after all shortly after my sketch about its creator Sweeny and Elementary show-runner Robert Doherty surreptitiously ghost-writing the end of Game of Thrones by recording a drunk George RR Martin, Limitless travelled to Russia and a key plot point was getting George RR Martin on the phone to narrate the end of Game of Thrones. It was only later that I suddenly wondered, what if there wasn’t supposed to be an Emma Thompson-Stranger Than Fiction-style voiceover for that final chapter? What if someone had accidentally turned on audio description while flicking switches to go to ad break? Stranger things have happened… But it says something for Limitless that something so bonkers could seem unremarkable.

April 10, 2018

What becomes a Christie most?

Can the melancholic approach taken in Murder on the Orient Express work for a proposed Death on the Nile sequel?

I was quite surprised by the melancholic tone of Branagh’s first Poirot outing, but that, more than anything else, even his energetic performance as an exacting, physical Poirot, was what made the film work. And with a 350 million return on a 55 million budget it is inevitable that the sequel set up in its final scene will happen – Death on the Nile. Discussing this prospect with occasional co-writer Friedrich Bagel (which I still strongly suspect of being an assumed name) he opined that it would be better to go for a Christie mystery that has not been filmed, like The Mysterious Affair at Styles or The Murder of Roger Ackroyd. Sadly, I opined right back, two things stand in the way of that – people would riot in their cinemas at the finale of Ackroyd, and marketers would riot in their boardrooms at the prospect of actually having to do their job rather than utilise the name recognition of already beloved properties. Alors, Nile

One hopes that someone in Burbank isn’t thus scrolling through Peter Ustinov’s IMDb profile. Ticking off Evil Under the Sun and Appointment with Death as the final entries in the Branagh Poirot quadrilogy, sneakily noting Thirteen at Dinner, Dead Man’s Folly, and Murder in Three Acts as potential TV specials to cross the street with to HBO if the Branagh Poirots hit a wall at the box office, or God help us looking about for young Branaghs for a potential prequel Mysterious Affair at Styles. We know that Michael Green will again be adapting Christie’s novel for Branagh to star and direct. Reviewing Murder on the Orient Express back in November I noted that Green redeemed himself from the double whammy disasters of Alien: Covenant and Blade Runner 2049 with his melancholic interpretation, which saw Branagh and composer Patrick Doyle render the murder almost as a mourning ritual. But that card can only be played once, leaving an obvious possibility that will annoy the purists.

That card is the trump that left the London Times spitting blood this Easter weekend when the BBC changed the identity of the killer in Ordeal by Innocence. It’s impossible to change the killer in Murder on the Orient Express, and one would think the same applies to Death on the Nile, but a severe rewrite (in the order of the tortures visited upon Stoker for Laurence Olivier’s Dracula) could yield anything. It is disconcerting when screenwriters assume they know better than the Queen of Crime who done it, but then there is a general tendency to sniff at Christie’s writing as being mere three-card-trick-plotting, overlooking some wonderful sly comedy as well as much darker effects of suspense, paranoia, and cynicism in The Hollow and And Then There Were None. No, if Green were to change the identity of the killer in Death on the Nile it wouldn’t be totally inadmissible, but it would be a hefty task of rewriting to keep Christie’s logic intact.

It is a matter of opinion that the melancholic card can only be played once. Green’s invented character arc for Poirot, where he admits shades of grey into a Manichean worldview is similar to the moral agony endured by Suchet’s Poirot on the same case. But Suchet’s crisis was explicitly Catholic while Branagh’s was, predictably for Hollywood, a crisis in the secular Markwellian ethics of consistency; allied to the writing of Poirot’s OCD as the scrupulosity of consistency in all things. (Although I vigorously object to the tendency to dub any and all devotion to precision as OCD, rather than, say, a devotion to precision.) I hold that the senseless murder of a kidnapped child naturally occasions a melancholic atmosphere in a way that a twisted love triangle climaxing in slaughter does not, but as Green threw out large chunks of plotting and minutiae to focus on a mood, it would not be outrageous to think he could do much the same thing for Nile.

Bagel took me to task for harping on Branagh as a physical Poirot, declaiming that Poirot was a policeman so he should be able to chase people, and that Christie herself admitted she’d blundered with his age, being retired in 1920 he would be 105 when solving crimes in 1960s Chelsea; a mistake akin to PG Wodehouse initially locating Blandings Castle damnably far from London for later plotting purposes. I retorted that Branagh’s physicality distinguishes his interpretation. Peter Ustinov naturally brought a raconteurish quality, and his bumbling was a play on how Christie made Poirot exaggerate his foreignness to trick villains into complacency. Suchet, lacking that flaneuring spirit, emphasised Poirot’s prim and proper sedentary use of the little grey cells; more true to the retired from active duty to pure consultation of Christie’s first forays with the detective. Branagh takes some of the fire from Suchet’s Poirot, indignant at evildoers expecting to get away scot-free, and makes his Belgian less retiree, more Fury at large.

To end where we began Herr Bagel wrung his hands that there is no decent actor who can play Hastings, the Watson to Poirot’s Sherlock, without being ‘annoying’. Hugh Fraser was perfect in the part for ITV, and, by indirect associations; he had previously played a villain in Edge of Darkness, he was tall where Suchet was small; I led myself to the only candidate (sic) for the part – Toby Jones. Who, by good fortune, was recently in Witness for the Prosecution for the BBC, and previously played opposite the great David Suchet on ITV’s Murder on the Orient Express. Branagh is Poirot, Jones is Hastings, the sun is high, the Nile water deceptively calm…

April 5, 2018

1994

Filed under: Talking Movies — Fergal Casey @ 6:29 pm

Credit: [ JERSEY FILMS / THE KOBAL COLLECTION ]

The Approach

Filed under: Talking Theatre (Reviews) — Fergal Casey @ 6:29 pm

Mark O’Rowe returns as both playwright and director with his first new play since 2014’s Our Few and Evil Days and it’s another intricate puzzle.

Cora (Cathy Belton) hasn’t seen Anna (Aisling O’Sullivan) for a while when they meet for a coffee. This is a recurring theme. Later Cora hasn’t seen Denise (Derbhle Crotty) for a while when they meet for a coffee. And when Anna and Denise finally meet for a coffee neither has seen Cora for a while. An awful lot of coffee might be drunk but this is not a physically rambunctious play, for all that chairs are hanging in mid-air like they’d been flung at the ceiling. The sisters Anna and Denise are estranged and Cora is engaged in the tricky task of trying to remain friends with both of them, and the even trickier task of maybe pushing them towards rapprochement. Although maybe that’s not what she’s doing, maybe she’s the source of their estrangement. This is O’Rowe after all.

It’s hard not to feel that O’Rowe is playing the same three card trick he successfully pulled off with Our Few and Evil Days.

3.5/5

 

 

March 27, 2018

1988

Filed under: Talking Television — Fergal Casey @ 6:30 pm

March 23, 2018

Alex and

Gorgeous Theatre follow last summer’s largely wordless debut production June with a talkative show that is easier to describe yet a far more ambitious enterprise.

download

There are routines that by dint of ecstatic repetition ascend to ritual, like the Shah in John McGahern’s final novel transforming each day into the same day. Then there are routines that go directly into a rut. Alex (Helen McGrath) is stuck in a rut. She enjoys going to shows with Friend (Ciaran Treanor), is in love with Partner (Andrea Bolger), and has a long-suffering closeness to Parent (Amy Kellett). But the repetitive nature of her life is beginning to bring her down. Every bloody day it’s breakfast, work, home, something, something, sleep alone – rinse and repeat. As Alex starts to buckle under routine she increasingly resents the emotional demands of others and alienates them. But as the people in her life strike their names out from the blackboard of her world can she pull herself back from the brink?

The Teachers Club is a small playing space, but writer/director Noel Cahill used it with some panache; by the end the stage was as littered with detritus as at the close of many an Enda Walsh play. Walsh was in the air as Alex’s implosion due to the mundanity of life was reminiscent of a character’s suicidal wishes in The Last Hotel because people were making (ordinary) demands of her. There was also the physical business of making breakfast more efficient by just pouring cereal into Alex’s open mouth and then adding milk, and the thoroughly unexpected trio of musical numbers (courtesy of Enda Cahill) extolling the most important meal of the day; the first a solid show-tune, the second a hysterical gangsta rap performed with gusto and admirable deadpan as to its absurdity. But where there’s Walsh there’s Beckett.

4/5

March 15, 2018

A Cambodian Spring to hit Irish cinemas

Irish Director Chris Kelly’s award-winning documentary ‘A Cambodian Spring’ has been confirmed for release in cinemas across Ireland from 4th May.

Little Ease Films and Zanzibar Films have announced that Eclipse Pictures will release their Award-winning documentary ‘A Cambodian Spring’ in Irish cinemas from 4th May.  Winner of the Special Jury Prize at the 2017 Hot Docs International Documentary Festival, winner of Best Documentary at the Brooklyn Film Festival and nominated for Best Feature Documentary at 2018 Irish Film & Television Awards, the critically-acclaimed film has gone on to win a slew of other awards and feature in many other film festivals around the world. A Cambodian Spring is an intimate and unique portrait of three people caught up in the chaotic and often violent development that is shaping modern-day Cambodia.  Shot over 6 years, the film charts the growing wave of land-rights protests that led to the ‘Cambodian Spring’ and the tragic events that followed.  This film is about the complexities – both political and personal, of fighting for what you believe in.

Director Chris Kelly said: “After more than nine years in the making, I am thrilled that A Cambodian Spring will have its Irish theatrical release on the 4th of May.  The film has been a huge labour of love for me, and I hope that the passion and care that went into making it comes through to the Irish audience and creates a memorable experience. A Cambodian Spring is for me a deeply personal film.  It is an exploration of what motivates us, what gives our lives meaning, and what happens when our personal desires colour and shape our actions.  It is an unapologetically subjective portrait of my time in Cambodia, of the people who shared their lives with me and of the shifting landscapes, both physical and emotional, that I found there.  There is a powerful original score by acclaimed electronic musician James Holden, whose soundtrack perfectly complements the decaying landscapes of the film.”

Edwina Forkin of Zanzibar Films said “It has been a pleasure to be involved with Chris Kelly for the last nine years on A Cambodian Spring and see him realise his film and pick up rave reviews and awards which are all well deserved.  Zanzibar’s involvement was to support the vision of Chris Kelly on his journey to help document and give a voice to tell the story of the injustice against this community in Cambodia.  We are very grateful to the support of Northern Irish Screen and The Irish Film Board as without this support this documentary would not have been made!”

Little Ease Films is an award-winning production company specialising in feature documentaries and video journalism.  Working for the Guardian, Al Jazeera, AFP, France 24, and others, film-maker Chris Kelly has produced award-winning documentaries, photographs, and video journalism on topics ranging from slavery in the Thai fishing industry, to the Rohingya refugee crisis, to rebel armies in South Sudan, to land grabs in Cambodia.

For more information on the film please visit: http://acambodianspring.com/

 

Here’s a full list of the movie’s awards and nominations:

AWARDS:

Awards Hot Docs International Documentary Festival, May – Winner Special Jury Prize (Canada)

Brooklyn Film Festival, – Winner Best Documentary (USA)

Cambodiatown Film Festival – Winner Best Documentary (USA)

DocsMX International Doc Festival, (Mexico) – Winner Jury Prize

Watch Docs Festival, December (Poland) – Special Mention

 

One World Media Awards – Shortlisted for Feature Documentary Category

Irish Film & Television Awards – Nominated for Best Feature Documentary 2018

Social Impact Media Awards – Special Mention – Feature Documentary Category

March 12, 2018

Run now, to ITV 4, and watch The Avengers in colour!

Filed under: Uncategorized — Fergal Casey @ 8:52 pm

In Colour! Sorry. They do like to point it out though. And also change colourful clothes every other scene to showcase the full spectrum of 1967’s new colour broadcasting technology. The real reason you should watch is because season 5 is so damn good. Tune in tomorrow evening and you will see a superlative episode starring alongside Patrick MacNee and Diana Rigg the following greats: Brian Blessed, Charlotte Rampling, Donald Sutherland.

Season 5 is the season where every cold open is followed by Steed alerting Mrs Peel to the fact that they’re needed in some absurd fashion.

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