Talking Movies

September 25, 2015

Miss You Already

Toni Collette and Drew Barrymore are thirty-something BFFs whose bond is sorely tested when Collette’s reformed wild child loses her way while battling breast cancer. Here’s a teaser of my review for HeadStuff.org.

toni-collette-and-drew-barrymore-are-best-friends-in-miss-you-already

The film opens with a quick gallop through the lives of Milly and Jess, from Jess’ arrival as an American kid to an English school, to hanging out with Milly’s actress mother Miranda (Jacqueline Bisset), to being groupies until an unplanned pregnancy sees Milly marry roadie Kit (Dominic Cooper) and settle down to a PR career while Kit embraces the business side of music. Jess meanwhile works for a Green NGO and lives on a houseboat with Jago (Paddy Considine), a builder and oil-rig worker. And then Milly is informed she has breast cancer. So begins debilitating bouts of chemotherapy and the psyche-destroying hair-loss before the emperor of maladies unleashes the full arsenal of horrors. As Milly’s condition deteriorates it takes a heavy toll not only on her marriage, but also drives a wedge between Jess and Jago as Jago becomes increasingly aggrieved at IVF being put on hold for the sake of Milly; especially as Milly becomes increasingly unbearable.

Click here to read the full review on HeadStuff.org with Judd Apatow, Greta Gerwig, and Mia Hansen-Love in the mix.

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March 27, 2012

Top 5 Muse Soundtracked Film Scenes

(5) New Moon
‘I Belong to You’ is a great song, and Matt Bellamy even re-worked some elements of it for the purposes of this movie, but of all the films to waste it on… I don’t think I could ever stomach re-watching New Moon; with its endless moping by Kristen Stewart and its failure by Taylor Lautner to make any impression despite an ocean of screen time because his dialogue is so poorly written; even to enjoy hearing it.
 
(4) Eclipse
The throwaway nature of this usage of Muse is rather hilarious and is what makes it noteworthy. Director David Slade (former music videos lenser) puts the soaring track ‘Neutron Star Collision’ on a stereo in the background of a party scene so that Anna Kendrick can excitedly say ‘Oh, I love this song’, before the camera pans away from her to follow other characters away from the music and towards the actual dramatic purpose of the scene. Delightful.
 
(3) Southland Tales
Richard Kelly’s Southland Tales is a fascinating mess but it does have any number of memorable moments, and many of the best involve music: The Rock running scared to the surf version of the Pixies’ ‘Wave of Mutilation’, Justin Timberlake showily performing The Killers’ ‘All These Things That I Have Done’, and Muse’s magisterial ‘Blackout’ providing a suitably odd soundtrack to a scene where The Rock, Sarah Michelle Gellar and Mandy Moore clash at an opulent mansion.
 
(2) Twilight
The greatest cinematic game of baseball ever played sees the Cullen family take advantage of an approaching thunderstorm to hide the tremendous cracking sound made when a super-strong vampire batter hits a baseball thrown by a super-strong vampire pitcher. Thirteen director Catherine Hardwicke’s gritty films may make her appear miserable but soundtracking this with Muse’s incredibly funky (and allegedly a parodic attempt at doing a Britney Spears song) ‘Supermassive Black Hole’ shows a well cultivated sense of fun.
 
(1) Switchblade Romance
Alexandre Aja’s French shocker from 2003 has, for me, made the best use of any movie of Muse’s unique sound. Cecile de France, having been scared out of her wits while stealthily hiding from the psychotic trucker who has slain her friend’s family and kidnapped her friend, is reborn as an avenging fury when she roars off after him in a yellow sports car to the sound of ‘Newborn’ by Muse; escalating in as the car-chase proceeds.

July 2, 2010

Eclipse

David Slade, director of Hard Candy and 30 Days of Night, succeeds in returning some of Catherine Hardwicke’s viciousness to Eclipse but takes the romance tongue-in-cheek seriously…

The opening reinstates the nastiness that Hardwicke made so crucial in the first film by depicting a savage vampire attack that agonisingly turns new villain Riley. From there Slade alternates sappy romance with something that New Moon so badly lacked – a plot. The same plot broadly as the first film mind, killing spree heralds vampires heading towards Forks who target Bella, but a plot nonetheless. Slade gleefully ret-cons the vampires into ice-cold beings who shatter like glass when hit hard enough, which allows for decapitations aplenty with exploding heads and nary a drop of blood, and doesn’t make a lick of sense given that they mop up the red stuff, but why complain when it allows a lead vampire to very painfully lose an arm to a werewolf.

Slade also fleshes out the Cullens, giving Rosalie a chance to stop pouting and become a character by revealing her back-story. The real revelation though is Jackson Rathbone as Jasper who after doing a Harpo Marx impression for two films is finally given dialogue and, in revealing his Civil War past in Texas and his experience in training newborn vampires, turns out to be ridiculously charismatic. He’s matched by Xavier Samuel as Riley, who raises an army of insanely destructive newborn vampires that cause such mayhem in Seattle that sinister vampire overlords the Volturi dispatch Jane (Dakota Fanning) to kill them. Whisper it, but Fanning displays an un-nerving flair for sadistic villainy – far surpassing Bryce Dallas Howard’s underwhelming cameo as Bella’s vampire nemesis Victoria – with one moment in particular almost an exorcising of her past career.

Such almost fourth-wall breaches litter Eclipse as Slade is aware that these characters have taken on a life outside their fictional framework. When a hypothermic Bella needs to be warmed up and over-heated werewolf Jacob tells Edward “We both know I’m hotter than you”, you almost expect both actors to look directly at the audience and then return to the scene. Slade knows that teenage girls will wildly cheer Jacob’s first appearance and his first shirtless scene, especially Edward’s reaction by engaging in an epic make-out session with Bella. It is hard not to suppose that Slade and his writing associate Brian Nelson did a dialogue polish as there are tart put-downs at all these moments which make Taylor Lautner’s Jacob a more sardonic and charismatic presence here than in the previous film despite having less screen-time and also give Robert Pattinson something to play other than brooding. New Moon was unintentionally funny in its awfulness but Eclipse’s intentional comedy reaches exquisite heights in a scene when the always droll Billy Burke as Bella’s father tries to discuss accidental pregnancy with Bella while they both die of embarrassment.

Reviewing the performances of Pattinson and Lautner is of course redundant and it could be argued that the unashamed objectification of them is a positive development, but, this conflict between a dependable pretty boy and a moody pretty boy was done far better in seasons 2 and 3 of Gilmore Girls, which only highlights the enormous problem that is Bella Swan. Kristen Stewart’s original turn masked the fact that Bella is a bafflingly anaemic heroine, the super-massive black hole at the heart of the Twilight phenomenon, whose passivity, immaturity and self-pitying and self-destructive nature would drive Sarah Connor, Ellen Ripley, Scarlett O’Hara and Veronica Mars around the bend…

This surpasses New Moon but favourable comparisons to that are like saying fewer people died when the Lusitania sank than when the Titanic went down. Eclipse isn’t as good as Twilight but it’s a qualified success as a horror film spliced with a romance that needs to wink at the audience. But when a romance needs to wink at the audience it means that you’re liable to spend as much time anthropologically observing the audience’s fevered reaction to the movie as actually watching the movie.

3/5

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