Talking Movies

June 8, 2018

Trailer Talk: Part IV

In an entry in this sporadic series I round up the trailers for some of this autumn’s most anticipated films.

Bad Times at the El Royale

Buffy the Vampire Slayer great Drew Goddard returns to the director’s chair, and he brings his Cabin in the Woods star Chris Hemsworth with him for what looks a lot like a glorious cameo as the villain. I fear the trailer may give away a bit too much regarding the nefarious folk that hang out at the El Royale and the bad times that go down there, but Goddard has an undeniable flair for comedy and has assembled a terrific cast of newcomers and established stars. There are echoes of The Cabin in the Woods in the notion that characters who think they’re doing their own thing are being watched and manipulated by a mysterious management. It’s also hard not to wonder if Hemsworth might be playing a Charles Manson type, given the setting, and that Manson seems to be in the air in Hollywood as the 50th anniversary of the Helter Skelter massacre approaches. Let us see what mixture of comedy and gory bombastic deeds Goddard has produced.

The Girl in the Spider’s Web

Rooney Mara does not return. Claire Foy is now Lisbeth Salander. David Fincher also does not return. Fede Alvarez is now David Fincher (sic). And, stunningly, Stieg Larsson does not return. Fede Alvarez and others are now writing for him. So, 2 films in and this has turned into the James Bond juggernaut; where the creatives are easily replaceable and only the original author’s title or some riff on it survives the adaptation process. I had always wondered how they would solve the problem of the supervillain Niedermann that Larsson unwisely introduced into his later novels; a man part Hulk and part Wolverine inserted in a previously grimly realistic universe. Little did I suspect the solution would be throwing away those two novels… Alvarez and Foy are both great, but the firing of Mara and Fincher to make way for them leaves a sour taste that may be impossible to overcome; especially as the Salander as avenging angel motif is clumsily played up so astonishingly literally in this trailer.

Under the Silver Lake

And David Robert Mitchell is cutting his film, after a brutal reaction at Cannes. Nobody should ever do anything based on brutal reaction at Cannes. Nobody should do anything based on reaction at Cannes. The worst films get lauded and the best films get crucified in that unnatural atmosphere, and the world is the poorer for it when this forces changes. Let’s not forget people at Cannes booed The Neon Demon.

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September 2, 2016

It’s just me and my drone

While watching three different BBC documentaries recently I was struck by the unusually expansive quality of their aerial photography; and then realised they were all using drones.

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The first documentary was Simon Reeve’s travelogue in Greece, in which elaborate pull-out shots of mountainous Greek landscapes seemed to come from nowhere; starting too close to Reeve to be a zoom from a helicopter, but ending up too far away to be a crane shot. They were of course drones, and Reeve even made the drone the centre of attention when he and its operator jumped out of a van in a salubrious part of Athens and surreptitiously sent their drone straight up to see how many of the local worthies were cheating the government of tax by pretending they didn’t have a swimming pool when there were clearly nearly twenty in the drone’s frame. Such guerilla tactics would make Werner Herzog proud, and of course Herzog has employed drones himself; nearly making everyone sick in Cave of Forgotten Dreams 3-D by flying from a vineyard up to the titular site. But drone technology has developed since Herzog’s 2010 shoot.

Brian Cox’s recent Forces of Nature loved nothing better than tracking Cox from a hundred feet above as he walked along English beaches or Icelandic glaciers, and the images were startlingly good. Whereas Herzog’s drone imagery was disjunctive, Cox’s drone imagery was notable only for the style it employed, not for any difference in quality to more traditionally mounted cameras. One of those signature styles was a reprise of the Reeve special, narrating to the camera which suddenly tumbles back in space and reveals itself to now be airborne and the narrator standing near the edge of a Greek valley or the white cliffs of Dover. Peter Barton’s The Somme From Both Sides deployed its drone in a related manner to great effect. At a fraction of the hassle of using a crane camera Barton delivered his narration to a drone which then swooped upwards to reveal the landscape beyond him, so that we went from a trench’s view of the battlefield to an aerial vantage point in seconds. This was tremendously effective in conveying why the Germans made the Somme so bloody for the British; from the trenches you miss the obvious differences in height over the wider landscape which the Germans consistently put to work in their defensive strategy.

But can advances in drone technology and falling drone prices make for a new cinematic aesthetic? David Fincher in Side by Side notes that he was able to place a camera in a boat for a sequence in The Social Network because of how lightweight a digital camera could now be. If a drone camera needing only one operator can achieve a shot that would have taken Orson Welles days to prepare for with the technology of his time then could we be in for a new avalanche of style in indie movies? If someone wants to achieve the isolating effect of the pull-out from Gary Powers in the dock in Bridge of Spies they don’t need the resources of a Spielberg, they could just hover their drone and then fly it away and make their low-budget drama suddenly seem incredibly slick. Forget filming your movie on your iPhone like Tangerine, imagine sitting in the IFI’s smallest screen watching a low-budget film in which unknown actors look out a window when the camera suddenly pulls away from them and keeps on retreating, observe them fading away into irrelevance as just some of the people with stories in this city.

The Drone Aesthetic.

November 13, 2015

Steve Jobs

The Social Network screenwriter Aaron Sorkin returns to the well of abrasive tech innovators for an unconventional biopic of Apple main-man Steve Jobs.

Steve-Jobs

We first encounter Jobs (Michael Fassbender) backstage at the launch of the Macintosh in 1984, pushing Andy Hertzfeld (Michael Stuhlbarg) to do the impossible: fix a glitch within 40 minutes so that during the demo Jobs can make the computer say a cheerful ‘Hello’ to accentuate its friendly design. Meanwhile marketing maven Joanna Hoffmann (Kate Winslet) is trying to contain another potential PR disaster, as backstage also lurks Jobs’ ex-girlfriend Chrisanne Brennan (Katherine Waterston) and their daughter Lisa (Makenzie Moss); who Jobs refuses to acknowledge despite all evidence to the contrary. Throw in Steve Wozniak (Seth Rogen) also jumping into the fray to beg Jobs to acknowledge the work of the Apple 2 team and it’s little wonder Apple CEO John Sculley (Jeff Daniels) feels the need to descend from Olympus to make sure that Jobs is calm enough to wow the audience. And that’s just the first of three product launches…

The unusual structure of Sorkin’s adaptation of Walter Isaacson’s biography of Jobs works tremendously well, even if its central conceit is mischievously acknowledged in-camera on the third go-round, “It’s like 5 minutes before every product launch everyone gets drunk in a bar and decides to tell me how they really feel about me.” We watch the same characters recur, arguing about the same things in different guises, and the cumulative effect is akin to a super-sizing of Sorkin’s most theatrical television episodes; like The Newsroom season 3 episode about ethics. Danny Boyle has spoken of not wanting to get in the way of Sorkin’s script, but his shooting in different formats for each act emphasises the passage of time and really makes us feel, as much as Mia Hansen-Love’s Eden, that we are watching a life unfold.

Watching a life unfold entails a great deal of sadness, a feeling of squandered potential and missed opportunities hangs over the third act as much as triumphant themes of resurrection and redemption. (Which also features an amazing unintentional [?] meta-moment where Fassbender critiques 39 images of a shark, as if searching for a secret self-portrait.) Boyle and Sorkin mesh in a way that makes them a more obvious fit than Sorkin and Fincher. There is a fundamental optimism to both as artists that when combined with Fassbender’s irrepressible warmth makes Jobs very different to Jesse Eisenberg’s Zuckerberg. Jobs says horrible things, but the Woz will always have a free pass, and Sorkin’s Zuckerberg would never proffer the quasi-apology quasi-motivator “I’m poorly made.” Steve Jobs, despite being filled with cruel zingers, is ultimately summed up by Daniel Pemberton score: rudimentary digital beats that evolve into something rousing and deeply human.

Startling footage from the late 1960s shows Arthur C Clarke describing the world we live in today. Sorkin puts both sides of the case regarding Jobs’ importance in achieving that vision, but Boyle and Sorkin have achieved something great themselves.

5/5

April 16, 2015

Hedda Gabler

Director Annabelle Comyn reunites with her The Talk of the Town leading lady Catherine Walker for Mark O’Rowe’s new version of Henrik Ibsen’s 1891 classic.

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Hedda Gabler (Walker) returns from a six-month honeymoon with husband Jorge Tesman (Peter Gaynor), who has tried her patience with research trips to libraries. But at least in libraries she didn’t have to endure Tesman’s beloved Aunt Julle (Jane Brennan) or maid Berte (Deirdre Molloy). Life in this new house looks set fair to be awful, apart from the visits of her former lover Judge Brack (Declan Conlon), and then the forecast gets even stormier. Former schoolmate Thea Elvsted (Kate Stanley Brennan), who Hedda despised, arrives desperately seeking Ejlert Lovborg (Keith McErlean). Hedda is initially intrigued, Lovborg being a lover she’d once threatened to shoot, but then quickly appalled when Brack reveals Lovborg’s new-found sobriety has enabled him publish a book so acclaimed he may pip Tesman to the professorship he was promised, and so ruin Hedda’s prospect of prosperity.

O’Rowe’s version brings a Mametian sensibility to bear on Ibsen’s dialogue, which suddenly erupts in overlapping, interruptions, and back-tracking. He also dials down the black comedy that Brian Friel memorably mined from the script. O’Rowe’s Hedda Gabler remains darkly humorous, but not as riotously funny as Anna Mackmin’s production of the Friel version I saw in the Old Vic in 2012. Half the fun of seeing the classics is seeing how different elements are highlighted by different productions. Peter Gayor is very impressive as Tesman. Whereas Adrian Scarborough rendered Tesman a joyous figure of fun, childlike in his enthusiasms and disappointments, Gaynor makes Tesman comically oblivious to Hedda’s pregnancy, but a serious academic whose conscience-stricken anger is sincere and fiery. Darrell D’Silva Fassbendered as a thoroughly roguish Brack, whereas Conlon renders him as a droll, urbane, and, eventually, inert presence.

The performances follow the version: where Daniel Lapaine emphasised the depraved menace of Lovborg, McErlean is a chastened, sensitive presence as the academic in search of redemption. Sheridan Smith brought her comedy chops to bear on the part, but Walker’s Hedda is a more tragic figure. O’Rowe’s provocative addition that everything she touches ends up “grotesque, vulgar, and f****** farcical” underscores her exhaustion at the bourgeois world she’s trapped in despite her best machinations. Comyn’s regular set designer Paul O’Mahony eschews his usual impressively realised sets and places the furniture of a drawing room centre-stage, with free-standing doors delineating where an imaginary garden and hallway exist on either side. It’s reminiscent of the nightmare of an open-plan house in the finale of Fincher’s Dragon Tattoo movie, and makes lighting designer Chahine Yavroyan’s ‘sun’ streaming in from the garden particularly striking.

The backdrop is a giant video screen on which Hugh O’Connor’s images and sounds, which fatally reminded me of U2’s ZOO TV, appear during scene changes. Perhaps it’s the white noise inside the head of Hedda? Who knows? Par the poster where Hedda sits on a chair under a plastic cover, no matter how well we can see Hedda, we can never see her clearly. O’Rowe’s version hammers home that Hedda is not as brilliant a manipulator as she thinks: she has been trapped in this house by an idle remark, just as an impulsive gesture with Lovborg will trap her. And the gesture which she thinks secures her position as a professor’s wife backfires spectacularly as this production makes it plain that Thea is the perfect wife for an academic, and her seriousness is the perfect match for Tesman.

Annabelle Comyn draws impressive performances from her cast as always, but she also zips the action along as Hedda is brought low by her own headstrong nature; rendered on farce and tragedy’s uneasy borderline.

4/5

Hedda Gabler continues its run at the Abbey until May 16h.

January 27, 2015

Top Performances of 2014

As the traditional complement to the Top 10 Films, here are the Top Performances of 2014. The refusal to isolate single winners is deliberate; regard the highlighted names as top of the class, the runners up being right behind them, with also placed just behind them. They’re all superb performances.

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Best Supporting Actress

Patricia Arquette (Boyhood) Arquette’s character grows older but not wiser, instead we see her becomingly increasingly brittle as even she realises that she’s sensible about everything except her romantic choices.

Carrie Coon (Gone Girl) Forming a great double act with Ben Affleck, Coon broke out from theatre with a glorious turn as his twin sister– the foulmouthed and spiky voice of reason.

Jennifer Lawrence (American Hustle) Lawrence was perhaps too young for the part, but she played it with such comic panache that her sporadic appearances energised an overlong film.

Runners Up:

Maggie Gyllenhaal (Frank) Gyllenhaal was pitch-perfect as scary obscurantist Clara, with wonderful nuance in the slow reveal of how such off-kilter music bonds her and Frank’s damaged and isolated psyches.

Mackenzie Foy (Interstellar) Foy was bright, furious, and resentful, and blew Jessica Chastain off the screen as the younger iteration of their character, the indomitable Murph.

Sarah Paulson (12 Years a Slave) Paulson’s casual brutality towards slaves was deeply shocking, but her horror at being replaced sexually by a slave subtly underscored her menace.

Also Placed:

Amber Heard (3 Days to Kill) Parodying her hyper-sexualised persona (The Informers) Heard, in leathers and wigs, flirted with burlesque girls and sexualised both driving fast and injecting medicine.

Joey King (Wish I Was Here) Pitted against Zach Braff’s glibly sarcastic agnosticism the sincerity of King’s adherence to Jewish faith, language, and cultural identity blew him off the screen.

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Best Supporting Actor

Jared Leto (Dallas Buyers Club) His character’s drugs spiral, even as his friendship with Ron becomes beautiful, was extremely moving, with his fierce commitment extending to deliberately ravaging his appearance.

Michael Fassbender (12 Years a Slave) His vicious bible-thumping alcoholic was terrifying, but also complex; slaves are either sub-human or masters are guilty, and Epps is self-destructing from mercilessly exploiting his slaves.

Ethan Hawke (Boyhood) Hawke physically filled out in a career-best performance of serious comedy as deadbeat dad whose rebelliousness was an affectation thrown off for mellow acquiescence with the world.

Runners Up:

Andrew Scott (The Stag, Locke) Scott was their sole highlight: his Locke vocal performance exuded excitability and exasperation, while Davin was a man fatally wounded by romantic rejection being tortured some more by his ex-girlfriend.

Killian Scott (Calvary, ’71) His Calvary misfit Milo was dementedly funny in rambling frustration, and he so transformed into ruthless IRA leader Quinn that he seemed not only older and tougher, but almost taller.

Zac Efron (Bad Neighbours) Efron’s previous subversions of his image were nothing next to this jackpot: his squeaky clean looks have never been put to such diabolical and hilarious use.

James Corden (Begin Again) Corden not only frequently gave the impression that he was ad-libbing great comedy moments, but also that he was improvising Knightley into unscripted corpsing bonhomie.

Dave Bautista (Guardians of the Galaxy) Bautista took what could have been a tiresome running gag and instead by dedicated deadpan made utter literalness to the point of insanity infinitely unexpected and hysterical.

Also Placed:

Adam Driver (What If, Tracks) Sparring against Mackenzie Davis and Daniel Radcliffe in What If he was highly amusing and occasionally sagacious, and was both funny and adorably awkward in Tracks.

Gene Jones (The Sacrament) He was patently playing Jim Jones, and turned the charisma up to 11 for a TV interview that was so mesmerising it explained Father’s cult of personality.

Mandy Patinkin (Wish I Was Here) Patinkin brought deep humanity and biting humour to his wise, religious father disappointed by his glib, agnostic son but delighted by his bright, devout granddaughter.

Tyler Perry (Gone Girl) The man can actually act! And as celebrity defence attorney Tanner Bolt he transformed the oily character from the novel by bringing palpable warmth to the part.

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Best Actress

Keira Knightley (Begin Again) Knightley sang rather well, but not only did she carry a tune she also carried the movie with a return of her old confidence. Maybe all that’s needed to restore the old swagger is James Corden ad-libbing her into improvising so she forgets her stage-fright.

Mackenzie Davis (We Gotta Get Out Of This Place, What If) Her What If wild child was oddly reminiscent of Katy Perry, albeit interpolated with Daisy Buchanan, and was strikingly different from her reserved bookworm subtly using her wits to escape a noir nightmare in We Gotta.

Runners Up:

Rose Byrne (Bad Neighbours) It’s always a joy when Byrne gets to use her native Australian accent, and she swaggered with such foul-mouthed comedic assurance that at times Seth Rogen became her foil as the sensible one in their marriage.

Agyness Deyn (Electricity) Deyn was a commanding presence. She grabbed with both hands this defiant character, who wears short dresses and fluorescent jacket; drawing the eye to a body covered in cuts; and had no vanity in showing these effects of seizures.

Also Placed:

Juno Temple (Magic Magic) Temple reprised some elements of her naïf in Killer Joe, though thankfully she was less over-exposed here, and made her character’s steady descent into insomniac madness chillingly plausible.

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Best Actor

Matthew McConaughey (Dallas Buyers Club) McConaughey’s physical commitment to the role was jaw-dropping, initially rake-thin before then wasting away before your eyes to harrowing effect. Initially unsympathetic, he patiently revealed the hidden softer side which engaged Dr Eve, and beautifully developed an unlikely and most affecting friendship with Rayon.

Runners Up:

Daniel Radcliffe (What If) Radcliffe is sensational as the hero who’s crippled romantically by his traumatised desire to act ethically. A Young Doctor’s Notebook served notice of his comedy chops, but combining uncomprehending deadpan and dramatic sharpness this was a comic role of unexpected substance.

Mark Ruffalo (Begin Again) It’s hard to imagine anyone else, save 1973 Elliot Gould, pulling off this role quite as well. The Ruffalo exudes immense shambolic charm, shuffling about in scruffy clothes, doing permit-free guerrilla location live music recording that would make Werner Herzog proud.

Dan Stevens (The Guest) The Guest is a high-risk gamble that would fail spectacularly if its leading man was not on fire. Luckily for all concerned Stevens burns a hole in the screen with a Tom Hiddleston as Loki level performance – playing scenes tongue-in-cheek serious as the charismatic helpful stranger.

Also Placed:

Ben Affleck (Gone Girl) Affleck as an actor too often contentedly coasts, and (even when gifted zingers as in Argo) acts as a still centre. But, with Fincher pushing him with endless takes, he was fantastic as the hapless everyman; who we root for despite his flaws.

Pal Sverre Hagen (Kon-Tiki, In Order of Disappearance) The imposing Norwegian perfectly captured old-fashioned grit, naive enthusiasm, and quiet heroism as Thor Heyerdahl, and then played crime-lord The Count as an epically self-pitying vegan equally stressed by divorced parenting with his ex-wife, and a nasty turf war with Serbian mobsters.

January 12, 2015

Top 10 Films of 2014

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(10) X-Men: Days of Future Past

Bryan Singer triumphantly linked X-ensembles as Wolverine time-travelled from a Sentinels-devastated future to 1973 to prevent Mystique assassinating Bolivar Trask and being captured by Stryker. X-2 vim was displayed in Quicksilver’s mischievous Pentagon jail-break sequence, J-Law imbued Mystique with a new swagger as a deadly spy, and notions of time itself course-correcting any meddling fascinated. The pre-emptive villainy of Fassbender’s young Magneto seemed excessive, but it didn’t prevent this being superb.

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(9) The Guest

Dan Stevens was preposterously charismatic as demobbed soldier David who ‘helped’ the Peterson family with their problems while director Adam Wingard and writer Simon Barrett riffed on Dominik Moll and Stephen King archetypes. Wingard edited with whoops, Stephen Moore’s synth combined genuine feeling with parody, ultraviolent solutions to Luke (Brendan Meyer) and Anna (Maika Monroe)’s problems were played deliriously deadpan, a military grudge-match was staged with flair: all resulted in a cinema of joyousness.

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(8) Mystery Road

Writer/director Ivan Sen’s measured procedural almost resembled an Australian Once Upon a Time in Anatolia. Aaron Pedersen’s dogged Detective Jay Swan battled official indifference as well as suspicion from his own community as he investigated an Aboriginal teenager’s death. Strong support, from Tamsa Walton as his estranged wife and Hugo Weaving as a cop engaged in some dodgy dealings, kept things absorbing until a climactic and startlingly original gun-battle and a stunning final image.

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(7) In Order of Disappearance

Nils (Stellan Skarsgaard), snow-plougher and newly-minted citizen of the year, embarks on a killing spree when authorities deem his son’s murder an accident. Nils’ executions accidentally spark all-out war between the Serbian gang of demoralized Papa (Bruno Ganz) and the Norwegian gang of self-pitying and stressed-out vegan The Count (Pal Sverre Hagen). Punctuated by McDonaghian riffs on the welfare state and Kosovo provocations, this brutal fun led to a perfectly daft ending.

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(6) Frank

Director Lenny Abrahamson loosened up for Jon Ronson’s frequently hilarious tale of oddball musicians. Domhnall Gleeson’s Jon joined the band of benevolent melodist Frank (Michael Fassbender wearing a giant head) and scary obscurantist Clara (Maggie Gyllenhaal). Great comedy was wrung from Jon viewing writing hit music as a means to fortune and glory, but then affecting drama when music was revealed as the only means by which damaged souls Frank and Clara could truly connect.

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(5) Begin Again

Once director John Carney delivered a feel-good movie as Mark Ruffalo’s desperate record executive took a chance on a guerilla recording approach when he discovered British troubadour Keira Knightley performing in a bar. The Ruffalo was on glorious shambling form, and was matched by an exuberant Knightley; who in many scenes seemed to be responding to comic ad-libbing by James Corden as her college friend. Carney was surprisingly subversively structurally, perfectly matched Gregg Alexander’s upbeat music to sunny NYC locations, and stunt-casted wonderfully with Maroon 5’s Adam Levine as Knightley’s sell-out ex.

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(4) Tom at the Farm

Xavier Dolan’s wondrously ambiguous thriller saw Tom (Dolan) bullied by his dead lover’s brother Francis (Pierre-Yves Cardinal), into keeping Guillaume’s sexuality hidden from mother Agathe (Lise Roy); but exactly why Guillaume had elided Francis’ existence, and why Francis needed Tom to stay at the remote Quebec farm, remained murky. Dolan showed off subtly; the lurid colours getting brighter during an ever-darkening monologue in a bar; and flashily; expressionistly changing screen format during violent scenes; and deliriously; a transgressive tango on a nearly professional standard dance-floor unexpectedly hidden in a barn.

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(3) Gone Girl

David Fincher turned in a 2 ½ hour thriller so utterly absorbing it flew by. Ben Affleck’s everyman found himself accused of murdering his icy wife Rosamund Pike. Only twin sister and spiky voice of reason Carrie Coon stood by him as circumstantial evidence and media gaffes damned him. Fincher, particularly in parallel reactions to a TV interview, brought out black comedy that made this a satire on trial by media, while, from fever dreams of arresting beauty to grand guignol murder and business with a hammer, making this material his own.

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(2) Dallas Buyers Club

Quebecois director Jean-Marc Vallee drew incredibly committed performances from Matthew McConaughey and Jared Leto in this harrowing drama. McConaughey wasted away before our eyes as Ron Woodroof, an archetypal good ole boy diagnosed with HIV, who reacted to his terminal diagnosis with total denial before smuggling drugs. Leto matched McConaughey’s transformation as transvestite Rayon, who sought oblivion in heroin, even as he helped Woodroof outwit the FDA via the titular group. This was an extremely moving film powered by Woodroof and Rayon’s friendship, beautifully played from initial loathing to brotherly love.

boyhood

(1) Boyhood

Director Richard Linklater’s dazzling technical achievement in pulling off a twelve-year shoot was equalled by the finished film’s great heart. The life of Mason Jr (Ellar Coltrane) from age six to eighteen in Texas with mother Patricia Arquette, sister Samantha (Lorelei Linklater), and weekend dad Mason Sr (Ethan Hawke) was followed in seamless transitions with teasing misdirection and subtle reveals. Child performances that began in comedy grew thru shocking scenes to encompass depth of feeling. Hawke gave a wonderful performance of serious comedy, Arquette grew older but not wiser, and Linklater was richly novelistic in revealing how surface facades belied the truth about characters and personality formation defied self-analysis. Watching Boyhood is to be wowed by life itself; your own nostalgia mixes with Mason Jr’s impressively realised youth.

October 2, 2014

Gone Girl

Gillian Flynn streamlines her twisting novel for David Fincher who turns it into a 2 ½ hour thriller so utterly absorbing that it simply flies by.

Nick Dunne (Ben Affleck) owns a bar in Carthage, Missouri with his twin sister Margo (Carrie Coon). Except, he doesn’t really own it – it’s in his wife’s name. In fact pretty much everything is in the name of trust-fund Amy (Rosamund Pike). So when Amy goes missing on their 5th wedding anniversary, Detective Rhonda Boney (Kim Dickens) and Officer Jim Gilpin (Patrick Fugit) find it hard not to suspect Nick of murdering her. Nick maintains that NYC girl Amy had no friends in his hometown, seemingly unaware that shrill Noelle (Casey Wilson) was BFFs with Amy; and has photos to prove it. Nick seems distant with Amy’s peculiar writer parents Rand (David Clennon) and Marybeth (Lisa Banes), and his affair with the much younger Andie (Emily Ratajkowski) only copper-fastens his guilt; as proclaimed by cable anchor Ellen Abbott (Missi Pyle).

Gone Girl is like those Ira Levin novels Stephen King praised where there wasn’t a twist at the end, more a pivot in the middle, which made it hard to discuss without ruining. Flynn’s screenplay simplifies her novel without losing its punch, indeed her streamlining improves on its latter meandering. Fincher, particularly in staging parallel reactions to a crucial TV interview, brings out black comedy that isn’t as readily apparent in the book; making this a satire on trial by media. When Amy’s traditional anniversary treasure hunt leads to incriminating evidence Nick as much as confirms his guilt by hiring legendary defence counsel, Tanner Bolt (Tyler Perry). And comedian Perry’s stunt casting pays off in spades as he brings a warmth to the part not present in the book. Meanwhile Neil Patrick Harris, as Amy’s obsessive ex Desi, leaves his comfort zone for a suggestion of true creepiness. Pike showcases iciness and intelligence, while Affleck is fantastic as the hapless everyman; who we root for despite his flaws. Fincher is the kind of director who, with his endless takes, wrings great performances from actors like Affleck too often content to coast; and this should quash sceptical mutterings about Affleck’s Batman.

Affleck is helped by being half of a great double act. Margo was always going to be a great part, and Coon breaks out from theatre with her glorious turn as the spiky voice of reason. Amazingly, this is the first Fincher movie I’ve ever reviewed, and it’s a prime cut. His regular cinematographer Jeff Cronenweth stages two fever dream scenes of arresting beauty, in a sugar storm and a snow storm, while a pull-out shot at a truck stop is made strangely gorgeous. Otherwise we’re in that under-lit threatening world of The Social Network and Fight Club’s abrasive social commentary. Fincher’s customary editor Kirk Baxter and composers Trent Reznor and Atticus Ross all join him in whooping it up in a grand guignol scene that keeps fading out and returning, again and again, as the music screeches as much as the more squeamish members of the audience. The squeamish are also treated to two other scenes, including some business with a hammer, which are that peculiar Hitchcock-plus of Fincher dark comedy. Reznor and Atticus’s score is dominated by intrusive melancholy piano, and then the electronic clicks and screeches we’ve come to expect – and that perfectly fit Fincher’s unsettling universe.

David Fincher is one of the most distinctive directors working in cinema, and this knockout punch is, with Dallas Buyers Club and Boyhood, one of the movies of 2014.

5/5

January 28, 2014

2014: Hopes

Filed under: Talking Movies — Fergal Casey @ 3:58 pm
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The Monuments Men

George Clooney stars, co-writes with Grant Heslov again, and directs what seems like a promising mash-up of The Train and Ocean’s 11, arriving sometime in February. Somewhat based on fact, a crack team of art experts and soldiers are assembled in the dying months of WWII to try and rescue priceless works of art from wanton destruction at the hands of nihilistic Nazis. The team includes regular Clooney cohort Matt Damon and the great Cate Blanchett, alongside the undoubtedly scene-stealing comedic duo of Bill Murray and John Goodman, and oddly Jean Dujardin. Can Clooney pull off a more serious art heist from Nazis caper? Fingers crossed he can.

The Grand Budapest Hotel

Wes Anderson returns in March, apparently in thrall to Lubitsch and Lang. Edward Norton did so well in Moonrise Kingdom that he’s invited back alongside Bill Murray, Jason Schwartzman, Tilda Swinton, and Owen Wilson. Newcomers are Ralph Fiennes, Saoirse Ronan, Jude Law, Mathieu Amalric, and F Murray Abraham. Fiennes is the legendary concierge of the titular hotel in inter-war Europe, where any gathering storms are ignored in favour of absurd murder plots, art thefts and family squabbles gone mad, as Fiennes gives his lobby-boy protégé an education in dealing with the upper classes which he’ll never forget; if they escape a sticky end long enough to remember.

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Veronica Mars

AW YEAH!! It was cancelled in 2007 but Kristen Bell’s iconic teen detective snoops again as creator Rob Thomas sends NYC legal eagle Veronica back to sunny Neptune to attend her high school reunion. Present and correct are friends Mac (Tina Majorino) and Wallace (Percy Daggs III), nemesis Madison (Amanda Noret), and frenemy Dick (Ryan Hansen). Dad Keith (Enrico Colantoni) remains a sage, warning against the obvious peril of insipid boyfriend Piz (Chris Lowell) being replaced in her affections by roguish ex Logan (Jason Dohring), who is once again accused of murder and asking for V’s help. Please let the sparks of ‘epic love’ spanning ‘decades and continents’ rekindle!

Frank

Lenny Abrahamson is the opposite of a Talking Movies favourite, but he’s teamed up with the favourite di tutti favourites Michael Fassbender. Thankfully Abrahamson’s miserabilist tendencies and agonising inertness have been put to one side for this rock-star comedy co-written by journalist Jon Ronson, a man with a verified eye for the absurd having written The Men Who Stare at Goats and The Psychopath Test. The original script loosely based on a cult English comic musician follows wannabe musician Jon (Domhnall Gleeson), who discovers he’s bitten off more than he can chew when he joins a pop band led by the enigmatic Frank (Fassbender) and his scary girlfriend Maggie Gyllenhaal.

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Captain America: The Winter Soldier

Literally everything I loved most about the original disappeared with the time-jump. So the major attraction of April’s sequel isn’t Robert Redford as a shady new SHIELD director, but Revenge’s icy heroine Emily VanCamp as the mysterious Agent 13. Samuel L Jackson’s Nick Fury and Scarlett Johansson’s Black Widow regrettably take the place of Tommy Lee Jones and Hayley Atwell in support, but Anthony Mackie as sidekick Falcon is a major boon. The real worry is that directors Joe and Anthony Russo (You, Me and Dupree, yes, that’s right, that’s their resume) will be intimidated by their budget into endless CGI action and precious little else.

X-Men: Days of Future Past

I’m excited and nostalgic, because May 23rd sees the arrival of the X-3 we deserved, but never got. Bryan Singer returns to the franchise he launched for one of Claremont/Byrne’s most famous storylines. In a dystopian future, where mutantkind has been decimated by the Sentinels of Bolivar Trask (Peter Dinklage),Kitty Pryde (Ellen Page) Wolverine (Hugh Jackman – this is a movie, not a comic, it’s all got to be about Wolverine!) is sent back into the past by Professor X (Patrick Stewart) and Magneto (Ian McKellen) to alter history by rapprochement of their younger selves (James McAvoy, Michael Fassbender). Jennifer Lawrence co-stars, with every X-Men actor!

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22 Jump Street
A proper summer blockbuster release date of June 13th for this sequel recognises the hilarious success of the absurd original. Schmidt (Jonah Hill) and Jenko (Channing Tatum) (or was it the other way round?) go undercover in college to crack another drug ring, and once again their fantastic bromance starts to crack under the strain. The original’s unwieldy team of writers and directors are back, as are Ice Cube, Nick Offerman, Rob Riggle and Dave Franco. Amber Stevens and Wyatt Russell are the college kids, but sadly Brie Larson is absent. Jonah Hill appears in full goth gear, which seems to suggest that the absurdity levels remain healthy.

The Trip to Italy

It’s not clear yet if we’ll get this as an abridged film or just be treated to the full version as 6 episodes on BBC 2. In either case Steve Coogan and Rob Brydon reunite to play heightened versions of themselves as they bicker their way around restaurants in Italy for the purposes of writing magazine reviews. 2010’s endearing roving sitcom The Trip, with its competitive Michael Caine impersonations was a joy, and director Michael Winterbottom takes the show on tour here. And no better man for the job, as this originated with their duelling Al Pacinos at the end of his A Cock and Bull Story.

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Magic in the Moonlight
Woody Allen’s latest should hit our screens around September. This time round the cottage industry is giving us a period romantic comedy, set in the south of France, which takes place in the 1920s and 1930s. The cast is as usual intimidating: Emma Stone, Colin Firth, Marcia Gay Harden, the imperious Eileen Atkins (one of the few actresses capable of domineering over Judi Dench), and Jacki Weaver. Will F Scott and his ilk make an appearance? Who knows! There are no details, just stills of open-top cars, drop waists, and cloche hats so this could be a close cousin of Sweet & Lowdown or Midnight in Paris.

Gone Girl

The start of October sees the great David Fincher return, with his first film in three years, and it’s another adaptation of a wildly successful crime novel. Nick (Ben Affleck) and Amy (Rosamund Pike) are seemingly the perfect couple, but when she disappears suddenly on their 5th wedding anniversary, Nick becomes the prime suspect as he discovers his wife told friends she was scared of him. Could he have killed her? Or is the truth far more twisted? Gillian Flynn has adapted her own work, and, incredibly, penned an entirely new third act to keep everyone guessing. The unusually colourful supporting cast includes Neil Patrick Harris and Patrick Fugit.

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The Interview
The pitch is that an attractive talk show host and his producer unwittingly get caught up in an international assassination plot. So far so blah, if that was say Ben Stiller and Owen Wilson directed by Shawn Levy, except that the host is actually James Franco, the producer is Seth Rogen, the interview is in North Korea, and the awesome Lizzy Caplan is the rogue femme fatale CIA agent who drags them into all sorts of mischief. And it’s written and directed by Rogen and Evan Goldberg who distinguished themselves with 2013’s best comedy This is The End. This is very likely to mop up the non-Gone Girl audience.

Interstellar

Christopher Nolan tries to redeem himself after TDKR with a small personal project, taking the same release date as The Prestige did. Well, small, in that the WB needed Paramount to stump up some cash for it, and personal, in that Spielberg spent years developing it; albeit with the assistance of Jonathan Nolan. Scientists attempt to observe a wormhole into another dimension, and that’s about all we know, other than vague speculations about ecological crises. Matthew McConaughey 2.0 stars alongside Anne Hathaway, Casey Affleck, Matt Damon, John Lithgow, Jessica Chastain, and, yes, Michael Caine – who is now as essential a part of the signature as Bill Murray for Wes Anderson.

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The Hunger Games: Mockingjay – Part I

Jennifer Lawrence goes for third biggest hit at the North American box office for the third year in a row with her latest turn as rebel heroine Katniss Everdeen on November 21st. Having survived the Quarter Quell and the destruction of her District, she discovers President Snow has Peeta hostage, and that the rebellion has a leader, President Coin (Julianne Moore), ready to embark on a full-scale bloody war of rebellion against the Capitol. Recount writer (and Buffy shmuck) Danny Strong is the new screenwriter, and Elementary star Natalie Dormer joins the cast, but director Francis Lawrence remains in situ, with his considered visual style.

June 27, 2013

The East

Fight Club meets Point Break by way of Revenge as Brit Marling’s undercover corporate security operative infiltrates eco-terrorists led by Alexander Skarsgard and Ellen Page.Brit-Marling-Pamela-Roylance-Ellen-Page-and-Alexander-Skarsgrd-in-The-East

Sarah (Marling) is a former FBI counter-terrorist agent now working for Hiller-Brood, a corporate security firm led by the formidable Sharon (Patricia Clarkson). Audacious and well-resourced eco-terrorist collective The East have uploaded the first of four promised ‘jams’ punishing corporate boards for the sins of their companies. Sarah is tasked with infiltrating them, and drops out of suburban DC life to drift thru national parks and hop train carriages like a 1930s hobo looking for East fellow-travellers. Just as she’s despairing she is introduced to the group by Luca (Shiloh Fernandez), and welcomed by leader Benji (Skarsgard) but disdained by his lieutenant Izzy (Page). Sarah manages to maintain her cover long enough to be implicated in a vicious jam of Big Pharma, but falling for the charismatic Benji, and his principled ecological ideals, sees her devotion to her mission wane…

Marling co-wrote the script as a starring vehicle but the film is all about Ellen Page. From the arresting opening in which Page threatens a Big Oil CEO, over horror imagery of oil seeping out of his mansion’s air-vents and sinks, she is extremely menacing. And this despite one shot where director Zal Batmanglij hilariously forgets to hide the massive height difference between the tiny Canadian (5’1”) and the mighty Scandinavian (6’6”). Marling is a better writer than actress and she and co-writer Batmanglij skilfully portray the group as dangerous lunatics akin to Martha Marcy May Marlene’s cult before deepening the portrayal. This is exemplified by the devastating drip-feed of information about Doc (Tony Kebbell), but Page benefits greatly as the forceful Izzy is so enigmatic as to appear without moral limits, but is actually almost mythological in her convictions.

There is an awful lot of Tyler Durden in Skarsgard’s Benji, who proves his devotion to the maxim “the things you own end up owning you” by squatting in a decayed mansion. Batmanglij eschews the visual bravura Fincher brought to Fight Club because despite initial similarities to the work of its Mischief Committee the jams here lack that joyousness. Durden was unburdened by self-doubt, but these characters, despite the Big Pharma jam having the elegance of an Emily gambit in Revenge, do not take her joy in retribution but are troubled by their actions against Paige Williams (Julia Ormond) and the other directors. This doesn’t convince and never feels like anything but a sop to PG-13 morality. It weighs down a third act being almost fatally dragged under by a flight of characters, infuriating politico-economic naivety, and an unnecessary twist.

The East’s third act doesn’t do the rest of the film justice, but this is an absorbing thriller whose slow-burning character studies are a welcome relief in blockbuster season.

3.5/5

May 2, 2013

Dead Man Down

Niels Arden Oplev, director of the Swedish Girl with the Dragon Tattoo, makes his American debut with a thriller starring Colin Farrell and Noomi Rapace.

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Victor (Farrell) is a low-ranking criminal working alongside fellow foot-soldier and friend Darcy (Dominic Cooper) in the gang headed by Alphonse Hoyt (Terrence Howard), a sharp-suited villain who specialises in clearing buildings of tenants for the Mob. Hoyt is coming apart at the seams due to a three month barrage of cryptic notes, and surveillance photos with his eyes crossed out. And that’s before Paul, the trusted lieutenant he tasked with identifying the mystery stalker, turns up dead in the basement of Alphonse’s mansion. As Alphonse goes on the offensive Victor strikes up a low-key romance with his high-rise neighbour Beatrice (Noomi Rapace), a beautician horribly scarred by a car accident who now shuns the world and lives with her mother Valentine (Isabelle Huppert). But embittered Beatrice may hold the key to solving the mystery of who is harassing Alphonse…

Dead Man Down’s best feature is its patient drip-feeding of surprising information in the first act. There is one truly extraordinary scene in which a victim is revealed to be a predator, and Terrence Howard’s villain on the make interestingly has something of Bob Hoskins in The Long Good Friday about him. Oplev defamiliarises NYC to an astonishing extent; making it a city of warehouses in deserted urban locales, docklands overgrown with green trees, and lush vegetation surrounding high-rise apartment blocks. There are a number of nail-biting sequences in the film as Darcy takes over Paul’s investigation and gets closer to the truth which got him killed, but somehow Oplev doesn’t milk the tension from them Fincher would, while his action sequences are staged efficiently rather than dazzlingly. Really this is TV’s Revenge, writ large, and not quite as attractively.

Fringe writer JH Wyman’s dialogue clunks almightily at times, not helped by Oplev shooting those scenes with lengthy pauses where the piano tinkles helpfully to suggest emotional epiphanies are being had by characters who don’t look like they’re even thinking. Oplev incredibly sabotages a scene where the voice of a dead girl says “Daddy got rid of all the monsters”, by showing us a board of photos of all the mobsters still to be killed. We got it, stop flourishing your Diploma from the Oliver Stone School of Subtlety. Wyman’s script has good intentions, but just when you’re thinking about quotes by Confucius and Gladiator on revenge the finale changes gears completely, almost as if a draft by Luc Besson of the Colombiana showstopper had got mixed up with the final pages of Dead Man Down, and profundity is banished.

You couldn’t say that Dead Man Down is a bad film, but you could only give it a very qualified thumbs-up because it so aggravatingly wastes its abundant potential.

2.5/5

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