Talking Movies

April 28, 2019

Keanu Reeves at the Lighthouse

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The Lighthouse cinema is gearing up for something called Keanurama, a whole season of films starring the inimitable Keanu Reeves. Talking Movies‘ reaction to this news could only be captured by one word – whoa.

There is a veritable feast of Keanu Reeves on offer here, from his team-ups with Winona Ryder in Bram Stoker’s Dracula, A Scanner Darkly and Destination Wedding to his 1990s-defining action movies Point Break and Speed, from his indie classics River’s Edge and My Own Private Idaho to his mainstream hits Parenthood and Devil’s Advocate, from his original breakthrough Bill & Ted movies to his recent John Wick comeback trilogy.

John Wick & John Wick: Chapter 2 DOUBLE BILL

May 10th

Keanu had three movies (Henry’s Crime, Generation Um…, Man of Tai Chi) that didn’t make Irish cinemas but made one hell of a comeback as the principled hit-man universally beloved in the hit-community, the larger underworld, and the small town he retired to. Keanu’s stunt-work was an endearing mix of fluency and occasional rustiness, and he made us love Wick as he rampaged after the mobsters who killed his puppy. The flabby sequel expanded the Man from UNCLE-like Continental universe too much, but featured some memorable fights; especially the Wellesian throwdown with Ruby Rose.

Destination Wedding

May 10th

Fellows 1990s icon and latterly cinematic exile Winona Ryder made her great comeback in Stranger Things in 2016 so it was only fitting that she would reunite for a third time with Keanu in this 2018 rom-com by Mad About You writer /director Victor Levin about two misanthropes travelling to a hopelessly pretentious destination wedding and being lumbered with each other there. In a curious twist it seems that this film, just like 2017’s similarly themed rom-com Table 19 about the people you invite to weddings and seat far away to avoid them, hides some very formalist experimentation behind innocuous trappings.

Bram Stoker’s Dracula

May 10th

Keanu and Winona’s first film together saw them gamely battle with cut-glass English accents as married couple Jonathan and Mina Harker for Francis Ford Coppola’s curate’s egg of a horror movie, that aspires to great fidelity to its source text even as screenwriter James V Hart makes sweeping inventions about reincarnated immortal beloveds so that Gary Oldman’s rejuvenating Count can lust over Winona. Roman Coppola rummages thru the Old Hollywood playbook for practical magic, and Sadie Frost and Monica Bellucci go all out for eroticism, but despite an impressive ensemble (including Anthony Hopkins as Van Helsing) this never catches fire.

John Wick: Chapter 3 – Parabellum

May 15th

Legendary hit-man and lover of dogs John Wick is excommunicado, having conducted business on Continental property. Now Ian McShane has given Keanu one hour’s grace in which he must fight his way out of New York with a $14 million contract on his life and every assassin in the Five Boroughs eager to collect. The production photo of a besuited Keanu riding a horse thru NYC has already taken on a life of its own, and we’re promised an equally tantalising samurai sword fight on motorbikes, as well as a detour to Africa with ally Halle Berry.

Speed 35mm

May 25th

Die Hard cinematographer Jan De Bont made an auspicious directorial debut with this high-concept action blockbuster about a mad bomber targeting an LA bus that has to stay above 50mph in a city known for its congestion. The leads Keanu and Sandra Bullock strike sparks, Jeff Daniels and Joe Morton are terrific in support, and Dennis Hopper chews the scenery as the crazed bomber – sorry, he’s not crazy, “poor people are crazy, Jack, I’m eccentric” – delivering witticisms from the pen of Joss Whedon. Mark Mancina’s score is a triumph of urgency and elation as Keanu attempts to save the day.

A Scanner Darkly 35mm

June 1st

Richard Linklater adapted Philip K Dick’s hallucinogenic novel using his favoured animation technique, rotoscoping, to create a uniquely hellish new world in which an undercover cop in a not-too-distant future becomes involved with a dangerous new drug and begins to lose his own identity as a result. Keanu is said cop, and he’s romancing Winona Ryder in their second film together. But she, and indeed everyone else, may not be what they seem as the drugs start to take hold. A pre-Iron Man Robert Downey Jr is very, very funny in his role as a rambling, voluble, paranoid junkie.

Parenthood

June 5th

Director Ron Howard bade farewell to the 1980s with this ensemble comedy led by Steve Martin dealing with his ever-expanding Midwestern American family. The impressive cast includes Dianne Wiest, Mary Steenburgen, Jason Robards, Joaquin Phoenix, and Rick Moranis. Keanu stretches his comedic muscles as Tod, the not too bright but thoroughly amiable boyfriend to Martin’s fiery oldest daughter Julie (Martha Plimpton), a small but memorable turn. It’s tempting to draw a direct line from Keanu’s performance here to that of Reid Ewing as Dylan, the nice but dim boyfriend to the eldest Dunphy daughter in this current decade’s defining sitcom Modern Family.

River’s Edge

June 7th

Keanu and Dennis Hopper co-star again in a far more sombre movie than Speed. A group of high school friends including Keanu, Ione Skye, Crispin Glover, and Roxana Zal must come to terms with the fact that one of their gang, Daniel Roebuck, has unapologetically killed his girlfriend. This look at the private lives of teenagers; their misdemeanours, code of honour, betrayals; consciously courted controversy by basing the grim tale on a real-life occurrence in California. This is one of Keanu’s earliest roles, agonised and soulful, in a haunting and pitch-black 80s teen drama that almost seems to have invited Heathers.

The Devil’s Advocate

June 14th

Keanu’s up and coming Florida lawyer Kevin Lomax accepts a high-powered position at a New York law firm headed by legal shark John Milton (Al Pacino). Meanwhile, Keanu’s wife, Mary Ann (Charlize Theron in her first Hollywood iteration) begins to have frightening hallucinations warping her sense of reality. Kevin quickly learns that his mentor’s life isn’t about simply winning court cases without scruples. Pacino and Connie Nielsen have something far darker in mind. Pacino literally being the Devil in this gaudy thriller featuring creatures by the legendary Rick Baker; he of the lycanthropic transformations in An American Werewolf in London.

My Own Private Idaho

June 18th

Writer/director Gus Van Sant followed up his hit Drugstore Cowboy with a far looser movie featuring one of Keanu’s most nuanced performances and an affecting turn by River Phoenix. This key work of the New Queer Cinema follows two street hustlers, Phoenix’s Mike and Keanu’s Scott, as they embark on a road-trip from Portland, Oregon to Mike’s hometown in Idaho, and then eventually to Rome in search of Mike’s mother.  All the while Scott Favor has no intention of leading this street life forever. Van Sant incorporates Henry IV better than you’d believe possible with Keanu as bisexual Hal.

Bill & Ted’s Excellent Adventure

June 21st

Bill S Preston (Alex Winter) and Ted Theodore Logan (Keanu) are in danger of failing their history final most heinously. This will result in Ted’s disciplinarian cop father sending him to military school. And that would be the end of Wyld Stallyns, the band the pair are trying to make into an MTV sensation despite a total lack of musical ability. It turns out, as Rufus (George Carlin), a dude from the future tells them, it would be the end of the world too. And so comedic time-travelling and borrowing historical figures ensues to ace the history final!

 

Bill & Ted’s Bogus Journey

June 22nd

Keanu’s major sequel problem (John Wick: Chapter 2, The Matrix Reloaded, The Matrix Revolutions, and being blacklisted by 20th Century Fox for passing on Speed 2) began with this bogus journey. William Sadler is sublime as the Grim Reaper, straight out of Ingmar Bergman’s The Seventh Seal, and crummy at Battleship. There is some wonderful set design, but, despite multiple robot versions of our heroes and more time-travelling and time-travel fuzzy logic than you can shake a stick at, this just isn’t as much goofy good-natured fun as its underdog predecessor. Third time’s the charm next year dude?

So first you watch one film with us, and then you watch another film with us, right after?

Bill & Ted DOUBLE BILL

June 23rd

WHOA! Two heads are better than one dude!

“Will you be at this party?” “Definitely.”

Point Break 4th July Party

July 6th

“Vaya Con Dios…”

Point Break

July 11th

Keanu leads this hybrid undercover cop in too deep/surfing/action heist/bromance Point Break with alternately lyrical and muscular direction from Kathryn Bigelow and a script polish by James Cameron. A string of bank robberies in Southern California where the villains disguise themselves as former US presidents sees hot-shot FBI agent and former college football star Johnny Utah (Keanu) assigned the dead-end case and Gary Busey’s gruff veteran. Keanu and Busey realise their crazy theory is correct – these bank-robbers are surfers! Keanu goes undercover, and romances Lori Petty’s surfer while growing closer to the gang’s leader Bodhi (Patrick Swayze). Will he arrest him?

And coming directly after all that is the 20th anniversary re-release of … The Matrix.

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August 14, 2018

Heathers: colour me impressed

Heathers is running in the Lighthouse cinema all this week as part of a major 30th anniversary re-release that’s also playing at the BFI Southbank.

“Dear Diary, my teenage angst bullsh*t now has a body-count”. If Ferris Bueller’s Day Off is the teen movie that represents the boundless self-actualising optimism that Ronald Reagan wanted in an America where it was always morning in America, then Heathers was the counter-punch of Generation X cynicism and pessimism. There are three girls called Heather and an adopted member Veronica who rule the corridors of Westerberg High till a betrayal from within leads to a violent disintegration for the in-crowd. A film this biting and such a glorious one-off in the careers of writer Daniel Waters and director Michael Lehmann (who moved into script-doctoring and TV directing respectively) could only have come from deep personal bitterness. Winona Ryder stole Beetlejuice from the grown-ups and Christian Slater did the same in The Name of the Rose before they teamed up. Heathers is that rarity, a teen film with teen leads, who are an electric pairing. Winona lived off her performance as Veronica Sawyer for years and Slater did the same off his portrayal of JD, an inch-perfect impersonation of Jack Nicholson.

All the stock characters are present for this dark trip through American high-school life, which takes place in the pre-Columbine ear as is obvious from the muted reaction to the stunt played by JD in his memorable introduction. The stoners, the jocks: “Hey Ram, doesn’t this cafeteria have a no fags allowed rule? JD: Well, they seem to have an open door policy for assholes though don’t they”. The nerds, the airhead bitches: “God, aren’t they fed yet? Do they even have Thanksgiving in Africa? Veronica: Oh, sure. Pilgrims, Indians… Tator Tots. It’s a real party continent”. The hippie teacher, the deranged principal: “I’ve seen a lot of bullshit… angel dust, switchblades, sexually perverse photographs involving tennis rackets”. But these familiar elements are served up in the most vicious teen comedy ever. Instead of putting up with the ritual social humiliations JD and Veronica, after an initial accidental death, begin killing their enemies and make it look like suicide (courtesy of some underlined meaningful passages in Moby Dick, or in one memorable case simply the enigmatic word ‘Eskimo’.). Comedy doesn’t get much blacker than the interior monologues of the various characters. At the first funeral Heather Duke speaks to God: “I prayed for the death of Heather Chandler many times and I felt bad every time I did it but I kept doing it anyway. Now I know you understood everything. Praise Jesus, Hallelujah”.

Anyone who’s ever been picked on in school knows why Heathers is such a cult classic. This film is almost a proto-Fight Club. Superficially Veronica is happy with her life as one of The Heathers. However secretly she hates it, and herself, and when JD arrives at the school he offers Veronica a violent outlet for all her darkest impulses. She writes in her diary: “Suicide gave Heather depth, Kurt a soul, and Ram a brain. I don’t know what it’s given me, but I have no control over myself when I’m with J.D. Are we going to prom or to hell?” Just like Tyler’s Project Mayhem eventually JD’s plan to blow up the school after sneakily getting a petition for mass-suicide signed by everybody proves too much for Veronica to go along with. JD could be like Camus’ take on the ultimate excesses of nihilism: it is not enough to kill myself, everybody else has to die too. And that’s where Veronica rips up the ticket and gets off the ride, because Generation X were damaged romantics not nihilists. If you thought Mean Girls was the sharpest high-school film ever then you like, so need to watch Heathers. Your reaction should be something along the lines of JD’s legendary final words: “Colour me impressed”.

November 24, 2010

Less than Glee-ful

I’ve finally been provoked into attacking Glee by its Gwyneth Paltrow episode, which showcased many of the reasons I dislike the show.

The endless hype is unbearable. Constant gossipy leaks about what songs will be used in forthcoming episodes and who’s going to appear in what role as a guest star. If a show advertises weekly who’s guest-starring and what they’re doing you would think it’s in trouble ratings-wise. Glee though seems to have made this its paradigm. But it is pathetic. If a show is good I will watch it, week after week. I wouldn’t tune into The Event randomly because they advertised that Bruce Campbell would be guest-starring. You know why? The Event is awful. Glee also cleaves to the approach of the film Chicago in apologising for being a musical. “Oh, it’s okay; they’re only singing because they’re in a choir or because it’s a fantasy sequence,” it seems to say. Well it’s not okay. I like musicals! I want characters to sing because they’re in a musical!! It is as if a gangster film had characters shrug apologetically at the camera every time someone ordered a hit or bribed a cop.

Glee is painfully formulaic. How many episodes wrap up with someone predictably learning a life-lesson through dialogue that you could guess almost from the cold open? Sure there are wincingly off-colour jokes along the way but on the macro level everything is staidly predictable. It’s like putting three drops of vinegar in an old wine bottle. Perhaps you need a different type of container… Even Talking Movies favourite Joss Whedon failed to puncture this bubble of self-satisfied obviousness in the episode he directed. When Matthew Morrison delivered a fatuous line about how much Glee meant to them at school and still meant now, and Neil Patrick Harris groaned and knocked his head against the bar, I waited for a wincing put-down of such sentimental shtick. Instead the god-like NPH merely moaned about missing Glee… Little wonder then that the season 1 finale scaled new peaks of cliché in juxtaposing Quinn’s labour with the rival club’s performance of ‘Bohemian Rhapsody’, before introducing an ocean of character inconsistency to allow Sue Sylvester ensure a second season before remembering who she was and confirming that she would remain their in-house villain.

Finally the show is an enormous live-action fax machine. Why re-stage David Fincher’s video for Madonna’s ‘Vogue’ shot for shot? Where precisely is the artistic achievement in replicating the ‘Timewarp’ from the Rocky Horror Picture Show, or the closing number from Chicago, or the astounding ‘Make ‘Em Laugh’ routine from Singin’ in the Rain? I’ve seen a theatrical Rocky Horror Show that gleefully diverged from the film’s over-familiar staging more than Glee ever dreamt of doing. A mere facsimile of an original adds nothing. The Bangles’ ‘Hazy Shade of Winter’ pales next to Heathers’ ‘Float On’, which completely re-works that Modest Mouse original. Glee by contrast offers as a ‘re-working’ a ‘Singin’ in the Rain’/‘Umbrella’ mash-up, which ruined both songs. Julie Taymor’s Across the Universe was misfiring, but its sometimes inspired staging and re-working of incredibly familiar Beatles songs expose Glee’s lack of ambition. It begs the question is Glee a mere spark-notes, a substitute for people too lazy to watch the original musicals?

It’s like watching a teenager type out ‘The Dead’ on their laptop. Perfectly re-enacting something that didn’t need re-enacting because it was perfect the first time round will get you no respect. It shouldn’t. It deserves none. Just ask Gus Van Sant…

I can’t wait for people to get tired of this show.

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