Talking Movies

July 19, 2015

Comic-Con 2015

Another year, another San Diego love-in of Hollywood’s brightest stars and all things comic-book and fandom-y, but what were the cinematic highlights of Comic-Con 2015? Here’s a teaser of my round-up for HeadStuff.org.

Suicide Squad

Fury writer/director David Ayer took to the stage to talk trash about Marvel, claiming DC had the better villains; and then backed it up with the first look at Suicide Squad. It’s kind of staggering that a film not scheduled for release until August 2016 could have such a polished trailer, down to the spine-tingling version of ‘I Started a Joke’. While the sheer size of the cast still worries, it looks like Ayer’s promise to deliver The Dirty Dozen with DC characters holds good. And for all Will Smith’s prominence as a perceptive but depressed Deadshot in the trailer, there are really only two characters that matter: Harley Quinn and her Puddin’. Margot Robbie appears an inspired choice for the first cinematic incarnation of Dr Quinzell, hitting notes of naivety, menace, playfulness, and sheer insanity. Jared Leto, who has received endless inane stick over the appearance of his Joker, also seems a perfect fit as the Harlequin of Hate. In full make-up his wiry frame makes him seem similar to the Joker as drawn by Dustin Nguyen, in close-up the much-debated steel teeth rock, and his sinister lines could actually be Batman dialogue; which is quite intriguing.

Click here for the full piece on HeadStuff.org, with X-Men: Age of Apocalypse, The Man from UNCLE, Star Wars Episode VII The Force Awakens, and Batman V Superman: Dawn of Justice in the mix.

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March 6, 2014

The Grand Budapest Hotel

Wes Anderson’s second period film in a row is a considerable contrast to the charmingly nostalgic Moonrise Kingdom, and that’s not necessarily a good thing…

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To begin at the beginning, a young woman visits the grave of a writer. Wait, no, that writer (Tom Wilkinson) before he died recorded a talk about the background of his most famous novel. Hang on, when he was a young writer (Jude Law), [now we’re getting somewhere] he stayed in the Grand Budapest Hotel. There he met ineffectual concierge M. Jean (Jason Schwartzman). Wait, no, M. Jean didn’t matter, what mattered was that the young writer met Mr Moustafa (F Murray Abraham), who told him about the glory days of the hotel in the 1930s. Back then, [finally, real progress!] Moustafa was known as Zero (Tony Revolori), and he was the lobby-boy to legendary concierge M. Gustave (Ralph Fiennes). Gustave was completely devoted to rich, widowed, amorous guests such as Mademe D (Tilda Swinton, after she wrecked the picture in her attic.) So much so that when she unexpectedly died after leaving the hotel he was summoned by her staff Serge X (Mathieu Amalric) and Clotilde (Lea Seydoux), to hear her lawyer Kovacs (Jeff Goldblum) read the will – which left a priceless painting to Gustave, much to the fury of Mademe D’s son Dmitri (Adrien Brody), and as he had the scary thug Jopling (Willem Dafoe) on retainer that meant Gustave was well-advised to run for his life, despite the protestations of policeman Henckels (Edward Norton); who remembered Gustave’s abundant kindness to him as a boy. And after that, reader, things really got complicated.

Anderson’s film is bursting at the seams from sheer busyness, and the film thus lacks emotional depth even as it boasts under-used actors (Harvey Keitel, Saoirse Ronan), a deliberately unnecessary Chinese box of narratives, and a sequence in which Anderson tests how many times the same gag can be made in succession; even by Bill Murray and Bob Balaban; before an audience grows restive. His regular production designer Adam Stockhausen’s archly mannered sets are the most artificially coloured he has rendered for Anderson to date. Think about that.

Anderson showcases an unexpected flair for blackly comic suspense but there’s an odd and draining mean-spiritedness to this film’s gruesomeness. Fiennes’ dialogue makes no sense for the setting, lurching as it does from a gentlemen quoting poetry to an R-rated Oddball from Kelly’s Heroes, but it does make for some spectacular laughs. Anderson is apparently honouring the terrifyingly obscure author Stefan Zweig, and the worst thing I can say about this film is that after seeing such loving homage I have no desire to read Zweig’s work.

The Grand Budapest Hotel is an impeccably mounted film, but it unavoidably disappoints because it doesn’t come close to The Darjeeling Limited for depth or Moonrise Kingdom for whimsy.

3/5

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.

October 18, 2013

Axis Cinema

Axis Cinema on Ballymun Main Street is home to The Pictures, which started as a monthly film club and has grown to become a great social network for the over 55s in Ballymun. The Pictures will be presenting a season of ‘book to film’ screenings, including The Commitments, in partnership with access>Cinema and, for the first time, Ballymun Library; who will be making copies of the books available to borrow the month before the film.

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Dracula (with short film Suansceal)

Presented by Dublin City Council Arts Office and axis in association with access>Cinema and Ballymun Library

Date: 21st Oct 2.30pm

Tickets: €2 Members / €4 Non-Members / Membership: €3

October’s ‘Book to Screen’ film is, very appropriately, Hammer Horror’s Dracula starring an enigmatically terse Christopher Lee as Bram Stoker’s vampiric Count and Peter Cushing as his nemesis Van Helsing. Few actors have ever inhabited those parts to such indelible effect, and this is a rare opportunity to see Hammer’s lurid blood-soaked vision on a big screen. This screening will be preceded by Irish short Suanscéal, a visually beautiful, delicately told, tale of a young boy’s need for companionship and an old man’s need to leave his legacy. Director Colm Ó Foghlú will be in attendance on the day to introduce the short as part of Borradh Buan, axis’ Irish language festival; celebrating its 10th anniversary.

 

A Scare Before Bedtime: Axis Horror Screening

Presented by axis in association with access>Cinema

Date: 30th Oct 9pm

Tickets: €2

This is a chance for audiences to feel the fear at a secret screening of a favourite horror movie! As Halloween approaches, axis will be asking the people of Ballymun to vote for their favourite horror film to show on the big screen. I’d vote for Scream, but with the new Carrie coming out soon that could be a contender. What will win? All will be revealed on the night!

 

The Commitments

Presented by Dublin City Council Arts Office and axis in association with access>Cinema

Date: 25th Nov 2.30pm

Tickets: €2 Members / €4 Non-Members / Membership: €3

November’s ‘Book to Screen’ film is British director Alan Parker’s celebrated 1991 adaptation of The Commitments, Roddy Doyle’s 1980s novel of recessionary north side Dublin. Only the music scene is rich in this landscape, and so Jimmy Rabbitte envisions combining the raw talent of musicians, including Glen Hansard, Bronagh Gallagher and Maria Doyle Kennedy, with soul music to shake the Hibernian metropolis.

 

Breakfast at Tiffany’s

Presented by axis & Dublin City Council Arts Office in association with access>Cinema and Ballymun Library

Date: 16th Dec 2.30pm

Tickets: €2 Members/€4 Non-Members / Membership: €3

December’s ‘Book to Screen’ film is Blake Edwards’ 1961 toned-down adaptation of Truman Capote’s scandalous novella Breakfast at Tiffany’s. Audrey Hepburn’s most iconic poses, costumes and (dubbed) singing are modelled against a fantasy NYC as Holly Golightly’s naive eccentricity bedazzles George Peppard’s struggling writer when he moves into her apartment building. Try to ignore Mickey Rooney’s outrageously racist Japanese character…

 

Anna Karenina

Presented by axis& Dublin City Council Arts Office in association with access>Cinema and Ballymun Library

Date: 27th Jan 2.30pm

Tickets: €2 Members/€4 Non-Members Membership: €3

January’s ‘Book to Screen’ screening is Joe Wright’s 2012 film of Anna Karenina. Anna (an on-form Keira Knightley) falls uncontrollably in love with Count Vronsky (a callow Aaron Johnson), with tragic consequences when she leaves husband (a surprisingly empathetic Jude Law). Leo Tolstoy’s classic story of doomed love is adapted by the great Tom Stoppard as a determinedly theatrical tour-de-force; to hit-and-miss effect.

 

axis: Ballymun is a creative hub of stage, galleries, workshop spaces and a recording studio. More information at http://axis-ballymun.ie/, and do follow @axisBallymun on Twitter.

March 7, 2013

Side Effects

Steven Soderbergh reunites with Channing Tatum for a more serious film than Magic Mike, as Rooney Mara takes an  experimental drug for depression and unravels…

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Emily (Mara) is depressed. Her husband Martin (Channing Tatum) is coming to  the end of his 5 year sentence for insider trading, and she’s very nervous about  him coming home to a small apartment in Manhattan that is a substantial step  down in the world from the privileged Connecticut life they once led. After she  deliberately drives her car into a wall Martin insists that she seek therapy  from English psychiatrist Dr Banks (Jude Law). But little seems to help until an  office co-worker suggests she take a new experimental drug. Banks reluctantly  prescribes it but soon Emily’s behaviour becomes wildly erratic, leading to a  tragic accident. As her previous psychiatrist Siebert (Catherine Zeta-Jones)  shifts all blame for Emily’s actions onto Banks, he finds himself trapped in a  Kafkaesuqe legal nightmare alongside Emily as the justice system looks for  scapegoats.

Soderbergh’s regular screenwriter Scott Z  Burns (Contagion, The Informant!) grounds this nightmarish drama  in well researched reality. Some of the most chilling scenes involve not Emily’s  hallucinations but the insidious cosy relationship between doctors and Big  Pharma, and the subsequent shafting of Banks by all his colleagues once Emily’s  case makes the tabloids lest it endanger their own lucrative practices. The  obvious comparison for a story like this you’d think is Douglas Sirk’s Bigger than Life but in fact it’s impossible  to guess where Burns’ script will go next, one moment it feels like The Crucible as the legal net catches the  blameless Dr Banks, and the next it feels closer to a Henri Georges Clouzot  suspense thriller. If you’re not conscious then you can’t have intent – but can  you be programmed by others? This question makes Banks increasingly  paranoid.

Law, following an unexpectedly revelatory  turn in Anna Karenina, is very  sympathetic as the good man caught inside an inexorably tightening legal vice  and being abandoned by his friends and his shrill wife (Vinessa Shaw) as he  tries to prove his innocence. Tatum oddly seems to be wearing Magic Mike outfits at times, and is involved  in dodgy deals in the South again, but he makes Martin a very caring  white-collar criminal. Zeta-Jones fares less well, looking positively sepulchral  in a cold role, while Thomas Newman, composing well outside his comfort zone, is  equally unimpressive. But this film belongs to the sensational Rooney Mara. She  is utterly compelling thru all plot twists and medicated character changes, and  remains an utter chameleon: she can resemble physically and persona-wise Tom  Hiddleston or Sam Rockwell depending on what the scene needs from her.

Side Effects tackles serious matters  of depression, medication culture, and legal chicanery, and does so with  compelling tension; yes, there are quibbles, but this is Soderbergh near his  best.

3.5/5

January 9, 2012

2012: Hopes

Filed under: Talking Movies — Fergal Casey @ 5:03 pm
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Shame
Turner Prize-winning artist Steve McQueen’s second film as director sees him again collaborating with his Hunger leading man Michael Fassbender. If Hunger was an installation about bodies in decay this is a study of bodies in motion, as this stark drama sees Fassbender play a successful businessman in NYC who has carefully constructed his life around his secret sex addiction. His routine falls apart and his life disintegrates under the pressure of his compulsions when his wayward sister (played by Carey Mulligan) arrives to stay in his apartment. It may just be that one of the first releases of 2012 sets a high-water mark for excellence that no other will reach.

 

The War Horse
JG Ballard dubbed Steven Spielberg’s works ‘Cathedrals of Emotion’ and even the trailer for this is upsetting, so God knows how tear-jerking the whole movie will be. Spielberg’s adaptation of Michael Morpurgo’s beloved children’s book, which is currently wowing the West End in a puppet-heavy interpretation, follows a teenage boy’s journey into the hell of World War I in an attempt to rescue his beloved horse. Tom Hiddleston and Benedict Cumberbatch are the upper-class officers while Jeremy Irvine plays the young farmer who swaps rural England for the hell of a traumatically recreated Battle of the Somme after his prized horse is summarily requisitioned for the front.

 

J. Edgar
Clint Eastwood, who by virtue of his physical and artistic longevity is old enough to both actually remember Hoover in his prime and to still creatively interpret it, directs Leonardo DiCaprio in a biopic of the once feared and now derided founder of the FBI. Ordinarily this is the kind of Oscar-bait that I despise more than anything else, however, all evidence is that this is not the usual inane drama with a platitudinous message and showy Act-ing. Instead Milk screenwriter Dustin Lance Black employs constant flashbacks, with undercutting switches of perspective between DiCaprio and Armie Hammer as Hoover’s FBI Agent lover, to explain the neuroses that drove Hoover.

 

A Dangerous Method
David Cronenberg directs Christopher Hampton’s adaptation of his own play about a pivotal 20th century clash. Michael Fassbender is Carl Jung, Viggo Mortensen is Sigmund Freud, and Keira Knightley is their patient (and alleged muse) Sabina Spielrein in a riveting drama about the conflict between two great founding fathers of psychoanalysis that split the medical movement at its founding. The S&M is what will get talked about most, as the obvious starting point for locating this in the Cronenberg canon, but attention should focus on Fassbender’s assured turn as Jung and Knightley’s startlingly alien performance as the hysterical Russian who slowly transforms herself into an equal to Jung.

 

 

The Hunger Games
Jennifer Lawrence headlines as heroine Katniss Everdeen in what’s being touted as the new Twilight, and is, according to Google, the most anticipated movie of 2012. Adapted from the wildly popular trilogy of books by Suzanne Collins, an apocalypse has left a new country called Panem ruling North America, and every year as punishment for a quelled rebellion against its authority the new government in the Capitol chooses one teenage boy or girl from each of its 12 districts to fight to the death against each other in the televised Hunger Games – in the end only one survives. As an unusually vicious YA media satire this sounds promising.

 

Anna Karenina
“Happy families are all alike; every unhappy family is unhappy in its own way.” Joe Wright and Keira Knightley reunite for an adaptation of Leo Tolstoy’s classic 1870s tale of infidelity in snowiest Russia which William Faulkner once described as the perfect novel. Knightley is never better as an actress than when under Wright’s confident direction, and this is a welcome return to his period-setting comfort zone after the misfiring disaster that was his existential action movie Hanna. Other returning Wright regulars Saoirse Ronan and Matthew Macfadyen form part of a strong ensemble led by Aaron Johnson as Anna’s lover Count Vronsky and Jude Law as her cuckolded husband.

 

The Amazing Spider-Man
I mocked this last year, but once I saw the trailer in a cinema I started to reconsider my stance. The colour-scheme alone indicates a move away from the day-glo japery of Raimi to the moodiness of Nolan. Prince of Hurt Andrew Garfield is an emotionally raw Peter Parker opposite Martin Sheen’s ill-fated Uncle Ben and Emma Stone’s scientist Gwen Stacey. Raimi’s gleefulness was increasingly sabotaged by his crippling affinity for angst. Director Marc Webb, who helmed the glorious (500) Days of Summer, can hopefully replace pre-packaged moping with genuine vulnerability, while stunt guru Vic Armstrong’s practical magic makes this Spidey’s heroics viscerally real rather than wall-to-wall CGI.

 

Ghost Rider: Spirit of Vengeance
HAHA! Ghost Rider: Spirit of Vengeance sees the lunatics behind the Crank films finally properly get their hands on a blockbuster after their script for Jonah Hex was rewritten to make it vaguely ‘normal’. The plot is, well, immaterial really when it comes to these guys. The prospect of Nicolas Cage, whose brush with Werner Herzog proved he’s still got some game, being encouraged to again find his inner madman while the two writer/directors shoot action sequences from roller-skates besides his flaming bike is indeed an awesome one. We must all pray that some stuffed-shirt empty-suit in the studio doesn’t freak out and bowdlerise this insanity.

 

 

Dr Seuss’ The Lorax
The impossibility of making a decent live-action Dr Seuss adaptation finally hit Hollywood on the head with an anvil after The Cat in the Hat and so we got former live-action Grinch Jim Carrey lending his voice to the sublime Horton Hears a Who. Its screenwriters have now tackled The Lorax and, it appears from the trailer, again succeeded in taking the canny route of expanding Seuss’ slight tales to feature length with delightful visual comedy while retaining the hilarious rhyming dialogue and narration that make Seuss’ work so unique and loveable. Danny DeVito is the voice of the slightly irritating guardian of the woods the Lorax.

 

Prometheus
Ridley Scott’s long-awaited Alien prequel has finally been written by LOST show-runner Damon Lindelof, and original Xenomorph conceptual artist HR Giger has even returned to the fold to whip up some creepy designs. It seems safe to say this will therefore probably be very entertaining, genuinely scary, and then completely disintegrate in the third act when the audience realises that Lindelof really has no idea where he’s going with this. Michael Fassbender and Noomi Rapace star, which is itself a promising start for a blockbuster that Scott could badly do with being a hit; just to remind him what it feels like after his unwisely extended co-dependency with Russell Crowe.

 

Seven Psychopaths
If it ain’t broke, don’t fix it. Martin McDonagh, the celebrated playwright and writer/director of In Bruges, returns to cinema screens with another unpredictable dark comedy starring Colin Farrell. Farrell this time is a struggling Hollywood screenwriter bedevilled by writer’s block who has the misfortune to fall in with the real devils of the titular seven hoodlums in the course of some ill-advised research for his gangster script. Christopher Walken and Sam Rockwell, who starred in McDonagh’s between-film-projects play A Behanding in Spokane on Broadway, are also in the cast; something which speaks volumes about how much actors relish the chance to deliver McDonagh’s caustic, profane and theatrical dialogue.

 

 

Salmon Fishing in the Yemen
I have high hopes for this absurdist comedy starring Ewan McGregor and Emily Blunt, not least because Blunt is always a superb comedienne and McGregor did a very good baffled straight man in similar territory with The Men Who Stare at Goats. This is of course an adaptation of Paul Torday’s acclaimed (indeed Wodehouse Prize-winning) 2007 comic novel about a Sheikh’s improbable dream of introducing salmon fishing to, well, the Yemen, and the poor sap of a British expert hired to pull off this ludicrous proposition. The only problem is that the reliably dreadful Lasse Hallstrom is directing it; can script and actors overcome his dullness?

 

Skyfall
The studio has finally sorted out nightmarish legalistic-financial difficulties and so the awesome Daniel Craig returns for his third mission as 007. But Paul Haggis’ delightful rewrites are no more! Frost/Nixon scribe Peter Morgan now has the job of making Purvis & Wade’s gibberish action script legible to thinking humans before Sam Mendes directs it. Mendes has a flair for comedy, oft forgotten because his films have been so consistently and inexplicably miserabilist in subject matter, and he’ll draw top-notch performances from his stellar cast which includes Javier Bardem as the villain, Ben Whishaw as Q, Judi Dench as M, and Naoime Harris as Moneypenny. This might just be wonderful…

 

The Hobbit: An Unexpected Journey
Peter Jackson, having been kicked like a dog with mange for The Lovely Bones, returns to Tolkien. Martin Freeman brings his trademark assets of comic timing and understated decency to the titular role of Bilbo Baggins. Returning from LOTR are Ian McKellen, Cate Blanchett, Elijah Wood, and a presumably very grateful Orlando Bloom; he didn’t make any blockbusters between Pirates of the Caribbean 3 and The Three Musketeers. You should worry about Del Toro’s nonsense infecting the screenplay, and the opportunistic decision to make two films, but then hope that returning to his meisterwerk will rekindle the combination of flair and heart that Jackson’s lacked since.

July 6, 2011

Top 5 Michael Caine Movies

I wouldn’t like to give the impression that I was mean-spiritedly making fun either of Michael Caine or of cockney accents in last week’s sketch, so as a gesture of atonement here’s a Top 5 of my favourite Michael Caine movies. I’ve picked only ones in which he’s the lead.

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(5) Get Carter
“You’re a big man, but you’re out of shape”, “She was only thirteen”… A movie plundered both by Rob Brydon and Steve Coogan to sharpen their Caine impressions in The Trip, and arguably by Martin Campbell and Daniel Craig to make the last image of Casino Royale iconic. This gritty thriller, which is still director Mike Hodges’ calling card, sees Caine’s implacable London hard-man Jack Carter head north to avenge his brother’s death with a shotgun. Shot in stylish long-takes with a distancing aesthetic this is an imposing British crime movie that loomed over all that followed.

(4) Educating Rita
“There is more insight in the telephone directory…and probably more wit”. Caine’s jaded English professor helps Julie Walter’s discontented housewife better herself thru an adult education course in a sparkling adaptation of Willy Russell’s play, itself almost a spin on Pygmalion. But this Henry Higgins is on a serious downward spiral; drowning in drink and self-pity in equal measures, cheated on by his wife and despising his own volumes of poetry. Caine’s showy role encompasses glorious high verbal comedy and drunken slapstick, as well as the quiet drama of alcoholic misery. This finally won him a BAFTA.

(3) The Quiet American
“Oh, shit” .Caine’s dead-pan delivery of that line is emblematic of his quiet, measured and ultimately devastating performance in Philip Noyce’s 2002 film. This subtle work is arguably the finest adaptation of Graham Greene’s work since the 1940s. Caine plays the archetypal Greene character. His foreign correspondent boasts of simply observing the chaos of 1950s Vietnam and offering no point of view, no political allegiance. An unwelcome romantic rival (Brendan Fraser’s titular do-gooder) and pressure from London to break a story sparks a belated moral engagement with the ethics of American interference, and opposition to it…

(2) Sleuth
“Be sure and tell them it was all just a bloody game!” Joseph L Mankiewicz’s riveting adaptation of Anthony Shaffer’s play sees a rich aged writer invite his young wife’s lover, a cockney hairdresser, to his rural mansion for some vindictive head-games. Caine’s regional accent and film acting technique go head to head with Olivier’s RADA accent and stage acting style in a contest Caine was easily winning till a desperate Olivier produced a moustache… If you want to empirically measure Caine’s acting ability note how Sleuth’s entire structure disintegrates in the remake because Jude Law can’t act.

(1) The Italian Job
“You’re only supposed to blow the bloody doors off!” A truly flawless film; from Quincy Jones’ impossibly catchy original soundtrack and the glorious turn by Noel Coward as the imprisoned crime-lord masterminding proceedings, to the implausible gang apparently composed solely of gay aristocrats and cockney wide-boys and the deranged Carry On antics of Benny Hill, and on to the wonderfully staged Austin Mini car-chase and the definitive cinematic cliff-hanger, it’s impossible not to sit back with a smile pasted on your face throughout as Caine motors the whole film along with a performance of winning charm.

May 25, 2011

‘I need to do more theatre’

I was struck, reading the Win Win press release, by the sheer amount of theatre work, and acclaimed theatre work at that, undertaken by the lead actors.

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“I could be doing that new LaBute play right now”


Paul Giamatti, Amy Ryan, Jeffrey Tambor and Burt Young all have theatre resumes as long as your arm, while Bobby Cannavale, presumably feeling guilty about his lack of theatre work, finally hit Broadway in 2008, and won a Tony nod for his troubles. What’s interesting about the resumes of this particular clutch of actors is the picture it builds up of what good actors, interested in telling emotionally engaging human stories, really want to do. Looking at the plays that they’ve done you can expand out to include more related works to create a convincing picture of just what actors have in mind when they sigh in interviews for crummy films – ‘I need to do more theatre’.

The plays explicitly mentioned in the press release include works by Shakespeare, Eugene O’Neill, Chekhov, Stoppard, Brecht, Tennessee Williams, Neil LaBute, Theresa Reback, David Rabe, and Lanford Wilson. You could add to that list a select clutch of other names: Mamet, Sophocles, Pinter, Beckett, Lorca, Moliere, Arthur Miller, Shaw, Ibsen, Shepard, Strindberg, Friel, Hare, Churchill, Enda Walsh, Martin McDonagh, Jez Butterworth, Kenneth Lonergan, John Logan, Martin Crimp. There’s a hit list of great plays and juicy roles every actor wants to have a shot at, and it boils down to a desire to do both the classics (ancient and modern) and interesting new work, which is hilariously contradictory, and also would take up all your life for very little pay if you eschewed film and TV work to do it. But…you can’t help but think that sometimes actors feel, as when Aaron Eckhart lamented to the L&H in UCD ‘I need to do more theatre….’, that it might be a more fulfilling if far less lucrative choice to concentrate on theatre.

Those great plays are nearly always the things I think of when watching good actors in bad movies, when a look of despair/desperation that doesn’t belong to the character they’re playing seems to convey the inner thought process the actor has slipped into: “God. I killed as Teach in American Buffalo a few years ago, now I’m having a nightmare within a nightmare within a really crummy exploitation vampire noir; which in some categorisations might be a nightmare. I need to do more theatre.” I will neither confirm nor deny I have someone from the movie Rise: Blood Hunter in mind when I write that…

This is not to engage in the snobbery, that theatre is a purer art form than cinema, which drove cinephile Michael Fassbender to quit the Drama Centre. It’s merely to recognise that, bar exceptional roles like James Bond, Batman and their ilk, it’s not possible in cinema to measure yourself against the standard set by actors past by taking on an unchanging role. That compulsion, which drove Jude Law to play Hamlet, ensures theatre remains an off-screen siren call…

October 27, 2009

Interview with Kenneth Branagh

I traveled to Belfast in late 2007 to interview Kenneth Branagh for InDublin about his mainstream directorial comeback Sleuth which was about to hit cinemas. Here then is the full transcript of Kenneth Branagh on Sleuth, Pinter, Caine and more…

Is it fair to say that the words ‘Screenplay by Harold Pinter’ were the main attraction of Sleuth?
It is absolutely fair to say that. I mean, it really arrested me. The call came through and they said ‘a new version of’ which is a better way of saying ‘remake’ cos I thought ‘oh dear no’, I know that original film very well and I’d seen the play not long before but then they said ‘Jude Law is producing it, Michael Caine is in it but the screenplay is by Harold Pinter’ and I’d always, always wanted to work with him. I couldn’t believe really that I hadn’t been in a Pinter play. I did my audition speeches for drama schools, the modern ones anyway, from Pinter plays, and, I don’t know, I’ve seen so many of the plays that somehow I felt I ought to have been. And also you know he’s such a modern classic, done so regularly, and I having spent some you know a lot of time, ahem, working with dead authors, I was very excited about the idea perhaps as I’d been led to believe he would be involved, that he had been very heavily involved with the development process and worked with Jude Law as producer on a number of drafts of the screenplay, that he would be in the room; and I knew that he was a very good actor and a very good director himself, it just seemed – that’s how it was incredibly attractive.
Your shooting style on Sleuth seems different. Your films have been characterised by a very mobile camera, following the actors around, creating a lot of energy on screen, whereas this film has a lot of fixed camera set-ups. Was that a response to Pinter’s style? Creating an apparent surface calm to focus people on the subtext which crackles?
Yeah, it was trying to find the style. It was much influenced by films that I like a lot, French cinema actually, recently seen films that I’ve liked a lot like Cache (Hidden), Thirteen, Lemming, those kinds of movies where the camera doesn’t move much, where the action unfolds in long takes, where the frame is very carefully constructed, so one of the things that I enjoyed doing was, for instance, when the two men come into the house for the first time and in this sort of little dance of conversational niceties that precedes the sort of meat of it, you get 10 minutes of this sort of dance and then Michael Caine sits down into what is the first close-up to say ‘I understand you’re fucking my wife’. That in the second shot, where we bring them into the house, that we’re looking at the level of a drinks table, we’re looking thru two glasses –   one is already poured with a whiskey: Caine’s character hasn’t asked Jude whether he wants one yet, he hasn’t asked him what it is, and he hasn’t chosen, and yet the idea of providing the provocation with the way the frame is set, suggesting to the audience from very early on that everything could mean something; the colour of the whiskey, the placement of the glass, the fact that he’s walking towards us the glass of a green bottle, that we don’t see their heads then, that their body language might be just as key – the way they hold the glass, all of that. I enjoyed trying to find a spare, and yet loaded, style cos that’s what I felt about his dialogue.


I think, because they give the award so late in a career, that this is the first time a Nobel Laureate has worked on a film since Bernard Shaw’s screenplay for Pygmalion. Was he an intimidating presence? Did he stand behind your shoulder muttering ‘I wrote three dots, he’s only giving me two’?
No, he wasn’t. I mean there was a bit of kerfufflage before we started that, where – I think maybe it was to do with Harold’s 75  th birthday, maybe that was it, a number of extremely important celebrations of his work, one of which involved a documentary for Channel 4 in which I think he rather bridled against the kind of popular myth of the orchestration of the pauses in his work, his ultra-precision and deliberation and insistence upon absolute adherence to his pre-planned structure, but I found him to be a very JOLLY collaborator, I found him I found him to be somebody who as he said explicitly on our first meeting ‘I like being part of a team’ and that seemed to be a typical remark of a writer, but also in his case, a man of the theatre – someone who started out as an actor and also a very fine director. So he’s very much in tune with the creative process. He, and Michael Caine, their ages seemed to drop once in the rehearsal room. They had that enthusiasm, I’ve seen it in other people, Robert Altman’s another example of somebody who   –  I worked with him when he was in his late 70s, when I saw him by the camera he seemed to be – 25, and so it was with these two. So Harold did not carry the aura of his…beatification.

So he was happy to let you be the one in charge of interpreting his ambiguities?
He left a lot of space. We did ask questions and he was happy to answer them, where he felt it was pertinent to do so. Sometimes. But, to give you an example of where, as it were the Pinter question mark, that I think is a very positive part of this entertainment, was there. I remember in rehearsals saying to him, ‘So, uh, Harold can I ask, it may seem banal, when Maggie rings up at the end of the movie, [during the very intense scene between the two men], she calls twice, I mean what is she saying?’ and he said ‘Well, who says it’s Maggie?’ ‘What? But I mean he’s talking to her!’ ‘We hear him talking. He appears to be talking to someone. It may appear to be Maggie. But he could easily have contrived for the call to have occurred. There may be no-one there. I don’t know is the answer. There It Is…’ I understood actually that once he said that actually, once we worried less about offering Jude some literal off-screen responses or scripted piece for Maggie it began to be quite interesting – about the way, particularly about the way in which in that third act, we were unsure as to whether Michael’s character was providing a provocative but phony suggestion that he was gay and wished to share his life with Milo, and whether Milo was responding in kind, appearing to indulge it, be surprised by it, and then sort of meet it halfway but in fact was involved in an even more super-subtle attempt to humiliate the other so for me, when he did choose to speak to add further ambiguity it was always interesting.

Michael Caine has said that he played his character as suffering from morbid jealousy. Could you talk a bit about that?
Yeah. We had to have, what you might call a sort of playing centre, some basic position that on the surface of it might simply be a jealous or revengeful husband. But when I discovered this condition, and numerous and specific examples of what in this very grotesque, intensified version of jealously were clearly true, .i.e. the specific notion that this condition would encourage someone to pursue the ultimate revenge, of trying to have an affair with the lover of the adulterous partner, a tremendously sort of twisted and destructive act, and sort of very calculating and unbalanced and unsettling, at least sort of rather surprising and unusual. It seemed to release Michael, it seemed to just – there was plenty to read about, medical experts to support, ‘oh no, this is’ – if you want to put it crudely it’s jealousy really at the max. It seemed to allow all sorts of things to happen, .i.e. for him to be ABSOLUTELY cool, calm and collected – because its manifestations often involved the ability to wear masks, you know sort of social and public masks that were incredibly convincing. So it allowed him to be even more naturalistic, even more throwaway, even more kind and gentle where he was supposed to be, even funnier where he was supposed to be, knowing that he could reach with an intensity that he gives full value to at the end of that first act where he says ‘I’ve always wanted to have a conversation with a hairdresser. A hairdresser that’s fucking my wife. My wife is mine – She Belongs To Me’, and he seems to then reveal that morbidly jealous side which practically shows him as a kind of caveman, and so that, it seemed to open us access to both superficial ways of playing things and also a sort of central feeling of an atavistic rather primitive individual.

It also moves it away from Olivier’s dangerous eccentric, that this film is not a playful gun game of plot twists it’s a full on Comedy of Menace. I mean I almost cheered when you started with a Pinter pause at the start when they first meet, because it indicates this is the real deal, this is full on Pinter – two men battling for control.
I remember the first time we previewed it and we got a laugh on that first moment of just, and it was a nervous laugh, at the end of it – is there a mistake? Did something just happen? It almost felt live. ‘I’m Milo Tindle’ long pause ‘Oh yes’. But much longer than that.

Michael Caine is having something of a late career resurgence with Children of Men, The Prestige, Batman Begins and this. Is he enjoying acting more than ever now?
He talks about a period about 10 years ago where he really said he was going to give up. He was going to give up and he wasn’t enjoying it anymore, he didn’t feel the parts were interesting enough. He was at, as it were he didn’t get the girl anymore so that part of him that as the leading man movie-star hadn’t quite morphed into the really fascinating career parts quite yet. Even though to some extent he’s always had a character career as well as his unusual but brilliant leading man career. So, he said for about two to three years, as he puts it, he ‘fucked about in the restaurant trade’. And then, I think it was Bob Rafelson with a picture with Nicholson was singular event- Days of Wine and Roses? Can’t quite remember, must be more than 10 years ago. Anyway he said that was something of a –   he enjoyed it so much he got back in the swing of it and I think he now only does exactly that which he fancies and he really did fancy this. And he had to work very hard for this, long takes, lots of dialogue to remember, great big leading man role and I think he seemed to be enjoying it hugely. And this was particularly one where his particular brand of experience means for particular moments –   and one that I would cite at the end of the first act where he fires the gun and looks at where Jude Law’s character is and we hold a close-up for, I know it to be literally 24 seconds, in profile – just him watching where he’s fired the gun which I think is a wonderful movie moment, its rather like the one you were alluding to at the beginning, it takes a long time – there’s no music – and it’s just Michael Caine reacting and I think it’s a riveting moment and very much sort of an example in a very, very subtle way of how a lifetime of experience can be channelled into something that is a piece of fine brushwork, that is wonderfully apt for that point in the picture.

To talk about your own acting career, the critics were ridiculously hostile to Love’s Labour’s Lost, which I adored I thought it was a wonderful 30s musical interpretation of the piece. But it was slated and having killed off the directing career they pointed to the performances in Conspiracy and Shackleton and Rabbit-Proof Fence and said ‘See what we made him go do instead? Good for us critics!’ Do you think that they’re wrong, that it is possible to build up a good body of work as a director AND as an actor in other people’s films?
Yes, I think so. I think it’s impossible to make prescriptive rules to cover what is quite sort of an unusual career-path, not many people get a chance to do it or perhaps even choose to pursue it when the opportunities come up. To be honest I don’t fully understand  – I would have said that my experience of the moments in one’s career where one’s REALLY been dumped on across the board tend to be the ones that do turn around. So Frankenstein, it was as vitriolic but perhaps greater in volume because it was a bigger picture, the reaction to that – and yet since it started appearing on television or DVD or video I’ve never seen a bad review for it, I’ve only seen very, very positive things, certainly is the case with the Hamlet DVD that’s just come out. Love’s Labour’s Lost, I’m hoping that will find its place at some point, I think it hasn’t quite had that sort of reassessment but I supposed I don’t understand it – people say to me occasionally ‘It’s about time you understood, don’t be too clever for your own good’ or something and I really don’t understand what that means – do they want me to be stupider, than your own good? Or, what I believe now, I absolutely of course understand with some work, everyone of course is entitled to their opinion and it may be very particular and it may not be very positive about a film, but I think it’s manifestly untrue to suggest in the cleverness argument that one is, the suggestion that one infers is that that kind of work – with its so called ‘cleverness’ – is an attempt to condescend or patronise or to advertise what somehow I am suggesting subtly is a superior intelligence, I would say that is manifestly untrue and in fact is the opposite in the sense that it is ABSOLUTELY assuming intelligence, pre-eminent intelligence, not an intelligence which requires some sort of academic track record, but simply intelligence, imagination, invention, curiosity, receptivity. Do I assume all of those things? Yes. Beyond that people like the film – they may or may not. But somehow the judgement that that kind of condescension might be at work, I simply disagree with it.
When can we expect to see The Magic Flute and As You Like It?
Magic Flute will be here in January, and will travel around, and As You Like It will be here also and doing the kind of – the truth is with both those pictures – not actually in both cases all the time but they’re tending to do, As You Like It in particular, two or three nights at an art-house cinema. Magic Flute will certainly open here in January, Belfast and Dublin, and play in various places for at least a week and I hope beyond that. The release for Magic Flute actually is pleasingly and surprisingly wide, I’ve been delighted to find out. [] Yeah, and I do recommend that they see it in a cinema because the sound mix is really great, usually these pictures being the specialist tings they are they end up being in rather good cinemas that really maximise the amount of trouble we took to try and, particularly in the case of Magic Flute, get a sort of real experience not just only of the music but the soundtrack and effects within the movie and that in itself is an unusual thing with an opera, you’ll not hear it very often in that way. Some friends I showed it to last week were commenting on what an unusual and pleasing things that was. So I hope it has a good long life in the cinema.

Just as a sort of parting shot question, do you have any plans to re-release Henry V in 2015 for the 600th Anniversary of Agincourt?
Well what an interesting idea. I had been hoping to try and twist somebody’s eyes about, twist somebody’s arm rather, about 2009 for just the 20th anniversary of when it was released here but you’ve now put another idea in my head so thank you for that. You’re welcome, thanks. [] Thanks ever so much, appreciate it

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