Talking Movies

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.

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January 22, 2010

Top 10 Films of 2009

(10) Crank 2 Jason Statham rampages thru the streets fighting mobsters, electrocuting himself, humiliating Amy Smart and generally incarnating lunacy in celluloid form. I saw it in a ‘private screening’ in Tallaght UCI and my brain is still slowly recovering.

(9) Star Trek I still have issues with the intellectual con-job involved in its in-camera ret-conning plot, and its poor villain, but this was a truly exuberant romp that rejuvenated the Trek franchise with great joy and reverence, down to the old familiar alarm siren, even if Spock (both versions) did act new Kirk off the screen. Here’s to the sequels.

(8) Mesrine 1 & 2 A brassy, bold piece of film-making, this French two-parter about the life of infamous bank-robber Jacques Mesrine saw Vincent Cassell in sensational form aided by a supporting cast of current Gallic cinematic royalty. Sure, this was too long and had flaws, but it had twice the spark of its efficient but autopiloted cousin Public Enemies.

(7) Moon Playing like a faithful adaptation of an Isaac Asimov tale this low-budget sci-fi proved that a clever concept and good execution will always win out over empty special effects and bombast as this tale of a badly injured worker having an identity crisis in a deserted moon-base was both intellectually and emotionally satisfying.

(5) (500) Days of Summer It’s not a riotous comedy, but it is always charming, it is tough emotionally when it needs to be and its systematic deconstruction of the rom-com is of great importance, as, bar The Devil Wears Prada, Definitely Maybe and The Jane Austen Book Club, that genre produces only bad films and is moribund, hypocritical and, yes, damaging.

(5) Frost/Nixon It was hard to shake the wish that you had seen the crackling tension of the stage production but this is still wonderfully satisfying drama. Sheen and Langella are both on top form in their real-life roles, backed by a solid supporting cast, and the probing of the psyches of both men, especially their midnight phone call, was impeccable.

(3) Inglourious Basterds Tarantino roars back with his best script since 1994. Historical inaccuracy has never been so joyfully euphoric in granting Jewish revenge on the Nazis, QT’s theatrical propensities have never been better than the first extended scene with the Jew-hunter and the French farmer, the flair for language is once again devoted to uproarious comedy, and the ability to create minor characters of great brilliance has returned.

(3) The Private Lives of Pippa Lee An intimate female-centred film this was a refreshing joy to stumble on during the summer and, powered by great turns from Robin Wright and Blake Lively, this was an always absorbing tale of a woman looking back at a life lived in an extremely bizarre fashion. Rebecca Miller inserted a great message of hope for the possibility of renewing yourself if you could only endure in an ending that averted sentimentality.

(2) Milk For my money a far more important landmark than Brokeback Mountain as Gus Van Sant, directing with more focus and great verve than he has shown for years, melded a convincing portrait of gay relationships with an enthralling and inspirational account of the politics of equal rights advocator and ‘Mayor of Castro’, the slain Harvey Milk.

(1) Encounters at the End of the World After a slow start Werner Herzog’s stunning documentary melds breathtaking landscape and underwater photography and a warning on the dangers of global warming with a typically Herzogian journey into madness whether it be an insane penguin or the eccentric oddballs and scientists who live in Antarctica’s bases.

October 13, 2009

Films of the Decade?

Lists are generally easy when you don’t think about them too much. Easter 1998, lying in the grass on a sunny Kingston Hill, I and my friend John Fahey paused from football and in about 5 minutes picked out the one film that defined its decade, right back to the 1930s.

1990s – Pulp Fiction
1980s –Wall Street
1970s – All the President’s Men
1960s – Goldfinger
1950s – Ben-Hur
1940s – Casablanca
1930s – Gone with the Wind

Looking back at that list over 11 years later it holds up pretty well for what was a pretty facile exercise in that each film can arguably be held to represent a particular cultural zeitgeist in each decade (even if one has to reach to shoe-horn in Ben-Hur) with the arrival of Gone with the Wind just before the world plunges into World War II seeming particularly apt, indeed its still unbeatable box-office success may be because people on the brink of unimaginable horror responded to it as a tale of civilizations swept aside and one strong survivor battling thru it all. Now trying to do an equivalent list of the top 10 films of just this decade seems well nigh impossible… How do you make a list of the best films of the 2000s hereinafter known as the Zeros? I have no idea, well, that’s not true, I have too many ideas, hence the utter agony of trying to construct the list…

Should you simply pick the 10 films that you liked best? (The Dark Knight, The Lord of the Rings) Or should it be 10 films that in some (in)tangible way seemed to sum up the decade? (Fahrenheit 9/11) If you choose the latter route do you pick films that were influential over films that came later that were better but needed the initial film’s breakthrough? (Brokeback Mountain, Milk) Even more importantly do you pick films that you didn’t like or didn’t see just because you know they’re ‘important’? (Crash, Babel) Do you act like a pretentious film critic and load the list with foreign films that only 45 people in the country ever saw because they were at the press screenings too? (Waltz with Bashir) Or is allocating a set number of places for foreign films an unforgivably tokenistic way to get round the problem of popular imagination being largely defined by American releases? (Mesrine: 1& 2)

Does a film need to be set in its own decade to actually define that decade or can it do so by allegory? (Good Night and Good Luck) Do films reflecting the awesome impact of 9/11 and Iraq inherently capture the decade in a way films that blithely ignore those events simply cannot? (War of the Worlds, Land of the Dead) Does torture porn reflect/critique the Abu Ghraib mindset and therefore demand a place on any serious list even if you despised it? (Hostel) Do you just try to be comprehensive by shoe-horning in as many genres as possible into your top 10? (Superbad, The Fog of War) If a genre dominates a decade does it deserve disproportionate weighting, like Spider-Man and The Dark Knight both getting into the Top 10 as opposite ends of the comic-book spectrum?

At the moment I’m thinking that films which have stood the test of time and have matured deserve places most. So, here’s the top 20 films of the decade:

2000-2002

Memento    Almost Famous    Moulin Rouge!    Donnie Darko    The Lord of the Rings    Ocean’s Eleven                                                          

2003-2006

The Rules of Attraction    Master & Commander    Mean Girls    Good Night and Good Luck    Brick    Casino Royale    Stranger than Fiction

2007-2009

Zodiac    Atonement    I’m Not There    Wanted    Caramel    The Dark Knight    Milk                           

 

As of right now…

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