Any Other Business: Part LXVI

As the title suggests, so forth.

The Sound of 2001…

I recently rediscovered a cassette tape from the 2004/5 academic year, and what a nostalgic blast it was listening to it. But along with the expected Morrissey, Killers, Franz Ferdinand, U2, Auf Der Maur, and Gwen Stefani tracks there was also a clutch of Smiths songs and Simon & Garfunkel tunes. Because discovering those albums were equally a part of my experience, musically speaking, of that year. Which led me to thinking about 2001, and how my musical memories of that year are largely the latter kind of listening: the Pixies B-Sides being released was really the only ‘new’ music that connected. The rest was finally listening to Bowie’s Scary Monsters and U2’s Rattle and Hum, rediscovering Talking Heads’ Stop Making Sense, David Byrne’s Uh-Oh and the Doors’ first album. Because… in a world of Limp Bizkit rollin’ rollin’ rollin’, where the White Stripes and the Strokes were being feted for doing not very much of anything at all, it has to be said that 2001 was a pretty bad year for music. As it was, as has been noted previously hereabouts, also a pretty bad year for film. 2001 – what the hell was that all about? Some sort of psychic collapse or exhaustion from the anticipation of the new millennium?

St Vincent: Fear the Producer

Only three months to go until St Vincent releases a new album! And yet I am not doing the dance of joy, because I fear that bad production may have mangled outstanding songs. Listening to Masseduction and MassEducation in the last few days, along with a YouTube performance of ‘Savior’ and my DVR recordings of her appearances on Later… with Jools Holland with piano and band for ‘Los Ageless’, ‘New York’, ‘Masseduction’, and ‘Slow Fast Disco’, it has become apparent to me that the finest version of all of these twice-recorded tracks are actually the live ones. Annie Clark had produced Masseduction alongside Jack Antonoff, and MassEducation alongside pianist Thomas Bartlett, so I am at a loss as to what exactly went on that allowed drama and emotion to be swamped. But I still remember the dismay and shock I had when, after her appearance on Later… in late 2017, I heard ‘Los Ageless’ on the car radio, and didn’t recognise it till I made out familiar words in the chorus.

St Vincent: 10 Songs

Paris is Burning

Cruel

Cheerleader

Year of the Tiger

I Should Watch TV

Prince Johnny

Digital Witness

Huey Newton

New York

Los Ageless

From the Archives: You Kill Me

From the pre-Talking Movies archives.

Ben Kingsley does a better Robert De Niro than Robert De Niro does these days, and, mirabile dictu, it’s enough here to power this film to great heights. I’ve mocked Ben Kingsley as much as anyone, especially the explosion of pomposity since he got his Knighthood and allegedly starting telling production runners foolish enough to call him Ben, ‘That’s Sir Ben to you!’, as well as inserting his title into the credits on Lucky Number Slevin. But his role as shambolic alcoholic hitman Frank Falenczyk must rank beside his terrifying turn as an unhinged gangster in Sexy Beast as his best performance since his seminal roles in Gandhi and Schindler’s List. The film begins with his alcoholic Frank demonstrating the best way to incentivise yourself to clear the snow off your porch; dropping a bottle of vodka a few feet ahead of you and having to dig your way towards it to get another swig.

Frank passes out drunk while waiting to take out grasping Irish mobster Edward O’Leary and is sent to San Francisco to dry out while his Polish crime family led by Philip Baker Hall’s patriarch seek to prevent a Sino-Irish takeover of their turf in Buffalo, upstate New York. Frank is forced by his Frisco contact, bent lawyer Bill Pullman (in an odd, odd cameo), to attend AA meetings. At first resistant, as he settles into a life working at a mortuary and attending meetings he begins to seek to make amends; not for the murders, he’s not sorry about them, he is sorry about murdering them badly because he was drunk. In a priceless scene he sends a $50 voucher for the Sony Centre to the family of a woman whose throat he was meant to slit, but she moved, so she got a knife in the eye first before being dispatched.

Tea Leoni, as his love interest Laurel (who he meets at a funeral), is more relaxed and thus a better actress now that she’s 41 than she ever was when she was a ‘hot young star’ and it is her hilariously deadpan acceptance of Frank’s past that makes the film work. John Dahl, the director of The Last Seduction and Red Rock West, uses a demented tango soundtrack that underlines the playful absurdity of all of this, and if you didn’t get it already Dahl inserts an insanely happy song to score a montage of Frank using melons to show Laurel how to slice up human beings efficiently. Luke Wilson as his AA mentor also delivers an unusually subtle and effective performance as Dahl draws out a mordant approach to the material from all concerned, while also injecting an undercurrent of deep humanity into the decline and fall of the Polish mob in Buffalo. This is a black comedy to savour.

4/5

2016: Hopes

Midnight Special

Mud writer/director Jeff Nichols makes his studio debut on April 15^th with this tale he places roughly in the territory of John Carpenter’s Starman and De Palma’s The Fury. Nichols regular Michael Shannon plays a father forced to go on the run with his son after discovering the kid has special powers, and the FBI is interested in them… Sam Shepard also recurs, as does cinematographer Adam Stone, while Adam Driver, Kirsten Dunst, and Joel Edgerton join the Nichols stable. It’s hard to imagine a genre tale from Nichols, but perhaps an unusually heart-felt Stephen King captures it.

Everybody Wants Some

April 15^th sees Richard Linklater release a ‘spiritual sequel’ to both Dazed and Confused and Boyhood. Little is known for sure about Everybody Wants Some, other than it’s a comedy-drama about college baseball players during the 1980s, that follows a boy entering college, meeting a girl, and a new band of male friends. The cast features Blake Jenner, Ryan Guzman, Tyler Hoechlin, Wyatt Russell, and Zoey Deutch, so in retrospect may be as star-studded as his 1993 exploration of the end of high school. Hopefully it’s as archetypal and poignant as that as regards the college experience.

 

Love & Friendship

On April 27^th almost exactly four years since Damsels in Distress the urbane Whit Stillman returns with another tale of female friendship, with a little help in the scripting department from Jane Austen. His Last Days of Disco stars Kate Beckinsale and Chloe Sevigny reunite for this adaptation of Austen’s ‘Lady Susan’ novella shot in Ireland. Stephen Fry, Jemma Redgrave, and Xavier Samuel are the supporting players as Beckinsale tries to marry off her daughter (Morfydd Clark) but the real attraction is Stillman, poet of dry wit and elite social rituals, adapting an author with similar preoccupations.

The Nice Guys

Shane Black’s third directorial effort, out on May 20^th, sees him back on Kiss Kiss Bang Bang territory. Get ready for Ryan Gosling to Bogart his way thru the seedy side of the City of Angels as Holland March, PI. March partners up with a rookie cop (Matt Bomer) to investigate the apparent suicide of a porn star. But standing in his way is an LA Confidential reunion: Kim Basinger as femme fatale, Russell Crowe as Det. Jackson Healy. It’s hard not to be excited at the prospect of terrific dialogue carrying some hysterically self-aware genre deconstruction.

Queen of Earth

We can expect writer/director Alex Ross Perry’s latest movie to hit Irish cinemas sometime in June. Listen Up Philip star Elisabeth Moss takes centre-stage here alongside Inherent Vice’s Katherine Waterston as two old friends who retreat to a lake house only to discover that they have grown very far apart with the passage of time. Keegan DeWitt scores his second movie for ARP not with jazz but a dissonance appropriate to the unusual close-ups, that have invited comparison with Ingmar Bergman’s Persona, as a spiky Waterston hurts an emotionally wounded Moss in all the old familiar places.

Independence Day: Resurgence

Roland Emmerich, the maestro of bombastic action that is actually mocking its audience, returns on June 24^th (for some reason) with a belated sequel in which the aliens come back. Jeff Goldblum has led a 20 year scramble to harness alien tech to strengthen earth’s defences but will those efforts (and Liam Hemsworth’s mad piloting skills) be enough against an even more imposing armada? Sela Ward is the POTUS, Bill Pullman’s POTUS has grown a beard, his daughter has morphed from Mae Whitman into Maika Monroe, and the indefatigable Judd Hirsch returns to snark about these changes.

La La Land

Emma Stone and Ryan Gosling team up again on July 15^th for an original musical from Whiplash writer/director Damien Chazelle. Gosling is a jazz musician in LA who falls in love with Stone’s aspiring actress, and that’s all you need for plot. Stone did an acclaimed turn as Sally Bowles in Cabaret on Broadway, but whether Gosling or JK Simmons (!!) can hold a tune is unknown. The real question is will it be half-embarrassed to be a musical (Chicago), attempt unwise grittiness (New York, New York), or be as mental as aMoulin Rouge! with original songs?

Suicide Squad

And on August 5^th we finally get to see what Fury auteur David Ayer has done with Batman’s Rogues’ Gallery. The latest trailer has amped up the nonsense quotient considerably, and this now looks like The Dirty Dozen scripted by Grant Morrison. Joel Kinnaman’s long-suffering Rick Flagg has to lead into combat the assassin Deadshot (Will Smith), angry mercenary Captain Boomerang (Jai Courtney), witch Enchantress (Cara Delevingne), half-man half-crocodile Killer Croc (Adewale Akinnuoye-Agbaje), and the psycho in psychotherapy, Harley Quinn (Margot Robbie). All eyes are on Robbie’s take on Harley, well until Jared Leto’s Mistah J turns up…

Sausage Party

August 12^th sees the release of probably the most ridiculous film you will see all year, Seth Rogen and Evan Goldberg have scripted an adult animation about a sausage in a grocery store on a quest to discover the truth of his existence. Apart from Jay Baruchel, all the voices you’d expect are present and correct: James Franco, Craig Robinson, Jonah Hill, Danny McBride, Paul Rudd, Bill Hader, Michael Cera, David Krumholtz, as well as Kristen Wiig, Edward Norton, and Salma Hayek. But given how Green Hornet failed can R-rated semi-improvised comedy and animation go hand in hand?

War on Everyone

The Guard in New Mexico! Okay, maybe not quite, but in that wheelhouse. In late August John Michael McDonagh makes his American bow with a blackly comic thriller about two renegade cops (Alexander Skarsgaard and Michael Pena) who have devoted themselves to blackmailing and framing every criminal who crosses their path. And then they come across that somebody they shouldn’t have messed with… McDonagh’s two previous outings as writer/director have been very distinctive, visually, philosophically, and verbally, but you wonder if he’ll have to endlessly self-censor his take no prisoners comedy for ‘liberal’ American sensibilities. Hopefully not.

The Girl on the Train

Following Gone Girl another book of the moment thriller gets rapidly filmed on October 7^th when Emily Blunt becomes the titular voyeur. From her commuter train seat she witnesses the interactions of perfect couple Haley Bennett and Luke Evans as she slows down at a station on the way to London. Then one day she sees something she shouldn’t have, and decides to investigate… The impressive supporting cast includes Rebecca Ferguson, Laura Prepon, Allison Janney, and Justin Theroux, but it’s not clear if Secretary screenwriter Erin Cressida Wilson has relocated the action to New York.

The Great Wall

November 23^rd sees Chinese director Zhang Yimou embrace Hollywood, with an English-language story about the construction of the Great Wall of China scripted by Max Brooks and Tony Gilroy. Zhang has assembled an impressive international cast including Matt Damon, Andy Lau, Willem Dafoe, Jing Tian, Zhang Hanyu, and Mackenzie Foy for this sci-fi fantasy of the Wall’s completion. Little is known about the actual plot, but Zhang’s recent movies about the Cultural Revolution have been a drastic change of pace from the highly stylised colourful martial arts epics of Imperial China he’s known for in the West.

The Founder

Michael Keaton cements his leading man comeback on November 25^th with a blackly comic biopic of Ray Kroc. Who is Ray Kroc you ask? The Founder of … McDonald’s. Yes the McDonald brothers did own a hamburger store, but it wasn’t them that expanded into a national and then global, brand. That was all Kroc, who bought them out, and then forgot to pay them royalties; one of several incidents of what people might call either unethical behaviour or recurrent amnesia. Supporting players include Nick Offerman, Laura Dern, and Patrick Wilson, so this tale might be quite tasty.

Story of Your Life

Denis Villeneuve gears up for directing Blade Runner 2 with an original sci-fi movie that should arrive late in 2016. A first contact story, adapted by Eric Heisserer from Ted Chiang’s short story, it follows Amy Adams’ Dr. Louise Banks, a linguistics expert recruited by the U.S. military. Her job is to decipher an alien race’s communications, but her close encounter with ET causes vivid flashbacks to events from her life. Jeremy Renner, Forest Whitaker, and Michael Stuhlbarg are physicists and spooks trying to figure out what her unnerving experiences mean for rest of the humanity.

Passengers

Stomping on Rogue One with a December 21^st release date is the dream team of Jennifer Lawrence and Chris Pratt. Poor Keanu Reeves spent years trying to make this sci-fi rom-com happen but as soon as these two expressed interest Jon Spaihts’ long-circling script got permission to land. Pratt wakes from cryo-sleep 90 years too early, so wakes up another passenger to relieve his loneliness on the somnambulant spaceship. Michael Sheen is a robot, but the potential for delight is offset by worthy director Morten Tyldum and the high probability of the contrivance of every other rom-com being used.

Assassin’s Creed

‘One for the studio, One for ourselves’. As it were. December 21^st sees the acclaimed Macbeth trio of Michael Fassbender, Marion Cotillard, and director Justin Kurzel reunite for a blockbuster based on the all-conquering game. Ubisoft Motion Pictures (yes, that’s really a thing now) and New Regency have opted not to adapt the story of Desmond Miles, or Ezio Auditore; perhaps in case this bombs. Fassbender plays original character Callum Lynch who can commune with his ancestor Aguilar, also played by Fassbender; presumably with a devilish grin as he battles the Spanish Inquisition. Fingers crossed that this works.

Any Other Business: Part IX

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a ninth portmanteau post on television of course!

Celtic Noir

It seems I wasn’t hallucinating at the cinema a few weeks ago when I saw a teaser for An Bronntanas; in which a severed arm floated past with dead fish on a conveyor belt, a reveal I’d been expecting from the music and cinematography of the sequence; and immediately thought that was something that belonged in a Nordic Noir. TG4’s Deputy CEO, Pádhraic Ó Ciardha, says the series has broken new ground for the channel by establishing a new genre: Celtic Noir. “The direct audience feedback on social media, as well as in media commentary and reviews at home and abroad, confirms to us that An Bronntanas has hit the spot,” he said. “Regular viewers of our channel confirm that it delivers on their requirement for a súil eile approach to drama. Others remark on the innovative visual style and unique dramatic atmosphere – the Celtic Noir that has grabbed their attention in ways not unlike some recent Scandinavian TV crime drama”. TG4 has, as usual, gazumped RTE in showing the likes of Borgen and The Bridge, so it’s unsurprising that its audience noticed the family resemblance. Series Producer Ciarán Ó Cofaigh says, “We believe that we have delivered a drama series that can compete on a world stage. Personally, it is particularly satisfying to achieve this through the Irish language.” TG4 commissioned Fios Físe, a viewer panel solely comprising fluent Irish speakers, and found An Bronntanas being watched by over 60% of the panel, with approval ratings over 90%. Official TAM Ireland figures show the contemporary thriller has been seen by 340,000 people during the opening four episodes, making it one of TG4’s most popular original drama series ever. The show developed by Galway production company ROSG and Derry’s De Facto Films, cannily cast Cold Case star John Finn (famously unexpectedly fluent in Irish) alongside Dara Devaney (Na Cloigne), Owen McDonnell (Single Handed), Janusz Sheagall, and Charlotte Bradley; and added an impeccable sheen through cinematographer Cian de Buitléir capturing Connemara for director Tom Collins (Kings). The series finale of An Bronntanas airs tomorrow, Thursday 20^th November, at 9.30pm on TG4. Check it out – its ambition stands in stark contrast to the drivel being perpetrated by RTE2 these days.

 

Bright Lights, Tendentious Theses

I’ve been stewing in annoyance at Bright Lights, Brilliant Minds: A Tale of Three Cities for some months now; and perhaps it’s the fact that rival art historian Andrew Graham-Dixon has lately completed the second of two far superior BBC 4 shows (Art of China, The Art of Gothic) which has finally brought my ire with Dr James Fox’ series to the boil. Fox set out to show that the 20^th Century had been shaped by events in three cities in three particular years: Vienna 1908, Paris 1928, New York 1951. So far, so interesting. Fox, however, frequently seemed to be less interested in presenting a coherent argument than in maintaining his snappy title’s cachet. Jack Kerouac, probably the worst case, was shoehorned into New York 1951 by dint of the fact that he wrote On the Road in 1951. On the Road was published in 1957. How can a work be influencing the zeitgeist if it’s not been published? It doesn’t matter when it was written. For all we know JD Salinger wrote the Great American Novel in 1985 but it’s lost in a steam-trunk in his old shed. But if it was published now it would be coming it devilishly high to talk about it as a critical intervention in the culture of Reagan’s America. Kerouac was the worst but by no means only example of Fox’s tendencies: Brando’s 1951 film performance in A Streetcar Named Desire was hailed, and the fact that he’d originated that part on Broadway in 1947 ignored; Lee Strasberg and his Method were hailed, and the fact that his pupil James Dean didn’t become a star till 1955 ignored; the Method was hailed in vague terms, but any in-depth analysis was eschewed – especially the cult-like tendencies of its adoption in America. The Sun Also Rises was too early for Paris 1928, so instead A Farewell to Arms was praised to the skies; despite being verily self-parody, and featuring a heroine rightly dismissed by Richard Yates in writing workshops. Gershwin’s An American in Paris was rendered more important in the scheme of things than Rhapsody in Blue because it fit Fox’s thesis; and to hell with any internal logic between shows as having bowed down to Schoenberg’s atonal serialism in the previous episode Gershwin’s melodicism was now equally valid – what is ‘modern’ is always wonderful, even if it contradicts what was ‘modern’ last Tuesday (which is no longer modern and therefore no longer valid). Fox is absorbing when he talks about art, but when he ventures into other fields he should take Andrew Graham-Dixon’s lead and, instead of creating titles that act as prisons, embrace wide-ranging titles that allow you to link between a few but carefully selected ideas in service of a convincing argument.