Talking Movies

November 27, 2019

From the Archives: The Darjeeling Limited

From the pre-Talking Movies archives.

Three estranged brothers travel thru India on a spiritual journey, a year after their father’s death. But it quickly becomes less conciliatory than hoped for.

This is a Wes Anderson movie for people who hate Wes Anderson movies. The trademark whip-pans are present and correct but here the story doesn’t feel constrained by them. The tracking shots between rooms through walls that blighted The Life Aquatic by sheer overuse are quite charming here. Hell, even Bill Murray, who runs for and misses the titular train in the hilarious opening sequence, uses more facial expressions in his cameo than in the entirety of The Life Aquatic. It is a truly wonderful moment when we go into slow-motion as Murray hopelessly sprints for the train and a very distinctive nose emerges beside him as Adrien Brody overtakes him, catching the train at the last possible second. Watching the impossibly gangly Brody run in slow-motion is almost reason enough to see this film.

Brody steals the acting honours, as you might expect. As Peter, a man unsure if he’s really ready to have a child (because of his own troubled upbringing), haunted by the death of his father a year previous, and extremely wary of his older brother, he is nuanced and engaging. Surprisingly Owen Wilson (swathed in bandages throughout) is close behind him as the domineering older brother Francis, whose attempts at reconciliation on this spiritual pilgrimage are thwarted by his own controlling personality which has made detailed itineraries for them all. Jason Schwartzman is in the film. Why? He and his cousin co-wrote it. As the youngest brother, the failed author Jack, he is the weak link of the film but not even his blankness can detract from The Darjeeling Limited’s truly magical quirkiness.

The spiritual journey thru India inevitably goes wrong and, amidst much sibling bickering, the trio are thrown off the train. Anderson at this point casts in the stuff of real drama to the mix, with a revealing extended flashback to the funeral of the brothers’ father a year earlier, and the result is surprisingly affecting. Anjelica Huston’s subsequent cameo as their mother is quite magnificently fitting and leads to an enigmatic tracking shot of imaginary connections between characters in the film that is wonderfully sweet and sums up the charm of the whole enterprise as the brothers do finally arrive at a sort of spiritual epiphany and reconciliation with each other as a result of all their mishaps. It’s a pity Anderson prefaces this film with his execrable short Hotel Chevalier, which will be screened before this in all cinemas. You do not need to see it to enjoy The Darjeeling Limited. It is a cheap exploitation flick whose sole purpose is to showcase Natalie Portman’s first and last nude scene as she was horrified to find that for months the only part of the short film that was leaked onto the internet was her nude scenes. The Darjeeling Limited itself is endearing and substantial, get a ticket.

3/5

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.

September 9, 2018

Miscellaneous Movie Musings: Part IX

As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.

“No, that doesn’t track”

We now know Wes Anderson’s next film will be live-action and set in post-WWII France, immediately post-war apparently. So perhaps taking cues from Les Enfants de Paradis, Jean Cocteau and Jour de Fete rather than the 50s of Clouzot, Bresson and early New Wave. Insofar as Wes Anderson takes cues from anyone… Any excitement I might have that he’s tackling a specific culture and time is tempered by the knowledge that it will be put thru the wringer until it comes out a Wes Anderson movie. A topic of conversation arises with Paul Fennessy every time there’s a new Wes Anderson – just how much of a straitjacket his trademarks have become. One of our favourite flights of fancy finds Wes and Jason Schwartzman or Roman Coppola or Owen Wilson seated at a diner in Austin; furiously scribbling dialogue and scene ideas in yellow legal pads, and beaming at each other happily, until a shadow crosses Wes’ face, and he asks in horror and disappointment, “But wait, can we do that as a tracking shot or a series of whip-pans?” Because if not, well, there’s no place for it in the cathedral of conventions that Wes Anderson has imprisoned himself within.

Photo: Matt Kennedy

“I can’t help if it I’m popular”

Well now, that didn’t take long. Less than a month after I derided it here, the Oscars abruptly threw engines into full reverse on their wonderfully patronising idea of giving out a new token Oscar for Best ‘Popular’ Movie. It was a bold move to keep the plebeians happy and watching the bloated ceremony honouring films nobody saw. I would wager cold hard cash the decision to ‘suspend’ the new award followed almost instantly on Chadwick Boseman scotching the notion he would be happy to see Black Panther dismissed with a token gong so transparently created merely to commend his all-conquering movie without commending it. He wanted, quite rightly, to be nominated, and seriously, for the Best Picture Oscar; like previous Oscar-winning crowd pleasers The Sting, Forrest Gump, and Rocky. Right now Black Panther has made 700,059,566 dollars at the North American Box Office.  Let us be cruel and note that the combined totals of every Best Picture Oscar winner this decade; The King’s Speech (135,453,143), The Artist (44,671,682), Argo (136,025,503), 12 Years a Slave (56,671,993), Birdman (42,340,598), Spotlight (45,055,776), Moonlight (27,854,932), The Shape of Water (63,859,435); come to just 551,933,062 dollars. That is why fewer and fewer people watch the obscurantist Oscars.

The means defeat the ends

Watching Ken Burns’ incredible documentary The Vietnam War last year it was hard not to think that when someone proclaims ‘the ends justify the means’ any means thus justified actually work against the proclaimed ends.  The brutal means employed in Vietnam actually strengthened the Vietcong and thus worked against the ends of keeping South Vietnam out of their hands.  And, in a disconcerting swoop to utter banality, the shamelessness of the cash-grab of The Hobbit trilogy meant grabbing shamefully little cash. Despite featuring the same writing/producing staff as the Lord of the Rings , (with the regrettable addition of Guillermo Del Toro), Peter Jackson as director, and Andrew Lesnie as cinematographer, the first two Hobbit films (I’ve avoided the last) were nothing like it. They were shot like Janusz Kaminski had left the supernova on in the soundstage, and the greenscreen room, and the digital FX studio, bedevilled by awful acting, unintentionally funny make-up and CGI make-up work, and muddled in nearly every imaginable respect of scripting and directing, with even promising sequences descending into over the top gibberish repeatedly, and this is before we even gripe that the slim volume of Tolkien being made into three films was, as Bilbo once said, like butter spread over too much bread. They were entirely lacking the magic of the Lord of the Rings mostly because of a bewildering lack of reality. Well, not that bewildering after all. The reason that unwelcome CGI was so omnipresent was because the forced perspective practical trickery of set design used to such great effect in the Lord of the Rings would not work for 3-D. So Ian McKellen got to interact with, essentially, named coconuts on sticks, until he started crying; and wailing ‘This is not why I became an actor’. Why abandon forced perspective for 3-D? Because they had to be in 3-D to make as much money as possible! But, because this made them look so awful, on top of the sheer greed of making a trilogy from a small book, people like me, who saw every Lord of the Rings film in the cinema at least twice, and then bought them on home release, in both versions, didn’t go to the cinema to suffer this misbegotten trilogy. Indeed after slogging to the end of the DVD of the second Hobbit film, with its inane love triangle and CGI Smaug whose scale was never clear during his scenes with Bilbo, and which ended with a slap in the face to the audience by leaving his attack till the next movie, I vowed never to watch the third.  And it seems many people felt as I did. The Hobbit’s takings were 1,000m, 958m, and 956m. As opposed to the Lord of the Rings’s takings of 871.5m, 926m, and 1,100m. Note how more people flocked to the Lord of the Rings film by film, while people backed away from The Hobbit. Note also that The Hobbit’s numbers are swelled by inflated 3-D ticket prices, and a decade of inflation. Well, that backfired spectacularly. The ends (making mucho money) justified the means (making awful-looking films, and too many of them, badly). And, the ends, of making mucho money, were defeated by the means employed, an unexpected trilogy of CGI in 3-D.

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