Talking Movies

July 13, 2017

Taking Stock of Keanu

7 years ago to the day I wrote a piece on how Keanu Reeves, then 45, was dealing with mid-life cinematically. I think it’s time to check on Keanu again.

In the distant halcyon past of 2004 I wrote a profile of Keanu Reeves for the University Observer. He had just declined Superman for Warner Bros when I wrote that profile, and in 2010, not having any currently lucrative franchise, I said he’d be now be considered about 20 years too old to even audition, and George Reeves be damned.  In the Observer piece I’d cryptically noted that “The 40s is the decade where film stars have their last big roles”, but lacked the space to really flesh that out. Somebody, perhaps Barry Norman, had suggested Hollywood leading men lose their cachet on hitting 50, so their 40s are the years where they have both the maturity and the box-office clout to take on the roles for which they will be best remembered. Think John Wayne (Red River, Fort Apache, She Wore a Yellow Ribbon, Sands of Iwo Jima, Rio Grande, The Quiet Man, The Searchers), Gregory Peck (Moby Dick, The Big Country, On the Beach, The Guns of Navarone, Cape Fear, To Kill a Mockingbird), Michael Douglas (Romancing the Stone, Fatal Attraction, Wall Street, The War of the Roses, Basic Instinct, Falling Down). It seems a good enough theory.

Between 2004 and 2014 Keanu appeared in Constantine, Thumbsucker, The Lake House, A Scanner Darkly, Street Kings, The Day the Earth Stood Still, The Private Lives of Pippa Lee, Henry’s Crime, Generation Um…, Man of Tai Chi, 47 Ronin, and John Wick. Like Jack Nicholson in the 1980s he’s not been afraid to play supporting parts. His gleefully self-parodic performance in a glorified cameo in Thumbsucker as a zen orthodontist who spouts Gnostic nonsense to the titular hero is by far the best thing in Mike Mills’ first movie. His turn in Rebecca Miller’s Pippa Lee is also a joy, as his middle-age failed pastor and failed husband screw-up embarks on a tentative romance with Robin Wright’s eponymous character that may just redeem them. Keanu’s sci-fi films, Scanner and Earth, struggled to find large audiences. Richard Linklater’s roto-scoped adaptation of Philip K Dick’s novel is a good if odd film but Robert Downey Jr’s manic turn eclipses everything else, while Earth is a serviceable Christmas blockbuster in which Keanu nicely plays the emerging empathy with humans of the alien with awesome powers but the film struggles to truly justify remaking the revered original for the sake of CGI destruction sequences.

As far as leading dramatic roles go Street Kings’ Tom Ludlow must rank as one of his best characters. Ludlow is ‘the tip on the spear’ of the LAPD, a blunt instrument who stages ‘exigent circumstances’ to act on his Dirty Harry impulses and kill the worst criminals. Wrongly implicated in the murder of his former partner he jeopardises an elaborate cover-up by his friends in his single-minded search for the cop-killers, his unstoppable thirst for answers acting as a tragic flaw which reveals that his violent tendencies have been exploited by smarter people. Beside that career highlight The Lake House can seem insubstantial although it is a very sweet entry in the lengthy list of Keanu’s romantic dramas, while Constantine stands out commercially as the franchise that never was… Keanu’s chain-smoking street magus John Constantine bore little resemblance to Alan Moore’s comics character but it powered a supernatural thriller with exquisitely deliberate pacing, courtesy of future Hunger Games main-man Francis Lawrence; making his directorial debut. Utilising what Lawrence has since spoken of as the twilight zone between PG-13 and R it had a fine sense of metaphysical rather than visceral horror, and was Keanu’s best film since The Matrix.

And then came John Wick

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November 18, 2015

Mockingjay: Part 2

The Hunger Games saga comes to a conclusion with a hugely enjoyable film that unleashes some surprises before it succumbs to Peterjacksonitis in actually ending.

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Katniss (Jennifer Lawrence) is recovering from a brutal attack by her brainwashed beau Peeta (Josh Hutcherson). As the medics of District 13 try to deprogramme him from the sadistic conditioning inflicted by President Snow (Donald Sutherland), Katniss is frustrated in her quest for vengeance by rebel President Coin (Julianne Moore); who insists on keeping her off the front lines. But when Katniss goes AWOL it’s not very AWOL as Coin and Plutarch (Philip Seymour Hoffman) form a propaganda core around her including Peeta, childhood friend Gayle (Liam Hemsworth), film-maker Cressida (Natalie Dormer), and fellow Victor Finnick (Sam Claflin). But their mission to make propaganda just behind the frontlines and Katniss’ wish to assassinate Snow personally soon lead to chaos and tragedy.

Mockingjay: Part 2 is tonally quite different to last year’s Mockingjay. Director Francis Lawrence and cinematographer Jo Willems shoot it with huge assurance, but it never really establishes what kind of new iteration of Hunger Games movie it wants to be. Instead it feels like the propaganda war of the last one, mashed together with a ‘guys on a mission’ movie to give more action beats to the story. And that’s before we get to how it really falls prey to the Lord of the Rings curse of not knowing how to get off the stage. But that’s not to say there is not much to love here. The location shooting in Paris and Berlin is terrific, rendering the deserted Capitol a fitting venue for the ’76th annual Hunger Games’ as Finnick dryly dubs Snow’s desperate gambit to booby-trap his own city.

Ocean’s 11 production design Philip Messina has worked on all the Hunger Games movies, and his work here completes the fleshing out of the Panem universe that began with the bigger budget of Catching Fire. Francis Lawrence showcases some agonisingly suspenseful directing in a sequence where the suicide squad (sic) are attacked by Capitol mutts in the sewers. It is a marvel from start to finish, with the claustrophobic tunnels lit minimally while the tension builds reminiscent of Alien, while the action makes you think this was what Alien Resurrection might have been aiming for in its trademark episode. Lawrence’s love of complicated villains also continues with Donald Sutherland working wonders with his six scenes as he sows doubts in Katniss’ mind, and the film embraces a deeply cynical view of messianic leadership.

Mockingjay: Part 2 could have been leaner, but it could scarcely have been meaner, and it comes out fighting for most of its running time.

3.5/5

December 3, 2014

Trailer Talk: Part III

In another entry in this occasional series I round up some trailers for some of next year’s most anticipated films.

Jurassic World

Jurassic Park is now a heritage title. This is like launching Jaws: Feeding Frenzy in 1997, with Jaws III in 1983 having been the last instalment. A whole generation has gone without a Jurassic Park release. They have no loving nostalgia for the original (especially its extensive model-work), or partial fondness for its sequel (“Oh yeah. Ooh, aah, that’s how it always starts. Then later there’s running and screaming” and Spielberg’s delirious appropriation of Hitchcock’s 39 Steps scream), or bad memories of the final barely-scripted disaster. Chris Pratt’s hero seems to be combining the personae of Goldblum and Neill, which is an interesting move, and velociraptors running disinterestedly past him in their desire to escape the new hybrid dinosaur recalls a Whedon line about when scary things get scared… But, Bryce Dallas Howard’s career hasn’t lived up to her assured lead debut in The Village, and there’s a tough act to follow in Richard Attenborough’s Richard Hammond as orchestrator of the madness; not least as the swooping shots of the park (which I swear are the same as in The Hunger Games and The Phantom Menace) make plain that the original’s grounding CGI in tactile reality is passé.

The Avengers: Age of Ultron

Well this trailer carries bizarre echoes of The Dark Knight’s teaser at this time of year in 2007… Talk of how a superhero how has changed things, even if he doesn’t want to admit it, and how the supervillain will show him something – even James Spader’s voice slurs into Heath Ledger’s Joker delivery. Just like the original’s trailer, a city-wide apocalypse is some broken windows, flipped cars, and screaming people. A major let-down in The Avengers was its inability to depict an all-out onslaught, but nobody else cared – so here we go again. I found The Avengers pretty damn dull. It wasn’t the laugh-fest it was vaunted as; Guardians of the Galaxy is far funnier; it delivered only moments of memorable action, and balancing all the characters’ screen-time was tragic given that (prior to the Hulk-out) it only took flight when Robert Downey Jr was onscreen. The Person of Interest season 2 finale just aired on RTE 2, and Jonathan Nolan’s parade of awesome comic-book moments there shames not only the pedestrian Agents of Shield but also Marvel’s films which are becoming increasingly joyless as they become ever more obviously formulaic franchise-connecting CGI-laden corporate exercises.

Star Wars VII: The Force Awakens

Andy Serkis narrates some vague mumblings; because this is a teaser trailer; and the internet explodes with the idea that Benedict Cumberbatch has stowed away in the Millenium Falcon. He’s not. The internet is torn into two between the usual illiberal liberal lynch-mobs on Twitter and Star Wars fanatics trying (quite logically) to comprehend how John Boyega can be a Stormtrooper if Temuera Morrison was cloned to be the genetic exemplar for all the Stormtroopers. The prequels are no longer canon (thank God!) perhaps? All that needs to be said about the 60-second trailer is that it looks like more like a Star Wars film than the last three Star Wars films. If Abrams is throwing the prequels into the dustbin alongside every novel since 1983 it’s all to the good – the prequels showed what happens when everyone knows what happens. Indeed his own Star Trek sequel showed how paralysing the fear of total originality can be in this corporate climate. I’m still terrified that one of the big three returning characters is going to be offed as a plot point (par Blake Snyder), but I can live with threat for the pause after “and the light…” and the subsequent John Williams orchestral blast for the Millenium Falcon roaring over Tatooine. Fun has returned.

November 25, 2014

Mockingjay – Part I

 

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Jennifer Lawrence assumes her role as symbol of the revolution in the third instalment of The Hunger Games; which might be the best one yet.

Katniss Everdeen (Lawrence) is suffering from the experience of the Quarter Quell even more than the trauma of the original Hunger Games; hiding in tunnels, having panic attacks, and in total denial that her home, District 12, has been destroyed. Her rescuer Plutarch Heavensbee (Philip Seymour Hoffman) has taken her to the underground bunker that houses the survivors of District 13’s destruction by the forces of the Capitol. He introduces her to President Coin (Julianne Moore), and, after, Katniss is allowed to see District 12 for herself, takes charge of turning Katniss into the Mockingjay – symbol of the Revolution. But it’s only after shooting a hysterically inept propaganda video that Haymitch (Woody Harrelson) makes a ‘Let Bartlett be Bartlett’ speech, and Katniss is allowed into combat; trailed by Plutarch’s recruit, film director Cressida (Natalie Dormer). Katniss’ raw reactions make her a weapon in a propaganda war, with President Snow (Donald Sutherland) taunting her with his own weapon – Peeta (Josh Hutcherson).

“Moves and countermoves,” as Donald Sutherland whispers, are the substance of this film; and it makes for an unusual and shadowy blockbuster. The characters in the Capitol are distanced from us: President Snow only appears 5 times, Peeta and Caesar (Stanley Tucci) are merely faces on giant television screens, other kidnapped victors are mentioned but not seen. The relationship of the air war of propaganda videos to the ground war of rebel action is shown by director Francis Lawrence utilising the ever-increasing budget to flesh out more and more of the geographical variety of the world of Panem. Loggers in District 7 rebelling against Snow’s increased quotas take up Katniss’ spontaneous rallying cry “If we burn, you burn with us” after her traumatic baptism of fire into the war in District 8. Rebels in District 5 turn Katniss’ folk-song, creatively edited by Plutarch, into a revolutionary marching song; like ‘John Brown’s Body’ morphing into the ‘Battle Hymn of the Republic’.

A long-take where Katniss walks down the ramp of a hovercraft which takes off to reveal the ruins behind her before we follow her as she walks into rubble exemplifies both Francis Lawrence’s masterful use of CGI and the exceptional sets. District 12 resembles Terminator 2’s skull-strewn future, a wave of humanity descending a spiral staircase in District 13 is rendered hypnotic, and Coin’s addresses to the populace in that bunker make you appreciate how poorly realised Zion was in the Matrix sequels. The decision to split Suzanne Collins’ novel in two is fully justified as Peter Craig (The Town) and Danny Strong (Recount, and also Jonathan from Buffy!) provide a screenplay that makes us fear anyone; including the ever stoic Gale (Liam Hemsworth); could die, ratchets up tensions for its suspenseful finale, and drops a truly creepy character detail during it to boot. Francis Lawrence rises to the challenge of creating a different type of Hunger Games movie, while Jennifer Lawrence retains Katniss’ fire while layering her with uncertainty.

Interstellar is the most intelligent blockbuster of 2014, but Mockingjay’s tactical battle might be the most interesting popcorn movie.

4/5

October 24, 2014

Bram Stoker Festival 2014

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You may have noticed something odd about O’Connell Street. Something a bit off about the statues: red eyes, little Dracula capes. It can only be Bram Stoker Festival 2014 time!

The Performance Coporation aka Big House have been given the reins of the Bram Stoker Festival this year – and are goth-ing it up!

Film premières focus on the Goth music movement of the 1980s with Beautiful Noise  and The Cure in Orange, the Abbey Theatre’s on-site costume store is providing capes for the unmissable Shapeshifters Ball by Body&Soul at IMMA in association with Bram Stoker Festival. There’s an unusually anarchic literary event with the Literary Death Match on Saturday night. And go under the city with Gothic Underground… There are whispers of a mysterious tunnel under the Phoenix Park, but some of us have heard more than we dare let on… Is it real?  Where does it go?  Now is your chance to find out the truth… With music by Tom Lane and directed by Maeve Stone, this unique performance rattles under the city for one night only.

The Zombie V Goth Dance-Off has recruited dancers online to work with Megan Kennedy of junk ensemble. Dressed in their finest bloody threads and having to chosen to dance with the goths or walk among the dead.  This will be a dance off unlike anything seen before.  And possibly the most demented feature of all – fall with style across the city centre: The Vampwire is a golden ticket offering – register here for the chance of a free caped flight. The Vampwire is a real and slightly scary opportunity to make like a Count transformed into a bat and zip over the city. Suitable for most ages (if not all constitutions) tickets for Dublin’s first city-centre zip wire are free, but in high-demand, and golden tickets will be allocated by ballot.

The opening film première is the extraordinary Curse of Styria featuring Stephen Rea and Eleanor Tomlinson. Directors Mauricio Chernovetzky & Mark Devendorf will be in attendance at this “suspenseful, secretive, sexy and sinister” film. Inspired by Carmilla, the seminal 19th Century vampire novella by Dublin writer Sheridan LeFanu, this film plunges the viewer into a haunted world of fantasy & obsession. Near Gone is a beautiful show which just won a Total Theatre Award in Edinburgh. Two performers have a difficult story to tell… Delivered in English and Bulgarian, with pounding gypsy-inspired music, this beautiful performance fills an empty space with two performers, hundreds of fresh flowers and a storm of emotion. And The Performance Corporation (proper) is reprising The Judge’s House  for Marsh’s Library – already fully booked already, but there may be returns on the door.

The closing event is an encounter with the extraordinary Macnas, who take to the streets of Dublin as mercurial tailors with a glee for stitching laughter to darkness, summoning monsters and marvels from drains, lanes and street corners.  Creatures, characters, contortions dissolve and are remade and revealed.

Full details on www.bramstokerfestival.com

July 3, 2014

Trailer Talk: Part II

In another entry in this occasional series I round up some trailers for films opening in the next few months.

2011’s Rise of the Planet of the Apes was extremely successful commercially, but was a curiously mixed bag artistically. Rupert Wyatt’s direction was quite brilliant in some Hitchcockian flourishes and well-staged action sequences. But the script seemed barely written; with James Franco and Frieda Pinto playing ciphers. Andy Serkis (in motion-capture) returns as talking evolved ape leader Caesar. The world’s population having been devastated by the simian flu Caesar faces great hostility from belligerent human leader Gary Oldman, but an ally in Jason Clarke’s family man willing to talk peaceful co-existence. But peaceful co-existence don’t make for a high-stakes apocalyptic blockbuster! The focus of interest must be director Matt Reeves. Cloverfield combined spectacle with devastating emotional impact and his vampire remake Let Me In improved on the Scandinavian original. What will he fashion?

Dutch rock photographer Anton Corbijn’s third film as director seems closer in tone and look to his sophomore effort The American than stark debut Control, as he directs a John Le Carre spy thriller set in Germany. The adaptation of Le Carre’s novel comes from Lantana playwright and screenwriter Andrew Bovell which is almost as much an enticement as the stellar cast: Robin Wright, Rachel McAdams, Willem Dafoe, and Philip Seymour Hoffman’s final lead performance. The second coming of Robin Wright really is a phenomenon as worthy of attention as the McConnaissance, and this looks like another compelling performance. The late Hoffman meanwhile seems on fine form as the German spook harassing McAdams’ attorney: “I’m a lawyer” “You’re a social worker for terrorists”. Hopefully this will be better structured than the cavalier Tinker Tailor Soldier Spy.

Yep, the teaser trailer for what will probably be one of the three biggest films of 2014 manages to not mention Katniss Everdeen, show Jennifer Lawrence’s face, or even acknowledge the existence of the previous two films. Intentionally, of course, as it’s a Capitol propaganda film with Donald Sutherland’s kindly old white-bearded President Snow sitting in a white room, flanked by Josh Hutcherson’s kidnapped Peeta, telling the people of Panem how good the Capitol is to them, and expressing bemusement as to why they would ever rebel against him. Arcade Fire’s chilling Soviet style Panem anthem has more or less for me become Donald Sutherland’s personal theme tune at this point, and it suits these words: “But if you resist the system, you starve yourself. If you fight against it, it is you who will bleed…” #OnePanem

June 19, 2014

The Fault in Our Stars

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John Green’s best-selling ‘dying teenagers in love’ YA novel gets a cinematic adaptation so perfectly dreadful it will make you question the book’s stellar reputation.

Our heroine Hazel Grace Lancaster (Shailene Woodley) is dying of cancer. She is dragged by her mother Frannie (Laura Dern) to support meetings in a church basement, presided over by an Evangelical figure of fun who could’ve walked straight out of Fight Club. But one day Isaac (Nat Wolff), a sardonic teenager blinded in one eye by cancer, brings along to group his best friend Augustus Waters (Ansel Elgort), a cocky teenager who lost a leg to cancer. There is an instant spark of attraction between Hazel and Augustus, and soon she has him reading her favourite cancer novel An Imperial Affliction. Augustus pesters the exiled author Peter Van Houten (Willem Dafoe) until Van Houten’s helpful assistant Lidewij (Lotte Verbeek) invites them both to Amsterdam. But Hazel’s father Michael (Sam Trammell) urges Augustus not to push the physically frail Hazel…

The Fault in Our Stars is most interesting for its part in Shailene Woodley’s sustained campaign to become Jennifer Lawrence. J-Law was unconsciously unguarded in interviews, Woodley makes bizarre pronouncements. J-Law fronted The Hunger Games, Woodley (after consulting J-Law, she let everyone know) fronted Divergent. J-Law won an Oscar for Silver Linings Playbook, Woodley attempts a serious role with an ersatz J-Law performance. Woodley was terrific in The Descendants, but here she seems to vocally channel J-Law in scenes where she’s upset or excited. And then there’s Elgort… Elgort renders Augustus an arrogant water-polo player from The OC. One assumes that Augustus is intended to be more charming, perhaps closer to a Damon Salvatore; but even the swaggering Ian Somerhalder couldn’t rescue Augustus’ excruciatingly stilted dialogue. It genuinely shocks that (500) Days of Summer’s Scott Neustadter & Michael Weber adapted.

From the sub-Mametian insistence of the lovers on calling each other Hazel Grace and Augustus Waters, to Hazel Grace’s use of the word hamartia, to Augustus’ involved (and not particularly metaphorical) cigarette metaphor everything in this film feels painfully affected. I haven’t read the book, but I’m not sure these touches could’ve worked even in print; especially the excruciating moment when deeply inappropriate PDA in the Anne Frank House is applauded.Director Josh Boone’s autumnal palette complements the actual and soundalike Coldplay that soundtracks the relentlessly weepy forced march to the movie’s crux: like The Lovely Bones and The Da Vinci Code sex is everything – being in heaven, being God; not as good or important as having had sex. Dafoe’s mercifully abrasive cameo as the novelist telling them home-truths cannot shift these insufferable lovers’ minds onto more transcendent philosophical concerns.

The fault, dear Brutus, is not in our stars, but in ourselves that we encourage producers to make dross like this by going to bad movies, knowing they’re bad.

1/5

January 28, 2014

2014: Hopes

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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.

January 9, 2014

Top 10 Films of 2013

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(10) Fast and Furious 6

This falls short of its illustrious immediate predecessor, but director Justin Lin’s sign-off to the Vin Diesel franchise he invigorated retained its Ocean’s 11 with petrol-heads vibe. A spectacular action sequence with a tank on a freeway, a charismatic villain with an outrageously designed car, and an over-busy finale as outsize as the runway it took place on were all elevated by a pervasive air of sadness. Poor Han…

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(9) Catching Fire

Jennifer Lawrence nuanced her formidable Hunger Games heroine with PTSD as she fought a deadly PR battle with President Donald Sutherland and his lieutenant Philip Seymour Hoffman. Confidence oozed from this movie, a quality noticeable in its expanded ensemble. Director Francis Lawrence’s trademark held shots and action tracks created a more rounded universe with complex villains as well as tense CGI suspense sequences in which the geography of the action was always nicely legible.

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 (8) Short Term 12

Newcomer Destin Cretton helmed his own prize-winning script about twenty-something counsellors at a foster-care facility for at-risk teenagers to beautiful effect. Brie Larson is outstanding as the enigmatic lead counsellor Grace, but nuanced turns from Kaitlyn Dever as possible abuse victim Jayden, Keith Stanfield as suicidal rapper Marcus, and John Gallagher Jr as Grace’s long-suffering boyfriend all draw us into an unfamiliar world detailed with insight, humour, and a tempered optimism.

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(7) White House Down

Roland Emmerich’s nonsensical Die Hard movie joyously proclaimed its debt (the villain ‘discovered’ a connection between the hero and a female hostage), paid off every plant in sight from President Obama Jamie Foxx’s Lincoln fandom to what Channing Tatum’s daughter’s six weeks honing a skill for her talent show, featured an aggressive right-wing news anchor who wouldn’t stop crying, and forced a miscast Maggie Gyllenhaal to commit so ferociously she grounded the whole thing.

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(6) Now You See Me

This Ocean’s 11 with magicians romp was gloriously insouciant crowd-pleasing fun that never flagged, and flirted with cliché but avoided its embrace. Jesse Eisenberg, Woody Harrelson, Isla Fisher and Dave Franco breezed thru flashily staged sequences of magical revenge against the 1% as their ‘Four Horsemen’ magicians caused chaos across America while being hunted by Mark Ruffalo (FBI/Scully) and Melanie Laurent (Interpol/Mulder) who began to wonder – can these be real magicks?

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(5) Frances Ha

Greta Gerwig and Noah Baumbach combined as writers to potent effect for a film in thrall to Woody Allen’s Manhattan. Its monochrome NYC looked incredible, the comedy was superb and clever, it used pop music to amazingly emotional effect, and it was based around an outstanding performance from Gerwig in a richly written part. From her money worries and anxieties at meeting richer people and more successful contemporaries, to her exaggerations about her success to hide embarrassment at her failures, to plain loopy decisions, this was a piercing, realistic insight into failure.

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(4) Blue Jasmine

Woody Allen mined a tragic vein as Cate Blanchett’s humbled socialite Jasmine stayed in San Francisco with her sister Ginger (Sally Hawkins). Jasmine tried to replace Ginger’s boyfriend Bobby Cannavale with Louis CK, and to replace her own dead tycoon husband (Alec Baldwin) with a widowed diplomat (Peter Sarsgaard). Two women’s romances and mental disintegration recalled Vicky Cristina Barcelona but this was far superior. Fantastic comedy from unsubtle suitors and Blanchett’s waspish tongue was combined with her extraordinary expressive portrayal of schizophrenic breaks from reality as she talked intimately to thin air, seeing people.

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(3) This is The End

Seth Rogen & Evan Goldberg’s directorial debut in which Seth, James Franco, Jay Baruchel, Jonah Hill, Craig Robinson and Danny McBride attempted to wait out the apocalypse in a Hollywood mansion stuffed with drugs and no food was a largely unstructured ramble from one absurd set-up to the next profane bout of self-indulgence, and it was fantastic. Emma Watson’s extended axe-wielding cameo was spectacular, the theology of how to survive the end of days was ludicrous, and the use of music reduced me to helpless tears of laughter; especially the final two songs.

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(2) Ain’t Them Bodies Saints

Writer/director David Lowery’s stunning tale of young criminals in love in 1970s Texas played out like Badlands re-imagined by Jeff Nichols. Rigorously under-lit by Bradford Young its glorious darkness created a moody, romantic atmosphere in which the abiding passion of parted lovers Ruth (Rooney Mara) and Bob (Casey Affleck) assumed mythic proportions. Keith Carradine as Bob’s mentor and Ben Foster as the lawman Ruth once shot grounded this world, and Lowery built tension expertly around Bob’s escape from jail to Ruth to a suspenseful finale which ended with an image of savage grace.

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(1) Mud

Take Shelter director Jeff Nichols returned with an Arkansan tale indebted to Mark Twain as a modern Huck and Tom helped Matthew McConaughey’s titular fugitive. Teenager Tye Sheridan gave a subtle turn as Ellis, who reacted to his parents’ disintegrating marriage by bonding with Mud and his unquenchable belief in true love, despite mysterious neighbour Sam Shepard’s warning that Mud was a fool in waiting for unreliable Reese Witherspoon. DP Adam Stone imbued the Arkansan locations with a heavenly sheen, and, while Mud hiding out a river island living in a boat in a tree observing local superstitions gave rise to great comedy, there was also Twain’s darkness in blood feuds. Nichols’ third film was rich, absorbing, cautiously optimistic, and lit by a deep affection for his characters.

November 21, 2013

Catching Fire

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Jennifer Lawrence teams up with director Francis Lawrence (no relation), and the result is a more thoughtful yet more expansive sequel to The Hunger Games.

Catching Fire opens in a bleak Appalachian winter, with Katniss Everdeen (Jennifer Lawrence) and coal-mining boyfriend Gale (Liam Hemsworth) hunting turkey in the woods of District 12 of the dystopian post-USA nation Panem. But after The Hunger Games you can never really go home… as is insisted upon by various characters. Katniss and her little sister Prim are now living with their mother in The Victors’ Village, a mere 25 yards and a wall of emotional ice away from the boy she pretended to love in order to survive the Games, Peeta (Josh Hutcherson), with their mentor Haymitch (Woody Harrelson) just down the street. President Snow (Donald Sutherland in a greatly expanded role) threatens Everdeen to convince him, and thereby the outlying Districts, that her ‘suicidal love’ for Peeta was genuine and not an act of defiance against the Capitol; and so remove herself as a symbol of hope for an insurrectionist Mocking Jay movement fomenting rebellion against Snow’s rule…

Lawrence nuances her formidable heroine with a healthy dose of PTSD and survivors’ guilt. Her sedition-inspiring reaction to seeing the family of slain District 11 tribute Rue, who she tried to save in the Games, damns her further with Snow; who is advised by caustic veteran Games-maker Plutarch (Philip Seymour Hoffman) to pitch Katniss back into battle in a Quarter Quell to destroy her status as rebel icon before killing her. And so Katniss and Peeta return to the Capitol as tributes, with mentors Haymitch and Effie (Elizabeth Banks, mining a new vein of comedy in her character’s transition from callousness to chumminess). Peeta once again manipulates TV host Caesar (Stanley Tucci) for public sympathy, and manages to parlay Katniss’ lethal practice display of archery into alliances with narcissistic combat expert Finnick (Sam Claflin),  and the tech wizards unkindly dubbed Nuts (Amanda Plummer) & Volts (Jeffrey Wright) by axe-wielding troublemaker Johanna (Jena Malone, channelling The L Word’s Katherine Moennig). Facing off against the Career Victors inside a jungle arena, they need all their collective skills to survive Plutarch’s constant spit-balls.

Simon Beaufoy and a pseudonymous Michael Arndt (both of whom I’ve ripped previously for cliché) provide a screenplay that beautifully kicks its characters into the second act and then has them desperately try to claw their way back to the first act. Catching Fire follows the broad outline of its predecessor – establish the universe, and then let the battle begin – but this is a more fully rounded universe which dexterously details the battle of wills between Katniss and Snow in the world’s deadliest PR campaign. Kudos must be given to director Francis Lawrence who tosses aside originating director Gary Ross’ inexpert shaky-cam and instead deploys his own preference for held shots and action tracks. A CGI heavy sequence with killer baboons genuinely unnerves, while the geography of the action is always legible; even though much of it occurs at night, as Lawrence strays into James Cameron Blue (TM) territory. Lawrence’s villains, as ever, are complex creations, who will repay repeat viewings, and Katniss’ rebellion viscerally threatens them. James Newton Howard admits defeat in creating an iconic theme though, instead utilising Arcade Fire’s chilling Panem Anthem…

Catching Fire unfurls at a measured pace because it is made with unmistakeable confidence, and its abrupt ending whets the appetite for the sequels.

4/5

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