Drama | MARKED MOVIES

Archive for the Drama Category

Bang The Drum Slowly * * * 1/2

Posted in Drama with tags 1973 on October 10, 2012 by Mark Walker

Director: John Hancock.
Screenplay: Mark Harris.
Starring: Michael Moriarty, Robert DeNiro, Vincent Gardenia, Phil Foster, Ann Wedgeworth, Patrick McVey, Heather MacRae, Selma Diamond, Barbara Babcock, Tom Ligon, Danny Aiello.

In 1973, two films were released that featured two very different performances from a young Robert DeNiro. One was his first collaboration with director Martin Scorsese in “Mean Streets” and the other was “Bang The Drum Slowly“. However, despite the critical plaudits DeNiro received for the former, it’s was arguably this film that caught everyone’s eye beforehand. Either way, they both marked the arrival of, what would be, one of cinema’s finest performers.

Henry Wiggen (Michael Moriarty) is the star pitcher of a New York professional Baseball team. He’s the type of player that can name his price when it comes to contractual negotiations. On hearing the news that his friend (and surplus-to-requirements) teammate Bruce Pearson (Robert DeNiro) is terminally ill, Henry negotiates a contract that will keep Bruce in team and save him from being transferred. Henry’s intention is to give Bruce a memorable last season at the club.

On first appearances, this film comes off as a cheap TV movie with a music score that isn’t far from something as cheesy as “Little House on the Prairie“. Quite simply, the music is dreadful but the performances manage to transcend it’s dated approach. It’s interesting watching a young DeNiro before the heights of stardom and it’s easy to see that he always had the acting ability. There’s an innocence and lack of self-confidence to his character and he plays it wonderfully. This, however, adds to another problem in the film; his talents are not utilised as well as they could be. It’s Moriarty that takes the lead and although he also delivers a solid performance, he comes across a little expressionless at times. Despite both actors playing well, the close relationship between their characters is never explained and leaves it hard to fully connect with them or accept the events that take place. That being said, the film does still have a heart and a lightness of touch which help it overcome it’s faults. It’s not a story about a dying man but more a story about life and living it fully. It’s a story about integrity and the camaraderie and teamwork amongst men. It’s also somewhat of a sports film but that becomes secondary to the human relationships. With material of this nature, the film could easily fall prey to cliche but it manages to avoid the pitfalls which is thanks to it’s sensitivity and assured handling by director John Hancock. It’s an enjoyable film but left me feeling a little frustrated at DeNiro being so underused. I know he wasn’t a star at this time but when he’s as good as he is here, you just want to see more. What it does do though, is show that he’s always had a magnetic screen presence.

A touching and poignant drama that also manages to be an understated sports film. Not many films manage to achieve this balance and despite some flaws and it’s now dated appearance, this is still worthy of attention: if only, to witness the early stages of a very illustrious career.

Mark Walker

20 Comments »

Margin Call * * * *

Posted in Drama with tags 2011 on October 7, 2012 by Mark Walker

Director: J.C. Chandor.
Screenplay: J.C. Chandor.
Starring: Kevin Spacey, Zachary Quinto, Paul Bettany, Jeremy Irons, Demi Moore, Stanley Tucci, Simon Baker, Penn Badgley, Mary McDonnell, Aasif Mandvi, Ashley Williams, Susan Blackwell.

Are you feeling the pinch of our current economic crisis? Are you angry at the investment ~~wankers~~ bankers that have put us all in a precarious financial position? If so, you may find a dramatisation of the operations and swindling of these high-flying executives of particular interest. Writer-director J.C. Chandor seems to and has his finger firmly on the pulse when conveying the enormity of greed and dishonesty in corporate business.

In an unnamed New York investment bank, the majority of the work force are losing their jobs. One of the first to go is risk management executive Eric Dale (Stanley Tucci). Before he’s escorted from the building, he hands a USB to analyst Peter Sullivan (Zachary Quinto) asking him to take a look. Sullivan does so and finds that the company’s profit margins are superseded by it’s debt. It’s unsustainable and will dangerously and inevitably lead to a financial collapse.

Margin Call could, comfortably, be described as a zeitgeist film. It addresses the economic crisis at face value and reflects the very financial situation that has affected a lot of people at this time. It isn’t a film that bombards you with statistics but plays it from the angle of the people behind the scenes and does it admirably with sharp dialogue; the best of which goes to Irons’ CEO when he spouts such choice lines as “The world will always be full of happy fucks and sad sacks” or “It’s spilt milk under the bridge“. There’s a ruthlessness involved in big business and this film captures it well. Ultimately, it may all just come down to number crunching but the job that these people do has a direct effect on all of us and in this respect, debutant J.C. Chandor gets his point across. It’s an impressive and effective first feature and Chandor makes great use of close-up’s on all of his characters. So much so, that every wrinkle, pore and nervous expression is captured – lending the film a real intensity. Across the board, the high-calibre cast are brilliant; how can you go wrong with such talents onscreen when every one of them is given just enough material to sink the their acting chops into? Well, the answer to that is… you can’t. And that’s what makes this film standout. Don’t get me wrong though, this does have it’s narrative flaws and despite a very tense opening and consistent display of captivating boardroom meetings and fast, flowing business jargon, it loses it’s momentum around the midriff. However, it still packs enough of a punch to see itself through to the end.

A worthy reflection on the current financial times and cutthroat nature of business. This is a film that will appeal to fans of “Glengarry Glen Ross” or the underrated and mostly unseen “Boiler Room“. A top quality cast and an excellent directorial debut.

Mark Walker

41 Comments »

JFK

Posted in Drama, Mystery on September 29, 2012 by Mark Walker

Director: Oliver Stone.
Screenplay: Oliver Stone, Zachary Sklar.
Starring: Kevin Costner, Gary Oldman, Tommy Lee Jones, Joe Pesci, Kevin Bacon, Sissy Spacek, Donald Sutherland, John Candy, Jack Lemmon, Walter Matthau, Ed Asner, Vincent D’Onofrio, Laurie Metcalf, Michael Rooker, Jay O. Sanders, Beata Pozniak, Sally Kirkland, Brian Doyle-Murray, Wayne Knight, Tony Plana, Tomas Milian, Gary Grubbs, Pruitt Taylor Vince, Dale Dye, Bob Gunton, Sean Stone, Jim Garrison.

“This is Louisiana, chief! I mean, how do you know who your daddy is? Because your mama told you so?”

Director Oliver Stone is no stranger to biopics or documentaries covering the lives of influential or powerful people. He has looked into the lives of Vietnam veteran and political activist Ron Kovic in Born On The Fourth Of July; Jim Morrison, the lead singer of The Doors; military general and conquerer Alexander the great; Cuban revolutionary leader Fidel Castro in Comandante and two films on the exploits of American presidents Richard Nixon and George W. Bush. In the films mentioned, Stone explores the lives of these men but in JFK he does the opposite and explores the death of the man and in the process, crafts one of his most accomplished films. Continue reading →

32 Comments »

Moonrise Kingdom * * * *

Posted in Comedy, Drama with tags 2012 on September 28, 2012 by Mark Walker

Director: Wes Anderson.
Screenplay: Wes Anderson, Roman Coppola.
Starring: Edward Norton, Bruce Willis, Bill Murray, Frances McDormand, Tilda Swinton, Harvey Keitel, Jason Schwartzman, Jared Gilman, Kara Hayward, Bob Balaban, Larry Pine, Eric Chase Anderson.

When viewing Wes Anderson’s Moonrise Kingdom, the usual adjectives spring to mind; Quirky, off-beat, idiosyncratic, original. It’s all of these things and further confirmation that this man has a unique style all his own and (thankfully for his fans) he doesn’t seem in the mood for changing that anytime soon.

In a small New England town in the 1960’s, young boy scout Sam (Jared Gilman) decides to run away with local girl Suzy (Kara Hayward). As a result, his Scout Master (Edward Norton) organises a search party and teams up with the Sheriff (Bruce Willis) and the young girls parents (Bill Murray, Frances McDormand) to track them down.

This is a very strange little film indeed and possibly one of Anderson’s strangest which is saying something. However, it’s also proof that the king of quirk hasn’t lost his touch. His pallet is once again sumptuous and his attention to detail meticulous – to say the least. The whole film is painted in vibrant pastel and autumnal colours and there’s a sharpness and texture to his images. Quite simply, the film is gorgeous to look at and special credit must go to Anderson’s regular cinematographer Robert Yeoman in his ability to capture such a magical land. Ensemble casts are also becoming a regular feature of Anderson’s works and this is no different. He’s amassed a very impressive collection of top-quality performers here and every one of them are excellent. A number of them play against type with the most memorable being a melancholic Willis and an ingenuous Norton; Murray and McDormand are no slouches either and deliver their usual reliability – as does Swinton – but the likes of Schwarztman and especially Keitel are given very little to do. Ultimately though it doesn’t really matter about the familiar faces onscreen as it the young actors that impress the most. The two young leads in Jared Gilman and Kara Hayward are superb and fine support is given by the young boy scout crowd. Much like Alan Parker’s “Bugsy Malone“, it’s entertaining to see youngsters behave with grown up mannerisms yet despite it’s nature it’s never played for laughs. Most of the actors play it straight which adds a deeper sadness to this, deceivingly, lighthearted tale. Beneath it all though, it’s essentially a right-of-passage story as it focuses on the progression from childhood to adolescence while on the periphery delivers an effective contrast in the disillusionment of adulthood. Despite it’s air of sadness though, it’s the charming innocence and wonderment that shines through. It’s yet another thoroughly enjoyable Anderson adventure but somehow it didn’t resonate as well as his previous films. Maybe I was expecting too much or maybe it will grow on me like “The Life Aquatic With Steve Zissou” did after a couple of viewings. As much as I had fun with this, I think I will have even more second time round.

As a self confessed Anderson fan, even I wasn’t fully prepared for his overstated quirkiness here but that aside, this is still an accomplished piece of work.

Mark Walker

44 Comments »

Margaret * * * *

Posted in Drama with tags 2012 on September 14, 2012 by Mark Walker

Director: Kenneth Lonergan.
Screenplay: Kenneth Lonergan.
Starring: Anna Paquin, Matt Damon, Mark Ruffalo, J. Cameron-Smith, Jean Reno, Matthew Broderick, Jeannie Berlin, Allison Janney, Keiran Culkin, Kenneth Lonergan, Olivia Thirlby, Michael Ealy, Hina Abdullah, Enid Graham, Rosemarie DeWitt, Adam Rose.

Margaret marks the second feature of writer/director Kenneth Lonergan after his Oscar nominated debut “You Can Count On Me“. It was actually made about five or six years ago but took a while to gain a release as there was a series of law-suits involved in the editing process. It boasts both Anthony Minghella and Sydney Pollack as producers – the two of which passed away before the film even seen the light of day. After all the legal wranglings were ironed out, the theatrical version released was supposedly edited by Martin Scorsese and Thelma Schoonmaker and despite some apparent structural flaws, this still comes out as a very emotional and interesting drama.

Lisa Cohen (Anna Paquin) is a 17-year-old high-school student who, one day, distracts a bus driver (Mark Ruffalo), resulting in the death a woman crossing the street. Through time, this tragic accident eats away at her and through her frustration and sense of guilt she begins to emotionally brutalise everyone around her, unaware that she’s harming herself even more so.

This is a film that has, without a doubt, a sense of realism. Even, at times, uncomfortably so but that’s credit to writer/director Lonergan and an exceptionally good cast. Everyone, no matter how small a role, really bring something to the table here but ultimately the film rests in the hands of Paquin. I’ve never been entirely convinced by her before but she delivers a heartfelt and desperate performance here. Her precociousness, coldness and occasional fits of emotional rage are highly destructive. This is essentially a right-of-passage tale but it can sometimes be a harrowing one, in what seems like a complete meltdown from the protagonist. Her motivations are never entirely clear and Lonergan refuses to spoon-feed us the answers either. This could be viewed as an exploration of teenage angst and the awkward progression to adulthood or even youthful idealism in the face of a very complex adult world. It could even be a commentary on the loneliness and need for belonging in a dense and detached society. There are regular slow and protracted shots of New York as a vast and vibrant city but also full of emptiness and lonely disengaged people – Lisa embodying this very detachment. Almost (if not) all of the characters in this film have difficulty connecting with people in one way or another. Everyone seems to be searching to belong somewhere. That being said, the protraction causes the film to meander towards it’s conclusion and leaves many questions unanswered. It’s hard to say whether this is down to the editing issues or just the style that Lonergan intended but it’s nonetheless an intriguing and thought provoking journey. It won’t appeal to everyone due to it’s deliberate pace and a 2 hr 30min running time certainly requires a level of commitment. At several times throughout the film, I even questioned whether it was just pure self-indulgent drivel or something of substance. After reflection, I decided on the latter. There is a depth here, even if I didn’t fully understand what it was.

A deep and melancholic character study that explores the themes of responsibilty, coming-of-age and an important sense of self. It can be difficult viewing due to it’s length and ambiguity but it’s still worthy of some attention.

Mark Walker

32 Comments »

Bernie * * * *

Posted in Comedy, Crime, Drama with tags 2012 on September 9, 2012 by Mark Walker

Director: Richard Linklater
Screenplay: Richard Linklater, Skip Hollandsworth.
Starring: Jack Black, Shirley MacLaine, Matthew McConaughey, Richard Robichaux, Brady Coleman, Rick Dial, Brandon Smith, Larry Jack Dotson, Kay McConaughey.

Richard Linklater has always been a reliable “lesser scale” director. He made his name with impressive indie film “Slacker” in 1991 and since then he’s consistently delivered impressive shifts in genre. Although not exactly a household name, anyone aware of his work is rarely disappointed. His latest in Bernie, is yet another shift for him and, unsurprisingly, another success.

In the small town of Carthage, Texas, Bernie Tiede (Jack Black) is a generous and well respected undertaker who is directly involved with the local church and has a great rapport with the townsfolk. Marjorie Nugent (Shirley MacLaine) is also one of the locals but is disliked by many due to her bad attitude and vast wealth. After she is recently widowed, Bernie lends her his friendship and becomes directly involved in her affairs- eventually taking over as her carer. However, Marjorie becomes completely dependent on Bernie to the point where he increasingly struggles to please her and also continue his work in the local church going community.

With this film being based on actual events, I’d rather not reveal too much about it. Many will already be aware of the turns of events that take place (as was I) but I think this would work better with a slight element of surprise to it. Suffice to say that Linklater constructs it in a faux-documentary style and makes clever use of combining interviews with both actors and the real life people that lived through the events themselves. The lines between fact and fiction are skilfully blurred and it’s helped immeasurably by an exceptionally good cast; normally I’m not in the camp of Jack Black enthusiasts but here, he is very good indeed. This is a role that’s entirely suited to him and he mostly does away with his usual schtick of smarm and irritating humour and replaces it with an odd charisma and endearment. He’s more reserved and captures the essence of his character that is, on the one hand, very likeable, yet highly ambiguous in his intentions. Whichever way he comes across, it’s hard to be judgmental of him. It’s not just Black that shines here though; it’s great to see the marvellous Shirley MacLaine excel in a role that allows her to be a complete cantankerous bitch and there’s yet another role (this year) that allows Matthew McConaughey to display his talents. Love or loathe the recent film’s of McConaughey (and I admittedly fall into the latter), there’s no denying that he’s finally taking on roles that reflect his abilities. In fact, one of the slight let down’s with this film is that McConaughey is underused – he’s brilliant but just not in it enough.
Where this film succeeds though, is in it’s structure and the welcome touch of wry humour coursing through it, taking the edge off of what is essentially a disturbing turn of events. As much as this film is a character study, it’s also the study of small town mentality. A town that’s full of Chinese-whispers and curtain-twitchers, yet a major event is overlooked by near enough everyone, in order to maintain their facade and their delusional sense of goodwill. In this respect, Linklater and co-writer Skip Hollandsworth nail it and deliver an intriguing, low-key treat.

A quirky, off-beat and humorous little drama that possesses just enough of a dark undertone to keep almost everyone entertained.

Mark Walker

20 Comments »

The Assassination Of Jesse James By The Coward Robert Ford * * * * 1/2

Posted in Biography, Drama, History, Western with tags 2007 on August 30, 2012 by Mark Walker

Director: Andrew Dominik.
Screenplay: Andrew Dominik.
Starring: Brad Pitt, Casey Affleck, Sam Rockwell, Jeremy Renner, Paul Schneider, Sam Shepard, Garret Dillahunt, Mary-Louise Parker, Zooey Deschanel, Michael Parks, Ted Levine, Alison Elliott, James Carville, Tom Aldredge, Pat Healy, Nick Cave.
Narrator: Hugh Ross.

In 2000, director Andrew Dominik exploded onto the scene with low-budget but powerful biographical film “Chopper” about Australian criminal Mark Brandon Read. It not only heralded the arrival of actor Eric Bana but also a new an uncompromising director. For his second feature he tackled another biographical feature about one of the wild west’s most notorious gunslingers and this time, Dominik took his uncompromising nature even further.

Retelling of the last months in the life of the legendary outlaw Jesse James and how his reputation was faltering. His gang had disbanded – either dead or in prison and Jesse was beginning to suffer increasing paranoia. After carrying out a train robbery he heads for Kentucky, only to reappear in Missouri for a bank robbery. Two brothers; Charley (Sam Rockwell) and Robert Ford (Casey Affleck) are part of his new gang but Robert has a dangerous and obsessive idolisation of Jesse and one that would finally be the outlaws undoing.

Few film’s ever get away with having a title as long as this one and even fewer get away with the manner in which this film is made. That’s testament to the skill of Andrew Dominik and the backing of Brad Pitt who refused to yield to Hollywood studios when they wanted to tinker with Dominik’s vision. Right from the opening, brutal, train robbery, this film’s style is apparent. It’s sense of realism is what commands your attention; it goes on to depict stark expansive landscapes, explosive bullet wounds and guns that don’t shoot straight but the actual gunslinging is kept to a minimum, while it focuses on the characters themselves. The pace of the film is deliberate, adding to the ethereal feel throughout and one that reminded me of the approach that director Terrence Malick would use. Roger Deakins’ cinematography is also a thing of absolute beauty. The entirety of every single frame of this picture is stunningly captured with meticulous attention to detail and Dominik’s direction is near flawless. He lingers long on shots and subtle facial expressions and captures the uneasiness in the characters and their situations. By using this methodical style, he manages to get under the skin of his two leading characters and allows both Pitt and especially Affleck the room to deliver sensational performances. Pitt is entirely commanding and charismatic, adding just enough of a glimmer of danger without losing the audience’s sympathy and Affleck is on top, creepy and unsettling, form. The chemistry between the two hints at all sorts of possibilities – including homoerotic tension. These two share an uneasy relationship and between them, there are contemporary issues at play; the nature of celebrity and hero worship and the difference between ‘the man and the myth‘. Even over 100 years ago they had this but although Dominik delivers this insight, he never fully explores it, leaving it all just a bit too ambiguous. I’m not looking for a film to spell everything out for me. On the contrary but for a film that languishes on detail and mood, it could have taken a little time to further explore these themes and the characters’ motivations. There’s a sense of bewilderment as to why James would even tolerate having Ford around when he, seemingly, knew that something wasn’t quite right about him. He was aware that sooner or later he would meet his impending fate but it’s unclear why he’d open himself up to it. Another area that lacks any attention, is the females in these men’s lives. They are fleetingly visited but are ultimately insignificant and the likes of Mary-Louise Parker and Zooey Deschannel are reduced to mere cameos. I can only assume that these issues could maybe make more sense in Dominik’s original 4 hour cut – that played at the Venice film festival before a widespread release reduced the film to it’s 2hour 40mins duration. That being said, this is still an aesthetically successful endeavour that, although not fully deserving of the masterpiece status that many consider it to be, it’s not far off it.

A contemplative and demanding film that requires the utmost patience. It’s highly ambitious, artistic and regularly poetic. Quite simply, it’s beautifully done and I found lots to admire but it meanders and like the title itself, it’s just a tad too long winded.

Mark Walker

42 Comments »

The Station Agent * * * *

Posted in Drama with tags 2003 on August 26, 2012 by Mark Walker

Director: Tom McCarthy.
Screenplay: Tom McCarthy.
Starring: Peter Dinklage, Patricia Clarkson, Bobby Cannavale, Michelle Williams, Ravin Goodwin, Paul Benjamin, Richard Kind, Josh Pais.

Having just recently gotten into the HBO TV series “Game of Thrones” and finding the character and Golden Globe winning acting of Peter Dinklage very appealing, I decided to look back at one of his major leading roles in The Station Agent. I had seen this film years ago and liked it a lot but on a repeat viewing, I enjoyed it even more.

Fin McBride (Peter Dinklage) is a young man born with dwarfism that has consistently struggled to fit into society. He has a passion for trains and works in a shop selling such items but when his only friend and co-worker dies, he finds that in his late friends will, he has been left an abandoned train depot in rural New Jersey. Looking for solitude, he packs up his things and moves there only to find unusual friendships developing with local struggling artist Olivia (Patricia Clarkson) – trying to overcome a personal tragedy of her own – and Joe (Bobby Cannavale) an overly friendly Cuban hot-dog vendor, desperate for some form of interaction with people.

This plot summary might not sound like much but don’t be fooled into thinking this is an uneventful or boring affair. It’s far from it. Yes, not a lot is going on this film but that exactly the appeal. It’s filled with such attention to detail and strong characterisation that this film is plentiful. I’m a sucker for these type of low-key, subtle and observant dramas and this debut from director Tom McCarthy is a perfect example of that particular sub-genre. It’s a slow moving and thoughtful film that sensitively deals with feelings of loneliness and isolation. To embody the emptiness, McCarthy is aided with three superb lead performances which are poignant and heartfelt but more importantly, realistic. Not a lot is going on in their lives but that’s the very thing that holds your attention. It’s the bond and the relationship they develop with one another that gives this film it’s heart. McCarthy handles the material delicately and seems entirely aware of the appeal that these characters have, as are the performers; Dinklage is an actor with many qualities and it’s great to see him in a rare but well deserved leading role. Patricia Clarkson is always an actress I’ve admired and it baffles me why she isn’t seen more often. The biggest surprise though, is Bobby Cannavale who provides the comic-relief to the suffering of the other two. That being said, this film isn’t the slightest bit depressing despite the subject matter. In fact, it’s a charming and absorbing human tale.

An original and affecting debut from director Tom McCarthy that displays a genuine warmth and respect for struggling individuals. His ability to be both perceptive and humorous is rarely captured so well on screen.

Mark Walker

23 Comments »

Being Flynn * * * 1/2

Posted in Drama with tags 2012 on August 25, 2012 by Mark Walker

Director: Paul Weitz.
Screenplay: Paul Weitz.
Starring: Robert DeNiro, Paul Dano, Julianne Moore, Wes Studi, Olivia Thirlby, Lili Taylor, Eddie Rouse, Thomas Middleditch, Chris Chalk, Liam Broggy, Dale Dickey, Michael Buscemi, William Sadler.

I think it’s fair to say that Robert DeNiro’s film’s over the last ten years or so have been pretty lacklustre. Regardless of this, I’m still that much of a fan that I will always venture into them anyway. If only, to see a glimmer of the great actor enjoying his work again. This might not be the return to form that I was looking for – at least in terms of end product – but it was in terms of his committed performance.

Nick Flynn (Paul Dano) is a young man in his 20’s who hasn’t yet found his vocation in life. He is a budding writer but can’t quite decide if he’s talented enough and the lack of confidence in his abilities stems from the harsh judgement of his estranged father Jonathan (Robert DeNiro) who considers himself a great writer destined for success one day. Just to fill his time, Nick takes a job at a homeless shelter in Boston, where his father – now down-and-out – makes an appearance and looking to become a resident. It opens up all sorts of wounds for Nick as he now has to face up to his own demons and their dysfunctional relationship.

The opening line of this film has DeNiro’s character delivering a voiceover, informing us that “America has produced only three classic writers; Mark Twain, J.D. Salinger and me“. The same could be said for DeNiro’s acting abilities; he is considered one of America’s classic actors and this is a welcome return to form from him. It’s one of the best roles he has had in years and he really seems to be enjoying himself again, instead of just phoning in a performance. There are glimmers of the master here and although it’s not quite up to his highest standards, he at least draws comparisons with his earlier iconic roles. With his vitriolic rants (as well as taxi driving) I couldn’t help but envisage an older Travis Bickle or, more closely, an older and equally delusional Rupert Pupkin. Again, DeNiro delivers a finely balanced performance of a deeply flawed individual with delusions of grandeur. As good as he is though, the always reliable Paul Dano cannot be ignored either. This is the second time I’ve seen Dano play up against a masterful actor (the other being Daniel Day-Lewis in “There Will Be Blood“) and come out looking very accomplished indeed. It’s in the duality of these two characters that the film benefits from it’s most original idea; having the double use of narration from them both. Each time either actor is onscreen they inform us of their take on life and the struggle that they have both faced in their estranged father/son relationship and how their lives will inevitably cross paths again. It’s through this clever narrative device and two commanding performances that the film is elevated above the unsure handling of Paul Weitz’ direction. The material is strong enough (based on Nick Flynn’s actual memoirs) but Weitz struggles a little with it and seems unsure of how to balance the humour and the pathos. There are tragic moments that don’t quite resonate as well as they should which could be a result of Weitz’ past credentials mainly consisting of comedies. It’s the actors that stand out here and in that respect Weitz at least deserves some credit in drawing two commanding deliveries as well as great use of music by “Badly Drawn Boy“.

This is a good film but had the potential to be better had it landed in the hands of a more experienced director. However, DeNiro chews up the screen like he once did in his prime and for that reason alone, this should be seen by his fervent followers.

Mark Walker

17 Comments »

Wild Bill * * * *

Posted in Crime, Drama with tags 2012 on August 22, 2012 by Mark Walker

Director: Dexter Fletcher.
Screenplay: Dexter Fletcher, Danny King.
Starring: Charlie Creed-Miles, Will Poulter, Sammy Williams, Leo Gregory, Neil Maskell, Andy Serkis, Olivia Williams, Liz White, Jason Flemying, Jamie Winstone, Mark Monero, Sean Pertwee, Marc Warren, Charlotte Spencer, Hardeep Singh Kohli.

It’s pretty much inevitable that throughout each year a British working class drama will make an appearance. What’s surprising about them though, is that whoever steps behind the camera, they seem to find some more mileage and deliver something different from a now tiring formula. Paddy Considine done it last year in “Tyrannosaur” and now (another) actor turned director Dexter Fletcher does it with this.

“Wild” Bill Hayward (Charlie Creed-Miles) has just been released from prison. He heads back to his home where he finds that his partner has abandoned his children in his absence, leaving his 15 year old sons Dean (Will Poulter) and 11 year old Jimmy (Sammy Williams) fending for themselves. When there is a threat of them being taken into care, Bill reluctantly decides to stick around but his youngest has got involved in drug dealing, dragging Bill back into the life he’s been trying to avoid.

I’ll be honest in my judgement of this film beforehand, I was expecting another attempt at ripping off Guy Ritchie and the success of his film’s “Lock, Stock and Two Smoking Barrels“, “Snatch” and “RocknRolla”. I’m happy to say that that wasn’t the case here. Sure, this film possesses a similar gritty feel and similar touches of humour but writer/director Fletcher has crafted a very personal film that has an appeal of it’s own. This doesn’t follow the conventions of the British crime flick but delivers a touching and heartfelt family drama. It also pays homage to the classic western in a very understated and clever way; apart from the title itself, the main character of Bill has a tattoo of a Sheriff badge on his chest; he refuses to be run out of town and stares down the local nasties – climaxing in a bar room (saloon) showdown where it becomes apparent why he has received his moniker. All the elements are here and Fletcher does extremely well in managing them with a subtlety, without losing track of the job at hand. Despite the downbeat, and sometimes threatening characters and dysfunctional family element, there is a lightness of touch to be found here and the whole cast deliver memorable shows. Ultimately though, it comes down to the leading man himself – Charlie Creed-Miles. A lot of people may be unaware of this highly underrated actor’s talents but he had previously delivered excellent supporting roles in Gary Oldman’s directorial debut “Nil By Mouth” and Luc Besson’s “The Fifth Element“. Whether or not this film gets him more work remains to be seen but he’s certainly deserving of it and shows impressive range as a decent hearted father with an underlying protective ferocity.

This is a film that manages to juggle several themes and moods and marks a very successful debut from Dexter Fletcher. I only hope that more people pay attention this little gem.

Mark Walker

16 Comments »

Shotgun Stories * * * *

Posted in Drama with tags 2007 on August 20, 2012 by Mark Walker

Director: Jeff Nichols.
Screenplay: Jeff Nichols.
Starring: Michael Shannon, Douglas Ligon, Barlow Jacobs, G. Alan Wilkins, Travis Smith, Michael Abbot Jr, Glenda Pannell, Natalie Canerday, Lynnsee Provence, David Rhodes.

In 2011, relatively unknown writer/director Jeff Nichols took a lot of people by surprise when he delivered one of the best films of the year in “Take Shelter“. However, four years prior to that he had already made his debut with Shotgun Stories which is a film that shares a similar downbeat tone. Despite being seen by very few, this impressive debut shows a strong ability from this new director.

In the back roads of South East Arkansas, three close brothers, Son (Michael Shannon), Boy (Douglas Ligon) and Kid (Barlow Jacobs) hear the news of their estranged fathers death. They attend the funeral if only to relate their vehement hatred of the man as he abandoned them in their youth and started a new family. As result of this, their fathers other sons (and half brothers to them) get involved in a feud that reaches dangerous and deadly proportions.

I always find it quite interesting watching the debut of a director you admire, especially when you’ve been introduced to them at a later date and find yourself looking back at their earlier material just to see where they honed their skills. In this case, it’s easy to where Jeff Nichols is coming from. Like “Take Shelter“, this film starts off at a deliberate pace. It’s in no hurry to tell it’s story and favours a slow approach to build up it’s characters and the mundane lifestyles they lead. It may be a little slow for some but the story here is all very deliberate and naturally handled. Nichols certainly has an eye for small town America and with help from cinematographer Adam Stone, he effectively captures the vast emptiness of the town which also reflects in the emptiness of the characters’ lives. Everything about this film is subtle and understated but all the more brooding and effective for it. Performance wise, there are some faults with the lesser known actors but as always, Shannon delivers a solid show and with scars on his back that resemble shotgun shells, it only serves to fuel the films enigmatic nature and understated detail. When the feud between the half brothers takes hold, the muted first half of the film turns to one of tension as it reaches tragic Shakespearean heights that’s handled very impressively and never succumbs to formula. By this, there lies the question on whether the denouement is as satisfactory as it could be but Nichols’ handling is undeniably good and it makes for an impressive debut from him. It’s not quite as good as “Take Shelter” but this is a director that has started strongly, backed it up with one of the best film’s of 2011 and I believe will continue to go from strength to strength – time will tell with his forthcoming film “Mud” released later in 2012.

In “Take Shelter“, Nichols dealt with events that had almost biblical proportions and when looking at this you can see that he shares a similar theme. This is a highly accomplished debut from one the most exciting new directors to reach our screens.

Mark Walker

18 Comments »

My Son, My Son, What Have Ye Done * *

Posted in Drama, Mystery with tags 2009 on August 19, 2012 by Mark Walker

Director: Werner Herzog.
Screenplay: Werner Herzog, Herbert Golder.
Starring: Michael Shannon, Willem Dafoe, Chloe Sevigny, Udo Kier, Michael Pena, Grace Zabriskie, Irma P. Hall, Loretta Devine, Brad Dourif.

Sometimes a film comes along that although it hasn’t received a wide release or even a reasonable marketing campaign, it can capture your attention by the very people involved. This has prestigious director Werner Herzog; the go-to-man for troubled souls Michael Shannon; a host of talented supporting roles including the always reliable Willem Dafoe and it’s executive-produced by surreal transcendentalist David Lynch. I thought it’s lack of attention was maybe because the film was a stinker or maybe it was just a cult classic waiting to be discovered. Now that I know, I’d unfortunately put the film’s relative obscurity in the former category.

Brad McCullum (Michael Shannon) is a strange young man living in San Diego. One day, unexpectedly, he kills his mother with a sword and locks himself away in his home, claiming to have hostages. Detectives Havenhurst (Willem Dafoe) and Vargas (Michael Pena) arrive on the scene to get to the bottom of Brad’s seemingly sudden act of lunacy.

As this film opens it’s apparent, early on, that it’s going to go in a different direction. The use of music is eerie and the behaviour of the characters very off-key but then that’s entirely expected when David Lynch’s name appears on the opening credits. It even has a few of Lynch’s regular cast members in Dafoe, Brad Dourif and Grace Zabriskie but the most apparent thing that separates this from Lynch’s efforts is the absence of haunting composer Angelo Badalamenti. Without him, it’s just not the same. There are several moments to be admired and those moments are mainly fashioned with a Lynchian wierdness but it’s an ability that Herzog just can’t get a handle on here. Even though Lynch is weird, he is never boring but Herzog certainly comes across this way. Despite it’s intriguing atmosphere and sense of mystery, I found myself losing interest and losing it rapidly. The performances – as expected – are great and Michael Shannon adds another intense and off-beat character to his résumé but the tone and poor script let down any impressive work delivered onscreen. In fact, if it wasn’t for the reliable cast, I’d rate this even lower than I have. As an exploration of mental health culminating into Greek tragedy, it’s ambitious but the sheer strangeness of it all just falls flat.
In the same year, Herzog released “Bad Lieutenant: Port of Call New Orleans” which was an another exploration of one man’s insanity but as impressive as that was, he doesn’t achieve the same balance with this one. I always knew I was taking a chance going into this but I really didn’t expect it to be as bad as it turned out to be. I held onto the fact that this it may have been misunderstood but I was, sadly, mistaken.

As the old proverb goes… ‘too many cooks spoil the broth‘; this might have worked better had either Lynch or, especially, Herzog had a clearer idea of what they were delivering. On this occasion I’ll be changing Werner’s name to ‘Herz-slog’. What he was formulating, I was receiving on a badly tuned frequency.

Mark Walker

16 Comments »

The Skin I Live In * * * * *

Posted in Drama, Horror, Mystery with tags 2011 on August 16, 2012 by Mark Walker

Director: Pedro Almodovar.
Screenplay: Pedro Almodovar, Agustin Almodovar.
Starring: Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet, Roberto Alamo, Blanca Suarez.

Any time I approach a film by director Pedro Almodovar, I know straight away that I’ll have to pay attention. He explores difficult and heavy themes but does them with such style and attention to detail that his craftsmanship cannot be ignored. For anyone wondering whether he achieves the same level of quality with this recent effort, then wonder no more. He does and more so.

Robert Ledgard (Antonio Banderas) is a plastic surgeon who has perfected a new form of artificial skin. The problem with Ledgard though, is that he’s not entirely healthy of mind and as a test subject, he holds Vera (Elena Anaya) captive in his home to conduct his experiments. However, the arrival of a wanted criminal makes an appearance at his home which brings forth the dark history of the doctor and patient and how they came to be in their current situation.

Something that I have always tried to avoid when writing down my thoughts on a film is treading into spoiler territory. This is certainly one of those films that’s difficult to write about without giving away major parts of the plot. Suffice to say, Almodovar himself described the film as “a horror story without screams or frights” that was loosely based on the novel “Tarantula” by French writer Thierry Jonquet and inspired by Georges Franju’s 1960 film “Eyes Without a Face“. It also has an odd David Lynch feel to it, or more to the point, Lynch’s daughter Jennifer and her 1993 movie “Boxing Helena” (much more accomplished than that of course) In different hands this film could have fell into torture porn territory and ended up hitting the straight to DVD slasher shelf but with Almodovar at the helm, it takes on a whole new shape and form. His ability to construct an elaborate narrative cannot be questioned and he commands an audiences attention, while teasingly, revealing the layers to his story. Quite simply, he’s an artist! That statement alone should be enough to simplify this highly creative director’s impressive catalogue. Scenes are shot with such an eye for detailed beauty that you’d be forgiven for being reminded of classical pieces of art as he frames his picture like an expressionist painter. The production design is superb and visually, the film is simply beautiful. The beautiful look isn’t reflected in the material though. This is dark stuff and despite being, both shocking and bizarre, it possesses a sense of humour – all be it, a sick one. Almodovar’s recurrent themes and probing of the human psyche are also explored; masochism, transgender issues and repressed sexuality but ultimately this is a modern, twisted take on the Frankenstein story and one that he imbues with style and creative flair. But nothing is black and white here, he even toys with the morality of the audience in clever use of the Stockholm syndrome in which a hostage begins to identify with and grow sympathetic to their captor. As always with Almodovar though, there are a major plot developments that throw his films off-kilter and take such dramatic turns that they quite near takes your breath away. To reveal any more would be completely irresponsible and wholly unfair of me but rest assured that this is thought provoking filmmaking and a craftsman plying his trade at a very high standard. He’s also aided by superb performances by his leads; Elena Anaya could well be the next Penelope Cruz and it’s great to see Banderas deliver such an intense and brooding character, making you wonder why he and the Spanish auteur have waited 21 years before collaborating again here.

A provocative and macabre near masterpiece from Almodovar. It’s one worthy of attention and arguably his finest film to date.

Mark Walker

40 Comments »

Gladiator * * * *

Posted in Action, Drama, History with tags 2000 on August 2, 2012 by Mark Walker

Director: Ridley Scott.
Screenplay: David Franzoni, John Logan, William Nicholson.
Starring: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Derek Jacobi, Djimon Hounsou, Richard Harris, Tommy Flanagan, David Hemmings, David Schofield, John Shrapnel, Tomas Arana, Spencer Treat Clark, Sven-Ole Thorsen, Omid Djalili, Tony Curran, Michael Sheen.

When I went to see Gladiator on it’s release in 2000, I walked out the cinema bitterly disappointed. It went on to win 5 Oscars (including Best Picture) and received a further 7 nominations. This only added to my feelings of resentment towards it. As a result, I chose to avoid seeing it again and didn’t mince my words on my dislike for it. However, plenty of people – who’s opinions I respect – seemed to love it. For that reason, I chose to have a reappraisal.

During the days of the Roman Empire, dedicated soldier Maximus (Russell Crowe) loyally serves the emperor Marcus Aurelius (Richard Harris). When the emperor is killed, Maximus refuses to transfer his loyalty to his son and new emperor, Commodus (Joaquin Phoenix) and suffers the consequences. He is ordered to be killed but manages to escape, ending up in the hands of slave trader Proximo (Oliver Reed), who pits him into the Roman Colosseum as a gladiator. It’s here that Maximus realises he can still use the arena and the crowd to his benefit and plan his revenge on Commodus.

On only my second viewing of this film, my opinion has changed and changed for the better. I still have issues with it but it’s granduer is undeniably impressive and as a slice of entertainment it can’t be faulted. I can honestly admit now, that my scornful opinion of this film was slightly unjust. It was much better than I remember but still not the classic it’s proclaimed to be. For a start, it has a high tendency for melodrama. This is acceptable in some cases but with the acclimations that Gladiator has recieved over the years, I find it needs to be scrutinised a little further. One of the main causes for it’s melodramatic approach is some ridiculous dialogue. Reportedly, during production Russell Crowe himself had complaints with screenwriter William Nicholson’s dialogue, apparently telling him it was “garbage”. I found that to be the case in several scenes and when delivering it, the uncomfortableness in the actors looked apparent. However, they manage to carry it well enough; Crowe is a commanding presence in his Oscar winning role but it’s by no means his best performance. I think his abilities were better tested in previous films “L.A. Confidential” and especially “The Insider“, which he deserved the Oscar for. Phoenix is another actor I admire and he also delivers a good performance but unfortunately suffers with a poorly written and stereotypical character. He’s no more than a cartoon villain – complete with dark eye shadow – and he couldn’t really get any more nasty. Old hands, Harris and Reed phone their performances in and it looks as if Reed is just there for the beer tokens. Jacobi, however brief, shows his thespian abilities and the always excellent Djimon Hounsou is wasted in another poorly written role. There’s not a lot going on for the character’s, as ultimately, this is all about the spectacle. And a fine, grandiose one it is. With “Blade Runner” and most recently “Prometheus“, Scott has never been known to scrimp on the visual front and this is no different. It is
exquisitely detailed (kudos to cinematographer John Mathieson) and filmed in the grandest of scales. The director can’t be faulted in his ability to capture the hearts and minds of an audience and this is no more apparent than the impressively choreographed battle scenes and wonderfully ethereal afterlife sequences – shot with a highly artistic eye. Such scenes are afforded a greater power by a superb score from Hans Zimmer and the haunting vocal talents of Lisa Gerrard (for those unaware, check out her beautiful work with Australian outfit “Dead Can Dance“). On a visual and audio front, this film can’t be reckoned with but unfortunately, I found it to succumb to formula. Despite the fact that the real life Commodus did actually fight in the the gladiatorial arena, the ending stretched credulity for me but I suppose dramatic license is commonplace in film’s of this type.

I enjoyed this a far-sight more than I used to, as it’s undeniably epic and visually arresting. Essentially though, this is an action movie. A good one but not much more than an action movie dressed in the Emperor’s clothes.

Mark Walker

38 Comments »

The Hunter * * * 1/2

Posted in Drama, Mystery with tags 2012 on July 27, 2012 by Mark Walker

Director: Daniel Nettheim.
Screenplay: Wain Fimeri, Alice Addison.
Starring: Willem Dafoe, Sam Neill, Frances O’Connor, Morgana Davies, Finn Woodlock, Sullivan Stapleton, Callan Mulvey, Jacek Koman.

Willem Dafoe is one of those actors that despite possessing a recognisable name in cinema still isn’t afraid to take on projects that are in danger of being unrecognised. He’s worked with some of my favourite director’s in David Lynch, Lars von Trier and Wes Anderson and yet always finds the time to be involved in lesser known works. This is another example of that.

A biotech corporation hires hunter Martin David (Willem Dafoe) to track down the, believed to be extinct, Tasmanian tiger. He finds board with a single mother (Frances O’Connor) and her two children who’s father has disappeared in the hills, hunting the same animal. As David delves further into the hunt, he realises that all is not as it seems and his employers, the locals and a tracker (Sam Neill) have other plans for him.

The premise of this film about the hunt for the last known Tasmanian tiger is intriguing enough but it grips even more because of the finely tuned, low-key atmosphere; the indulgence in some beautiful sweeping landscapes and a lead actor that has character written all over his rugged face. From the opening alone, it’s apparent that this film is in no rush and seemingly revels in it’s methodical approach. Now, that’s not normally a problem for me. In fact, I welcome it but when the film hints at a further depth without fully providing it then I begin to feel disappointment creeping in. There are themes of man’s relationship with nature and environmental issues going on underneath it all somewhere but the deeper you dig, you realise it’s not that profound. Yet, on the surface it would have you believe it is. That’s not to say that there’s not plenty to admire here. There is; it has a decent – if underdeveloped -conspiracy thriller element and it’s more than competently shot with beautiful cinematography and another solid performance from Dafoe to add to his growing canon. Most of the weight is on his shoulders and he carries it well but despite a very good performance, I wasn’t entirely convinced about his characters actions. On the one hand, he was very kind and concerned and the other, uncaring and cold. I think the fault with this lies with the script. His character isn’t fleshed out enough leaving him enigmatic. Maybe this was intentional but I just took his character to be muddled, giving off mixed messages and never fully allowing me to identify with him. The rest of the characters came off even less developed which would leave you to believe that this air of mystery amongst them was part of it all. If so, it just didn’t work for me.

It shares similar themes to “The Grey” before it, in terms of man versus nature and even in it’s attempts at a philosophical approach. I enjoyed it but I expected a little more profundity.

Mark Walker

18 Comments »

44 Inch Chest * * * *

Posted in Crime, Drama with tags 2009 on July 19, 2012 by Mark Walker

Director: Malcolm Venville.
Screenplay: Louis Mellis, David Scinto.
Starring: Ray Winstone, Ian McShane, John Hurt, Tom Wilkinson, Stephen Dillane, Joanne Whalley, Melvil Poupaud, Steven Berkoff.

Remember the British gangster film “Sexy Beast” released in 2000? You know, the one where “Gandhi” goes ape shit? Well, this film brings some of the cast and crew back together again. Unfortunately, it seems that Ben Kingsley wasn’t taking ‘yes’ for an answer this time and isn’t involved. It does, however, have actors Ray Winstone and Ian McShane again, as well as screenwriters Louis Mellis and David Scinto. Now, this may not have gained the same acclimations as it’s predecessor but this is still an undeniably powerful film in it own right.

When his wife Liz (Joanne Whalley) says she’s leaving him for another man, Colin Diamond (Ray Winstone) refuses to take it. He enlists the help of his criminal friends Meredith (Ian McShane), Peanut (John Hurt), Archie (Tom Wilkinson) and Mal (Stephen Dillane) in abducting her lover (Melvil Poupaud). They take him back to an old flat and keep him in a wardrobe, while deciding on how to take revenge.

Where “Sexy Beast” had it’s English lowlife criminals sunning it up in the villas of Spain. This film has them on their own turf. It’s back to the grit and grime of dear ol’ ‘Landan’ where Winstone gets to be ‘the Daddy’ again. This is no bad thing though as it’s what Winstone does best. And… he’s not alone. He’s joined by an excellent cast of familiar British actors – who all get their turn at spouting some vitriol. It’s the performers that’s the best thing about this and having such choice actors as Hurt, Wilkinson, McShane, and the very underrated Dillane all backing up the lead, is a thing of dramatic gold. The performances are uniformly superb and it’s an added bonus that they don’t go anywhere. This is a moody and intense chamber piece that has all of the actors sharing the same limited space for almost the entire film, making it more akin to a stage-play. There is a brooding intensity to it that only benefits from the actors’ terrifying and multilayered performances. On the surface, the characters have such a ferocity that they resemble a pack of rabid dogs but there are undercurrents of repression and weakness, at times making them about as threatening as a poodle. It’s this very attention to characterisation that keeps this film going. It’s also wonderfully shot in a sepia hue that adds a stark and bleak environment to the match the material. It may be too grim and misogynist for some tastes but essentially this is a love story about men full of bravado but quite fragile underneath their tough exterior. That being said, there’s no denying it’s vehement and vigorous approach and the title itself is very fitting.

I greatly enjoyed “Sexy Beast” but it’s wholly unfair that this film was compared and ultimately overshadowed by it. This is an impressive, moody and claustrophobic chamber piece with an ensemble that deliver with all the force they can muster.

Mark Walker

10 Comments »

Hunger * * * * *

Posted in Drama, History with tags 2008 on July 15, 2012 by Mark Walker

Director: Steve McQueen.
Screenplay: Steve McQueen, Enda Walsh.
Starring: Michael Fassbender, Liam Cunningham, Liam McMahon, Brian Milligan, Stuart Graham, Karen Hassan, Helen Madden, Des McAleer, Frank McCusker, Rory Mullen.

In 2011, “Shame” was released. It was a powerful piece of cinema and one of the most provocative and controversial film’s of the year. It was also one of the very best. But if you look back to 2008 and this previous collaboration with director Steve McQueen and actor Michael Fassbender, you’ll realise that provocative and hard-hitting filmmaking is something these two, seemingly excel at.

In Northern Ireland, 1981, Irish revolutionary inmates in the Maze prison begin a protest to attain political status and not to be seen as criminals. Their demands are refused by the British Government so one man, Bobby Sands (Michael Fassbender), leads a hunger strike. This was a defiant act against tyrannical British rule and one that would reverberate internationally.

I find it hard to be subjective in my views of the atrocities that the British Government imposed upon the Irish revolutionary movement. I’m disgusted and appalled at some of the parliamentary decisions and I make no excuses for my prejudices toward Margaret Thatcher either. The hunger strike of 1981, is a shameful and atrocious piece of history, of which, she was at the forefront. It’s a time in history that many will want to forget, but here, director Steve McQueen paints a vivid and unflinching portrayal of these harsh times and conditions. He starts by informing us that 2,187 people have been killed in “the troubles” since 1969 and that the British Govt have withdrawn the political status of all paramilitary prisoners. Irish republicans in the Maze Prison are on a ‘blanket’ and ‘no wash’ protest. We are then introduced to a prison guard, bathing his bloodied knuckles in water. Primarily, the warden we follow seems to be torn and struggling. However, it’s soon apparent that these prison wardens are only upholding the state, so sympathy wains. There is a struggle at heart here and the British Govt has a lot to answer for. Rearing her ugly head, Margaret Thatcher is overheard on a radio broadcast, refusing to accept any form of “political or criminal violence”. Anyone familiar with her time in office will be aware of her sheer hypocrisy here. She was known as “The Iron Lady“, no better than a fascist and throughout her time in power, was the very catalyst for many wrongdoings. My opinion may come across as biased but the atrocities that these young men faced in the fight for freedom is abhorrent. What this film has in it’s ultimate favour though, is that it doesn’t preach. It states the facts and for this, McQueen deserves the utmost credit and respect. Despite the grim material, we are afforded moments of artistic beauty; McQueen lingers long on shots and uses dialogue sparsely. At one point though, he film’s a highly impressive 22-minute conversation about semantics and political rhetoric and does 16-minutes of it without cuts. It’s a bold move that could stop the film in it’s tracks but actually, what it does, is reinforce the belief that this is a highly artistic and confident filmmaker you are witnessing. He even takes his time (about half an hour) to introduce our protagonist Bobby Sands and it’s here, he is aided immeasurably by his lead actor; Michael Fassbender’s transformation from a passionate healthy prisoner to one of starved frailty is astonishing and it’s easy to see why he made a name for himself after this. He truly is one of the very best and bravest actors around at present.
Rarely have political drama’s been so raw, unnerving and emotionally devastating. This is by no means easy viewing but it’s certainly important and essential viewing and it heralded the arrival of a visionary director and intense performer.

McQueen manages that rare achievement of delivering a piece of work that is both brutal and harsh yet touching and quite beautiful. This is raw and unflinching material that is told candidly and without reservation. Simply stunning.

Mark Walker

19 Comments »

Machine Gun Preacher * * * *

Posted in Biography, Drama with tags 2011 on July 10, 2012 by Mark Walker

Director: Marc Foster.
Screenplay: Jason Keller.
Starring: Gerard Butler, Michael Shannon, Michelle Monaghan, Souleymane Sy Savane, Kathy Baker, Madeline Carroll, Grant Krause, Reavis Graham, Peter Carey.

Marc Foster is quite a versatile director that seems to be able to turn his hand at many different genres. His fantastical “Finding Neverland” and comedic “Stranger than Paradise” are a far distance from say, his gritty debut “Monster’s Ball” or even his foray into Bond territory with “Quantum Of Solice“. With this movie, he has changed direction again and it’s no less accomplished than his previous film’s.

Sam Childers (Gerard Butler) is a drug using, violent biker who has just been released from prison. Upon his release he is soon back to his old wicked ways but having nearly murdered a man in defence of his best friend Donnie (Michael Shannon), he decides to turn his attention to God and find redemption. It’s at this point, that his spiritual journey begins and he finds himself taking up arms to liberate Sudanese refugee children from the LRA – the local militia, known as the Lord’s Resistance Army.

The very premise of this film seems like it’s has been concocted in some executive Hollywood office. I can just imagine it being pitched and how ridiculous it might have sounded. However, this is actually based on a true-story and the real Sam Childers is still, to this day, fighting for the freedom of African Children. That being said, I had never heard of Childers before or the ongoing struggle he is directly involved in and as a result I was left with the unfortunate title of this film and it’s slightly off-putting poster as my only information. After a few mindless action movies under his belt, you’d be forgiven for mistaking this recent Gerard Butler film as being in a similar vein. After all, the poster depicts him brandishing a rifle with the obligatory cowering child, hiding by his side. This very imagery and the more than dubious title completely misleads. It’s actually quite far from that type of film and more of a human and political drama. Thankfully, I still gave this a chance and left it feeling quite satisfied indeed. This is thanks in large to a charismatic and very powerful performance from it’s leading man. There is a real intensity to Butler’s delivery and it’s credit to the filmmakers that the flawed and distasteful behaviour of Childers is not ignored. He wasn’t someone that you’d like to cross paths with, yet Butler plays him with just enough edge and compassion – never fully losing your support or feelings of isolation from him. His transformation from violent misogynist to redeemed man of God and ultimately, saviour and mercenary is believable, if a little unexplained. Yes, there are flaws in the character development but it’s proof that given the right role, Butler can certainly deliver the goods. It’s his committed and passionate performance that forgives some big leaps in character progression. Ultimately, this fault is in the screenplay as the supporting characters also suffer; again, they are not bad performances but their roles are very underwritten. Michelle Monaghan is good but distant and this could be said even more for the very underrated Kathy Baker, who has absolutely nothing to do as Childers’ long suffering mother but the biggest waste of talent comes in the shape of Michael Shannon. With an Oscar nomination behind him for “Revolutionary Road” and a superb leading role in “Take Shelter“, this man should have been utilised more wisely. He still manages a presence but really, him and the aforementioned actresses melt into the background.
Slight over-length may also be an issue here but trying to condense anyone’s life story without causing some major bum-numbing amongst viewers can’t be an easy task.

This is a film primarily about one man – Sam Childers – and thankfully, the actor chosen to play him is more than up to the task. Despite some flaws, this is still an admirable and thoroughly involving biopic.

Mark Walker

12 Comments »

Trainspotting (A Scottish Review) * * * * *

Posted in Crime, Drama with tags 1996 on June 29, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: John Hodge.
Starring: Ewan McGregor, Robert Carlyle, Ewen Bremner, Kevin McKidd, Jonny Lee Miller, Kelly MacDonald, Peter Mullan, James Cosmo, Eileen Nicholas, Shirley Henderson, Pauline Lynch, Stuart McQuarrie, Keith Allen, Kevin Allen, Dale Winton, Irvine Welsh.

(As Trainspotting is one of my favourite film’s, I think it’s deserving of a review written in my native Scottish tongue. So here it is. It’s also a little experiment to see if anyone, other than a Scot, can understand what I’m actually saying)

Director Danny Boyle’s braw debut “Shallow Grave” wiz always gonnae be a hard act tae follae but tae attempt an adaptation ae the ‘unfilmable’ Scottish novel “Trainspotting” by Irvine Welsh, seemed like lunacy. Boyle, oan the other haun, captures Welsh’s book brilliantly and even though “Slumdog Millionaire” gathered him a best director Oscar, this stull remains his best film.

It follaes the lives ae a group ah freends fae Auld Reekie as they experience the up’s and doon’s ah life through scag use. Renton (Ewan McGregor) decides tae go clean and rid hissel ae his affliction and his low-life mates but finds that’s easier said than done. Spud (Ewen Bremner) is a bit ae ah dunderheid and far too needy, SickBoy (Jonny Lee Miller) is too sleekit and gallus, Tommy (Kevin McKidd) is scunnert and has just taken some bad direction and Begbie (Robert Carlyle) is always crabbit and just a plain fuckin’ nutter. It disnae matter though as Renton still decides tae enters intae makin’ a wan aff drug deal with his auld pals, so as tae make a new life for hissel aw th’gither.

Boyle’s filum has aften been criticised as glorifyin’ drug use. Glorifyin’ drug use? Really? Eejit’s who believe this must huv been watchin’ a differnt filum. The characters involved aw behave despicably. They are responsible for stouth’s, rammie’s and deith’s – includin’ the deith ae a wean; get imprisoned; contract HIV; ruin their lives and others’, aw because they’re junkies and need tae feed their habit. Whit this film has in depth, vibrancy and fun, is the reason it could be mistaken for bein’ pro-drug use but huvin’ these qualities is mair ae a testament tae the filmmakers involved, in making a bleak and depressin’ subject matter, very entertainin’. The characters urr extremely well written (kudos tae writer Welsh) and acted by an ensemble ae excellent actors. It made a star ae Ewan McGregor, who’s character, although likeable – and brilliantly played – is essentially the person responsible fur the doonfaw ae many of the other characters. Notable other performances urr Ewen Bremner as the numptie “Spud”, the maist endearin’ of the group and a character too saft fur ‘is lifestyle. The best ae the bunch though, is Boabby Carlyle as the psychotic “Begbie”, who’s choice ah drug isnae heroin but violence, and he’s just as destructive wae it. He’s a dangerous and highly volatile gadgie and Carlyle perfectly captures the oan-edge feelin’ ae his terrifyin’ unpredictability. It’s an award worthy performance that wiz sadly overlooked. Everythin’ aboot the film reeks ah class. Fae it’s rollickin’ soundtrack, tae the rich, snappy dialogue, wae great characters in hilarious situations and kinetic fast paced direction. This film huz everythin’ gon fur it and stauns as wan ae the finest films ae the 1990′s.

A relentlessly energetic experience that leaves ye cravin’ fur mair, much like the habit ae it’s protaganists.
A pure uncut, Class “A” steesher.

(If this review is indecipherable to anyone go here for the English language version)

Mark Walker

42 Comments »

Jack Goes Boating * * * *

Posted in Drama with tags 2010 on June 27, 2012 by Mark Walker

Director: Philip Seymour Hoffman.
Screenplay: Robert Glaudini.
Starring: Philip Seymour Hoffman, Amy Ryan, John Ortiz, Daphne Rubin-Vega, Richard Petrocelli, Thomas McCarthy.

Throughout the years – either in leading roles like “Love Liza” “Capote” and “Doubt” or supporting roles such as “Boogie Nights” or “The Big Lebowski” – Philip Seymour Hoffman has always delivered consistency. As a result of this, he has become one of my favourite actors and like many respected performers he now takes his first step into directing. For his material, he chooses a play that he’s familiar with (and one that he performed off-broadway). Wisely, Hoffman behind the camera doesn’t go for anything flashy but instead, delivers a solid low-key character study.

Jack (Philip Seymour Hoffman) is a lonely chauffeur to Manhattan’s upper middle classes. He takes comfort in his reggae and secretly wants to be a Rastafarian. He also possesses a shyness which leaves him with very few friends. The one’s that he does have, are his neighbours Clyde (John Ortiz) and Lucy (Daphne Rubin-Vega). Playing match-maker, Lucy introduces him to another of life’s shy souls; Connie (Amy Ryan). As they awkwardly attempt to make a connection, they find that life doesn’t always have to be a struggle.

It’s because of the range and high level of Hoffman’s performances that I was so eager to see how he faired behind the camera. Now, this isn’t a film that will instantly have you singing his praises from the rooftops but what it is, is a slow moving and deeply involving drama that pays attention to it’s characters and their subtleties. This film is in no rush whatsoever but it’s all the better for it. It allows us to completely get inside the minds and the hearts of the characters and allows the actors (in this case, four of them) to take centre stage and provide the goods. In keeping with playwright Robert Glaudini’s off-broadway show, Hoffman casts the same actors; John Ortiz, Daphne Ruben-Vega and himself all reprise their roles. They all seem on very comfortable ground and new arrival Amy Ryan, no less so. Ultimately, this is a film about performances and they are all uniformly brilliant. They deliver vulnerable characters at odds with themselves and the world, showing extensive ranges of loneliness and weary outlooks.

An emotive and pragmatic slice-of-life that’s strictly for lovers of slow moving cinema. Some may find it tentative or cloying but I found it showed an awareness from a welcome new director.

Mark Walker