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AntiChrist * * * *

Posted in Drama, Horror with tags 2009 on February 3, 2012 by Mark Walker

Director: Lars Von Trier.
Screenplay: Lars Von Trier.
Starring: Charlotte Gainsbourg, Willem Dafoe.

By his own admittance, director Lars Von Trier’s intention with this film was not exactly how it turned out. He tried to turn his hand at making a genre horror film. Much like trying to make a musical with “Dancer in the Dark”, he can’t help but imbue it with his usual intelligence and artistic flourishes that take it beyond a mere genre picture. Von Trier doesn’t quite do genre.

After the accidental death of their child, a therapist (Willem Dafoe) and his wife (Charlotte Gainsbourg) – listed in the credits only as “He” and “She” – retreat to a cabin in the perhaps haunted woods to recover. Eventually, they turn savagely on each other and bloody mayhem ensues.

There are many similarities with this and Von Trier’s most accessible film to date “Melancholia“. Not only in the exploration of mental illness in his leading female character but also in his recurrent theme of despair and chaos and his strikingly stylish, slow-motion prologue and use of music. Has Von Trier settled on a particular style now? If so, it’s a style that will serve him well. During the making of this, the director was himself suffering from depression (which was further explored in “Melancholia“) and it shows. You can see his understanding of the isolation of mental health not to mention the false hope in any saviour from it. This is brilliantly portrayed by two exceptionally brave performances from his actors. Gainsbourg in particular delivers one of the most daring pieces of acting since Harvey Keitel in “Bad Lieutenant”. The subject matter may be one that would be overlooked come awards season but she was certainly deserving of recognition. It’s a stunningly shot film with atmosphere and creepiness in abundance and disturbing images of the cruelty of nature. In some ways, Von Trier’s realisation reminded me of dutch artist Hieronymus Bosch and his fantastical paintings. In particular, Bosch’s most famous “The Garden of Earthly Delights” which depicts Adam and Eve in a wondrous garden before descending to Hell where punishments are handed out for sinners. The fact that Von Trier has his characters’ unravelling in a remote place called ‘Eden’ further fuels this.

Be warned, there are brutal and unbearable violent scenes, that I’m surprised the censors overlooked. However, it’s still an extraordinary, surreal and highly provocative journey. Just another day at the office for Lars Von Trier then…

Mark Walker

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Submarine * * * * 1/2

Posted in Comedy, Drama with tags 2011 on February 3, 2012 by Mark Walker

Director: Richard Ayoade.
Screenplay: Richard Ayoade.
Starring: Craig Roberts, Sally Hawkins, Noah Taylor, Paddy Considine, Yasmin Paige, Darren Evans, Osian Cai Dulais, Lily McCann, Otis Lloyd, Ben Stiller.

Director Richard Ayoade is better known for his acting chops on the television comedy series “The IT Crowd”. Not a series I was particularly fond of though, as the humour seemed quite forced. However, that’s not what Ayoade brings to this. He brings a subtlety, a realism and a highly creative and visual approach.

Based on the novel by Joe Dunthorne it tells the story of precocious, 15 year old boy Oliver Tate (Craig Roberts) approaching manhood. A major rite-of-passage that he faces is that he’s besotted with Jordana (Yasmin Paige), a feisty girl in his class. Yet, as he embarks on his first relationship, he also frets over the relationship of his parents Jill (Sally Hawkins) and Lloyd (Noah Taylor), a situation exacerbated by his mum’s ex-boyfriend, Graham T. Purvis (Paddy Considine), a self help guru, who has moved in next door.

A sharp, observational coming-of-age tale with a precise insight into the awkwardness of adolescence, not to mention, disillusioned, mundane adulthood. It’s a very impressive directorial debut from Richard Ayoade, who’s artistic and quirky style perfectly matches the eccentricities of the characters onscreen. Despite a few visual florishes here and there, this is not a flashy film by any means. Everything is very understated. So much so, that a lot of the humour may go right over your head. But this understatement is to Ayoade’s credit as well as his exceptional cast. The wonderful Sally Hawkins delivers another strong character to her resume as the neurotic, repressed mother. The very underrated Noah Taylor is marvellous as the depressed father and Paddy Considine never ceases to amaze me with his brilliant portrayal of the self-help ‘mystic ninja’. The real star though, is Craig Roberts as our young eccentric protaganist. An avid reader of the dictionary, who’s keeps surveillance on his parents. All nervous energy, shifty eyes and desperation. He’s a real find and handles every scene he’s in with aplomb. To stand out in the company of the aforementioned supporting actors is talent indeed. Alex Turner from the Arctic Monkey’s also deserves a mention for providing a touching soundtrack of melancholic songs throughout this heartfelt and unconventional story of teenage angst. Comparisons with director Hal Ashby’s “Harold and Maude” and director Wes Anderson’s style are there for a reason. As that film and Anderson’s stuff are favourites of mine, I enjoyed this immensely.

An absolute gem of film with a lot of style and a lot of heart. Pragmatic, low-key and one of the year’s genuine treats.

Mark Walker

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Amelie * * * * *

Posted in Comedy, Drama, Fantasy, Foreign Language, Romance with tags 2001 on February 2, 2012 by Mark Walker

Director: Jean-Pierre Juenet.
Screenplay: Guillame Laurant.
Starring: Audrey Tautou, Mathieu Kassovitz, Rufus, Yolande Moreau, Artus de Penguern, Urbain Cancelier, Dominique Pinon, Maurice Benichou, Jamel Debbouze.

Director Jean-Pierre Jeunet’s collaboration with co-writer/director Marc Caro resulted in a couple of marvellous and inventive films in “Delicatessan” and “The City of Lost Children”. Those two had a dark element to them but now that Jeunet has went his own way, “Amelie” shows that he is the one that possesses the lighter side of the duo.

In the heart of Paris, Amelie (Audrey Tautou) brings joy to her friends, secretly sorting out the sad little problems in their lives. But when she discovers a strange photo album belonging to Nino (Mathieu Kassovitz) she realises that she is in love and has problems of her own to sort out.

I struggle to think of a contemporary film that boasts such richness in detail and creative, infectious enthusiasm as ‘Amelie’ does. It’s playfulness, poetry and emotion are rarely touched upon these days in film and director Jean-Pierre Jeunet deserves applause for his uplifting achievements here. It’s also stunningly shot by cinematographer Bruno Delbonnel (inspired by the paintings of Brazilian artist Juarez Machado) lending an artistic look to the highly creative and artistic content. Without being overly elaborate though, it finds its art in the simple things in life, observing people’s individual pleasures and pains. Quite simply, the whole film is a complete joy to behold. The performances are also delightful. As much as I’m an admirer of actress Emily Watson (whom the role of Amelie was originally intended) I’m glad the relatively unknown Audrey Tautou got the part. She is absolutely adorable and captures the essence of this wonderful character perfectly. With flair and originality that’s hard to come by these days, ‘Amelie’ is one of the most beautiful pieces of cinema I have seen and will always be one of my favourites.

The humour; the look; the characters and performances; the delightful and fitting music by Yann Tiersen all culminate into the ultimate feel-good film and confirmation of the creativity and inventiveness of French cinema. A heartwarming modern classic.

Included in My Top Ten films.

Mark Walker

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The Beaver * * * *

Posted in Drama with tags 2011 on February 2, 2012 by Mark Walker

Director: Jodie Foster.
Screenplay: Kyle Killen.
Starring: Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Cherry Jones, Riley Thomas Stewart.

By now everyone will have heard of Mel Gibson’s real life troubles involving drunken rants and abusive behaviour. Some would even have thought that it could have led to his career being finished. Despite these personal problems though, he has bounced back with the perfect acting vehicle.

Walter Black (Gibson) was once a successful businessman with a happy family who now finds himself clinically depressed and ready to end it all. One night he finds a discarded puppet beaver which when it ends up on his hand, takes over his life and begins to turn his fortunes around.

First off, it’s hard to forget about Gibson’s personal antics and in a lot of ways, it has a major bearing on the film itself. That being said though, his performance is mesmerising and the best he has delivered in his career so far. It’s an award calibre show but will no doubt be scorned by the Academy. This is a film that has emotional and dramatic weight but suffers slightly in the strange feeling that there should be humour. For some reason, when a puppet is involved you expect hilarity but this is not that type of film and credit must go to Gibson for his restraint. There’s no mistaking the serious depth this film carry’s or his commited performance. It’s a sensitive exploration of mental health with a premise that, at first, sounds ridiculous and laughable but is actually heartfelt and delicately handled by director Jodie Foster. The sub-plot involving Anton Yelchin’s intellectual speech writer and Jennifer Lawrence’s cheerleading graffiti artist is a little strained and hard to accept and Foster’s bland struggling wife is very underwritten also, but when focused on Gibson’s clinical depression it’s a marvellous film. Considering this was originally planned as a Steve Carell or Jim Carrey show, you can easily see how this could have been. I’m glad they didn’t go down that road and even more pleased that they serendipitously picked the perfect actor, at the perfect time, in a perfect role and Foster deserves most of that credit for banking on her troubled co-star.

An odd but thoroughly engaging little film that’s affected by the leading actor’s personal problems and ability to transcend them and face the role of a lifetime. Gibson’s demons certainly overshadow the film and I suppose we’ll never know for sure, whether it would have been better with, or without them. I sway towards them being a benefit.

Mark Walker

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Lars And The Real Girl * * * *

Posted in Comedy, Drama with tags 2007 on February 2, 2012 by Mark Walker

Director: Craig Gillespie.
Screenplay: Nancy Oliver.
Starring: Ryan Gosling, Emily Mortimer, Patricia Clarkson, Kelli Garner, Paul Schneider, Nancy Beatty, Doug Lennox.

When you see the poster for this film, with a moustachioed Ryan Gosling sitting on his sofa, grinning from ear to ear and accompanied by a sex doll, you be forgiven for entering into this and expecting some form of farcical sex-comedy. The poster however, is somewhat misleading. This is more of a drama (with a hint of quirkiness) and it’s a sensitive and heartfelt one at that.

Pathologically shy guy Lars Lindstrom (Ryan Gosling) introduces his new ‘girlfriend’ Bianca, a lifelike plastic doll, to his sister-in-law Karin (Emily Mortimer) and brother Gus (Paul Schneider). Somewhat concerned, they decide to call in sympathetic psychologist Dagmar (Patricia Clarkson) who advises that everyone play along with treating Bianca as a real person to try and get to the bottom of Lars’ obvious mental condition.

Lars is a tragic character that Gosling imbues with a real fragile innocence. It’s another marvellous and enigmatic performance from him. He keeps the audience at just the right distance. Never letting you in, but still maintaining a likeability. Lars is a character that could so easily be laughed at and ridiculed but it’s testament to writer Nancy Oliver, director Craig Gillespie, the supporting cast of Mortimer, Schnieder and Clarkson, and particularly Gosling’s lead in bringing the character – and his social trauma – so vividly to life. Instead of being a farcical film of cheap jokes, it becomes a touching exploration of mental health that’s quite unlike anything you’ll have seen before.

It’s deliberately paced and some may even find it lethargic but I found it to be a highly original and deeply sensitive drama anchored by a marvellous central performance.

Mark Walker

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Half Nelson * * * * 1/2

Posted in Drama with tags 2006 on February 2, 2012 by Mark Walker

Director: Ryan Fleck.
Screenplay: Ryan Fleck, Anna Boden.
Starring: Ryan Gosling, Shareeka Epps, Anthony Mackie, Deborah Rush, Jay O. Sanders, Tina Holmes, Denis O’Hare, Monique Curnen.

Ryan Gosling is one of those actors that is in danger of his talents being overshadowed because he’s seen as eye candy for the female cinema going public – much in the same way that Brad Pitt has suffered. However, if he keeps producing high calibre performances such as this, then there will be no denying why he’s on screen in the first place.

Dan Dunne (Gosling) teaches in a poor school where his unusual approach engages the pupils. But out of school, frustration fuels his drug habit. One night troubled student Drey (Shareeka Epps) chances upon him while he’s high on crack cocaine, and a bond is forged.

It’s unfair to praise a film based solely on one person’s performance, especially when the writing, directing and supporting actors all do their fair share. But this is a film that’s hard to see beyond the lead actor. Gosling is the real deal; nuanced and edgy with blink-and-you’ll-miss-it subtlety. He’s an actor that possesses the unique ability to say very little but express so much. Full of subtle ticks and mannerisms, to convey his feelings. In this case, a struggling addict trying to function in his day-to-day life. It’s another marvellous and understated performance that garnered him a well deserved Oscar nomination – unlucky to lose out to Forest Whitaker’s grandstanding in “The Last King of Scotland”. This is a film of many layers, and writers Anna Boden and Ryan Fleck cleverly introduce the theory of Dialectics – the process of change through opposing forces. Gosling and Epps – teacher and pupil – are exactly these opposing forces and only through each other will they ultimately find salvation. The first time I saw this, I enjoyed it for it’s indie style but missed the depth it had and didn’t really get what all the fuss was about. On second viewing though, it’s quality really stands out. This is a nourishing and deliberately paced slice of life that’s competently directed by Ryan Fleck in his first feature.

A rapturous round of applause for all involved in this beautifully crafted and wonderfully acted gem.

Mark Walker

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The Believer * * * 1/2

Posted in Drama with tags 2002 on February 2, 2012 by Mark Walker

Director: Henry Bean.
Screenplay: Henry Bean.
Starring: Ryan Gosling, Summer Phoenix, Billy Zane, Theresa Russell, Glenn Fitzgerald, Ronald Guttman, Henry Bean.

Three years previous to this, director Tony Kaye and star Edward Norton addressed white supremicist racism in “American History X”. This shares similiar themes but focuses more on the hatred toward Jews. The real similarity between the films though are blisteringly powerful performances from both lead actors.

Daniel Balint (Ryan Gosling) is a yeshiva-educated young Jewish man in New York who rejects his heritage and chooses to become a neo-Nazi skinhead. His passion is frighteningly real which leads to looming dangers for himself and his community.

The comparisons are inevitable and although both powerful and controversial films in their own right, with “American History X” and “The Believer” it’s the tour-de-force performances from Edward Norton and Ryan Gosling that really take centre stage. Gosling is no less effective than Norton’s Oscar nominated turn and after seeing this, it’s getting to the stage that it seems there’s no limits to his acting range. He is this film. Don’t get me wrong, writer/director Henry Bean crafts some strong and intelligent dialogue, but it’s Gosling’s delivery of anti-semitic vitriol that packs the real power. The problems it faces are having a less than par supporting cast and a made for television budget. The flaws show but it’s still a savage examination of anti-semitism and one worthy of attention.

A brave film anchored by a bold and brave performance. It’s easy to see why this put Ryan Gosling on the map, he delivers a ferocious piece of work.

Mark Walker

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The Lincoln Lawyer * * *

Posted in Drama, thriller with tags 2001 on February 2, 2012 by Mark Walker

Director: Brad Furman.
Screenplay: John Romano.
Starring: Matthew McConaughey, Marisa Tomei, Ryan Phillippe, Josh Lucas, William H. Macy, John Leguizamo, Michael Pena, Bob Gunton, Frances Fisher, Bryan Cranston, Trace Adkins, Shea Whigham, Michael Pare.

Court room drama’s and legal jargon can be surprisingly gripping entertainment, which makes me wonder why there isn’t more of them. Unfortunately, we’ve been fed a staple of John Grisham stories throughout the years which I find empty and do very little for me. But it was John Grisham adaptation “A Time to Kill” years ago that Matthew McConaughey was actually any good in a film. Until now.

L.A. criminal lawyer Mick Haller (McConaughey), who works out of his chauffeured Lincoln Continental car, takes on an unusually high-profile case defending Louis Roulet (Ryan Phillippe), the scion of a wealthy family who’s accused of beating and raping a prostitute. There’s clearly more to it than meets the eye though, and it may tie into a case Haller tried some years ago.

Slick, fast and cool. This starts with an energy that Grisham adaptations lack and it’s good to see McConaughey drop those abysmal rom-coms and tackle a role more suited to his style. However, with such a strong opening and fast pace, it soon gets bogged down around the midway point and struggles to recover. McConaughey goes from confident and fast talking to angst ridden and desperate rather quickly. It’s a sudden change that doesn’t suit but McConaughey shows impressive range nonetheless. And just when he gets back to his old self, the denoument then feels rushed. His once strained relationship with his ex-wife becomes unrealistic and the whole affair is wrapped up rather quickly, leaving what was a very strong and potentially great film falling flat.

A good legal thriller that moves at a brisk pace with several twists and turns. It starts to eventually trip over itself and doesn’t fulfill it’s early promise but it just about manages to get by on McConaughey’s charisma.

Mark Walker

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Nine * *

Posted in Drama, Music, Romance with tags 2007 on February 2, 2012 by Mark Walker

Director: Rob Marshall.
Screenplay: Anthony Minghella, Michael Tolkin.
Starring: Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, Sophia Loren, Ricky Tognazzi.

Sometimes you need to weigh up your options. Either you go by the director (who happens to have made one of the worst and most overrated films ever with “Chicago”) or you go by the actor (who has delivered consistantly memorable performances in his career with “My Left Foot”, “Gangs of New York” and “There Will Be Blood”). In this case I went with the actor but that still didn’t save a poor director, poorly plying his trade.

1960s Italy. Once-celebrated film director Guido Contini (Daniel Day-Lewis) struggles with his unwritten script for his comeback film. Looking for inspiration, he turns to his mistress (Penelope Cruz), his wife (Marion Cotillard), his muse (Nicole Kidman), his confidante (Judi Dench) and his childhood memories to solve his crisis, with unsuccessful yet well-sung results.

I really wanted to like this film as I’m a big fan of Daniel Day-Lewis and the impressive cast of females has rarely, if ever, been bettered. However, I’m not big on musicals or director Rob Marshall for that matter. Thankfully, this is not quite as bad as Marshall’s overrated stinker “Chicago”, but it isn’t much better either. Day-Lewis was my main reason for attempting this and considering he’s quite fastidious in his choices, I thought I’d follow his lead on this one. I was wrong and so was he in choosing this meandering borefest. The look of the film is gorgeous, as expected, with fabulous production design and cinematography and the ladies (oh the ladies) look amazing and deliver their song and dance numbers competently. Having Judi Dench in a corset was just a tad too much for my liking though. It was around this point in the movie that I realised this thinly veiled attempt at recreating a muscial of Frederico Fellini’s “8 1/2” was a great waste of talent.

A lush and extravagant musical that has style in abundance. Substance is what it lacks though, leaving a great cast struggling to save it from tedium. Suited to fans of the genre only.

Mark Walker

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Everybody’s Fine * * *

Posted in Drama with tags 2009 on February 2, 2012 by Mark Walker

Director: Kirk Jones.
Screenplay: Kirk Jones.
Starring: Robert DeNiro, Drew Barrymore, Kate Beckinsale, Sam Rockwell, Lucian Maisel, Damian Young, James Frain, Melissa Leo, Katherine Moennig, James Murtaugh.

It has now seemingly reached the time where one of our greatest screen actors is no longer able to command certain roles. Occasionally though, an older, more mature role will surface which can still give a reminder of their talents. This is that role serving Robert DeNiro.

Recently widowed, retired wire factory worker Frank Goode (DeNiro) realises all the contact he had with his four children was organised by his wife. When they all opt out of his planned family reunion, Frank takes it on himself to embark on a road trip to see his kids. As he does, he discovers they have been keeping secrets from him.

First off, this is a remake of the 1990 Italian film with Marcello Mastroianni, and as far as these types of films go, it’s nothing new. It’s actually quite lightweight material and given the subject you’d be forgiven for expecting a bit more of a punch behind it. It doesn’t wholeheartedly deliver the power it should. What it does do however, is achieve in giving DeNiro center stage. It’s great to see him being the main attraction again and a real pleasure to spend time with him when he’s not playing second fiddle to anyone. There has always been something personal about watching DeNiro act. His ticks; his smile; his grimace and his lack of eye-contact. They are all here but what’s most refreshing is seeing him play the role of a retired older man in his twilight years. Now accepting his age. Over the years DeNiro has delivered so many eclectic characters that most movie goers will have identified with at least one of them along the way. This is another fine performance and ultimately, he’s the highlight of the film. The supporting actors are good but are given very little to work with and the likes of Sam Rockwell would have chewed up a meatier role. Sadly he’s not provided with it. There are some lovely moments peppered throughout, as well as some pathos, but it doesn’t quite rise above anything more than a ‘likeable’ status.

A poignant little family drama that has a nice feel for time and benefits from a strong performance by DeNiro as the heart and soul. It just doesn’t offer anything original.

Mark Walker

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The Brothers Bloom * * * 1/2

Posted in Comedy, Drama, Romance with tags 2008 on February 2, 2012 by Mark Walker

Director: Rian Johnson.
Screenplay: Rian Johnson.
Starring: Rachel Weisz, Mark Ruffalo, Adrien Brody, Rinko Kikuchi, Robbie Coltrane, Maximilian Schell, Max Records, Zachary Gordon, Andy Nyman, Joseph Gordon-Levitt.
Narrated by: Ricky Jay

Following on from his modern noir and impressive directorial debut “Brick” in 2005, director Rian Johnson faced the tricky second feature syndrome. After a three year wait he delivered this… another convoluted tale, but with altogether different results.

Stephen (Mark Ruffalo) and younger sibling Bloom (Adrien Brody) are a couple of con-men who criss cross the globe shafting the unwary. Their latest mark, however, is something new: wealthy recluse Penelope (Rachel Weisz) who, having spent her life mastering a miscellany of random skills (break dancing, banjo plucking, juggling chainsaws), is only too happy to follow them and their mute munitions expert ‘Bang-Bang’ (Rinko Kikuchi) to Prague where a priceless antique is ripe for the taking.

With this second feature it looks like Rian Johnson enjoys a good puzzling story. His debut was full of twists and turns and more than a nod or two to crime writers Dashiell Hammett and Raymond Chandler. This time he employs a subtext with nods to several classic literary novels and authors. The references are subtle but cleverly dropped into his tangled and intricate flim-flam story. Added to which are bags of visual flourishes and fine performances by the four leads. However, what is a strong and satisfying hustle soon becomes a bit too clever for it’s own good and as it draws to a close it ends up tying itself in knots. Leaving us with an unsatisfactory (and unnecessary) conclusion. Getting there is loads of fun though and Rian Johnson is shaping up to be a more than competent new director.

Four fun, enjoyable and sharply dressed characters play out their scams in an impressive and stylish addition to the Bunco genre. It’s just a shame it cons itself out of a convincing ending.

Mark Walker

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Killshot * *

Posted in Crime, Drama, thriller with tags 2008 on February 2, 2012 by Mark Walker

Director: John Madden.
Screenplay: Hossein Amini.
Starring: Mickey Rourke, Joseph Gordon-Levitt, Thomas Jane, Diane Lane, Rosario Dawson, Lois Smith, Don McManus, Hal Holbrook.

Novelist Elmore Leonard’s writing is always sharp with snappy dialogue and well drawn characters. His stories are so descriptive that he’s practically already written the script, making his books easy to adapt to the screen. This was one that had all the ingredients for being another successful transfer from page to screen, but for the fact that it’s mediocre and lifeless.

Wayne Colson (Thomas Jane) and his estranged wife Carmen (Diane Lane) are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Under the protection of the F.B.I isnt enough though, when experienced hit-man Armand “Blackbird” Degas (Mickey Rourke) and psychopathic young upstart killer Richie Nix (Joseph Gordon-Levitt) are determined to track them down.

Notable successful adaptations of Leonard’s novels have been Steven Soderbergh’s “Out of Sight”, Barry Sonnenfeld’s “Get Shorty” and Quentin Tarantino’s “Jackie Brown” but this actually achieves something that none of them managed to do and something thats not easy to do either… making Elmore Leonard’s writing seem dull. This is devoid of any excitement at all. They have taken any form of suspense out and made a slow, lethargic excuse for a thriller. Rourke (as usual) is great in his brooding role and Gordon-Levitt adds some edge to the film as his pyschotic sidekick – roles that were originally intended for Robert DeNiro and Quentin Tarantino – but “Shakespeare in Love” director John Madden gets it all wrong. His treatment is flat, but I’m assuming that the fact the screenplay went through uncredited rewrites and the film itself was held back from release due to extensive cuts (Johnny Knoxville playing a crazy sheriff being a major one) that the whole troubled production has not been kind to its director. It all shows in the end result.

If it wasn’t for Rourke and Gordon-Levitt, this would be a complete waste of time. A wasted opportunity and an example of how a good story can be muddled in the wrong hands.

Mark Walker

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Edge Of Darkness * * *

Posted in Crime, Drama, Mystery, thriller with tags 2010 on February 2, 2012 by Mark Walker

Director: Martin Campbell.
Screenplay: William Monahan, Andrew Bovell.
Starring: Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Shawn Roberts, David Aaron Baker, Jay O. Sanders, Damian Young, Denis O’Hare, Caterina Scorsone.

Having concentrated more on his directorial duties with “The Passion of the Christ” and “Apocalypto”, Mel Gibson had seemingly abandoned acting. This is his first acting vehicle since 2002’s “Signs” and straight away he’s back to doing what he does best; playing unhinged loose cannons.

When the daughter of veteran Boston detective Thomas Craven (Mel Gibson) is killed in front of him, police assume he was the target. But Craven begins to suspect it’s to do with the shady businessman Jack Bennett (Danny Huston) she was working for and begins to start digging to uncover the truth.

The advertising campaign for this film is quite misleading. This is no slam-bam actioner like they would have you believe, but if you are familiar with the 1980’s BBC television mini-series on which it’s based, then you’ll have a better idea of what to expect. This is a slow burning conspiracy thriller that’s very deliberately paced and certainly in no rush to tell it’s story. It’s mainly dialogue driven with Mel not giving too much away while teetering on the brink. Then all of a sudden there are graphic bursts of violence and action that have you jumping out of your seat. These moments are highly effective and realistic but unfortunately too few. The performances are good, Gibson can do this stuff in his sleep, the sleazy Danny Huston can do likewise, as can Ray Winstone playing yet another hard man. The problem is, they talk a good game. Sitting around bumping their gums when they should be bumping some heads and leave a few unexplained plot strands along the way.

A decent conspiracy thriller with highly effective and unexpected bursts of action. Unfortunately, the action is just a bit too sporadic for it to completely grip.

Mark Walker

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The Celestine Prophecy (x)

Posted in Adventure, Drama with tags 2006 on February 2, 2012 by Mark Walker

Director: Armand Mastroianni.
Screenplay: James Redfield, Barnet Bain, Dan Gordon.
Starring: Matthew Settle, Thomas Kretschmann, Annabeth Gish, Sarah Wayne Callies, Hector Elizondo, Jurgen Prochnow, Joaquim de Almeida, John Aylward.

I don’t know why I expect a film adaptation to do a book that I love justice. It’s always the same high expectations, falling short. This however, takes bad transfers from page to screen to a whole new low.

Based on James Redfield’s 1993 bestselling novel it tells the story of high-school teacher John Woodson (Matthew Settle), who undertakes a journey to find and understand a series of nine spiritual insights on an ancient manuscript in Peru, taking him on a spiritual awakening as he goes through a transitional period of his life. Meanwhile, the Catholic Church and government try to suppress the ancient psychological and spiritual beliefs he unfolds, putting his and others’ lives in danger.

Poor production value, hammy acting and a stifling screenplay. The author James Redfield can’t really complain though as he’s one of the screenwriters. The book deserved so much more than this. Where it succeeded in capturing your attention and imagination, this succeeds only in putting you to sleep. It’s boring and tedious pap and even as a television film it looks cheap. Maybe one day someone will adapt this properly, it’s certainly deserving of a better version.

Very little, if anything, to recommend it. Fans of the book will only be seriously disappointed and those who haven’t read the book will be lost, and will ruin what is a great read.
Stay well clear of this turkey.

Mark Walker

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Fish Tank * * * *

Posted in Drama with tags 2009 on February 2, 2012 by Mark Walker

Director: Andrea Arnold.
Screenplay: Andrea Arnold.
Starring: Katie Jarvis, Michael Fassbender, Kierston Wareing, Harry Treadaway, Rebecca Griffiths, Sydney Mary Nash.

Director Andrea Arnold’s debut “Red Road” was a raw and vivid portrayal of a working class Glasgow area. Now she takes us to a working class Essex area with just the same impact and realism.

Ostracised by her friends and excluded from school, Mia (Katie Jarvis) is a lairy teenager living in a high-rise block with her mother and younger sister. One day her mum brings home a charismatic stranger (Michael Fassbender) who shows genuine care for the girl but may also care in ways that will add to already hothouse living conditions.

Directors Mike Leigh and Ken Loach are no stranger to exploring dysfunctional families in working class drama’s, but now there are several quality directors appearing with voices (and eyes) of their own. Shane Meadows, Peter Mullan and Lynne Ramsey are a few and now Andrea Arnold can count herself as one. This is a simmering drama full of anger, frustration, sexual tension and desire. Katie Jarvis (in her film debut) as the testy teenager, who can’t quite contain her emotions, is marvellous in the lead role. Aided by an enigmatic Fassbender. The chemistry between them is key to the whole film working and they both deliver excellent performances. Jarvis has yet to come into her own with further work but it’s easy to see why Fassbender is now in high demand. Full of suggestion and supression, this is an intense sexually charged film that director Arnold handles deftly.

As British ‘kitchen-sink’ drama’s go, this can proudly include itself among the finest and Andrea Arnold is without doubt a director for the watching. Powerful stuff.

Mark Walker

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The Unloved * * * * 1/2

Posted in Drama with tags 2009 on February 2, 2012 by Mark Walker

Director: Samantha Morton.
Screenplay: Samantha Morton, Tony Grisoni.
Starring: Molly Windsor, Robert Carlyle, Susan Lynch, Lauren Socha, Karl Collins, Craig Parkinson, Andrea Lowe, Johann Myers, Darren O. Campbell.

This directorial debut from actress Samantha Morton was first aired on television. Due to it’s success, it was subsequently released theatrically and deservingly so. This is a film that deserves a wider audience and deserving of the acclimations it recieved also.

The unloved of the title is 11 year old Lucy (Molly Windsor). She has a distant mother (Susan Lynch) who couldn’t care less and a father (Robert Carlyle) who beats her. It’s not long before she is taken into care and the lonliness she experiences, when she is supposedly being supported, is just as damaging and demoralising as her life at home.

Straight away we are given a glimpse of the tumultuous life of Lucy in a harrowing opening scene with Carlyle on typical edgy and threatening form as her physically abusive father. Following on from this we are given a candid portrayal of childhood within the British care system and a magnetic and heartbreaking performance by young Molly Windsor. Without uttering a word, she manages to convey her lonliness and suffering by just a glance. This is loosely based on Samantha Morton’s own childhood and at times I had to remind myself that it wasn’t her I was watching onscreen. It’s a deliberately paced and beautifully shot film, not without some haunting moments and shows great promise for the two time Oscar nominated actress behind the camera. For as little screen time as he gets, Robert Carlyle still manages a magnificent and multi-layered portrayal of a downtrodden and abusive alcoholic. This is a film that is certainly bleak and may be off putting to some, but underneath it all is a resilient beating heart and despite the odds, still manages to show positivity. A few loose ends went without satisfactory conclusions but other than that, this is a film where the performances and harrowing nature linger long after viewing it.

A persistantly vigorous film and a highly emotional experience. Sensitive, realistic dramas don’t come much more powerful than this.

Mark Walker

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The Messenger * * * *

Posted in Drama, War with tags 2009 on February 2, 2012 by Mark Walker

Director: Oren Moverman.
Screenplay: Oren Moverman, Allessandro Camon.
Starring: Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone, Steve Buscemi, Eamonn Walker, Brendan Sexton III.

War films tend to show you the brutality of conflict on the battlefield; the blood and the guts; the firepower; the fear and the bravery. Few address the conflict at home, which is quite surprising as the ones that do, tend to be raw and personal stories. This one certainly is.

Decorated Iraq war veteran Sgt. Will Montgomery (Ben Foster) is back home and dealing with various ailments. He’s assigned to the Casualty Notification Office, where he and his superior Capt. Tony Stone (Woody Harrelson) have the unwelcome task of informing next of kin whenever a soldier dies.

A very impressive debut from director Oren Moverman who also co-scripted but also a very bleak and depressing drama, dealing with a part of war that is so often overlooked. Foster and Harrelson (in an oscar nominated role) both deliver intense and solid performances, every time they notify a next of kin, it’s unbearably nerve wracking. Each relative dealing with their grief in different ways. Some with anger and violence, some with devestation, some with remorse, but each one as powerful as the next. As the film progresses, it concentrates less on the job they do and more on their own personal suffering, and as a result, loses momentum. However, when the full extent of their own emotional suffering becomes clear we are treated to a masterclass of acting from Foster and Harrelson in what becomes a very personal moment between them. There are periodic lulls, especially when the film branches off into Foster’s romantic involvements with Samantha Morton and Jena Malone but these lulls are coupled with sporadic moments of brilliance. Ben Foster is steadily building a reputation for himself with his consistant portrayal of tortured souls and Harrelson – although not always a favourite of mine – is really starting to win me over with his shrewd choice of unselfish roles.

Stark and hard-hitting but the performances from the two leads and the raw emotional power it posseses make it quite captivating.

Mark Walker

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Redbelt * * * *

Posted in Drama, Sport with tags 2008 on February 2, 2012 by Mark Walker

Director: David Mamet.
Screenplay: David Mamet.
Starring: Chiwetel Ejiofor, Tim Allen, Alice Braga, Emily Mortimer, Rodrigo Santoro, Joe Mantegna, Ricky Jay, David Paymer, Max Martini, Rebecca Pidgeon, Ray Mancini, Jose Pablo Cantillo, John Machado, J. J. Johnston, Jack Wallace.

After the arguably awful “Spartan”, writer/director David Mamet delivered this. It could be called a genre picture but if you know Mamet, you’ll know he doesn’t really follow conventions.

Mixed-martial-arts instructor Mike Terry (Chiwetel Ejiofor) has money problems. He could earn $50,000 in a competition, but honour precludes him from fighting for money. Then a series of chance encounters leaves him no choice but to step into the ring.

The film opens dramatically, introducing several of it’s key characters in quick succession and manages to maintain this drama for a lenghty period. In fact, for almost the entire film. The acting is marvellous with Chiwetel Ejiofor’s central, dynamic performance a real highlight. He’s a fine actor, deserving of more major leading roles. As always, David Mamet’s dialogue is sharp and natural, helping his characters come to life. At first, so many strands to the story are introduced, with no explanation, before eventually bringing them all cleverly together. Mamet is known for his writing skills and again they are on display here. Despite the undeniable power though, as it progresses, it starts to veer toward the formulaic side (which I suppose is difficult considering it’s subject) and ties it’s many strands up rather quickly, in a nice red bow (or quite literally ‘belt’). It was far too neatly done and gave the feeling of being rushed, letting down an otherwise superb film.

Although flawed, it’s still absorbing and one of David Mamet’s better films. It’s not a major demerit but I found it to be a bit short, I was enjoying it so much that I could have done with an extra half an hour. Then again, maybe there is no higher compliment than this.

Mark Walker

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This Boy’s Life * * * * 1/2

Posted in Drama with tags 1993 on February 1, 2012 by Mark Walker

Director: Michael Caton-Jones.
Screenplay: Robert Getchell.
Starring: Leonardo DiCaprio, Robert DeNiro, Ellen Barkin, Jonah Blechman, Eliza Dushku, Chris Cooper, Carla Gugino, Zack Ansley, Tracey Ellis, Kathy Kinney, Gerit Graham, Tobey Maguire.

Before the heights of stardom, a young Leonardo DiCaprio built his name with this coming-of-age tale based on the real life memoirs of writer Tobias Wolff. On this evidence it’s easy to see why his talents couldn’t be ignored.

Caroline (Ellen Barkin) drifts from State to State and boyfriend to boyfriend, dragging her now teenage son Toby (Leonardo DiCaprio) along with her. Finally it seems she may have met the man of her dreams, in the shape of Dwight (Robert DeNiro). After excitedly making plans to stay this time and begin a new life, it becomes apparent they were a little swift to judge as Dwight’s gentlemanly facade begins to slide, revealing his true nature.

Scottish director Michael Caton-Jones (“Rob Roy”) shows he has an excellent eye for detail in small town America and an even better eye for talent in discovering Leonardo DiCaprio. His performance here is nothing short of astounding and when pitted against the likes of Robert DeNiro, you kind of have to be on your game. Not only is DiCaprio on top of his game for such a young age, he matches – if not betters – the legendary actor. His portrayal of Toby is heartfelt and extremely emotional. Ranging from desperation and capitulation to courage and triumph. He displays a myriad of emotions as a misunderstood and frustrated young man, with sudden bursts of violence and a rebellious nature, to an eventual inner strength and maturity. His performance is helped no-end by the chemistry he shares with DeNiro. They both play off one another powerfully. DeNiro offering another skillfully nuanced addition to his canon of dysfunctional and abusive characters throughout his illustrious career. You can almost feel the jealous rage that consumes Dwight, a very physical and psychologically abusive man. The verbal and mental jousting between both actors is raw and highly charged, eventually culminating into physical brutality with a fight scene that looks entirely realistic. Two wonderful actors delivering powerhouse performances. Unfortunately, despite her obvious talents, Ellen Barkin is left caught between the two male leads with a very underwritten role. However, she’s no slouch and still manages a show of strength in her character as well as a vulnerability. This is an absolutely harrowing and absorbing true life story with a perfectly rendered 1950’s setting and a fine supporting cast that deserves far more recognition than it’s
received.

With two indefatigable and energetic lead performances it’s easy to see why Robert DeNiro is regarded as the greatest screen actor of his time and why DiCaprio became a star and may yet follow in the legend’s footsteps.

Mark Walker

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An Education * * * *

Posted in Drama, Romance with tags 2009 on February 1, 2012 by Mark Walker

Director: Lone Sherfig.
Screenplay: Nick Hornby.
Starring: Peter Sarsgaard, Carey Mulligan, Alfred Molina, Dominic Cooper, Rosamund Pike, Olivia Williams, Emma Thompson, Cara Seymour, Matthew Beard, Sally Hawkins.

Having garnered some Oscar attention upon it’s release with nominations for Best Picture, Actress & Screenplay, I found this to be a film I should probably check out. It’s not something I’d normally be drawn to but in this case, I’m very glad I was.

Jenny (Carey Mulligan) is attractive, doing well at school and set to land a place at Oxford. Then she meets David (Peter Sarsgaard), an older man. He dazzles her with the edgy world beyond her ’60s suburban life, and soon a very different destiny opens up before her. But everything is not quite as it seems.

Essentially this is a coming-of-age story but it’s handled with such care and restraint by Danish director Lone Scherfig, that it becomes so much more. It’s beautifully shot with a fine rendering of 1960’s English suburban life. A lot of attention has been given to this, and it shows. There are blink and you’ll miss them subtleties between the characters and the acting by everyone involved is first class. Alfred Molina as Jenny’s domineering but loving father; Peter Sarsgaard with his perfectly honed ability to be charming yet bordering on creepy; and Emma Thompson lends some weight with her matriarchal head-mistress. The real star though, is Carey Mulligan. She exudes wisdom yet naivete, confident yet doubtful. It’s a marvellous performance and thoroughly deserving of her Oscar nomination. Throughout the course of the film there is an anticipation of tragedy that never really transpires, but it doesn’t matter. What we are given is so much more believable with these very real and nuanced characters culminating into a quite beautiful rite of passage tale.

As Jenny finds it hard to resist the attractive and flamboyant lifestyle of David, so did I in resisting this film with it’s exquisite attention to detail and all round, solid, confident filmmaking.

Mark Walker