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The Impossible * * * *

Posted in Drama with tags 2012 on February 8, 2013 by Mark Walker

Director: Juan Antonio Bayona.
Screenplay: Sergio G. Sanchez.
Starring: Ewan McGregor, Naomi Watts, Tom Holland, Samuel Joslin, Oaklee Pendergast, Marta Etura, Sönke Möhring, Johan Sundberg, Jan Roland Sundberg, Geraldine Chaplin.

One of the very best of recent horror movies was “The Orphanage“, released in 2007. As part of it’s marketing campaign it was executive produced by the familiar name of Guillermo del Toro (“Pan’s Labyrinth“). Of course, del Toro wasn’t the creative mind behind the film – little known, Spanish director, Juan Antonio Bayona was. With this follow-up Bayona tackles an altogether different horror in the shape of one the world’s worst natural disasters: that of the Pacific Basin Tsunami of 2004.

Maria (Naomi Watts) and Henry (Ewan McGregor) are a British couple who takes their three sons on a Christmas family holiday to Thailand. Their idyllic setting is soon torn apart when a powerful and deadly tsunami rips through the beach resort. Maria and the eldest son Lucas (Tom Holland) manage to struggle to safety but Henry and the younger boys are separated, leaving them fighting for survival and unaware of each others’ fate.

Bayona starts his film off gently, as he introduces the quaint British family going about their holiday with love and enthusiasm. He takes little time in establishing his characters but takes enough to convey them as a strong unit. When they are separated by the sheer destructive force of the Tsunami, Bayona establishes his skill and deft handling of the disaster in all it’s devastating force. It’s entirely believable and absolutely awe-inspiring as man made structures and natural habitats are swept aside like playthings. On top of this, he gives us a turbulent, first-person point of view of the confusion whilst being churned around in this tidal wave. It’s a cinematic achievement that’s nothing less than impressive. From here, it progresses into a survival story as the separated family strive to find one another and it’s at this point that the film slows down and gets in touch with it’s emotional core. I was actually surprised by it’s level of emotion but that’s not to say that I didn’t like it. It worked primarily because we can identify with these suffering individuals. This is a natural disaster that affected many throughout the world and the loss was practically incalculable. As a result, the film becomes a bit of a tearjerker and some may even claim manipulatively so. I was so unprepared that at several points, I was wondering why I had a lump in my throat and why it didn’t seem to be going away either. Quite simply, the film’s emotional power captured me and refused to let go. Of course, to make this believable, you have to look at the cast members. Each and every one of them were superb; Naomi Watts has been Oscar nominated for her turn but Ewan McGregor can count himself very unlucky not to receive similar recognition. They both deliver outstandingly strong work. Special mention must also go to Tom Holland as the eldest son, who actually carries a large amount of the film of his young shoulders. We could be witnessing the arrival of a very fine actor here. Ultimately, it’s through these performers that we invest ourselves into this tragedy. Surprisingly, the only film that I’m aware of that has touched upon this disaster is Clint Eastwood’s “Hereafter” but it didn’t deal with it to the extent and technical ability that this does.

It’s not often we get such an impressive piece of work that, so easily, tugs on the heartstrings. In fact, the last time I felt this was with Juan Antonio Bayona’s aforementioned “The Orphanage” but to capture such a disaster in all it’s ferocity, reaffirms that the impossible is not so hard to believe in contemporary cinema any more.

Mark Walker

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Silver Linings Playbook * * * * 1/2

Posted in Comedy, Drama with tags 2012 on February 6, 2013 by Mark Walker

Director: David O. Russell.
Screenplay: David O. Russell.
Starring: Bradley Cooper, Jennifer Lawrence, Robert DeNiro, Jacki Weaver, Chris Tucker, Shia Whigham, Anupam Kher, John Ortiz, Julia Stiles, Dash Mihok, Paul Herman, Matthew Russell, Brea Bee, Cheryl Williams, Patrick McDade.

As a personal rule, I normally avoid comedies or dramas that involve romance. I find the formula tedious and repetitive, not to mention, dull. However, director David O. Russell’s material is often interesting and off-beat so I decided that I wouldn’t overlook this one (especially when it features my favourite actor in Robert DeNiro). I have to say, I have renewed faith in the genre when there are talented people involved and it’s futile to resist one with such depth and unpredictability as this has.

Pat Solotano Jr., (Bradley Cooper) is discharged from a state metal health institution after an eight month spell for bi-polar disorder that has led to him violently beating his wife’s lover. When released, he lives with his parents Dolores (Jacki Weaver) and Pat, Sr. (Robert DeNiro) and decides to get himself fit and healthy again to gain back his estranged spouse. While out jogging, he crosses paths with Tiffany (Jennifer Lawrence), a recovering sex addict with mental health issues of her own but as their friendship grows, they realise that they can both help each other to achieve to their goals.

David O. Russell has tackled dysfunctional families before in “Flirting with Disaster” and “The Fighter” and mental health in “I Heart Huckabees” so in many ways, he’s on comfortable ground here and thankfully for us, it shows. He has a complete command over his material and even though you’d be forgiven for thinking that this is just your average, boy-meets-girl, romantic comedy, it isn’t. It teeters on the edge of formula but it also knows how to play with it and never becomes predictable. The ace in Russell’s pack, though, is the immeasurable help by a talented and commited cast. All the performances are absolutely excellent; Bradley Cooper is an actor that was always just been passable for me but here he shows a very impressive side to his acting talents; Jennifer Lawrence has impressed before in “Winter’s Bone” and “The Hunger Games” but this may well be her finest performance to date as she balances vulnerability and strength with ease. My favourite of the bunch, though, was seeing DeNiro finally get a role where he’s able deliver a whole range of emotions. One moment he’s breaking your heart, the next he’s in a fit of rage and also adds a lovely comic touch to things. Although, I was surprised at his Oscar nomination, I also wouldn’t argue with it. It’s great to have him back doing what he does best and hopefully this is the catalyst for bigger and better roles for him. I think we can all admit that he’s deserving of better material than he’s been getting of late. Added to which, apparently, it was DeNiro’s absolute commitment to the film that encouraged the rest of the cast to raise their game. While we’re on the subject of awards, all the leading performers have been Oscar nominated for their turns here (and that includes the great Jacki Weaver) – This is the first time this has been achieved by a cast since Warren Beatty’s political drama “Reds” in 1981. It’s also doesn’t hinder things when the talented likes of Chris Tucker and Shea Whigham are pitching in from the sidelines either. Ultimately, the plaudits must go to Russell for the deft handling of the material, though. Yes, it has generic elements of the genre but by the end, it can’t be pigeonholed and the characters aren’t your average troubled souls that are played for laughs or zaniness. There is a depth and pathos to their struggle and the intermingling of their fractured, dysfunctional obsessions is a hard balance to achieve. Russell manages it with aplomb and every one of his cast do too.

I’ve always been a fan of the off-beat nature of David O. Russell’s work but he has surpassed himself here and delivers an astute, not to mention, very refreshing commentary on mental illness.

Mark Walker

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Zero Dark Thirty * * 1/2

Posted in Drama, War with tags 2013 on February 1, 2013 by Mark Walker

Director: Kathryn Bigelow.
Screenplay: Mark Boal.
Starring: Jessica Chastain, Jason Clarke, Kyle Chandler, Mark Strong, James Gandolfini, Joel Edgerton, Chris Pratt, Jennifer Ehle, Edgar Ramirez, Harold Perrineau Jr, Stephen Dillane, Mark Duplass, Frank Grillo, Reda Kateb, Nash Edgerton, Jeremy Strong, Scott Adkins, John Barrowman.

So, after the Oscar winning heights of “The Hurt Locker“, director Kathryn Bigelow decides to stick to a winning formula and follow up that success with another war themed drama. Personally, I wasn’t keen on on her previous Oscar winning movie and I’m just as less enthusiastic about this one.

Al-Qaeda leader Osama bin Laden becomes the prime target following the attacks of September 11th, 2001. Heading the search operation is CIA intelligence analyst Maya (Jessica Chastain) who commits ten years to tracking him down, while others around her have their doubts and reservations. In 2011, her commitment pays off as she believes that he has been in hiding in Pakistan and a U.S. Navy SEAL team are sent in to capture or kill.

Beginning with the events of 9/11, the film fast forwards 2 years where it dares to expose American torture tactics to find the culprits of that fateful attack on New York. Although distressing, they are brilliantly and bravely captured which has led to some controversy on Bigelow’s part. The film, basically, doesn’t waste time in getting down to business and although the early stages consist of interrogations, Bigelow does well to maintain interest and tension. After this, the film gets bogged down in an attempt to capture recent events that require much more than a 2 1/2 hour movie to sum up.
Apparently, the script of this film was changed during the filming; the original story was the hunt for bin Laden but his (supposed) capture and death occurred before the film was completed. As a result, we have the ending to this manhunt. Personally, I don’t buy bin Laden’s capture. That’s not to say that I think he’s still roaming the earth. He may well be dead but I just don’t believe that events played out the way we have been told they did. It stinks to me that we are supposed to buy the – almost hush-hush – news coverage of such a high-profile event in current affairs. Sadam Hussein’s death was plastered all over the media but with bin Laden we are to just accept with very little evidence produced. Call me a conspiracy theorist but I can’t (and won’t) readily accept everything I’m told in the media. I believe it to be western propaganda that only serves to instil a belief in people that an end to the conflict is near. People want to believe. People need to believe. Much has been said about the 10-year-long manhunt to capture and kill bin Laden but if, buffoonish, Bush Jr, wasn’t so hell bent on drilling for oil and finishing his dear old pappy’s lucrative business in Iraq then that time wouldn’t have passed.
Anyway, I digress. My write-up is becoming more about my personal beliefs than it is a film review. So let’s get back to the job at hand. This is a film that is, undoubtedly, well structured and captured but I found that it meandered and as a result, I began to write a big “lefty” spiel (which I have omitted here) on my opinion of the conflict that we, as the west, finds ourselves in. And the reason this happened? Frankly, it was because I was bored. It wasn’t until the hour mark that things begin to get interesting but just when it began to look good, it got bogged down in boardroom scenarios and endless eastern locations. I have been a big fan of Bigelow’s previous movies but her recent venture into political events doesn’t cut it for me. She’s a director that has vibrancy and energy that is hard to compete with but on recent evidence, she’s entering into a territory that doesn’t accentuate her skills.
What does work in this, is the performances; Jessica Chastain proves, once again, why she’s everywhere at the moment. Her progression from shrinking violet to doggedly determined shows good range and some supporting actors also deliver solid work; Jason Clarke (“Lawless“) is a standout in the earlier part of the movie and Kyle Chandler (“Super 8“) gets a chance to flex his acting chops in some tense verbal confrontations. James Gandolfini and Joel Edgerton are a couple of late inclusions and it’s only in the last half hour that Bigelow shows her abilities in staging the action set-pieces. By then, though, it’s too little too late. What she does do, in her defence, is portray the actions of soldiers less than heroic. Which is one of the few truths that she shows in the entire film. Another is the ambiguity in the identity of bin Laden. At one point Stephen Dillane’s character says “… bin Laden, do I give up all hope of possibly seeing a photograph of him?” Eh… I’m afraid so. As an audience, we have to, yet we’re still expected to believe that he was identified and located on a farmyard, killed and buried at sea and an agency expert visually confirmed his identity when she hadn’t, physically, ever laid eyes on bin Laden herself.

Gung-Ho, western propaganda at it’s most concentrated. Some of it is impressively handled but ultimately, it’s nonsense that masquerades as intelligent filmmaking. It’s far from it and another blip in Bigelow’s, seemingly, great reputation. As a surfer- dude once said, in her earlier psuedo-spiritual, action pinnacle… “Go back to the valley, man…“.

Mark Walker

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Lawless * * * 1/2

Posted in Crime, Drama with tags 2012 on January 31, 2013 by Mark Walker

Director: John Hillcoat.
Screenplay: Nick Cave.
Starring: Tom Hardy, Shia LaBeouf, Guy Pearce, Jessica Chastain, Jason Clarke, Gary Oldman, Mia Wasikowska, Dane DeHaan, Noah Taylor, Chris McGarry, Tim Tolin, Lew Temple.

The last film that director John Hillcoat and screenwriter/musician Nick Cave collaborated on was the 2005 neo-western “The Proposition“. Four years later, Hillcoat went on to make his adaptation of Cormac McCarthy’s “The Road” (on which Cave supplied the music) but now they are together again with Cave back on screenwriting duties. If you’re familiar with the aforementioned films then you’ll also be familiar with the sark sense of realism that they bring. This is no different and just as good as anything they’ve produced so far.

In Franklin County, Virginia, in 1931, the Bondurant brothers: Forrest (Tom Hardy), Howard (Jason Clarke) and Jack (Shia LaBeouf) run a distillery and bootlegging business in Moonshine. However, the District Attorney decides to clamp down on the bootleggers as Prohibition is introduced. To enforce the law, crooked and unscrupulous, Special Deputy Charlie Rakes (Guy Pearce) is brought in to bring the brothers down but the Bondurant’s refuse to yield.

When the reviews of this film started flooding in, the opinions were less than favourable, leading me to lower my expectations. In many ways, I’m glad this happened as I found plenty to enjoy here and feel that the film may be a little harshly criticised. For a start – as mentioned earlier – Hillcoat has completely captured the gritty realism required. His feel for the time and place and eye for detail is highly impressive and it’s accompanied by an excellently evocative score by Cave and Warren Ellis. From the offset, it establishes it’s methodical and deliberate pace. It builds slowly but assuredly and spends quite a bit of time on character development; LaBeouf impresses with his, runt of the litter, leading role but the standout’s among the cast are a brooding Hardy and an extremely corrupt and unsavoury Pearce. However, this particular path that it treads so well, is also the films undoing. Too much time is spent on some characters and not enough on others; Chastain has little to do but still manages to do well, with what she’s got. The third member of the Bondurant brothers (Jason Clarke) is underwritten but again squeezes enough from the material he’s given and still manages to make an impact amongst a high calibre cast. The most criminally underused is Gary Oldman, though. It builds his character up and then doesn’t let him loose. Oldman is an actor that excels in these type of roles, yet it would seem that most of his scenes were left on the cutting room floor. Regardless of their screen time, everyone manages to pitch in here, though, and if this wasn’t a talented collection of performers, then some would have faded into the background. The fault with this has to lie in the hands of Nick Cave and his patchy, underwritten script. The conclusion is rushed and unsatisfactory and despite promising an enticing confrontation between it’s central characters, it fails to deliver. Maybe this would have led it down the formulaic path but I still would rather have that, than the ending we are provided. That being said, I still found this to be an engrossing, atmospheric and vivid depiction of depression-era times. It definitely does have it’s flaws and if you scratch the surface you’ll find a generic crime film but it’s so richly textured that it’s flaws are, mostly, forgivable.

Much like the old Jalopy’s that they drive, this doesn’t quite have the mileage to see it comfortably to it’s destination but it still a thoroughly involving, if occasionally bumpy, ride.

Mark Walker

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Killing Them Softly

Posted in Crime, Drama on January 15, 2013 by Mark Walker

Director: Andrew Dominik.
Screenplay: Andrew Dominik.
Starring: Brad Pitt, James Gandolfini, Richard Jenkins, Ray Liotta, Scoot McNairy, Ben Mendelsohn, Vincent Curatola, Sam Shepard, Trevor Long, Max Casella, Slaine, Garret Dillahunt, Linara Washington.

“I like to kill them softly, from a distance. Not close enough for feelings. Don’t like feelings. Don’t want to think about them”

Back in 2007, Brad Pitt and director Andrew Dominik collaborated, for the first time, on the ethereal western “The Assassination of Jesse James by the Coward Robert Ford“. Five years later, they’re back together again and this time they attempt a crime movie. Now, this runs over an hour less than their previous effort but in some ways it feels just as drawn out. That’s not to say that’s it’s unsuccessful, though. It has received criticism from many corners but personally I think expectations and preconceived ideas have led to a misunderstanding with this one.

Plot: Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a couple of smalltime crooks for hire. They get a job to hold up a high-stakes, mafia run, card game that’s overseen by middle-man Markie Trattman (Ray Liotta). As Markie has openly admitted to holding up a game in the past, he becomes the obvious suspect but something doesn’t quite add up. To clear up the mess, outside enforcer Jackie Cogan (Brad Pitt) is brought in the get to the bottom of it.

Films that fall into the crime genre will always have a certain level of expectation about them. It must be difficult for a director to try and establish a new format when there is a demand that they follow a particular formula. This adaptation of the George V. Higgins novel “Cogan’s Trade” is exactly the type of film that has been criticised for it’s lack of urgency and has suffered in it’s comparison with previous genre classics. Personally, I admire Dominik’s attempt at crafting something different here, and despite a glacial pace, I still found it gripping. This is a film that focuses less on action and more on talking and it’s entirely understandable why some didn’t appreciate it, but for me, the talking was the action and that’s thanks to solid performances from everyone involved. Every actor is as good as the other and it’s through their strong, and lengthy, exchanges of dialogue that each of them are able to shine; McNairy and Mendelsohn carry the weight of the first part of the story with two very different but equally unlikable low-life’s; Liotta plays a perfect, desperate middle-man; Jenkins epitomises the business side of things and Gandolfini is a perfect display of regret and melancholia from a hit-man who’s lost his touch. Ultimately, though, it’s the reserved central performance from Pitt who commands. Arguably, he’s got less to work with but his subtlety is key in expressing the coldness and stark reality of the business that these people operate in.

Of course – as is now expected of Dominik – he doesn’t just deliver a formulaic gangster story. Instead, he infuses it with allegory and makes a social commentary on the financial state of America. Throughout the film there are, ironic, radio and television broadcasts of political speeches and discussions about the economy and reminders of how America is the land of opportunity. It’s a, less than subtle, device but one that worked quite well. On slightly closer inspection, the criminals that roam this underbelly of modern America are no less disingenuous or manipulative than the politicians in office. They just happen to be conducting their business on a lesser scale. At one point Pitt’s Jackie Cogan even describes his cohorts as “Corporate mentality gangsters“. That aside, this is still a crime film and as a result, it’s not adverse to rolling up it’s sleeves and getting it’s hands dirty. There may be only sporadic moments of action but when they do appear they are brutally delivered and some of the violence displayed on-screen is wince inducing.

Much like the aforementioned western collaboration between Dominik and Pitt this film dares to incorporate a sociopolitical commentary throughout it’s genre. It’s unconventional but very effective nonetheless and the last line of the film sums up it’s theme perfectly… “America is not a country, it’s just a business. Now fucking pay me.”

Mark Walker

Trivia: In early negotiations, Ray Liotta was the original choice to play Tony Soprano in the HBO show, The Sopranos. The part was later cast to James Gandolfini. Although they share no screen time, they both star in this film.

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Life Of Pi * * * * *

Posted in Adventure, Drama with tags 2012 on January 13, 2013 by Mark Walker

Director: Ang Lee.
Screenplay: David Magee.
Starring: Suraj Sharma, Irrfan Khan, Ayush Tandon, Guatam Belur, Adil Hussain, Tabu, Rafe Spall, Gerard Depardieu.

The amount of times that director Ang Lee has delivered fresh material is testament to his bravery and skill as a filmmaker. He pushed genre conventions with Annie Proulx’s “Brokeback Mountain“, delved into the prose of Jane Austin with “Sense and Sensibility“, as well as, a meticulous take on Rick Moody’s “The Ice Storm” – and these are only his adaptations. He has challenged numerous genre’s from martial-arts (“Crouching Tiger, Hidden Dragon“) through comic-book (“Hulk“) to war and romance (“Lust, Caution“), among others. This time, Lee attempts an adaptation of Yann Martel’s ‘unfilmable’, bestselling novel and it’s another remarkable achievement.

On a huge freighter, leaving Pondicherry, India for Canada, a zoo keeping family are going to sell their animals and start a new life. Pi Patel (Suraj Sharma) is the zoo keeper’s son and after the ship is sunk in a storm, he finds himself adrift on the Pacific Ocean in a lifeboat. He’s not alone, though. He shares the boat with a Zebra, a Hyaena, an Orang-utan and “Richard Parker” – a 450-pound Bengal Tiger. Somehow, he must find a way to survive.

As the film opens we are given glimpses of wild animals roaming around their habitat. Although subtly handled, it works an absolute treat in establishing it’s use of 3D. I’m not a fan of this new viewing gimmick we’ve had thrust upon us but in the hands of Lee it is used to it’s best and fullest potential. Visually it’s astounding (and it only gets better as the film progresses) and along with Martin Scorsese’s “Hugo“, it’s the best use of 3D I’ve seen yet. After this brief introduction, Lee gets down to the story. He builds slowly; introducing his protagonist’s curiosity of life and religious beliefs and does so with a lightness of touch and humour that makes him instantly endearing. Cleverly, Yann Martel’s story makes a point of incorporating many religions. Our protagonist doesn’t follow one particular belief but encompasses many, which is very important for the film to work on it’s spiritual level and not ostracise the audience. It’s these very beliefs that are questioned when the story of survival takes place and it’s here that Lee pulls an absolute mastery in his use of CGI. He skilfully combines the beauty and ferocity of our natural world and even though his palette is vast, he focuses it, mainly, in limited space.
When getting down to the bare bones, this a story about life, spirituality and metaphysics but ultimately, it’s a story about storytelling itself and the infinite possibilities that lie therein. It manages that rare balance of being both literal and symbolic and Lee and screenwriter David Magee’s biggest achievement is immersing the audience into this odyssey and allowing a freedom of choice in how it can be perceived.
Ang Lee has always been a director that has commanded respect but he has surpassed himself here. This is one of the most challenging book-to-screen adaptations ever made and it’s also one of the best.

Wondrous and awe inspiring storytelling is a rarity these days but this film certainly achieves that. Not that I ever really lost it but it has a vibrancy and depth that reaffirms my belief in the magic of cinema. Quite simply, it’s a film that’s bold and breathtakingly, beautiful.

Mark Walker

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The Experiment * * 1/2

Posted in Drama, thriller with tags 2010 on January 4, 2013 by Mark Walker

Director: Paul T. Scheuring.
Screenplay: Paul T. Scheuring.
Starring: Adrien Brody, Forest Whitaker, Cam Gigandet, Clifton Collins Jr., Ethan Cohn, Fisher Stevens, Travis Fimmel, Lavell “David Banner” Crump, Jason Lew, Damien Leake, Maggie Grace.

Once again, a brilliant foreign language movie (“Das Experiment“) is given an English language remake and once again, it fails to do the original justice in any shape or form. If any positives are to be taken from this, then a major one would be it serving as a reminder of how good director Olivier Hirschbeigel’s 2001 German film was.

Strapped for cash in order to travel to India with his girlfriend (Maggie Grace), gentle mannered political activist Travis (Adrian Brody) decides to take part in a behavioural psychological experiment whereby 20 or so men are chosen to live in a makeshift prison for two weeks. Each of them will assume either the role of guard or inmate but once the doors are locked and they are left to their own devices, things begin to spiral out of control.

The fact that this went straight to the DVD shelf when released says it all really. From the offset there are shades of a made for television appearance. This doesn’t last for the entirety of the film but the standards don’t rise very far above it and the voyeuristic nature of the story will appeal to fans of reality TV shows like “Big Brother“.
It’s strengths, unsurprisingly, lie in the performances; Brody is an excellent leading presence and fine support is delivered by a towering Forest Whitaker but the inclusion of Maggie Grace’s love interest is entirely unnecessary, adding little to no substance to the film and could have been completely dropped without it making any difference whatsoever. In retrospect, it’s a lazily written script that’s the films biggest downfall. Where the original instilled a sense of realism, this version just seems staged. The premise is still thoroughly intriguing though and all the more so, with the knowledge that it was based on a real experiment that took place in 1971 at Stanford University before it all got out of hand.
It’s decent enough to pass an hour an half of your time but don’t expect anything special. It’s the performances that make it worthwhile but overall, it’s just another example of a completely unnecessary remake.

If anyone is unfamiliar with the events or the original German film then this film will go down nicely. However, it’d be wise to seek out Hirschbeigel’s version instead.

Mark Walker

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Beasts Of The Southern Wild * * * * *

Posted in Drama, Fantasy with tags 2012 on December 21, 2012 by Mark Walker

Director: Benh Zeitlin.
Screenplay: Lucy Alibar, Benh Zeitlin.
Starring: Quvenzhané Wallis, Dwight Henry, Levy Easterly, Lowell Landes, Pamela Harper, Gina Montana, Amber Henry, Jonshel Alexander.

2012 has been a bit of an underwhelming year at the movies for me. So many films have promised so much, yet failed to deliver. It’s encouraging though, that one of the art-house films of the year comes along and restores your faith in creative and original cinema. “Beasts Of The Southern Wild” is exactly that type of film.

Based on the one-act play “Juicy and Delicious” by Lucy Alibar, this tells the tale of Hushpuppy (Quvenzhané Wallis) a philosophical little girl who lives in a rundown Louisiana town called “The Bathtub”. It’s a bayou steeped in poverty, yet brings a certain freedom to the villagers. Their freedom is compromised though, when a storm floods the entire area and kills the livestock, forcing the community to flee their homes in search of pastures new.

As we are introduced to our young protagonist Hushpuppy, we see her building a nest for a bird and before long we witness her holding small chicks to her ear to hear their heartbeat. In her own words “Strong animals know when your hearts are weak.” This is a child that’s completely in touch with nature. It’s this very understanding and connection with nature that makes her such a sweet and appealing character and one that’s a real pleasure to share her journey with. That journey takes shape in her struggle for survival and a sense of belonging, as her home is destroyed in a storm, leading her on her life-affirming travels that address the nature of family, community and the refusal to be defeated or succumb to the norm. This is a film about culture and the automatic assumption that those who live a different lifestyle (even impoverished) need to be helped or changed into a mainstream or industrialised way of living. Ultimately though, it’s a right-of-passage story about bravery and survival and an allegory for climate change.
It’s strikingly shot throughout with the camera rarely staying still, adding that all important, stark sense of realism, required for the material. This is a film that’s filmed from a child’s eye view and young Quvenzhané Wallis (who was only 5 years old at the time of filming) is absolutely outstanding in the lead role. This young, untrained, actress should not be overlooked when the awards are being dished out. Fine support also comes from Dwight Henry as her defiant, stoic and seemingly harsh father Wink. To think that these two performers had never actually acted before is astonishing. They both deliver some of the best work all year. There are also shades of director Terrence Malick (“The Tree Of Life“) and his fascination with flora and fauna and it also adopts his scrutiny of such things. Quite simply, this is a stunning debut from director Benh Zeitlin who’s not afraid to infuse his story with surreal and highly effective visual moments of mythical wild aurochs who pursue Hushpuppy on her travels. It manages that rare ability to balance fantasy and reality and does so with such poetic flair. There was a moment in the film where I thought it was losing it’s way and rushing towards it’s conclusion but this was short-lived; it soon got back on track and finished with absolute aplomb.
Throughout the soulful journey, we get to know and love Hushpuppy and in her moment of self-assurance she informs us “In a million years, when kids go to school, they gonna know: Once there was a Hushpuppy, and she lived with her daddy in The Bathtub“… How could we ever forget?

Heartwarming, uplifting and not without it’s moments of pathos. This is a film of purity and truth and one of the years very best.

Mark Walker

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Ruby Sparks * * * * 1/2

Posted in Comedy, Drama, Fantasy, Romance with tags 2012 on December 12, 2012 by Mark Walker

Directors: Jonathan Dayton, Valerie Faris.
Screenplay: Zoe Kazan.
Starring: Paul Dano, Zoe Kazan, Annette Bening, Antonio Banderas, Steve Coogan, Chris Messina, Elliott Gould, Deborah Ann Woll, Toni Trucks, Aasif Mandvi, Alia Shawkat.

After 6 years, husband-and-wife directing team Jonathan Dayton and Valerie Faris deliver their long-awaited follow-up to the brilliant “Little Miss Sunshine“. It would seem that the director’s were in no rush to emulate their previous, Oscar winning, success; preferring instead to wait for the right script. It would also seem that that time has now come and it’s, certainly, been worth the wait.

Calvin Weir-Fields (Paul Dano) is struggling writer who once wrote a ‘genius’ novel when he was 19 years old. The trouble is, he’s now struggling for material and suffers from writer’s-block. On the advice of his therapist (Elliott Gould), he begins to write about a girl that has been appearing in his dreams: Ruby Sparks (Zoe Kazan). The next day, Ruby becomes a real person and they both strike up a beautiful and loving relationship. What Calvin then realises is, that if he can will her into existence by writing about her, then he can change her at any time and make her do what he wants by writing more.

Not many films built around romance have had the audacity to explore the very nature of love itself and the stipulations that seemingly come with it. It’s a genre I’m not fond of but that’s only because most are catered for the masses. This film dares to explore the complexities of a relationship and the stipulations that both sides make. It questions whether we can really love a person, wholeheartedly, without their indiscretions ever becoming irritating or intolerable. It also addresses the nature of dominance within a relationship and how that, in itself, is destructive.
Therein lies the beauty and honesty of this film; it’s not afraid to pose these questions and it’s also not afraid to explore the darker elements to it’s premise or get it’s hands dirty when it needs to. After a gentler, more romantic-comedy beginning, filled with wonderful touches of light and observational humour, the denouement takes a brave, impressive and twisted dramatic turn, that shows the darker side to the fantasy. Wisely, the film’s fantasy premise is never explained. This may irk some viewers but really, the film wouldn’t have gained anything by trying to break it down. Quite frankly, it just wouldn’t have worked but that’s testament to the filmmakers, the terrific ensemble of actors and most importantly Zoe Kazan’s highly original screenplay as they all have you believing in them, even when you know you shouldn’t. Once you’ve accepted the premise, you can sit back and enjoy the excellent performances all round; Dano, once again, displays his more than capable acting chops with a character that is often, and cleverly, likened to writer J.D. Salinger and wonderful comic-relief comes in the form of Bening and Banderas as new-age hippie parents. The biggest surprise is from the screenwriter and eponymous Zoe Kazan though; she brings a real warmth and creativity that manages just the right balance and allows her to flit in-between moods with ease. Without such an endearing and understanding performance, the film wouldn’t have worked as well as it does.

With excellent performances all round, and a great mixture of humour and pathos this is one of 2012’s genuinely surprising highlights. Like “Little Miss Sunshine” before it, this is a real treat.

Mark Walker

21 Comments »

Everything Must Go * * *

Posted in Comedy, Drama with tags 2010 on December 6, 2012 by Mark Walker

Director: Dan Rush.
Screenplay: Dan Rush.
Starring: Will Ferrell, Rebecca Hall, Michael Peña, Christopher Jordan Wallace, Laura Dern, Stephen Root, Glenn Howerton.

Anyone that’s been reading my reviews for any length of time will be aware of my dislike for the humour of Will Ferrell. Don’t get wrong, I’ve enjoyed some films of his: “Stranger Than Fiction” and “Elf” are a couple but for the most part his humour just doesn’t work for me. Thankfully, this is Ferrell minus his funny bone and as he plays it straight, he delivers some impressive work.

Nick Halsey (Will Ferrell) is fired from his sales job for his reliance on alcohol. When he returns home, he finds that his wife has left him, locked him out of the house and left all his belongings on the front lawn. He refuses to accept this though and decides to camp out in his chair and drink beer for days on end. As this is not legal, his cop friend and AA sponsor (Michael Peña) suggests that he pretends to be having a yard sale to buy him some time. Not before long, Nick starts to makes friends with the neighbours who help him sell his stuff.

The problem with this film isn’t Ferrell as I’d expected it to be. The problem with this film is that the material doesn’t stretch far enough. It’s based on the short story “Why Don’t You Dance?” by Raymond Carver who was responsible for the serious of vignettes that made up Robert Altman’s magnificent film “Short Cuts“. Where Altman got it right though, was in keeping all the segments little tales of their own and never fleshed them out too far. This had been a short story for a reason; there just isn’t enough material to cover the ground of a 90 minute feature – and it’s shows. Despite a series of very good moments and the struggle and believable, emotional downfall of the protagonist, it has a series of lulls which just feel like padding. As a result the dramatic weight is lessened and your concentration begins to waver. That being said, there is still plenty to admire here and that mainly comes in the form of Ferrell, who flexes his acting chops in a more serious role than audiences will be used to. I’m not normally a fan of his brand of comedy but as a dramatic actor he’s actually quite good. Unfortunately, for him though, the whole film rests on his shoulders; most of the other characters are secondary with Laura Dern, particularly wasted, in a thankless bit-part. However, the theme of a downward spiralling individual forced to confront his past – and his addictive problems – is reflected well, in the coveting of material objects and their relevance to a person as a whole.

More of a tragi-comedy with the emphasis on the former. It has serious moments of lethargy but worth watching for it’s metaphoric approach to life and to see Ferrell command the screen with depth, in a rare dramatic role.

Mark Walker

23 Comments »

End Of Watch * * * *

Posted in Crime, Drama with tags 2012 on December 1, 2012 by Mark Walker

Director: David Ayer.
Screenplay: David Ayer.
Starring: Jake Gyllenhaal, Michael Peña, Anna Kendrick, Natalie Martinez, Frank Grillo, America Ferrera, David Harbour, Cody Horn, Maurice Compte, Diamonique.

David Ayer certainly seems to know his way around South Central Los Angeles: He delivered the screenplay to the Oscar winning “Training Day” in 2001 before making his directorial debut, four years later, with “Harsh Times“. The James Ellroy adaptation “Street Kings” followed, and with his latest being yet another foray into those crime-ridden L.A. ghettos this is confirmation of Ayer’s comfort zone.

L.A. cops Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Peña) routinely patrol the streets and neighbourhoods of South Central. These guys aren’t just partners but good friends and they both take their jobs very seriously. It’s the strong bond between them that allow them to effectively deal with life threatening situations every day. But through their absolute commitment to their work, they discover a violent drugs cartel that puts both their lives in danger.

Anyone familiar with the aforementioned films that Ayer has been involved in, will know that he has a propensity to focus a lot on the interplay of his characters; mainly this is done in the car, allowing the audience to get a closer proximity to the back and forth banter and camaraderie. Where this film differs though, is in the use of a found footage/steady-cam approach. This particular style may be wearing thin with a lot of people (myself included) but for the most part, it works here. Following a couple of cops on the beat adds another angle to the sub-genre that’s not been explored yet and taps into the voyeuristic nature of the reality tv shows that we’re bombarded with these days. I’ve never really been a fan of these neo-fascist, propaganda shows that depict the police carrying out their duties but sometimes they can be intriguing and many find them very appealing. However, Ayer is smart enough not to rely solely on this ‘reality’ approach; he intercuts it with wide-angles whenever the documentary vibe is unsuitable, which gives a good overall balance to the action. That being said, the film does suffer periodic lulls and falls prey to cliche with underwritten and stereotypical gangsters but it’s the rapport between Gyllenhaal and Peña that keep the film interesting and involving. Both deliver solid performances and their exchanges of dialogue are entirely believable and, at times, genuinely humorous.

The steady-cam now makes it’s way into the mainstream with some financial backing and familiar faces involved. It may irritate some but ultimately adds a sense of realism that’s required for the material. Once you accept the conceit, the rest is an intense, visceral and action filled movie.

Mark Walker

33 Comments »

Seeking A Friend For The End Of The World * *

Posted in Comedy, Drama, Romance with tags 2012 on November 22, 2012 by Mark Walker

Director: Lorene Scafaria.
Screenplay: Lorene Scafaria.
Starring: Steve Carell, Keira Knightley, Martin Sheen, William L. Petersen, Adam Brody, Derek Luke, Rob Corddry, Connie Britton, Melanie Lynskey, T. J. Miller, Mark Moses, Patton Oswalt, Gillian Jacobs, Amy Schumer, Rob Huebel, Bob Stephenson.

Maybe it’s to do with the 2012 Mayan prophecy but over the last couple of years, there seems to have been a recent fad of ‘end of days‘ movies. So far, we’ve had Lars von Trier’s “Melancholia“, David Mackenzie’s “Perfect Sense“, Mike Cahill’s “Another Earth” and now this. Of the four though, I’d have to say that this is the weakest.

A 70 mile-wide asteroid named Mathilda is on a collision course with Earth with attempts to divert it thwarted. Earth will be obliterated in 3 weeks. Throughout this time, Dodge (Steve Carell) and his British next-door neighbour Penny (Keira Knightley) strike up an unusual friendship and embark on a road trip that should suit them both. Dodge wants to track down the real love of his life and Penny wants to get back to Britain to spend her remaining days with her family. Along the way though, things don’t turn out exactly as planned.

The major problem with this film is that it doesn’t know what it wants to be; it starts off with some sharp observational and gallows humour but doesn’t manage to be a laugh out loud comedy. It then delivers a serious dramatic tone – while pitching in elements of science fiction – which, surprisingly, bog it down in tediousness from which it never recovers. The genre in which it is most suited is romantic-comedy but the characters are dull and their situations even more so. It also suffers from an extreme lack of pace. You’d think that a film that delivers a premise of the entire earth having 21 days to live would have a bit of urgency about it. You’d also be forgiven for expecting some ridiculous ‘bucket list’ scenarios but it simply doesn’t provide them, despite threatening to on occasion. There are sporadic moments where it promises to get it’s groove back but ultimately falls into a slow and meandering cross country love story that, for the most part, is dreadfully uneventful.
Steve Carell is starting to annoy me in these kind of tragic, everyman, loner roles and I’m not a fan of the snobby Keira Knightley at all; I can’t get over the fact that she always comes across as if she was born with a silver spoon up her arse. There are some welcome appearances from the likes of Martin Sheen (who needn’t have bothered) Patton Oswalt and William L. Petersen – the latter in particular getting a much needed humorous scene involving the expected appearance of a hitman. It’s little moments like this that make the film all the more frustrating; it shows glimmers of great potential but doesn’t stick to what it does best and ends up being tedious and melancholic. After all this has (finally) passed by, the film almost redeems itself at the end with a lovely and touching moment between the protagonists but by then, it’s too little too late.

Despite not being a massive fan of the two leads, I was intrigued by the films premise. That being said, any potential it had was floundered by delivering scene after scene of mind-numbing emptiness.

Mark Walker

34 Comments »

Red, White & Blue * * *

Posted in Drama, Horror with tags 2010 on November 15, 2012 by Mark Walker

Director: Simon Rumley.
Screenplay: Simon Rumley.
Starring: Noah Taylor, Amanda Fuller, Marc Senter, Jon Michael Davis, Patrick Crovo, Nick Holden, Mary Mathews.

I’m not a fan of unnecessary violence in movies but when it’s delivered in a psychological fashion like Michael Haneke’s “Funny Games” or possibly Shane Meadows’ “Dead Man’s Shoes” then I can certainly go with it and respect the skill of the filmmaker. This shares some similarities with those aforementioned films but ultimately became far too savage and obstinate for me to fully appreciate.

Erica (Amanda Fuller) is promiscuous Texan woman who has frequent, casual sexual relations with different men and completely indiscriminate in her choice of partners. One night she meets Iraqi Vet, Nate (Noah Taylor) and strikes up a genuine affection and friendship. However, Erica goes missing one day and Nate decides to look for her which uncovers some wrong doing and also brings out a sociopathic nature in the seemingly gentle Veteran.

A film of two halves: The first, slow and methodical as it builds the relationships between the characters. During this time, it’s filled with empty and loveless sexual encounters. It has a deliberate pace that may lose the interest of some viewers during this time. However, the second half of the film picks up the pace considerably and relentlessly. It’s filled with violence and retribution and falls into torture porn territory with a frighteningly realistic and ambiguous performance from Noah Taylor. It’s a shift in tone I wasn’t fully prepared for and, as a result, found it a little hard to stomach. This is saying something, as just days before, I had sat down to the dark and disturbing William Friedkin film “Killer Joe” and enjoyed it immensely. The content of that movie was was no picnic (in more ways than one) but this film outstripped even that in terms of it’s lasting and unsettling effect. If I had fully known what I was getting into with this, I’d probably have avoided it. That being said, I can’t fault the construction and skill of director Simon Rumley on his pervading sense of dread or commentary on modern America but the resultant material just isn’t for me. The most interesting aspect is seeing Noah Taylor flex his acting chops in a style that we’re unaccustomed to and proves that despite still being relatively undervalued, he’s a very fine actor.

A stark and uncompromising film that’s very well handled but when it’s disturbing and violent nature takes hold, the content is very tough going. Be aware, there’s a good chance this film will linger long after viewing it.

Mark Walker

23 Comments »

Leon: The Professional * * * * 1/2

Posted in Action, Drama, thriller with tags 1994 on October 29, 2012 by Mark Walker

Director: Luc Besson.
Screenplay: Luc Besson.
Starring: Jean Reno, Natalie Portman, Gary Oldman, Danny Aiello, Michael Badalucco, Ellen Greene, Peter Appel, Willi One Blood, Don Creech, Elizabeth Regen, Frank Senger.

After some successful and highly creative films in his native France, director Luc Besson turned his hand to American cinema in 1994 with “Leon“. He had already covered the story of a lethal assassin in his 1990 film “La Femme Nikita“, which also featured Jean Reno in a small role as a “cleaner”. This time he focuses more on Reno and gives him the lead as a similar hitman for hire. It may be set in New York – with English speakers – but this is still very much an artistic French film.

Leon (Reno) is a contract killer and is seemingly content with his minimal social life. However, when his young and impressionable 12 year old neighbour Matilda (Natalie Portman) comes home to find her family has been killed by corrupt cop and drug dealer Norman Stansfield (Gary Oldman), she runs to him for help. The closer they become, the sooner she discovers Leon’s profession and asks him to teach her the skills so that she can have revenge on her family’s killer.

From the off-set, Besson’s visual style is clearly apparent and he makes wonderful use of New York locations with regular cinematographer Thierry Arbogast. He also allows the characters to blossom and creates and endearing friendship that serves as the heart of the film. Both Reno and especially a young Portman (in her film debut) are marvellous as the unlikely pairing but while they share some genuinely heartfelt moments, the boundaries are blurred with an uncomfortable, sexual subtext between them. Granted, this is formed through the romanticised eyes of a 12 year old and Leon is entirely innocent but it adds a different edge to their sentimental relationship. On the periphery, is the inclusion of a scenery-chewing Gary Oldman that adds a real sense of danger to the proceedings. His performance has been criticised for over-acting but personal I thought he was superb and it’s ranks as one of my favourites from him.
What’s most impressive about the film is Besson’s assured hand and his ability in framing a scene; seemingly insignificant details play a massive part in the sheer beauty of this film while the dynamic music score by Eric Serra is a perfect accompaniment for Besson’s sumptuous attention to detail and deliberate approach. Action movies rarely have such style but this is one that starts and ends with a bang and delivers a warm and affecting emotional core in-between.

A stylish, captivating and emotionally complex film that could comfortably be described as an art-house thriller.

(This post forms part of a “Double-Take” that I done with Eric who runs The IPC blog. Please check out the post in full by going here.)

Mark Walker

39 Comments »

Killer Joe * * * * 1/2

Posted in Drama, thriller with tags 2012 on October 28, 2012 by Mark Walker

Director: William Friedkin.
Screenplay: Tracy Letts.
Starring: Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Gina Gershon, Juno Temple, Marc Macauley, Sean O’Hara.

The last time I visited a film directed by William Friedkin was his highly underrated psychological horror “Bug“. That also happened to be written by Pulitzer-prize winning playwright Tracy Letts and this foray into the darker recesses of the human psyche is just as impressive and unrelenting as their earlier collaboration.

Chris Smith (Emile Hirsch) is a young Texan lowlife that has found himself in considerable debt to local nasties. To get himself out of trouble, he decides to murder his mother and collect the insurance money. He runs it by his father Ansel (Thomas Haden Church) and they decide to hire Joe Cooper (Matthew McConaughey) an amoral police detective, who also happens to be a contract killer. As they don’t have the money to pay up front, Chris offers his sister Dottie (Juno Temple) as a retainer until the insurance comes through but things of this nature don’t always go to plan and Chris, Ansel and Dottie realise they’re in way over their heads.

Upon our introduction to this films characters we have a stepmother who answers the door while wearing absolutely nothing from the waist down and the father spits on his own floor after coughing up a lung. Straight away its apparent that these people are completely dysfunctional and lack any moral fibre. From there, things get progressively worse but what you wouldn’t count on, is meeting anyone else actually more disturbed than these detestable people. That is, until McConaughey’s Joe Cooper enters the fray. He is far more depraved than the degenerates and reprobates that we have been introduced to, leaving you with an all round uncomfortable feeling of dread and questioning yourself as to why you’re even spending time with such disreputable company. That’s partly the hook of the film though. It becomes a bit of a guilty pleasure watching what will happen next when there are seemingly no rules or depths that the characters won’t stoop to. Friedkin and Letts deserve the utmost credit for their uncompromising approach here and in a film with no shortage of brave and bold performances, it’s McConaughey that truly excels. He’s a dark, brooding character and a far site from his recent rom-com’s. If he really wants to change his image then this is the way to do it. This man can certainly act and after this, I’m not sure he could go back to rom-com’s even if he wanted to. This is a character that will stick in the minds of many for quite some time. Kudos to the bravery of Gina Gershon also though. She commits herself to one of the most disturbing and outrageous scenes you’re likely to see this year, or any year for that matter. I’m sure by now that many people have at least heard of the depravity of an almost surreal scene involving a (now infamous) chicken drumstick… I didn’t know whether to laugh or balk when it arrived and it left me wondering if the sales of KFC will suffer as a result of this. Poor old Colonel Sanders will be rolling in his grave as it brings a whole new meaning to their slogan “finger licking good“. This is a scene that seems to have overshadowed the word on the film itself which is not entirely unfair as the scene is most certainly shocking but there’s far more to this. Apart from the excellent performances, Friedkin’s direction is up close and personal and captures the claustrophobic nature of Letts’ writing and his blacker than black humour. It’s a lot like “Bug” whereby a lot of the drama comes from the close proximity of the characters. The tension is only heightened because of this and it challenges the viewer to even question their moral standpoint on why would you even find enjoyment in this seedy and lascivious world.

An extremely black, depraved and uncompromising piece of work but it’s also strangely captivating and possesses a humour that’s “darker’n a black steer’s tookus on a moonless prairie night” – as a wiser feller than myself once rambled.

Mark Walker

59 Comments »

The Angels’ Share * * * *

Posted in Comedy, Crime, Drama with tags 2012 on October 27, 2012 by Mark Walker

Director: Ken Loach.
Screenplay: Paul Laverty.
Starring: Paul Brannigan, John Henshaw, William Ruane, Gary Maitland, Jasmin Riggins, Roger Allam, Siobhan Reilly, David Goodall, James Casey, Joy McAvoy.

After “One More Kiss” and “Dear Frankie“, the film that concludes my little Scottish trilogy of reviews is the 12th collaboration between director Ken Loach and writer Paul Laverty. Their previous efforts have been mostly very successful films and have largely dealt with the hardships of Scottish working class lifestyles. This is another slice of that life and yet another little treasure.

Young Glaswegian Robbie (Paul Brannigan) is sentenced to community service for repeatedly offending. He has a baby on the way and finds himself in a continual circle of violence with his girlfriend’s father but he’s desperate for a way out of his life of crime. He is taken under the wing of social worker Harry (John Henshaw) who teaches him the appreciation of fine malt Whiskies. It’s only then, Robbie discovers a distillery that’s home to a rare Scotch Whisky worth thousands of pounds and involves his friends to take some for themselves.

There is a Scots Gaelic way of referring to the alcoholic beverage Whisky and that is “Uisge Beatha“, literally translating as ‘Water of Life‘. This name, in itself, could be a perfect title for this film (and it’s themes) but Loach has gone and conjured up another one: When Whisky is matured over the years there’s some that escapes from the casket and evaporates into thin air, never to be tasted or seen again. This is referred to as “The Angels’ Share” and, on reflection, is a fitting title for the story.
Loach is one of those directors that has a perfect sense of realism. It just courses right through his films; from the storyline, through the setting to the authentic dialogue and untrained actors. This is no different and it shares a similar theme to two of his and Paul Laverty’s earlier collaborations: “My Name Is Joe” and “Sweet Sixteen“, in terms of a struggling protagonist trying to break free from his brutal environment and make a life for himself. What this has, that those two didn’t, is a sense of humour and a delicate, lightness of touch. It doesn’t get bogged down in the kitchen-sink mentality that you’d expect but breaks free from that mould to become a lighthearted caper movie. Don’t get me wrong, Loach still has the power of gritty authenticity and on a few occasions he displays that but like the beverage they are concerned about in the film, it has a nice balance; it manages to be both rough and smooth. Glasgow is depicted as a brutal environment with damaged disillusioned youths and Loach’s eye for locations and mostly untrained actors is ever present. All the performers deliver admirable and, in some cases, excellent work. A talent that Loach has shown over the years is his ability in finding these quality young actors. In a lot of ways he’s become somewhat of a pioneer for Scottish cinema – the city of Glasgow in particular. No film set in Scotland’s largest city would be complete without the humour though and in this case Loach and Laverty capture the idiom perfectly, delivering regular and balanced humour.

A slight change of pace from Ken Loach and more upbeat than fans of his will be accustomed to but he manages the understatement very well and delivers one of his most feel-good films to date.

Mark Walker

25 Comments »

Dear Frankie * * * * 1/2

Posted in Drama with tags 2004 on October 26, 2012 by Mark Walker

Director: Shona Auerbach.
Screenplay: Andrea Gibb.
Starring: Emily Mortimer, Gerard Butler, Jack McElhone, Mary Riggans, Sharon Small, Sean Brown, Jayd Johnson, Katy Murphy, Cal Macaninch.

After “One More Kiss“, the second instalment of my Scottish trilogy is this highly underrated little gem from first time feature director Shona Auerbach. It’s a film that shows a real delicacy and understanding for human relationships and a sensitive perception of life in general.

Frankie (Jack McElhone) is a 9 year old deaf boy has never met his father. His mother Lizzie (Emily Mortimer) left him years ago but never had the heart to tell her son. Instead, she concocts a story and tells Frankie that his father is working on a ship, sailing around the world. She also sends letters to Frankie, pretending to be his dad in far off places. Her story threatens to come to pieces though when Frankie discovers that his dad’s ship is due to dock at their hometown of Greenock. Instead of telling Frankie the truth, Lizzie employs the services of a stranger (Gerard Butler) to pretend that he’s Frankie’s father.

Every now and again you come across a low-key drama with real depth and honesty that when it’s all over you are left feeling genuinely touched; a tear may even well-up or for that matter fall. This is that type of drama. It’s a film that tugs on the heartstrings but doesn’t use any form of manipulation to do so. It’s just good, honest, storytelling that uses observation and an understanding of life and the heartbreaking complexities therein. It touches on the extent that parents will go to protect their children and also the difficulties faced by broken, impoverished families. What it also does, is put your faith in the kindness of strangers. That being said, this is not a film that’s depressing. In fact, it’s quite the opposite. It’s a life-affirming story filled with humour as well as pathos and everyone hits just the right note. It’s also a film that could claim to showcase the real charm and charisma of Gerard Butler before he hopped aboard the fame train. He’s an enigmatic presence and delivers a wonderfully subtle turn that gained him a lot more recognition amongst critics and filmgoers alike. The same could be said of Emily Mortimer; she is absolutely superb as a supportive but desperate mother striving to protect her son and further excellent support is delivered by young Jack McElhone as the eponymous and gentle natured Frankie. He doesn’t physically talk throughout the film but we get to hear his thoughts through the letters he writes to his absent and elusive father. It’s through these heartfelt, emotional performances that the film really resonates. That’s not to take away from writer Andrea Gibb’s endearing screenplay or director/cinematographer Shona Auerbach’s sensitive handling of the material though; everyone pulls their weight in capturing just the right tone here. It’s a such a shame that Auerbach hasn’t made a film since as on this evidence, she certainly has the ability and a 15 minute standing ovation at Cannes would further fuel that.

A sweet and poignant little drama with fantastic performances all round. A film with a head and a heart and good feel for the moment.

Next up… “The Angels’ Share“.

Mark Walker

20 Comments »

One More Kiss * * * *

Posted in Drama, Romance with tags 1999 on October 25, 2012 by Mark Walker

Director: Vadim Jean.
Screenplay: S.A. Halewood.
Starring: Valerie Edmond, Gerard Butler, James Cosmo, Valerie Gogan, Carl Proctor, Danny Nussbaum, Dilys Miller, Ron Guthrie.

Over the course of the next couple of days I’ll be posting a little trilogy of Scottish films that will have, no doubt, passed many people by and are certainly worthy of some more attention. I’ll begin with this 1999 film set in the Scottish borders that although it falls into a particular romantic genre, it dares to do things differently and succeeds admirably.

Sarah Hopson (Valerie Edmond) has been living a successful, high-flying lifestyle in New York but when she finds out that she has a terminal illness, she heads back home to Scotland to prepare for her death. When she arrives, she reacquaints with her childhood sweetheart Sam Murray (Gerard Butler). Sam now runs a restaurant and has since married but Sarah approaches his wife (Valerie Gogan) to ask that she spend time with him before her death – causing everyone some mixed emotions.

The film opens with a lone female, arms aloft, teetering on the edge of a skyscraper. It’s a powerful piece of imagery and an opening scene that sets the tone of this heartfelt tale. This is not a film about death but about life, love and relationships. It explores the mistakes and regrets but also delivers a chance of redemption. It’s in the human relationships that this film finds it’s strength. It’s not just about Sarah and her need to tie up loose ends but it confidently explores the effects on the people around her; she brings both a mixture of pleasure and pain to the other characters. At times she can come across as arrogant and selfish yet she also brings hope and instills a belief in people to live their lives fully. This is a film that wears it’s heart on it’s sleeve and for the most part, the performances are great. It’s interesting watching a young Gerard Butler and Valerie Gogan as his suffering wife is fantastic. James Cosmo is also especially memorable as Sarah’s cantankerous, rough diamond father. However, Valerie Edmond as the lead, looked a little stretched at times which I just couldn’t understand; in some scenes she was absolutely superb and in others she was quite poor. This could be down to her delivery of the dialogue though. I tend to be a little harsh on Scottish performers as sometimes the dialogue isn’t delivered properly. Most Scots have a certain slang nature to their dialect and when you hear words uttered with correct English pronunciation it jars a little. Understandably this has to be the case, so as to appeal to a wider audience but as a Scotsman, it seems out of place. That being said, Edmond still gets the job done and although some of the idiom may lost, the film still retains it’s subtle Scottish humour and delivers moments of highly impressive, realistic drama.

Despite some small inconsistencies this is still a beautifully played, poignant and heartfelt life/love story. It’s not normally the type of film I’d be drawn to but I was impressed with it’s execution.

Next up… “Dear Frankie“.

Mark Walker

14 Comments »

Before The Devil Knows You’re Dead * * * * 1/2

Posted in Crime, Drama, thriller with tags 2007 on October 12, 2012 by Mark Walker

Director: Sidney Lumet.
Screenplay: Kelly Masterson.
Starring: Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei, Rosemary Harris, Bryan F. O’Byrne, Amy Ryan, Michael Shannon, Aleksa Palladino, Leonardo Cimino.

Sidney Lumet is a director that’s no stranger to crafting intense pieces of work. In fact, he’s a master at it. Just look at a few from his highly impressive filmography like “12 Angry Men“, “Fail-Safe“, “Network” or “Serpico“. He’s also no stranger to a heist movie, having made one of the sub-genre’s best in “Dog Day Afternoon“. In “Before The Devil Knows You’re Dead” – his last film before his death – Lumet returns to that sub-genre and, once again, delivers with aplomb.

Hank (Ethan Hawke) and Andy (Philip Seymour Hoffman) are two brothers whose financial woes are having a direct effect on their lives. In order to solve their problems, Andy hatches a plan to rob a jewellery store. He calls it a “mom and pop” operation and it’s quite literally that: the store is owned by the brothers’ parents. If all goes down as it’s supposed to, then nobody will get hurt. Like so many crimes of this nature though, things can and do go wrong, dragging everyone down with a devastating turn of events.

Lumet builds his film slowly and assuredly, revealing the characters’ motivations bit by bit before peeling away the layers of their downfall. To do this, he cleverly plays with timeframes; changing back, forward and during the robbery itself. The focus is on the two brothers, as well as their emotionally stilted father (Albert Finney). Of course, this type of narrative device is nothing new. We have seen it used many times before but Lumet’s skill is in keeping it fresh and gripping. In support of his deft handling of the material, the actors deliver outstanding performances across the board; Tomei nails the ditzy wife routine; Hawke is marvellously high strung and weasel-like; Finney lends his usual reliability and there’s a small but welcome role for a threatening Michael Shannon. Unsurprisingly though, it’s Hoffman’s movie. He has a real presence here shifting from secretive to calculated then deadly with absolute ease. It may be unfair to single out one particular actor but this is another example of Hoffman’s incredible ability to completely inhabit a character. His downfall in particular, is of powerful and tragic Shakespearean proportions and he completely captures the intensity of a deeply immoral man.

Sidney Lumet was in his 80’s when he directed this, yet it shows a vibrancy that could easily be associated with a much younger director. With a canon of top-quality films behind him, this is as good and as riveting as anything he has done. Sadly it was his last but what a film to go out on.

Mark Walker

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Rain Man * * * *

Posted in Drama with tags 1988 on October 11, 2012 by Mark Walker

Director: Barry Levinson.
Screenplay: Barry Morrow, Ronald Bass.
Starring: Dustin Hoffman, Tom Cruise, Valeria Golino, Gerald R. Molen, Jack Murdock, Michael D. Roberts, Bonnie Hunt, Ralph Seymour, Lucinda Jenney, Beth Grant, Barry Levinson.

I must have been about ten or eleven when Rain Man was released and I remember enough about this time that it was seemingly heralded as a modern classic. The fact that it went on to win several oscars – including Best Picture – would further back this up. In hindsight, it’s not the classic that its proclaimed to be but still remains a solid human drama.

Charlie Babbitt (Tom Cruise) is a self-centred car salesman who discovers that his recently deceased father has left his fortune to his older, autistic brother Raymond (Dustin Hoffman) – that he didn’t know he had. In a bid to get his hands on the money, he kidnaps his brother but rather than it turning into a money making scheme, Charlie finds himself bonding with Raymond on their cross-country journey.

On the surface, Rain Man comes off as a film about family ties, responsibilities and an exploration of learning disabilities. This is true to a great extent but essentially it’s a road movie with two mismatched characters and actors. Hoffman delivers another masterful performance and one that gained him his second Best Actor Oscar after “Kramer Vs Kramer” in 1979. There’s a real sensitivity to his performance, which in turn, brings a lot of humour. The humour can sometimes come across as unintentional but that’s all the more credit to Hoffman’s abilities. As for Cruise, he’s all cocksure arrogance – like most of his performances throughout the 80’s – but he’s perfectly fitting and delivers one of the more grounded and mature performances of his career. He plays off Hoffman brilliantly and after playing alongside Paul Newman in “The Color Of Money” two years previously, this marked the second time that Cruise held his own against two of the screen greats – the two of them also on Oscar winning form at the time. Behind the camera, Levinson does an admirable job but his main strengths lie in capturing the subtleties of the performances. Anything else other than that is generic filmmaking. That’s not to say that it’s poor. It far from that, but I wonder whether it was deserving of a Best Director Oscar. Other candidates from that year included Martin Scorsese for “The Last Temptation of Christ” and Alan Parker for “Mississippi Burning“. At least two, that could arguably have taken the award. However, this is the type of material that the Academy laps up; it’s a difficult subject in highlighting the complexities of autism and although it’s one of very few film’s to tackle it, it doesn’t provide any answers and doesn’t probe as well as it should. Maybe the lack of probing is exactly the point? Autistic savants can’t be understood and it confirms that through Cruise’s frustrated character. Either way, I found that it became a little contrived and formulaic. This is a small gripe though, as the journey that these two go on is filled with humour and pathos and manages to be both touching and emotionally uplifting.

A thoughtful and affecting story that benefits from exemplary performances and great chemistry from the two leads.

Mark Walker