MARKED MOVIES

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

Director: Sam Mendes.
Screenplay: Dave Eggers, Vendela Vida.
Starring: John Krasinski, Maya Rudolph, Allison Janney, Maggie Gyllenhaal, Jeff Daniels, Catherine O’Hara, Melanie Lynskey, Chris Messina, Paul Schneider, Carmen Ejogo, Josh Hamilton.

Director Sam Mendes may never reach the abundant award winning heights of “American Beauty” again, but he’s proved along the road (Revolutionary and Perdition included) that he can still deliver the goods. This is a change of direction for him altogether but it’s still a fine addition to his growing catalogue of family dramas.

Burt (John Krasinski) and Verona (Maya Rudolph) are expecting their first baby. When Burt’s parents, the couple’s sole reason for moving to their current non-descript town, decide to leave the US, the couple go on a trip cross-country to find somewhere to raise their child.

When the film opens we are given a introduction to the solid relationship that the two main characters share, as while performing oral sex on his partner, Burt candidly talks about the theory of different vaginal flavours due to menopause or pregnancy. This duly recieves a slap in the face mid-performance, and thankfully for us he was talking about the latter. So then begins the journey of Burt & Verona as they mould the future of their family. John Krasinski and especially Maya Rudolph are a delight as the two endearing parents-to-be. In fact all the performances are appealing and subtly real and the whole cast pitches in. The real highlights though are the eccentric characters on our protaganists travels, mainly Alison Janney as the witty and offensive ex-colleague and Maggie Gyllenhaal as the free spirited sister. They are particular standouts in an exceptional cast. Despite mainly being a humorous road-trip, it’s peppered with some wise and wonderful scenes and has some moments of heartbreaking realism. The soundtrack is also filled with wonderful gems of music and despite it’s style, it’s missing only one thing…a Nick Drake song.

Mendes has equipt himself well once more and delivered an unusually heartwarming and quite lovely little film.

Mark Walker

Directors: Glenn Ficarra, John Requa.
Screenplay: Glenn Ficarra, John Requa.
Starring: Jim Carrey, Ewan McGregor, Leslie Mann, Rodrigo Santoro, Antoni Corone, Brennan Brown, Michael Mandell.

Jim Carrey’s goofy, rubber-faced, slap-stick material has been getting a bit stale recently. The best of his films have been when he has delivered a serious role; “Eternal Sunshine of the Spotless Mind” and “The Truman Show” have been notable showcases for this, but now he can also add this to his growing catalogue of fine comedic and dramatic
achievements.

Steven Russell (Jim Carrey), a southerner who marries his churchgoing sweetheart (Leslie Mann), then finally reconciles with the reality that he’s gay. In an effort to support a new, extravagant lifestyle he summons his latent gift for larceny and becomes a skilled con artist. Eventually this lands him in prison, where he falls in love with a fellow inmate named Phillip Morris (Ewan McGregor), and his real swindling takes over.

Despite Carrey and McGregor being two of the most familiar faces in film today, they still manage to give entirely believable performances as a gay couple, in a surprisingly heartfelt love story. It’s very brave and bold roles for them both. Carrey brings just enough humour and zaniness without overdoing it and McGregor adds a welcome naive and gentle innocence in their kinetic entanglement. It’s these strong, committed performances that propel this wildly inventive, modern romance. Some may be put off by the homeosexual nature of the story but they needn’t be. This is as valid and earnest as any heterosexual love affair and if anything, only serves to prove how much the actors have invested in it’s telling. It’s not too surprising that this was directed by Glenn Ficarra and John Requa, the writers of the lewd Billy Bob Thornton film “Bad Santa“, but what is astonishing is their ability to keep it all real and their impressive balance of the story. It has all the right ingredients; great characters, an interesting and exciting story, hysterically funny moments, scenes of powerful drama and two excellent lead performances. It never goes into exactly how some of Steven Russell’s swindles are achieved but it’s fun to watch all the same. His elaborate scams border on the implausible but for the fact, that this is based on true events, making it all the more impressive and enjoyable.

A fine and fresh directorial debut for the “Bad Santa” boys, helped by two of the most enjoyable performances of the year. Next up for this directing team is “Crazy, Stupid, Love” with Steve Carell and Ryan Gosling. Here’s hoping it’s half as good as this.

Mark Walker

Director: Hal Ashby.
Screenplay: Colin Higgins.
Starring: Ruth Gordon, Bud Cort, Cyril Cusack, Vivian Pickles, Charles Tyner, Ellen Geer, Eric Christmas, Tom Skerritt.

Director Hal Ashby made a name for himself throughout the 70’s with several high-quality films like “Being There”, “The Last Detail” and “Coming Home”, but it’s this lesser known film that’s his best work.

Harold (Bud Cort) is a young morbid man who fakes his own death in elaborate suicides, just to get the attention of his rich neglectful mother. He also attends funerals of people he has never met just to indulge his obsession with death. It’s at one of these funerals that he meets an old lady named Maude (Ruth Gordon), who is so positive and full of life that Harold is captivated by her and they both begin to fall in love with each other, exploring the wonders and beauty of life.

This is one of those ‘sleeper’ films that seems to pass people by, for no other reason than they haven’t heard of it or it can be difficult to get hold of. It was shamefully ignored come awards season also. Over the years though, It has garnered enough word-of-mouth attention to become a cult classic, and rightfully so. It’s an absolutely superb little black comedy that sensitively deals with themes of suicide, death, love and overall, life itself. It’s also the most unconventional love story you’re ever likely to see. The thought of a relationship between a young man in his late teens and an old lady in her late 70’s may put some off. However, this is a relationship that’s delicately handled with fabulous performances from Bud Cort as the morbid, death obsessed Harold who has a ‘sense of the absurd’ and especially Ruth Gordon as the eccentric free-spirited Maude, who opens his mind up to having a zest for life. It was for “Rosemary’s Baby” in 1968 that Gordon won an oscar but it’s here that she delivers one of cinemas finest and quirkiest of characters.
Cat Stevens’ songs throughout, also deserve a special mention. They are just a joy, and a fine example of how a soundtrack can compliment a film.

An unusual, often hilarious yet touching and heart-warming gem, that leaves you with a big grin from ear to ear. A pure delight.

Mark Walker