Saturday, 8 January 2011
NEW RELEASE: Nothing to Crowe About ...
After a few years of bad media coverage and some rather unlikeable performances (culminating in the craptacular borefest of Robin Hood last year) Russell Crowe returns showing some rather uncharacteristic warmth in The Next Three Days.
Irritatingly, the film is a less enjoyable, less surprising experience as serial writer/director/ham Paul Haggis stretches believability to the point that your brain will dribble out your ears in protest. And to save any more suffering, you'll encourage it to continue.
Crowe plays a family man and a literature professor trying to break his woman out of jail. She may or may not have murdered one of her rather annoying friends, but reality is of little importance to the crusading Crowe. He shows that someone from a form of skills non-specific academia can fashion explosive devices, find fatal flaws in the US prison system and manage to cleverly evade the cops on more than one occasion. Pass the tissue, that was a bit of my cerebral cortex.
That said, the climax is muscle-botheringly tense and my interest rarely waned throughout the movie. You even get a blustering, slathering cameo from a chain-smoking Liam Neeson injected into the mix. It epitomises the film – it's completely overbearing, barely believable and is prone to spouting clangers. But it's fun and diverting. You could do worse.
Friday, 7 January 2011
Now on DVD: White Material
Last week I wrote a blog about inadvertently distracting things in films. White Material has one of these – Christophe(r) Lambert's face. It is part encased in a surprising agelessness and, perhaps more worryingly, looking like it's about to fall off.
No matter, Isabelle Huppert acts her socks off in an act of desperate compensation in Claire Denis's handsome post-colonial existential horror movie. At least, that's what I think this is. We begin with a helicopter encircling Huppet's wandering French farm-owner, complete with a men shouting down from the chopper, advising her to abandon the African country she is living and working in. Yet something makes her stay. But we're never sure what. Things don't tend to get any less ominous in a film which is a procession of almost-events, from naked tatooed men with gammy feet through to children with machetes.
Consequently, there's very little get a grip on, let alone care about. Denis's evasion of a plot line and backstory is almost as self-conscious as some of the free-falling hand held camera action. And it's incredibly humourless, joyless artifice too.
That said, Huppert is as great as usual. She's got a rare ability to portray a character's inner life all through her eyes. A steely gaze with some terrible trauma bubbling underneath, it's textbook Huppert but it's nevertheless compelling to watch.
And I've no doubt that Claire Denis has something significant to say about colonialism and racism in modern Africa. But in a film which holds its cards very close to its chest thoughout, I just got the impression the oblique and the mysterious was far more important to her than the truth. And that's troubling.
No matter, Isabelle Huppert acts her socks off in an act of desperate compensation in Claire Denis's handsome post-colonial existential horror movie. At least, that's what I think this is. We begin with a helicopter encircling Huppet's wandering French farm-owner, complete with a men shouting down from the chopper, advising her to abandon the African country she is living and working in. Yet something makes her stay. But we're never sure what. Things don't tend to get any less ominous in a film which is a procession of almost-events, from naked tatooed men with gammy feet through to children with machetes.
Consequently, there's very little get a grip on, let alone care about. Denis's evasion of a plot line and backstory is almost as self-conscious as some of the free-falling hand held camera action. And it's incredibly humourless, joyless artifice too.
That said, Huppert is as great as usual. She's got a rare ability to portray a character's inner life all through her eyes. A steely gaze with some terrible trauma bubbling underneath, it's textbook Huppert but it's nevertheless compelling to watch.
And I've no doubt that Claire Denis has something significant to say about colonialism and racism in modern Africa. But in a film which holds its cards very close to its chest thoughout, I just got the impression the oblique and the mysterious was far more important to her than the truth. And that's troubling.
Wednesday, 5 January 2011
Movies That Are Good For You
Inspired by watching The Death of Mr Lazerescu (think Eastern European art house cinema verite WHERE NOTHING HAPPENS .. SLOWLY) I have compiled a list of Movies That Are Good For You.
Call it cinematic bran, call it a xx hour burst of masochistic endurance, watch one of the following films and you know, be totally on my wave length.
Movies That Teach You Patience
Ingmar Bergman, Scenes of a Marriage. A couple get together, bicker and fall apart. And it takes three hours. The TV series it was edited down from runs for over five hours. Along the way we get involves copious monologues, middle class hand-wringing and strong scenes of Liv Ullmann emoting. And it's absolutely brilliant.
The virtue of experimentation
David Lynch, Inland Empire The question whether it has a plot or not is irrelevant when you get David Lynch's most uncompromising movie since his debut in 1977 with Eraserhead. Succumb to the three hours of headfuckery and bunny-headed soap stars, and you'll get something rather special.
For appreciating Hollywood's golden past
John Huston, The Misfits The tone shifts more than Marilyn Monroe's alleged onset mood swings, but this John Huston film is the quintessential noble failure. Career best perfromances from Monroe, Clark Gable and Montgomery Clift, and you get the elegaic sunset of Hollywood glamour.
To appreciate that you shouldn't take things for granted
Woody Allen's output since 1997. From Celebrity onwards, the comatosed presence of Woody Allen's genius has only shown the odd twitch of genius. It's a cautionary tale though – you can't make films that often, about subject matters that narrow, and still be putting out great stuff forty years on. But you need to see at least a couple of them to appreciate this – and how good he once was.
To appreciate that good does always mean pleasant
Krzysztof KieÅ›lowski, A Short Film About Killing A nasty little film about crime and punishment, this – like Scenes from a Marriage – also came from a TV series – Dekalog. Not only the perfect introduction to that series, Kieslowski's work and Polish miserabism, this is a lesson in how less can sometimes be more.
To appreciate a master of cinema
Charlie Chaplin, Limelight Although not his best film by far, its his most poignant. A visibly ageing Chaplin plays an entertainer struggling to entertain as his act becomes obsolete. Call it a metaphor for his career and the long-gone days of silent cinema – or just call it a perfect introduction to an icon of twentieth century cinema. Your call.
Call it cinematic bran, call it a xx hour burst of masochistic endurance, watch one of the following films and you know, be totally on my wave length.
Movies That Teach You Patience
Ingmar Bergman, Scenes of a Marriage. A couple get together, bicker and fall apart. And it takes three hours. The TV series it was edited down from runs for over five hours. Along the way we get involves copious monologues, middle class hand-wringing and strong scenes of Liv Ullmann emoting. And it's absolutely brilliant.
The virtue of experimentation
David Lynch, Inland Empire The question whether it has a plot or not is irrelevant when you get David Lynch's most uncompromising movie since his debut in 1977 with Eraserhead. Succumb to the three hours of headfuckery and bunny-headed soap stars, and you'll get something rather special.
For appreciating Hollywood's golden past
John Huston, The Misfits The tone shifts more than Marilyn Monroe's alleged onset mood swings, but this John Huston film is the quintessential noble failure. Career best perfromances from Monroe, Clark Gable and Montgomery Clift, and you get the elegaic sunset of Hollywood glamour.
To appreciate that you shouldn't take things for granted
Woody Allen's output since 1997. From Celebrity onwards, the comatosed presence of Woody Allen's genius has only shown the odd twitch of genius. It's a cautionary tale though – you can't make films that often, about subject matters that narrow, and still be putting out great stuff forty years on. But you need to see at least a couple of them to appreciate this – and how good he once was.
To appreciate that good does always mean pleasant
Krzysztof KieÅ›lowski, A Short Film About Killing A nasty little film about crime and punishment, this – like Scenes from a Marriage – also came from a TV series – Dekalog. Not only the perfect introduction to that series, Kieslowski's work and Polish miserabism, this is a lesson in how less can sometimes be more.
To appreciate a master of cinema
Charlie Chaplin, Limelight Although not his best film by far, its his most poignant. A visibly ageing Chaplin plays an entertainer struggling to entertain as his act becomes obsolete. Call it a metaphor for his career and the long-gone days of silent cinema – or just call it a perfect introduction to an icon of twentieth century cinema. Your call.
Monday, 3 January 2011
"Young men's love then lies/ Not truly in their hearts, but in their eyes"
Like many people growing up in my generation, Pete Postlethewaite will always be the Priest in Baz L's Romeo and Juliet. I've since gone on to see him in all kinds of other stuff, of which he's equally brilliant in too.
Just the other week I saw a production of the play by Pilot Theatre - and their Priest was virtually a carbon copy of PP's performance.
Mr Postlethwaite - you'll be missed.
Sunday, 2 January 2011
In praise of Jake Gyllenhaal
There are many things to like about Jake Gyllenhaal. Firstly, and probably most importantly, this:
But lest we forget his acting talents too (heaven forbid). He has delivered us one of the most iconic performances of the noughties before the noughties really began. In Donnie Darko, he brooded his little cottons off and showed that leading barely 20-something men could have something between the ears. In a thespian climate replete with such actorly luminaries as Seann William Scott, DJ Qualls and a pre-Buried Ryan Reynolds, it was nigh on miraculous.
It was a performance he replicated in a note-for-note fashion in the criminally underrated The Good Girl. Well, note-for-note if you replace the sci-fi element with chain-smoking and The Catcher in the Rye.What remained the same was his hotness.
In a similarly indie vein, he starred in an adaptation of Pullitzer Prize winning Proof,almost bursting out of his t-shirt. And cropped up in Nicole 'Please Give' Holofcener's Lovely and Amazing And, er, got stuck in a library in The Day After Tomorrow (I'd totally like to be rifling through his reference collection).
But surely his masterstroke was in Brokeback Mountain. His portrayal of gay cowboy Jack Twist was a masterstroke inhotness understatement.
He then had worked with a bunch of great directors and actors like David Fincher, Dustin Hoffman, Sam Mendes and …
Screw it, here's another picture:
Such a dreamboat.
But lest we forget his acting talents too (heaven forbid). He has delivered us one of the most iconic performances of the noughties before the noughties really began. In Donnie Darko, he brooded his little cottons off and showed that leading barely 20-something men could have something between the ears. In a thespian climate replete with such actorly luminaries as Seann William Scott, DJ Qualls and a pre-Buried Ryan Reynolds, it was nigh on miraculous.
It was a performance he replicated in a note-for-note fashion in the criminally underrated The Good Girl. Well, note-for-note if you replace the sci-fi element with chain-smoking and The Catcher in the Rye.
In a similarly indie vein, he starred in an adaptation of Pullitzer Prize winning Proof,
But surely his masterstroke was in Brokeback Mountain. His portrayal of gay cowboy Jack Twist was a masterstroke in
He then had worked with a bunch of great directors and actors like David Fincher, Dustin Hoffman, Sam Mendes and …
Screw it, here's another picture:
Such a dreamboat.
Friday, 31 December 2010
Films of the year (in unfashionable ascending order)
1. Toy Story 3 – you will cry so hard, you will shed tears of blood – the 3D glasses needed their own windscreen wipers. Pushes the boundaries of what a kid's movie can do.
2. A Prophet – a 2 ½ hour prison movie in French is a commitment (although hardly the life sentence of its central character)– but this electrifying, well-acted tale grips like a hangman's noose
3. Somewhere - Two parts cynical Hollywood survivor's commentary to one part heart warming father-daughter movie – after the substance-free Marie Antoinette, it's a return to form for Sofia Coppola's unique, quiet voice. And Stephen Dorff is hot.
"Stephen Dorff is hot"
4. Kick Ass – although initially borderline amoral (which actually proved more difficult to get over than I thought), this superhero movie is a perfectly balanced cocktail of the original and the familiar. And there are surprises at every turn.
5. Ponyo – more kiddy than we're used to, but this Miyazaki is still the most charming thing I saw all year. The opening twenty minutes are majestic.
"Majestic"
6. Inception – a blockbuster that didn't patronize the shit out of its audience. Accusations of po-faced smugness aren't without merit but this is thought-provoking, visually dazzling hokum of the highest order.
7. The Secret in their Eyes – suspend your disbelief and trust the director, and this will prove to be a bravura, head-swimmingly unpredictable shot of South-Americana.
8. The Illusionist – rarely has a movie captured time and place so well. Although Sylvain Chomet never quite knows how to present the central pair's relationship, the attention to detail here in unrivalled
"Unrivalled"
9. Rare Exports: A Christmas Tale - Completely bizarre and really quite creepy, this alternative Danish Christmas movie presents a League of Gentleman load of bewitching watchability.
10. Cherry Tree Lane - Pant shittingly tense home invasion movie. Like Funny Games without the lecturing – it's an exercise in pure, nasty, undiluted horror. I felt sick throughout – and, for that, it should be commended!
"I felt sick throughout"
Honourable mentions: The Social Network (a great piece of drama, which due to its 12A certificate lacked a certain edge), I Love You, Philip Morris (uneven but warm hearted and endlessly entertaining con movie), The Kids Are Alright (although a little light in places, this was an intelligent relationship drama for grown-ups) and A Single Man (beautifully acted and moving if a little too refined and sculpted for my liking)
And a happy new year to y'all ...
Thursday, 30 December 2010
Happy birthday, Dr Jacoby
Russ Tamblyn, AKA Dr Lawrence Jacoby from David Lynch's Twin Peaks, is 76 today.
And, for your viewing pleasure ...
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