150W: The Wolverine

Short reviews for clear and concise verdicts on a broad range of films...

The Wolverine (Dir. James Mangold/2013)

The Wolverine, with flaws (and claws) does manage to separate itself from the usual X-Men fare, to create a James-Bond-type adventure for Logan. Travelling to Japan, and mourning the loss of Jean-Grey, he meets a man he saved from Nagasaki. Now an old man, technology-magnate Yashida, is on his death bed and desires Wolverine’s healing abilities. A film supported by young-mutants Yukio (who can see the future) and sultry Viper (more Poison Ivy from Batman and Robin), it is a new take on our clawed hero as, early on, his healing powers are weakened and we see him struggle from one fight to the next – something rare in every other adventure. Picture-postcard Japan, multiple women and an arrogant, robotic villain makes Wolverine more 007, but it works. Despite the weak snake-woman and a CGI-heavy climax, The Wolverine is likeable and tailor-made for X-Men fans who want something a little different.

Rating: 6/10

150W: Philomena

Short reviews for clear and concise verdicts on a broad range of films...

Philomena (Dir. Stephen Frears/2013)

On the surface, Philomena is a story of a Mother finding her long lost child - but it’s so much more. Through an expertly written script by Steve Coogan and Jeff Pope, adapting the story by Martin Sixsmith, Philomena transcends mediocrity and melodrama. It becomes a story of forgiveness and acceptance that is simply unbelievable, and more poignant as we realise it is true. Family bonds and faith are unwritten ties that bind us together – they cannot be proven or measured. We can be cynics – and Martin Sixsmith (Coogan) is. Sixsmith questions and asks the uncomfortable questions while Philomena Lee (Dench) holds our hand as the truth is revealed - and we only wish that our own patience, understanding and strength could be as strong as Philomena’s. In an era whereby God and Catholicism couldn’t be more despised, Philomena is a well-balanced, personal story that magnificently challenges faith and family.

Rating: 10/10

150W: Nebraska

Short reviews for clear and concise verdicts on a broad range of films...

Nebraska (Dir. Alexander Payne/2013)

Sideways Director Alexander Payne has shown his share of conflicted men. In Nebraska, Payne’s most confident film to date, we travel across the states as frail seventy-year-old Woody (Bruce Dern) is taken to Lincoln by his considerate and compassionate son David (Will Forte). On the promise of $1,000,000, Woody is convinced that spam in his letterbox is real, spurring the road-trip - but as they take a detour to visit relatives, the pair realise that blood lines does not guarantee kindness. Shot in stark black and white, Payne directs Nebraska with a clear focus on generational differences and modern expectations. While Woody reveals how his Uncles help build his family home, his own brothers resent and argue that they are due a “token” from his assumed jackpot. An alcoholic and distant father, Woody is a broken man with his own cross to bear proving how an aging father deserves dignity.

Rating: 9/10

250W: The Secret Life of Walter Mitty

Short reviews for clear and concise verdicts on a broad range of films...

The Secret Life of Walter Mitty (Dir. Ben Stiller/2013)

Walter Mitty (Ben Stiller) could be considered two types of character. Many compare Mitty to Forrest Gump. I believe this is unfair and inaccurate, and rather than a man with a low IQ, I’d compare him to Joel in Eternal Sunshine of the Spotless Mind. Creative, shy and socially awkward – but hardly Gump-like. Mitty aspires to be more than the office drone for LIFE magazine. He day-dreams of exploding buildings so that he can save the dog to woo his colleague Cheryl (Wiig). He looks up to photographer extraordinaire Sean O’Connell (Sean Penn). Mitty’s decision to board a plane to Greenland and find O’Connell himself is shot in the same manner as the explosive dream; therefore it’s unclear from this point what is and is not a dream. The wide-landscapes and stunning vistas are offset by bolshy in-product-advertising by E-Harmony and Papa Johns. Ben Stiller seems to have snagged himself an all-expense paid trip to the Himalayas and the crew to document it in the production crew. Does he want us all to pack in our jobs and become photographers? Or shall we pity his pessimistic attitude towards his own social standing? A job at LIFE magazine is brilliant. The Secret Life of Walter Mitty is weak and unconvincing. Rather than Into the Wild, it’s ‘Into the Bland’ as Stiller manages to bore us with music-video montages and pseudo-inspirational points. Stiller wants us to punch the air but this all a dream and we are merely watching a filmmaker’s bucket-list. 

Rating: 3/10

Frozen (Chris Buck/Jennifer Lee, 2013)

It only seems apt that now Disney has made a considerable amount from their Princesses brand, the most recent animated “classic” Frozen depicts the story of not one, but two princesses. Loosely based on the Hans Christian Andersen fairy tale, The Snow Queen, Frozen harks back to a story that sits neatly alongside Tangled and Brave, as it tries to warm-up the classic, cold fairy tale with intriguing, but not ground-breaking, results.

Anna (Kristin Bell) and Elsa (Idina Menzel) are sisters and the Princesses of Arendelle. Elsa is destined to become Queen one day, while Anna has had to live her life watching Elsa from afar. Anna has been protected from the dangers of Elsa’s ice and snow skills following a close-call with death when both girls were young. After a brief prologue, the coronation of the new Queen is soon upon us and Anna meets the man of her dreams. But dreams are shattered when Elsa’s ice-powers are unleashed and revealed to all, forcing her to run away to isolate herself from the world - leaving Arendelle as a glistening, frozen city. Anna decides to find Elsa, and bring her back to Arendelle. With the support of mountain man Kristoff (Jonathan Groff) and the snowman Olaf (Josh Gad, we set-off into the white plains and trudge through the snow to see if Anna can convince her sister to return…

Disney has had their eyes on this story for many years. Dating back to 1943, Walt Disney himself considered animating sequences from The Snow Queen to support a biography on Hans Christian Andersen. Passed from animators and producers since the 1990’s, it was only after the success of Tangled that Disney decided to dream up the idea in a different manner. This time, they focussed their attention on two sisters at the centre of the story – while the Snow Queen is not a villain but human and gentle, despite her dangerous powers.

These crucial changes to the story are what make Frozen innovative with a sibling story that will surely resonate with children. A context of snowscapes and detailed, twinkling snowflakes make the 3D animation worthwhile as snow falls in the cinema and sharp, ice shards jut out of the screen. The even film begins with a chanting chorus-number that harks back to The Lion King while the lead track, Let it Go, is catchy and likeable.

But inevitably, Disney has to include conventions that together become the “animation-formula”. Like the gargoyles in The Hunchback of Notre Dame or Mushu in Mulan, Olaf, the snowman, is brash and in-yer-face. His I’m-stupid-but-not-really humour becomes likable and his lack of knowledge of the sun is deeply tragic – though comedic. Alas, while one wacky character is effective, the snow-monster created to defend the Snow Queen is out of place (begging the question that, if the Snow Queen can create snow-monsters, she can surely create many more to stop the attack on her castle).

Though flawed, Frozen does seem to break the icy-mould with a finale that ignores convention (despite conventional male-female dynamics as Anna ultimately needs Kristoff - the big, brute of a man - to help her succeed). These final moments redeem any minor qualms and reveal that Disney is primarily interested in thoughtful storytelling. Disney are clearly adapting fairy tales with the intention of making something that lasts longer than the throwaway stories of Bolt and Brother Bear - and Frozen will have longevity. But, Frozen does slip and we are still a long way from the quality of Beauty and the Beast and the Princesses that defined the brand itself.

This was originally written for Flickering Myth

The Hunger Games: Catching Fire (Francis Lawrence, 2013)

How can young teenagers be introduced to politics? Maybe through The Hunger Games. The sequel to last year’s nearly-$700m blockbuster success is upon us. The Hunger Games: Catching Fire again tackles political unrest in the districts as the 75^th Anniversary of the games is due to begin. In the same manner as The Hunger Games, the opening moments of Catching Fire reveal our heroine Katniss Everdeen (Jennifer Lawrence) waiting for the mysterious Gale (Liam Hemsworth) - her real boyfriend. The end of The Hunger Games set up a false relationship between Katniss and Peeta (Josh Hutcherson) – a love that meant both teenagers won their Hunger Game – and so a love-triangle is forged. Gale loves Katniss; Peeta loves Katniss; we think Katniss loves Gale…

But this is not the heat of the story (though perhaps the core of the series), and the minor role of President Snow (Donald Sutherland) in The Hunger Games is expanded upon. In Catching Fire, President Snow is acutely aware that Katniss is a threat to the dystopian world he controls. “You fought very hard in the arena, but they were games” he tells Katniss – which is strange because, the whole point of The Hunger Games was that though named as ‘games’ they actually were life or death. But we’ll ignore that because President Snow is an arch enemy. He is the Goliath to Katniss’s David. Stakes are higher and Peeta and Katniss are bound to each other as they travel the districts and witness the brutal state of the world. They see an old man raise his hand in support of rebellion before faceless militia murder him in front of the populace (though not in front of us). The tour comes to an abrupt end when President Snow announces the unique set-up of the 75^th Quarter Quell … involving our favourite duo again. This time, rather than fighting random players from across the districts they are against the toughest and dangerous players of the previous games: the surviving winners.

Former friends of Katniss re-appear in Woody Harrelson’s ‘Haymitch’ and Lenny Kravitzs’ shamen-like fashion-designer Cinna, while Philip Seymour Hoffman’s game-maker has such a commanding presence, we pray he survives the film. Some moments almost give a sense of deja-vu as Katniss has a dress that bursts into flames while sat upon a Ben-Hur chariot and even the players are expected to be interviewed by Stanley Tucci’s eccentric game show host Caesar again (His pearly white teeth have never glistened so brightly). Indeed, recalling the first film, the vast majority of the film is spent prior to the games. By the time Katniss arises to stand amongst the players in the simulated environment, you only wish it could’ve balanced its time better. Learning from its predecessor, Catching Fire could’ve immediately started within the game (possibly flashing back to answer the ‘how’ question). Teenagers will surely watch the two films back-to-back and notice the similar structure.

Catching Fire will inevitably be appreciated almost-exclusively by the teenage target-market it intends to reach, but despite this, it tries to raise larger issues. In a world whereby an ex-presenter of reality TV-show Big Brother has touted an idea about rebellion while a Conservative Government runs the country, the relevance cannot be ignored. Fans of Katniss will hopefully connect the dots between the media, the government and rebellion – and its relevance to 21^st Century politics. In that manner, Catching Fire, though openly playful about its connections to fantasy in man-eating baboons and skin-burning gas, it will start a dialogue and light a match in the minds of the young. Let’s hope Hollywood handle this carefully though, as Catching Fire only raises the questions – the further sequels will answer them.

Dom Hemingway (Richard Shepard, 2013)

A character that is as well-realised as Dom Hemingway deserves a better send off. Richard Shepard writes and directs this Brit-Gangster film that lets loose a persona that demands your attention from the moment he appears. What a shame it doesn’t satisfy your appetite by the closing credits.

After keeping quiet for 12 years, Dom Hemingway (Jude Law) is released from prison. With best friend Dickie (Richard E. Grant) he travels to France to receive his ‘present’ from big-boss Mr Fontaine (Demian Bechir channeling a Robert DeNiro style of class). After a riotous party, it ends in tears as Dom speeds off the road and Fontaine’s sultry wife Paolina (Madalina Ghenea) makes off with Hemingway’s bag of cash. Rather than a revenge-story, Hemingway is forced to figure out what to do next. What will he do about his daughter who doesn’t want to see him anymore? What will he do about his professional safe-cracking career now everything is digital? Everything is up in the air for Dom Hemingway.

At one point, Jude Law’s ‘Dom’ and faithful pal Dickie (Richard E. Grant) sit on the Eurostar. Hemingway is hung-over, moaning and groaning about his pain. Hemingway tells us a “dog shat on my soul”, as Richard E. Grant, uninterested and apathetic, is un-phased. He has seen it all before. In Withnail & I, Grant’s ‘Withnail’ verbalises the hangover-from-hell to Paul McGann as they speed to Monty’s: “I feel like a pig shat in my head!” he says.

Clearly, Richard Shepard has created a character that has the poetic anger of Withnail, the cockney-tone of Delboy and the facial hair of an X-Man in Dom Hemingway. Jude Law has never had so much fun, and Richard E. Grant exploits being the straight man to Hemingway’s drunken, forthright anti-hero. The “cock” monologue (hinting at an undercurrent of pseudo, masculine-pride) that opens the film seems to carry a confidence that starts the film off with a bang – but unfortunately it limps to deliver a final act.

Masculinity in the modern-age is a tricky affair too as the animalistic, aggressive man does not suit the accepting, culturally-aware father. Indeed, there’s a sense of old-traditions clashing with modern society as Dom is 12-years out-the-loop. Dickie seems to be stuck in the 1970’s as he wears vintage sunglasses and floral shirts. “I’m too fucking old and I didn’t bring the right shoes” is the response when things go ape in the forest and Dom Hemingway decides to strut across Fontaine’s property naked.

Unfortunately, despite a strong set-up as we are brought into the criminal world of Hemingway and Co, the heart of the story gets short shrift. Dom Hemingway’s attempt at building bridges with his daughter Evelyn (Game of Thrones’ Emilia Clarke) feels like a missed opportunity that could’ve been expanded upon. There is very little time for us to see these relationships develop and blossom and it is difficult to get a sense of history between all the characters. Instead, we are introduced to further London gangsters, complicating matters further. By the final moments, Dom Hemingway feels lost in the abyss – with no definitive sense of resolution. Jude Law will gain great respect for the role and the promising start gives the indication that Shepard surely should return to London for another Brit-based film. But it loses its way after Dom returns to London and rather than trying to amp up the action with a dramatic I’ll-cut-off-your-cock moment, the direction should’ve involved the family – or even the Mafia family from France that disappears after the car-crash. Dom Hemingway will charm you, but he won’t satisfy you.

This review was originally written for Flickering Myth

150W: Gravity

Short reviews for clear and concise verdicts on a broad range of films...

Gravity (Dir. Alfonso Cuarón/2013)

Gravity is a masterpiece. Even if the concise lost-in-space plot doesn’t resonate, in almost exclusively five continuous shots, it’s a technical masterpiece. Ryan Stone (Bullock) and Matt Kowalski (Clooney) fix satellites orbiting the earth when suddenly debris hits the group mid-mission, throwing Stone into space. Outstanding special effects mean you don’t even consider what is “real” and what is not. Intelligent use of 3D mean floating astronauts in the background and screws hovering in the foreground drag you into the abyss further, rather than detach your perspective. Director Alfonso Cuarón taps into known Sci-Fi properties as diverse as 2001: A Space Odyssey and Planet of the Apes, without losing a sense of ownership. Through a controlled, well-pitched score, Gravity is its own film using silence to terrify you. You are alone in space, in the middle of a crowded cinema. And the cinema is the only place to see Gravity.

Rating: 9/10

150W: Thor: The Dark World

Short reviews for clear and concise verdicts on a broad range of films...

Thor: The Dark World (Dir. Alan Taylor/2013)

Straddling Lord of the Rings fantasy and superhero action in London, comes Thor: The Dark World. Chris Hemsworth returns as the Prince of Asgard, Thor. This time, new villain Malekith (Christopher Eccleston) destroys much of Asgard intent on controlling the “Ether” – an ancient power that has become entwined within Jane Foster (Natalie Portman). Thor and his merry band of Asgardian friends – including Avengers Assemble’s Loki (Tom Hiddleston) – are forced to protect Jane while ensuring that Asgard (and Greenwich in London) itself remains unharmed. More complicated than its predecessor, this sequel clashes horned-helmets and mystical forces with gusto, balancing Shakespearian language with a comedic sense of self-awareness. What a relief to see such a stylised form of story-telling opposed to the well-worn hero-in-city style of Spider-Man and Iron-Man. Inevitably, the formulaic shine of Marvel means it lacks risks and plays it safe, but it’s nevertheless a strong entry into the series.

Rating: 7/10

150W: Captain Phillips

Short reviews for clear and concise verdicts on a broad range of films...

Tom Hanks defies expectations and proves he is amongst the greatest actors in the world in Paul Greengrass’s Captain Phillips. Based on true events, Hanks leads the American cargo ships across the horn of African before it’s boarded by Somali pirates. Captain Phillips weaves tension and horror in this true-story – with an expert at the helm in Greengrass. Isolated on the vessel as authorities say “hold tight”, we are stranded with the crew. The vast open-ocean and cramp spaces of the engine room or lifeboat constantly play with our fears as guns jut into the screen uncomfortably. Losing a little pace halfway through, the high-calibre of acting remains impressive. Phillips thinks fast; his panic and fear palpable yet he never loses his head. There is no shine in this Tom Hanks film and by the final five minutes, when literally stripped down, he proves how powerful he can be.

Rating: 4/5

Parkland (Peter Landesman, 2013)

John F. Kennedy’s assassination is a moment in history shrouded in conspiracy theories. Parkland aims to recreate the three days – beginning with the day the President was shot – through to the immediate aftermath and death of JFK shooter Lee Harvey Oswald. Well-documented and thoroughly researched, Parkland is the directorial-debut of Peter Landesman - a journalist himself seeking to ignore the myth and focus on the reality. ‘Parkland’ itself is the hospital Kennedy died within – and where, days later, Oswald was rushed to. Clearly capitalising on an intriguing and important story, Parkland fails to match the cinematic scale of the event. It is held back by the safety-net of ‘accuracy’, becoming a pedestrian and bland version of one of the most iconic time-periods in American history.

Told from multiple perspectives, Parkland shows us how this death immediately changed the lives of everyone who woke-up on 22^nd November 1963, excited to see the motorcade in Dallas. Multiple doctors and nurses within Parkland hospital (Zac Efron, Marcia Gay Harden and Colin Hanks) who desperately tried to save his life; Mr Zapruder (Paul Giametti), capturing the infamous footage on the Dealey Plaza; Robert Oswald (James Badge Dale), the brother of the assassin; Jim Hosty (Ron Livingston), an FBI agent ‘tracking’ Lee Harvey Oswald and Secret Service agent Forrest Sorrels (Billy Bob Thornton), tasked with finding evidence on the murder itself.

Ensemble dramas lend themselves well to historical events (as Emilo Estevez’s Bobby did in 2006, covering the final hours of JFK’s brother, Robert Kennedy). In a post-9/11 world, an influx of terrorist-attack film and television has shown ensemble-versions of fictional US-tragedy ranging from televised action-series 24 through to Hollywood-trite Vantage Point. The explosive scale of the latter suited the big-screen while Parklands reserved and thoughtful approach fails to require such scale. Actors from 24, Band of Brothers and The Pacific only reinforce the televisual style of story-telling delivered. Following the shooting, Jackie Kennedy (Kat Steffans) is covered in blood from the shooting until she boards Air Force Once; guards have blood spattered all over their suits. It looks gruesome and horrific, but more akin to E.R. rather than World Trade Centre.

This begs the question whether Parklands should be a feature film at all. The tiny time-frame may have a limited scope but the broad range of characters and the potential for further characters (such as Oswald-killer Jack Ruby, a character Landesman considered in early drafts of the script) surely could have suited the much-heralded, longer-medium of the TV-series. The same stylistic 1960’s milieu as Mad Men would gain a large audience – especially with Tom Hanks as producer. The alternative is a documentary, as talking heads can reflect on the event and provide further insight into the accuracy of the reconstruction. Barry Ackroyd (of LFF Opening Gala film Captain Phillips) is cinematographer and his work shows-off a depth of colour that highlights the bloody work within an A&E department in the 1960’s.

Unfortunately, the efforts to capture accuracy restrain the director. Unlike Argo, whereby the closing credits alone show how accurate their depiction of the 1979 Iran hostage crisis was, Parklands weaves original footage throughout the film itself. Conspiracy theorists will conspire. Though Parklands actively chooses not to dwell on these ideas, a central character to sympathise or empathise with could pull you into the story rather than split our attention. Multiple characters falling to the floor, head in hands when the President dies (at least two) or wandering speechless, in shock to the situation (at least another two), is inevitable and expected – so what is Landesman adding to the story except recreating it? Those who have accepted the non-conspiracy version of events will gain little from seeing a recreation of a moment that has been documented so much. While Parklands may not require a ticket-stub, it could’ve been amongst the higher-quality television – and in fairness, that is no easy feat.

Written as coverage for The 57th London Film Festival for Flickering Myth.

Adore (Anne Fontaine, 2013)

Sex, sea and a highly commended cast; one would imagine Adore to be a sultry and deeply affectionate take on lust and love. Two actors from the critically acclaimed Animal Kingdom, the scene-stealing Robin Wright from House of Cards should bode well. Instead, Adore is a weak romance with a clunky and laughable script. Smug direction believes that holding on a character that looks to the mid-distance will automatically generate a heightened sense of emotion. It doesn’t and the forced attempt at passion rings false.

In New South Wales, off the coast of Australia, Adore immediately switches sharply from girls playing on the beach (is this about childhood?) to a funeral (is this about death?) and finally to the relationships at hand (is this about love?). Roz (Robin Wright) and Lil (Naomi Watts), in the first scene, lust after the “God”-like bodies of their sons Tom (James Frecheville) and Ian (Xavier Samuel). A small-cast indicates that we may be in a similar territory to Closer. A foursome – made five by Harold (Ben Mendelsohn), Roz’s husband – may find themselves switching roles throughout the film to dramatic and passionate effect. Unfortunately, this is an expectation that is not met. Instead, Harold disappears for the majority of the film, while the director charts the relationships between the remaining four characters.

 

These strapping young men, and Frecheville carrying himself like Michelangelo’s David with his curls, defined nose and chiselled torso, seem to lack any social skills. The young boys are confident enough to successfully bed their mothers friends, with smooth, sexy exchanges such as – “Have you forgotten something”, and he replies “yes…” before kissing her. But it begs the question where the young, beach babes of Australia have hidden away. For example, towards the end, we join a 21^st birthday party and, it turns out, they are not complete recluses. Attractive friends we have never seen before seem content in swilling the drinks on offer – are these friends oblivious to the incestuous relationships brewing behind the scenes?

 

Adore plays to an older crowd, sexualising the younger men for the gratification of the voyeuristic audience, but this only highlights how Roz and Lil are powerless to their desperate urges. The young men place pressure on, and convince, their respective mother’s mate to sleep with them. Tom even takes it upon himself, without consent, to sleep in Lil’s bed. He is aware that his abs cannot be resisted by the desperate old-lady Naomi Watts. Certainly, this relationship only emerges through the reveal of Roz and Ian’s trysts – as if Lil and Tom are only sleeping together out of spite. As incredibly attractive, mature and intelligent women, Lil and Roz aren’t shy and should choose to initiate the sexual exploits. Instead, the loner sons - whose idea of a fun weekend is getting drunk with their Mum and her friend – are the initiators.

 

The jumps between years are flippant and skip past moments we are keen to see giving no sense of pace. We plod along with an early awareness that resolution and a satisfying conclusion is not on the cards. All actors try so hard at weaving truth into the lines that awkwardly shape the story. But when a montage of the relationships in full-swing is followed by a dull conversation, as Roz and Lil matter-of-factly state how they feel, you know there is a serious problem. In fact, that particular sequence was met by a loud laugh from the entire audience I was with during the London Film Festival.  That can’t be good. Adore is a drawn-out mess of a film. The perfect beaches and rippling waves only remind you that, rather than sitting inside a dark room, maybe a couple of hours on a beach is what we all need. In fact, a production on a stunning beach for a couple of weeks, may be what attracted the cast in the first place – because it sure as hell wasn’t the script.

 

This London Film Festival review was originally written for TQS Magazine.

Twenty Feet from Stardom (Morgan Neville, 2013)

Hearing Gimme Shelter by The Rolling Stones is nothing earth-shattering. Martin Scorsese alone has embedded the songs so deeply into our collective, cinematic consciousness that even if Mick Jagger isn’t your cup of tea, you’ll know the song. Listening to Gimme Shelter in Twenty Feet from Stardom, on the other hand, brings a tear to your eye – if not, it’ll have you weeping into buckets at the sheer talent and force of the vocals. And not Mick Jagger’s vocal either.

The vocals are by Merry Clayton. Her agent, waking her in the evening, calls her to the studio, telling her “The Rolling … something … need you”. Mick Jagger recalls the moment too – warmly describing how Merry was in her silk pyjamas when recording the vocals. Another backing vocalist Darlene Love recalls her hiring under Phil Spector whereby she recorded, what was to become her first solo record, He’s a Rebel – only to hear the full version she sang on the radio and credited to The Crystals. The same Crystals who herself, alongside her group The Blossoms, provided backing vocals for previously for hits including Da Doo Ron Ron and Then He Kissed Me. They also provided the backing vocals for Frank Sinatra, Elvis and The Supremes. The list goes on and on.

Morgan Neville directs this fascinating documentary (the first to document the history of backing vocalists) focusing primarily on singers from different generations from the 1960’s through to modern backing vocalists who continue to support The Rolling Stones, Bruce Springsteen, Sting and Stevie Wonder to this day – and these artists, amongst others, all feature in Twenty Feet from Stardom, singing the praises of these outstanding performers.

What could be a historical by-the-numbers documentary or a pure self-indulgent sales-publicity for the artists albums, Twenty Feet from Stardom is neither as Neville balances deftly the need to praise, celebrate and clearly define the importance of these artists in popular music. He captures moments of pure beauty as Lisa Fischer sings fluidly and naturally, without lyrics, surpassing every voice that even approaches the American Idol stage in her flexible, wide range combined with complete control and awesome prowess as a powerful woman. Indeed, these are not weak women (and men - in Oren Waters, a member of The Waters family who have supported Paul Simon and Michael Jackson amongst many others) who are subservient to the leading male performers. They carry an air of grace and a humility that has not been tainted by fame and fortune – they carry with them dignity and a pride in their profession.

Twenty Feet from Stardom doesn’t shy away from highlighting the singers attempt at becoming the leading stars themselves – but it seems, like many success-stories, making that stretch to the front of the stage is a gamble unto itself. Judith Hill, supporting Stevie Wonder, remains in awe of performing with the Motown legend and the gamble of giving this up for a shot at the big time is a risk. It is clear as Springsteen, Wonder, Jagger and Sting (who all talk about a sense of “ego” you must have to become a lead-singer) are in absolutely awe of these singers and give them the utmost respect.

Listening to The Rolling Stones again, after the guitar solo 2-minutes in, listen to how Clayton peaks at the high notes during the legendary lines of Gimme Shelter - notice her voice cracks. It cracks as she gives this one, single line – and she is giving everything she has got. It is breath-taking and a moment that many may never have noticed before now – and after hearing the vocals alone in Twenty Feet from Stardom, we shall never forget in the future. To hear, and see, the women who created such a glorious sound is a privilege unto itself and highlights how true singers still do exist in pop music - they simply appear behind those who are front and centre.

Originally published for Flickering Myth on 14th October 2013 covering the 57th London Film Festival

Le Week-End (Roger Michell, 2013)

Poignant, heartfelt and considered, Le Week-End is a captured 48-hours of playful banter, deeply cutting remarks and a reminder that relationships, at whatever age, are on a knife edge. One ill-timed comment or an unspoken moment of doubt can give the impression that everything could be lost. But things are not lost with Nick (Jim Broadbent) and Meg (Lindsay Duncan). This particular weekend harks back to a honeymoon of bliss, whereby marriage was fresh and new. Needy, adult children and aching bodies was the last thing on the mind of this teacher-lecturing pair. Thirty years later, and the original hotel has lost its charm – and a sense that maybe Meg and Nick have lost their own sense of self. Like the cheap hotel, they might’ve outstayed their welcome - and one member of the marriage may want out…

Under the Eiffel Tower, amongst the stunning landscape shots we see as we peer through the window of the hotel, there is a sense that this weekend will be a moment of change. Nick reveals his lack of security in his job and teases Meg, vainly hoping that she may allow one night of passion, while Meg seems to be pushing forward; keen to make a change and move ahead with her life – could she be interested in a new man perhaps? Her tone switches from cheeky and excited to snarky and harsh within moments – one moment discussing plans, the next telling her husband he’s a “f**king idiot”. Their arguments are passionate and full of resentment and brutal honesty – but something works. Something works between them on a level that only thirty years of marriage truly understands. Not a smug, rose-tinted version of a successful marriage but a revealing portrait that doesn’t veer down a route of sadness and overwhelming loss – such as Amour.

In fact, if you consider Richard Linklater’s Before Sunset/Before Sunrise/Before Midnight trilogy as a starting point, there are many similarities between the films. Both detail a specific moment in a relationships history within a European city – and the couples are both creative ‘types’ with passionate women. In fact the limited time-period and memorable meals in both Before Midnight and Le Week-End give the impression that maybe writer Hanif Kureishi may have had a hint of inspiration from Linkater’s films.

The performances are mesmerising and Jim Broadbent and Lindsay Duncan manage to create characters that are familiar and charming to be in the company of. Decisions to “not tell the kids” about failing to pay a bill and their playful chasing in the hotel lobby is warm and relatable - and young adults will surely watch the film and realise that their own parents may not be as stuffy as they let on. Indeed, the child on the other end of the phone line becomes the buzzing bee that irritates – and a quick swot is needed.

Far from being a laugh-out loud comedy or deeply-depressing drama, Le Week-End manages to have its French Fancy and eat it, as Nick and Meg see through the weekend in a splendid fashion as Jeff Goldblum hosts a memorable meal with a black-comedic twist. An adoring film that may not be unique, it has a charm that could see it as ‘Before Old Age’ – and, in fairness, that’s not a bad thing to be.

Originally published for Flickering Myth on 12th October 2013

150W: Prisoners

Short reviews for clear and concise verdicts on a broad range of films...

Prisoners (Dir. Denis Villeneuve/2013)

With high profile, well-received casting that includes Hugh Jackman, Paul Dano, Jake Gyllenhaal and Terence Howard, Prisoners has the ingredients of becoming a favourite during the awards season. Unfortunately, strained pacing and unresolved threads will leave this thriller amongst the many forgotten moody movies that could’ve been something so much stronger. The Devon’s (Bello and Jackman) and The Birches (Howard and Davies) lose their two girls one rainy night – and it is clear that the driver of an RV, Alex Jones (Dano), is the prime suspect. While Detective Loki (Gyllenhaal) tries to find the truth, the families take it into their own hands and confront Alex directly. Deep and dark cinematography turn a suburban town into a fearsome environment, whereby the shadows of houses and white-picket fences become a prison unto itself – but Prisoners drags through weak dialogue and dubious morals leaving you unsatisfied. Overall, Prisoners is mediocre at best.

Rating: 3/10

150W: Rush

Short reviews for clear and concise verdicts on a broad range of films...

Rush (Dir. Ron Howard/2013)

Roaring into theatres with Ron Howard’s almost-trademark true-story sales-pitch comes Rush. Documenting the rivalry between Niki Lauda (Daniel Brühl) and James Hunt (Chris Hemsworth), this could be a feature-film response to Senna. But the adrenaline-fuelled races with a personal theme pitting natural talent against brutal hard work manage to draw you in and speed you past the finish line. Brühl steals the show with an intense portrayal of Lauda who, though privileged (like Hunt), seems much more aware of the necessary knowledge to understand the dangerous vehicle he controls – opposed to Hunt, whose love of driving, women and alcohol seem to be his primary motivation. The 1976 racing season provides the main body of the film, and it slows down following Lauda’s shocking run at the German Grand Prix – but it remains a tight, focused effort only floundering a little when tackling their marriages. Overall, Rush comes out on top.

Rating: 8/10

150W: Kick-Ass 2

Short reviews for clear and concise verdicts on a broad range of films...

Kick-Ass 2 (Dir. Jeff Wadlow/2013)

Awkward and lacking the charm of its predecessor, Kick-Ass 2 joins the weak-sequel club. The thrill of watching Kick-Ass was not exclusively in Hit-Girl’s hyper-violent and explicit language (though they did add to a sense of brutality rarely seen in “comic-book” movies) but in the pseudo-realist set-up: What if someone really became a superhero? The sequel pits Dave Lizweski’s “Kick-Ass”(Aaron Taylor-Johnson) against Red-Mist-rebooted “Mother fu**er” (Christopher Mintz-Plasse). Hit-Girl (Chloe Grace-Moretz) spends a large part of her time in school as a regular student failing to fit-in, while Kick-Ass joins his own set of ‘Avengers’ alongside “Colonel Stars and Stripes” – a tragically small-role for Jim Carrey that clearly holds so much potential. A relentless use of varied-guns and slicing-knives accentuates a film that has lost its grip on thought-through action sequences – stooping so low that an ill-timed rape joke is cheap and unnecessary. Kick-Ass was intelligent; Kick-Ass 2 is incredibly dull.

Rating: 3/10

The Way Way Back (Nat Faxon/Jim Rash, 2013 )

The opening moments of The Way Way Back highlight an age-old rating system that every teenager has entertained in their mind – or they have at least discussed it in a playground: What would you rate yourself? Duncan (Liam James) struggles to answer, venturing a ‘6’ while his Mum’s boyfriend Trent (Steve Carrell) ignores his answer and claims that Duncan is a ‘3’. This disconnect and conflict in values between Trent and Duncan provides the backbone to the film as Duncan desperately escapes the clutches of the family and finds solace in the Water Wizz – a water park owned (or at least managed) by Owen (Sam Rockwell). Owen and Duncan strike up an unlikely friendship and Owen becomes a temporary father-figure to coach Duncan in life – ensuring that Duncan acts “like a man” by ogling the bottoms of girls and understands sarcasm.

Likeable, twee and inevitably a “favourite film” for those who relate to the nervous, awkward teenager, The Way Way Back plays it safe and seems to show a formula that clearly “works” for the indie film including a large cast that recalls Little Miss Sunshine (Toni Collette and Steve Carrell appear in both) and the use of the summer as a time for change for shy, reserved boys – recalling Adventureland and Youth in Revolt.

The personal, yet “we’ve-heard-it-all-before” sentiment, that resolves the many situations may be illuminating and important to Duncan but they fail to address the complexities of others. Trent’s image-obsessed daughter Steph (Zoe Levin) is merely a character to be mocked as she appears to be an extension of Trent himself – in one moment, Steph shouts at Duncan about where he has been and how he has “ruined everything”; it would be nice to see Steph’s own worries and how she too – like Duncan – is often left to her own devices to find entertainment. This could be asked of many characters, but even Trent is clearly “bad” while Duncan’s Mum, Pam, is “good” – is it possible that Trent may be trying to change through Pam’s influence? Could Pam be a problem herself? In the Water Wizz world, there is no grey area – it’s all black and white. Or blue and yellow. But maybe that’s too complicated, eh, buddy?

The mantra of The Way Way Back is “Don’t Settle”. Sam Rockwell’s lovable, but useless manager, ‘Owen’ offers this advice to coming-of-age Duncan (Liam James) as our teenager vents his frustrations about his Mum’s boyfriend and his worries about the future. Ironically, The Way Way Back seems to have “settled” for direct storytelling and well-known themes. It becomes flat and specific in the ideas it wants to address – without trying to keep a little ambiguity about the challenges adults face. But the comedy is well-written while Jim Rash (a co-writer) and Maya Rudolph as the Water Wizz “family”, alongside a perfectly-pitched performance from Sam Rockwell, do make you consider why we work so hard at all – maybe we should just pack in our jobs and all work at theme parks? The Way Way Back manages to tell a tale of teenage troubles, and how they can be overcome, but when teenagers reflect on their own life, I doubt they will see a truth and instead see the complexities – something The Way Way Back misses out.

Planes (Klay Hall, 2013)

"See ya, suckers!"

Introduction

Considering the obvious race-after-race structure of Cars 2 was what many considered - for want of a better word - mechanical, it is surprising that Planes seems to follow the same structure. What was originally intended to be a straight-to-video Disney spin-off, the successful racing sequences inspired John Lasseter - director of Cars and Chief Creative Officer of Disney and Pixar - to release the film cinematically. The lack of a Pixar logo will put fans off, but this film is very much in the mould of Cars 2, with a sprinkling of Cars on the top, creating a film that feels repetitive and lacking heart.

Repeating Radiator Springs

Dusty (Dane Cook) is a crop-dusting plane who is desperate to race in the big leagues - this means an opening act whereby Dusty trains and befriends old-timer Skipper Riley (Stacy Keach) and enters into a qualifying race. Does he fly-high? Of course he does - and we see his significantly smaller plane challenge the big guys as they compete in an across-the-world tour moving from crossing the Atlantic Ocean, the Himalayas and the Pacific. To make matters worse, Dusty is afraid of heights and therefore plans to fly low for the vast majority of the races - and yet, continues to win each time.

In the same manner that Lightning McQueen in Cars and Cars 2 had a group of friends to help him through, Dusty has a very similar combination of friends - Dottie (Teri Hatcher) plays the female friend while Chud (Brad Garrett) is "the clumsy one", just like Mater. Cars held high ambitions and lofty aspirations as it challenged the audience to consider the small-towns that are squeezed off the road by the bigger companies. A story that, in some respects, contradicted what we all believe Disney to be. Ironically, it seems that the personal - but political - story of Cars has been squeezed off the road for toy-focussed, repetitious narrative story-telling. Cars 2, though a financial success, was critically panned but Planes has clearly ignored the criticism and continued full-steam ahead to create a franchise that is clearly about little plastic vehicles and different countries.

Re-Play

In Planes we now have an English plane in 'Bulldog' (John Cleese) and an Indian plane in 'Ishani' (Priyanka Chopra). Maybe Disney realised they had missed a central area of the Asian market and capitalised on it this time with both a core character (Pan-Asia plane 'Ishani') and a romantic sequence that is a celebration of the stunning landscape India has to offer as they glide over the Taj Mahal. No surprise that Priyanka Chopra is a huge star in Bollywood becoming one of the highest paid-actresses after notable performances in films including Andaaz, Aitraaz and Fashion.

Funnily enough, in the 1980's and 1990's, TV-series Jimbo and the Jet Set and Budgie the Little Helicopter anthropomorphised planes and automobiles and, though I recalled the Milkyway advert when watching Cars, these TV series didn't come to mind. This time, they did because it appears that big eyes stuck onto the windows of vehicles are ultimately nothing new. Planes and Cars have become a franchise that children clearly flock towards because they have the immortal enjoyment of characters that can be recreated at home on the floor (as they did in the 1980's and 1990's) - to some extent, this was the same reason Toy Story was a success as it tapped into the nostalgia when adults were young. Unlike Toy Story, the heart of the characters is missing in Planes. As children can create their own versions of Dusty and Dottie, whizzing them across the carpet, it’s worth reminding ourselves that with Toy Story - and any successful children’s film - they would also imitate the characters voices and try to act out the characters they knew. Dusty and Dottie are just boy and girl planes and cars. They have nothing else that is engaging and, unfortunately, nor does the story itself ... but we'll see them again, that's for sure.

This was originally written for Flickering Myth on August 15th 2013

Despicable Me 2 (Pierre Coffin; Chris Renaud, 2013)

"That's right, baby! Gru's back in the game with cool cars... gadgets... and weapons!"

Introduction

Whether you enjoy Despicable Me or not, it is clear from the outset that this is a heavily manufactured product. Small, silly-voiced creatures for Lemming-like comedic effect; a villain clutz at the centre of a story with imitatable foreign-accent and finally, to top it off, three "leedle" girls - including a wide-eyed cute one that proved you had a heart of stone if you didn't think she was adorable. Despite these animated film cliches, Despicable Me was touching in the depiction of adpoted children teaching a Father how to be a better role model. A role model that, in turn, impacted on the "minions" themselves. Released in 2010, Despicable Me capitalised on the "new" 3D trend and included multiple exciting 3D features including a rollercoaster ride and a playful end-credits sequence as the minions attempted to reach further and further into the audience. Could Despicable Me 2 use 3D in such an interesting way? More key to the original films success, we wonder if Gru (Steve Carrell), now "good", could retain his "superbad - superdad" charm?

A Happy Family?

To re-establish our favourite characters we see how Gru has set up a perfect family home for his girls - they continue to sleep in old nuclear bombs - but Gru has begun to organise parties for them, much to the delight of the parents as women try and set Gru up with single women. But things change dramatically when Lucy (Kristin Wiig) appears and, though a secret agent for AVL (Anti-Villain League), she knows of Gru's past achievements and kidnaps him to assist in catching a new villain. He has created a serum that turns cute bunnies - or cute minions - into crazed, dangerous killing machines. We join Gru and Lucy as they investigate the many quirky characters of a shopping mall (where the serum was last detected...) - and watch as they begin to work out who is the real super villain. Is it the Mexican Restaurant owner? Is it the Asian hair dresser? Who knows...

The real heart of the story though is now on Gru - the three girls are merely accomplices and assistants to his new role as AVL Super Spy - and his growing relationship with Lucy. The minions are in a slightly improved role as the final act reveals the super villain kidnapping the yellow creatures and transforming them into crazed-purple animals. But, personally, I felt the that the family established at the end of Despicable Me was more than successful

Interesting Parrallel

Considering Despicable Me 2 is released the same summer as Monsters University, it is interesting to reflect on the story behind Monsters Inc: Two (assumed fearful) male monsters, we find out, are brilliant parents to an adorable girl. The successful celebration of non-traditional families is clear-cut as both Mike and Sully become ideal parents despite their same gender and incorrect judgement (from us) that they are dangerous. Despciable Me 2 argues that, actually, children need a Mother - and parents need a partner - to successfully create a family. Agnes (Elsie Kate Fisher) pleads with Gru as she questions, in mock-frustration, why he has no partner. Gru awkwardly and uncomfortably manages to join forces with Lucy to give the children what they want - a Mother. Heaven forbid he is a strange, single parent - imagine if he was gay! Not in this sugar-coated, incredibly-popular kid-friendly film. Imagine the children of non-traditional families leaving the cinema - why can't I have two parents?

Furthermore, we notice that, unlike Despicable Me - whereby the foreign-accented character is outed as a loveable rogue - Despicable Me 2 assumes that (outside of the lead characters) foreigners are not to be trusted. Thematically, DM2 rewinds the clocks to a different time.

Spies and Comedy

But the film remains enjoyable and playful to the point that it seems to know all to well what we want from a fun, colourful, funky film. A nostalgic nod to All 4 One's 'I Swear' acknowledges the slightly-too-old-for-kids-film audience that clearly adore the film whilst the duck-and-dodge dynamic of investigative secret spying weaves into the film an energy that harks back to The Incredibles.

Despicable Me 2 hasn't lost the plot and understands a little of what we liked about the original, with one lovely flashback to Gru's childhood - something we all enjoyed in the first film. But if you are hoping that it pulls on the heart strings as much as DM did, unfortunately it fails to deliver. Despicable Me 2 is enjoyable and kids will be as quote-happy as they were the first time round, but it fails to break any ground in telling a story that hasn't been told many times before. As unexpected as it may have been, Despicable Me felt fresh and new opposed to Despicable Me 2 that feels expected and recycled.

Origially written/published for Flickering Myth on 28th June 2013