Monday, 5 January 2015

250W: Birdman

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


Birdman (Dir. Alejandro González Iñárritu / 2014)

With Rope and Russian Ark before it, the single-shot film imitates the theatre as you have nowhere to hide. Birdman takes us to Broadway, whereby an aging film actor (Michael Keaton) is keen to make his stage debut. Of course, in this modern-age, director Iñárritu uses subtle effects to make a week-long show last one shot. But this creative decision is not a stylistic flourish merely there to imitate last year’s Gravity. From the intense manager (Zach Galifianakis) to his out-of-rehab daughter (Emma Stone), every actor in this ensemble ensure that this is a film sewing together the fraying edges of this forgotten star rather than a single story relying on two people on a blank canvas. There is an arresting introduction of Ed Norton’s instinctive, board-tredding alcoholic as his genius and fatal flaws are revealed in a dualogue between Norton and Keaton. Emma Stone ferociously confronts the relevance of her father in a tech-savvy, superhero-obsessed age. In fact, the screenplay (written by Alexander Dinelaris, Nicolás Giacobone, Iñárritu and Armando Bo) hints at the true meaning behind Hollywood’s obsession with comics – as they are separate to this cold, busy world. They are, literally, above it all. And crucially, Keaton’s ‘Birdman’ (or Batman) was once among the stars. Even Norton and Stone know the glittering-lights of the spandex-wearing world after their respective turns in The Incredible Hulk and The Amazing Spider-Man. Not to be missed, Birdman tackles truth and forces you to see the humanity of our hollow adoration of heroes.

Rating: 9/10

Sunday, 4 January 2015

The Green Ray (Eric Rohmer, 1986)

It is a timeless fact that your mid-twenties can be a daunting place. Richard Linklater’s Boyhood has won plaudits this year by only taking the young man to his late teens – Eric Rohmer, an inspiration to Linklater, is more interested in the summer of a single woman in her mid-twenties. Both filmmakers’ know how to capture a moment and freely utilise the flexibility of acting and truth to adapt and develop their art. Rohmer, in The Green Ray, even credits his lead actress Marie Rivière as co-script-writer to prove her crucial involvement. The Green Ray is deeply personal, capturing the brutal honesty of loneliness with an optimistic attitude towards finding your fated one.

The opening of The Green Ray reveals Delphine (Rivière) picking up a phone call from a friend. Due to start her holiday, she unexpectedly has her plans change as the friend cancels. Torn between what to do, she tastes a little bit of the summer by visiting friends and family. She enjoys meals and wanders the beautiful hills of the French Alps. She ventures to rural beaches and contemplates the future and sunbathes on the tourist resorts, considering whether to hunt a man as she reflects on what she has to offer. Sequences are dated, as a visual diary, as Rohmer manages to capture her stolen glances and considered thoughts. There is truth in Rivière’s eyes as a moment resting on a wooden gate manages to reduce her to tears. In fact, we see many moments whereby Delphine cries. Her despair at the situation she’s in is only amplified by her self-chosen isolation. She wants sun, so refuses to go to Ireland. She doesn’t eat meat or sail and therefore cannot partake in many meals and jaunts into the sea. Only the momentary glance at a gentleman in a train station changes her fate – as they await the green ray on the horizon in St. Jean de Luz.


The title is taken from a Jules Verne novel from 1882, whereby “heroes” search for the green ray in the sunset of Scotland. The locations Delphine visits manage to conjure up a sense of romance, warmth and happiness – a stark contrast to the lonesome, sadness we see in her eyes. There is a soothing familiarity in her tenderness. When she opens up to her friends, you can feel her frustration. Her stubborn self-confidence in her decisions can’t mask her human frailty and a desire to be with someone. Can she be with previous lover, Jean-Pierre, again? She explains how she has been in love three times and had a fiancé, but this does not give her courage. The mystical green-ray is the only sign she needs. Akin to the tarot cards she finds and the green clothes worn by characters. Auspicious moments such as these are what move her forward, not bullish man-hunting that can be found in her new friend in Biarritz.

This reality is what draws us to The Green Ray. And what draws us to Francois Truffaut. And to Richard Linklater. Like Jesse and Cèline in Before Sunset, the emotional connection is one we all feel. Delphine’s truth is what deepens our respect for filmmaker Eric Rohmer, who has the confidence to simply observe those personal moments. None of the pretentiousness of Woody Allen’s upper-class or Richard Curtis’ smart-alec characterisations. The respect we hold is one of honesty. It’s the reason why Rohmer, and the French New Wave, is so important. Life isn’t glossy and Hollywood. It is the longest take and it never cuts away. That’s what Rohmer tries to do - and that’s what makes it a glorious experience to view on the cinema screen.

Written originally for Flickering Myth on January 2nd 2015

250W: X-Men: Days of Future Past

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


X-Men: Days of Future Past (Dir. Bryan Singer/2014)

The announcement of X-Men: Days of Future Past after the success of First Class was inspired. Between a dismal solo-Wolverine movie and an appalling ‘final chapter’, the series that kicked off the superhero genre in 2000, had spectacularly imploded. This time-travelling adventure with old favourites (Patrick Stewart, Ian McKellan, Halle Berry, Ellen Page and Hugh Jackman) and the new crew (Michael Fassbender, Jennifer Lawrence and James McAvoy) would give the series a new lease of life. Involving sentinels and a morbid dystopia that has destroyed everything (except for pretty Chinese temples), Professor X sends Wolverine back in time to save the future by leading his younger rebellious self into battle. It isn’t perfect, and the enormous cast unfortunately seems to complicate matters rather than illuminate. Unnecessary conflict between Magneto and Xavier muddy the plot, confusing the core narrative whereby Mystique simply needs to be stopped from committing her first murder. But there are nods to almost every film in the series. Director Bryan Singer successfully makes X-Men relevant again in this Avengers-age of blockbusters. Evolution is central to all of the X-Men stories, and DOFP evolves into a beast that celebrates the history of the series (akin to the Fast and Furious franchise) while committing to a future that looks bright. For example, newcomer Quicksilver (Evan Peters) steals the screen within the few minutes he appears. A glorious reboot, X-Men: Days of Future Past is not to be missed and a worthy excuse to revisit every other metal-clawed, X-Men adventure.

Rating: 8/10

Nb - 150 word reviews of all the X-Men films are accessible by clicking here

Thursday, 1 January 2015

150W: The Imitation Game

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


The Imitation Game (Dir. Morten Tyldum/2014)

Benedict Cumberbatch plays mathematical mastermind Alan Turing in sincere awards-fodder drama, The Imitation Game. Cumberbatch, Kiera Knightley and Matthew Goode all live up to their classically-trained, acting expectations. But the narrative seems intent on ticking boxes to gain critical plaudits. Veering between his life at an independent boy’s school and his cracking of the Enigma code, The Imitation Game juxtaposes his heroic achievements with his prohibited sexuality. This leaves a jarring lack of connection between his personal and professional exploits. In a desperate hook for a young-demographic, Cumberbatch portrays Turing as The Social Network’s Zuckerberg as his snarky remarks and arrogance are condoned considering his accepted genius. The justifying of death on the front line and ‘government-mandated’ hormone treatment hint at darker shades, but they’re not the focus. Instead, it’s an imitation of true-stories we’ve seen before. Stroppy arguments, fractitious friendships and a “challenging” subplot set in a historical period.

Rating: 6/10

Extra -  Even the poster rips off The Social Network too ... 

 

Monday, 8 December 2014

Still the Enemy Within (Owen Gower, 2014)


Published in 2011, Owen Jones left-wing, revealing book, Chavs, explained how the demonization of the working class has its roots in 1984. The children and grandchildren of miners and factory employees were brought up in poverty as not enough jobs were created to replace the coal mining industry. Jones’ book provided these foundations but it also explored the modern era too. As inequality only widens, those working class children are now adults. With very few job prospects, many communities were left in tatters after collieries, primarily based in the north of England, Scotland and Wales, were shut down. Still the Enemy Within focuses its attention on that fateful year, whereby miners spent over 300 days on strike to only lose the battle, and consequently lose their jobs years later.

Owen Gower directs this powerful film that needs to be watched by every man, woman and child who can feel unrest in this modern world. If you follow Russell Brand’s “Trews”, you need to watch this film. If you want an idea of the pain, suffering and desperate struggle that a revolution and protest requires, then this film is central to your understanding. The fight is not a hashtag, claiming #CameronMustGo. The fight is not boycotting your single Starbucks gingerbread latte or TopShop bargain. Men and women, for almost a year, were without a pay cheque and were refused the dole. Soup kitchens ensured children were fed. Their motto, “Coal not dole!” reminds us that they were fighting for the jobs within an industry that, even in 2014, remains a part of society. Cruelly, as of 2013, 80% of the coal used within the UK is imported from abroad. The public sector has been on strike on multiple occasions since 2010, and even then, people find it difficult to make that decision; losing pay for a single day is too much to lose. 160,000 miners were on strike during 1984, and were without pay for almost a year. Could this inspire a generation?

This particular generation were sold on adverts. Norman Strike, Paul Symonds and Steve Hamil were told that coal was the future (indeed it is, just not coal from within Britain). They were convinced that it gave them the security they needed. Through small re-enactments, we get a sense of the solidarity and close-knit ties these men had to each other and their towns. Miners striked in 1972 and 1974. And won. The difference with the strikes in 1984, is that Margaret Thatcher was not going to lose. The government lied to Nottingham by telling them that their jobs would be secure – they were not. Margaret Thatcher directly intervened with the strike. Police were brutal and unflinching. A miner, David Jones, was killed during the strike. Police would threaten arrest of miners who were trying to support others. Students, LGBT groups and the Black Solidarity group joined the miners on the strike, knowing that this was an important fight that meant more than the coal mining industry. Margaret Thatcher stated that miners were “the enemy within” and the press worked alongside the state in ensuring that the miners, and unions, were considered villains. Thatcher states how there is an “increasing left-wing militancy in control of the unions”, attacking the very idea that working together and reaching a group goal is against “democracy”.

Watching Still the Enemy Within, there is a marked difference between the accents of those involved in the strikes and those on news channels and in government. Thatchers received pronunciation is like scraping your nails on a chalk board against the warm, familial tone of a Yorkshire lilt or a Scottish twang. There is a clear relationship between government and the media, as the well-spoken BBC claim collieries are working when the few who returned to work aren’t enough to work the machinery. Those neat, perfect voices act as a warning that porkies are being told. Steve Hamil sensitively notes how, towards the end, they (the press, the government, etc) weren’t talking to “thinking heads” but to “empty bellies”. “We lost – but we were right”. In hindsight, Nottingham workers regret their decisions, wishing they trusted Arthur Scargill, because they were duped by the state.

This was a cause with an incredible amount of support, whereby it crossed barriers of gender, race and sexual orientation. Everyone worked together to defend the miners, but they still lost. Still the Enemy Within neglects to mention the perspective of the police at the time and the argument against the coal industry. The proof is in the legacy it left behind. Since 1991, old mining towns and villages have appalling unemployment statistics and a large number on benefits. The employment numbers have “gone up” says the current government. But they neglect to mention the unstable temporary, contractual and part-time positions that have gone up also. They neglect to mention the increase in food banks that men and women, in employment, are turning to. Was Thatcher right? Go back to the towns and see for yourself. The fight is far from over and what they did ultimately wasn’t enough. Still the Enemy Within forces us to acknowledge our own position. Will we muster up their spirit and integrity ourselves? Can we look at them and change the future? This film documents a moment that cannot be forgotten and we cannot ignore.