I've seen a bunch of films in the last couple of months that have gone un-reviewed thanks to moving house. Here for you now a quick catch up.
SCOTT PILGRIM VS THE WORLD
An excellent adaptation of a mediocre comic, taking the highlights and eschewing swathes of rubbish like a certain wizard adaptation should have. The pop art of cinema I greatly enjoyed this.
TAMARRA DREWE
I laughed from beginning to end at this tale of a newly gorgeous Tamarra returning to her home village and wreaking havoc amongst the quiet country dwelling folk. Expect characters rather than plot and you should be entertained.
THE SOCIAL NETWORK
A film about quatelling over privileged friends, intellectual property law and litigation sounds dull. A film which is "The Facebook Movie" sounds dull. But Aaron Sorkin's writing, as with the West Wing is compelling and Fincher's direction make for a surprisingly absorbing and engaging film. You don't have to use Facebook to enjoy this. I don't.
THE OTHER GUYS
The first part of a police double bill is no comedy classic but there's enough here to keep you chuckling on a wet Sunday afternoon. Surprisingly found Mark Wahlberg's straight man funnier than Will Ferrell's goofball.
THE TOWN
A distinctly average heist movie with some better than average highlights. Sort of a cross between Heat and Dawson's Creek. The film tries to cover about 5 genres and loses it's way doing so. At it's best when dealing with heists, at it's worst when dealing with the girlfriend who should add tension having been victim of the heist but doesn't.
DESPICABLE ME
Or Predictable Me as I would call it. Insufficient despicability and too much sentimentality rob this film of it's potential leaving it an often entertaining but ultimately disappointing diversion.
THE GIRL WHO PLAYED WITH FIRE
The same level of acting and cinematography as the first mean this is let down only by a slightly lazy plot from the book and the fact it was edited down from a longer TV version. Feels very much like the setup for the final part and almost certainly needs to be seen beforehand. Very much enjoyed.
LET ME IN
The American remake of Let The Right One In hits all the right beats and is an excellent first film from recently revived Hammer Studios. It's difficult to pick the two apart in fact but something about the atmosphere of the Swedish version just puts it ahead for me. Either is worth watching but you may not want to bother with both.
Thursday, 11 November 2010
Monday, 6 September 2010
L'Illusionist
A French animation following a magician from Paris to Edinburgh trying to make a living in the dying days of music hall.
Based on a script of Jaques Tatti, French master of slapstick, there's surprisingly little of the comedy that made his films so popular.
What there is is the most stunningly realised landscapes of Edinburgh and the highlands of Scotland. The artistry on display is intoxicating and that beauty is perfect to carry you through the slow sections of this melancholic tale. As with Belkeville Rendezvous there is almost no dialogue.
French, silent, animated. Enough to put off many of my friends but it really is worth the effort.
Based on a script of Jaques Tatti, French master of slapstick, there's surprisingly little of the comedy that made his films so popular.
What there is is the most stunningly realised landscapes of Edinburgh and the highlands of Scotland. The artistry on display is intoxicating and that beauty is perfect to carry you through the slow sections of this melancholic tale. As with Belkeville Rendezvous there is almost no dialogue.
French, silent, animated. Enough to put off many of my friends but it really is worth the effort.
Sunday, 15 August 2010
Toy Story 3
When announced I questioned whether we needed a third instalment or whether this would finally be the big mis-step of Pixar. Amazingly, yet again they have found a good story with a solid emotional core which further develops the few remaining cast of toys (Andy has grown up and many are already gone) that are so loved.
The visual flair, inventiveness, wit and charm with which this is done continually impresses but even with all this, even Pixar haven't convinced me 3D is anything other than gimmick.
Not liking cartoons is not a good enough reason to avoid this. Go see it. It is one of the best films of the year.
The visual flair, inventiveness, wit and charm with which this is done continually impresses but even with all this, even Pixar haven't convinced me 3D is anything other than gimmick.
Not liking cartoons is not a good enough reason to avoid this. Go see it. It is one of the best films of the year.
The A-Team
I love it when a plan comes together. Always have done, always will. The original TV show was Saturday staple for me, often followed by a session in the garage trying to turn my bike into a tank.
With that sort of heritage, there is much to go wrong. But for me this film hits all the right notes. Primarily, BA, Hannibal, Face and Murdoch. The balance of the group is just as I remeber and what made the original so enduring.
Certainly the stunts are rediculous. Certainly the plot, misguided good guys chase escaped good good guys and are conned into catching patently bad good guys, is ropey. You can't always hear what's being said. But if you want a rediculous action spectacle starring a bunch of loonies all of that is missing the point.
It isn't classic but it is fun.
With that sort of heritage, there is much to go wrong. But for me this film hits all the right notes. Primarily, BA, Hannibal, Face and Murdoch. The balance of the group is just as I remeber and what made the original so enduring.
Certainly the stunts are rediculous. Certainly the plot, misguided good guys chase escaped good good guys and are conned into catching patently bad good guys, is ropey. You can't always hear what's being said. But if you want a rediculous action spectacle starring a bunch of loonies all of that is missing the point.
It isn't classic but it is fun.
Monday, 2 August 2010
Inception
Chris Nolan, director of the new Batman franchise and Memento brings us a big budget action blockbuster with a plot. Leonardo Di Caprio is Cobb, an expert in entering people's dreams to steal secrets. Employed to instead insert an idea (Inception) by Saito (Ken Watanabe) he assembles a team that can help him do this. The result is something like a cross of James Bond and Blade Runner.
As layers of subconscious are traversed in the dreamworld, the dream worlds become more expansive but the subconscious more aggressive in it's self defense. The vision is cinematic, the action compelling and crucially purposeful, an integral part of the plotting, while the plot pulls you along, keeping you guessing right to the end where you're headed.
I'd have much less reason to complain about Hollywood if they made films like this more often.
As layers of subconscious are traversed in the dreamworld, the dream worlds become more expansive but the subconscious more aggressive in it's self defense. The vision is cinematic, the action compelling and crucially purposeful, an integral part of the plotting, while the plot pulls you along, keeping you guessing right to the end where you're headed.
I'd have much less reason to complain about Hollywood if they made films like this more often.
Tuesday, 27 July 2010
Splice
A reworking of the Frankenstein story with Dr Frankenstein now a pair of research scientists, the old castle a high tech lab and the multiple body part monster now a mixed gene mutating creation.
The monster, Dren, is a superbly realised creature, morphing over the course of the film from little more than a bare chicken monster, through young child to all too adult woman with tail and wings. Yet while the film invites sympathy for this self aware lab-experiment she never loses the menace that leaves you wondering whether she or the doctors are the bigger threat.
There are some good moments of drama, a smattering of laughs (not always intended) and the odd horrifying moment. I was entertained but in spite of some nice ideas it felt derivative while trying not to be. I love good B-movies that embrace being derivative. Slither a few years ago a good example. Splice seemed to be a bit stuck between playing it straight and mixing in a bit of willful sillyness.
The monster, Dren, is a superbly realised creature, morphing over the course of the film from little more than a bare chicken monster, through young child to all too adult woman with tail and wings. Yet while the film invites sympathy for this self aware lab-experiment she never loses the menace that leaves you wondering whether she or the doctors are the bigger threat.
There are some good moments of drama, a smattering of laughs (not always intended) and the odd horrifying moment. I was entertained but in spite of some nice ideas it felt derivative while trying not to be. I love good B-movies that embrace being derivative. Slither a few years ago a good example. Splice seemed to be a bit stuck between playing it straight and mixing in a bit of willful sillyness.
Tuesday, 29 June 2010
4 Lions
Chris Morris, writer for The Day Today and Brass Eye turns his attention to suicide bombing in his feature film debut. A move which has courted the controversy often associated with his output.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
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