Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Friday, August 26, 2011

Quote London

“Once, she had thought she could conquer London. She had imagined a whirl of literary salons, political engagement, larky parties, bittersweet romances conducted on Thames embankments. She had intended to form a band, make short films, write novels, but two years on the slim volume of verse was no fatter, and nothing really good had happened to her since she’d been baton-charged at the Poll Tax Riots. The City had defeated her, just like they said it would. Like some overcrowded party, no-one had noticed her arrival, and no-one would notice if she left.”
David Nicholls, One Day


The Guardian mocked the trailer mercilessly, but I loved it! It inspired me to get the novel, which I am currently enjoying very much. The reviews of the film have been disappointing - The Guardian crucified it - and already there have been features on “the most disappointing novel adaptations” (possibly in The Guardian as well - I’m sensing a pattern forming here ) so I may vey well miss the movie.

Anne Hathaway’s charmless claim in a red-carpet interview the most difficult thing about her role was getting the bad British posture right put me off as well. What, Ms Hathaway, even more difficult than the accent?

Monday, March 07, 2011

Black Swan

Wow! This is an extremely well-made melodrama. Great direction and cinematography - it all feels incredibly claustrophobic, and the white/black/mirroring themes are pursued relentlessly. Lots of wobbly-cam, and black industrial spaces. Very silly and great fun.

The acting is superb throughout. Barbara Hershey as Nina’s stage mother is freakily scary and Natalie Portman’s Nina and Mila Kunis’s Lily, Nina’s rival, are great foils for each other. I think Mila had the better part though, even if not the lead.

I’m not quite sure about what I feel about Natalie winning the Best Actress Oscar, though. It is a fine performance, understated as befits the reticent character she plays. The trouble is her character isn’t ultimately very likeable, so the performance is more admirable than heart-warming. And neither lead is much good at ballet - I mean, I’m totally ballet ignorant and even I could see they weren’t great (and the script calls for their director to repeatedly call them brilliant, which grates when they are plainly not). But these are minor quibbles - I sense it’s a budding camp classic in the mode of Whatever Happened to Baby Jane or Mommie Dearest.

I wholeheartedly applaud Natalie Portman however for her brave (given her contractual obligations to the company), outspoken response to Dior’s designer John Galliano’s drunken anti-semitic rants. She was practically alone amongst celebs in speaking the truth, and perhaps bumped Dior into doing the right thing.

Monday, July 26, 2010

Inception

<<spoiler alert>>
Inception brilliantly marries the folded Russian doll structure of David Mitchell’s Cloud Atlas with the surreal CGI of The Matrix, with all the ravishing visual aesthetics of House of Flying Daggers thrown in as a bonus. It is very ingenious and very thrilling to watch, and fully deserves all the acclaim it has received.

Leonardo Di Caprio’s Dom Cobb and his merry band invade the dreams of corporate chief Robert Fischer (Cillian Murphy) in order to implant an idea beneficial to the corporation’s competitors. However, it becomes clear the young victim has had training in repelling this kind of invasion and his subconsciousness throws up defences against the attackers.

In order to reach their goal they have to go deeper – to a dream world within a dream world within a dream world. Of course they are up against obstacles and deadlines in all three worlds simultaneously, making for an exceptionally action-packed ride.

My slight quibble here though is the uni-dimensional nature of the defenders – they essentially do the same thing on all three levels (so why have levels?) – and have a severe case of baddy-bad-aim-itis (excepting one lucky hit at the beginning). Fleshing out the interior psychological landscape of Fisher – something hinted at but never ultimately deeply explored - may have made for an even more entertaining and surprising journey.

It transpires the emotionally damaged Cobb brings the subconscious projection of his deceased wife Mal with him and she becomes the film’s real and major threat – chillingly played by Marion Cotillard. (The acting throughout is superb but to be honest none of the roles is a real stretch for actors of this ability.)

Christopher Nolan superbly and quite originally uses the conventions of film-making – a scene cut for example – as a metaphor for a dream state. This allows him a bravura ending: superficially quiet and unwinding, it subtly increases tension and threat until one is left hanging, breathlessly, on the very last frame.

Monday, July 12, 2010

Eclipse

Went to see Eclipse the movie on eclipse the night (go figure - it's New Moon as well) with Emma.

Taylor Lautner is a shoo-in for the Oscar for Best Torso in a Motion Picture. That is all.

Tuesday, June 22, 2010

Grace Kelly - Style Icon at the V&A

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"I am very happy that Grace has found herself such a good part" - Alfred Hitchcock


Grace Kelly’s film career ended when she was 27 upon her marriage to Prince Ranier of Monaco, and thereafter she lived the life of a European Princess – atoning for her privilege by doing good works while dressed in haute couture. But not acting. A rumoured comeback in 1962 was quickly denied. And thereafter one of the most notable film actresses of her generation did not act in films. Like Garbo before her, she absented herself at the peak of her career: unlike Garbo Grace remained centre stage for life.

The wedding of the Prince and the actress was incredibly glamorous and hopeful at the time – a symbol of an alliance between an America maturing into easy sophistication with a shattered Europe reinventing itself after the cataclysm of war. Joy was returning to the nations, even if we still had rationing.

But the dutiful timeline in the V&A’s exhibition brochure tells a more melancholy story – pre 1956, classic films with Alfred Hitchcock - an Oscar for Best Actress; post 1956 – this ball and that ball; cutting this ribbon or that ribbon. And this room full of pretty frocks, so dismally failing to conjure a sense of the woman.

Post Diana and Charles we are used to examining the cracks in the magicked up veneer of "happily ever after" - the newsreel footage showing an interview with Ranier on their engagement reminds one forcefully of Charles's ominously wooden public declaration of love: "Yes, whatever that may mean". Grace acts her part to perfection but there is no screen chemistry with her prince. And the rest is couture.

Grace Kelly: Style Icon
Victoria & Albert Museum
running to 26 September 2010

Monday, March 15, 2010

Hitting the Road: Gorillaz and Lady Gaga pay homage to Thelma and Louise

Ridley Scott is by any measure one of the great filmmakers of our time. I suppose one yardstick of a great film is its enduring impact on popular culture. It is therefore very notable that two great video pop stars should both launch videos almost simultaneously that reference the iconic ending of Ridley Scott’s Thelma and Louise, which was released almost 20 years ago in 1991.

Here’s a clip of Susan Sarandon and Geena Davis as the heroines in that climactic scene (SPOILERS):

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Stylo, the new single from Gorillaz, references the Thelma and Louise ending while mashing it up with Mad Max and possibly even a little James Bond in there too . . .

You can watch the video on YouTube - embedding disabled on request, boringly.

Mr Bruce Willis, I salute you! Bruce does a great car chase.

Lady Gaga camps it up to the max - the Thelma and Louise references in her new video for Telephone (featuring BeyoncĂ©) are very specific (even down to the clasped hands). Her choice of mash is the pussy wagon from Quentin Tarantino’s Kill Bill:



I am a major fan of the Gaga’s outrageous creativity and lush video work but have a few qualms about this one. She’s corrupting BeyoncĂ©! ~ and what to make of mass murder played cartoon style? Not to mention the grossly blatant product placement. However, one cannot deny the video is compellingly watchable and the single is another great pop tune; another worthy stepping stone in her quest to out-Madonna Madonna.

Wednesday, September 30, 2009

District 9


For a Johannesburger by upbringing, I loved the sly in-joke of calling the aliens "prawns". For indeed, there actually are alien prawns in Johannesburg. Any Jo'burger will have a fund of stories about the mysterious and frightening "Parktown Prawn".

These awesome creatures - of terrifying size and menace - suddenly appeared as if from another galaxy in Johannesburg's lush northern suburbs in the 1960s. The eponymous Parktown was then an inner-city garden suburb, established originally by Edwardian gold-mining plutocrats. As the suburbs and their heavily irrigated and exotically stocked gardens spread northwards, so the prawn followed.

They reached our suburb as I reached my late teens. They arrived literally in an infestation - suddenly they were everywhere (sometimes even in your bed, or underwear drawer - a friend's sister found one in her swimsuit crotch as she put it on).

This is what they look like:


Vaguely prawn-like in appearance (and size - this in an era when Mocambiquan prawns regularly reached 9" - not like the tiddlers one gets in M&S today). They do have an attraction to swimming pools (hence I suppose their nickname). They jump quite high, and usually jump towards you when surprised, violently hissing. Frequently they land on your shirt or shoulder, where their barbed legs hook, making them impossible to brush off. Attempting to do so causes them to discharge a foul stinking dark liquid all over you.

They also tend to be more active at night. There are stories of people spending the night in their cars rather than their bedrooms in order to avoid late night interruptions.

They are apparently intelligent beings - in their own strange insect way they seem to interact with other species and each other. As I said, when jumping they have a tendency to come towards you. My friend Mark once heard his boxer Honey (usually quite a ferocious, alpha female dog) whimpering outside. When he went to check on her, she was cowering in a corner, surrounded by three Prawns pinning her down. Our Jack Russell did go after them, but he was very careful to hold them in his mouth with their spraying end pointing outwards. His 'attack' was also notably quite tentative for a terrier of his class.

Urban legend had it that these creatures were the result of a biology experiment at the University of the Witwatersrand which went wrong (the University being just over the hill from Parktown). Alas, the truth is more prosaic.

King Crickets are a distinctive insect species of southern africa, and the Parktown Prawn's biologically correct name is Libanasidus vittatus. Specimens were collected in the subtropical lowland town of Barberton in the Transvaal over 100 years ago by the Natural History Museum's William Forsell Kirkby. The current theory is that the suburban gardens of Johannesburg created optimal environmental conditions for the cricket to flourish on the highveld - the suburbs are generally regarded (by Johannesburgers) as forming the largest man-made forest on the planet, in a region which would naturally be savannah.

Anyhoo, this all takes me a long way from the film, which is generally excellently exciting. The exotic location and re-imagining of the aliens as shipwrecked outcasts rather than hostile invaders is original and works well. The film has its faults (it doesn't develop or even sustain the racial theme it posits), and harsher souls than I would argue that while it's heart is in the right place its racial attitudes do not stand close analysis (Nigeria has already banned it). Although taking place in contemporary South Africa, the government has clearly delegated dealing with the alien problem to a white dominated evil multinational. The government itself remains entirely absent from the movie.

However, the story's set up is so imaginative and original, the performances are so good, and the story rattles along at such an engaging pace one has to applaud. It's definitely a very different and very successful take on the alien blockbuster genre.

Friday, July 31, 2009

Harry Potter and the Half-Blood Prince

I’m a bit of a long-term Harry Potter fan, so I had to catch the latest film at the IMAX when it came out a few weeks ago.

The IMAX experience is wonderful for the super large screen, but the 3D felt a bit gimmicky - only the first 15 minutes or so are 3D (I liked the swooping around London bit). Not essential by any means - being a spectacles wearer anyway I found the whole thing a bit uncomfortable.


Half-Blood Prince is definitely one the of the more successful adaptations - brilliantly dark and foreboding, but shot through with touches of humour. Director David Yates has delivered a superior experience, and I’m looking forward to the final two films in the series.


The cinematography just seems to get better and better with each film, but what really pleased me was the acting. Daniel Radcliffe, Emma Watson and Rupert Grint as the leads are now pretty mature and their acting skills have increased quite dramatically since the last film - so much so I wonder if there is a new drama coach involved. There’s not a trace of the awkwardness of their previous performances. All three come across as natural and engaging presences. This is true too of the minor junior roles - I loved Tom Felton as Draco Malfoy and Tom Riddle (Hero Fiennes-Tiffin age 11; Frank Dillane age 16). Draco in particular is a very small part in terms of screen time but major in terms of plot and character development - Felton did very well to convey Draco’s growing turmoil.


Scriptwriter Steve Kloves has changed the ending, and it’s not particularly clear why, as filming it as written would have been just as easy. The filmed version has inspired some criticism but I feel it works well and doesn’t disappoint. The change is relatively minor but would definitely have required J K Rowling’s approval, I think.

As always my personal favorite is Alan Rickman as Professor Snape. Hugely entertaining.

Tuesday, June 30, 2009

Star Trek

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Back in a parallel time stream, before I was engrossed in recent events, I saw Star Trek!

I thought it was pretty good. In fact, it’s terrific. I’m not a proper Star Trek fan - this is the first movie I’ve seen -but I did enjoy watching reruns of the original series on tv as a child.

This film recreates the original characters extraordinarily well - both Chris Pine as James T. Kirk and Zachary Quinto as Spock are sensational in their re-embodiments of Shatner’s and Nimoy’s iconic performances while at the same time moving the characters into new territory. And that’s pretty much what the entire movie does, and does so excellently.

But, that is also a problem. The original Star Trek wasn’t a wham bang rollicking adventure blockbuster with state-of-the-art special effects and highly expensive cinematography. And while the philosophizing social conscience is still in evidence - vestigially - this is mostly about the thrills. A part of me mourns that.

Wednesday, March 11, 2009

Watchmen

Who knew? Apparently Time magazine regards this comic book as one of the 100 best novels written since 1923.

This factoid, as well as the exquisite trailer (Ok - especially the part with Billy Crudup as the nuclear-infused, cerulean blue, totally naked and hot Dr Manhattan) prompted me to see the movie. I haven’t read the book.



It’s had mixed reviews. Dr Manhattan’s blue penis provoked particular comment in the USA (Did I mention Dr Manhattan spends a large amount of the movie starkers?) Us Euros are clearly far more relaxed about such matters. Apparently, in the book the penis is quite small, like a grecian statue’s. The problems of translating this to screen are obvious. On the one side, male nudity is still taboo in the culture. On the other, one has the vanity of the actor to respect. The result is, the CGI penis on screen is massively larger than that drawn for Dr Manhattan in the novel, but the filmakers are quite subtle in its deployment. It doesn’t call attention to itself at all. I think this is a positive approach and quite healthy.

The length (almost 3 hours) didn’t bother me (you didn't think I was still talking about the big blue penis, did you?)- although the storyline did lack pace. I applaud the sophisticated, indirect, flashback style of explication. Classically, one of the problems of this style is its potential to stall the plot. I don’t think that was entirely the case here - the plot stalls mostly because the director Zack Snyders can't resist showcasing the beautiful design and the camera just spends too much time on the scenery (which admittedly is gorgeous - one of the real triumphs of the film; it kept me going through the 3 hours). Also, Snyders said in an interview that he ramped up the sex and violence - again, gratuitously lengthy fight sequences keep the plot from moving forward and actually sometimes actively distract from important plot points: the framing for murder of Rorschach, for example, is almost lost in the lengthy violence of his arrest.

Never have I seen a more excrutiatingly embarrassing sex scene - so bad the audience giggled. The silver lining is that surely this will now end the screen career of Leonard Cohen’s “Hallelujah” - the most clunkingly blatant and intrusive of a screed of banal music choices. Overfamiliar music just calls attention to itself and once again distracts from the action, slowing the whole thing down.

The graphic novel is a product of the late cold war, and was regarded in its day as innovative. The morally complex, dark universe is certainly a rich context for the story (one thinks of Hamlet, or the work of Graham Greene). However, complexity here becomes confusion: I lost interest in the issues at stake for the characters and the climax left me completely uninvolved. I don’t know how much of this is inherent in the original book and how much is the adaptation’s fault.

Catch it on a large screen if you can - the visuals demand it. The BFI Imax screen was amazing.

Wednesday, December 31, 2008

best movie of the year

Yikes! According to my blog I hardly saw any this year. Out of a very slim field, the stand-out is Burn After Reading. Apologies to all those who preferred the Coen brothers’ other movie No Country for Old Men; I’m just too cowardly to see really scary films.

Tuesday, December 30, 2008

Twilight


The book is kiddie fiction - a bit Mills & Boone candy with some bite; very entertaining nonetheless: the film is faithful to the novel’s wonderful sense of place and atmosphere but improves the plot in crucial respects: notably, it increases the sense of menace as the evil vampires approach the little town of Forks, and speeds up the story. The special effects are a bit average, but are made up for by some delicious camerawork and the beautiful actors. The acting is uniformly good. Altogether, a quality adaptation and one the sequel’s director will have a challenge to better. I would pay more attention to the vampires’ make-up, especially in the neck areas. They were a bit white-face from the chin upwards.

The soundtrack is excellent too; quite adventuresome for the target audience - Muse, Radiohead and Debussy feature.

Wednesday, October 22, 2008

Burn After Reading

I really enjoyed this film. Just brilliantly done – excellent plot development, pacing, camerawork; and the acting is all geat. I know Tilda Swinton always plays the ice queen but this one is really special. And John Malkovich, Brad Pit and George Clooney are terrific too. However, probably the most amazing performance is by Frances McDormand as Linda Litzke, a narcissistic gym employee determined to fund her plastic surgeries no matter what.

Set in Washington, all the characters spy on each other while trying to pursue their own secret agendas. However, none of them really succeeds at any level, and all the agendas collide catastrophically. “A clusterfuck”, the CIA chief calls it, before burying the consequences and moving on. Intelligence is relative indeed.

Monday, September 15, 2008

The Duchess


In which a spirited Keira Knightley as the eponymous Duchess is abused mightily by her mother, husband and 'best friend' – and even more grievously by the clunking script and pedestrian direction, cinematography and editing. To cap it all, a thousand violins interject themselves whenever they spot an opportunity. Usually at a point where we are enjoying yet another long lingering close-up of Keira emoting moodily with fantastic 18th-century hair.

How I longed for the wit and stylishness of Sofia Coppola’s Marie Antoinette.

Ralph Fiennes’ performance as the Duke is pretty magnificent. But then – perhaps an easier role? (the patriarchal insensitive oafish bully showing flashes of humanity now and then) – and a decidedly smaller one, meaning there is not as much for the production team to tamper with.

My google stats show a consistent demand for The Duchess of Devonshire and Keira Knightley, so to satisfy my readers I just had to see this film! The things I do for you.

Wednesday, June 11, 2008

Sex and the City

Two sex posts in a row – almost becoming a sex blog (!)

Finally caught the movie last night, in the company of the flower of Clapham womanhood: Clapham Picturehouse was packed with 20-30 somethings of the female persuasion, many of them clutching cosmopolitans (the cinema is offering 2 for £10!) This two weeks after the movie came out.

Apparently, Sex and the City is beating Indiana Jones at the box office, so props to Sarah Jessica Parker and her team.

I suppose it’s a clichĂ© to say if you liked the tv series, you’ll love the film – but it’s true. They have made the step-up to the big screen in a most assured manner. Amusing to see some macho reviewers complaining of a ‘lack of plot’: obviously some knuckleheads feel only a car bowing up or someone getting shot counts as plot development.

Wednesday, February 27, 2008

Oscars 2008

I am absurdly pleased and proud of Europe’s success – all four best actor prizes went to America’s foundation colonial powers (UK = 2; Spain = 1; France = 1). However, can’t say I’m planning to see any of the films – they are either too scary or too worthy. Two of them (There Will be Blood and No Country for Old Men) definitely have very scary haircuts and moustaches.

Javier Bardem’s haircut mercifully was vastly improved for the Oscars. However, can’t say the same for Daniel Day-Lewis – he was channelling Elizabethan travelling player style with lank locks and earrings. I do not agree with all the flak Tilda Swinton and Marion Cotillard got for their frocks – I liked both their outfits; it’s nice to see individuals expressing their own taste rather than displaying the safe stylishness imposed by stylists. Julie Christie especially looked great.

Thursday, January 17, 2008

All About Eve


All About Eve

“Miss Casswell is an actress, a graduate of the Copacabana School of Dramatic Art.” - George Sanders as Addison Dewitt, a critic, introducing Marilyn Monroe as Claudia Casswell. My favourite line from this movie, which is composed entirely of fantastic lines.

I have wanted to see this movie for ages, and took the opportunity to see it at the Curzon in Mayfair when it came out on re-release just before Christmas. The thought of seeing this remastered old classic (1950) on the silver screen was exciting; slightly disappointing therefore that the Curzon Screen 2 is just about the size of an overgrown domestic plasma screen!

The film richly deserves its classic status, with a wonderful script by Joseph L Mankiewicz and great performances.

I was very struck however by the gender politics on view.

Actresses complain about the lack of good roles for women today; this movie contains 3 totally central female roles. It is the message these roles convey which is odd. The women are the protagonists of the story, with the men virtually oblivious adjuncts to a female cat-fight. In terms of the power structures in the story’s theatre world, however, the men dominate: as playwright; director; producer and critic. The only power available to women in this world is as the star – Bette Davis as Margo Channing is the archetypal diva-bitch.

Margo’s foregoing of a plum role in favour of her relationship with her man is seen as her salvation as a woman. The movie contrasts this with Anne Bancroft’s Eve, whose ruthless ambition is depicted as completely without limits.

Friday, October 19, 2007

Ratatouille

Still on the food theme – I saw the new Disney animation film Ratatouille this week, and it was really fun. Much recommended. Far more adult and complex than their previous releases (obviously they are focussing on the kidult market), the visuals are wonderful. There is a bravura display of digital skills in the sequence where the rats get washed down a drain; my favourite bit however was a chase along the banks of the Seine – Paris was realised so beautifully.

The basic plot is standard issue “follow your dream” but the developments are always imaginatively surprising, A really refreshing experience, and blissfully calorie-free.

Friday, September 28, 2007

Movie roundup

Was seduced into seeing The Walker with Woody Harrelson by the superlative reviews. I’d agree Woody was excellent in his role as the gay black sheep of an aristocratic Southern family, and the supporting cast were pretty good too. However, this was supposed to be a thriller and instead was fairly soporific and plotless. It sees itself as some sort of updated Liaisons Dangereuses set in Washington and takes itself far too seriously.

Harry Potter and the Order of the Phoenix was far more enjoyable. I loved the design – especially the room with the faily tree wallpaper in Sirius Black’s house. Very creepy and atmospheric.

Thursday, September 27, 2007

Atonement


I researched the Balham tube WWII bomb blast, and found this. Definitely not as beautiful as Atonement’s take on the incident. The movie pursues a ‘beautiful’ agenda – the sequences with Keira Knightley’s emerald green evening dress push wardrobe excellence to new levels – a welcome and for this novel appropriate emphasis on artifice in historical drama adaptations. It fails only in so far as the novel itself is frankly unfilmable.

[Edit 23/10/09] Wow! This is a pretty sensational find. Londonist has been researching Pathe's archives and has come across this originally unbroadcast material showing a bus in a huge crater in Balham High Street. I suspect this is the incident which flooded the tube tunnels at Balham Station and inspired Ian McEwan.

London Transport museum also has a photo of the bomb crater with the bus.