The Boat That Rocked

Writer and director Richard Curtis is the proud architect of the British romantic comedy. After a string of genre defining hits (such as ‘Four Weddings and a Funeral’, ‘Notting Hill’), his magnum opus ‘Love Actually’ billed itself quite legitimately as the ultimate romantic comedy. Its stellar cast and clever interweaving of six or seven typical rom-com stories brought Curtis’s work to a warm and emotionally satisfying crescendo. Now, armed with a few familiar faces, Curtis attempts the daunting task of surpassing or at least equalling this feat. ‘The Boat That Rocked’ carries a burden of expectation, but also the promise of much reward.

Wisely shifting the focus away from purely romantic exploits ‘The Boat That Rocked’ tells the story of pirate radio stations, who defied oppressive 1970’s authorities to keep Britain rocking. They supplied an eager public with 24hrs of non-stop Rock and Pop with their taboo breaking offshore broadcasts. It was an era rich with musical genius and exhilarating playful rebelliousness. The film perfectly captures the bright optimistic essence of that time, assisted greatly by a vast soundtrack of timelessly brilliant songs.

Music is an admitted passion for Curtis and it’s the secret weapon which he cleverly deploys to keep ‘The Boat That Rocked’ on track for greatness. There is undoubted truth in the films central theme that the power of music to inspire and enthral should not be underestimated. Of course few films can survive on their musical virtues alone, but ‘The Boat That Rocked’ thankfully has much more to recommend itself.

The film’s cast is rich with winning comedic charm, much of which comes from the surprisingly fertile breeding ground of British TV. Talent such as Nick Frost’s ample mirth and Chris O’Dowd’s hilarious vulnerability provide great support for brilliant turns by returning Cutis’s collaborators Rhys Ifans and Bill Nighy, both once again on top form. The presence of Oscar winning acting heavyweight Philip Seymour Hoffman adds an air of dramatic credibility to proceedings, but he clearly revels in shedding the shackles of seriousness to share in the fun. Kenneth Branagh and Jack Davenport ham it up brilliantly as the villainous government officials determined to shut down the party. It’s a varied cast devoid of any trace of a weak link.

This film is clearly amongst the most personal and autobiographical of its creator. Curtis admits that the awkward virginal adolescent around whom much of the story centres is a character dear to his own heart and drawn from his own painful memories. Luckily new face Tom Sturridge is up to the task of playing the films only real straight man amongst a sea of competing funny faces. He trades serious musings with Hoffman and shares the film’s most outstandingly hilarious moments with Nick Frost and Gemma Arterton.

It’s typical to end a review by dissecting a film’s faults, but other that it’s slightly long running time ‘The Boat That Rocked’ has very few failings. It stands shoulder to shoulder with Curtis’s best efforts and defies audiences to leave the cinema without a smile on their faces.

Out everywhere April 1st and I highly recommend it for anyone looking for some Rock and Roll joy in their life.

The Damned United

Last week the red carpet rolled out in Leicester Square for the world premiere of ‘The Damned United’. The biographical film tells the life story of Brian Clough the outspoken and astonishingly successful football manager, widely celebrated and fondly remembered as a unique sporting genius. The film focuses on Clough’s sensational but disastrous 44 day attempt to manage Leeds United. It has courted minor controversy after the late Clough’s family publically shunned both it and the book it’s based upon.

Oscar nominated screenwriter Peter Morgan (The Queen, The Last King of Scotland) and director Tom Hooper suggest the film gives a more rounded and affectionate portrait of Clough than the book. Explaining the film's decision to focus on one of Clough’s brief periods of failure, Oscar winning cast member Jim Broadbent says that it is simply more inherently dramatic and revealing to watch someone fail rather than winning.

Early reports and his co-stars suggest that the film’s star Michael Sheen has produced yet another uncanny performance as the flamboyant young manager. His performances as Tony Blair in ‘The Queen’ and as David Frost in ‘Frost/Nixon’ have earned the rising British star a reputation for skilfully dramatising familiar public figures. Sheen himself has been quick to make clear that he is more than just a mimic. Much of the film’s success will hinge on the credibility of the film's fictitious private moments, built around real lives and events.

Accompanied by appropriate seventies tunes, the stars of the film were joined on the carpet by broadcasting legend Michael Parkinson and Emma Watson out supporting her Harry Potter co-stars Broadbent and Timothy Spall. The film is on general release on 27 March and aims to be an engaging drama accessible to more than just football fans.

The link below is to interviews with the cast at the premiere to help you make up your own mind
http://www.lsq.tv/red-carpet/the-damned-united-world-premiere-red-carpet.html

Anvil: The Story of Anvil

It is impossible to talk about the story of Anvil without referencing the well known and eternally popular spoof rock-umentary “This is Spinal Tap”. The two films are essentially identical as they follow a likeable but ludicrous heavy metal band on its painful descent from the cusp of fame back to the depths of grim forgotten obscurity. The band itself has just enough witless charm and musical talent to make their increasingly implausible delusions of rock star grandeur not only bearable, but endearing. There is only one difference between the two films, the story of Anvil is entirely real, making it more tragically painful and by turns hilarious than its fictitious counterpart.

At their peak, Canadian speed metal pioneers Anvil shared festival stages with global megastars who still hail them today as inspirations. But while those bands went on to sell millions of records and live out the rock dream, Anvil watched it all slip away. Three decades of mismanagement and misadventures had reduced them to playing in empty bars to tiny crowds of friends and family. But in the face of depressing reality, financial ruin and non-existent support Anvil has kept on rocking past the point of all reason and almost to the brink of insanity.

Like the protagonists of Spinal Tap, Anvil’s singer ‘Lips’ and guitarist Rob Reiner are childhood friends who share a vision of rock greatness that seems destined to escape them. Their bickering and casual philosophising are unknowingly hysterical if occasionally tainted by genuine sadness and despair. Beneath the leather and flowing manes of thinning hair, their wide eyed enthusiasm is simply overpowering as they lurch from one disaster to the next. It’s impossible not to find yourself rooting for them while at the same time feeling sorry for their poor families, who provoke sympathy similar to that bestowed upon the wives of alcoholics. But, few things are more infectious than confidence in the face of certain and utter failure. As complete underdogs, Anvil has a startling power to enthral audiences with a potent mix of pity and affection.

It’s compelling to watch as the band embarks on the most disastrous European tour imaginable and struggles against all odds to release their ‘masterpiece’ album. At times it’s hard to believe events so perfectly scripted and such absurd characters can possibly be real. While the band clearly plays up to the cameras and revels in the novelty of attention, their desperate tragedy and obsessive passion simply cannot be faked. Anvil are the sort of brilliant failures that can only be born not invented. A rare breed to be cherished.

Celebrity fan Keanu Reeves flew to London just to introduce this film at its festival premiere. When the band took to the stage to rock after the credits rolled, it’s hard to describe the pure joyous rapture that greeted them. So, put your fist in the air, crank the volume to eleven and enjoy what is perhaps the greatest rock documentary of all time.

My Name is Bruce

Bruce Campbell is the bumbling epitome of ‘cheeseball charm’. His cinematic appeal in cult movies like the Evil Dead Trilogy stems almost entirely from his vast charisma as a hapless goof. He has crafted his popular persona through a genuine skill for physical comedy and a unique brand of likeable buffoonery. His autobiographies ‘If Chins Could Kill’ and ‘Making Love..The Bruce Campbell Way’ are self deprecating and self aggrandising in equal measure, but consistently funny. Even his cameo as Spiderman 3’s snooty French waiter almost stole the entire film from an emo Peter Parker. So, as I settle down for ‘My name is Bruce’ I prepare myself for more B movie magic and another wave of the Campbell charm.

When the backwater town of Goldlick accidentally awakens a bloodthirsty Chinese god of war, they kidnap movie star Bruce Campbell in the mistaken belief that he’s a zombie slaying real life hero. He plays along, convinced it’s all just another atrocious monster film. With Bruce playing himself and directing the whole show, this promising idea is unfortunately mostly squandered with disappointing results.

At the beginning of ‘My Name is Bruce’ our titular hero is a drunken, moronic misogynist. Campbell sacrifices his likeability in a misguided attempt to subvert and parody the popular perceptions of himself. His usual affable idiocy strays dangerously into the unwelcome territory of obnoxiousness. Watching Bruce drunk dial his ex-wife and hurl pathetic come-ons at every woman on screen is not pleasant or remotely amusing. Mercifully, as the film plays out, Bruce learns the error of his ways; he remains typically clueless but a little less crass. Perhaps complacent in his own appeal, Bruce plays the ‘jerk’ a little too real, making his redemption a tough task even for him.

‘My Name is Bruce’ trades a little too carelessly on the affection of Campbell’s cultish devotees. Films like 'Army of Darkness' are enjoyable because they are cartoonish satires of traditional horror movies and their wooden action stars. We forgive them their own flaws because these are films that know exactly how silly they are and embrace it. In attempting to poke fun at those movies and Campbell’s own fanbase this film stretches the in-joke past the breaking point. Most of the film’s self-referential humour will be lost on anyone who isn’t already a Campbell fan.

Long time Campbell collaborator Ted Rami appears in the film as a series of characters with comedy accents; at best this can be seen as silliness, but at its worst slightly racist. It’s another unnecessary stumble, but despite this, the film manages to become more watchable in its second half. By the end of the film it has mitigated much of the damage of its poor opening stages without living up to its abundant potential. If you want to celebrate Bruce Campbell’s true genius, you’re probably better off re-watching Army of Darkness or Bubba Ho-Tep.

I can’t help but feel that ‘My Name is Bruce’ was made purely to mop up the Campbell fanbase money. Made in 2007, it has only recently emerged, wisely side-stepping cinemas for the straight to DVD market. Since then, Bruce has been lending his voice to the odd cartoon and starring in hit US spy show Burn Notice. According to recent reports, it is unlikely that 'Evil Dead 4' will ever happen, but you never know... “hail to the King baby”.

Who Watches the Watchmen..?

Alan Moore and Dave Gibbons' comic book masterpiece “Watchmen” has been acclaimed as one of the hundred greatest novels ever written. At a time when comics were still dismissed as childish fantasy, "Watchmen" showed that graphic novels could be adult, profound and important. After over two decades of delay, hype and failed attempts, ‘Watchmen’ has finally made the perilous journey to the big screen. Many were sceptical that the sprawling narrative, iconic visuals and cerebral subtext of the book could ever be adequately captured on film. Moore himself labelled this task impossible and disowned any interest or involvement in attempts to adapt his work. But was he right...?

The film preserves the book's urgent plot in its entirety. In a grim alternative reality where the cold war rages on in 1985, the world stands on the brink of nuclear apocalypse. Costumed superheroes have been outlawed and left to the concerns of their own broken lives. But when the savage murder of a former ‘hero’ begins to expose a plot to hasten global annihilation, will the forgotten Watchmen save mankind and is it even worth saving?

Visually, the film is painstakingly faithful to its original inspiration. The book’s dark and gritty imagery comes to life with each scene lifted from the page. Special effects finally seem to have caught up to Moore and Gibbons’ imagination. Even more challenging characters such as the blue, god-like and often naked Dr Manhattan are brilliantly realised. Handled with less care, such absurd imagery could easily have ruined the films ability to function seriously. Director Zack Snyder applies the stylised slow motion skills from his previous film ‘300’ to 'Watchmen'’s visceral action scenes, but thankfully gives equal prominence to the weighty dialogue.

Avoiding the box office lure of big name stars, the film's relatively unknown cast look and feel like their familiar characters. The absence of famous faces doesn’t weaken the film, but instead gives it an added air of realism and credibility. Oscar nominee Jackie Earle Haley is perfect as the gravel voiced and appealing psychotic vigilante Rorschach. His noirish narrative propels much of the film with brutality and success. Billy Crudup is equally effective as Dr Manhattan, Watchmen’s most unique, thought provoking and enigmatic character. Solid performances from the rest of the cast are largely successful in showing the flawed complexity of their characters. If at times they do fall a little flat, this is more a failing of the characters themselves than the manner of their portrayal.

To call ‘Watchmen’ a superhero film is perhaps a mistake since none of the characters really fulfil the definition of a hero. Collectively marred by unapologetic cruelty, apathy, insecurity and psychosis, they are grim caricatures of familiar comicbook ideals. Audiences expecting camp, costume-clad adventure will be left disappointed and shocked. 'Watchmen' is a deliberate and merciless parody of the ‘superhero’ genre, which it exposes as cartoonish moralistic fantasy. Those unfamiliar with the book and its intentions may find this concept less understandable and immediately digestible.

‘Watchmen’ is an ambitious effort to convert a superb piece of literature which far exceeds the cautious expectations of many fans. But the film risks overreaching itself and alienating audiences by refusing to simplify or condense it’s more high brow ideas. Some will no doubt be left weary and confused during 'Watchmen'’s vast 160minute runtime. Viewers may also find the ugly ultra-violence of the film more difficult to stomach than that which is still, admittedly, a bloody part of the book. However, it is likely that cinema audiences have now become too numbed and desensitised to nasty death and dismemberment to really notice or care much. Personally, I found that 'Watchman's desire to shock detracted from its efforts to be profound. By similar measure, those seeking violent thrills will be left bored by the film's more pretentious diversions.

Overall, Watchmen will be a relief to established fans, but may struggle to please the appetites of wider audiences. The film's box office success is almost assured thanks to hype and a well oiled marketing machine, but it probably does merit the attention. The successful aspects of the film demand viewing even if its flaws inhibit any desire for endless re-watching. As the tagline reads “who watches the Watchmen?”... perhaps you should.

Link below to red carpet coverage from the world premiere featuring interviews with Dave Gibbons, the cast and fans.

http://www.lsq.tv/red-carpet/watchmen-world-premiere-red-carpet.html

Avenue Q

The West End has many musical treats on offer for frequent theatre goers and the more casual tourist crowd, but only one can boast a successful combination of hilarity, music and muppets. With tongue firmly in furry cheek, this spoof Sesame street musical is something unique.

Don't let the puppets fool you though, they might bring back a flood of happy childhood memories, but this show isn't one for the kids. With song titles including "If You Were Gay", "Everyone's a Little Bit Rascist" and "The Internet is for Porn", you begin to get a sense of what you're really getting. Such subject matter also helps to understand why this is, without question, the biggest hit with the student crowds. The fusion of kitch children's television with humour that treds the fine line between genius and political incorrectness is something everyone can delight in.

The humour is note perfect, but the real triumph of Avenue Q is that it also has depth and substance. You don't have to look too hard beneath its catchy songs and clever gags to find some profound messages about tolerance and what it means to be an adult.

It's hard to describe just how brilliant this show is. I have been to see it nine times and I just can't imagine doing that with any other show. I've dragged countless friends to see it and without fail they leave the theatre declaring it to be the best thing they've ever seen on stage. Perhaps best of all, unlike a Lloyd Webber effort, tickets are reasonably priced and often available even on the day of the performance. Finishing it's run at the Noel Coward theatre soon, Avenue Q will be back in a new home on Shaftsbury Avenue. But don't waste time, I urge you in the strongest possible way to go and see this.

Vicky, Christina, Barcelona.

Vicky Christina Barcelona continues the career resurgance of prolific oscar winning director Woody Allen. It's a steamy
sensuous drama, laced with the wry cynisicm and astute emotional observations which have characterised much of Allen's best work. This film falls somewhere between the neurotic romanticism of Manhatten and the dark suspensful brilliance of Match Point. After a period of creative stagnation Allen has rediscovered the magic that once made his films such an alluring and essential cinematic prospect.

Pragmatic Vicky (Rebecca Hall) and free spirited Christina (Scarlett Johansson) are two friends caught in a tangled web of love and desire with a passionate artist (Javier Bardem), while Oscar winner Penelope Cruz plays his fiery and exotic former lover. A mood setting Spanish guitar soundtrack and voice over narration carry the story forward with pace, style and charm. The cast are a pleasure to look at of course, but are also captiating in the emotional subtilties of their performances and the relationships between them. Allen harnesses the best of new muse Johansson and her dazzling co-stars, with delightful results.

A critical study in desire the film is passionate, intelligent and humerous in equal measure. Allen neatly sidesteps the cheap laughs of bawdy farce in favour of more rewarding sophistication. By reigning in his own neurosis and avoiding the indulgences which have marred his less popular efforts Allen has produced another rare gem.

Quantum of Solace

Quantum of Solace is the 22nd Bond film and Daniel Craig's highly anticipated second outing as the iconic Birish superspy. Since Sean Connery abandoned the role Bond had seemed to be a franchise in terminal decline, it's style and rugged charm erroded away by decades of abuse. Increasingly ridiculous plots overeliant on special effects and pathetic innuendo had turned Bond into an outdated cliche. But when Craig slipped on the tux for Casino Royale Bond was reborn as the cold, swaggering, efficient killer of Ian Flemming's original books. Clearly inspired by the Bourne trilogy, this long overdue reinvention left fans with one question, what next?

Quantum starts with a bang and a bruising high speed pursuit; the traditional pre-title action sequence dominated by a blur of frenetic camera work. After a disappointing and sputtering theme song the film continues its blistering paced assault. Bond is out for revenge against the mysterious criminal orginisation responsible for the death of Vesper Lynn. As he pursues this shadowy organisation around the world he crosses paths with old friends, new foes and a beautiful fellow spy on her own personal vendetta. An exciting prospect on paper , but sadly Quantum fails to deliver fully at it's crtical moments.

Its well choreographed action and adrenalin fueled momentum keeps Quantum watchable but can't disguise its ultimate lack of direction. Beneath it's loose themes of vengence and emotional acceptance there's little actual plot. As the first sequal in the Bond franchise Quantum largely fails to advance much beyond the closing scenes of Casino Royale.

Craig once again keeps Bond surly and visceral, while Olga Kurylenko is one of the most convincing and effective 'Bond girls' ever. The supporting cast is strong too, but held back by a lack of real story. Quantum is a decent effort which avoides disaster whilst squandering the opportunity to be brilliant. In the end the film leaves fan's with exactly the same question, what next?...

The Oscars 2009 in review

For one night the red carpet rolls out in Hollywood, more crisp and crimson than normal. Around the world film fans gather round TVs at obscene hours, making themselves comfortable for the long road ahead. It takes stamina just to watch the arrivals. One by one, the great, the good and the lucky parade by. These people are dressed the best they ever will be in their entire lives. At least that’s what they think. Some of them look terrible. Posing in ill-fitted efforts the colour of bad fruit, as the epitome of style and beauty glides past beside them. Borrowed diamonds hang round girls' necks, and borrowed girls hang round somebody who used to be something. You could make a career out of trying to explain this bizarre spectacle, and too many do.

Before the guests make it inside, we get the obligatory soundbite interviews. The nominees think everyone else was amazing. Everyone agrees it’s a really strong year and when pushed for a preference predictably name people they’ve worked with and the clear frontrunners. After all, it’s never wrong to be right. Now the famous faces find out how important they really are by who they are sitting next to for the next 3 hours and we’re ready to begin. This year’s host is Hugh Jackman, with musical razzle dazzle replacing glib industry in-jokes. Both designed to fight a trend of declining viewing figure. But when the curtain comes up all anyone watching really cares about is the big question, who’s won....

Alright so here’s the way it went...

In the Best Actor category Senn Penn proved a slightly surprising winner for his turn as real life gay politician Harvey Milk. Conventional wisdom had put Mickey Rourkes career resurrecting performance in the Wrestler as the clear frontrunner. Perhaps following Rourkes triumph at other award nights such as the BAFTAS people felt he’d already had his day in the sun, or maybe in the wake of the national embarrassment of proposition 8 the academy felt the need to send a clear message of tolerance. It’s likely the risk of putting Rourke on the world must public stage proved too great for some voters. In truth he was the only nominee almost certain to provide an expletive laden bag of crazy as an acceptance speech. As a disappointed spectator I console myself with the fact that Senn Penn is an actor of sufficient class and accomplishment to deserve the acclaim.

In the Best Supporting Actor category Heath Ledger was as expected given academy recognition in the wake of his tragic death. Awarded more for his body of work and in sympathy at the cruel loss of a talent that promised so much, rather than for his actual performance in Dark Knight. Perhaps an honorary Oscar would have been more appropriate, since it seemed a little unfair to put the other nominee’s creditable efforts up against such a massive weight of legitimate public sentiment.

For Best Supporting Actress, Penelope Cruz proved a popular winner for her scene stealing flamboyant performance in Woody Allen’s well crafted sex comedy Vicky Christina Barcelona. Amidst the typically solemn roles her performance as a smouldering fiery tempered bisexual no doubt proved more alluring to voters. Firmly suggesting that making out with Scarlett Johansson on screen can only help your career.

For Best Actress, six time former nominee Kate Winslet’s win was as close as possible to being an inevitability. It was openly accepted before the ceremony that it was finally her time to win one. To deny one of the best actresses of her generation for a seventh time would be just too cruel. Her typically powerhouse performance as an illiterate former concentration camp guard was clearly a role well crafted for collecting acting accolades.

Representing the pinnacle of Pixar’s magnificent work and displaying an extraordinarily multilayered adult sophistication, Wall-E was an essential winner for Best Animated Picture. We can only wonder what would have happened had it been allowed to throw its hat in the best picture ring. Its stunning visual wizardry and eco-friendly environmentalist subtext might just have been enough to cause an upset.

In so many of the categories including Best Director and Best Film, Slumdog Millionaire walked away the worthy and predictable winner. As a crowd pleasing fairytale which doesn’t shy away from grim realities few films can boast its emotional impact and cultural resonance. Danny Boyle’s unique and visceral style of direction, combined with mesmerizing performances from its cast of unknown un-American faces, earned Slumdog every bit of its wide acclaim. Perhaps the only mystery was how none of Slumdogs acting talent found themselves up for nomination. It may be that the sheer strength of the cast made it hard for the academy to identify who was specifically responsible for its magic and deserving of personal recognition. A more cynical assessment might be that the academy simply prefers familiar names on its ballot slips. But hopefully the overwhelming success of Slumdog goes some way to showing the Academy’s open-mindedness to new talent and cultural diversity. Time will tell, but for now the moment belongs to Slumdog and all its rising stars.

When the curtains fall on 2009, we congratulate ourselves on staying up for the whole thing and are left only to hope that 2010 will bring us more of the same...