Wednesday, 30 December 2009
Top 10 Movie Tips for 2010
Sunday, 26 July 2009
Harry Potter World Premiere
Unfortunately dark magic worthy of he who shall not be named was most certainly at work on the weather. Mere moments before the cast arrived so did torrential rain and hailstones as big as a golden snitch. An hour of the most appalling weather imaginable proved too much for a small number of distraught fans, who gave up after days of waiting. It’s hard to blame them for being unprepared for such adversity in the middle of July. Those that remained kept their spirits up by singing Monty Python’s whimsical ballad ‘Always look on the bright side of life’. It’s a compelling testament to the devotion of fans that most toughed it out and were still waiting eagerly when the damp stars finally emerged.
The films astonishing box office success is unsurprising given that ‘Pottermania‘ shows no sign of diminishing. After the fourth biggest opening day box office of all time, the film took a solid $78 million in its opening weekend in America. The film has brought in over $ 437 million worldwide to date. That’s an awful lot of muggle money for the goblins in the Warner Bros accounts department to play with. It’s also a figure set to rise as the film lingers in cinemas for many weeks to come. It’s hard to imagine what levels of hysteria and riches will greet the release of the final two films. We can only hope that it will at least stay dry...
http://www.youtube.com/watch?v=GeFOQCK8VAc&feature=channel
Tuesday, 16 June 2009
Valkyrie
Directed by ‘X-men’ and ‘the Usual Suspects’ wonder-kid Bryan Singer, ‘Valkyrie’ is a film about the last of many attempts by Germans to assassinate Adolf Hitler during World War II. It’s an important story to be told, but one rarely seen on American screens. It’s too often forgotten that even at the height of Hitler’s power there were many German people who risked and ultimately gave their lives fighting against him. Whether or not it’s a subject more suited to documentary than dramatisation is a matter of debate.
There is a clear limit to how entertaining a film about such serious and tragic subject matter can be. However, any attempt to glamorize the story to fit the usual Hollywood action movie stereotypes would have been unwise. The film can’t hide from ugly truths and harsh realities, but at least it can aspire to educate its audience about them. Having taken $200 million at the box office it appears audiences do have an appetite for such an education. ‘Valkyrie’ is out on DVD and Blu-Ray now for those that still do...
Sunday, 7 June 2009
Meeting Guillermo Del Toro
Having graduated from inventive low budget horror movies to Hollywood blockbusters, Del Toro’s talents are now in fierce demand. His next project is a two part big screen adaptation of J.R.R.Tolkien’s epic fantasy masterpiece ‘the Hobbit’. So for the next four years Guillermo will be living in the distant realm of Middle Earth (formerly known as New Zealand). In a recent interview he remarked that "Contributing to the 'Lord of the Rings' legacy is an absolute dream come true.” This is a sentiment shared by many fans who wisely regard him as the perfect choice for the daunting project.
There are many reasons why I love Guillermo and you should too...
His voice is like a warm Mexican blanket. It’s the kind of voice you could get lost in and wander around happily for several days. But this isn’t the only reason for listening to him. His DVD commentary tracks are master classes in literature, pop culture and the art of making cinema. Del Toro has an astounding imagination as a writer. Pulp novels, comic books, fairytales and mythology are all part of his rich heritage of influences. Del Toro’s own unique vision, combines fantastical beauty and horror, with subtle human melodrama.
Visually his films are strongly influenced by iconic artists such as Jack Kirby and Ray Harryhausen. Del Toro’s films often combine kinetic comic book action with his own lifelong fascination for monsters. Mechanical Nazis, indestructible golden armies, fairies and a seven foot red demon detective are just some of the dazzling creatures to inhabit Guillermo’s worlds. He prefers the ‘old fashioned’ magic of prosthetics and puppetry to the shiny false gods of CGI. This makes his most absurd and wonderful creations even more real and tactile.
One of Del Toro’s most admirable traits is his self-proclaimed desire to make the films that he would want to see as a fan. His unashamed passion for the things that he loves is inspiring to hear and evident on screen in all his work. In person he is warm, jovial and as excited by what he creates as any of his admirers. Knowing of his enthusiasm for mechanical toys, I gave him a book about it. I also gave him some clotted cream (his secret obsession). I hope he enjoys them as much as I have enjoyed endlessly re-watching Hellboy II.
Link below to video of Guillermo at the launch of ‘the Strain’. (Our special moment at 2.55).
‘The Strain’ is available in stores now, ‘the Hobbit’ won’t be finished for several years yet, but WILL be worth the wait...
Monday, 1 June 2009
MTV Movie Awards 2009
Tonight, the Emo revolution took another worrying step toward global domination, as Twilight won everything in the world. Robert Pattinson won best male breakthrough performance and the undying love of your moody teenage sister. It must be fun to be dreamy. Twilight also won best fight, best female performance, best film and the infamous best kiss award. Slumdog Millionaire was this year’s big star at the Oscars, but it left empty handed, wondering why it didn’t have more hot vampires in it.
Elsewhere, Zac Efron and Ashley Tisdale both picked up awards for their wholesome musical efforts in High School Musical 3. (Yes, they did make three of them... no, don’t worry, it probably won’t happen again). Heath Ledger won yet another posthumous prize for his best villain performance as the Dark Knight’s Joker. Hannah Montana and/or Mylie Cyrus (which one’s real again...?) won for best song. Jim Carrey picked up an award to prove he’s still got some funny left in him, while the nights semi-prestigious ‘MTV Generation Award’ went to Ben Stiller. There were even some glimpses of the new Harry Potter and Transformers movies for anyone who bothered to watch the whole thing live.
The MTV award shows consistently produces landmark pop culture moments. It usually involves Britney Spears making out with aging pop queens, dancing with snakes, or self destructing. This year, it was Eminem getting an unwelcome face full of Sacha Baron Cohen’s crotch. Dressed in a thong and angel wings, Cohen was making his way to the stage on a high wire when he ’accidentally’ plummeted upside down into the rap star's lap. It seems to be widely accepted that he was in on the joke, but I’m just not sure why anyone would volunteer for such public humiliation. I will say this; Eminem’s expression was not one of a man pleased to see buttocks.
Pictures and links to the video below check it out and make up your own mind....
http://news.bbc.co.uk/1/hi/entertainment/8076898.stm
Twilight Premiere footage below for anyone who enjoys screaming and Robert Pattinson's face...
http://www.youtube.com/watch?v=AcuCWkGyyrY&feature=channel_page
Sunday, 31 May 2009
Bafta TV Craft Awards 2009
The surroundings add a sense of grandeur to what is otherwise a pleasantly low key affair. Unlike the televised spectacle of the acting awards, tonight is more about industry acclaim than public praise. The guests and nominees don’t seem to mind the lack of media glare. They’re mostly just happy for the rare chance to escape their editing suites and sound stages. Wearing big grins and black tie, they pour into the hall, in search of free drinks and a moment of glory.
In the press room, impatient journalists glance at the winners list, spoiling any surprises. It feels like peeking at someone else’s Christmas presents. Eventually back in the hall, the lights dim, the speeches start and the long evening grinds into life.
The rumbling thunder of noisy applause means that we no longer have nervous hopefuls; we’ve now got genuine winners. They arrive backstage dazed, delighted and burdened with heavy gold. Between the photos and interviews, their frantic phone calls spread the good news to absent family and friends. There are a few more proud mothers out there in the real world tonight. Those mums would certainly want me to tell you who won, so here’s the way it went...
Kenneth Branagh’s Scandinavian detective drama Wallander picked up three more awards to add to its recent best drama win. Doctor Who finally picked up a well deserved award for visual effects. Peter Moffat won best writer for his dramatic exploration of the British justice system in ‘Criminal Justice’. Rowan Joffe won best director for fact based drama ‘The Shooting of Thomas Hurndall’. The BBC was also rewarded for their brave but welcome choice to advertise the Olympics with cartoon monkeys.
Aardman Animation studio received this year’s special award, for decades of joyous creations, such as Wallace and Gromit, Creature Comforts and Chicken Run. The founders of Aardman announce that not only have they got more stop-motion magic on the way, but that they’re also working on a feature length foray into CGI. Pixar, consider yourself warned.
I was lucky enough to chat to Jason Isaacs. He’s Harry Potter villain Lucius Malfoy and the walking epitome of charm. News sure to please Potter fans is that for the first time he’s going to be making an appearance on the red carpet for the forthcoming Half Blood Prince premiere. We can only hope he escapes the clutches of screaming fans in time to finish making the last film. Good luck Jason, I recommend a big stick.
I managed to get my hands on an award before the ceremony started. In accordance with the well known legal principle of ‘finders keepers’, I think that makes it mine. Unfortunately, security was not familiar with the concept. Perhaps one day the Academy will rectify this cruel injustice...
Link below to the chat with Jason Isaacs, prepare to be swept away on a tsunami of charm..
http://www.youtube.com/watch?v=LTWLH-rS2rw
http://www.youtube.com/watch?v=JlTQEUjI0UE
Saturday, 30 May 2009
The Spirit
Much of the blame lies with the film’s appallingly mundane leading man Gabriel Macht. His monotone monologues gradually gnaw the fun out of all the films cartoonish visuals. Supposedly smart one-liner s, are left ruined by an agonisingly wooden delivery. Miller’s decades of making comics has clearly left him ill equipped to direct real people. Perhaps he had aspirations of turning bad acting into some form of parody, but the film’s just not clever or subtle enough to be satire.
It’s tragic to see someone as emphatically cool as Samuel L. Jackson trapped in such a monumentally mediocre film. He might be the only man alive who can make Kangol hats and tartan trousers look stylish, but even he can’t save this mess. Though at least for his sake, he looks like he had fun trying. It’s also a pity to see the smouldering efforts of Scarlett Johansson, Eva Mendes and a whole host of dangerous damsels go to waste. Poor little vixens.
‘The Spirit’ feels like it should have been made 20 years ago, in the dark ages when comicbook movies were just embarrassing and silly. Back then, superhero movies were like pornography; their awful acting and camp innuendo was a guilty pleasure, only to be enjoyed in private. It's sad to see them reduced to this yet again.
Monday, 25 May 2009
The London Expo
X-Men Origins: Wolverine
The innate problem with any prequel is that we already know what’s going to happen. It’s all but impossible to generate suspense when we know with absolute certainty who’s going to live and die. Added to the fact that Wolverine is already almost impervious to physical harm, this leaves all the film’s earnest action deprived of danger. Another major challenge for this film is that it has to maintain continuity with all the existing X-men movies. This severely limits the plot, which at times seems contrived and painfully predictable. It's certainly not helpful that X-Men 2 already dwelt heavily on Wolverine’s murky past. Most of the film's supposed revelations will feel overly familiar to anyone with a basic knowledge of the character.
Monday, 18 May 2009
Star Trek
From the opening moments it’s clear that Abrams has introduced some much needed blood and danger into the supposedly ‘safe’ world of Star Trek. Ships explode, people die and are sucked into the silent crushing void of space. For the first time I truly felt the utter urgency and peril which such adventures should merit. For a while, big screen re-imaginings of old franchises had tended toward camp parody. They sacrificed convincing drama in favour of the lowbrow appeal of kitsch comedy. Now, studios finally seem convinced that there is an even greater box office appetite for dark realism. As a result ‘Star Trek’ is one of the best crafted summer blockbusters in some time.
The difficult challenge of re-casting the familiar crew of the USS Enterprise has been met with more success than fans could have dared hope for. The film’s fresh faced cast treads the fine line between impersonation and re-invention almost perfectly. Instead of A-list stars, the studio has wisely chosen emerging talents who bear a remarkable physical resemblance to the old crew. Their performances re-discover all the drama and humour of these characters, with little amiss to anger old fans.
Leading by example, Chris Pine captures the precise mix of arrogance and boyish charm that epitomises Captain James T. Kirk. Getting this role right was absolutely critical if the film was to succeed and win fan approval. William Shatner is a very tough act to follow, but as with many things, the film gets it absolutely right. Zachary Quinto looks and sounds convincingly like a young Leonard Nimoy, as logical Vulcan Spok, complete with those iconic pointy ears. His bickering tension with the impulsive young Kirk is well played and destined to become a powerful friendship. Karl Urban is also particularly impressive as Dr ‘Bones’ McCoy, the ships likeably cantankerous medic. Simon Pegg pulls off a difficult accent as miracle working engineer Scotty; while navigator Chekov’s lifelong struggles to pronounce the letter ‘v’ continues with amusing effect. Perhaps the only character to get a slight re-vamp is communications officer Uhura, who proves a more alluring love interest than you may remember.
For long time fans there are plenty of in-jokes and nods to the previous films and TV series to enjoy. Some references are more subtle than others, but none of them distract from the stunning success of this movie in its own right. Over the last few years many blockbusters have proved to be overhyped disappointments; devoid of emotion and fatally contaminated with bad CGI. However, ‘Star Trek’ fully delivers on its promise of entertaining adventure. The film’s action has compelling momentum and its characters have credible substance. It’s quite frankly rare to see a major summer release so unblemished by the typical failings of Hollywood.
As I leave the cinema, I see an almost endless line of people impatiently queuing outside. I ask someone what they're waiting for. Star Trek is the obvious reply. To boldly go?...the answer is yes. Warp Speed Mr Sulu!
Wednesday, 6 May 2009
Monsters vs. Aliens
You have to admire the cheerful simplicity of any title which manages to capture a film's plot and playful spirit in just three words. When aliens attack Earth, a desperate President turns to a crackpot general W.R. Monger and his ragtag team of monsters to save the day. The monsters and their foes of robots and alien clones are all joyously ripped straight from classic sci-fi B movies. The prospect of watching them duke it out for the fate of the planet is appealingly silly and unpretentious.
Like most of DreamWorks’ efforts, the film’s vocal cast sparkles with unquestionable A-List calibre. Reese Witherspoon is typically endearing as Susan, a young woman whose wedding day is ruined by a meteorite which turns her into the towering 60 foot ‘Ginormica’. With much of the film focusing on her struggles to accept her newfound monstrousness, this character could easily have been irritatingly timid and hysterical. Luckily, Witherspoon’s trademark plucky charms translate well to animated form. The rest of the cast also seems equally well chosen.
Wednesday, 29 April 2009
BAFTA TV Awards 2009
This year French and Saunders were honoured with the outstanding achievement award, Harry Hill was crowned most entertaining performance and the ‘X factor’ won yet again. No, you’re right... it’s really not good enough is it. The problem is that beyond documentaries and occasional one off dramas it’s hard to find legitimate domestic brilliance on British TV. David Attenborough deserves his rapturous applause for ‘Life in Cold Blood’, but he is in a minority of greatness. It would be worrying if a bald man with ‘wacky’ glasses and a novelty shirt really was the most entertaining thing on British television.
Rounding up the rest of this year’s winners... the Skins cast won the public vote award and went home delighted to be 15 and popular. The Bill won best soap for the first time in 25 years, thus proving the law of averages. Kenneth Branagh failed to make it through his acceptance speech for ‘Wallander’ without referencing Shakespeare. Stephen Dillane (‘The shooting of Thomas Hundall’) and Anna Maxwell Martin (Poppy Shakespeare) collected gilded trophies for best actor and actress respectively. The Comedy awards went to David Mitchell (apparently still funny after those awful PC/MAC ads) and Harry Enfield/Paul Whitehouse (apparently still funny after a 100years).
Thursday, 23 April 2009
Eagle Eye
Making a good technological thriller is a notoriously tricky task; few other genre’s are shamefully responsible for quite so many cinematic atrocities. A frequent problem is that these films are usually plagued by implausible overly complicated plots based around one simple theme, namely what if technology turned evil. Time is also often unkind to such movies, as today’s cutting edge gadgets and science becomes redundant history at an increasingly rapid pace. Watching people in old movies marvel at lasers or explain what a microchip is can be an embarrassing ordeal. It’s like seeing cavemen congratulate themselves on inventing the wheel. I cautiously avoided Eagle Eye when it strolled through cinemas, but as it emerges on DVD I find myself inescapably confronted.
Supposedly based on Steven Spielberg’s first original story since ‘The Goonies’, I was left uninspired by Eagle Eye’s generic premise. Two strangers lose control of their lives to a mysterious voice on a phone that uses an eerie power over technology to manipulate them into doing its bidding. There’s little originality in such a literal representation of the well established cliché that our lives are ‘controlled by technology’. The power to change street signs or remotely operate heavy machinery is unlikely to inspire the desired fear and awe in a savvy technology encrusted audience. These concepts already felt tired and rehearsed even in their mid 90’s heyday.
Unfortunately the film’s cast is just as underwhelming as its lacklustre story. Lead actor Shia LaBeouf is a rising star who has grabbed leading roles in Transformers and the latest Indiana Jones movie. Even Steven Spielberg has an admitted if frankly inexplicable admiration for him. I will admit that LaBeouf’s ‘talents’ are unique. I can’t think of many other actors who can be both painfully melodramatic and devoid of any emotion at the same time. He seems to approach every role with the same combination of flaccid wit and sullen agitation. LaBeouf’s label as the ‘next Tom Hanks’ does a huge disservice to the legacy of a great talent and massively overestimates the appeal of LaBeouf’s ‘everyman’ qualities.
LaBeouf’s co-star Billy Bob Thornton has more screen presence and accomplish as an actor, though his most recent achievement has been to offend the entire nation of Canada with just one disastrously obnoxious CBC Radio interview. The actor apparently took objection to being called an actor whilst pretending to be just a musician. With the myth of his charisma finally exposed there’s really little appeal left in watching Billy Bob play a stereotypical surly FBI agent.
Eagle Eye isn’t unbearably awful; it’s just average and unexceptional. The plot holds very few surprises and hinges largely on the fact that LaBeouf’s character has an identical twin brother. Such a ludicrous cliché threatens to collapse the films fragile credibility into a big pile of silly. The film might actually have been more entertaining if it had been worse. Sometimes it’s better to be memorably terrible than just mediocre and forgettable...
Friday, 17 April 2009
Fast & Furious
By the time most action movie franchises limp to a fourth instalment they’re usually dying a slow undignified death with talentless straight to DVD offerings. It is rare to see a sequel bounce back to the big screen complete with the entire original cast. Perhaps the failing fortunes of these cast members can help explain this strange phenomenon. Michelle Rodriguez got ‘Lost’ then went to prison, Paul Walker swam ill-advisedly ‘Into the Blue’ and most shamefully of all Vin Diesel made ‘The Pacifier’. ‘The Fast and the Furious’ still represents a career high for each, despite being at its best just a hip hop flavoured remake of vintage Keanu Reeves effort ‘Point Break’. You can’t help but feel that if anyone’s careers had taken them where they'd expected, they wouldn’t be back doing this again.
‘Fast & Furious’ finds former friends FBI agent Brian (Walker) and illegal street racer Dom (Diesel) reuniting to take down the vicious drug lord responsible for the death of their mutual friend. Of course the only way to possibly do this is with a series of increasingly implausible car stunts. Why? because that’s just what justice means. Much like its predecessors, ‘Fast & Furious’ is heavily reliant on a distracting mix of gratuitous close ups (of both pretty girls and cars) and pounding hip hop beats to stop its audience from searching for substance. It’s a low brow tactic which has proved resiliently effective and lucrative.
Unfortunately ‘Fast & Furious’ only lives up to its boastful name some of the time. The film’s frequent attempts at character drama are slow ordeals that flirt dangerously with dullness. Without the help of a high octane action sequence the cast are incapable of generating any convincing emotional intensity. It’s unlikely anyone will be fooled that the character’s personal dramas are really anything more than a means of setting up the next enjoyable chase scene.
The film’s well choreographed and CGI enhanced action scenes make it at times an enjoyable guilty pleasure. The film regurgitates the successful components of its popular predecessors, without ever threatening to add any originality or substance. The surprising box office success of ‘Fast & Furious’ show’s there’s a continued public appetite for entertaining eye candy. It will be interesting to see whether the studio is confident enough to risk a fifth instalment and whether its resurgent cast will be quite so quick to abandon a profitable ship the second time around. The question is just how many times the same thrills can bring a smile big enough to make people forgive such obvious failings? The answer appears to be four times... and counting.
Monday, 6 April 2009
Religulous
There are three things you’re not supposed to talk about in polite society: sex, politics and religion. Religion is easily the most controversial and inflammatory of the three, combining issues of sex and politics with dangerous elements of faith and fundamentalism. Political humorist Bill Maher attempts to tackle this most sensitive topic in his brash, opinionated documentary ‘Religulous’. Those familiar with Maher’s abrasive wit may be apprehensive about whether his mischievous hands are equipped to handle such delicate subject matter.
The main problem with Maher’s documentary is that he makes too little an effort to conceal his obvious disdain for religion in all its varied forms. Although it’s less offensive when he finds deserving targets for scorn and derision, we often find ourselves left to watch him bully and belittle people about their most intimate beliefs. The victims of Maher’s mocking cynicism are mostly inarticulate and quite incapable of defending themselves or their ‘irrational’ beliefs from his onslaught. Maher chooses to forsake constructive dialogue and debate in favour of the more entertaining tactics of deliberately provoking and antagonising. This exploitative approach of exposing handpicked stupidity uses too many cheap laughs to make its heavy-handed points about the failings of religion.
‘Religulous’ is not an objective investigation of issues; instead it is simply a blunt statement of the personal opinions of its creators. Like Michael Moore’s ‘Fahrenheit 9/11’, ‘Religulous’ fails as a documentary by allowing itself to be transparently agenda driven. At times, Maher displays exactly the same opinionated arrogance which he himself finds so objectionable in the religious followers he encounters. His motives are not to inspire his audience to ask questions, but to convince us of his own conclusions. Such an attitude would perhaps be more forgivable if the film provided a more substantial examination of the complex social and historical factors surrounding religion, rather than just a superficial glance.
It is admittedly satisfying to see Televangelist con-men dressed in $2000 suits and gold jewellery ridiculed as they should be. However, it is hard not to feel that more creditable theologians would have proved to be a more informative and thought provoking subject matter for ‘Religulous’. The film entirely avoids any debate or discussions about the existence of God as its sole preoccupation is in establishing the collective failings of organized religion. It is a gross oversimplification to blame religion for all mankind’s wars, prejudice and stupidity. There is also a mistake in equating all religious and philosophical beliefs with literal interpretations of arcane religious texts. The narrow scope of Maher’s unsophisticated and generic criticisms place firm limits on the film’s ability to accomplish anything meaningful.
Maher’s more intelligible encounters, along with his flashes of genuine wit and well occasioned sarcasm keeps ‘Religulous’ watchable. However, the film is likely to polarize audiences rather than inform or persuade them. People who agree with Maher’s assertions of the evils and insanity of religion will no doubt be more entertained and empowered by the film than those who find their faith and traditions crudely challenged by it.
Tuesday, 31 March 2009
The Boat That Rocked
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.
Sunday, 22 March 2009
The Damned United
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.
http://www.lsq.tv/red-carpet/the-damned-united-world-premiere-red-carpet.html
Anvil: The Story of Anvil
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.
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”.
Saturday, 21 March 2009
Who Watches the Watchmen..?
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.
Monday, 16 March 2009
Avenue Q
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.
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.
Quantum of Solace
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?...