7 Feb 2011

The Fighter - 2010, Dir: David O. Russell.

   In 1976, a film about a boxer beat both Taxi Driver and Sidney Lumet's Network to the Academy award for Best Picture. That Scorcese's film did not win is perhaps not an earth-shattering surprise when taking into account his record of being (ludicrously) ignored by the Academy (until 2006). The film that bested Martin and Sidney was of course Rocky, the Sylvester Stallone-penned tale of a small-time pugilist making it big against all the odds. 

   Four years after Rocky, another seminal film delved into the life of a practitioner of 'the sweet science'. Scorcese stepped into the ring, directing Robert De Niro as Jake LaMotta in Raging Bull. Oscars followed for the lead actor and for the cutting room work of his editor Thelma Schoonmaker. While Rocky had been a fictional sports drama, Scorcese's effort demonstrated the powerful combination of a biographical tale that benefitted from a strong cast, conscientiously written script and high-calibre direction.

   While some more recent biographical boxing dramas have seen great performances in the lead/title roles (Oscar nominations for Will Smith in Ali and Denzel Washington in The Hurricane), it is not unreasonable to say that Raging Bull has remained effectively unchallenged. 

   David O. Russell's The Fighter is the story of 'Irish' Mickey Ward, and the fact that the stand-out individual performance does not come from the man playing Ward is perhaps worth noting. While Mark Wahlberg once again shows his ability to excel under good direction and with the benefit of a fine script, the show is stolen by Christian Bale's portrayal of Ward's half-brother Dicky Eklund. His mind addled by drug abuse and the shortcomings of his own boxing career still casting shadow on his life, Eklund is a tragic figure. A thin veneer of care-free confidence masks the insecurity of a man whos training and guidance only serves to hold his younger brother back. The closing credits of Russell's film feature a brief clip of the real Ward and Eklund, which proves an effective method of demonstrating just how pitch-perfect Bale's performance is.

   Some themes in The Fighter arguably echo some of the films mentioned above. Lowell, Massachusetts is to Ward what the Kensington area of Philadephia was to Rocky Balboa; the brotherly issues between Ward and Eklund are reminiscent of Jake (De Niro) and Joey LaMotta (Pesci) in Raging Bull; Charlene (Amy Adams) presents herself as an Adrian-esque figure, the local love interest and emotional support. 

They could only look on as his opponent ate raw meat between rounds.

   While we observe as Ward tries to prepare for fights and shed his 'stepping stone' status in the boxing world, the elements that constrain his progress reveal themselves. Before watching this film I'd recommend looking at a photo of Melissa Leo as she appears normally, as her transformation into Mickey's mother Alice is visually striking. With her tacky jewellry, peroxide-coiffured hair, and chain smoking, Alice Ward depends on her son's successes and is complete denial about Dicky's drug habit. Accompanying her throughout are the boys' seven sisters, an abrasive group of women who function as a kind of Greek chorus, punctuating group conversations with remarks (and insults aimed at Charlene). 

   In-ring scenes are shot on rather grainy film, emphasising the biographical aspect by giving it a televised appearance while retaining large elements of the brutal pugilism of boxing films previous. The narrative takes its course in a frankly unsurprising manner, however the strength in Russell's film lies in the performances given by its cast and how the director demonstrates the contrast between Mickey's life amongst his family and when he is with Charlene. The audial cacophony that engulfs family scenes in contrast with the relative peacefulness of his time with the local bar girl is a conspicuous example of this. 

   The Fighter is a full-blooded film; steeped in a kind of familiar bleakness that is punctuated with moments of triumph for our protagonist (both in the ring and outside of it). Bale, Leo and Adams can all rightly consider themselves in the running for their respective Oscar categories. While its narrative arc will not raise too many eye-brows, the performances given and the quality of David O. Russell's direction make it very worthwhile viewing.

Verdict: 8.5/10           

2 Feb 2011

Forward Thinking: February 2011

Welcome to February...

 In another heroic attempt to keep things fresh blog-wise, this is a monthly feature in which I'll take a little peek at some of the films that are coming to a cinema near you in the next few weeks...




2nd February 2011

David Russell's The Fighter is imminent. Released today (2nd Feb), the biopic of boxer "Irish" Mickey Ward (Mark Wahlberg) has been nominated for 7 Oscars. These include Best Supporting Actor (Christian Bale) and two Best Supporting Actress (Amy Adams, Melissa Leo) nominations. The film itself is a story of conflict, addiction and family loyalty, and has been praised for its depth as well as its boxing scenes. 

   In my book, Bale's main competition for his first Oscar should be the excellent Geoffrey Rush for The King's Speech, while I have an inkling that Hailee Steinfeld from True Grit may thwart Adams and Leo's bid for the latter award.

Everyone knew it would be a wrong move to laugh at Mickey's sweat patches.

4th February 2011

James Cameron lends his name to another 3D spectacular as a producer on Sanctum. The film is a cave-diving drama, based on real events, that seems designed to once again show off the merits of Cameron's 3D film-making technology. Worth a watch for some nice camerawork and a rare experience of 3D done properly I imagine. If that sounds like your scene, then take the plunge this Friday.

 Nicole Kidman is in the running for the Best Leading Actress Oscar for John Cameron Mitchell's Rabbit Hole. The film, adapted from a play (by David Lindsay-Abaire), is an exploration how a married couple's lives diverge after the tragic death of their young son. Co-starring Aaron Eckhart, it is an unconventional look at grief that combines poignancy, pain and even humour as the couple deal with their tragedy in very different ways. It presents itself as a very different film, for filmgoers tired of the harrowing sentimental nature of similar titles.
He had forgotten the potter's wheel, she was angry.

A reimagining of the 1947 film Brighton Rock stars Sam Riley as Pinkie, the character first played by Richard Attenbrough in John Boulting's original. Re-set in the 1960s by director Rowan Joffe, it benefits from impressive cinematography and lighting and also stars Dame Helen Mirren, John Hurt and Andy Serkis.


11th February 2011

Much-anticipated Coen Brothers Western True Grit is set to strongly compete at the Academy Awards with 10 nominations. Adapted from the original Charles Portis novel as opposed to the 1969 Henry Hathaway film, the Coens are reunited with Jeff Bridges as he plays iconic U.S. Marshal 'Rooster' Cogburn. Cinematic debutant Hailee Steinfeld plays the role of Mattie Ross, a girl determined to track down her father's killer (Josh Brolin). Enlisting the help of Cogburn and Texas Ranger LaBeouf (Matt Damon), she sets out to capture the murderer. Fans have always been keen to see the Coens direct a period Western, especially after the success of No Country For Old Men. Expect complete atmospheric immersion and a compelling story.


February's many adaptations include Mark Romanek-helmed Never Let Me Go (original novel by Kazuo Ishiguro). Set in a dystopian Britain, where cloning is rife and used for somewhat sinister purposes, it follows the lives of Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightly), from childhood, to adulthood, to the 'donor' stage of their seemingly doomed lives. Along the way, there is love, pain and revelations about the nature of their existance. A high-concept, ambitious story with a fine cast, that could be something special under the direction of the man who suceeded in making Robin Williams scary in One Hour Photo.


 Undoubtedly the strangest release of the month is The Beaver, Jodie Foster's film about a businessman who suffers from depression and begins using a beaver hand-puppet as his means of communication. Mel Gibson plays the lead, with Foster in a supporting role in her third directorial effort. As Jim Carrey and Steve Carell were both on board at various stages of development, Gibson's performance will certainly be a matter of interest. Expect a heartwarming angle amongst the oddball scenes.


14th February 2011

'Cornetto Trilogy' duo Simon Pegg and Nick Frost are back with Paul, a comedy about two British sci-fi geeks who encounter the eponymous wise-cracking alien (Seth Rogen) when they go on a road trip through New Mexico. No sign of Edgar Wright on this one, as Superbad director Greg Mottola takes the helm. A very strong comic contingent includes Kristen Wiig, Bill Hader and Joe Lo Truglio; Jason Bateman and Sigourney Weaver are also involved. Its success probably hinges mainly on the dynamic between this very American comedy film and its British stars.


"KEVIN!"

 23rd February 2011

Comparisons with the Twilight saga come very easily when considering D.J. Caruso's adaptation of I Am Number Four. Mysterious young man with mysterious abilities arrives in town and meets girl who doesn't feel like she belongs. They fall in love, yada yada yada. D.J. Caruso comes off two consecutive Shia LaBeouf averagefests to direct, Alex Pettyfer (from disappointing Horowitz adaptation, Stormbreaker) plays the lead, Dianna Agron (Glee) is the love interest and Timothy Olyphant (Die Hard 4.0 and *sigh* Hitman) fills the role of Pettyfer's guardian. Could be decent, probably won't be.


25th February 2011

Ivan Reitman is the man who directed Ghostbusters (I, II and next year III) and Stripes. He also helmed My Super Ex-Girlfriend, Twins (and Junior) and Kindergarten Cop. Based on this history, it is difficult to know what to expect from his romantic comedy No Strings Attached. Looking to the cast, Ashton Kutcher and Natalie Portman are the couple who's physical relationship inevitably evolves into something more meaningful. Putting aside my own general distate for Kutcher, this comes across as an intentionally awkward rom-com with an experienced director that will no doubt be the backdrop for countless cinema dates in late February.   
"I'm such a big fan. I thought you were amazing in Star Wars!"


If You Only See Three...

The Fighter

✔ True Grit

✔ Paul (for a bit of light relief after all that intensity and action)

30 Jan 2011

The King's Speech - 2010, Dir: Tom Hooper

   No matter the standard of his performance, nor the recognition he receives for his roles, Colin Firth continues to struggle to shed the monkey from his back. Said ape comes in the form of the charming Mr Fitzwilliam Darcy. For many, Firth is the definition of the stoic Pride and Prejudice swoon-merchant. The Englishman's role as Helen Fielding's modern caricature in the Bridget Jones films has only cemented this association.

   Firth is an odds-on Oscar favourite for his portrayal of King George VI, however his remarkable performance is not a solitary one in Tom Hooper's film. Bolstered by a stellar British line-up that includes Geoffrey Rush, Sir Derek Jacobi, Guy Pearce, Michael Gambon and Timothy Spall, it centres on Firth's character but certainly doesn't lack quality in its supporting cast. Contrary to IMDb's character page, Helena Bonham-Carter plays Elizabeth Bowes-Lyon (a.k.a. the Queen Mother) and not Princess Elizabeth (a.k.a. the current monarch), who is played by young Freya Wilson.  

   Historically this film is set between the years 1925 and 1939, from the opening attempted speech at Wembley Stadium to his first wartime speech as King George VI in September 1939. Along this timeline, King George V (Gambon) passes away, King Edward VIII (Pearce) abdicates to marry an American and the downtrodden Prince wrestles with his severe speech impediment while his life undergoes a period of significant change. 

   Firth's performance is well-advertised, and it must be said that even the highest expectations are well and truly met. As Firth's Prince Albert valiantly struggles to form his sentences, the viewer is both immensely endeared to the character and consumed by the tension, silently willing the next words to come from his month. Every silence is painful, as the prince displays immense personal bravery in a family that has little sympathy for his perceived 'weakness'. There is an intimacy to Hooper's camerawork that succeeds in further amplifying this effect.


Perhaps appearing on 'Loose Women' was a poor choice.

   Encouraged by the patient optimism of his wife (Bonham-Carter), the prince's efforts to cure his stutter lead to an atypically informal relationship with speech therapist Lionel Logue. Geoffrey Rush is supremely charismatic as the man hired by royal appointment who demands to forego royal protocol during their sessions. The interplay between Rush and Firth is integral to the humour, as the common Australian (do not expect a thick Aussie accent) dares familiarity with the relatively stiff royal.

    Audiences are perhaps easily drawn into stories of struggle against adversity and eventual triumph of the will. The King's Speech has these two aspects in abundance, yet something else seems to set it apart. Firth's remarkable performance, rich in depth and subtlety, is a more than legitimate reason to fall in love with Hooper's film; however, its universal appeal lies in the connection between a King and his people. A reluctant monarch, who is shown to both rely on the help of his people and inspire them in a time of desperation, proves to be a very worthy hero.

Verdict: 9/10

27 Jan 2011

Rollerball - 1975, Dir: Norman Jewison

   A film that has been described as an 'Orwellian sports movie' is an interesting proposition. Featuring a premise that stemmed from William Harrison's 'Roller Ball Murder' (1975) short story, it depicts a futuristic society in which nations have fallen away in the wake of corporate power. Direction came from Norman Jewison, a Canadian whos credits prior to this included The Thomas Crown Affair (1968) and musicals Fiddler on the Roof (1971) and Jesus Christ Superstar (1973).

   To a viewer watching at a time in which this corporate stranglehold has seemingly become a reality, it might be argued that Rollerball holds more significance than ever. James Caan leads the cast as the cryptically named Jonathan E. Jonathan is a member of the Houston team and generally considered as the top player in the world. Caan is very much the biggest name actor in Jewison's film, just a year after paying an expensive toll as Sonny Corleone in The Godfather: Part II (1974).

   The main conceivable reason why this film earned a 2002 remake is its significantly dated appearance to the contemporary film viewer. There is a typical '70s blandness in the 'futuristic' sets and we see obselete technology at every turn. Even simple things like the use of roller boots instead of rollerblades in the game itself are very representative of the film's vintage. While these aspects will always be somewhat detrimental to the experience of a film such as this, it is important to consider a film so thematically rich on a much broader level. 

   The 'sport' of Rollerball is, in a word, ludicrous. Played on what is essentially a velodrome, two teams on roller boots and motorcycles attempt to score points by getting a ball into a scoring target on the surrounding wall. It is a physical sport, played at speed, and this naturally creates many opportunities for spectacular thrills and spills. The film is structured around three of Houston's matches: the opening quarter-final scene, the semi-final in the middle and the climactic final showdown.

   Urged to retire by the corporate Powers That Be, Jonathan's determination to continue his sporting career causes some rather drastic rule reductions in the sport. The subsequent increase in violence puts the lives of the protagonist and his team-mates in jeopardy. Along the way, a rather weak ex-wife storyline is presented and Jonathan also embarks on a quest for information on the mysterious corporations and their decision-making processes. The latter strand culminates in a laughable scene in which Caan is encouraged to ask a 'supercomputer' (that is essentially a talking water cooler) for answers. 

Whip It + Testosterone + Silliness = Rollerball?

   The lead actor's performance could be generously described as off-beat. His line delivery (in scenes in which he is not wearing roller boots) largely consists of mumbling and Caan's portrayal of Jonathan E does not conform to any traditional 'sports star' archetype. There is a reluctant nature to the character, a trait that Caan perhaps hoped would be refreshing in a leading sportsman, but only results in producing a very strange performance. 

   Personally, I feel that fans of this cult film overplay the deepness of its themes; namely those of corporate dominance in a dystopian society and the power of the individual. I feel it possesses interesting ideas about violence in society and the nature of sports celebrities, but as a film fan I see very little conviction in the execution of these ideas on screen. Putting aside the dated aesthetic and Caan's performance, Rollerball is an ambitious 70s sci-fi which, while watchable enough, stumbles a little to maintain focus on its central plot and as a result does not fulfil its greater potential. 

Verdict: 5/10

24 Jan 2011

Misc: 8 Misinterpreted Movie Titles

1. Trainspotting

Renton wishes he hadn't spotted a train.

   Mark Renton (Ewan McGregor), a keen locomotive enthusiast, spends most of his time with his like-minded friends Spud (Ewen Bremner) and Sick Boy (Jonny Lee Miller). After a tragic turn of events and on the insistence of his family and disapproving friend Begbie (Robert Carlyle), he finally decides to give up recording train numbers and move to London for work. When he arrives and sees the vast network of underground railways, Renton soon finds out that he can't leave his trainspotting past behind that easily...


Jake and Joey try to bore the bull to sleep with nonchalance
2. Raging Bull

   Jake LaMotta (Robert De Niro) and his brother Joey (Joe Pesci) go on the hunt when an escaped bull terrorises their local neighbourhood in the Bronx. The pressure and expectation takes its toll on Jake, who starts to bring his bull-fighting aggression home with him. We see the collapse of his life as Jake alienates himself from his family and his brother and is left to face the bull, alone...


The 5-for-1 deal on black suits had helped save a bit of money.
3. Reservoir Dogs

   When their local reservoir is drained and left as wasteland. Five local businessmen decide buy the land in order to open a greyhound track. To get the money for the plot and construction, they perform a daring heist. The robbery goes badly wrong and the group escape to their mutually owned warehouse. While deciding what to do, they start to suspect that one of them is a police informant...





Clint hadn't realised that 'Jean'  was also a French man's name.

4. Million Dollar Baby
   A multi-millionaire boxing promoter (Clint Eastwood) invests $1 million in developing the most dominant female boxer in history, taking an orphaned baby from care and raising her as his own. Maggie's (Hilary Swank) world is turned upside down when a former boxer, Scrap (Morgan Freeman), reveals to her the truth about her adoption. Questions of morality, life and love are raised as Maggie tries to trace her mysterious past...


 5. Twelve Monkeys

Battered, bruised and out of bananas.
   Zany animal comedy starring Bruce Willis. James Cole, a mental patient, is sent back in time to kidnap 12 infant chimps that go on to become supersoldiers in the future under a military dictatorship. His mission is to keep the chimps safe until the future dictator is found and arrested. Cole soon learns that he's got more than he bargained for...   



Daniel Plainview: Moustache afficionado and barber.

6. There Will Be Blood

   Heartwarming tale of a barbershop owner (Daniel Day-Lewis) who, in an effort to prepare his son (Dillon Freasier) for carrying on the family business, begins to teach him the art of shaving with a cut-throat razor. When his son tells him he instead wants to go to study law at university, a stubborn man learns a valuable lesson about fatherhood... 




Shirtless at armageddon, but at least he still had that hat.
7. Apocalypse Now

   Starring Martin Sheen, Robert Duvall and Marlon Brando. When signs begin to appear that the world is coming to an end during the peak of the Vietnam War, US soldiers and Viet Cong begin to understand their common humanity and struggle together to survive the catastrophic natural events. Francis Ford Coppola directs as two contrasting forces learn there is more to being alive than conflict...

8. M

   Peter Lorre plays the title role in this origin story that follows the upbringing of 007's famous boss in 1930s Germany. Falsely accused of heinous crimes on innocent children, M goes on the run from the authorities and incensed public in Fritz Lang's heart-pounding thriller. Lorre is exceptional as the man on the run. A morality tale about justice and public hysteria, and a must-see for Bond fans...

(Left: Seagulls were a nuisance, but this was utterly ridiculous)





Honourable Mentions:
  • Sliding Doors, a Star Trek fan film.
  • Heat, Michael Mann's star-studded, yet incredibly dull educational science video.
  • The Kids Are All Right, in which two dwarves fall in love, and become parents to normal sized children.

21 Jan 2011

The Basketball Diaries - 1995, Dir: Scott Kalvert.

   Prior to directing this adaptation of Jim Carroll's autobiographical book, Scott Kalvert had only directed two music documentaries and Mark Wahlberg's work-out video. Despite this distinct lack of experience, the result of Kalvert's feature film debut is seen as an important marker on the careers of two young actors of the time. Often seen as instrumental in boosting the early careers of both Leonardo DiCaprio and Mark Wahlberg, The Basketball Diaries was fairly new territory for both the director and his young leading men.

   Carroll's story is one of a group of four young Catholic school boys, members of the school's gifted basketball team. We see the group's gradual descent into the vice-like grip of hard drug addiction on the streets of New York City. It is a story of that familiar, turbulent time the life of young men, with defiance against authority and teenage sexual angst the orders of the day. 

   The film commences with the boys losing a friend to leukemia, an event that seems to be the catalyst for what unfolds from then on. Jim (Leonardo DiCaprio) takes the news the hardest and subsequently it is he that indulges in the hedonism to the greatest degree; actions that have a crushing effect on both his home life and school basketball career. Supporting DiCaprio's Jim are Mickey (Mark Wahlberg), Pedro (James Madio) and Neutron (Patrick McGaw). The group's tight cohesion quickly begins to loosen as the drugs and petty crime begins to dominate their lives. While McGaw's character steps back from the brink just in time, Mickey, Pedro and Jim's increasing addictions start to claw at the seams of their lives, with deadly consequences. 


   DiCaprio shines as the thoughtful young man who's passion for writing is fractured by the numbness of heroin. From the angsty scenes at home with his worried mother (Lorraine Bracco) to the raw agony of 'cold turkey', DiCaprio's range even at this early stage in his career is clear to see. Wahlberg's performance also stands out, as the brash, muscle-bound Mickey. Sensitive about his family, but desperate to retain a 'tough guy' facade, he falls just as deep as Jim into the seedy underworld. In the next two years, DiCaprio would go on to star in Romeo and Juliet (1996) and Titanic (1997), catapulting him into the Hollywood stratusphere. Wahlberg would have his big push to true stardom in the post-millennium period, but his roles in this and 1997's Boogie Nights were a large part of his rise to cinematic fame. 

   Kalvert's direction leaves the viewer wondering why the Brooklyn native only went on to make one more film after this (Deuces Wild in 2002). Clearly influenced by his work on musical films, dream sequences (including one much analysed in the wake of the Columbine massacre) and more stylistically charged scenes punctuate the narrative throughout. These kinds of technique are easily overused, but Kalvert's artistic ventures contribute to the drug-addled mania embarked upon by the youths. 

   An angsty, urban tale of talent wasted, young lives embroiled in crime and the painful path to redemption. Scott Kalvert produces strong performances from his two young stars and adds an artistic slant to a narrative bereft of much but bleakness. While there are a variety of cases of character underdevelopment, and less than convincing performances in some supporting roles, The Basketball Diaries is a thoroughly watchable piece of 90s cinema.

Verdict: 6.5/10  

My Name Is Joe - 1998, Dir: Ken Loach.

   Ken Loach is reknowned as a director who has panned the grimmest and bleakest waters to find some of the most memorable nuggets of cinematic gold produced in the British Isles. I can only apologise for the melodrama of this analogy, however appropriately it fits. In situations like the desolute ruination of Greenock in Sweet Sixteen (2002), and the working-class drabness of Manchester in the likes of Ladybird, Ladybird (1994), Loach frames stories of humanity in grey tableaux, bringing life to seemingly dead spaces in society.

   My Name Is Joe, in typical Loachian style, exposes the flaws of our protagonist (Peter Mullan) right from the outset. A jobless, reformed alcoholic, Joe's weakness for drinking is the yoke he bears throughout. It is the tightrope he walks that imbues him with a kind of fragility as he tries to do some good in his local Glaswegian community. An outing with the football team he organises, a ragtag group of crooked but likeable locals, leads him to meet Sarah (Louise Goodall). Naturally the two become close, and this relationship seems to be precisely what the doctor ordered for Joe, as we get further glimpses of the harrowing alcoholism of his past. 

   While the director is gifted at turning his camera on the lower echelons of city communities and finding warmth and hope, he does not neglect the more sinister elements of Glasgow's city streets. In local crime boss McGowan (David Hayman) he provides the villain of the piece, a man of few words yet the personification of arrogance. Joe and Sarah's mutual interest in a pair of local young parents, who have fallen into debt to McGowan, soon begins to come between their relationship and Joe is left to ultimately choose between his new love and the fate of the struggling, naïve couple. 

   Peter Mullan's performance earned him the Best Actor award at Cannes 1998, and it is easy to see why. Joe Kavanagh is a man who walks the same streets where the ghosts of his former addictions still linger. Mullan plays a man still not free of his desperation, yet who cannot contain his excitement at the prospect of a second chance at life. He has companionship in fellow recovering drinker, Shanks (Gary Lewis), and a real opportunity to find romance in his life with Sarah. What holds him back is his inherently masculine desire to fix all the wrongs that lie before him. This, tragically, only leads to the good things he has forged in his own life falling into jeopardy.  

   This film is almost the archetypal Ken Loach social realist drama. Loach has gone on to use a variety of the same elements in Manchester-based Looking For Eric (2009), albeit with Steve Evets in the lead role and Eric Cantona providing a supremely original twist. As usual, the director has employed a cast of mostly unestablished actors and non-actors from the surrounding area; and once again he has not been let down. This authenticity is what gives Loach's films a distinctive veneer; and while this film is arguably lighter in tone than some of his other work, the hard Glaswegian setting is no laughing matter. While there is comedy and romance in My Name Is Joe, it is still steeped in social realism. As the Bard of Avon is often quoted, the course of true love never did run smooth.

Verdict: 7.5/10