Heartbreaker

This is another addition to the growing canon of Hollywood flavoured French romantic comedies. And as my girlfriend consumes rom-coms voraciously and often with scant regard to quality, long may this trend continue. I enjoyed Priceless, the last film in the genre I have reviewed, and in the familiar setting of Monaco (both films take place in the adult fantasy land) Heartbreaker has, at its heart, two leads that heroically carry the film through the ridiculous turns in plot. This is so often missing in many Hollywood rom-coms, yet it is absolutely essential for the genre to work. 

Black Death

For a lot of this film I was caught up in it as the story took some interesting and unexpected turns. The theme of religion and mass hysteria in the face of an inescapable plague was promising, especially when set in a time of superstition and witch burning. But then, it just never amounted to anything. Ideas lied splayed and disconnected like the limbs of the fallen in Black Death. I'm sure it will find a cult following as a sort of 70's horror throwback (Deliverance in the 1700's), although for me, it was a disappointing culmination of promising ideas. 

Kick Ass

As the film started and the Universal logo appeared I was gripped by an intense impatience for the film to be mine on the screen. I also felt  a less helpful anxiety about that never happening. I blame this on watching two old school cinematic movies almost back to back. This, like Robin Hood, is cinema on a big canvas. The screen was filled with the frame, which is becoming almost exclusive to films with huge budgets nowadays, but was the norm for the 80's films I grew up watching, such as Die Hard or Ghostbusters. 


Kick Ass is completely different to all other comic book movies. The film (and graphic novels by Mark Millar) is undeniably rooted more in truth and personal experience than most superhero films. I've never seen Batman have a solitary cry in front of a mirror after a particularly savage beating. I've also never seen Clark Kent pretend he is gay to fire into Lois Lane. Kick Ass is partly about how bad an idea it would be if you actually became a masked vigilante. Especially if you become an efficient crime fighter, as you turn into a mass murdering psychopath. (The film does not shy away from the brutality of killing eight or so foes, no matter how imaginatively they are dispatched). It took me a while to figure out why the violence was so surprising, and then I realised that most superheroes don't kill, they just injure. Hit Girl, the best superhero ever created, is a rampaging, lethal, 13 year old. Even more shockingly according to the press uproar, she has 'cunt' in her vocabulary. .


Matthew Vaughn's film has everything that superhero films should not have: a sense of humour; changes in tone; real life tragedy; and alter ego's that fake being homosexual to spread fake tan over a girl they fancy. This is a brilliant, original and daring film, mostly because of the creation of Hit Girl. 

Robin Hood

This is Ridley Scott in less showy mode. Style yields to story: this is of a most masculine variety of hollywood blockbuster, with no time to lament in slow motion mid-battle. There is a dignified and heroic performance from Russell Crowe which reminded me of a good, old fashioned, Clint Eastwood. This is how men should be. Lesser men are either French, liars or effeminate weaklings. 


Scott makes directing a film of this scale look breathlessly easy. The two hours soar by, and its only in the last half hour you realise that it becomes a more traditional Robin Hood film. Co-incidentally, it is the poorest section of the film - where a strong Maid Marian takes feminism and realism for a ride and crashes into historical common sense. It has a 21st century sensibility, with nods to contemporary events such as a war in the east (Robin openly criticises the massacre of muslims in the crusades) and a bankrupt country. 


There is no doubt this was made as a prequel with an eye to a lucrative franchise. However, some bold decisions were made (such as the casting of relatively old leading actors in Cate Blanchett and Russell Crowe) that makes this forgivable. I'm even looking forward to the next one, so we'll see how much money it makes to ensure the sequel. Presumably directed by Michael Bay and starring a Megan Fox as Maid Marian. 

8 1/2

Federico Fellini has a lot to answer for the cult of the director. He successfully brought the troubled artist image from other mediums to cinema, and its debatable how productive this is in an art form that is dependent on collaboration. Guido, the fictional director in 8 1/2 is just to stylish. The bars and hotels are to beautiful. No wonder this inspired many directors. The life is great! But then this reminds me of what Jean-Pierre Jeunet asked at the Glasgow Film Festival: Do you want to be a film director or a film maker?

Effortlessly cool, still, but a little hard work to watch. The camerawork is always smooth and the lighting beautiful. No idea what its about, and I wonder how much of this is an elaborate exercise in style, as well as commentary on the debate of 'what is cinema?' A question Bernando Bertolucci said should be re-addressed when talking about The Dreamers in 2004.

I Love you Phillip Morris

I am guilty of an inconsistent theory that any film with a voiceover is cheating. Its to easy to get into a character's head if you simply say what they're thinking. I've never written a film with a voiceover. The inconsistency is that some of my favourite films have voiceovers, such as Fight Club, American Beauty and Goodfellas. 


This film starts in the clouds with Jim Carrey's voice describing the emotional ups and downs and revelations of Steven Russell, the real life character he plays. I thought the film was hilarious, the voiceover worked, and that some scenes were a lot more graphic than I imagined A list hollywood stars would agree to. Its a very brave film, in that it resists becoming issue led and simply exists as a gay movie, with no excuses or qualifications. Even 5 years ago (pre Brokeback Mountain) I can't imagine this film existing. You would think this is a testament to a modern American society, before the film reveals at the end that Steven Russell has been sentenced to life (for fraud) in solitary confinement. 

Watchmen

From this adaptation of Alan Moore's graphic novel Watchmen, I can only guess that the writer is a very, very, bitter hippy. The story is a paen to pre-70's America, the death of the 60's and, as one character points out, the American dream. 


Zack Snyder's clever use of 60's music are the sounds that you imagine these aged heroes listening to as they break the bones of infinite bad guys. Its interesting to hear the most familiar songs from Jimi Hendrix, Bob Dylan and Leonard Cohen played in the most unfamiliar of territories: the comic book movie. 


It is a paradox of a film, at once cynical and idealistic, and this is best illustrated in  having one of the hero's themselves assassinate JFK. The film can come across as contrived, yet earnestly enthusiastic. With all the references to parody and humanity being a practical joke, Watchmen is a strange mix of being tongue in cheek and unapologetically American. Sometimes it comes over ironic, and then the next scene is set in Mars, testing the limits of my suspended disbelief. In all the confusion though its never more than greatly entertaining, and is one of the most creative and interesting comic book movie's i've seen. 

The Hurt Locker

The Hurt Locker might be the best film on the Iraq war, but on the subject matter it has been beaten by TV. And it pains me to say that. Throughout watching this great film, I couldn't help compare it with HBO's Generation Kill. The Hurt Locker comes off looking like a poor imitation. Kathryn Bigelow's camera zooms in and out way to much, desperate it seems to emulate the documentary style of HBO's mini series. Content wise, its not as modern or as realistic in its portrayal of soldiers as Generation Kill. There are a couple of moments in the film that I found hard to believe. In Generation Kill its the familiar story of officers leading the troops to their unnecessary deaths. In The Hurt Locker, its the other way around. What I found revelatory about Generation Kill was that the soldiers had no qualms about killing (as long as it was a legitimate target). They were depressed when they didn't have a chance to kill. The Hurt Locker almost makes a similar point with the main character, but it just doesn't have the same impact. I'll stop with the comparisons now, its becoming unfair.


Despite the documentary style and art house release, Bigelow's film betrays its modern sensibilities with some predictable, cliche, scenes. Such as the obligatory shower scene where the character wears all their clothes to reveal their inner turmoil. (re. Casino Royale). Or leaving a room just to hear someone call on you and ask a character revealing question.


What the film lacks in originality, it makes up for with its energy, quickness, and surprisingly, humour. Its a good film, and a great film if you haven't seen Generation Kill.

Youth in Revolt

Another late entry, I seen this a week ago. I think most teenagers have a film that embodies a mood, tone and humour that they can identify with. That film becomes their bible for a little while. I loved Donnie Darko when I was 16. Youth in Revolt (based on a book that achieved bible status) is aiming for a place in that canon. Michael Cera makes a good everyman. His dialogue, and that of every other teenager, is in the tradition of the implausibly articulate teens that feature in Heathers, Clueless, The Breakfast Club, 10 Things I Hate About You, and so on. Amidst the sophistication, there's a surreal interpretation of the crazy events you expect in Superbad and Porky's. Sailor's turning up at his door, threatening to break his Mum's boyfriends legs. A car being dismantled and re-built perfectly in their living room. 


Michael Cera plays Nick Twisp and his vilanious alter ego Francois Dillinger. They take the split personality so far, for most of the film I thought his character was genuinely schizophrenic. 


I liked the romance between the two leads. Cera will do anything she says, and she loves to play with him. But, they both unite behind teenage escapist dreams that made me think of An Education. Carey Mulligan's character and Portia Doubleday (who plays Sheeni Saunders) both look upon 60's Paris as a utopia. I like the fact that the intangible ideas of escape in both films take the very definite shape of Paris. In the 60's. 


Youth in Revolt has a liberating sense of freedom. It made me want to be more subversive and do something.. mental. Then I watched Field of Dreams, and Kevin Costner's character is a grown up Nick Twisp, and he fully commits to something mental. 


The film also reinforced my love for short feature films. Miguel Arteta's film just runs out of steam at 90 mins. 

Micmacs

I seen this film when it was the opening gala of the Glasgow Film Festival on the 18th Feb. Jean Pierre Jeunet was there in person, and with all the glamour (and free goodie bag) at every sold out seat, there was a very excitable atmosphere. 


We weren't let down, especially with Jean Pierre Jeunet's enthusiasm and warmth, and the exhilarating first 10 minutes of Micmacs a Tire-larigot. It could have made for an immense short film in its own right. I haven't seen Up, but surely this could compete with its infamous opening sequence. The film was aptly summed up by Jeunet as a live action Pixar/Disney film, and I don't think I can do better than that. In an otherwise kid's orientated film, Jeunet injects a sudden burst of adult sexuality in a lap dance scene. He does this in almost all of his films. Just as you think its safe for the family, the film takes a seedy, but strangely innocent, turn into a red light district. It must come from his house in Montmartre, Paris's cultural sector. 


In his interview after the film, and in subsequent interviews, Jeunet asks budding filmmakers if they want to 'be a film director' or 'make films'. There is a crucial difference, and it certainly made me question the reasons behind my commitment. I concluded the latter, but cursed my laziness in cultivating my creativity. Enough soul searching. The best thing I took from his talk was his objective to 'have an idea in every scene' in the same way that a Pixar and Disney film has. This really made me think about the effort he puts into his films. He's only made 3 films in the last decade, and this must be because of the detail and effort he puts in every scene. Putting an idea across and telling a story effectively to an audience is enough for most filmmakers. Jeunet wants more. He wants all the mise-en-scene, theme, character and plot functioning. Then he wants an idea on top of that. 


I felt inspired at the end of the film and talk, and will try and take his enthusiasm and dedication into the next film. 

Twilight

Twilight does its best to forget about its fantastical premise of the 'cold one's' living amongst us, and focuses on what it really is: an old fashioned love story. That the two teenage leads can't touch each other (well, at least not to much) makes for an effective allegory of an American High School relationship - where eating your girlfriend takes the place of shagging her. She wants to be a vampire too, but he won't corrupt her. They are always in close proximity to each other, held apart and together with the threat of forbidden love. The first hour or so is a great period of sexual tension between the couple. Its at its strongest and most engrossing best - then the film suddenly (and unconvincingly) remembers its meant to be a fantasy film. This leads to a tiring and familiar second half that feels half hearted compared to the first hour. I suspect the second half was made for the men in the audience, but this is unmistakably a film for girls. 


Last week I bought a software plug-in that should allow me to re-create the bleached out look of the film. I thought the look suited the bleakness of the surroundings, especially when they made the vampires paler than the background. Some of the sweeping camera moves conveyed a sense of other-worldliness - these were particularly effective when cut with close-ups of the two standing together. The actors doing little, the camera and editing style conveying the characters exhilaration. 

A Prophet

In many ways A Prophet is a classically American film. It a rags to riches tale; a perverted version of the American Dream, or more aptly, a French version of the American Dream. 


At the end of The Godfather, the hero of the piece is in a morally terminal decline, and at the end of Scarface the hero's period at the top is ended in brutal fashion. Whereas in A Prophet, you can't help but feel pride in just how far the hero, your boy, has climbed in such adversity. I've never rooted for, and invested in, an anti-hero in the way that I did when i was immersed in this film. In some respects, and without revealing plot, Malik comes away unscathed from his 6 years in prison. 


I was recently at a story writing seminar as part of the Glasgow Film Festival, and the best thing I got from it is that character is everything and your film sprouts from strong character. Jacques Audiard's film has an unforgettable character in the soil of his film, and it makes for one of the best films of recent years simply for how it gripped and occupied me for its two and a half hours. 


I know it was shot handheld, in social realist mode, like so many other european films, but it completely transcended that, and showed what cinema is really capable of in terms of hitting you intellectually and emotionally. I can't wait to see it again and find out how Audiard achieved that. Its something that I want all my films to aspire to. Then again, I would love to have a similar reaction with a non-violent film. Its a rare thing. 

Where the Wild Things Are

Where the Wild Things Are resembles the sort of trendy toy that is bought more for the parent than the child. I'm thinking of the beautifully crafted toy boxes with tasteful red soldiers that kids just ignore: its what's inside that counts. This is definitely a kid's film made for adults. Its not fun, there's not many laughs, but it is a great representation of the loneliness of childhood. I remember Maurice Sendak's book as if it was a dream, (it was my mum that reminded me I actually had it), and it had a deep effect on me as an introverted boy. Spike Jonze's film is a sad, nostalgic, piece that had me reflecting on the lonely moments of early youth. 


However, when the film focuses on the injustice of childhood (no food for misbehaving) it can't help but reflect Truffuat's The 500 Blows, the definitive cinematic statement on the subject. All that Where the Wild Things Are adds to it is that injustices can happen to advantaged American boys as well as French disadvantaged boys. Whatever else it tries to reveal just comes off like a bad episode of Big Brother; all character flaws and joylessness from the protagonists. The Wild Things come to represent psychological conditions, and all but happiness is included. I think its because of this that I found the film so disappointing. Max's world is full of darkness and the kind of aggression that is unique to young boys, but with Jonze, it also has the seriousness unique to pretentious young men. He steadfastly keeps to his own hand held sun set look, rather than succumb to a more typical kids film style, and for that it has to be congratulated as a brave film. Otherwise, it came up frustratingly lacking the substance which would have made it a classic.

3:10 to Yuma

My aspirations of reviewing every film i've seen this year are starting to crumble. Before the pressure takes its toll, this is a catch up of the month of January. 


First up is 3:10 to Yuma, the perfect antidote to the excesses of giggly girliness seen in Sex and the City. The Western genre can be split into two types of films. There is the Western: a psychological drama where the desolate landscape reveals character as much as the characters do, and the Cowboy: which is entertaining and relentlessly violent. James Mangold divides his film between the two, and to great effect. The beginning is definitely of the former, and the last half is firmly rooted in the latter. Its very much a buddy movie, a mix of Pat Garret and Billy the Kid and Butch Cassidy and the Sundance Kid. Before the modern trend of Bromance, there was the buddy movie.


Before I go on, I read a review by Nick Hornby of Blockbuster, written by Tom Shone, which has the thesis that Spielberg, Lucas et al elevated cinema with their invention of the cinematic 'blockbuster'. He's not thinking of Transformers though, and believes that the likes of Jaws combined art house character studies with the mainstream. 3:10 to Yuma is in this mould. It may become slightly silly towards the end, but it still maintains a huge level of characterisation that makes this acceptable. (Worth noting, however, that my sister watched this film and just did not get the change in dynamic between Crowe and Bale. Maybe its just cause she's a girl.) 


I firmly believe that these are the types of films that audiences want to be engaged with, and while they may not take the medium forward, they are undeniably well crafted, intelligent, pictures that i'd like to make. 

Sex and the City

I've been skipping a lot of reviews for the last month or so. Sherlock Holmes has been missed. So has Good Night and Good Luck, Zack and Miri Make a Porno and a few others. I'm stopping the slide with Sex and the City, the first film I’ve seen in 2010. 

I got to thinking... That for all the television series feminist pretences, the film is comfortable highlighting -but not in any way critical of- socially acceptable sexism. Carrie is about to get married at 40, so Vogue runs an article about how profound it is that a woman of that age actually can marry. Any older is instantly dismissed by the Vogue editor. When Samantha gains a barely detectable bit of weight, (I thought all the gasping was over a boob job), she is derided over it by all her friends. 

In many ways it’s a strange film. Amongst Carrie's break - up angst, Charlotte shits herself. A 'token' black woman materialises as if out of an 80's movie (Ghostbusters sprang to mind); her dialogue seems like a middle aged white man's impression of how young black women in New York speak. This is all mixed in with the bouts of soft porn that made it essential viewing for teenage boys. 

Not all women subscribe to the stereotypes on offer, women who are slaves to materialism, designer labels and trendy restaurants. I find it mildly insulting to women, but then again most male orientated cinema treats men as idiots, and I like a lot of those films. It is meant to be fun: a fantasy for women in a male dominated market. We should see more of these - just to an improved standard. Sex and the City 2 is coming soon.

New Year's Day Special - Films of the Decade

This top 5 is based as much on the cinematic experience of watching the film as it is on its filmmaking merits. I know if i've seen an excellent film when I leave the cinema. I walk out and I feel different than when I came in. I feel that my worldview has been altered in an intangible way, and I resist leaving the universe the film created. 


Cinema has the ability to immerse the audience into an intense, revelatory experience of someone's worldview. For a couple of hours the viewer surrenders to an other's way of looking at the world. Having the ability to craft that kind of experience is my ultimate aim in filmmaking. It can happen with the most mainstream of films, with people returning to the cinema just to be in the atmosphere created by the film. Titanic was a huge success partly because of teenage girls going 4 or 5 times. 


When I was researching my top 5 I realised how many films I haven't seen, and not only that, how many films I have on DVD that I still haven't watched. Some notable potential list breakers: The Hurt Locker, Oldboy, Lives of Others and the Assasination of Jesse James by the Coward Robert Ford which should be on the list purely on the merits of its title. 


See and Write Films top 5 films of the decade.


1 - Waltz with Bashir (Ari Folman, 2008)
2 - Happy - Go - Lucky (Mike Leigh, 2008)
3 - The Departed (Martin Scorcese, 2006)
4 - Donnie Darko (Richard Kelly, 2001)
5 - Batman Begins / The Dark Knight (Christopher Nolan, 2006, 2008)


Here are some I desperately wanted to be on the list: Team America: World Police (Trey Parker, Matt Stone 2004), Elephant (Gus Van Sant, 2003) American Splendor (Shari Springer Berman, Robert Pulcini, 2003) City of God (Fernando Meirelles, Katia Lund, 2002)  History of Violence (David Cronenberg, 2005). 


And the best scene of the decade has to be the silent film in Talk to Her ( Pedro Almodovar, 2002), in which a shrunken man declares his love for a woman by climbing into her vagina, never to return.