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Cinema, Reviews

CALVARY (2014) – FILM REVIEW

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CALVARY (2014) – FILM REVIEW

**Contains clips and spoilers**

There are many, many different kinds of films and filmmakers who come from innumerable backgrounds, places and cultures. They have also had a variety of paths to making films such as: film school, television, scriptwriting, novels, plays, stand-up or sketch comedy, being rich or even working in a video-shop. Certain filmmakers have a distinctive visual and thematic style and if using the historical parlance one may call them auteurs. Such a list may include: Hitchcock, Scorcese, Godard, Coppola, DePalma, Spielberg, Kurosawa, Hawks, Lee, Campion, Cronenberg, Kubrik, Coen Brothers, Lean, Lynch, Almodovar, Allen, McQueen, Ramsay, Polanski, Ray, Chaplin, Wilder, and Michael Bay. That last one is a joke by the way.

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These greats would make some of the greatest films of our times – some formalistic and artistic masterpieces others emotional and heartrending character pieces and others comedic. They’ve also made great films which maybe I didn’t enjoy first time round or didn’t understand but later come to love or appreciate. Of course, you’re asking yourself: what has this got to do with John Michael McDonagh’s dramatic film CALVARY (2014) – I’m not sure to be honest. What I would say is that this film has received much critical acclaim according to the posters I saw and I’m sure reviews will be very good, but, on first watch I didn’t enjoy it that much. It’s billed as dark comedic drama but I didn’t find it funny enough or dramatic enough and while it was a great opening the plot wasn’t enough to sustain a feature film.

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Calvary – named after a site immediately outside Jerusalem’s walls where Jesus was crucified – opens brilliantly when Father James Lavelle (acting behemoth Brendan Gleeson’s) is taking confession. He is then threatened by an unknown parishioner and informed he is going to be murdered in just over a week’s time. This sets in motion a potentially interesting “whodunnit” plot with which to structure the story and introduce an ever-increasing set of quirky and troubled rural characters. Gleeson’s Priest is not externally bothered by the threat and even admits to his superior he may know who it is. Thus, any suspense is rendered redundant throughout really.


Over the next week with Judgment Day approaching Father Lavelle comes into contact with a brilliant ensemble cast including: Dylan Moran (Black Books), Aiden Gillen (Game of Thrones), M. Emmet Walsh (Bladerunner, Blood Simple), Chris O’Dowd (IT Crowd, Crimson and the Petal, Bridesmaids), Domnhall Gleeson (Harry Potter, Judge Dredd), Isaach De Bankole (Casino Royale) and the always memorable Pat Shortt (Garage) etc. Each character could potentially be a suspect but there’s no real narrative urgency as, while very well performed, the ‘suspects’ don’t really do very much dramatically. Don’t get me wrong there are some wonderful one-liners in the script and Aiden Gillen’s cynical Doctor impressed me. But even his character was aware of his own redundancy in the piece during a verbally erudite and metatextual joust with Father Lavelle. Throw into the mix Kelly Reilly – as Lavelle’s suicidal daughter – and you get another character on the edge of a nervous breakdown that you don’t really care about.

I really enjoyed John Michael McDonagh’s first film THE GUARD (2011), also starring Gleeson with Don Cheadle and another motley crew of quirky characters. But that had more heart and humour than Calvary which almost collapses under the weight of its’ own pretensions. Perhaps, because I’m not Catholic or Irish I did not get many of the cultural and religious references. However, I certainly got the themes of guilt, death, revenge, existential detachment and I also understood the severity of the historical crimes perpetrated by Catholic Priests against children and Irish citizens. Indeed, the film quite rightly deals with this sensitively giving a voice to the victims of these heinous crimes.  Even the ending — which is superbly staged — left me slightly confused and desiring more of a surprise or narrative reversal.

Ultimately, this was a superbly written and acted piece rather than a fully-fledged satisfactory storytelling experience. The quality of the writer’s ideas, dialogue and themes outweighed the humour, drama and suspense. Good use is made of a terrific cast and beautiful Irish coastal landscapes but overall I felt detached from the characters due to the over-authorial nature of the film. I felt like I was watching a film rather than a proper story and could hear the writer speaking rather than the characters. But, I have been wrong about other great films and filmmakers in the past and have come to appreciate them more on second or third viewings. Calvary could just be one of those films.

Cinema, Reviews

CAPTAIN AMERICA: WINTER SOLDIER (2014) – FILM REVIEW

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CAPTAIN AMERICA: WINTER SOLDIER (2014) – FILM REVIEW

**Contains clips and spoilers**

Literary and filmic characters are aspirational figures; icons to live one’s life vicariously through in order to escape the often mundane drudge of everyday existence. Essentially, I mostly go to the cinema to witness characters doing incredible things which I either cannot do or will never get the opportunity to do.  Some characters I aspire to be more like than others. I’m not a fan of Wolverine or neither am I mad about Superman but can understand why people are.  I like Batman and I loved the Avengers film and perhaps surprisingly my favourite character — along with the Hulk and Iron Man — is good old Captain America AKA – Steve Rogers.  The reason I like him is thus:

1) He doesn’t like bullies.

2) His character never knew when he was beaten.

3) He’s very by the book and organised and likes order. I imagine he would be very good at managing an office.

4) Having said that he will break the rules if the need arises and question authority if the authority needs to be questioned.

5) His shield is made from Vibranium – a seemingly made-up element which sounds really really cool.

6) He’s an anachronism and character tension comes from not fitting into the present.  As I get older I feel the same.

7) Anyone who beats the crap out of movie Nazis is fine by me!

8) Chris Evans is a decent actor as he demonstrated in films like:
Puncture, The Iceman and Captain America: The First Avenger.

9) Captain America’s origins are of working class stock. A little guy come good. He’s not a god or scientist or billionaire or spy. He’s a believable figure to aspire to.

10) He’s living proof drug experimentation can work.

So, divorcing my mind from the overly jingoistic American theme of the costume and political associations with US foreign policy I really looked forward to Captain America: The Winter Soldier.

I loved Iron Man, The Avengers, and Thor and compared to some opinions I read I thought the first Captain America worked well as an origins film. Iron Man 2 and Thor 2 were lacking a bit while Iron Man 3 had some great moments and a witty script. Moreover, Avengers Assemble was an amazing bit of entertainment and Joss Whedon did a great job bringing the team together. Likewise, Captain America: TWS delivers in a way The Avengers did. Although it’s a darker, grounded and more complex film as the screenplay transplants the story of conspiracy thriller Three Days of the Condor (1975) into the Marvel Universe. Also, the CGI is played in a somewhat lower key as the action sequences have a raw, immediate feel to them with proper stunts and hand-to-hand combat rather than feeling green-screened to hell. It felt like the production team had been watching Michael Mann’s Heat and the Bourne trilogy for homework.  And boy did that work!

After a prologue where we meet Steve Roger’s soon-to-be-ally Falcon (Anthony Mackie) the Captain is thrown into a mission to rescue a hijacked SHIELD ship in foreign waters. So far-so-Bond but what happens after gets pretty complicated as we’re thrown into a plot involving dirty cops and agents as SHIELD’s Nick Fury (Samuel L. Jackson) is attacked in one of many great set-piece action chases within the movie. The filmmakers don’t rest there though as Captain America himself becomes under suspicion and goes on the run from SHIELD with the Black Widow (Scarlett Johansson) helping him on the road. They got the script pretty decent too when compared to the awful Man of Steel.  Definitely worth the price of a cinema ticket and then some.

The classic Hollywood movie model is to standardize and differentiate production and Marvel comic-book films follow the same formula. We know what we’re going to get as standards: one-liners, action, chases, explosions, hand-to-hand combat, big noises and crashes interspersed with some quieter moments where exposition and some character is revealed before the next big on-screen bang. Having said that Captain America: Winter Soldier differentiates itself in terms of characterisation, action and plot twists and it is also pretty strong thematically.  It links well the past and present; soldiers attempting to come to terms with post-war issues; Roger’s regret over historical events and a touching Benjamin Buttonesque scene with a character from the first movie. Moreover, there’s also some neat socio-political commentary in their too with references to shadowy NSA operations and Government kill lists.  Of course none of this gets in the way of the rip-roaring action.

The action is unrelenting and explosive as he is aided by the gorgeous but deadly Black Widow and war veteran the Falcon.  You can see the twists coming (even from the trailer to be honest) and you can’t escape some silly dialogue.  Robert Redford adds some class and I really look forward to more in the franchise. You’re going to get a few workmanlike efforts like Iron Man 2 and Thor 2 but this was a blinder. Chris Evans carries the role off perfectly too offering enough grit, humour, muscle and film-star good looks to carry the film brilliantly. And after her amazing performance in weird but wonderful Under The Skin it was good to see Scarlett Johansson kicking butt again. The chemistry between Evans and Johansson adds a fun dimension to the action too.

This isn’t just a great comic-book film it is also a very, very well-crafted big-budget slice of cinema.  Directed with verve by the creative duo of the Russo Brothers and the massive production team, Steve Rogers AKA Captain America finds himself post-Avengers pitted against an impressive foe in the Winter Soldier and a legion of other enemies – some very close to home. Of course it wouldn’t be a Marvel film if they didn’t make you wait until the end to see what’s coming next and all I can say is if quality shown in Captain America: Winter Soldier and Avengers: Assemble are anything to go by then Age of Ultron promises to something very special entertainment wise indeed.

Cinema, Reviews

UNDER THE SKIN (2013) – FILM REVIEW

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UNDER THE SKIN (2013)  – FILM REVIEW

UNDER THE SKIN (2013) - FILM REVIEW - PAUL LAIGHT

**Contains plot + interpretative spoilers**

UNIQUE filmmaking comes along every so often into the Multiplexes. This is cinematic Art of the highest quality, a sheer visual treat and an unnerving and very memorable experience.

NAKED and nameless at the start Scarlett’s character is a literal void or blank; her birth begins with an eye filling the screen backed by ambient, eerie and almost silent noise.  We then find her — against a stark white background — removing the clothes of a seemingly dead woman as she appears to steal her identity.

DEATH hangs over the film she is dropped at a grim rotting house located somewhere in Scotland and provided with a white van with which to seduce and kill unsuspecting men.   Her only contact here is a male “handler” or “pimp” on a motorcycle who cleans and collects her victims after she has led them to their demise.

EROTICISM initially drives the film as an often naked Scarlett becomes the focus of our gaze.  But her murderous actions render all sexual feelings redundant as we become accomplices to her crimes.

RELATIONSHIPS between Scarlett and the men is at the heart of the narrative. She connects with them coldly relying on her looks to hook them in then ends their lives and seemingly passes them onto her handler.

TORMENTED by her actions Scarlett becomes trapped by her mission. The story hinges on how the character becomes affected by her actions.  She slowly connects with her prey and ultimately becomes the hunted having gone absent without leave.

HORROR arrives not from shock tactics but the slow build-up of tension as events occur at a glacial pace. The scene on the beach is one of the most horrific I have seen at the cinema in recent years. Hack cuts and slashing music so prevalent in modern horror is eschewed in favour of strangeness, visual imagination and intense performances.

EERIE and unnerving the score is atmospheric while the dialogue is stripped naked and bare. Nothing is forced. The film is both highly stylised but seems natural simultaneously. You only have to look at Glazer’s work on music videos and adverts to know nothing is by accident.

SCARLETT Johansson is incredible under fantastic direction from Jonathan Glazer. My understanding is many of the scenes were improvised with untrained actors supporting her. She uses her sexuality to great impact but also shows an intensity perhaps not seen in her other performances.

KILLING and murder is shown in an incredibly imaginative way; shot in a dark room where she strips and leads the men to a weird liquid where they drown.  This is very surreal and symbolic. What this symbolises is down to the audience to decide. Like the rest of the film the makers deny us easy explanations refusing to spoon-feed meaning and reason into our Hollywood factory-fattened guts.

INTROSPECTIVE and moody the film really moved me. Scarlett’s character is a tragic figure who gains our eventual sympathy from being used, sexualised and pursued by men. She doesn’t want to be a murderer and desires herself humanity and attempts escape but finds she is unable to get away from an oppressive, pervasive patriarchy. This is reflected by a stunning ending that will haunt me for some time.

NOT quite a non-narrative film this is a surreal treat which while linear owes much to the work of David Lynch and Luis Bunuel. Based on Michael Faber’s novel I understand the lead character is an alien killing men for their flesh but this is totally left out of the movie version.

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I am happy that a British independent film got a proper release. I would hazard a guess Jonathan Glazer’s poetic, visceral and disturbing mood poem has found distribution amongst the popcorn strewn, coke-guzzling reaches of the Odeons and Vues due to the impressive presence of bona fide movie star and sex symbol Scarlett Johansson.

Overall, I wasn’t sure about Under The Skin (2013) after I had seen it. But like all great art it stayed with me and I could not get it out of my mind. And I still can’t. It’s not a super-hero film. It’s not a date movie. It’s not a 3-D CGI sick-fest. It’s pure, pulsing, hypnotic cinema of the highest quality that – IN MY OPINION – is about the exploitation of foreign sex workers brought to this country without hope, humanity or identity.

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Cinema, Reviews

NON-STOP – Film Review

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NON-STOP – Film Review

Having recently been intellectually challenged by heavyweight cinematic offerings such as 12 Years a Slave (2013), The Wolf of Wall Street (2013) and The Lego Movie (2014), I decided to go see Liam Neeson’s latest actioner for a change of pace and mood.  Indeed, Non-Stop (2014) wears its’ B-movie credentials proudly and passes as very serviceable entertainment if you don’t want to have to think too hard for 106 minutes.

**CONTAINS CLIPS & SPOILERS**

The story is an intriguing one.  Bill Marks (Neeson) – identikit tragi-alcoholic-cop with bereaved past – is a US Air Marshal responsible for flight security.  However, this journey is going to be a very bumpy ride as one mysterious passenger has it in for Bill.  The baddie is going to kill someone on the plane every 20 minutes if their demands aren’t met.  This plays out with a great deal of suspense and Neeson fighting against the clock to save lives as death comes-a-knocking.  The claustrophobic nature of the setting really cranks up the tension and there’s a neat little twist as Marks’ himself becomes the main suspect.

The film opens slowly establishing all the players and as it progresses it reminded me of an Agatha Christie mystery with Neeson playing rugged, brutish and ever-more frantic detective.  It’s great fun as the criminal gives Marks the runaround as they kill off passengers in some imaginative ways. Everyone becomes a suspect and the plot deftly keep you guessing with misdirection as your suspicions move from one character to another. It reminded me of another decent B-movie I saw last year Red Riding Hood (2011).    In all honesty the film falls apart slightly at the end with a mildly ridiculous reveal that’s masked during the rip-roaring final set-piece. But overall I enjoyed this unpretentious movie helmed by the very competent genre director Jaume Collet-Serra.

The main asset of Non-Stop is an excellent cast notably one of my favourite actresses – the stunning Julianne Moore.   Moore, Corey Stoll, Linus Roache, Scoot McNairy add some quality in support to the main man: Liam Neeson.   The tough Irishman rises above some  silly dialogue and clichéd characters as he once again proves himself an excellent action hero. Who would have thought the star of historical epics such as Michael Collins (1996), Schindler’s List (1993) would’ve carved out a latter-day career as an ass-kicking tough guy.  But he’s always mixed it up throughout his career appearing in big budget blockbusters and lower budget movies.

Interestingly, Neeson is reportedly have turned down the role of James Bond in the 1990s. Which is a shame because as he demonstrated in massive sleeper hit Taken (2008), really good Euro-thriller Unknown (2011) and Non-Stop (2013) he is a magnetic presence on screen, someone who you root for and also very decent in a punch-up.  While socio-politicists may argue Taken was xenophobic and tapped into a subconscious fear of foreigners – who really cares!  Sometimes you just want to watch a film where a bloke built like a brick shithouse beats the crap out of a load of bad guys! And Neeson does this with aplomb in Non-Stop, but this time it’s wrapped in a murder mystery whodunnit set in the mile-high club.

Cinema, Reviews

INSIDE LLEWYN DAVIS (2013) – Film Review

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INSIDE LLEWYN DAVIS – Film Review

**CONTAINS CLIPS & SPOILERS**

It’s always a good reason to carry on living when you know Joel and Ethan Coen are bringing out a new film. Their sophisticated melding of genre and art movies are always beautifully shot and carefully constructed  with terrific scripts and casts.  They also have an inimitable quirkiness, memorable characters and a fantastic use of music. Even their remakes are generally better than most filmmakers’ “original” offerings.  What I’m saying is that I really wanted to enjoy Inside Llewyn Davis  and do you know what: Inside Llewyn Davis rocked. Well, it melodically swayed to its’ own harmonious beat.

The Coen Bros.  last film was the impressive big budget remake of John Wayne horse-opera True Grit (2010) while Inside Llewyn Davis is a lower-budget affair with more akin to their dark character comedies Barton Fink (1991) and A Serious Man (2009). It centres on eponymous anti-heroic folk-musician Llewyn (Oscar Isaac) as he struggles with both his personal and professional life on a day-to-day basis in 1960s New York.  He’s not a likeable character but is a wonderful musician with an earthy if not wholly commercial talent.  Here the film works as companion piece to Woody Allen’s Sweet and Lowdown (1999) which was also about a talented but far more scummy jazz musician.

The Coen Bros. often place their characters in interesting settings e.g.  the snowy landscapes of Fargo (1996);  or give them jobs not usually seen in movies such as the Barber in The Man Who Wasn’t There (2001) and Gym Instructors in Burn After Reading (2008); or hobbies like the bowling dudes in The Big Lebowski (1998).  Moreover, they are also very fond of period pieces and have featured the 30s, 40s, 50s, 60s etc. within their oeuvre; in fact the only era they may not have covered is the future. Inside Llewyn Davis is a nostalgia-filled journey back in time to the 60s folk and smoke-filled, bohemian, beatnik back bars of Greenwich Village, New York. I don’t know much about this period of Americana but it is a time that is beautifully evoked and stunningly designed; browns and beiges dominating a cool yet also warm wintry palette. It is a expertly crafted simulacrum that never slips into parody either as shown in the songs used which are faithful renditions of traditional and original numbers.

Episodic in structure the film drifts like couch-surfing Llewyn Davis introducing us to a whole new set of Coenesque eccentrics. Our ‘hero’ is an archetypal rolling stone gathering no moss but rather a whole host of issues. These problems range from a missing neighbour’s cat, pregnant “girlfriend”, homelessness, family dysfunction, indifferent agent, lack of money and career prospects.  Described as an anti-Midas by Carey Mulligan’s very angry Jean, Llewyn’s life has stalled and while he plays and sings beautifully he is more menstrual than minstrel. He’s a rather pathetic character drifting through life having seemingly fallen out of love with music despite still pursuing a career as a solo artist.   Throughout, actor Oscar Isaac delivers a phenomenal performance full of anger, pain and heart all with an underlying glint of sly humour.

As someone who has been in a band when I was young and someone who continues to try a forge some semblance of a path as a filmmaker and comedian I recognised much of the jaded feelings the character experienced and empathised with the continual rejections he faced. But I also felt distanced as in my opinion one should relax a bit and enjoy the journey. Llewyn Davis has a gift — more talented than I could ever hope — but is a character that is depressed by his current existence and nothing seems to be able to shake him out of the funk. There is an air of self-destructiveness, anger and bitterness too which affects his relationships with the decent group of people around who try to help him. The Coen Bros. have in the past been accused of making films that lack heart. I never agreed with that but could see why people may see their work as more style than substance. This film strums away such accusations with a truly mesmerising character study full of heart and soul and regret and fear, humour and emotion.

On the surface the film could be described as a “musician trying to make it” film but underneath it’s about loss and grief in my view; loss of a career following the death of his double-act partner, loss of direction, loss of love for music.   Part mood-poem, part-road-movie, part-musical, part-comedy it has a brilliant cast and some wonderful acting and musical performances.  I’m not a fan of folk music per se, and have little knowledge of the era but that didn’t matter as this is a gem of a film; a cyclical-structured study of loss about an unlovable loser and struggling artist with a bit of Greek tragedy thrown in. If you love the Coen Bros. you’ll certainly love Llewyn Davis.

Cinema, Reviews

12 YEARS A SLAVE (2013) – Film Review by Paul Laight

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12 YEARS A SLAVE (2013) – Film Review by Paul Laight

**THIS REVIEW CONTAINS SPOILERS + CLIPS**

The artist/director Steve McQueen is a very important filmmaker and his films to date include the searing character study of Bobby Sands in Hunger (2008) and the pulverising sex-addict study of Shame (2011).  His latest epic is another intense offering based on the 1853 memoir by Solomon Northup, a New York State-born free man who was kidnapped in Washington, D.C. in 1841 and sold into slavery.  Indeed, in just 3 feature films McQueen has proven himself a genuine cinematic artist and a beacon of real quality and must-see drama.

Whereas Sands in Hunger was driven by political motives and Sullivan in Shame unable to control his animal instincts then Northup’s character is a family man, a proud and free individual living with his wife and child in Washington.  It is there that the story cross-cuts with later events and Solomon’s unjust capture into slavery. He is a dedicated family man and his character is epitomised at the beginning when he turns down the sexual advances of a female captive; my understanding being he could not compromise his fidelity despite being imprisoned in this Louisiana hell.

From the start you’re really rooting for Northup as he is shown to be intelligent, musical and scholarly gentlemen both proud and faithful.  His kidnapping is a press-ganging of the most heinous kind as he led away from Washington with the promise of lucrative work then tricked when seemingly at his most content. The subsequent journey through the plantations of New Orleans is a most despicable crime against humanity and McQueen shows this is many scenes of physical, verbal and mental abuse perpetrated against Northup and other characters.  Here pain and suffering has never looked so beautiful with stunning cinematography by Sean Bobbitt. It’s a story of sunshine and pain with McQueen utilizing Northup’s life microcosmically in regard to the slave movement as a whole.

The cast are incredible from Chiwetel Ejiofor, in the leading role of Northup to evil slave-zealot Michael Fassbender, benign yet complicit Benedict Cumberbatch and many more including Paul Dano, Lupita Nyong’o, Sarah Paulson, standing out in supporting roles. It has received nine Academy Award nominations including Best Picture, Best Director for McQueen, and Best Actor for Ejiofor, and Best Supporting Actor for Fassbender, and Best Supporting Actress for Nyong’o and I would be shocked if it doesn’t win something.

McQueen treats the subject matter with the reverence and power it deserves and literally paints a brutal, inhumane and devastating set of images with which to tell the story. He often favours long takes notably the scene where Solomon hangs clinging by his toenails to life. This is a stand-out iconic scene and it is too much to bear because we have so much invested in Solomon’s character by this stage and really want his suffering to end.  But that’s where Fassbender’s Epps enters the play and the intensity is ratcheted up and then some.

For well over an hour 12 Years a Slave is majestic filmmaking of the highest quality. Northup’s characterisation is incredible, however, this is to the detriment of the other characters who dip in and out of the narrative notably Benedict Cumberbatch’s Ford, who to me was the most interesting of the white slavers as he appeared to be a compassionate man trapped within a vicious societal circle of hate.  Fassbender’s maniacal Epps I feel deserved a better introduction because even though the actor is once again breath-taking I felt the performance MORE than the actual character.  The two wives of the slavers were one-dimensional and interchangeably evil, plus, I was disappointed Paul Dano’s character left the narrative too early.  The major casting disappointment is the glory-hunting role Brad Pitt gave himself as the kind Canadian carpenter who assists Northup in his quest to escape.  Pitt is a great movie star and I love his work but he’s too big in my opinion to appear so late in such a story as this.  I was deeply involved only to suddenly be reminded I was watching a Hollywood movie.

Steve McQueen is a master craftsmen and has made a near-flawless work of cinema even though I must admit the ending left me very frustrated.  There is power and emotion for all to see but I wanted more satisfaction for Northup’s character and some kind of retribution to be dealt to his captors. McQueen had cooked up such an intense soup of pain and suffering I wanted more of a release. Indeed, it seemed quite a passive denouement to me especially when compared to a film such as Glory (1989) and the Roman Slave action epic Spartacus (1960). However, this is a more personal epic and the filmmakers have clearly stayed true to the honour of the original book so my personal desire for cinematic revenge on the slavers will just have to be met by Tarantino’s dancing-horse-bad-ass-Blaxploitation-Western Django Unchained (2012) I suppose.

Cinema, Reviews

THE LEGO MOVIE (2014) – Movie Review by Paul Laight

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THE LEGO MOVIE (2014) – Movie Review by Paul Laight

**PLEASE NOTE THIS REVIEW CONTAINS SPOILERS – NOT THAT IT MATTERS AS THE PLOT IS LIFTED WHOLESALE FROM THE MATRIX ANYWAY**

Have you ever been urinated on from a great height with lemonade while simultaneously being crapped on by a chocolate log?  No, nor have I. But in my mind that’s what watching the sweet sickly Diabetes: The Motion Picture AKA The Lego Movie (2014) felt like to me. Not for a while have I failed to enjoy a film so much yet admired the technical expertise and all-round skills of the makers involved.

Is it the film’s fault or mine?  I am a jaded cynic but usually I can put that aside when reviewing family movies like this and analyse the story objectively but I can’t do it this time for some reason.  I just couldn’t shrug off the feeling I was watching one long one-hundred-minute advert for Lego Co. Corp. PLC. I had the choice to either give in to the Matrix or resist it.  I resisted and wish I hadn’t because after I felt like I’d been on a rollercoaster having just drank eighteen Oreo milkshakes. Thus, as an objective reviewer I have failed.  I remember when product placement was subtle. Not anymore. This and the recent Google film The Internship (2013) have moved the goalposts; so much so there no one knows where the goal is anymore or the pitch.

The story involves Emmet Brickowski, an ordinary construction worker, who falls into a hole and finds the mystical Piece of Resistance. Various factions then pursue Emmet including the Master Builders led by Wizard Vitruvius (good) and — winging-it Will Ferrell — Lord Business (bad).  The Piece of Resistance acts as the archetypal Macguffin as we are led through a cavalcade of Lego Worlds and Lego characters lifted wholesale from popular culture including: Batman, Gandalf, Wonder Woman etc.  Emmet is given a reasonable character arc as he moves from someone who always follows instructions to someone who can use his imagination and become the ‘Chosen One’ blah, blah, blah!  Throw in a romantic subplot and you basically have The Matrix (1999) but in Lego form.

The film opens really well with a satirical dig at a homogenised society not too dissimilar to ours while the colourful sets, fast-paced action and imaginative set-pieces really drive the movie forward. But unlike the genius of Pixar I did not care for one moment who did what and what was going on.  In fact, there was TOO MUCH going on and it was happening too fast to take on board.  The most interesting character for me was Liam Neeson’s Bad Cop as he had some element of duality plus there’s some fine gags in there especially at the expense of Nolan’s take on the Dark Knight.  But by the end I felt ill as it lays on a glaucomic message within its mildly intelligent but very obvious final act reveal.

The Lego Movie (2014) is basically Ketamine-for-Kids storytelling; capitalism at its most insidious.  Vacuum-packed product placement wrapped beautifully in state-of-the-art animation and an overly-knowing and satirical script. The filmmakers deserve much credit for their genius in making a presentable bit of entertainment out of a soulless toy brick.  These extended moving billboards are the movies of the future, made by uber-smart college geniuses with no life experience; incubated in a shiny, postmodern void with no heart, soul, nor humanity.

I remember Lego being the best creative brick type toy you could play with when growing up. Then as I got older and had a kid myself I recall screaming in agony as I trod on it barefoot, quickly followed by a performance of a hate-filled Native American swear-dance. Only then for my son to get bored with Lego when he discovered Xbox and it was consigned to the attic to  gather dust. Now Lego is back puking all over the cinema with colours and sounds and a horrifically and deliberately repetitive song. No!  Everything is not awesome.  And I know the film is striving for satire on our conformist and capitalist times but it does it while conforming to the most horrific section of capitalism: namely advertising.   The Lego Movie (2014) is Nazi-efficient filmmaking of the highest quality.  The kids will love it.  But you have a choice: to take the red or blue pill. I took the red pill. I wish I had just given in but there’s still resistance in my jaded mind. Damn you brain – damn you to hell!

Cinema, New Releases, Reviews

THE WOLF OF WALL STREET (2013) – Paul Laight’s Movie Review

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THE WOLF OF WALL STREET (2013) – Movie Review

**THIS REVIEW CONTAINS MASSIVE SPOILERS + MOVIE CLIPS PLUS REFERENCES TO SEX, DRUG USE, GREED & BRILLIANT FILMMAKING**

To say The Wolf of Wall Street has its coke and eats it is a massive understatement. It’s black-belt-bukakke movie-making of the highest order. A voracious sexy beast of a film which showers the audience with one incredible scene of excess after the other.  To put it bluntly: it’s Goodfellas fucks Scarface and Wall Street then gives birth to a movie bastard of epic proportions.

Based on a memoir by disgraced human scum Jordan Belfort –  a drug-addicted-sex-addicted-thieving-stockbroker-par-excellence – The Wolf of Wall Street  follows the same rise-and-fall structure of mafia classic Goodfellas as DiCaprio’s Belfort schemes and sells his soul to power up through the snakes and ladders of Wall Street.  As the superlative scene with Matthew McConaghey demonstrates the Stock Exchange is a “fugazi” – a fake.  The main aim is to make more and more money while screwing the investors.  The best traders are wolves in a vicious snakepit swimming with sharks ripping off a house of fools.

As Belfort’s firm Stratton Oakmont becomes out of control so does his wealth as he and his motley crue of traders manipulate and connive and deceive to create a monstrous company of wolves who regale in dwarf-throwing, blow-jobbing, lude-swallowing mania.  The extreme is only halfway for these people.  The superb cast including: DiCaprio, Margot Robbie, Jean Dujardin and Jonah Hill, play these venal cunts with such charm and humour you often find yourself complicit with their nefarious behaviour almost willing the characters to push further and further with their depravity.

But as the drug use, debauchery and money increased so did my hatred for these greedy capitalist pigs.   On the one hand I was enjoying the rollercoaster ride of the story but on the other I was horrified at the fact such people and behaviour exist on this planet.  That is the skill of the filmmakers though:  making these Wall Street monsters likeable, funny, believable and human.  Indeed, Belfort himself is ultimately a sorry figure shown to be a monstrous addict who is powerless to stop himself from indulging in every drug and hooker under the sun.  But Scorcese and DiCaprio don’t give Belfort any kind of redemption. He’s still a massive prick at the end of the film; a free prick walking the earth but just not as rich as he once was.

Martin Scorcese is one of the greatest living filmmakers still working today and The Wolf of Wall Street feels like a greatest hits package combining all of the finer ingredients from his other films.  You’ve got the classic swooning camera moves;  the direct address to camera; cat-and-dog couples fighting as seen in Casino and Goodfellas; the boat-in-peril sequence as seen in Cape Fear; the multi-character voiceovers;  the dumb criminals putting themselves in the shit;   characters turning on each other and ratting each other out as seen most recently in The Departed; plus many many more.   But whereas Scorcese used to deal with outsiders and oddballs like Travis Bickle or Rupert Pupkin he is now dealing with Insiders, Gods and members of the Master-Race.  Aside from Kyle Chandler as the dedicated FBI Agent there are no honest characters in this film and at times the it feels like a depressing advert for the greed-is-good-Gordon-Gekko-philosophy.

Personally, I wanted a little more focus on the kind of crimes that were being committed plus more of comeuppance or death for Jordan Belfort.  But in real life he essentially got away with everything having served a pretty short sentence for his “pump and dump” machinations; mainly because he became a dirty rat.  I suppose the subtext of the film does ask the audience:  does this monster deserve a second chance?

But this is NOT a heavy analysis of socio-economic morality and values but rather a bullet-paced black comedy filled with cracking scenes and razor-sharp one-liners delivered by a stellar cast. There are some great big performances and fine supporting players like: Joanna Lumley, Matthew McConaghey, John Bernthal, Rob Reiner and Spike Jonze to name a few.  But this is Leonardo DiCaprio and Martin Scorcese’s film. As they demonstrated in The Aviator, The Departed, Shutter Island etc.  they are a formidable team.  DiCaprio deserves an Oscar for sheer consistency of performances but the Belfort character has already had enough success in his lifetime and threw it all away because of greed. Surely awarding an Oscar to such a heinous character would be TOO MUCH wouldn’t it?  But as this film demonstrates TOO MUCH is never enough!

Cinema, New Releases, Reviews

AMERICAN HUSTLE (2013) – Paul Laight’s Film Review

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AMERICAN HUSTLE (2013) – Film Review

I was looking forward to seeing American Hustle for a number of reasons:

1)  The brilliant ensemble cast featuring Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner, Jennifer Lawrence, Louis C.K. etc. excited me greatly.

2) I love David O. Russell’s film-works such as Flirting With Disaster (1996), The Fighter (2010), Three Kings (1999) and Silver Linings Playbook (2012). I even liked I Heart Huckabees (2004), I think.

3) I love ‘con’ movies; the twisty-turny-step-sister of the crime thriller genre.  My favourites include:  The Sting (1973), Matchstick Men (2003), House Of Games (1987), The Grifters (1990) and my all-time favoritest the Argentinian con-film Nine Queens (2000).

So in short I really really wanted to enjoy American Hustle and must say I did greatly.

The plot in a nutshell finds 1970s confidence-tricksters Irving Rosenfeld (Bale) and Sydney Prosser (Adams) ripping off small businessmen behaving like a High Street Bank for lowlifes.  Their behaviour mirrors the sub-prime market of the Noughties; robbing the skint to fund an extravagant and hedonsitic lifestyle.  In short they are scum; in Prosser/Adam’s case very sexy scum.

Eventually, like the greedy-bastard banks Rosenfeld and Prosser go bust when they are nicked by Bradley Cooper’s hyper-permed-FBI agent, Richie DiMaso.  In order to avoid jail they agree to become ‘bait’ to help capture some bigger fish including Jeremy Renner’s family and community driven politician, Mayor Carmine Polito. That’s where the fun really begins as all manner of cons, sleight-of-hand, bribes, palm-offs, seductions, stake-raising twists and turns begin as each character tries to outwit the other with crazy scheme piled upon crazy scheme.

The film opens with a hilarious set-piece as Christian Bale’s Rosenfeld goes to work by applying his rather extravagant stunt-hair. In fact, the wig work in this film is a joy and while it’s cheap and easy pickings at the expense of stupid 70s hair and clothes I loved it. Bale is very theatrical in this movie and I would describe his performance as a masterclass in over-the-top restraint.  The application of the wig and display of his paunch are his equivalent of Laurence Olivier’s hunchy Richard III:  “An Oscar! Oscar! My dignity and six-pack for an Oscar!”

Indeed, like O. Russell’s other movies this is a real actor-fest.  He just winds them up and lets them go in one entertaining scene after another.  Amy Adams is a real vulnerable-hot-like-fire-cold-bitch while Jennifer Lawrence steals the show with her ditzy-loose-cannon-flick-hair-nut-job portrayal of Rosenfeld’s wife.  Bradley Cooper follows up his great work in Silver Linings Playbook with a fine comic turn as the delusional and over-ambitious DiMaso.  While the most naturalistic and believable character and in turn empathetic portrayal is Renner’s politician. There’s some great support too especially from Louis C.K and Jack Huston.

One would probably argue that this is more of a comedy than a drama as the film retains a sense of fun throughout with some great physical performances and a sparkling script littered with zinging one-liners.  But there is some meaty drama and a serious subtext to the movie, and like O. Russell’s Three Kings which mixed humour with war, American Hustle has a message. Admittedly it is quite well hidden amongst the wigs and funny accents but that message is America is built on the con and that while everyone is trying to out-do each other perhaps they should just work together.   The law, the gangsters, the politicians and the business folk of the United States are all on the take and the American dream is simply a pyramid scheme built on sand.  That’s what I got from it anyway.

David O. Russell takes genre movies and applies a wonderful sense of chaos to the order allowing his actors free reign to express themselves.  His films are like watching Barcelona play football inasmuch as you’re really enjoying the pretty patterns being made by the players and then bang – the ball’s in the net! This is indeed Champions League movie-making with O. Russell’s wonderful style of direction giving all the cast their moment in the sun to shine with wonderful over-the-top characterisations, wigs, costumes and performances.

American Hustle is an entertaining movie which had the audience I watched it with laughing throughout. It works best as a crime-comedy with a bit of suspense; as well as being a mildly damning indictment the American dream. Ultimately, this film shoots, hits the mark and scores!

Cinema, Reviews

FAVOURITE MOVIE MOMENTS OF 2013!

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FAVOURITE MOVIE MOMENTS OF 2013!

To accompany the list of my most entertaining films I saw last year I’ve also compiled a few nominations for best this and that!

**** CONTAINS MASSIVE SPOILERS  ****


BEST PHOTOGRAPHY – ONLY GOD FORGIVES (2013)

What it lacks in plot it makes up with one incredibly designed scene after another.  And the violence is something else!


MOST HEART-WRENCHING SCENE – FLIGHT (2012)

The film opens with a tremendously staged plane crash. However, the scene where Denzil battles a miniature bottle of booze has almost more riding on it dramatically.  Tension, suspense and the agony of human frailty are all in this scene.  The moment we’ve all been through where we are battling our demons and trying to do the right thing is centre to the scene. Will Denzil pick up the bottle?  Will the angels or demons win out?


BEST CINEMATIC EXPERIENCE – GRAVITY (2013)

All I can say is wow!  This film was just wow! Some have criticized a lack of plot and characterisation but this is a movie which just takes your breath away. As I said, wow!


MOST BEAUTIFUL SCENE – RUST & BONE (2012)

Marion Cotillard’s Killer Whale trainer reconnects with nature in this serene moment from a compelling drama. It’s a beautiful moment for the audience visually and also the character.


BEST ENDING/BEST CAST – CAPTAIN PHILLIPS (2013)

Whether the film is truth or fiction Tom Hanks’ acting throughout is superb. He’s none better than in the final scene when he reaches the medical bay. The way he releases the tension it so memorable. His co-star Barkhad Abdi has to get an Oscar nod too for Best Supporting Actor.


BEST MOVIE PLOT + TWIST – SIDE EFFECTS (2013)

This film genuinely pulls the rug from underneath your feet!  Fantastic storytelling!  It starts seemingly as a critique of the pharmaceutical industry but then becomes a nasty, lurid Hitchcockian thriller with great performances from Jude Law and Rooney Mara.


BEST BRITISH FILM – BERBERIAN SOUND STUDIO (2012)

Both a tribute to Italian Horror and the Foley Artist this is a disturbing arthouse horror which generates its’ scares through the sound. You think you’ve seen something scary but haven’t. Incredibly constructed and recommended for cinephiles all over.


BEST GAG – ANCHORMAN 2

I couldn’t find a clip but Brian Fantana’s  gag was the funniest joke I heard at the cinema all year. The News Team’s attempt at 24 hour News has seemingly failed and in the scene Brian is asked what he will do next.  He replies:

“I’m going to cruise round with my friends O.J. Simpson, Robert Burke and Phil Spector.  We call ourselves the LadyKillers!”


BEST MOVIE SOUNDTRACK – WORLD’S END (2013)

Pegg and Wright’s highly entertaining apocalyptic comedy is touching, action-packed and amusing. It gets a bit silly by the end but there’s a great energy and some funny dialogue and physical humour throughout. The soundtrack is a cracker featuring the Stone Roses, Primal Scream, Sisters Of Mercy and the Soup Dragons to name just a few. It’s like the perfect Indie Disco in the cinema!


BIGGEST MOVIE LET-DOWN – MAN OF STEEL (2013)

A great cast and stupendous effects could not save the broken-backed Superman story crash and burn. Henry Cavill was a terrific Kal-El but the filmmakers ruined the whole piece by cramming too much into a few hours of screen time and not allowing the cast, characters or story to breathe.   It was sensory overload and bogged down with too much exposition.  The Batman v. Superman film under Zack Snyder’s direction could possibly signal the end of the comic book boom of recent time.  The bubble is going to burst at some point I tells ya!


FILM MOST F*CKED BY THE CRITICS  – LONE RANGER (2013)

This mega-budget update of the old radio/TV show from yesteryear was nowhere near as bad as the critics made out. It followed the ‘PIRATES OF THE CARIBBEAN’ template but perhaps the problem was Johnny Depp playing deadpan rather than drunken Pirate.  The critics didn’t go for it and nor did the audience as it kind of bombed as well.  However, Gore Verbinski directed with verve and energy and the final set-piece on the train is one of the best action sequences of the year.


BEST SCREEN CHEMISTRY – SILVER LININGS PLAYBOOK (2012)

I was tempted to say BREAKING BAD but Bradley Cooper and Jennifer Lawrence were electric in David O. Russell’s bipolar romantic drama/comedy.  The whole cast were great in fact including Robert DeNiro as the bookie father and Chris Tucker as a friend of Cooper’s character. But Cooper and Lawrence made the film their own with their portrayals of damaged but very human couple finding each other in a crazy world.


BEST MOVIE WITHOUT A SCRIPT – WORLD WAR Z – (2013)

Brad Pitt’s travelogue around the World avoiding a zombie plague was actually really entertaining in places with some great set-pieces but it had a lousy script with essentially no story or plot.  They genuinely feel like they’re making it up as they’re going along. Having said all that I really enjoyed it at the cinema even though Pitt was miscast and this really needed a decent action-hero like Schwarzenegger in his prime to really boost the movie.

BEST FEMALE ARCHER – THE HOBBIT 2 (2013)

I love an action women especially one with a bow and arrow and this award came down to a toss-up between Jennifer Lawrence in HUNGER GAMES 2 and Evangeline Lilly.  In the end I came down on the side of Tauriel the Elf in Peter Jackson’s behemoth production of THE DESOLATION OF SMAUG.  Jumping, spinning and diving about firing and killing Orcs for breakfast, lunch and dinner.  What a woman!


BEST DOUBLE ACT – RUSH (2013)
RUSH was indeed a big rush cinematically but the casting of Daniel Bruehl as cool Nikki Lauda and Chris Hemsworth as fiery James Hunt motored this movie along off the track too. The characterizations dealt solely in binary but provided much entertainment along the way. Of course Ron Howard and his creative team served up some wicked action as well.


BAD-ASSEST REVENGE – DJANGO UNCHAINED (2012)

Tarantino’s fantasy Western saw Jamie’s Foxx’s eponymous hero rise from that of a chained-in-pain slave to a kill-crazy-bounty-hunting-dancing-horse-riding-bad-ass-mutha-fuKKKa!   Everything about this film was a hoot and so entertaining!  It also has arguably the funniest scene I saw all year too with the racists on horseback including Jonah Hill arguing about the quality of their hoods.


BEST VILLAIN – DJANGO UNCHAINED (2012)

Calvin Candie was a horrific character and played with genuine charm by the masterful Leonardo DiCaprio. HE should have won the Oscar for Best Supporting Actor in my view as Christophe Waltz already had one!  Candie’s character was not only a vain, insane, murdering slave trader but there was a sense of an incestuous relationship with his sister. He got his just desserts in the end but alas DiCaprio didn’t from the Academy.


BEST FRANCHISE SEQUEL – IRON MAN 3 (2013)

2013 was big on Franchise equals, sequels and prequels including FAST & FURIOUS 6, THOR 2, HUNGER GAMES 2, STAR TREK INTO DARKNESS and THE HOBBIT 2.  They were all really really entertaining but my favourite was the ever dependable Robert Downey Jnr as Tony Stark.  It had some cracking one-liners and decent villains plus a lovely little twist which had all the fanboys up in arms because of Director Shane Black’s irreverent treatment of the Mandarin character.

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