Cast: Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande etc.
Cinematography: Linus Sandgren
*** MAY CONTAIN SPOILERS ***
Adam McKay has had an interesting filmmaking career. He was a head writer on Saturday Night Live for two seasons before moving into cinema comedy by writing and directing gag-heavy comedies such as Anchorman: The Legend of Ron Burgundy(2004) plus the sequel, Talladega Nights: The Ballad of Ricky Bobby (2006), Step Brothers (2008), and The Other Guys (2010). While one could see these films as silly and knockabout Will Ferrell clown vehicles, certain films contained explorations of social issues relating to sexism in the workplace and big corporation fraud. Nevertheless, it was still surprising when McKay shifted toward more dramatic work full of barbed satire and social commentary. While both The Big Short (2015) and Vice (2018) certainly had humour, they also impressively dissected the mortgage crash and the political rise of Dick Cheney, respectively.
His latest film is the Netflix produced Don’t Look Up (2021). It is a disaster movie in genre, that also mixes in comedy, political satire and drama. The story concerns Kate Dibiasky (Jennifer Lawrence), an astronomy Ph.D. candidate, discovers a previously unknown comet. Kate’s professor Dr. Randall Mindy (Leonardo DiCaprio) work together and find that it is an extinction event which will destroy all life on Earth. Only having presented their findings to NASA and the White House do they find themselves dealing with indifference, administrative incompetence and corporate neglect lead by insane financial greed. As news of the impending doom hits society, the population become split between believers and naysayers leading to division and chaos.
Don’t Look Up (2021) is arguably less serious in tone compared to Adam McKay’s previous two films, but the message is ultimately more damning of the U.S. Presidency and humanity as a whole. Because the gigantic comet heading for Earth is very much a metaphor for climate change. Here Meryl Streep’s President is dizzyingly dismissive of the science and only begins to act when it is politically and financially beneficial. Her Chief of Staff son, a brilliant Jonah Hill, is a sycophantic numbskull more interested in Lawrence’s raging scientist, rather than saving the world. Indeed, Dibiasky and Mindy get side-tracked by glamour, celebrity and the toxicity of social media. DiCaprio’s arc is amusing as he goes from nervous mouse to confident commentator in the middle act, only to experience a costly personal comeuppance.
Rich in fast-paced gags at the expense of pop, media, political, corporate and dumb human personalities, Don’t Look Up (2021), is a highly entertaining disaster movie with a terrific ensemble cast. I felt Leonardo DiCaprio, one of my favourite actors, was a tad miscast as the science everyman, but he still gives a great performance. Lawrence provides the most grounded and empathetic character playing it straight amidst the all-round insanity. The White House “vending” machine running gag is the best in a film full of funny lines. Mark Rylance is craftily good as the social media megalomaniac manipulating the catastrophic narrative to his own means, but as aforementioned Jonah Hill steals the comedy show. Lastly, Adam McKay probably over-reaches with the poignant family-driven ending. However, I did feel a true sense of loss for the characters and our planet as a whole. The Earth may be full of idiots who don’t want to look up, but thankfully there are storytellers trying to turn their minds in an amusing, silly and intelligent fashion.
CAST: JENNIFER LAWRENCE, JAVIER BARDEM, ED HARRIS, MICHELLE PFEIFFER
**GENERALLY SPOILER FREE**
Darren Aronofsky’s psychological horror stars Jennifer Lawrence and Javier Bardem as a couple in not so much a narrative but a descent into what-the-fuck? They portray conduits of hellish pursuit dictated by a filmmaker on the edge of a nervous breakdown, vengefully striking out at his ego, superego and the world around him. I mean, you know when someone tells you their dreams in nightmarish details and it’s more interesting to them than you: well, this is two hours of that.
While this is technically a bravura tour-de-force in design, composition, cinematic experimentation and delivery I was utterly bored by, what is essentially, an indulgent, pretentious and nihilistic void of a film. Darren Aronofsky’s prior work such as Requiem for a Dream (2000), Pi (1998), The Wrestler (2008) and Black Swan (2010) combined cinematic style and protagonist emotion superbly. Mother, in its critiques of Hollywood, fame and some kind of biblical allegory stuff wildly missed the mark for me. I wasn’t even shocked by the horrific denouement as it all happened in a surreal vacuum where I could not care less about any person or anything.
Christopher Nolan used cinematic form to powerful effect in Dunkirk (2017) and moved me immensely but Mother just bludgeoned me into dull submission. I wonder if Aronofsky’s experience on Noah (2014) had somehow warped his mind and the film is a creative and therapeutic cry for help, while at the same time damning the executives who possibly killed his film baby. He certainly throws a lot of toys from his pram in this violent, bloody, fiery, misogynistic and misanthropic misfire!
Lawrence was incredible as the battered lead while Bardem just felt confused and off-the-pace-at-times to me. While it is the work of a filmmaker I would certainly call an artist and generally I love the surrealist films of Luis Bunuel and David Lynch, the nightmarish logic narrative did not work for me as the cyclical parlour trick in closing the story is mere sleight-of-hand to fool the audience into thinking the film is deeper than it is.
Ultimately, Darren Aronofsky, based on his prior films, is a risk-taking, boundary-pushing genius and some will adore this brave and courageous misadventure. However, for me it was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. I mean I’m just a lowly office drone but I paid my money and earned my opinion. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.
June was both a very special month of viewing and also sad because one of my favourite shows shuffled off into TV heaven after three scintillating seasons. I also watched some excellent genre films; the month being very much about quality of viewing rather than quantity. As usual, marks out of eleven and of course:
SCREENWASH FILM AND TV REVIEWS – JUNE 2016
**MASSIVE SPOILERS HERE**
THE AFFAIR (2014) – SEASON TWO – NOW TV
The first season of this “first world” sex-charged adult drama was compelling stuff with fine performances from Ruth Wilson, Dominic West and Maura Tierney respectively. The suspense was palpable, the writing sharp; and the characters – while not wholly likeable – had a humane quality that drew you in. The second season though just got on my nerves a bit and I just didn’t give a toss in the end despite some memorable scenes. Plus, the teenage daughter made me want to drown her in a ditch, such was her irritability factor. So, in the end I just gave up around episode eight. (Mark: 5 out of 11)
ARRESTED DEVELOPMENT – SEASON 3 – (2005)
The final season in the first run before it was cancelled and subsequently rebirthed by Netflix was another tremendously hilarious comedy of errors; featuring a rogues gallery of vapid narcissistic characters all trying and failing to out-do each other. Aside from the wonderful performances from Jason Bateman, David Cross, Michael Cera, Jessica Walter, Will Arnett and so on, the law have George Bluth Snr under house arrest while Michael tries to keep the business going. He also falls in love with an English retard (played by Charlize Theron) while ultimately ending up in Iraq trying to resolve some shady shenanigans. The season is most memorable for a Godzilla parody with Tobias dressed in a massive mole costume smashing down “Tiny Town” in front of bemused Japanese investors. (Mark: 9 out of 11)
AMERICAN HORROR STORY: FREAKSHOW (2015) – NETFLIX
I love this bleak, violent, bloody, over-the-top horror anthology from writers Ryan Murphy and Brad Falchuk. They truly are horror connoisseurs as they introduce us to a litany of gruesome characters, situations and narratives all set in a circus freakshow in 1950s USA. This is no apple-pie-white-picket-fence-Americana because we get: killer clowns, Siamese Twins, two-faced ghouls, midgets, Amazonian women, hermaphrodites, Nazi murderers and many, many more freaks and monsters on display. Once again, like the previous seasons, the ensemble cast are quality, notably Evan Peters, Sarah Paulson and the majestic Jessica Lange. Arguably the most horrendous character though is the spoilt-rich-boy-millionaire-killer, Dandy, played with evil abandon by potential star Finn Wittrock. (Mark: 9 out of 11)
THE CONJURING 2 (2016) – CINEMA
Great magicians astound you even when you know how a trick works. Therefore I heartily recommend this follow-up to, believe-it-or-not, The Conjuring (2013). Director James Wan is a master magician and uses every deception, distraction and reveal in the book to deliver a devilish and nail-biting horror story based once again on the work of paranormal investigators Lorraine and Ed Warren. The springboard for the terror is the infamous Enfield haunting in which a gnarled dead pensioner terrorized a North London family. Vera Farmiga and Patrick Wilson bring quiet quality to the ghoulish hysterics and James Wan once again proves he is arguably the best horror director around. The film is worthy of the admission for the invention of another great monster in the guise of a ghastly pale-faced nun. (Mark: 8.5 out of 11)
GAME OF THRONES – SEASON 6 (2016) – NOW TV
If I had a sword to my throat I would have to say that this – in terms of pulsating storytelling, dramatic twists and bloodcurdling action – is one of the best seasons of television I have EVER SEEN! Book geeks are probably spitting crisps over their keyboards but now the writers are free of the shackles of the gigantic novels, these ten episodes were just a pacey, brutal, vicious, conniving, fiery, animalistic, blinding, cutting, resurrecting delight. I can’t speak of all the plot strands as there were too many but the wheels were really turning and new alliances forming notably: Daenerys and her flight toward Westeros; Arya becoming no one and then learning new deadly abilities; a violent “Dog” from the past returning to go on a kill-crazy rampage; formerly dead Jon Snow coming back to life and marching on Winterfell in order to defeat evil Ramsay Bolton; Sansa Stark also joined the Ramsay revenge queue, with Lord Baelish in the wings too; and the piece de resistance was Cersei Lannister battle of wills with the High Sparrow who was slowly clawing all she held dear away from her. Overall, it was a ballsy drama which gave us twists and violence galore and my viewing schedule will have a massive hole to fill over the next year! (Mark: 11 out of 11)
GOMORRAH – SEASON 2 (2016) – NOW TV
The first season of Gomorrah was gritty-Italian-kitchen-sink-gangster-drama at its finest. It followed the shadowy, mean Neapolitan street-hoodlums and their drug trafficking, double-crosses, political corruptions and murderous shootouts. The General lording over the territory was Don Pietro Savastano but his empire was undermined by foot-soldier Ciro Di Marzio and his crooked alliance with Salvatore Conte. Savastano’s raw and inexperienced son Genny also attempted to rise up the ladder but his bullish impatience became his undoing. In Season 2 the power struggle between these three characters continues, and over the ten episodes further brutality and skulduggery follows in a show which has a heart of pitch black darkness acted out like a contemporary reflection of the Roman Empire. (Mark: 9 out of 11)
HUSH (2016) – NETFLIX
Horror filmmaker Mike “Oculus” Flanagan is a pretty decent genre director and here he sets up another interesting premise while delivering some efficient scares in the process. Kate Siegel plays a mute-deaf writer who – in desiring solitude – lives in the woods to carve out her latest novel. Alas, her peace is invaded by a masked psycho – what are the chances! – and she must overcome her restrictions to fight them off. Contrived and cheap it may be, Flanagan shows he’s a confident helmer who deserves a bigger budget to work with. (Mark: 6.5 out of 11)
IRRATIONAL MAN (2015) – NOW TV
Woody Allen is one of the greatest writer-directors of all time and his curriculum vitae boasts an incredible array of amazing films. His latest cinematic efforts have on occasions hit great heights; films such as Whatever Works (2009), Midnight in Paris (2011), Blue Jasmine (2013) and Magic in the Moonlight (2014) all benefitted from Allen’s trademark wit and intriguing characterisation. Irrational Man stars Joaquin Phoenix as a misanthropic writer who hates the world but somehow finds meaning in a random act of violence. At the same time he has a love affair with his student, pretty Emma Stone; and the two narrative strands ultimately become entwined in a pleasing black comedy. (Mark: 7 out of 11)
THE NICE GUYS (2016) – CINEMA
Writer/director Shane Black created a winning cop-buddy formula with Lethal Weapon, continued it with the very under-rated Kiss, Kiss, Bang, Bang (2005) and having hit behemoth-budget pay dirt with Iron Man 3 (2013) he once again nails the buddy-noir-comedy-action film. The Nice Guys stars Russell Crowe and Ryan Gosling as a couple of private dicks and their haphazard pairing pings a shaggy-dog narrative along at a cracking pace. The script is filled with so many hilarious punchlines, sight gags, salty dialogue and a suggestion of occasional pathos too. It combines late 70s corruption with pornographers while presenting a sparkling nostalgia script filtering Chinatown(1974) via Starsky and Hutch. Overall one of the most entertaining films I’ve seen all year. (Mark: 9 out of 11)
PEAKY BLINDERS – SEASON 3 (2016) – BBC IPLAYER
The third season of the stylish period drama once again finds Thomas Shelby (brilliant Cillian Murphy) and his clan attempting to expand their business empire from the Birmingham backstreets across the Atlantic and further. This season has some fine villains including venal priest played by Paddy Considine and communist-fleeing Russian aristocrats. As well as the usual muscular-bleeding-tattooed-coked-up-masculinity on show, writer Steven Knight presents a set of powerful female characters too who are just as ruthless and deadly as the male counterparts. It’s a cracking drama all-told; a high-quality flagbearer for the BBC. (Mark: 8.5 out of 11)
PENNY DREADFUL – SEASON 3 – (2016) – NOW TV
Alas, Showtime/Sky Atlantic’s Penny Dreadful is no more; gone forever into the misty poetic ether. Season 3 had been a blindingly beautiful and bloody wondrous season as various narrative threads unfolded but then suddenly it was deceased; gone; buried; over; a fog in the mists of time. I watched in wonder while Rory Kinnear as Frankenstein’s Monster/”John Clare” availed to reconcile with his long lost family; Ethan “Talbot” Chandler in the hands of US Marshals facing certain death; Dr Jekyll and Dr Frankenstein attempting to “cure” the insane; Lily raising a feminist army of whores to wreak havoc on man; plus the ever-beautiful-yet-haunted Vanessa Ives battling a whole host of new demons internally and externally. This is one of my favourite shows of recent years and alas the ending was somewhat abrupt. However, the vampiric London setting juxtaposed superbly with the violent Western arena where cowboys battled snakes and wolves. Despite the touching, yet mildly flat denouement, as gothic horror goes this drama possessed three seasons of monstrous wonder. (Mark: 10.5 out of 11)
SCREENWASH – SEPTEMBER 2015 – FILM AND TV REVIEW ROUND-UP
Bit late with this one but I have been doing some work for charity; although I prefer not to talk about it. Anyway, I saw shedloads of big and small screen product in September! So, here’s a quick review of some of things I witnessed with marks out of 11.
**HELL YEAH – THERE’S SPOILERS!**
’71 (2014) – AMAZON PRIME
Chase-thriller ’71 centres itself on a British soldier portrayed by Jack O’Connell who on the run in enemy territory finds himself pursued by nefarious parties from both Irish and British sides. It’s a kinetic and suspenseful film, directed with verve and urgency and contains some heart-stopping moments, as well as a fine cast including Sean Harris and Richard Dormer. (Mark: 7.5 out of 11)
BADLAND: A ROAD TO FURY (2014) – BLU-RAY
Called Young Ones in the States this is a real genre oddity as it combines Western and Science-Fiction tropes within a dystopic narrative set in a god-forsaken hellish dustbowl. Michael Shannon is the father and farmer who tries his best to keep his family together in an unforgiving future. This is a very strange film which probably deserves another viewing to make real sense of what’s occurring; good cast though. (6 out of 11)
BLEEDER (1999) – DVD
No one does brutal studies of lowlife like Nicolas Winding Refn. His early Danish films, Bleeder included, are grim character pieces that burst into nihilistic violence. This features four friends who watch films together but whose lives are coming apart at the seams. It’s bloody, depressing but somehow remains compelling and watchable; much like a car crash on the M4. (7 out of 11)
EVEREST (2015) – CINEMA
This is suspenseful mountain disaster film which shows both the folly and bravery of men and women at high altitude. Some of the moments will leave you biting your nails and gasping for breath as the mountaineering team scale the Himalayas. The most impressive aspect is the cast including: Jake Gyllenhaal, Jason Clarke, Michael Kelly, Emily Watson, Josh Brolin, John Hawkes and more. (7 out of 11)
THE DROP (2014) – NOW TV
Tom Hardy offers another brilliant piece of character work as a Boston barman who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. The puppy is very well cast but Hardy and James Gandolfini own the show with a sterling study of masculinity and controlled rage. (8 out of 11)
THE GAMBLER (2014) – BLU RAY
Great dialogue, direction and cast couldn’t stop me from hating the nihilistic lead character played by a miscast and too-nice Mark Wahlberg. He was such a miserable-death-wish cunt that I wanted the gangsters who were chasing him to kill him and save me from having to watch anymore of his irredeemable and depressing loser. (4 out of 11)
GOING CLEAR (2014) – NOW TV
This is an astounding documentary revealing the history, psychology and inner-workings of the Scientology “religion”. It’s an amazing expose with interviews from former members of the cult who having disconnected, found themselves stalked and discredited by the extremely paranoid Scientologists. It is compelling viewing for anyone interested in religion or alleged cults and the financial dealings of the group makes them akin to organised crime syndicate, such is their wealth and violent ways of dealing with “members”. (9 out of 11)
GOMORRAH (2014) – NOW TV
Gomorrah is one of the best TV dramas I’ve seen all year. It is a brutal and violent Italian gangster drama set in Naples and like modern day Roman times but with more plots, blood and murder. It follows the Savastano family and the enemies they face both on the right and wrong side of the law. No one is safe as the series reaches a deathly climax. Gripping stuff and highly recommended! (10 out of 11)
GRAVE ENCOUNTERS (2011) – AMAZON PRIME
If I had the choice of removing my genitals with a cheese grater or watching this film again I would choose the grater as this was just laughable. Neither scary or suspenseful it has loud shouting actors who should be shot with high-powered rifles rather than a camera. Basically only for people who like terrible found footage horror films or the mentally ill. (1 out of 11)
LEGEND (2015) – CINEMA
Tom Hardy is phenomenal as the Kray twins. Set in 60s London’s underworld this begins like a smack-bang gangster film before delving deeper into the psychology of mental illness of Ronnie Kray’s wife and his crazed brother, Ronnie. Tonally it gets caught between cartoon humour, glamourizing violence and serious crime drama but recommended for the lead performance. Indeed, Tom Hardy, as in Bronson (2008), humanizes monstrous criminals who probably don’t deserve it. (7.5 out of 11)
THE NECESSARY DEATH OF CHARLIE COUNTRYMEN – BLU RAY
A diabolically pretentious and awful Euro-drama which didn’t know if it was a comedy or gangster or rites of passage or study of grief type movie! Ultimately it tried them all and failed in every aspect! Avoid! (2 out of 11)
PADDINGTON (2014) – BLU RAY
I loved Paddington as a kid and the dulcet tones of Michael Hordern narrated the 2-D animated tales with warmth and charm. The funky film version is an even bigger delight with Ben Whishaw, Sally Hawkins and Hugh Bonneville collaborating beautifully with Paul King’s terrific script and lovely direction. The animation is a joy and the gag-rate incredibly high in a wonderful feel-good family film. (8 out of 11)
RIFIFI (1955) – NETFLIX (RE-WATCH)
This is a classic French crime drama from which involves the robbery of a jewellery store by a gang of ex-cons. It’s memorable for the long-near-silent robbery sequence in the middle act which is full of suspense and hold-your-breath moments. I loved that they humanized the criminals and the characters at the start and the robbery scene is often imitated but never bettered. (8 out of 11)
RUBBER (2011) – AMAZON PRIME
Bizarre horror-comedy which cannot under any circumstances be recommended unless you like fourth-wall-breaking-art-films-about-murderous-tyres-who-explode-birds-and-humans-with-telekinetic-powers. Actually, it’s also a satire on the nature of Hollywood filmmaking and an audience starved of originality; I think!(8 out of 11)
RUN ALL NIGHT (2015) – DVD
Liam Neeson is a drunken, washed-up mob enforcer who faces a race against time to save his estranged son (Joel Kinnaman) and his young family. It’s pretty generic fayre in which a grizzled Neeson can do in his sleep but it has some crunching action, car-chases and shoot-outs which fizz along impressively at a breakneck pace.(7 out of 11)
SALVATION (2014) – SKY MOVIES
Mads Mikkelsen could not save The Necessary Death of Charlie Countrymen but his quiet power is very much to the fore in this colourful revenge Western. He portrays a Danish former soldier whose wife and son are butchered by Jeffery Dean Morgan’s dastardly men, precipitating a path of bloody retribution. (7 out of 11)
THE WOLFPACK (2014) – CINEMA
A very interesting documentary about a huge family of boys and one girl who were kept as virtual prisoners in their own New York high-rise apartment by an alcoholic, bullying and eccentric father. The boys retained their sanity just about as they sought movies as a means to connect with society. The parodies they act out such as Pulp Fiction and Dark Knight were hilarious. But there is much pathos as both the children and Mother are tragic figures too having been “lost” and imprisoned by, quite frankly, a pathetic excuse for a father. (7.5 out of 11)
WHITECHAPEL (2009 – 2012 – Seasons 1-3) – NETFLIX
Started watching this during the quiet times at work and got pretty gripped by the East End murder cases investigated by Rupert Penry-Jones, Phil Davis and Steve Pemberton. It’s a well-made addition to the over-loaded detective genre which by Season 3 had some excellent suspense and drama. I was especially drawn in by Davis and Penry-Jones water-oil relationship and the latter’s OCD. (7 out of 11)
WYRMWOOD: ROAD OF THE DEAD (2015) – AMAZON PRIME
This is a really fun zombie-road-movie-gore-fest which is clearly inspired by Mad Max, Evil Dead, Braindead and George Romero’s oeuvre. Some lovely blood-gushing gore and imaginative machinery on show makes this low budget horror-comedy well worth a rental. (7 out of 11)
Movie stars are usually the Kings and Queens of a film! They propel the narrative and guarantee bums on seats when a film opens. They also create expectation and word of mouth buzz thus studios have invested heavily over the decades in icons such as: Al Pacino, Harrison Ford, Clint Eastwood, George Clooney, Julia Roberts, Tom Cruise, Arnold Schwarzenegger, Marilyn Monroe, Meryl Streep, Sylvester Stallone, James Cagney, Mel Gibson to name but a few.
I love movie star driven cinema, however, I’m also a big fan of the ensemble casts seen in genre films such as: comic book epics, crime thrillers, war films and Westerns. What an ensemble cast offers is a diverse set of characters and actors bouncing off one another to powerful effect. Most recently the mountain disaster film Everest (2015) had fine actors including: Jake Gyllenhaal, Jason Clarke, Michael Kelly, Emily Watson, Josh Brolin, John Hawkes and more. Thus, just for the hell of it I’ve picked out some of my favourite films which contained not just one big star but lots of fine actors who all combined to make a fantastic movie experience.
12 ANGRY MEN (1957)
Bona fide classic movie adapted from the TV play by Reginald Rose and directed by the legendary filmmaker Sidney Lumet. The claustrophobic nature of a jury arguing over a murder case is brought to the boil by a superlative Henry Fonda and sterling character actors such as: Jack Klugman, Lee J. Cobb, Martin Balsam and Robert Webber. It’s a real festival of acting full of sweat, anger, conscience, guilt and doubt.
AVENGERS ASSEMBLE (2012)
Joss Whedon’s Marvel behemoth broke all kinds of box office records across the world! It’s a humdinger of a movie with a cracking cast that included: Robert Downey Jnr, Scarlett Johansson, Mark Ruffalo, Jeremy Renner, Samuel L. Jackson, Chris Evans, Chris Hemsworth, Tom Hiddleston and many more! In fact, I’m surprised the set didn’t collapse under the weight of all the egos in front of camera.
GRAND BUDAPEST HOTEL (2014)
It’s cameo cast central in Wes Anderson’s fast-paced eccentric comedy with Ralph Fiennes leading the line-up with a terrific central performance. Also, tagging along for the quirky and colourful ride are such acting luminaries as: F. Murray Abraham, Willem Defoe, Tilda Swinton, Jeff Goldblum, Bill Murray, Jude Law, Edward Norton, Mathieu Amalric, Adrien Brody, Saoirse Ronan, Jason Schwartzman, Tom Wilkinson and Owen Wilson. Blink and you’ll probably miss some of them!
Christopher Nolan’s mind-bending heist thriller features a dream cast. Or does it! Yes – it does! It’s a Hollywood pot-pourri of movie stars such as Leonard DiCaprio, Oscar winner Marion Cotillard, star-in-the-making Tom Hardy, veteran character actors like Tom Berenger and Michael Caine and feisty starlet Ellen Page.
LA CONFIDENTIAL (1997)
While the careers of Russell Crowe, Guy Pearce and Kevin Spacey have gone up and down in various measures recently this brilliant crime film found them on the rise up the Hollywood ladder. Here they play a trio of very different detectives investigating movie lookalikes, murder and police corruption in Los Angeles. Throw in the likes of Kim Basinger, James Cromwell and Danny Devito and you have a cast to literally die for.
THE MAGNIFICENT SEVEN (1960)
The cast of this classic Seven Samurai remake is remarkable as in, aside from Yul Brynner, they were all pretty much unknown at time of filming. So, kudos to the casting team who recruited such a charismatic troupe including: Steve McQueen, Charles Bronson and James Coburn; who would all become stars in their own right.
Not a large ensemble cast but a brilliant one nonetheless. In Mike Leigh’s quintessentially British council estate film we get three young British stars in Gary Oldman, Tim Roth and Phil Daniels plus Alfred Molina and Pam Ferris too. Each character drowns in depression, awash in concrete, unemployment and the stench of piss-stinking lifts and cigarette-stained wallpaper. This is a sad, funny, low-budget 1980s kitchen-sink classic.
Tarantino, of course, is not only about the cracking dialogue and violence and homages to other movie styles and genre but he also knows how to cast a movie. He rarely has a big film star at the helm of his films but rather relies on a mixture of known stars in supporting roles, character actors, plus fading or B-movie journeymen. Often, actors are cast on ability and suitability rather than saleability such as Pam Grier and Christophe Waltz. His keen casting eye gave us a wonderful Samuel L. Jackson – up until then limited to mainly supporting roles – and also relaunched John Travolta’s flagging career in the imperious ensemble crime film Pulp Fiction.
This spy thriller contains a “Who’s-Who” of British acting talent. We have Commissioner Gordon, Bane, Sherlock Holmes, King George VI, Doctor Who, Truman Capote and even Trigger from Only Fools and Horses acting in between the shadows of murky British Intelligence espionage. It’s a tricky watch as the director goes for atmosphere over exposition but the sheer style and quality of the performances ensure espionage has never been so intriguing.
On top of the Netflix and documentary purge I watched quite a few films this month. Thus, here for your consideration, are some little reviews with marks out of eleven!
A MOST WANTED MAN (2014) – NETFLIX
One of Philip Seymour Hoffman’s final films and a pretty decent espionage thriller set in Germany. Despite an excellent cast and decent atmosphere I didn’t care much for the characters and it fizzled out for me by the end. (Mark: 6 out of 11)
COBAIN: MONTAGE OF HECK (2014) – BLU RAY
This is a very moving, filmic scrapbook documentary about an absolute musical legend who alas suffered both from mental and physical pain hence why he took his own life. Not sure if it was deliberate but toward the end his Mother and Wife were lit in a very similar way and resembled each other. While it was kind of objective allowing the sounds, videos, photos, recordings, interviews, cuttings and text to tell the story there a subconscious attempt by the director to link these two individuals. I loved the animated stuff which visualized the monologues Cobain recorded during his short life. I highly recommended this to fans of the troubled rock-poet and of course his amazing music. (Mark: 8.5 out of 11)
CREEP (2014) – NETFLIX
Not the British horror film directed by Christopher Smith ten or so years ago but a found footage film about a videographer who answers an advert to film a diary of weirdo played by the disarmingly dangerous Mark Duplass. I hated this at the start but it grew on me and the subtle horror was very well done and the ending is great. (Mark: 6.5 out of 11)
ENEMY (2014) – SKY
Doppelganger thriller Enemy is an enigmatic and weird treat full of fantastical images and brooding fear; featuring the ever brilliant Jake Gyllenhaal playing dual roles. His struggling actor and anxious teacher meet by chance and what follows is a mysterious game of cat and mouse. Both startling and unsettling from formidable genre director Denis Villeneuve. (Mark: 8.5 out of 11)
HECTOR AND THE SEARCH FOR HAPPINESS (2014) – NETFLIX
This is one of the worst-middle-class-first-world-problems-monstrosities-of-a-film I have ever seen. I like Simon Pegg but I switched this film off forty-five minutes in. Hector isn’t happy? No one’s happy, Hector! Happiness is an illusion, Hector! Do you have your health, Hector? Your girlfriend is Rosamund Pike, Hector? You have a home and food on the table, Hector? Count your blessings, Hector and piss off!! (Mark: 0 out of 11)
HYENA (2014) – NETFLIX
This is a sturdy and compelling British crime drama with a fantastic lead performance from Peter Ferdinando as a bent copper trying, yet failing, to stay ahead of the dangerous games he’s playing. It’s a brutal and nasty film; very reminiscent in style of Nicolas Winding Refn or Alan Clarke and is mostly gripping but slightly overlong. If you like your drama meaty, earthy and realistic then this is a movie for you. (Mark: 7 out of 11)
COCO CHANEL & IGOR STRAVINSKY (2009)
This was a sumptuous and stylish film with one of my favourite actors Mads Mikkelsen portraying composer Igor Stravinsky. I have to admit that I found it pretty boring though in terms of the drama and while it looked great I just did not care about the lives of rich and spoilt artists in 1920s France. (Mark: 5.5 out of 11)
THE MAN FROM UNCLE (2015) – CINEMA
Amidst the spy genre pastiche, muscular bromance and triple crosses there’s some cinematic gold enjoyment to be had in watching The Man From Uncle. Guy Ritchie is a very reliable genre director and during some of the set-pieces I actually sensed there’s a proper auteur trying to get out. While I liked Skyfall (2012) and look forward to Spectre (2015) this was reminiscent of the old Bond films from the 1960s as it makes espionage sexy again. Overall, this is an ultra-stylish spy eye candy with a cracking soundtrack. (Mark: 8 out of 11)
MAN WITH A MOVIE CAMERA (1920) – BFI CINEMA
Classic formalist documentary from Dziga Vertov is both an extravagant experiment in montage-making plus an intriguing look back at Soviet life post-Revolution. Dismissed as folly at the time of release it is now considered a masterwork, not only as a documentary, but as a film itself. It is humbling and intriguing viewing and makes you realise that the Soviet life is no different to ours as we witness births, marriages, deaths, work, rest and play. It’s a genuine historical and filmic masterpiece. (Mark: 10 out of 11)
MAZE RUNNER (2014) – SKY
This is a surprisingly entertaining addition to the recent raft of teenage-action-hero-in-dystopic-future-world-peril-films. I enjoyed the existential mystery set up in the premise as our hero Thomas (Dylan O’Brien) is thrown into a Lord of The Flies land inhabited only by young men, trapped by a massive maze. Plot-wise and action it’s very strong, however, the theme of humanity-accepting-one’s-fate-versus-escaping-while-testing-authority gave the story a richness making it very watchable indeed. (Mark: 7.5 out of 11)
MISSION IMPOSSIBLE: ROGUE NATION (2015) – CINEMA
M: I5 was a blast! Tom Cruise and the IMF team up to their usual breathtaking pyrotechnics! Good to see Sean Harris get a prominent role as he’s a formidable character actor. Phillip Seymour Hoffman – from M:I3 – is easily the best baddie though. I just wish the trailers wouldn’t show virtually ALL the stunts especially HOW Tom did the “hang to the plane” thing. I don’t watch these films for the story – it’s the action. Please leave some for the film next time trailer people! Rebecca Ferguson kicks serious ass and the scene at the Opera is pure Bond and pure cinema of the highest quality. (Mark: 8 out of 11)
NO ONE LIVES (2014) – SKY
A stylish, yet empty exploitation serial-killer flick which would go straight to video if Blockbusters had any stores left. Luke Evans is a handsome actor looking for a decent role since finishing Fast and Furious 6 and The Hobbit trilogy but this isn’t it. The film itself is saved by some extravagant violence and bloodletting but as a story it’s hollow like (Mark: 3 out of 11)
SOUTHPAW (2015) – CINEMA
If you like films about boxing then you’ll love Southpaw: a brutal and quality action-melodrama with another fine performance by Jake Gyllenhaal. The story is very simplistic and structured around a riches-to-rags-to-redemption narrative but I found the soap operatics and bombastic direction a real adrenaline-pumped belt to the senses. Gyllenhaal is ripped, torn and lean like a prime piece of beef as life deals him body blow after blow. Can his on-the-ropes boxer bounce and make a come-back? While somewhat predictable I found Antoine Fuqua’s punchy movie a real knockout! (Mark: 8 out of 11)
STRAIGHT OUTTA COMPTON (2015) – CINEMA
This is a tremendous biopic of seminal hip-hop legends NWA, who came to the fore of world music in the late 1980s. Performances and direction are excellent as Ice Cube, Dr Dre, Eazy-E, DJ Yella and MC Wren – AKA NWA – exploded onto the scene like a bomb and delivered anger, power and beats that propelled them straight out of Compton and into the charts! They are a perfect example of sociological, political and cultural forces converging to create a superlative brand and the film perfectly captures the age, the music, the look and the camaraderie of being the group. The film illuminates the spirit of the hip-hop scene and the problems the group had with the law while dramatically portraying the bitter in-fighting over royalties which split the band apart. Goes without saying the soundtrack is brilliant too! (Mark: 8.5 out of 11)
THEY CAME TOGETHER (2014) – NETFLIX
This starred two of my favourite comedic actors in Paul Rudd and Amy Poehler and is a broad parody of romantic comedies with a very high joke-rate. He stars as a corporate confectionary executive and tries to take over her small independent sweet-hearted business and at first they hate each other but then… Yes, they have sex! Pitched somewhere between Naked Gun and Anchorman this is very, very silly but also an absolutely hilarious comedy. Short, sweet, ridiculous and as infectious as diabetes. Is diabetes infectious – oh, who cares! Just watch the movie! (Mark: 8.5 out of 11)
I have a confession to make. I am a love cheat. I love the cinema but, of late, I have been cheating on it with Television. I couldn’t help myself. TV used to be cinema’s bastard child but now it’s all grown up and wow, has it matured! Gone are the past memories of four channels with some programmes of high quality yet limited choice. Now we have four thousand channels to choose from and while much of it is light bum-fluffery there has been some great product, notably dramas such as: Game of Thrones, The Walking Dead, 24, The Sopranos, Hannibal, Boardwalk Empire, Breaking Bad, The Fall, Daredevil, Peaky Blinders, Doctor Who, True Detective, Band of Brothers and many more I have forgotten or just haven’t had time to watch. But never fear cinema I still love you.
The moment I purchase a cinema ticket, in fact even before I leave the front door knowing I am about to leave for the cinema I get the charge, the buzz and the anticipation of getting a movie fix. Because for me going to the cinema does what television cannot: it takes me out of my home. It takes me off the street. It takes me out of THIS world. It takes me to a dark secluded spot sat staring at a gigantic silver screen waiting for the moment the projectionist feeds celluloid through light, well digital files though a computer and then a lens or something; anyway, you get the picture. Then the movie starts and for the next few hours I’m transported to another world featuring: places, times, characters, sounds, images, events etc. that are beyond my imagination. And when the movie ends there’s a rush of excitement, a reaction to the cinematic assault on the senses. But, alas, the fix cannot last. Reality is soon knocking on my door.
Cinema offers a wide-screen visual delight. Indeed, when television first came into people’s homes film producers were frightened that this new-fangled ‘radio with pictures’ would steal away audiences so Hollywood made bigger, though not necessarily better, movies; epics such as: The Robe (1953), The TenCommandments (1956), Ben Hur (1959) and Cleopatra (1963). Obviously, the epics just keep coming notably in the raft of summer blockbusters which infest the screen. This year has been no different with films such as: Ant-Man (2015), Avengers: Age of Ultron (2015), Jurassic World (2015), Fast and Furious 7 (2015), Mission Impossible: Rogue Nation etc. delivering with spectacular monsters, crashes and stunts.
While such blockbusters may lack depth of character than many TV dramas it’s the spectacle I crave at the cinema. That moment where you go giddy because you haven’t breathed for a minute until all the air rushes from your mouth as one simultaneously pushes your jaw back shut. Good old TV cannot do this though. The television set traditionally occupies a foremost place in the ‘living room’; it’s small compared to the cinema screen and has kind of replaced the hearth that used to provide heat and light. The TV glows and is reminiscent of the old-fashioned campsite fire where families or scouts swap ghost stories while capturing the heat from the flames.
Cinema offer a short, sharp hit compared to TV. Often, a longer running drama series on TV will require a six, ten, thirteen or even longer week commitment. Of course, the introduction of streaming or binge-watching has hacked this idea down to size but movies are still economical and quicker-paced, affording little in the way of fat to the storytelling. Cinema characteristically adopts a tight narrative organised around a particular problem or disruption that is resolved at the denouement where some TV shows, while resolving some plots, will hook us in with shocks to keep us watching and sometimes this can be frustrating as the two-hour or so closure and resolution that cinema offers is very satisfying to me. One of my favourite films Jaws (1975) is a great case in point. Here a shark terrorizes a local community in the United States and the cause-effect narrative takes us through a series of conflicts involving: shark attacks, pursuit of the shark and ultimately the killing of the shark. Thus, film is able to offer a satisfying conclusion to a thrilling story. Ultimately, film offers catharsis and the endings of films such as: Fight Club (1999), Chinatown (1974), The Godfather (1970) and Planet of the Apes (1968) all build to unforgettable climaxes.
Yet, the major concern I have with committing to a new TV drama is the length of time required to get in AND out of the story. I think long and hard about such a commitment but with film one knows it’s not going to be as such. Indeed, one of the reasons I have not watched Mad Men yet is the amount of seasons ahead of me. I’ve been married and I know how much hard work it is. I just don’t feel ready to commit just yet to Don Draper and his “crew”. Plus, with TV shows designed with advertisers in mind adverts can get on the nerves when in the midst of the narrative although the set-top box and Netflix revolution has put that issue aside as has the DVD box-set. Despite this though Cinema is still the preferred mode of voyeuristic, narcissistic and vicarious pleasure though as you sit in a comfy seat eating over-priced confectionery and have a non-stop viewing experience with all adverts before the main presentation. Of course, most films do have multiple examples of product placement, especially Tom “Dorian Gray” Cruise’s M:I franchise but that’s subliminally secreted within the narrative and action and thus not an issue for me. Overall, TV’s episodic form lends itself perfectly to advertisers yet once the movie has started it remains a satisfying whole and is never interrupted with a word from the sponsor.
While I admit that TV stories are gaining more and more complexity notably in regard to depth of characterisation and emotional power they are intrinsically “talking heads” and dialogue lead. TV is still anchored by a lack of screen-size and scope. Rarely does the action on a TV show reach the heights of the cinema although in recent times 24 and Daredevil have featured some spectacular set-pieces and fight scenes. Moreover, Hannibal has to be the most exquisitely edited TV show I have ever seen. But is it better than the cinema? Boardwalk Empire showed flashes of narrative genius with its parallel storytelling from past and present but does it reach the stunning narrative expertise of say Memento (2000);the story of Leonard Shelby (Guy Pearce) – a man with no short-term memory – which presents the complex plot BACKWARDS! Moreover cinema, unlike TV, is also able to breach huge temporal and spatial differences through editing. Perhaps the most famous single cut in cinema history appears in Stanley Kubrick’s 2001: A Space Odyssey (1968). Opening with the “Dawn of man”, apelike hominids learn how to use tools. As the ape/man smashes down the bone he then launches it into the air. One cut later and the audience are thrown thousands of years into the future and thousands of miles into space. Such vision demonstrates the power of cinema and takes the breath away.
The arch edict screenwriters should follow when writing for the screen is one should: “Show don’t tell.” Dialogue is also a vital tool in the screenwriter’s box as filmmaker’s such as Quentin Tarantino and The Coen Brothers have demonstrated in movies such as: Reservoir Dogs (1991), Pulp Fiction (1994), The Big Lebowski (1997) and Fargo (1996). Nonetheless they have married quirky, stylish dialogue with strong visual flair. Indeed, the screenwriter must be aware that cinema represents a marriage of sound and vision. While TV traditionally favours dialogue to further the story and action, cinema uses a whole host of devices to tell the story including: cuts, dissolves, wipes, flash-cuts, voice-over, overlapping dialogue, close-ups, point-of-view shots, shot-reverse-shot, Steadicam shots, crane shots, moving shots, dolly shots, wide-screen panoramic views, black-and-white film, colour film, and use of diegetic and non-diegetic music. Indeed, for me there is nothing more cinematic than great music being placed over fantastic images. Filmmakers such as Tarantino, the Coens, and Martin Scorcese are all aware of this. Tarantino uses non-diegetic music expertly in the infamous ear-slicing scene in Reservoir Dogs (1991).
And so I conclude with a mild apology to cinema. I have been seeing a lot of Television these days I DO STILL LOVE YOU! I love your form, style and content and the way they combine to move me emotionally and physically in a way television cannot. Movies will always reach the parts Television cannot. Something magical occurs when watching a film. A whole new world develops before my very eyes; heroes and heroines are thrown into adventure and conflict with events changing their lives forever. Be it falling in love, falling out of love, fighting for their lives or the lives of the ones they love, struggling against the odds to achieve their greatest desires or, tragically failing at the last obstacle. That for me is cinema. It’s an escape from reality the moment one leaves the house. Saying goodbye to the box, not only knowing it will be there when one comes back home but also knowing that it will rarely change my life. While its heat may keep the living room warm at night it cannot compete with film. I have seen the light. Je t’aime cinema!
I really liked the first two films for the following reasons:
1) Jennifer Lawrence – a wonderfully talented actress who proved her natural actoring ability in Winter’s Bone (2010), was perfectly cast in the lead and has proven star quality.
2) Katniss Everdeen is a formidable character with great physical and emotional power as well as fight and determination. She is brave, loyal and it doesn’t hurt that she resembles a young goddess like Artemis (not the Kebab place on Garratt Lane.)
3) The films adhered to a convincing formula which built believable characters, trained them up and then pit them against each other in gladiatorial combat.
4) Powerful drama as children are exploited for the purposes of political purposes by an dictatorial capitalist machine.
5) Social commentary on the nature of “reality television” or physical sports such as boxing where humanity takes vicarious pleasure in watching individuals destroy themselves
6) The games’ themselves are exciting with theme of individual glory being pitted against the notion of teamwork acting as a microcosm for the District as a whole.
7) Capital City (i.e. Capitalism) being shown to be a nefarious force ruling over and exploiting the working classes for their own ends and thus the communistic ideals proffered appealed to my socialist leanings.
8) The narcissistic and vain city dwellers shown to be preening peacocks only interested in themselves versus the noble working classes struggling against the richer scum. The idea of revolution also appealed to my Bolshie side.
So, while Hunger Games – Mockinjay Part 1 is a very well constructed film you’ve ruined the franchise with a piss-taking split-into-two-parts-narrative which has completely lost all momentum to the story. When you rest your head on your pillows stuffed with cash I hope — Hunger Games Franchisers — you sleep well because I feel like I’ve had to endure TWO HOURS at the cinema of fluffing. Because aside from a bit of action this film was very boring. It was ALL fluff and no money shots!
As your servant brushes your teeth with diamond encrusted toothbrush I note the excellent performances of Lawrence, Julianne Moore, Philip Seymour Hoffman (RIP), Jeffrey Wright and I completely get the political and social satire of using Katniss and Peter (excellent Josh Hutcherson) as propaganda tools BUT you made that point over and over again. There was not enough drama for me. It was all fluff and set-up and I want more for my money.
The film speaks of socialist values and revolution all the while the capitalist machine rakes in the dough. But I felt cheated I tell you – cheated. The character of Katniss was kept in a hospital bed or underground and generally a bystander in the action. I don’t usually complain that a blockbuster is too cerebral but the first two films were great and set-up certain expectations in my mind; so it’s probably MY fault. Of course I’m not stupid I realise you’re keeping something back for the finale but it had better be good guys – it better be good!!
Well, this was fun. Having enjoyed the X-MEN: FIRST CLASS (2011) movie immensely I was looking forward to this one despite Bryan Singer’s mildly wonky recent directorial releases VALKYRIE (2008) and the okay Jack and the Beanstalk CGI-fest JACK THE GIANT SLAYER (2013). Of course, Singer’s technical ability is second-to-none and his skill in creating a memorable action set-piece has never been in question but I found his recent films uninvolving and strangely undramatic; especially Valkyrie. But perhaps that was because we knew the mission to kill Hitler was doomed thus suspense was lacking in that particular narrative.
Anyway, no such concerns here with this sparkling time-travel, past-and-present fusion of historical and future events story. I was genuinely gripped from the brilliant opening scene which establishes a set of all-conquering villainous machines called The Sentinels which — in the future — have taken over the earth and are wiping out both mutants and humans alike. Cue Wolverine being sent back in time by Magneto and Professor X to convince the two respective younger versions of them to change the events which caused the Sentinels to rise to power.
If it seems a bit Terminatoresque it’s because it is completely the same story with some Back to the Future nods thrown in too. But Simon Kinberg’s screenplay (from Matthew Vaughan/Jane Goldman’s story in turn inspired by 1981 Uncanny X-Men comic book narrative by Chris Claremont and John Byrne) wears it’s influences proudly and gets us into the story so quickly that the time travel element becomes more structural rather than thematic. For me, Hollywood blockbusters are like rollercoasters and I’m looking for a thrill ride. From the get-go this ride was awesome and just did not stop!
One may even describe the structure as like Citizen Kane meets Magnificent Seven as our conduit Wolverine must assemble his team that include the now desperate junkie figure of Xavier (James McAvoy) and his faithful pet/assistant Beast/Hank McCoy (Nicholas Hoult). Xavier has essentially given up and Wolverine must persuade him to join the cause thus giving Jackman a chance to show his “sensitive” and persuasive side before unleashing those bulging muscles on his foes once again. I wanted a bit more time with X the Junkie because McAvoy is a likeable and commanding actor as shown by his recent stirring performance as good, bad, mad and ugly cop Bruce Robertson in disturbing black comedy Filth (2013). But to no avail as we then rapidly move onto the getting Magneto (the always brilliant Michael Fassbender) into the plot.
This is where the film goes all Mission Impossible as Magneto is being held a mile underground at the Pentagon penitentiary. Enter my favourite character of the whole film Quicksilver (Eric Peters) as his speedy skills are used brilliantly in the quest to set Magneto free. The rescue scene gives rise to probably the best set-piece I’ve seen in the cinema all year and like the Captain America fight scene in the lift it is full of surprises and humour. The use of slow motion, special effects, sight jokes, music by Jim Croce etc. had my heart in my mouth and adrenalin rushing through my body – although that could have been the vat of coffee I drank that day. Nonetheless this sequence typifies why I go to the cinema and that is for maximum big screen impact in moments like this. Shame on you if you watched this on illegal download via your laptop. Dear filmmakers – thank you! Please take a bow!!
With the team assembled they must then take down the ever gorgeous Mystique (Jennifer Lawrence) who is waging a one-mutant campaign against unscrupulous arms dealer, mutant-hater, and wonderfully named Bolivar Trask (Peter Dinklage). As typified by Mystique’s arc the whole film gives some great little moments of depth and motivation to the characters without losing pace in the plot and action overall. In fact, it’s perfect storm of a movie with plot, action, effects and so many fine actors at the height of their star working perfectly with established cast members of the older X-Men films such as Patrick Stewart and Ian McKellen.
This is grandstand genre filmmaking at its’ finest taking all the best elements from the previous films and throwing them into a potent and heady cinematic mix. I love time-travel narratives as well as the melding of actual historical events and figures such as the appearance of President Nixon and references to the Kennedy assassination. The final set-piece at the White House brings all the plots and subplots together in an outstanding action-packed denouement. For sheer entertainment value and for all X-Men and comic-book fans this is definitely recommended. So watch this on a big screen as that’s what it deserves. I recommend the Vue Cinema Westfield Screen 6 or Wimbledon Odeon Screen 4.
This is an 8/10 movie but 9/10 on the big screen!!
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!