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Articles, Cinema, Classic Movie Scenes

GREAT ENSEMBLE FILM CASTS #1

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GREAT ENSEMBLE FILM CASTS #1

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!

INCEPTION (2010)

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.

MAGNOLIA (1999)

Take your pick from Paul Thomas Anderson’s films which ALWAYS have excellent casts. I am in no doubt actors are drawn to the narcissistic and existential angst which inhabits the characters’. Boogie Nights (1997) is one of my favourite films but Magnolia with – Tom Cruise, Philip Baker Hall, Philip Seymour Hoffman, William H. Macy, Alfred Molina, Julianne Moore, John C. Reilly, Jason Robards – just wins out for best cast for me.

MEANTIME (1984)

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.

THE OUTSIDERS (1983)

Similar to The Magnificent Seven this is a “before they were famous deal” with an incredible cast who would come to known in the 1980s as The Brat Pack. C. Thomas Howell, Rob Lowe, Emilio Estevez, Matt Dillon, Tom Cruise, Patrick Swayze, Ralph Macchio, and Diane Lane all starred in this tragic rites of passage story about teenage gangs and friendship. All the actors when on to have decent careers; but what ever happened to that Tom Cruise guy though?!?

PULP FICTION (1994)

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.

SHORT CUTS (1993)

Robert Altman is the “King” of the ensemble drama as demonstrated with Nashville (1975), Mash (1970 and The Player (1993). His films often poked into the American underbelly psychoanalysing the mores of the various classes.  His work would have a massive influence on Paul Thomas Anderson and actors clearly considered it a badge of honour to act for him. Short Cuts was adapted from  Raymond Carver’s work and the cast included: Julianne Moore, Fred Ward, Anne Archer, Jennifer Jason Leigh, Robert Downey, Jr., Madeleine Stowe, Chris Penn, Jack Lemmon, Frances McDormand, Andie MacDowell, Lily Tomlin and many more.

TINKER, TAILOR, SOLDIER, SPY (2011)

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.

Articles, Cinema, Essays and Theory

JE T’AIME CINEMA by PAUL LAIGHT

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JE T’AIME CINEMA by PAUL LAIGHT

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.

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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 Ten Commandments (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.

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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.

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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!

bluesbros
Cinema, Reviews

SCREENWASH FILM REVIEWS: JULY 2015

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SCREENWASH FILM REVIEWS: JULY 2015

Pretty busy this month with my film viewings so here’s every film I watched in the month of July 2015 with marks up to 11!

**MASSIVE SPOILERS AHEAD**

ANNABELLE (2014) – NOW TV

Prequel to the chilling James Wan horror The Conjuring (2013) which explains the backstory to creepy doll Annabelle and how it came to be such a malevolent force.  While not reaching the heart-in-mouth scares of Insidious (2010) there is much to raise the pulse here. I found the references to the Manson death-cults and Rosemary’s Baby (1968) influences to be interesting and there are some very jumpy moments.  The ending lets it down but worth a look while the star is the gnarled doll which never fails to chill one’s core. (Mark: 6.5 out of 11)

ANT-MAN (2015) – CINEMA

This was a blast!  The awesome Paul Rudd plays “good” criminal Scott Lang — a Robin Hood-style thief — who while down on his luck tries one last job so he can gain parental access to his daughter. Little does he know is he’s breaking into top scientist Hank Pym’s (excellent Michael Douglas) place and thus a chain of events occur making Lang a perfect candidate for Ant-Man.  It’s simplistic narrative-wise but what it does have is a fizzing script full of zingers and comedic moments as well as some great action set-pieces built around a complex but well orchestrated final act heist. A fun supporting cast including: Evangeline Lilly, Bobby Cannevale, Michael Pena and scenery-chewing baddie Corey Stoll add class to proceedings and overall I had a great time watching this. It proved that not ALL superhero films have to be HUGE as sometimes small, rather than big, is beautiful. (Mark: 8.5 out of 11)

CLOWN (2014) – NOW TV

A father finds himself possessed by a monster having, inexplicably, tried an old clown suit on for his son’s birthday. It’s a low budget horror film from Canada and has decent moments of gore especially toward the end but clunky plotting really lets it down.  It gets on my nerves when screenwriters put massive bits of exposition in the MIDDLE of a film to try and get the audience up to speed with the narrative. Show don’t tell please!  The scene in the plastic-ball pit full of kids was good so worth a look at that. But coulrophobics beware as it gets nasty and definitely not one for the kids! (Mark: 5.5 out of 11)

DRACULA UNTOLD (2014) – NOW TV

This is pitched like a horror version of the 300 (2006) but lacks the brutal style of that muscular classic.  Basically, Vlad must protect his Transylvanian family from marauding Turks so does a deal with a demonic vampire (Charles Dance) to become a super-being. However, it comes with a Faustian price.  Some good action but the gore was too sanitized by the CGI for my liking but brooding Luke Evans — as the eponymous anti-hero — is great in this blood-thirsty prequelization of Bram Stoker’s literary classic.  (Mark: 6 out of 11)

FLAME & CITRON (2008) – NETFLIX

This is a thrilling Danish WW2 story charting the exploits of Danish Resistance fighters/assassins codenamed Flame and Citron.  Mads Mikkelsen portrays Jorgen, the latter of the partnership as he and compatriot Bendt laid waste to Nazis and their Danish collaborators amidst the German occupation.  Mikkelsen is very good at playing smooth characters but here he’s nervy, dirty, sweaty and living-on-the-edge. He brings his classic mournful look to a character fighting inner demons, traitors and Nazis; all the while trying to cling to the family he loves. War brought the worst and best out of people; sometimes at exactly the same time as this film ably illustrates. A fine war story expertly told. (Mark: 8 out of 11)

GOD BLESS AMERICA (2011) – AMAZON PRIME

This was my favourite film I saw in July by a long, long way.  It is a coruscating and murderous satire with a savage script that lays into the United States of the media nation; notably reality TV and talent shows. It has a majestically deadpan and downtrodden performance from Joel Murray as Frank, a lowly office worker, who after having a REALLY bad day decides to go on a kill crazy rampage to rid the world of people who sicken him.  Think Falling Down (1993) but WITH hilarious jokes!  Along the way Frank obtains a teenage sidekick called Roxy and she joins him in the mayhem as they wipe out everyone from hate-filled preachers to obnoxious political commentators. It makes simple but valid critiques about modern culture and allows one to indulge and enjoy the height of revenge fantasies while filtering influences such as Bonnie and Clyde (1967), It Happened One Night (1934) and other gun crazy road movies. (Mark: 9.5 out of 11)

KNIGHTS OF BADASSDOM (2013) – NOW TV

This damned awful horror spoof couldn’t even be saved by a cast that includes Peter Dinklage and Steve Zahn. It went for an Evil Dead style vibe as a bunch of live-action-role-playing game nerds accidentally conjure up a demon which wreaks havoc on their game-playing.  Ryan Kwanten plays a handsome mechanic who is taken along for the ride and potentially could have been another Ash in the making. But alas the script and style are abysmal and overall this is a charmless film. I will always try and give low budget horror films a break critically speaking but, this is neither funny or horrific enough to make it worth recommending. (Mark: 4.5 out of 11)

MAGIC IN THE MOONLIGHT (2014) – NOW TV

The great filmmaker Woody Allen is quietly turning out one film a year and this one is a pleasant sojourn through 1920s France and the relationship between misanthropic magician Stanley Crawford (Colin Firth) and young psychic Sophie Baker (Emma Stone).  Basically, the older Crawford sets out to debunk pretty Sophie’s skills as a medium and it doesn’t take a seer to work out what happens.  It’s a sunny film full of eccentrics and has some interesting discourse on the nature of death and the “other” side.  While it lacks some of the classic Woody one-liners there’s gentle character humour to be found and Firth is always great, so it’s a film difficult not to enjoy.  (Mark: 7 out of 11)

PURGE 2: ANARCHY (2014) – NOW TV

Sequel to The Purge (2013) takes the original’s claustrophobic home-invasion style and widens the action to the violent streets of the U.S.A. Again, criminals and ordinary citizens are given the chance, for ONE NIGHT ONLY, to commit any misdemeanour (rape, robbery, murder etc.) they so desire WITHOUT fear of arrest.  I absolutely love this idea and the first film was pretty decent but this one takes a funky concept and delivers a film which lacks wit, thrills and more importantly horror.  It’s not bad and the social satire works but it lacks a star to carry it and the characters are too paper-thin and badly written to care about. Some fun to be had with the urban warfare and the revenge on the filthy rich socialites that occurs but with a more imaginative director like say, James Wan, this could have been great. (Mark: 5.5 out of 11)

TED 2 (2015) – CINEMA

Sequel, believe it or not, to Ted (2012) – the one from the creator of Family Guy Seth Mcfarlane about the dope-smoking-sex-crazed-alcoholic-filth-mongering-talking-Teddy-bear.  I enjoyed the original but this one was even funnier as Ted (McFarlane) and his thunder-buddy John (Mark Wahlberg) fight the US courts to prove that Ted actually exists as a “person” in the eyes of the law.  The plot isn’t important really and merely acts as mannequin to hang a litany of sexual, druggy, politically-incorrect, sexist, offensive, toilet-humourist gags on.  Wahlberg is a blast, even when he’s drowning in semen, during one particular gross but hilarious scene. If that’s the level of your humour then you’ll love this! (Mark: 7 out of 11)

TEENAGE MUTANT NINJA TURTLES (2014) – NOW TV

The latest TEENAGE MUTANT NINJA TURTLE FILM was not half as bad as I thought it would be. But then again I could only sit through half of it as it was THAT bad. Here are some comments from my Facebook status: which say it all!

“I’ve never seen anything so lacking in charm.”

“Starts off ok, but then becomes a mess.”

“I tapped out after 10 minutes of nothing but clunky exposition and the entire film treating it’s own premise like it’s a joke.”

(Mark: 4 out of 11 – mainly for the well-choreographed fight scenes)

TERMINATOR GENISYS – CINEMA

The iPhone spell checker changes Arnie to “sarnie” which is apt because the new Terminator film is a complete shit sandwich! It’s even worse than I thought it could be. It doesn’t make any sense as a story at all. Only Jason Clarke and Arnie himself save it with decent turns. The convoluted plot was an insult to the memory of the first two films and really this should be called Terminator: Genocide as it must have killed the franchise once and for all. How Jai Courtney gets work I do not know and the title SUCKS!  I just hope Schwarzenegger dies soon and can never say “I’ll be back!” ever again. (Mark: 4.5 out of 11)

TWO LOVERS (2008) – BLU RAY

A really intriguing, human and romantic drama which had some mature performances from Joaquin Phoenix and Gwyneth Paltrow, plus magnetic direction by James Gray.  It’s a slow-paced character piece with suicidal thirty-something Leonard trying to find some small happiness following the break-up of a recent engagement.  The joy comes from Phoenix’ darkly humorous and awkward acting performance and it’s the kind of film which at times is sometimes TOO painful to watch as Leonard finds he must choose between two women: the attractive, yet safe, Sandra played by Vinessa Shaw and the sexy, flaky human car-crash that is Michelle (Paltrow). I very much enjoyed this film as it acts as an anathema to the obvious slick-sugar-schtick that Hollywood usually pumps out. (Mark: 7 out of 11)  

Articles, music, Reviews, Theatre

NOSTOCK FESTIVAL REVIEW

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NOZSTOCK FESTIVAL REVIEW

I was going to include my Nozstock experience in my latest collective cultural review, however, I had such a great weekend that it earned kudos enough for a sole entry into the Captain’s blog.   So, myself, Melissa (the girlfriend) and Rhys (my son and heir) drove up to the Midlands on the Thursday and camped out under the stars amidst wonderful countryside, a sea of tents and a bonanza of musical, artistic and comedic entertainment. Alas, it pissed down with rain on the Friday but Saturday’s glorious sunshine dried out the mud precipitated by nature’s will the day before.  We left the Festival on Sunday but saw so much in our two full days there it’s worth sharing some images and positive words.

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ABOUT

Nostock is, what I would class, one of the smaller festivals I checked out when booking – maximum 5000 punters – but it was big in ideas and heart.  The comparative smaller size works in its’ favour as it felt local, family oriented and friendly. And definitely NOT part of the big corporate machine where bands perform as part of contracts to shift units. There were local bands for local people as well as bigger name acts such as De La Soul and old-school Motown act Martha and the Vandellas. This was essentially small but a perfectly formed set-up.

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THEME

Nozstock takes place on a working farm in Bromyard, Worcestershire but this year they went for a science-fiction theme with which to decorate the various stages and tents and being a sci-fi fan it was quite amusing to see pictures of futuristic robots against a backdrop of verdant pastures.  I mean, it’s not everyday you see a wicker Dalek. But somehow it worked as the design was done lovingly and with much humour. It all added a certain post-ironic charm to the whole affair as these photos show.

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THE ENTERTAINMENT

This had everything you’d want from a festival including: theatre, rock music, dance, rave, cabaret, cinema, food, arts and crafts and you know what apart from a few names on bill (excluding comedians) I knew hardly ANY the artists or performers – and that was fine!  I was more than happy to be surprised in a good or bad way and find fresh artists and musicians to entertain me.

There was a great mix of international, local and new singer-songwriters and bands and a couple really stood out:  Leeds-based Jenova Collective lit up the Friday gloom with their jolly Electro Swing and Raptor rocked the bandstand with an old-school-retro-rock-and-roll!  Beardyman was on WAY too late on the Saturday night but the four tracks I saw of him were fantastic.  Big plus were hip-hop legends De La Soul who stepped into fill the headliner’s Wu Tang Clan’s shoes after their Euro-Tour was cancelled due to unforeseen circumstances. Great to hear the tunes from Three-Feet and Rising played live and loud!

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We tasted some of the cabaret and cinema stuff including a musical mime adaptation of Holst’s The Planets at the very punny Bantam of the Opera tent.  Furthermore, the comedy I watched on the Saturday was top quality with the gags of Mark Simmons, madness of Phil Kay and everyday yet sharp observations of Seann Walsh being highlights.  There was just a cornucopia of other delights like rap and reggae at the Raveyard; pilled-up rave-hippies at the Tree of Frogs and some really harsh beats in the Bullpen which were like a musical Magnum 45 and took my head clean off.

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It was just a great selection of joy and artistry on show. I just felt free from responsibility and even if I didn’t like something there just round the corner was an alternative stage to savour. So many artists and performers to choose from that the organisers deserve great credit for a fantastically curated festival.

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OVERALL 

I had an exciting weekend overall. Despite the rain the energy and fun of the proceedings never dulled and big praise to all concerned.  I must add that the food choices were pretty decent too and we had a lovely cooked English breakfast from the Oatcake stall. Plus there was enough bars serving tasty beer and cider to keep everyone happy!  Incredibly the Portaloos were very clean throughout with none of the horror stories I’ve been experienced at Glasto!

I’ve always loved the Festival experience. You just get a real sense of freedom camping  while at the same time experiencing a cultural oasis of entertainment.  Nozstock is nowhere near as big as say, Glastonbury, BUT who knows one day it may be.  I hope it doesn’t though as it is perfect as it is: a real local, eccentric and energetic bag of fun! Highly recommended!

Here’s their website – do check it out: http://www.nozstock.com/

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Articles, Cinema, Essays and Theory, Television

“YOU’RE FIRED!” – SOME GREAT TV/CINEMA SACKINGS

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“YOU’RE FIRED!”  – SOME GREAT TV/CINEMA SACKINGS

“I was looking for a job and then I found a job. Heaven knows I’m miserable now!” Stephen Patrick Morrissey

**CONTAINS MILD SPOILERS**

Cinema and television is often about reflection. What happens on screen reflects the dreams or loves or nightmares or hates of the audience.  There is no greater scene in a movie I love more than a good sacking or resignation scene. Indeed, I’ve had many jobs I’ve hated. I’ve had many jobs which hated me. Plus, in my “career” as a wageslave I’ve been constructively dismissed, made redundant and resigned from various places of employment.

So, when I see it occur on screen I thrill at the idea of a character NOT being in work; of leaving employment; of being free and damning the consequences. Of course, this is all wish fulfilment and projection as I am a responsible person and continue to punch the clock. Nontheless, if you have a desire for a certain level of existence and especially if you have children you need to pay your way.  But a sucker can dream and have the mirage of hope play out on a big screen. For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.

For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.

AMERICAN BEAUTY (1999)

This brilliant ensemble drama confirmed Kevin Spacey as an actor of some force and the scene where he turns the tables on his boss in just magnificent. I also love it when he’s interviews for the job at the fast food place because he wants a job with as little responsibility as possible.  A mid-life crisis has never been so much fun!

BOYS FROM THE BLACKSTUFF (1982)

A tragic and darkly comic “poster-man” for Thatcher’s Britain, Yosser Hughes became synonymous with the catchphrase “Gissa job!” A pale, ghost of a man who would essentially get hired and fired on the spot due to his uncontrollable anger and violence. The whole series is classic British TV at its best and in Yosser’s Story I’m both laughing and crying inside at the same time.

BRIDESMAIDS (2011)

I’ve used this scene before on a previous blog item about great dialogue scenes and happy to use it here again. Kristen Wiig and the teenage nemesis exchange verbal blows ending in a cracking payoff right at the end. The scene has wonderful performances and cracking comic timing as they take the comedy staple of battling one-up-woman-ship right up to eleven.

“DO I NOT LIKE THAT!” ITV DOCUMENTARY (1994)

One of the greatest sporting documentaries ever!  The tragi-comedy of Graham Taylor’s ill-fated attempt to get England to the 1994 World Cup is a brutally honest and painful to watch.  Taylor is a fine football man but this whole documentary is one big sacking waiting to happen. David Brent doesn’t manage football teams; but if he did.

FIGHT CLUB (1999)

One of my favourite films of all time this is a wonderful, wonderful scene which captures the mood and violence of the thematics in a heartbeat.  Smashing yourself up AND blaming your boss is just a magnificent way to leave a job. Awesome!

THE HUDSUCKER PROXY (1994)

While not one of the Coen Bros more celebrated films The Hudsucker Proxy has many wonderful visual tricks up its sleeve. The opening set-piece where the Chairman of the Board “resigns” is a wonderfully constructed sequence edited and shot with their usual flair, humour and precision.

KILL BILL: VOL. TWO (2004)

I really felt sorry for Michael Madsen’s Bud in this scene.  Here’s a guy who is a part of infamous assassin team called The Viper Squad, in a deadbeat backwater town bouncing to make ends meet with a coked-up-douche-bag-boss to boot. For being late he is catigated in the most humiliating way and yet doesn’t react.  Perhaps he’s above it all but I really wanted Bud to thump his scumbag boss but he just takes it and walks out.

NEED FOR SPEED (2014)

Great driving and car stunts do not save this video-game adaptation from being an also-ran as a narrative. However it does have a very memorable resignation scene which transplants some much needed humour in the over-serious petrol-headed plot.  Here mechanic Fin quits his job in hilarious fashion.

NETWORK (1976)

“I’m mad as hell!”  Stunning Paddy Chayefsky script holds a burning mirror up to the news media governed by a desire for ratings in Network. The film reflects flaming ire and wide-eyed fury via Peter Finch’s Howard Beale who not only is under threat of the sack but actually promises to “resign” permanently on live television.  It’s a stunning film which in many ways is just, if not more, relevant today.

THE OFFICE (2001-2003)

Even though he probably deserved his sacking/redundancy for his somewhat eccentric management style I still felt sorry for David Brent. His self-delusion knows no bounds as he offers his resignation believing him to be irreplaceable only to find it accepted by the management.  It’s made all the more amusing because he’s adorned in ridiculous fancy dress for Comic Relief. Priceless.

THE PRISONER (1967 -1968)

This TV show from the 1960s is an enigmatic masterpiece. Set in the mysterious Village we follow one-can-only-presume-a-former-spy called Number 6 (Patrick McGoohan) as he attempts to escape from his nefarious captors. Kafkaesque to the extreme it begins with one of the great resignation/credit sequences ever.

“BE SEEING YOU…”

Cinema, Comedy, Reviews, Spurs, Television, Theatre

RINGERS AND SINGERS: A CULTURAL REVIEW

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RINGERS AND SINGERS: A CULTURAL REVIEW

February 2015 has been a wonderfully diverse month culturally for me.  I have tasted the peak of perceived high culture with a visit to the Festival Hall and have also plumbed the depths of low culture with a visit to a Wrestling event and even lower with Quint Fontana’s guttural and scurrilous Pop Pals!

I jest of course as all events were culturally rewarding and provided an interesting juxtaposition for my latest blog piece which combines little reviews of some stuff I’ve been gone and done recently.  I have also watched loads of films as well but will deal with those in my February edition of Screenwash.

BEAUTIFUL – THE CAROLE KING STORY – ALDWYCH THEATRE

I’m not a massive fan of musicals per se but as a Valentine gift for my girlfriend (yes – I have a girlfriend now and she’s real) I bought her tickets for this show. Oh, and I went along too. It’s the story of Carole King and her rise from 16 year-old novice songwriter to the heights of fame as a solo artist. Singularly, and with her husband Jerry Goffin, she wrote a litany of hit records including: Up on The Roof, Will You Still Love Me Tomorrow, The Locomotion, Natural Women, I Feel The Earth Move, Pleasant Valley Sunday, You’ve Got a Friend and many, many more.

King is clearly a genius and her album Tapestry would become one of the biggest albums of all time. The musical is a joy and while I wanted a bit more about the relationship breakdown and Goffin’s depression it’s all about the songs really. In Beautiful you get hit after hit after hit brilliantly performed by the young, talented and energetic cast.

BRITISH EMPIRE WRESTLING – TOOTING TRAM AND SOCIAL

This was the first time I’d seen a Wrestling show and it was really entertaining.  I was really impressed by the mixture of physicality alongside loads of variety with male and female comedy characters, villainous wrestlers and proper athletes battering each other round the ring in a series of tremendous bouts.  There was an element of theatricality and pantomime but also genuine pain as there were no holds barred in many contests. It’s pretty cheap too so do check out their events. Next one is at the end of March.

POP PALS WITH QUINT FONTANA – STAR OF KINGS, KING’S X

Lounge loser extraordinaire Quint Fontana hosts a karaoke event with a difference as “stars” from the pop world (or are they comedians in disguise) perform before a joyous (i.e. drunk) audience in a King’s X basement.  It’s brilliant fun and Quint is a despicably funny host as he sups on his Tyskie beer, goads the audience and banters with the pop guests which included Ronan Keating, Jason Donovan and Christine Aguilera. To be honest it’s worth going just to see Quint have his nightly nervous breakdown!  Awesome!

RACHMANINOFF: INSIDE OUT –  FESTIVAL HALL

This was almost cultural overload as I tasted my first quaver of a classical musical concert at the Festival Hall.  Performing with grandstanding gusto the London Philharmonic soared with a virtuoso performance of Rachmaninoff’s greatest hits and music which I came to recognise from David Lean and Noel Coward’s story of understated love – Brief Encounter (1946).

With no actual frame of comparative experience I can only say that it was hugely enjoyable evening and one which was not only aurally pleasing but visually interesting too as the orchestra and conductor brought home the stunning compositions with incredible timing. At times I wondered about the musicians and characters performing (could make an interesting comedy or drama)  and felt giddy at the wonder of the music. Although that could have been the heavy cold I had at the time.

TOTTENHAM HOTSPUR UPDATE

During February Spurs had some vital fixtures and after a stunning last-gasp win against North London rivals Arsenal we unravelled slightly where results were concerned. Harry Kane’s brilliant header proved to be our last winner in February as Spurs went out of the Europa League on aggregate to an efficient Fiorentina team in Florence.  We started well but could not break them down.

In between we scraped a 2-2 draw with West Ham after fighting back from 2-0 down. Biggest blow was losing 2-0 to Chelsea in the Capital One Cup at Wembley. Mourinho set his team up solid from the start and while competed until the final whistle, our usual match winners Kane and Eriksen could not get us over the line.  After the highs of crushing Arsenal the bitter lows of defeat hit hard. We have 12 games in March to get into the top four or it’ll be more trips to Cyprus, Kazakhstan and Madagascar in the dreaded Europa League.

US OFFICE – NETFLIX BINGE-ATHLON

I have had to move twice recently due to reasons beyond my control so no longer have Sky Television beaming it’s entertainment juice into my living room and brain. Thus, I have gone back to my favourite online channel www.netflix.com and FINALLY began catching up with the The Office (US version)!  And oh my god it is genuinely one of the funniest and style-diverse situation comedies I’ve seen.

It uses character, songs, slapstick, embarrassment, gags, pranks, horror and pathos to propel it’s narratives as the employees of Dunder Mifflin get themselves into all manners of scrapes and cringeworthy situations.  Some great cameos too (I’m up to Season 6 now) as Amy Ryan, Idris Elba, Kathy Bates and even Christian Slater have popped up in episodes.  Anchored brilliantly by an ensemble cast notably Steve Carell as Michael Scott and my favourite, Rain Wilson as Dwight Schrute, this is comedy performance and writing of the highest order. Just TOO funny.

Articles, Cinema, Essays and Theory, Television

CHANGING LANES – (AKA ‘ARTISTS’ WHO SUCCESSFULLY SHIFTED CAREER PATHS)

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CHANGING LANES – by PAUL LAIGHT

The excellent intellectual comedy BIRDMAN (2014) is about — among many themes — a movie star attempting to gain artistic credibility and shift his career from the commercial side to the more critically acclaimed. Using this as inspiration I decided to take a look at some musicians, actors and a filmmaker who in some way have began at one end of the creative spectrum and successfully careered to another. At the same time as changing creative lanes they surprised the audience, improved their critical kudos or at the very least shifted  perception of their oeuvre. Please do suggest others if I have missed them; which I imagine I have. They’re in no particular order either.

PETER JACKSON – FILMMAKER

Peter Jackson is one of my cinematic heroes. The reason being is he began his career from scratch in New Zealand making the no budget horror film Bad Taste (1987) before subsequently going on to make some of the biggest grossing blockbusters ever committed to celluloid.  My favourite film of his remains the hilarious gorefest Braindead (1992) and therefore his career shift to the haunting Heavenly Creatures (1994) was an incredible leap.  Personally, I liked his bloody horror films better but of course his Tolkien trilogies contain some amazing filmmaking too.

DAN STEVENS – ACTOR

I don’t watch Downton Abbey so had never heard of the handsome actor Dan Stevens.   The first I met him was watching the low budget actioner The Guest (2014) and he is absolutely brilliant. It’s a smart, funny and violent B-movie which makes merry hell of its’ “cuckoo in the nest” plot.  Stevens is brilliant and has all the charm and looks of a bona fide movie star in the making.

BEN KINGSLEY – ACTOR

Kingsley stunned me when he appeared in Jonathan Glazer’s excellent debut feature Sexy Beast (2000) as the foul-mouthed cockernee monster Don Logan; sent to wreak havoc on Ray Winstone’s feng shui and chi.   It was an incredible performance which completely shifted perception away from the archetype RSC trained actor of stage and screen.  His portrayal of Gandhi put Kingsley very much on the cultural map whereas the visceral brutality of Logan pissed all over it!

LUCILLE BALL – ACTOR

Lucille Ball was a pioneering actress, comedienne and film studio executive. She was the star of many sitcoms notably I Love Lucy. Early doors though she performed in many small movie roles in the 1930s and 1940s, being dubbed the “Queen of the B-movies”.  In 1951, Ball helped create the television series I Love Lucy with husband Desi Arnaz and during a prolific career Ball was nominated for Emmy thirteen times and won four of the beauties.

CLINT MANSELL – MUSICIAN

Clint was the frontman for Black Country-bassed-hip-hop-funny-as-fuck-politically-incorrect-grebo-groovesters Pop Will Eat Itself!  Along with The Wonderstuff they were one of my favourite bands from the late 80s/90s.  Songs like:  Beaver Patrol, Grebo Guru, Can U Dig It, Wise Up Sucker etc.   smacked the arse of the charts with a flurry of non-sensical lyrics and pilfered samples. Years later Mansell rose from the spunky ashes of PWEI to become a respected film composer. His most memorable score is for the grim, yet awesome Aronofsky helmed Requiem For A Dream (1996) and since then he has consistently written for the same director. His classical piece Lux Æterna has become a ubiquitous soundtrack for many a film trailer!

JEROME FLYNN – ACTOR

To be honest Jerome Flynn has always been a decent TV character actor ever since he starred in Soldier Soldier in the 1990s.   But we also have him to thank for giving producer Simon Cowell some of his early hit records when, along with Robson Greene, he butchered a series of singalonga ‘classics’ including Unchained Melody.   He’s forgiven though for his musical crimes as his cultural slate has been wiped clean via his tough and gritty appearances in the phenomenal  Game Of Thrones plus the excellent Ripper Street. 

MATTHEW McCONAUGHEY – ACTOR

McConaughey has always had star appeal ever since his appearance in Richard Linklater’s Dazed and Confused (1993) and always stood out as an actor to watch. His career choices, however, in romantic comedies such as: The Wedding Planner (2001), How to Lose a Guy in 10 Days (2003), Failure to Launch (2006), Fool’s Gold (2008) and Ghosts of Girlfriends Past (2009) made him a shedload of dough but had many thinking he’d thrown away his ability on fluff. But then the “McConaissance” occurred and since 2010 he has eschewed the mortgage-paying unchallenging work and starred in some intense, transformative and often brutal roles including: Killer Joe (2011), The Paperboy (2012), Mud (2012), Magic Mike (2012), The Wolf of Wall Street (2013), Dallas Buyers Club (2013), and stunning HBO series True Detective (2014).

CHARLIZE THERON – ACTOR

When Theron appeared in some decent but unspectacular early roles you would not have been wrong to suspect she was just another model-turned-actress wannabe who had got her break due to her cracking good looks.  However, THAT is definitely NOT the case as her acting prowess was proven in the Oscar-winning role of female serial-killer Aileen Wuornos. Tragic film Monster (2003) flipped career perception on it’s head as she imbued Wuornos with an anger, pain and humanity which never fails to rabbit-punch the emotions.   It was an incredible lane change in Theron’s career and proved she was no blonde bimbo. She was also fantastic as a twisted neurotic suffering from a severe case of arrested development in  Young Adult (2011).

BEN AFFLECK – ACTOR/DIRECTOR

Is Ben Affleck a good actor?  I had this discussion with a friend and we decided he was a solid if unspectacular presence who can be impressive at times with his professionalism in Good Will Hunting (1997),  Changing Lanes (2002), Hollywoodland (2006) and Gone Girl (2014).  However, let’s be straight he has also appeared in some right old garbage such as Daredevil (2003) and the critically panned Gigli (2003). But Affleck’s cultural redemption has occurred as a director in which he has hit three cinema home runs with the excellent Gone Baby Gone (2007), The Town (2010) and the political thriller Argo (2012).   These are three proper movies with the assured directorial touch of the great genre filmmakers such as John Ford or Huston.  In some ways his career mirrors that of Clint Eastwood’s; as in he’s appeared in some great films, some rubbish films and is now becoming a formidable director to boot!

WHOOPI GOLDBERG – COMEDIAN/ACTOR

Multi-talented Emmy, Oscar, Tony winner Goldberg is one of the most versatile comedian/actors to grace the stage and screen. She developed her abilities at the Blake Street Hawkeyes Comedy troupe and would then be cast in Spielberg’s The Color Purple (1985). Goldberg’s Celie Johnson is a character battered by life but whom amidst the abuse retains a strength to not let life destroy her. All the more amazing given it was Goldberg’s first dramatic film role.  Goldberg would go on to prove both her dramatic and comedic mettle in a number of roles eventually winning an Oscar in the supernatural-thriller-romance-weepie Ghost (1990).

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ANDREA BOCELLI – SINGER

I don’t know much about Opera or classical music to be honest but I do know what I like when I hear it.  Thus, Andrea Bocelli’s pop-opera classic Con te partirò is an obvious favourite ever since I heard it in The Sopranos.  Andrea Bocelli himself had always immersed himself in singing since a boy but had to work his way up from the bottom, sort of.  He was a qualified lawyer and playing piano in the bars when ‘discovered’ by goalkeeper-turned-singer Luciano Pavarotti. The rest they say is history!  Time to say goodbye reader; au revoir!

Cinema, Reviews

MOCKINGJAY – THE HUNGER GAMES – PART 1 (2014) – FILM REVIEW

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MOCKINGJAY – THE HUNGER GAMES – PART 1 (2014)

Dear Hunger Games Franchisers,

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!!

Cinema, Reviews

GONE GIRL (2014) FILM REVIEW

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GONE GIRL (2014) – FILM REVIEW

**BEWARE – SOME SUGGESTIVE SPOILERS**

Gillian Flynn, David Fincher, the cast and production team have carved out a superlative, rug-pulling, amoral, misanthropic and bloody suspense thriller which ghosts between several genres from romance to police procedural to thriller to Grand Guignol splatter film. Given the nature of the well-orchestrated and devious plot I will not be giving anything away other than it is essentially about a marriage in crisis and then some.

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We begin in North Carthage, a picturesque town in Missouri as our anti-heroes Nick (Ben Affleck) and Amy Dunne (Rosamund Pike) are established. Flashbacks reveal a lustful romance but as money troubles affect them they are forced to leave New York and move back to Nick’s hometown. The story kicks off with a weary Nick bemoaning his lot to his supportive sister (excellent Caroline Coon) before he finds out Amy has gone missing. Then the fun really starts.

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As the plot unfolds we are led a merry dance as to where sympathies lie as the story twists and turns allegiances from Nick to Amy and back again. Having lived through a couple of acrimonious relationship breakdowns myself I felt the pain of the characters trapped in a marriage where the spark has been dampened by familiarity, financial worries and narcissistic deficiencies. Although, given the size of the house they live in I didn’t feel too bad for these over-privileged sociopaths.

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Ben Affleck is very effective as the trouble-plagued yet spoilt WASP, however, Rosamund Pike steals the acting honours with a sparkling star-turn. Throughout she demonstrates the many facets of an emotionally complex, intelligent and physically adept human. I sensed this was writer Gillian Flynn’s fantasy; acting out her devilish desires on page through this beautiful yet dangerous character. Pike’s Amy took me back to the age of fantastic ’40s femme fatales played with aplomb by: Barbara Stanwyk, Rita Hayworth, Ava Gardner et al.

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David Fincher, with his wonderful pallet and great eye for a script, is carving himself out a terrific raft of movies which look into the dark recesses of the American dream. He dissects and delivers a scathing commentary on the flaws and weaknesses of the middle, upper and wealthy classes. He not only incorporates obsessive characters but also muddies waters between good and evil and hero and heroines as witnessed most recently in The Social Network (2010), Zodiac (2007) and The Girl with the Dragon Tattoo (2012).  While Gone Girl could have been shaved of 10 minutes to make it punchier, for me, Fincher is a post-modern Hitchcock; making fine films about damned unlikeable characters but somehow pulling us into their tawdry lives.

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There’s a fantastic episode of South Park from season 17 called ‘Informative Murder Porn’ which satirises the rise of scurrilous, scandal-mongering TV shows which “celebrate” salacious murders, crumbling marriages and missing people. Gone Girl is essentially a high-end version of such shows; the likes of which feature cleverly within the film’s plot. Indeed, the film also condemns the poisonous nature of such programmes which take joy in other’s misery.

Overall, Gone Girl is a masterful B-movie which is very gruelling to watch from an emotional perspective. Aside from the cops investigating (Kim Dickens and Patrick Fugit) Amy’s disappearance and Nick’s sister the majority of the characters are borderline sociopaths. Indeed, when one of the more likeable characters is the media-hungry-lawyer-snake-oil-salesmen-come-showman (Tyler Perry) then you know you’re dealing with an extremely opaque vision of humanity.

Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE – #1 RYAN GOSLING by PAUL LAIGHT

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MY CINEMATIC ROMANCE – #1 RYAN GOSLING 

**THIS CONTAINS MASSIVE SPOILERS, CLIPS and REFERENCE TO ADULT LOVE DOLLS**

To compliment my post last week which featured films with dark or extreme love, today I am hailing the romantic impact of movie heartthrob Ryan Gosling.

#1  – DRIVE (2011)

This is a very romantic film with great chemistry between Gosling and Mulligan. It is also uber-cool with Gosling doing his post-modern Steve McQueen thing really well while Mulligan does sweetness personified.  It’s very pure cinema with minimal dialogue and just a longing, passionate look here or there to drive the love story.  Winding Refn is known for his brutal and violent films and this one erupts at the end but The Driver’s motivation is not revenge but rather protection of loved ones; namely Mulligan’s single mum and son.  Is there anything more romantic on screen than killing to protect the one’s you love?

#2 – LARS & THE REAL GIRL (2007)

This is such an original, quirky and goddamn touching movie.  Gosling’s character – sporting a Pupkin style moustache – has had some kind of personality breakdown and in an attempt to comfort himself he purchases a ‘human’ doll online. So far so weird.  He then treats her as he would a real girlfriend.  What is amazing is that the townsfolk where he lives also join in the “make-believe” and slowly but surely Bianca (playing herself) becomes part of the community.  The writer/filmmakers could have gone down a road of smut and low-brow humour but instead deliver a really humble and slyly humorous portrayal of grief, mental breakdown and loneliness. Gosling is understated brilliance throughout but it’s the Doll which steals the acting honours.


#3 – BLUE VALENTINE (2010)

This is one of the most realistic portrayals of a relationship ever committed to the screen.  It features the beginning, middle and end of Gosling and Michelle Williams’ love for each other; although not necessarily in that order.  The chemistry between the two is electric and it is so painful to see a couple break apart as they do by the end, having witnessed such a beautiful coming together previously.  What I loved about the film was the humanity of the relationship showing both men and women as both negatives and positives in the story.  Both romantic and heart-breaking in equal measure this is definitely not a film to watch on your own on Valentine’s Day having just broken up with someone.


#4 – CRAZY, STUPID, LOVE (2011)

I really enjoyed this ensemble comedy from the writers of Bad Santa. A  sexy looking cast full of fine young and mature Hollywood talent was very much a surprising like for me.  There was pleasant chemistry between Carell’s downtrodden husband and his wife played by the ever-lovely Julianne Moore and fine cameos from Kevin Bacon and Marisa Tomei.   Gosling nicely satirises his Hollywood heartthrob good looks playing a gigolo who is able to conquer women with the merest flutter of his get-your-kit-off eyes. The scenes where he trains Carell’s romantic loser up as a womaniser are funny and a nice reversal of the usual Hollywood cliches which show an older man training up a young rookie.  Emma Stone is pretty hot too and can act as she showed in the films Easy A (2009), Zombieland (2010)  and The Help (2011). Her scenes with Gosling are very funny and I liked her feisty character as she actually steals his heart by initially refusing to give in to his ample charms.  


#5 – THE NOTEBOOK (2004)

I am a massive cynic and it takes a lot to melt my iceberg heart but this film attacks you with not one, but TWO heartfelt, tear-jerking stories interweaved simultaneously.   Based on super-schmaltzy literary work of Nicholas Sparks I’d kind of avoided watching it but am glad I succumbed as it is a lovely film. It’s the kind of movie you enjoy watching with the heating cranked up while the rain smashes down outside.  In the present an elderly couple attempt to reconnect despite her Alzheimer’s, while in the past a young chap from the wrong sides of the tracks tries to woo a Southern Belle despite her families protestations.  It’s a sensory overload of sloppy sentimentality and black-belt romance clichés but the film fully embraces these conventions, telling us in the process that love for another human is the main reason for living.  The cast are breath-taking including Gosling, Rachel McAdams, James Garner and Gena Rowlands and they really raise the material above the standard Mills and Boon plot. It’s easy to dismiss Nicholas Sparks’ writing but it is phenomenally successful so you have to admire his and the filmmakers’ ability to make such cheesy romance so highly entertaining.  This film embodies the definition of a guilty pleasure in my (note)book.