MY CHRISTMAS VIEWING

0 - No Redeeming Feature
1 - Poor
2 - Passable
3 - Good.  Rent it.
4 - Full Price
5 - Must See!

Well now, I trust everybody got fat, jolly, and had a good time over the Christmas holiday?  I trust you are all looking forward to a great new year; it can't be worse than 2012, surely?!  Anyhow, I write this new entry on my brand spanking new laptop, and so far it is very nice, although I must say I'm not keen on the Windows 8 start screen.  Anyone know how I can convert it so that the laptop starts up with the classic Vista or 7 feel, do feel free to let me know.  Anyhow, as you might expect, aside from visiting friends, entertaining family, giving and receiving gifts and eating and drinking a lot, some of the holiday was spent on the sofa, and once in the cinema, in front of Christmas movies.  Here is a rundown of films seen this week, which I have not yet mentioned on this blog.

RISE OF THE GUARDIANS 

Chris Pine lends a good vocal to Jack Frost, who for a long, long time, has been unseen by children and whilst having a great deal of fun, remains at a loss as to his purpose.  It is when an evil spirit named Pitch Black threatens to wipe out all hope and belief in the Guardians, North, Pitch, Sandy, Tooth and Bunny (no prizes for guessing who is who) that Jack is summoned to help fight for the wonder and joy of children's belief.

It is a perfectly good idea, visually impressive, features reasonable performances from Hugh Jackman and Alec Baldwin, along with a notably fun one from Jude Law, and I do not doubt that it will be a kids' seasonal favourite.  Personally, I would have liked a bit more development on the idea of darkness being part of growing up, rather than the focus on it as an enemy to be banished; for a children's movie it seemed the character of Pitch lacked any learning curve about his role, and that disappointed me.  That said, it is what it is and for its audience it works perfectly well; not a classic, but I had a good time with it.

Still at cinemas.

3.5 / 5

Catch it if you like:  Seasonal animated features

DIE HARD

Yes it is a Christmas movie, and yes it is a classic.  In fact, do I need to talk about it?  John McClaine kick ass, rocking the vest look, in the best of the lot; it is the only Die Hard with pretty much zero flaws.  A fast paced riot of a movie, full of witty dialogue, great characters, and lashings of humour and excitement.  If you haven't watched it at Christmas time, shame on you!

Pick it up as part of the box set now.

5/5

Catch it if you like:  Good action films!

IT'S A WONDERFUL LIFE

Upon first inspection it is perhaps easy to understand why when first released, Frank Capra's Christmas movie, inspired by a simple seasonal card, was not well received.  It is a movie that opens with a fantastical scene of a star, later revealed to be an angel, talking to a faceless God, the voice-over stilted in sweet humour, and immediately suggesting the film is going to be one that is too saccharine a pill to swallow.  The thing is, beyond that, It's A Wonderful Life is the ultimate exercise in feel-good cinema, its virtue as such much referenced in TV and other films.

The film presents George Bailey, played by James Stewart, who would go on to refer to it as his own career favourite; Bailey stifles his lifelong dreams of traveling and discovery in order to save and run his father's Building And Loan Association.  It has long been responsible for the affordable housing in his hometown Bedford Falls, and he cannot see it lost to the scoundrel of the piece Henry F. Potter, who is a major shareholder in the Building And Loan and the only man residents could otherwise turn to.  A run at the bank leaves the Building And Loan on the brink of financial ruin, George's Uncle Billy misplaces $8000, and in an act of desperation George attempts suicide, at which time he is saved by the angel Clarence.  Understandably confused, he wishes he had never been born, and so his wish is granted.

If the plot seems familiar even though you have not seen It's A Wonderful Life, it is probably because you saw the idea loosely re-worked in the Nicolas Cage film The Family Man.  For all its up to date technique, its colour, modern setting, etc, this version could not capture what made the original.  So, what did make the original? What may surprise people is how Capra clearly believed in the notion that you have to suffer the low to get the high.  The second act of the movie gets really quite dark, with Bailey seeing what the world would be like without his birth, coming to understand just how important a person is to everybody else's existence, and bringing him to a full appreciation of his worth as a husband, father and friend.  The finale is obviously that classic scene that we all know, even if we do not realise it, with his daughter's famous, "Every time a bell rings, an angel gets its wings", and despite how much you might think the whole thing sounds cheesy, silly, saccharine and sentimental, the power of the film is to bring a genuine tear of pure enjoyment to your eye regardless; for a while you are full of the joy of life and completely happy, no matter what.

A lot of the film's success comes down to how believable James Stewart makes the plight; his performance is another illustration of why he is one of my all time favourite actors.  He shows how well he can hit any emotional beat, not to mention handle rather complex moments where a lot is being unsaid.  For just one example, check out the scene in which he wanders into Mary's mother's home and takes Sam's phone call - incredible!  For any flaws you may find with it, its colourful characters, its tremendous performances, humour, heartbreaking moments, perfectly pitched highs and lows, and its' unabashed final sequence make this an inexplicably perfect film.  No wonder it remains at the top spot of many people's favourite Christmas films, and so it should!  Oh, and see it in the original black and white, not the new, fancy colour, which is clever, but ugly.

Pick it up in stores or online.

5/5

Catch it if you like:  Good seasonal movies, as it may well be the best of the lot.

LOVE ACTUALLY

Okay, let's get this straight, at any other time of year the cynical critic in me would poo-poo this movie, to a certain degree, at least.  It is all over the place and even by Curtis' standards, it is no masterpiece.  Yet, at Christmas, it is perfect.  Every thread, every performance, from the completely stupid to the utterly believable and heartbreaking, balance out to make a strangely enjoyable film.  A mishmash of true to life love stories and utterly laugh out loud moments, strung together by coincidence and people who are minor characters in others' lives, this always leaves me feeling warm inside.

Buy it anywhere.

4/5

Catch if if you like:  To feel good.

THE POLAR EXPRESS

Robert Zemickis works with Tom Hanks again to bring the wonder of Christmas home.  The story of a young boy doubting the existence of Santa does not preach or treat the subject in any sort of patronizing way one might expect.  Instead what we get is a visually stunning Christmas film about the wonder and joy of the idea of Santa, while it lasts, and the magic of the time of year.  On repeat viewing, I did find myself realizing just how much like a dream the films plays out, and how it may have been improved with a bit more narrative meat, but when you're sat in on a cold Christmas eve, drinking hot chocolate, there is nothing you'd rather be watching.

Buy it anywhere.

4/5

Catch it if you like:  Seasonal movies.

THIS WEEK: Life Of Pi

0 - No Redeeming Feature
1 - Poor
2 - Passable
3 - Good.  Rent it.
4 - Full Price
5 - Must See!

LIFE OF PI

 Pi Patel, played for the most part by Suraj Sharma with a confidence defying his absolute inexperience in front of the camera, and surely qualifying him for a Best Actor nod at the Oscars, is thrust into an adventure of survival at sea. The ship carrying his family and their zoo hits bad waters, inexplicably sinks, and from there he must learn how to share the confined space of a lifeboat with his only companion, the tiger Richard Parker.

Like 'Cast Away', due to its idea a great deal of the film is without speech, save for Pi's one way conversations with the animal and the occasional narration by adult Pi, played by a spectacular Irrfan Khan, who is telling his tale to an author, one who is after a great story that will "make you believe in God". Also much like another of this year's spectaculars, 'The Hobbit', the front end of the movie is loaded with a lot of setup, which those who only saw the trailer may find surprisingly hefty. Unlike 'The Hobbit', however, this front end engages you fast and it is not long before you are enjoying the development of Pi as a character, the amusing finding of his faith, his love, and his place in the family. Some genuinely hearty and smart humour can be found in this first act, also. The brilliance is that whilst it is not in any rush to get where we all know it is headed, at no point is there any wish for Lee to push it along faster; there is some understanding intrinsic to the direction that this is all important and not to be overlooked, which even those who have not read the hugely popular book pick up on. To add to this, it must be said that the length and pacing of this movie are outstanding; you would not want any more or less time spent basking in the warmth of the love and care that clearly went into putting every single gorgeous frame on the screen.

The second act is where we really see the film kick into gear and start rolling out what is stunning audiences and critics alike. From the greatest CGI animal I think I have seen on the silver screen, to the overwhelmingly beautiful photography, effects, and perhaps not the first, but certainly the best use of 3D technology to enhance the engagement with a story, 'Life Of Pi' sweeps the floor visually with anything previously held up as a bar setter.  Nothing against those previous movies, but it really does.

 All of this is obviously nothing without everything else being in place, and thankfully Ang Lee knows that the heart of his film is not how pretty it is, but the story by Yann Martel and the themes with which it deals. So what is 'Life Of Pi' about? The wonderful thing about this piece is that this answer could be different for you than it was for me. It is about a boy surviving at sea with a tiger. It is about the nature of life, death and loss. It is about the balance of fear and respect. It is about love and hope. It is about humanity and compassion. It is about religion and faith, faith not just in a higher power, but in anything in the world. It is about all of these things at once, but what I most took away from this film is how it is about the nature of nature itself. Yes, it sounds heavy and preachy, doesn't it? The truth is Lee gets the balance absolutely spot on; you take from the movie what you want and at no point does it preach at you about anything. It does not matter how you walk in, an atheist, a Hindu, a Christian, but if you are a human being with anything close to an open heart and mind, you might just walk out feeling like a better person!  Released for the festive season, it is an oddly uplifting film that entertains on one hand, and on the other is positively philosophical about our place in nature, our treatment of her, and of one another. Not often would I say that a film might just change your life, but as the film reached its finale, with both Sharma and Khan absolutely owning their respective final scenes, I realised I had been inescapably moved to tears more than once, had consciously assessed how I think about certain things, and that yes, this film just might change you for the better.  Is the preceding challenge to make a character believe in God achieved? That would be telling, but more importantly, it does not matter; in a rather smart bit of writing and beautiful execution of a twist in the tale, the film underlines that this is not really the point, and indeed never should be.

Ang Lee is a man who directs with a heart full of compassion, and a head full to its brim with an understanding of cinema's sheer power to entertain, engage and challenge, sometimes all at once. A look at his previous work is evidence enough of this; sure, not everything is a hit, but never could his passion for cinema, bravery and humanity, be more on show than with 'Life Of Pi'.  He has done what was said to be impossible, taken a book that should never have translated to cinema, and not only made a successful film, but made the all-round best spectacular to hit the big screen since Nolan's 'Inception'!  A loss at the Oscars for its visuals and adaption for screen, at the very least, would be a sin!  Regardless of one's reaction to the movie, Ang Lee may well have created his masterpiece. 

At cinemas now!

5/5

Catch if you lke:  Cast Away, The Fountain

THIS WEEK: The Hobbit: An Unexpected Journey/Babycall

0 - No Redeeming Feature
1 - Poor
2 - Passable
3 - Good.  Rent it.
4 - Full Price
5 - Must See!

THE HOBBIT: AN UNEXPECTED JOURNEY 

I admire Peter Jackson, coming from the world of low-budget horror, his desire to take on the epic Lord Of The Rings, and ability to deliver what he did, is hugely impressive. His love for the source material was very clear, and despite anything about that trilogy with which I may have my reservations, it was a near masterpiece. Now here we are, about a decade on, with Martin Freeman taking on the role of Bilbo Baggins, in what we could consider a prequel, though they were never written that way; truth be told, in the long-run it won't matter which way round the movies were made, this is a separate story and, importantly, a different tone.

There are many good things about this film, much to be admired, but Jackson's adoration for the source is still well on show, and unfortunately this means he wants to cram a lot of superfluous material in to what should have been a straightforward adaption of a children's book. Whether you be a die hard fan who remains excited about Jackson's decision to include all sorts of other Tolkein material that isn't strictly 'The Hobbit', or a casual viewer who does not know the first thing about Tolkein's tale, one thing is unarguable, this film is far too long. With an extremely baggy introduction at bag end, and an awful lot of exposition, it is a good forty minutes or so before we hit any sort of movement in the narrative; this would not have mattered so much if a lot of the introductory material didn't end up feeling quite so inconsequential. Then there is the struggle to balance the lightness of 'The Hobbit' with the tone set by 'Lord of the Rings'; on one hand the film displays a sort of whimsy, on another it wants to be dark and epic, the prior feeling at times strangely awkward when punctuating the latter.  As prime examples of how misjudged we're talking, take a look at the scene with the trolls, and any elements involving Radagast the Brown.  For this critic at least, it means you never quite feel completely comfortable and 'in gear' with the movie; I think it speaks volumes that the film is at its obvious best when it is most like the previous trilogy, the Riddles in the Dark scene with Gollum clearly standing out as a highlight.

Then we have the choice to shoot at double the normal film speed; with many theatres still catching up with this technology, the likelihood is this won't bother most who see it projected at normal speed, but why bother shooting this way? It is observed now that it tends to make things feel too real, and remove the magic of cinema from the piece, something I would have expected Jackson to recognise quite early on and avoid. There is no reason to see this any way other than 2D at normal speed.

Do not get me wrong, An Unexpected Journey is an enjoyable film for many reasons, not least of which are the performances of Martin Freeman, Andy Serkis as Gollum, looking and sounding even more incredible, and Sir Ian McKellen, who can make even the most dull moment seem like more; the score is typically gorgeous and Jackson's love and respect for the material is very clear on screen.  It is fair to say, however, that based on the evidence of this movie alone, perhaps a bit more discipline and the creation of one 210 minute film may have been more wise; this is a movie that should have been incredible, but is overly bloated and feels, at times, burdened by a little too much indulgence, and so ends up being just very good.

See it at the cinema now.

3.5 / 5

Catch it if you like:  The Lord of the Rings, Willow

BABYCALL

This film has been on hold for a while, it would seem; since this was made Noomi Rapace has become a name to follow, so Babycall is well worth checking out for the sake of curiosity, if nothing else.  Sadly, a great central performance by Rapace, as a mother moved with her son into a new area to protect them from the threat of her ex partner, along with the film's good intentions, is not quite enough to save it.  Pal Sletaune creates great atmosphere and sense of place, drama and tension, builds it nicely and reminds me very much of classic Polanski, but when he starts to play his hand and get clever, he unfortunately ties himself up in knots and leaves you wondering what went wrong with the last act. I'm a big fan of Noomi Rapace; I don't doubt her for a second, and it must be said there is a lot of promise here, but sadly, by the end, it is little more than a good but failed effort.

Catch it on DVD now

2/5
 

THIS WEEK: End Of Watch / Seven Psychopaths / Martha Marcy May Marlene / Rampart

0 - No Redeeming Feature
1 - Poor
2 - Passable
3 - Good.  Rent it.
4 - Full Price
5 - Must See!

END OF WATCH

Brian Taylor and Mike Zavala, played by Jake Gyllenhaal and Michael Pena respectively, are two police officers who patrol their beat in a dangerous area of Los Angeles.  Written and directed by David Ayer, who penned the superior Training Day, this film straddles a line between down to earth drama about the lives of these cops, and Hollywood cop thriller; the hybrid works...to a degree.

So why to a degree?  Whilst having a good ear for very natural dialogue, clearly trying to illustrate the cops' life in an honest way, looking at them from both sides of their badge, there are a few burdens on the movie.  The now commonly observed, and most disruptive issue, is the choice to adopt the found footage approach.  He explains Brian's use of camera in a way that feels a bit contrived, but is acceptable; he then proceeds to not only have other characters filming their actions and discussions on their phones, with no explanation, but also to let us view events from a non-existent POV.  It could be argued his intention was to put us right in the action, having introduced us to the visual approach, and trust that we will go with it without question.  A lot of people have mentioned this did not work for them and I was one of them.  I would have been more impressed with a hybrid of visual style; Brian's on the job camera covering their actions, always seeing things from his POV, could have easily run counter to a more stylised shooting format for the overarching narrative.  Whilst this may have felt a little strange, it would have at least been consistent, but as it is Ayer seems intent on breaking his own rules of engagement, which speaks perhaps of his inexperience behind the camera.  With the whole movie feeling, at times, like an episoe of COPS, the visual style was a distraction I could never completely get my mind off.

The film is also a bit baggy, with parts that feel shabbily cut in and overlong to pad out the running time; I must confess there was a run of the film where I was not completely engaged, and was consciously waiting for the next scene that would pick it back up.  This is a shame, as the other characters surrounding these guys could have added something very fresh to the film, as counterpoint to their duty as cops, but there is never really any fleshing out of these elements; much of what we know about any backstory is delivered in short hand through conversations between the two leads.  Towards what turned out to be the end of the movie, I did get excited and shifted in my seat, as it looked for a moment like Ayer had a secret surprise up his sleeve which was about to raise the film to a whole new level, but then it turned out to be a quirk that felt unnecessary.

This said, I did admire the film's desire to present cops as real human beings with real lives, as nicely illustrated by Gyllenhaal's opening speech, and I thought the chemistry between the guys was very good; their dialogue is amusing, their performances strong, and the film is not without a lot of gripping moments.  It is also clearly well researched.  I enjoyed it overall, but more as a performance piece with good intentions and exciting punctuations; as a piece of cinema I think it is flawed and certainly not the best cop movie ever made, as it has been hailed elsewhere.

At cinema now

3/5

Catch it if you like:  Brooklyn's Finest, The French Connection, Training Day

SEVEN PSYCHOPATHS

Sam Rockwell, Woody Harrelson, Colin Farrell, and Christopher Walken as a principal cast.  Add to that cameos by Michael Pitt, Harry Dean Stanton (who I thought was dead!) and Tom Waitts (the first two of which really are cameos - almost a Why did you bother paying named actors to do this? situation), playwright responsible for In Bruges, Martin McDonagh, as writer and director, and we are surely on to a winner, right?

I am happy to say yes, but not in the way you might think.  This madcap tale of a flailing writer with alcohol problems, getting himself tangled up with a bunch of psychos and doggy kidnap, is about as nutty as its title and synopsis would have you think.  The film is actually quite flawed.  After In Bruges it is clearly a step down, a product of a writer flailing in a similar way to the film's leading character; it is sloppy, baggy, anarchic film making, it is all over the place with its tone, ill-disciplined, obviously self-referential, and so off-beat as to sometimes miss the beats entirely.  In other words it's a bit like punk, and like the best punk, it is all of those elements that work in its favour; it has a charm and energy that would not be there if it was handled better...ironically.  It is also smart, which I didn't expect.  The performances are top-notch from top to bottom, with each actor providing exactly what you expect (and some of what you don't), a chemsitry that makes them completely watchable, and the stylish violence and snappy dialogue are fashioned in a way of which Tarantino would be proud.

Not an awards contender, and a movie that will likely be overshadowed by future work, but it is the fact he knows it and treats the material exactly as it needs to be treated that makes it work.

At cinema now

3.5 / 5

Catch it if you like:  Coen Brothers when they are funny, In Bruges, Jackie Brown

MARTHA MARCY MAY MARLENE

Sean Durkin directs a cast, some of whom will be familiar to many film buffs, which includes Elizabeth Olsen as the titular character in this low-budget bebut.  Martha returns to the closest thing we could call home with her sister and now brother-in-law, after relieving herself of the company of an abusive cult.  After years with them, however, she is haunted by dreams and visions, and finds herself struggling to adapt to normality.

Once the film reaches a certain point, it does not take much looking to find the most obvious influence in recent history for such a story, and credit goes to the film for portraying the allure and effect of a group such as the one here lead by Patrick, played by the tremendous John Hawkes.  Credit must also go to the cinematography for capturing the blur between reality of the present and memory of the past so seductively.  The final and largest appluse obviously goes to Olsen, who is surprisingly effective and is already proving she may have a solid acting career ahead of her.  Beyond that, frustratingly, this film leaves a lot to be desired; too much to be able to recommend it, unfortunaely.  We never really get to explore the cult's motives or ideas, aside from the occasional lofty discussion about the body, identity, ways to live and life and death, nor do we ever dig into Martha's backstory and reasons for getting involved in the first place.  The interactions between Martha and her relatives also feel frustrating due to their increasingly unrealistic lack of understanding or empathy; at no point do we ever believe they truly care or worry about what has happened to Martha over the last few years with no contact.  Finally, as much as I enjoy open endings, leaving things to the audience to think on, etc, I must say I could not believe the credits rolled when they did.  In fact, I was looking forward to what was going to happen next; the movie had just engaged me when it came to an end!

So, not a bad effort, and worth a watch for the performances and some creepy elements, but on the whole Sean Durkin has a way to go before he is one to watch.

On DVD now.

2/5

RAMPART

Inspired by the real Rampart division and the stories of corruption that were weeded out in the late 90's, this should have been an engaging cop movie.  Woody Harrelson is as watchable as ever as the corrupt cop on charges of brutality, truly finding the real, complicated human being behind the badge.  Sadly, he cannot carry this film all the way home, and small guest appearances by Sigourney Weaver and Steve Buscemi are too brief to save it.

In short, some great acting and the occasional scene driven by some flukily good dialogue aside, this is a mess of a film; by an hour in I was waiting for the end.  Watch any other cop film and you are likely to find something better.

On DVD now.

1 / 5

THIS WEEK: Argo

Okay, in a rather pathetic display for a film fan, I watched one movie this week that I actually want to talk about.  It is at the cinema right now, so check out my review.

ARGO

I've been a Ben Affleck fan for some time now, and anyone in the know understands why. With Gone Baby Gone he surprised all who saw it, with a keen eye and a passion for serious cinema that didn't make things easy; an emotional movie full of great performances, which drove everyone to consider their position on a serious subject.  With The Town, gone was Ben Affleck the joke actor we all remember; instead we saw a bright new talent, both in front of and behind the camera. Now we have Argo, the dramatisation of the CIA's rescue of six Americans, who escaped the US Embassy during the 1979 Iranian revolution and were sheltered by the brave Candian Ambassador.

They say truth is stranger than fiction, and here it certainly appears to be the case. Most recall the big event, but the smaller story of the rescue of the six was only de-classified in 1997, and it is this almost absurd tale that Affleck is interested in, though this is not to say the bigger picture is overlooked. Indeed, one of the numerous beauties of this film is the wonderful balance between the different parts.  The political unrest is not missed while focusing on the plight of the group, and you never feel you are spending too long or too little time back in America, where the crazy plan is gradually being set in motion; you care about all at once, and the shift between the different threads has the feel of a master at work. Not only this, but in a lesser director's hands the tone shifts could have been totally misjudged and all over the place. Again, Affleck shows he understands how to balance politics, personal drama, exciting thriller and, surprisingly, even humour, with a panache that feels wrong for somebody with his short time in the director's chair; this certainly does not feel like this director's third film. To be starring in it and not dropping the ball or stealing the limelight is also testament to his humility, and desire to focus on making the best film he can.

With the help of a careful, steady screenplay that includes a smart, brief history lesson at the front of the piece, allowing you to jump into the stunning opening scene fully informed, a terrific editor, a few surprise turns including those from John Goodman and Alan Arkin (who at times threatens to steal the movie, as always), Affleck has made another intelligent picture that boasts a great eye for detail, and which asserts him as certainly one to watch. Sure you can see certain liberties being taken to appeal to the popcorn crowd, but those liberties, particularly in the final section, do not feel naughty; they feel like a great way of bringing an important story to a gripping climax.

Barring the aforementioned big names, most performances go unnoticed, with the group of Americans being given little fleshing out, but this film is all about engaging with the story of the event rather than the characters, and given that from the opening moments I was hooked on the drama, could almost feel the fear and danger of the situation, could see a realistic, well paced cranking up of tension that is so masterfully paced we might call it Hitchcockian, and that I was on the edge of my seat for the last half hour, it is fair to say that to this end, 'Argo' is another success for the man.  Still not Gone Baby Gone, but a third solid piece that puts Affleck well on the way to being a classic film maker.

4/5

Catch it if you like:  Gone Baby Gone, The Town, Rendition, The Great Escape