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Ben Wheatley – #AAEmpireLive
“I love making films. I’ll keep making them until they stop me.”
The Infiltrator
“This is what I do. I’m an undercover narcotics agent, I sit with murderers and made men and I lie. I lie my ass off.”
Rogue Agent (Director Interview)
A spy thriller for the modern world
Read my interview with the film’s director, Kai Barry, at:
Finding Dory
W.W.D.D: What would Dory do?
13 years on from the incredible Finding Nemo and our fish friends are back – but this time Dory is the focus. Our favorite Paracanthurus (Blue Tang) is back. The phrase above is not just my new mantra for living, it’s the motto of the movie. At one point a character even asks himself, What Would Dory Do? For Dory is one of Pixar’s greatest creations – truly lovely, totally optimistic with a tenacious heart of gold. What is truly Pixar about both her onscreen features is how her having memory loss is handled – it is not her main character trait nor is it treated as a problem that needs ‘fixing’. It is part of who Dory is, yet something she does not allow to completely control her. Her much awaited sequel really does not disappoint.
Money Monster
A solid and enjoyable suspense-thriller
There is a tiny, nasty part of me that wants to use the Valley Girl-esque phrase of ‘Hello, Money Monster? 2002 called and it wants its movie back!” as there is something rather dated about this film. However, after seeing Neon Demon at a preview screening last night (click here for my review) there was actually something rather comforting about seeing a good old-fashioned topical thriller that clocks in at the good ol’ standard 90 minutes. And it’s actually pretty good.
Lee Gates (George Clooney) is the host of cable network show ‘Money Monster’ , providing gives the nation stock market tips and tricks. To him the programme is the chance to talk about his favourite thing, money, and have fun – this includes props, sound effects, visual aids and dancers. He seems blissfully unaware of just how important his guidance is to some people, that he is dealing with the livelihoods of millions of people – at least he was unaware until Kyle Budwell (Jack O’Connell) entered the studio during a live broadcast, brandishing a gun and forcing Lee to wear a vest laden with explosives. It’s up to the show’s executive producer Patty Fenn (Julia Roberts) to help Lee get out alive, and that means locating business CEO Walt Camby (Dominic West) . His company lost $880 million due to a ‘Glitch’, $60,000 of which was Kyle’s. But is there more truth to this ‘Glitch’ than Walt is letting on?
Money Monster is a bit of a superlative-free zone. It’s not the world’s greatest film relating to the economy, nor is it the worst. Director Jodie Foster does a great job in articulating what is universal anger borne out of confusion over the nature of banking and financial crashes. Whilst the film is not developed enough to serve as a deep socio-economic or political statement is does allow for reflection on how little we know about what men in suits are doing with our money. Unlike the equally enjoyable The Big Short (click here for my review) it doesn’t focus on an entire recession, but on how the crash of just one company can have devastating consequences.
O’Connell is superb channeling power and rage into his performance, one which has thematic similarities to Daniel Kaluuya in an episode of Black Mirror entitled ‘Fifteen Million Merits‘. Clooney offers a solid performance as an arrogant arsehole with a heart of gold (pretty much his standard M.O). Roberts is fine as a desperate producer keeping her head when all around her are losing there’s. West is the required level of swarmy to create a villainous figure. Caitriona Balfe (playing Diane Lester) is an actress I had not come across before but was a pleasant surprise with a crucial yet understated performance.
Money Monster provides just what the trailer offers. No need to read the small print here: it’s solid entertainment that will engage for the entirety of its running time and may even make you think.
The Jungle Book
It’s really a Bare Necessity that you see it!
For reasons somewhat unknown and potentially puzzling for many fans, Disney has decided to make a series of live-action versions of their animated classics. Apparently there are even 15 currently being planned. If they are all even half as good as this one then it’s not something to worry over. The Jungle Book (2016) is a marvelously wonderful adaptation that is both true to the original 1968 film yet with enough of its own nuances for a fresh-feel.
Mowgli was only a baby when he was found alone in the jungle by Bagheera the black panther (Ben Kingsley). Bagheera took Mowgli to the group of animals in the jungle who would best be able to care for him and protect him – the wolf pack. Raised by surrogate mother Raksha (Lupita Nyong’o) and pack leader Akela (Giancarlo Esposito) and bought up alongside their wolf cubs Mowgli learns the ways of the wolves, but as he is getting older Mowgli’s (Neel Sethi) progress is starting to lag behind his wolf siblings. One day, during the dry season, all the animals of the jungle are gathered to drink what remains of The Water Truce when Bengal tiger Shere Khan (Idris Elba) makes a reappearance after years away. Shere Khan smells Mowgli’s scent and warns the wolfpack to get rid of him or face the consequences. Bagheera offers to escort Mowgli back to the land of the man but the pair get separated on the journey. A close encounter with an enormous Indian python called Kaa (Scarlett Johansson) leads to Mowgli meeting Baloo the bear (Bill Murray). A true friendship begins to form between them but how long can it last with Shere Khan still desperate to hunt and kill Mowgli?
There are three key things that have been perfected to make this film as good as it is. Hopefully one of the things you noticed as you read the above plot summary is the cast. Firstly, how good is that cast!?! Look at the incredible group of actors that were brought together. Then look individually at each actor and the character they play. It’s not often you get to say that every casting choice is perfect within a movie and it’s something that you can say applies to this film. Kingsley provides the necessary paternal warmth hidden under layers of no-nonsense concern. Nyong’o as Raksha is a wolf fiercely protective and not afraid to speak out when it’s needed. Elba is fantastic, a properly scary villain, who growls around the land. Johansson’s Kaa is suitably seductive and hypnotic. But the award for most outstanding vocal contribution has to go to Bill Murray providing a performance that is un-bear-ably endearing and amusing in equal measure. How young newcomer Neel Sethi manages to hold his own is an incredible feat which he appears to do with ease. Let alone the fact he spends the film acting alongside CGI animals…
Leading to the second area in which this film excels – the visuals. I’m on the fence about 3D usually. After seeing too many films which claim 3d status yet do little to warrant it I tend not to be overly excited when having to choose between 2d and 3d showings.The Jungle Book is the first film in an age where I’ve been so glad I booked that 3d ticket. The depth of the frame, the landscape, the animals fur, the movement of the water and the curse of the red flower. All of these aspects are superbly enhanced by the 3d. Whilst aware of the cost it can add to a cinema visit I would firmly recommend seeing this film in 3d to access the added textures and wondrous depths it provides. The animals themselves are beautiful and almost life-like in how they look and move.I now desperately want to cuddle a baby wolf and sit upon a giant bears stomach as we float through the river.
Thirdly there’s the direction.Director Jon Favreau ensure first and foremost that this is a children’s movie whilst avoiding any pandering or talking down to the children. The film has enough darkness to give it bite – mildly frightening as opposed to truly scary. There’s even a lesson or two to be learned along the way. Unlike the original animation this film is not a musical but two of the classic songs are included – ‘The Bare Necessities’ is sung by Mowgli and Baloo during the aforementioned river floating sequences and Christopher Walken talk-sings his way through ‘Wanna Be Like You’ in such a wonderfully charming yet ultimately threatening manner – that feel like a natural fit as opposed to being shoe-horned in.
This may just be the most enchanting film of the year so far. It’s a marvellous visual spectacle told with wit and warmth. A treat for the eyes, ears and heart.
The Danish Girl
A heartbreaking story about Lili, a transgender pioneer.
‘The Danish Girl’ and ‘Joy’ were both released on January 1st 2016 in the U.K. Though the films have relatively little in common otherwise they do share one primary similarity- both are a blending of fact and fiction. Both stories are about real life people, with a degree of dramatic license for supposed cinematic development. However it is in this area that ‘Joy’ somewhat stumbles whereas ‘The Danish Girl’ soars. A brief bit of post-film research will identify these aspects of fiction, yet it is an act that is perhaps unnecessary as any and all fabrications in ‘The Danish Girl’ add to moving story that unfolds.
Portrait artist Gerda Wegenger (Alicia Vikander) and popular landscape artist Einar (Eddie Redmayne) have been married for six years. They have a comfortable life in the cultural bourgeois heart of Copenhagen. Their friends in the arts note with a degree of envy about how happy they are, how well suited they are together and how lucky they were to find each other. It’s true, they balance each other out perfectly. When their dancer friend Ulla (Amber Heard) cancels a sitting for Gerda at the last minute, Gerda asks her husband to pose instead. The act of posing as a female figure appears to cement something, an awareness that Einar has had for sometime, and marks his progression of leaving behind the identity of Einar. Tentatively at first, yet soon quite rapidly, Einar begins to progress in his lifelong identification of being a woman, becoming Lili Elbe.
Lili Elbe was one of the first identifiable recipients of gender reassignment surgery, with her first operation in the process have taken place in Germany in 1930. Her personal letters and diary entries which record her journey, were published under the title “Man Into Woman” (1933) which was one of the first texts to draw a distinction between homosexuality and transexuality. Though ‘The Danish Girl’ is being billed as a ‘true story’, some of its primary details are proven to not be, yet arguably can it be viewed as a ‘true story’ as it accesses an inner-truth?
Redmayne’s portrayal as Einar is heartbreaking, as we watch a conflicted person finally accept themselves whilst all too-aware of the devastation it could cause the love of their life..His portrayal as Lili is just as emotive, as we observe a person joyous at finally being comfortable in their own skin yet restrained by an era that is not ready and cannot provide provision nor understanding. Vikander’s Gerda is sublime, conveying so much with a subtle yet equally devastating performance.Her want for her love to be happy clashes with her want with him to stay her love, a turmoil that emits from every expression and mannerism. The third star of the film has to be the cinematographer Danny Cohen, whose use of the camera makes the beautiful sets look lush and the beautiful leads look vibrant.
Overall the story itself seems rather familiar, offering little that is perhaps surprising. But this is not a criticism, in fact rather something of a compliment as a more ambitious narrative may have taken away from the film’s central core in its observing of Einar’s journey. Though perhaps the story could have gotten under the character’s skin slightly more and not have seemingly polished some of the darker edges of the character’s stories. However, if you’re looking for a poignant and caricature-free look at one person’s struggle for acceptance within themselves and their community, this is a great place to start.
The two compelling lead performances deserve to be watched.
Joy
What is ‘Joy’?
The question above does not refer to eternal philosophical ideas, but is a question posed to director David. O. Russell. What is ‘Joy’? Is it a comedy, a tramedy, a somewhat biopic or an ironic look at the American Dream? In theory is shouldn’t be a bad thing that a film defies generic classification, that it is something new, fresh and different. However in this case this question is raised by how irregular in tone and pace the film is. The film is remarkably uneven, drifting from one genre to another. However, an incredible performance from Jennifer Lawrence anchors a film that overall doesn’t quite gel.
Joy (Jennifer Lawrence) is a divorced mother of two young children. Her ex-husband and failed musician Toni (Édgar Ramírez) lives in the basement. Her seemingly-agoraphobic divorcee mother (Virginia Madsen) doesn’t leave her bedroom and whiles away the days watching soap operas. Her lothario father Rudy (Robert De Niro) briefs comes to stay before finding love with rich but uptight Trudy (Isabella Rossellini). Her half-sister Peggy (Elisabeth Röhm) works with their father and constantly passively aggressively attacks Joy on a daily basis. All this is overseen by her loving Grandmother Mimi (Diane Ladd). Joy’s days are spent dealing with all of her family’s dramas, with life not having handed her a very even deck. Having spent the first half of childhood being incredibly creative, designing multiple inventions, her enthusiasm was crushed the day her parents split up. 17 years later Joy is not particularly happy, stuck with being her family’s errand girl. It is during one of these errands that Joy makes a new invention that she is sure will make a fortune. But persuading the world of the value of her idea, let alone even her family, will not be so easy. Yet a chance encounter with Neil Walker (Bradley Cooper) could be one step closer to the success she has always deserved.
A great cast does not always make a great film, as some may view is true of ‘Joy.’ Though it does have some extraordinarily powerful scenes, some emotional hold-your-breath moments, that’s all they are – moments. For the film itself is rather meandering – moving in unexpected and somewhat underprepared ways. It muddles through the key events in Joy’s life in a rather lacklustre fashion – never quite achieving its potential. This could be for multiple reasons. One could be the source material, as this is not a biopic of real-life inventor Joy Mangano, but a blended narrative of multiple women O. Russell admired. Another could be the fact the film used four different screen editors, a decision that without true collaboration can result in four differently edited films being shoehorned together. Tonally the film aims for a quirkiness that seems remarkably forced, from the rather unrealistic quirks of the characters to the voiceover narration from Grandma Mimi, to the various time hops to some oddly-placed soap opera themed dreams.
Obviously once Joy has come up with her fantastic new idea it will not be easy to make it a reality, but the disequilibrium – Joy does something badass to fix it – temporary equilibrium – another bout of disequilibrium – does become rather repetitive after a while. However is is that phrase ‘Joy does something badass to fix it’ that feels like the real point of this film. This is Lawrence’s third time at working with O. Russell and most of this ensemble cast and the benefits of that really shine through. The director knows how to help his lead achieve a star turn. And also her legacy in badass GIFS. Her performance is remarkable. Considering that she is potentially too young for this role Lawrence is incredible in how she interacts with the other characters, uses her voice to convey all manner of emotions and portray a world weariness that is beyond her years.
Overall ‘Joy’ in a enjoyable enough romp of a movie. Though the film itself is rather direction-less Lawrence herself is a ‘Joy’ to watch.
2015: The Top Ten
8 months of the year in review
Seeing as everyone is doing this kind of list I thought I should do my own. However as I only started this blog in April my top ten will be from April – December 2015. For each choice I will give one reason for my decision and a link to my original review. Hopefully happy reading and happy new year! – Charlotte Sometimes
After the relative disappointment of ‘Avengers: Age of Ultron’ this film was a surprise and joy to watch. Paul Rudd is hilarious in the title role as are the majority of the supporting cast, with Michael Pena often stealing the show.
This film is undeservedly little-known. It’s tensw, complex, atmospheric and utterly heartbreaking – a character study which shows that much of the devastation of war occurs during the aftermath.
Little needs to be said about why this film is so good. My two main reasons are Charlize Theron’s Imperator Furosa and the flamethrower guitarist (which is a must in a post-apocalyptic society). My main reluctance for not placing it higher is that I have only seen it once at the cinema, I fear that a rewatch on a smaller screen would provide less spectacle and resulting glee that the initial viewing provided.
7) The Diary of a Teenage Girl
Based on a graphic novel this film offers something very few films that feature teenage girls actually provides – a real insight into the turmoil that one endures
when not a girl but not yet a woman. Bel Powley is so emphatic in the lead role that she marks herself out as one to watch in the future.
If an award was given to unsung contribution to cinema of 2015 it would have to go to Joel Egerton. This film, which he directed, starred in and wrote, is both tense and engaging . It is also sharp and full of twists and turns implying that the much-maligned Thriller genre has more bite in it yet.
Few genres offer as much loathing and love in equal measure as the Romanic Comedy. Tess Morris’ screenwriting debut is wicked smart and laden with multiple layers of emotion. Simon Pegg and Lake Bell are wonderful leads who are fantastically supported with a brilliant supporting cast. London rarely looks this good!
The Force Awakens, as does my fandom…
Lily Tomlin is extraordinary in this small yet superb movie. A road movie about getting an abortion may not sound that interesting or even appealing, yet this film is unexpectedly gripping and hilarious.
In a world in which awards ceremonies were just, and didn’t just go to oscar bait or oscar baiting performances, this film would sweep the awards. It truly deserves to. It manages to portray such an emotive and important issue as mental health with humour and love.
Of all the above ranking, this was the easiest to choose. Brooklyn is a timeless romantic epic. Saoirse Ronan is wonderfully endearing, giving a subtle performance (again something which rarely receives the awards it deserves) which deftly tugs at the heartstrings. With so many extraordinary character performances she manages to retain our focus. Few, if any other actresses of her age, have the ability to reveal so much with a look.
Charlotte Sometimes 