Far From the Madding Crowd is a wonderfully enjoyable, intelligent and crowd pleasing film that inexplicably flew under the radar this year. Carry Mulligan is terrific as always as Bathsheba Everdene, the strong female protagonist of the film, and the three suitors range from excellent to
well sadly not very good. But one bad performance aside, the film is full of things to enjoy including the gorgeous settings, costumes and cinematography. It doesn't set out to revolutionize the period piece costume drama, but to be fair, it doesn't have to. Screenwriter David Nicholls plays it safe, sticking closely to the source material. For comfortable Sunday afternoon entertainment, it really doesn't get much better.
Reviews
17 Reviews
The Duke of Burgundy
(2014)
Brilliant examination of romantic relationships
18 January 2016
On the surface The Duke of Burgundy is about two lesbian entomologists in a repetitive and ritualistic S&M relationship, an homage of sorts to 70's soft core euro trash. However, where those films would be voyeuristic in their depiction of such a relationship, stressing the erotic strangeness of the situation, The Duke of Burgundy cleverly does the opposite. As we are more engrossed in the world of the film, the strangeness of the two central characters begins to fade away. The world they live in contains no men, and the presence of travelling S&M saleswomen give the impression that this sexual behaviour is also the norm. The surface is stripped away to reveal a complex and nuanced metaphor for the everyday sacrifices we all make to maintain romantic relationships. If that isn't enough to sell the film, there is also a hilariously deadpan discussion about human toilets.
Room
(I) (2015)
Another Intelligent and Honest work from Lenny Abrahamson
18 January 2016
At the start of the film Jack (Jacob Tremblay), the five year old protagonist and from whose perspective the story is told, has spent his entire life trapped in a ten foot by ten foot room. His mother (Brie Larson) has raised him with the belief that the room they live in is the entire world. She does so to protect him from the fact that they are prisoners, held captive by a man who uses her as a sex slave. Dealing with subject matter that could easily tip over either to unbearable bleakness or cliché melodrama, director Lenny Abrahamson, writer Emma Donoghue and the two excellent actors do an incredible job at creating a film that feels both honest and empathetic. A number of intelligent decisions in presenting the material are made, including telling the story from Jack's perspective, not making the captor a 'movie villain' and choosing to deal with the fallout of the climax, which occurs in the middle of the film. The result of these decisions is one of the rawest emotional experiences of the year and further proof that Lenny Abrahamson can do no wrong (Frank and What Richard Did).
A Kierkegaardian Tragicomedy
18 January 2016
"We want to help people have a good time" state the central duo in A Pigeon Sat on a Branch Reflecting on Existence. The two are travelling salesmen Jonathan and Sam, our protagonists of sorts, if protagonists indeed exist in Roy Anderson's dreary and deeply melancholic series of vignettes. Their products: a laughing bag, a grotesque mask and vampire teeth. Their tragic career is fitting for a film that is best described as a Kierkegaardian tragedy with a wry smile. The world they live in is as stagnant and lifeless as the titular stuffed pigeon, the colour scheme a mix of gloomy greens and off whites. The sets are meticulously staged, with the camera always stagnant, a passive observer of the human condition. Most of the film is set in contemporary Sweden, a land of immense freedom, and due to that freedom, tremendous anxiety. Throughout the film we are shown characters attempting to connect to each other, trying to seek some comfort in the companionship of others, with little to no success. Rarely in cinema do we get such a singular depiction of human existence and while the absurdly black comedy might not work for most, for Existentialists with a funny bone this is not a film to miss.
'71
(2014)
War is Hell
5 May 2015
Warning: Spoilers
'War is hell', many films have made such a statement about the nature of war, and thankfully '71 is decidedly in the 'War is hell' camp. What '71 adds is how disorienting and confusing war can be. Set in Belfast, Northern Ireland in 1971, the film portrays the brutality of guerrilla warfare through the eyes of a single soldier; Gary Cook (played by Jack O'Connell).
We are introduced to Cook as a British recruit whose training is cut short due to the immediate need for more men on the battle lines. Shortly after his regiment is sent out on a mission to 'reassure the people', a riot breaks out and Cook finds himself cut off from his group and behind enemy lines. Worse yet, a particularly blood-thirsty faction of the IRA are on his tail. Cook is terrified and alone and O'Connell portrays this brilliantly in an almost wordless performance.
'71 never spells anything out to the audience, and the result is baffling and effective. In the film there are essentially three groups; The British faction that Cook was once a part of, the IRA faction attempting to catch Cook, and finally Cook and the people who help him. However, the lines between the three groups are not as defined as they might appear. The British faction that is attempting the rescue mission has to rely on Irish inside men, some of whom may be part of the IRA group attempting to capture Cook. It is also unclear whose side the men who help Cook are on, are they simply being generous or is their intent more malicious? For the most part, the audience shares his confusion, as many of the character's true allegiances are left unanswered for the majority of the film.
The debut feature from TV veteran Yann Demange, '71 is a showcase of great things to come. A tight thriller with an almost minimalist aesthetic, the film works breathlessly, and during the action set pieces, the film soars. The action is shot often down long narrow corridors using hand held cameras while the throbbing soundtrack adds to the tension, a stylistic cross between Paul Greengrass and John Carpenter.
The only stumble of the film is undoubtedly its climax, a single fault in an otherwise flawless screenplay by Gregory Burke. It is the one moment the film feels forced, the result a reminder that what we are watching is a movie. It's a shame because, until that moment, the characters decisions have felt so natural and organic. However, this is a small quibble, and one that will likely be forgiven by those caught up in the action.
'71 is a highly engrossing and entertaining film and Jack O'Connell gives a performance not to be missed. It is unfortunate that there hasn't been any attempt made to advertise the film, which is surely to account for its currently disappointing run in theatres. My girlfriend and I saw it opening weekend and were the only people in the theatre, hopefully it will have more success on DVD and Blue ray.
We are introduced to Cook as a British recruit whose training is cut short due to the immediate need for more men on the battle lines. Shortly after his regiment is sent out on a mission to 'reassure the people', a riot breaks out and Cook finds himself cut off from his group and behind enemy lines. Worse yet, a particularly blood-thirsty faction of the IRA are on his tail. Cook is terrified and alone and O'Connell portrays this brilliantly in an almost wordless performance.
'71 never spells anything out to the audience, and the result is baffling and effective. In the film there are essentially three groups; The British faction that Cook was once a part of, the IRA faction attempting to catch Cook, and finally Cook and the people who help him. However, the lines between the three groups are not as defined as they might appear. The British faction that is attempting the rescue mission has to rely on Irish inside men, some of whom may be part of the IRA group attempting to capture Cook. It is also unclear whose side the men who help Cook are on, are they simply being generous or is their intent more malicious? For the most part, the audience shares his confusion, as many of the character's true allegiances are left unanswered for the majority of the film.
The debut feature from TV veteran Yann Demange, '71 is a showcase of great things to come. A tight thriller with an almost minimalist aesthetic, the film works breathlessly, and during the action set pieces, the film soars. The action is shot often down long narrow corridors using hand held cameras while the throbbing soundtrack adds to the tension, a stylistic cross between Paul Greengrass and John Carpenter.
The only stumble of the film is undoubtedly its climax, a single fault in an otherwise flawless screenplay by Gregory Burke. It is the one moment the film feels forced, the result a reminder that what we are watching is a movie. It's a shame because, until that moment, the characters decisions have felt so natural and organic. However, this is a small quibble, and one that will likely be forgiven by those caught up in the action.
'71 is a highly engrossing and entertaining film and Jack O'Connell gives a performance not to be missed. It is unfortunate that there hasn't been any attempt made to advertise the film, which is surely to account for its currently disappointing run in theatres. My girlfriend and I saw it opening weekend and were the only people in the theatre, hopefully it will have more success on DVD and Blue ray.
It Follows
(2014)
It will Follow you Home
13 April 2015
Warning: Spoilers
While mainstream American Horror continues to disappoint in many of the same ways it has been for decades, the last couple of years we have begun to see what looks like a promising new wave of Horror directors emerging from the New Zealand, Australian, UK and American Indie Movements. Adam Wingard (You're Next, The Guest) and Gerard Johnstone (Housebound) have put their knowledge of modern horror to use, creating genre-inverting horror comedies that manage the tricky task of being funny without diminishing the scares. Even more promising is the work of Jennifer Kent (The Babadook) and Ben Wheatley (Kill List, A Field in England) who draw on the history of film to move the medium forward. Both groups are similar in that they are film literate but the distinction of where they are pulling references from is important. We have seen a few films in the first group enter the mainstream consciousness (Scream, Cabin in the Woods) but none that I can think of from the latter (maybe studio's think they are doing this by remaking classic horrors?). It Follows, the sophomore effort from writer/director David Robert Mitchell falls decidedly in the latter group. Harking back to the films of John Carpenter without feeling derivative, It Follows is a statement of how far Horror has come, and the promising future it might have.
It Follows is not a film which contains any major plot twists or surprises, however, it is impossible to talk about the film without in some sense spoiling it. My quick review is that this is a great film and one not to be missed. For those of you who like to go into a film fresh, stop here and go watch the film, and then read my review.
Maika Monroe (The Guest) plays Jay, a long legged blond from the suburbs, who, after sleeping for the first time with her seemingly nice boyfriend, is drugged and passes out. She wakes us tied to a wheelchair where a frightened Hugh (her boyfriend) informers her that she will now be followed by something. He doesn't know what it is but he knows it will follow her, never faster than walking speed. He got it by having sex with a girl who had it, and now he has passed it on to her. "It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you." You can travel to buy yourself sometime, but it will always be slowly following. He advocates passing it on to someone new, which will be easy, he reminds her, because she is a girl.
There has been a fair amount of conversation regarding what It Follows is actually about. Clearly it is commenting on sex, and because of the nature of the curse, many have been quick to conclude it is a film about STD's. While a Cronenbergian reading is interesting, I think this is ultimately wrong. This reading doesn't even work plot wise; what STD is cured by having sex with a new victim? Viewing the film as an STD metaphor is also to ignore the multitude of ways sex is explored in the film. Sex is not just seen as a potentially dangerous activity, it is also portrayed as a weapon, as comfort when afraid and as a way to express one's inner feelings. While I can't claim to know exactly what It Follows is about, I do not think it can be reduced to just one thing. The film explores a complexity of ideas, many of them not reducible to a single over-arching reading.
Putting aside the high-concept plot of the film, It Follows works incredibly well on a surface-level viewing. The film will suck you into its dreamlike reality and make you care about its sympathetic and well- rounded characters. It Follows moves at a relatively easy pace, but the haunting atmosphere and pounding electronic score will leave you twitching in fear and anticipation. The dread of the unstoppable and unrelenting force pursuing them is never lost on the audience. Rather than settling for cheap scares, the film creates a building tension which it maintains for almost the entirety of the running time. Rarely is there time to breath, this is not a film for those who like their horror films at an ironic distance. It Follows is remarkably terrifying, a horror that will follow you home and leave you shaken for days.
It Follows is not a film which contains any major plot twists or surprises, however, it is impossible to talk about the film without in some sense spoiling it. My quick review is that this is a great film and one not to be missed. For those of you who like to go into a film fresh, stop here and go watch the film, and then read my review.
Maika Monroe (The Guest) plays Jay, a long legged blond from the suburbs, who, after sleeping for the first time with her seemingly nice boyfriend, is drugged and passes out. She wakes us tied to a wheelchair where a frightened Hugh (her boyfriend) informers her that she will now be followed by something. He doesn't know what it is but he knows it will follow her, never faster than walking speed. He got it by having sex with a girl who had it, and now he has passed it on to her. "It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you." You can travel to buy yourself sometime, but it will always be slowly following. He advocates passing it on to someone new, which will be easy, he reminds her, because she is a girl.
There has been a fair amount of conversation regarding what It Follows is actually about. Clearly it is commenting on sex, and because of the nature of the curse, many have been quick to conclude it is a film about STD's. While a Cronenbergian reading is interesting, I think this is ultimately wrong. This reading doesn't even work plot wise; what STD is cured by having sex with a new victim? Viewing the film as an STD metaphor is also to ignore the multitude of ways sex is explored in the film. Sex is not just seen as a potentially dangerous activity, it is also portrayed as a weapon, as comfort when afraid and as a way to express one's inner feelings. While I can't claim to know exactly what It Follows is about, I do not think it can be reduced to just one thing. The film explores a complexity of ideas, many of them not reducible to a single over-arching reading.
Putting aside the high-concept plot of the film, It Follows works incredibly well on a surface-level viewing. The film will suck you into its dreamlike reality and make you care about its sympathetic and well- rounded characters. It Follows moves at a relatively easy pace, but the haunting atmosphere and pounding electronic score will leave you twitching in fear and anticipation. The dread of the unstoppable and unrelenting force pursuing them is never lost on the audience. Rather than settling for cheap scares, the film creates a building tension which it maintains for almost the entirety of the running time. Rarely is there time to breath, this is not a film for those who like their horror films at an ironic distance. It Follows is remarkably terrifying, a horror that will follow you home and leave you shaken for days.
The Babadook
(2014)
The Monster Within
13 January 2015
A deliciously strange combination of the Exorcist, Repulsion, and Dr.Seuss, Jenifer Kent's debut feature The Babadook is simultaneously true to the roots of horror and daringly original. Anchored by a brilliant performance by Essie Davis as a single mother attempting to raise a problem child without becoming a monster herself, The Babadook is possibly the best horror film to come out since Guillermo Del Toro's Pans Labyrinth. And yet, to say this is the best modern horror film in years feels odd, primarily because The Babadook has very little in common with the recent trends of jump scare found footage films (Paranormal Activity) or torture porn films (Saw). No doubt, fans of these more recent horror movements will be disappointed. Jenifer Kent's film is a better fit in the cannon of 70's classics that capitalize on the primal fears of parenthood (Rosemary's Baby, Don't Look Now, The Brood). Much like these masterpieces of horror, The Babadook is a film with depth, atmosphere, and ambiguity but most importantly it's terrifying.
Boyhood
(I) (2014)
Beautiful and Subtle
13 January 2015
Richard Linklater has proved himself to be our primary guide to cinematic time travel. Whether it's in his Before Trilogy which captures the arc of a relationship over a decade or his lighter fare like Dazed and Confused which looks back on our teenage years through the lens of nostalgia, he has shown an uncanny ability to demonstrate on screen the subtleties of how time affects us all. Boyhood, which was shot over twelve years, following characters as the actors that play them literally age, is Linklater's magnum opus. The persistence and determination of the all involved in the production is admirable and they deserve the attention they are receiving, however what is more remarkable is the film itself. A film so modest, light, and carefree and yet so powerful, Boyhood is the antithesis of the modern Hollywood blockbuster (Interstellar) characterized by their pomposity and heavy handedness. Here is a film that never claims it is telling us anything and yet in the end tells us everything.
We Are the Best!
(2013)
A Loving Ode to Growing Up
13 January 2015
While We Are the Best! may not be the best film of the year, it was my favourite film of the year. I can't remember the last time a film contained so much genuine warmth and pleasure. This heart warming and beautifully written story about the aimlessness of being a teenager had me smiling from ear to ear for the entirety of the running time. Unlike Boyhood, which provides the perspectives of both children and parents over an extended period of time, We Are the Best!, is a time capsule of a film, giving us the subjective perspectives of three young girls during a key part of their childhood. Veteran Swedish writer and director Lukas Moodysson, provides us with a glimpse into the lives of these young girls as they form a punk band despite two of them having no musical experience. They are indeed terrible, but the film isn't about punk music, it's about the punk attitude that perfectly captures the defiance of being a teenager. A loving ode to growing up, We Are the Best! Is easily the most charming film of the year.
A Man Divided
27 October 2014
The must-see spectacle of 2013 was Alfonso Curron's technically brilliant Gravity, widely praised for its innovative use of the long take. This year's Birdman, made by fellow Mexican director Alejandro Gonzalez Inarritu, seeks to one-up the long takes of Gravity by seemingly having one continuous shot.
It isn't a single take but that in no way diminishes the superb camera work. Instead of cutting between characters the camera glides to them, taking on a life of its own at times. The disembodied camera floating down hall ways and stairs feels both surreal and exhilarating when paired with the upbeat jazz score. The behind the scenes of a theatre production have never been more thrilling. Birdman is a bold technical exercise and instead of the B-movie that Gravity was under the surface, Birdman has soul.
Michael Keaton plays Riggan, a washed up ex-Hollywood Superhero who is attempting to restart his career by staging and staring in a Broadway play. However, Riggan hasn't left the past behind and the Birdman character that made him famous still plagues his thoughts. He is a man divided, in Freudian terms his psyche is split. Part of him longs for the glory days of Birdman while part of him wants to prove critics wrong, showing them he is more than just a celebrity.
The internal turmoil of his life mirrors the external chaos of his stage play. In an act of fate, a falling camera takes out the sole incompetent actor working for him who is replaced by the talented and egotistical Mike Shiner (Edward Norton on top form). At first Mike appears to be a god-send but quickly becomes another obstacle for Riggan. Besides stealing the spotlight in the play, Mike also develops an interest for Riggan's daughter (Emma Stone) who is fresh out of rehab and has clear daddy-issues. One of the female leads in the play claims to be pregnant with Riggan's child. Stuffed to the brim with dramatic tensions, Birdman is reminiscent of the high- speed comedy dramas of Howard Hawks.
Birdman is the first of two mainstream Hollywood satires this year, the second being David Cronenberg's Maps to the Stars. Alejandro Gonzalez Inarritu (who also wrote the screenplay) fires shot after shot at the self-obsessed culture of Hollywood. This culture which at least in myth was one confined to the California hills, has now transcended Tinsletown with the dawn of the internet. Now with Facebook and Twitter everyone is just a video post away from fame and, as Edward Norton reminds us after his massive on-stage erection goes viral; there is no such thing as bad press.
If there is a criticism of Birdman, it's how ambitious the film is. Alejandro seemingly throws all his ideas at us and the film moves at such a brisk pace that they all can't be absorbed in a single viewing. A more restrained approach, focusing on fewer topics but in more detail instead of attempting to take on all of celebrity culture in 119 minutes may have better served the film. However, despite the chaos, the film still works, thanks in no small part to the outstanding performances in the leading and supporting roles.
It isn't a single take but that in no way diminishes the superb camera work. Instead of cutting between characters the camera glides to them, taking on a life of its own at times. The disembodied camera floating down hall ways and stairs feels both surreal and exhilarating when paired with the upbeat jazz score. The behind the scenes of a theatre production have never been more thrilling. Birdman is a bold technical exercise and instead of the B-movie that Gravity was under the surface, Birdman has soul.
Michael Keaton plays Riggan, a washed up ex-Hollywood Superhero who is attempting to restart his career by staging and staring in a Broadway play. However, Riggan hasn't left the past behind and the Birdman character that made him famous still plagues his thoughts. He is a man divided, in Freudian terms his psyche is split. Part of him longs for the glory days of Birdman while part of him wants to prove critics wrong, showing them he is more than just a celebrity.
The internal turmoil of his life mirrors the external chaos of his stage play. In an act of fate, a falling camera takes out the sole incompetent actor working for him who is replaced by the talented and egotistical Mike Shiner (Edward Norton on top form). At first Mike appears to be a god-send but quickly becomes another obstacle for Riggan. Besides stealing the spotlight in the play, Mike also develops an interest for Riggan's daughter (Emma Stone) who is fresh out of rehab and has clear daddy-issues. One of the female leads in the play claims to be pregnant with Riggan's child. Stuffed to the brim with dramatic tensions, Birdman is reminiscent of the high- speed comedy dramas of Howard Hawks.
Birdman is the first of two mainstream Hollywood satires this year, the second being David Cronenberg's Maps to the Stars. Alejandro Gonzalez Inarritu (who also wrote the screenplay) fires shot after shot at the self-obsessed culture of Hollywood. This culture which at least in myth was one confined to the California hills, has now transcended Tinsletown with the dawn of the internet. Now with Facebook and Twitter everyone is just a video post away from fame and, as Edward Norton reminds us after his massive on-stage erection goes viral; there is no such thing as bad press.
If there is a criticism of Birdman, it's how ambitious the film is. Alejandro seemingly throws all his ideas at us and the film moves at such a brisk pace that they all can't be absorbed in a single viewing. A more restrained approach, focusing on fewer topics but in more detail instead of attempting to take on all of celebrity culture in 119 minutes may have better served the film. However, despite the chaos, the film still works, thanks in no small part to the outstanding performances in the leading and supporting roles.
Sea Fog
(2014)
More solid work from Korea
9 October 2014
It is a really interesting time for Korean cinema. Chan-wook Park and Joon-ho Bong, South Korea's leading auteurs have successfully transitioned into the English language with Stoker and Snowpiercer, introducing a larger audience to their respective cannons. South Korean cinema is flourishing. Haemoo's success on the festival circuit and its selection as Korea's entry for the foreign language Oscar is probably due in a large part to Joon-ho Bong's credit as producer and screenwriter.
Haemoo (Sea Fog) is based on a stage play which is in turn based on a real event that occurred in 2001. Judging by the collective gasp in the VIFF screening I was in, I assume most were not aware of what event it was based on. All I will say is that the incident is shocking and traumatic; this is not a film for the squeamish.
The film centers on Captain Kang and his fishing crew. He is about to lose his boat due to lack of finances so in an act of desperation he agrees to the job of smuggling Chinese-Korean immigrants into the country. His crew is not told until they are at sea.
First time director Sung Bo Shim competently handles the film, employing a straight forward, no bullshit approach to storytelling that would make Clint Eastwood proud. The set pieces are solid, especially the ship itself, although the film would have benefited from a cinematographer who wasn't afraid to take a step back. The camera is often too close to the action and three uses of shaky-cam are three too many.
Haemoo has its flaws but it's properly paced and well told. The audience at the screening seemed to love it, simultaneously applauding loudly at the finish. I look forward to seeing what Sung Bo Shim does next, preferably with a slightly larger budget.
Haemoo (Sea Fog) is based on a stage play which is in turn based on a real event that occurred in 2001. Judging by the collective gasp in the VIFF screening I was in, I assume most were not aware of what event it was based on. All I will say is that the incident is shocking and traumatic; this is not a film for the squeamish.
The film centers on Captain Kang and his fishing crew. He is about to lose his boat due to lack of finances so in an act of desperation he agrees to the job of smuggling Chinese-Korean immigrants into the country. His crew is not told until they are at sea.
First time director Sung Bo Shim competently handles the film, employing a straight forward, no bullshit approach to storytelling that would make Clint Eastwood proud. The set pieces are solid, especially the ship itself, although the film would have benefited from a cinematographer who wasn't afraid to take a step back. The camera is often too close to the action and three uses of shaky-cam are three too many.
Haemoo has its flaws but it's properly paced and well told. The audience at the screening seemed to love it, simultaneously applauding loudly at the finish. I look forward to seeing what Sung Bo Shim does next, preferably with a slightly larger budget.
Black Coal, Thin Ice
(2014)
Classic Noir meets Chinese Realism
9 October 2014
In snow covered streets surrounded by perpetual darkness detectives and suspects are made distinguishable only by the soft glow of neon signs. Faces are shrouded by shadow, characters motives are unclear. We are in very classic noir territory in Black Coal, Thin Ice.
A brutal murder occurs in Northern China. Severed limbs appear simultaneously across the country in coal plants. The investigation into the murder is botched, leaving detective Zhang Zili injured, ashamed and without a job. Five years later, body parts are found in coal plants. Now an alcoholic and working as a security guard, Zhang once again finds himself in the pursuit of the mysterious mass murderer. The only connection between the two cases is a beautiful dry cleaning assistant Wu Zhizhen, who soon becomes the object of Zhang's obsession.
An intriguing combination of neo-noir and Chinese realism, Black Coal, Thin Ice demonstrates director Yi'nan Diao's genre literacy. From the lighting, to the troubled anti-hero, to the femme-fatale, the film is full of noir tropes. What makes the film unique is the camera's continual shift to the mundane. Unlike the modern Tarantino-inspired trend, the revelations and acts of violence are down-played. Plot takes a back seat to atmosphere as the audience is immersed in a bleak, nihilistic vision of modern China.
Winner of the Golden Bear at the Berlin film festival, Black Coal, Thin Ice has been a hit with critics but it's hard to see it winning any audience awards. The slow pace and dark, defeatist world view will be a turn off for most audience but if you don't view those as detractors, and if you are a fan of noir then this is a film to see.
A brutal murder occurs in Northern China. Severed limbs appear simultaneously across the country in coal plants. The investigation into the murder is botched, leaving detective Zhang Zili injured, ashamed and without a job. Five years later, body parts are found in coal plants. Now an alcoholic and working as a security guard, Zhang once again finds himself in the pursuit of the mysterious mass murderer. The only connection between the two cases is a beautiful dry cleaning assistant Wu Zhizhen, who soon becomes the object of Zhang's obsession.
An intriguing combination of neo-noir and Chinese realism, Black Coal, Thin Ice demonstrates director Yi'nan Diao's genre literacy. From the lighting, to the troubled anti-hero, to the femme-fatale, the film is full of noir tropes. What makes the film unique is the camera's continual shift to the mundane. Unlike the modern Tarantino-inspired trend, the revelations and acts of violence are down-played. Plot takes a back seat to atmosphere as the audience is immersed in a bleak, nihilistic vision of modern China.
Winner of the Golden Bear at the Berlin film festival, Black Coal, Thin Ice has been a hit with critics but it's hard to see it winning any audience awards. The slow pace and dark, defeatist world view will be a turn off for most audience but if you don't view those as detractors, and if you are a fan of noir then this is a film to see.
Corn Island
(2014)
Beautiful Minimalism
29 September 2014
Every year the Enguri River drops to reveal small fertile islands. Because the river marks the natural border that separates Georgia from Abkhazia, these islands are unclaimed territory. Peasants come every year to live on them during the growing season, attempting to harvest enough corn to survive the winter. Two problems face them; the fact that the two nations have been in some form of conflict since the 90's and the rising waters of the Enguri.
Clearly influenced by the likes of Dreyer and Bela Tarr, Director George Ovashvili's slow-burning, minimalist thriller takes place entirely on and around one of these tiny islands. We follow an old man, referred to only as Grandpa, and his grand-daughter as they methodically bring supplies to the island and construct a small shack. They will have to live on this island in order to tend to and protect their little patch of corn.
The film is low on plot and with nearly no dialogue and yet the sweeping cinematography gives the film an epic tone. This island means everything and nothing. The river creates and the river destroys. The island is a microcosm of man against nature, of the political instability of the region and of life itself. The amount Corn Island is able to achieve with so little is commendable.
A grand achievement, Corn Island hints at a bright future for Georgian cinema and puts George Ovashvili on the radar as a director to watch.
Clearly influenced by the likes of Dreyer and Bela Tarr, Director George Ovashvili's slow-burning, minimalist thriller takes place entirely on and around one of these tiny islands. We follow an old man, referred to only as Grandpa, and his grand-daughter as they methodically bring supplies to the island and construct a small shack. They will have to live on this island in order to tend to and protect their little patch of corn.
The film is low on plot and with nearly no dialogue and yet the sweeping cinematography gives the film an epic tone. This island means everything and nothing. The river creates and the river destroys. The island is a microcosm of man against nature, of the political instability of the region and of life itself. The amount Corn Island is able to achieve with so little is commendable.
A grand achievement, Corn Island hints at a bright future for Georgian cinema and puts George Ovashvili on the radar as a director to watch.
A Triumph
29 September 2014
With the exception of the energetic The Lego Movie, this year has been a disappointment for the animated genre. What a relief then it is that Isao Takahata's (Grave of the Fireflies) new film is a triumphant success.
Based on a 10th century Japanese folktale, The Tale of Princess Kaguya is a bittersweet coming of age story. Our protagonist is Kaguya-hime who is discovered as a baby in a bamboo stalk by an old peasant man. He and his childless wife raise her as their own, providing the best they can as she rapidly ages. While her mother is fearful of change and just wants a comfortable life for her adopted daughter, her father envisions great things. He sees Kaguya as part of a divine plan and after fine clothes and gold come shooting out of bamboo stalks he concludes that the heavens want her to become a proper princess. He assumes this is the best way to make his daughter happy instead of asking her what she wants.
A sharply observed feminist critique of traditional Japanese culture as well as a cautionary tale of the burdens we place on our children, The Tale of Princess Kaguya has a wealth of complex themes and archetypes hidden beneath the surface of its fairly straight- forward story. This is one of the rare films that are both easily accessible to a young audience and one that film students can write thesis papers on.
The final word should be reserved for Studio Ghibli's animation. The style used invokes something between impressionist paintings and water-colours while employing a muted palette. Ghibli moves away from traditional anime and the results are breathtaking. The hand drawn frames could each stand alone as a portrait and yet the film feels fluid. At times the animation blurs into expressionism; the brush strokes matching the characters inner- turmoil.
Easily the best animated film of the year, it's a must see for fans of the genre. Luckily North America will get a theatrical release; the English-dubbed version will be out October 17 and will star Chloe Grace Moretz as Kaguya.
Based on a 10th century Japanese folktale, The Tale of Princess Kaguya is a bittersweet coming of age story. Our protagonist is Kaguya-hime who is discovered as a baby in a bamboo stalk by an old peasant man. He and his childless wife raise her as their own, providing the best they can as she rapidly ages. While her mother is fearful of change and just wants a comfortable life for her adopted daughter, her father envisions great things. He sees Kaguya as part of a divine plan and after fine clothes and gold come shooting out of bamboo stalks he concludes that the heavens want her to become a proper princess. He assumes this is the best way to make his daughter happy instead of asking her what she wants.
A sharply observed feminist critique of traditional Japanese culture as well as a cautionary tale of the burdens we place on our children, The Tale of Princess Kaguya has a wealth of complex themes and archetypes hidden beneath the surface of its fairly straight- forward story. This is one of the rare films that are both easily accessible to a young audience and one that film students can write thesis papers on.
The final word should be reserved for Studio Ghibli's animation. The style used invokes something between impressionist paintings and water-colours while employing a muted palette. Ghibli moves away from traditional anime and the results are breathtaking. The hand drawn frames could each stand alone as a portrait and yet the film feels fluid. At times the animation blurs into expressionism; the brush strokes matching the characters inner- turmoil.
Easily the best animated film of the year, it's a must see for fans of the genre. Luckily North America will get a theatrical release; the English-dubbed version will be out October 17 and will star Chloe Grace Moretz as Kaguya.
Frank
(II) (2014)
Take off the Head Frank
12 September 2014
On the surface Frank appears to be the polar opposite of Lenny Abramson's prior works which were characterised by naturalistic dialogue and settings that emphasized the grey and drab side of Ireland. In contrast Frank sports a bright pallet and contains a group of incredibly eccentric characters including the titular Frank who wears a paper Mache head. However, as the film progresses the eclectic tone and colourful visuals gently falls away to reveal a heartbreaking meditation on mental illness.
We meet our protagonist Jon (Domhall Gleeson) wandering the beach attempting to find inspiration for his music. He is a mediocre keyboard player and vocalist but passionate about his music. Jon is our entry point into the world of Frank as well as our narrator. The voice- over narration, a device which is usually used as a lazy substitute for acting, in this case is used effectively. Jon's voice provides the chaos with some form of structure and allows him to have a conversation with the only character capable of having a conversation in the film; himself.
Jon meets and quickly falls in with Frank's band, the Soronprbs (which has a deliberately unpronounceable name). A band whose music is equal parts strange and wonderful. They are in need of a new keyboard player because, when Jon meets them, their current one is trying to drown himself in the ocean. In a darkly comic nod to This is Spinal Tap we later learn than Jon is actually their third keyboard player. The band is managed by Don (Scoot McNairy), an ex- mental patient due to his sexual preference for manikins. There are four members beside Don and Jon but two of them are never fully fleshed out. They are given the clichéd excuse of being foreign and we soon forget about them. The remaining two are Maggie Gyllenhaal in a wonderfully petulant performance as the Theremin playing Clara and Michael Fassbender as Frank.
The gamble of casting Fassbender in a completely masked role pays off as he delivers surely one of the greatest masked performances ever. The range of emotion he is able to express through the paper mache head is outstanding and it goes without saying that this is his most humorous role yet (dark though it be). He benefits from a well written script but still carries the film with his fine physical performance.
The first two-thirds of the film, while refreshingly unique, suffers at times from inconsistent pacing. The editing fails to balance the conflict between the choppy montage sequences and the meandering band practice scenes. Where the film brings itself together is in the final act when the bright mask of the film is removed to reveal something profound underneath. As I hinted to earlier, one of the running themes of the film is mental illness and it deals with this hard subject in a nuanced way.
More interesting questions arise in the film but I feel that to discuss them would take away from the viewing experience. All I can do is encourage you to seek out this film. It's not a perfect film but in a summer full of blockbuster disappointment it's a distinctly original treat.
We meet our protagonist Jon (Domhall Gleeson) wandering the beach attempting to find inspiration for his music. He is a mediocre keyboard player and vocalist but passionate about his music. Jon is our entry point into the world of Frank as well as our narrator. The voice- over narration, a device which is usually used as a lazy substitute for acting, in this case is used effectively. Jon's voice provides the chaos with some form of structure and allows him to have a conversation with the only character capable of having a conversation in the film; himself.
Jon meets and quickly falls in with Frank's band, the Soronprbs (which has a deliberately unpronounceable name). A band whose music is equal parts strange and wonderful. They are in need of a new keyboard player because, when Jon meets them, their current one is trying to drown himself in the ocean. In a darkly comic nod to This is Spinal Tap we later learn than Jon is actually their third keyboard player. The band is managed by Don (Scoot McNairy), an ex- mental patient due to his sexual preference for manikins. There are four members beside Don and Jon but two of them are never fully fleshed out. They are given the clichéd excuse of being foreign and we soon forget about them. The remaining two are Maggie Gyllenhaal in a wonderfully petulant performance as the Theremin playing Clara and Michael Fassbender as Frank.
The gamble of casting Fassbender in a completely masked role pays off as he delivers surely one of the greatest masked performances ever. The range of emotion he is able to express through the paper mache head is outstanding and it goes without saying that this is his most humorous role yet (dark though it be). He benefits from a well written script but still carries the film with his fine physical performance.
The first two-thirds of the film, while refreshingly unique, suffers at times from inconsistent pacing. The editing fails to balance the conflict between the choppy montage sequences and the meandering band practice scenes. Where the film brings itself together is in the final act when the bright mask of the film is removed to reveal something profound underneath. As I hinted to earlier, one of the running themes of the film is mental illness and it deals with this hard subject in a nuanced way.
More interesting questions arise in the film but I feel that to discuss them would take away from the viewing experience. All I can do is encourage you to seek out this film. It's not a perfect film but in a summer full of blockbuster disappointment it's a distinctly original treat.
Of Gods and Men
(2010)
A Meditation on Religion
6 July 2014
Of Gods and Men explores a variety of complex religious themes and ideas through the re-telling of a true story of a group of French monks caught up in the Algerian civil war. The film is not a simplistic showcase of good versus evil but is instead a deeply human tale of tolerance, fear and strength. No character falls into the trap of caricature, even the terrorists have depth and motive. The believability of the characters creates a realness that makes the film a more powerful emotional experience.
The film begins by introducing us to the monks. The monastery in which they live is a quiet place and their routines consist of tending to the gardens, reading, praying and interacting with the Muslim townsfolk. Importantly one of the monks, Luc (Michael Lonsdale) acts as the town doctor. The relationship between the monks and the townsfolk is one of mutual respect and friendship. The cinematography is gorgeous, capturing the natural beauty of the landscape and the simplistic beauty of the monastery.
The monk's peaceful existence is shaken when word reaches the town that Islamist militants are taking over the countryside. The slow pace of the opening half is so calming that when violence breaks out the audience shares the peoples shock and worry.
It becomes immediately apparent that the monk's lives are in danger. The monk's world slowly comes crumbling down around their epicentre which is the monastery. The French government and Algerian officials urge them to escape while the town's people plead for them not to abandon them. The group of monks is dividend on what decision to make. Difficult questions cause repressed raw emotions to bubble to the surface. Is it okay to accept help from a corrupt government? When is it acceptable for the Sheppard to leave his flock? What good does martyrdom do?
The group is rightly afraid and sometimes the fear takes control. Lambert Wilson (playing Christian) delivers a fine performance as a man struggling with leadership in a harrowing situation. The first confrontation scene is truly terrific, with trembling Christian putting on a brave face, a combination of fear and determination.
It is hard not to be emotional for the second half of the film. The monk's moral presence is felt ubiquitously. In every act of violence or cruelty, whether on screen or off, the monk's sadness permeates from the screen. The honesty of the characters naturally draws the audience's empathy. There is a specific scene which I will not reveal in which the worldly combines with the spiritual that results in one of the most powerful emotional climaxes I have ever seen.
I highly recommend viewing this film regardless of one's religious beliefs or background. The film shows both the good that can be achieved through belief as well as the bad. Luc quotes Pascal to remind us that "Men never do evil so completely and cheerfully as when they do it from religious conviction". The message the film preaches transcends any specific faith as it is one of love, peace, acceptance and harmony.
The film begins by introducing us to the monks. The monastery in which they live is a quiet place and their routines consist of tending to the gardens, reading, praying and interacting with the Muslim townsfolk. Importantly one of the monks, Luc (Michael Lonsdale) acts as the town doctor. The relationship between the monks and the townsfolk is one of mutual respect and friendship. The cinematography is gorgeous, capturing the natural beauty of the landscape and the simplistic beauty of the monastery.
The monk's peaceful existence is shaken when word reaches the town that Islamist militants are taking over the countryside. The slow pace of the opening half is so calming that when violence breaks out the audience shares the peoples shock and worry.
It becomes immediately apparent that the monk's lives are in danger. The monk's world slowly comes crumbling down around their epicentre which is the monastery. The French government and Algerian officials urge them to escape while the town's people plead for them not to abandon them. The group of monks is dividend on what decision to make. Difficult questions cause repressed raw emotions to bubble to the surface. Is it okay to accept help from a corrupt government? When is it acceptable for the Sheppard to leave his flock? What good does martyrdom do?
The group is rightly afraid and sometimes the fear takes control. Lambert Wilson (playing Christian) delivers a fine performance as a man struggling with leadership in a harrowing situation. The first confrontation scene is truly terrific, with trembling Christian putting on a brave face, a combination of fear and determination.
It is hard not to be emotional for the second half of the film. The monk's moral presence is felt ubiquitously. In every act of violence or cruelty, whether on screen or off, the monk's sadness permeates from the screen. The honesty of the characters naturally draws the audience's empathy. There is a specific scene which I will not reveal in which the worldly combines with the spiritual that results in one of the most powerful emotional climaxes I have ever seen.
I highly recommend viewing this film regardless of one's religious beliefs or background. The film shows both the good that can be achieved through belief as well as the bad. Luc quotes Pascal to remind us that "Men never do evil so completely and cheerfully as when they do it from religious conviction". The message the film preaches transcends any specific faith as it is one of love, peace, acceptance and harmony.
Edge of Tomorrow
(2014)
More than a Sum of its Parts
20 June 2014
Warning: Spoilers
Weeks after release, I know something that Tom Cruise couldn't foresee; The Edge of Tomorrow would bomb in America. Costing an estimated $178 million, it only recovered $28 million opening weekend getting beat by a movie made for less than a tenth of its budget; The Fault in Our Stars. This failure could be attributed to Tom Cruise's falling star power (especially among teens), however I think it is due to the inability of the posters and trailers to capture how much fun the movie's formula is.
Based on the novel All You Need Is Kill by Hiroshi Sakurazaka (which would have been a better title) The Edge of Tomorrow combines a number of sci-fi concepts and devices with the time loop effect popularized by Groundhog Day. While nearly everything in the film is borrowed from other sources, the way the film combines them is never dull.
The film opens with Tom Cruise as Cage, a slimy war recruiter and military PR man, delivering lines of expository dialogue. We are efficiently brought up to speed with what is happening. The world is under attack by aliens, Europe has been taken over and the world is launching a unified last ditch effort to save mankind. It's the kind of background that is familiar to the genre and Doug Liman recognizes this and sends us immediately into the action.
The war effort appears to be headed by General Brigham (Brendon Gleeson) who sends Cage to the front lines. The scene feels forced. It's essentially a plot mechanic to get Cruise into the fight. After a brief introduction of some (very) flat supporting characters the battle begins. Cage manages to survive long enough to kill a large blue alien that melts acid over his face. This provides Cage with the Groundhog Day powers; every time he dies the day repeats. The twist is that he must die or else he loses them.
Cruise's performance works as he transitions from a rookie recruit to a killing machine with the help of macho Emily Blunt. The pair's chemistry is one of the reason's the film succeeds. The fight/die/repeat mechanic makes the incredible fight sequences more believable and at times surprisingly funny.
While the film reminds us it is a Hollywood production with a predictably cliché ending, when the action is going Tom Cruise shows us why he's one the best. While individual pieces are nothing original, the film adds up to more than a sum of its parts.
Based on the novel All You Need Is Kill by Hiroshi Sakurazaka (which would have been a better title) The Edge of Tomorrow combines a number of sci-fi concepts and devices with the time loop effect popularized by Groundhog Day. While nearly everything in the film is borrowed from other sources, the way the film combines them is never dull.
The film opens with Tom Cruise as Cage, a slimy war recruiter and military PR man, delivering lines of expository dialogue. We are efficiently brought up to speed with what is happening. The world is under attack by aliens, Europe has been taken over and the world is launching a unified last ditch effort to save mankind. It's the kind of background that is familiar to the genre and Doug Liman recognizes this and sends us immediately into the action.
The war effort appears to be headed by General Brigham (Brendon Gleeson) who sends Cage to the front lines. The scene feels forced. It's essentially a plot mechanic to get Cruise into the fight. After a brief introduction of some (very) flat supporting characters the battle begins. Cage manages to survive long enough to kill a large blue alien that melts acid over his face. This provides Cage with the Groundhog Day powers; every time he dies the day repeats. The twist is that he must die or else he loses them.
Cruise's performance works as he transitions from a rookie recruit to a killing machine with the help of macho Emily Blunt. The pair's chemistry is one of the reason's the film succeeds. The fight/die/repeat mechanic makes the incredible fight sequences more believable and at times surprisingly funny.
While the film reminds us it is a Hollywood production with a predictably cliché ending, when the action is going Tom Cruise shows us why he's one the best. While individual pieces are nothing original, the film adds up to more than a sum of its parts.
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