Cinema Without Borders Blogs

Silence is Golden? Can barely hear a thing over all the hype…

A film set during the declining years of silent cinema, in which huge star George Valentin develops a fondness for rising beauty Peppy. However when the talkies takeover, so does Peppy’s fame, eclipsing poor George who finds himself, his art form and his love, destined for the scrap heap.

It’s easy to see why critics have gone bonkers for The Artist. In a time when output seems to be saturated in special effects, big stars and most detested of all, 3D films, a silent black and white film whose biggest name is John Goodman is so refreshingly retro and ingenuously simple that it’s hard not to be swept away in its charms. Furthermore, its structure is solid and its lead has bags full of character. And perhaps to put the cherry on top, it even has a cute stunt performing dog.

However I can’t get past the fact that the films greatest appeal is its novelty, and as bold a move as it is to release a black and white silent film in this day and age, this film is merely a tribute to an era gone by. Yes it has nailed the tone, the techniques, the lighting and the settings, but at the end of the day it’s still a tribute. It’s the Michael Buble of films; an accurate do up of old shtick, which as pleasant as it is, wouldn’t you just rather watch an actual old black and white film from the 1920’s?

By all means go and see this film, be amused by its novelty, in awe of its accuracy and charmed by the chemistry of its leads. There is no denying this made a truly unique cinema experience. But know it’s riding on a wave of hype inspired by the boredom of critics fed up with the run of the mill output of modern times. It’s a weirdly likeable, nostalgia trip but in my opinion nothing that truly groundbreaking.

Memoirs of a Milk Snatcher… troubling film tries to spin contested Tory to Glory.

It seemed inevitable that at some point someone would attempt to make a film exploring the life of one of the 20^th Centuries most memorable and controversial characters, it’s just a shame that this particular film is far too sugary and one sided. For although Mrs Thatcher vacated Number Ten some 22 years ago, this film still seems too soon, and too eager to portray Mrs Thatcher in nothing but a good light. Feelings about ‘that woman’ (as my mother refers to her) still remain raw and increasingly bitter. In fact the further north you travel in the UK, feelings about this film will grow ever more resentful. For the truth is, for many ‘that Woman’ looms over British culture like a real life voldermort, someone whose name is met with an expression of disdain and repulsion. I was born in the midst of the Thatcher Government, and for the first 6 years of my life The Iron Lady ran the country in her own distinct manner. And although I was very young, I still have memories of my parents cursing at the television, and placards in the main street in protest of the abhorrent Poll Tax. This film in some respects feels like the repackaging of a monster as a martyr, an attempt I’m sure in some opinions as trying to humanise the devil. It’s almost nigh on impossible not to take your own personal opinions about her into the cinema with you, and even more unlikely you’ll swallow some of the tripe on the screen.

So The Iron Lady is a biopic of Margaret Thatcher, first female Prime Minister of Great Britain and Ireland, and the longest serving Prime Minister of the 20^th Century. Starting with her life as she is now (a strong willed 80-something old battle axe battling with dementia and grief) the film through flashbacks tells her story from childhood through to her reign in power. All the while the modern day Maggie is trying to keep a grip of her own sanity, constantly plagued by hallucinations of her deceased husband Dennis, she lives in fear of losing her marbles altogether. We see her difficult rise through The Party and how her gender hindered her yet inspired her to push on. We see her deliberations over the Falklands War, are reminded of the turbulent times with the IRA, and her eventual downfall in politics.

The biggest bug bear with this film is that it is stingingly manipulative and shockingly one sided, it attempts to paint Mrs Thatcher as an unflinching warrior, going with her instinct and knowing what’s best, whilst contrasting her work with her home life, where she is pictured as a loving mother and a doting wife. Far too little is made of Thatcherism and it impact on Britain. Ask anyone where I come from what Margaret Thatcher is remembered for and they will likely reply taxes, privatisation, greed, the Falklands War and milk snatching (she infamously ended the free milk for school children programme, which only helped solidify her already vilified reputation). Too much is made of her as a vulnerable dithering old lady, attempting to wring every drop of sympathy from us by exploiting her dementia. And just on that note, making a film about someone and their declining health whilst they are still alive is in my opinion, in screamingly bad taste. It would appear thought that those in charge of Thatcher’s estate clearly gave the green light for this ‘legacy’ carving exercise in spin and schmaltz in an attempt to lament this significant figure and attempt to secure some over blown state funeral for when the time comes. A significant character in history she may be, but not necessarily one to be celebrated.

Hats off to Meryl Streep though, who turns in a blindingly good performance that makes this a film worth watching. She nails the voice and the look, and although the plot attempts to hoodwink us into siding with Maggie, Meryl is game to put her all into capturing The Iron Ladies strong willed belligerence.  Equal mention must go to Olivia Coleman, whose portrayal of Carol Thatcher (Margaret’s daughter, best known in the UK as a reality tv star) is charmingly spot on.

It’s a film I’d recommend everyone to see, but be warned before viewing, this bias and potentially offensive story does its utmost to spin Margaret Thatcher as hero, as someone who stood by their ethics and never backed down. Far too little is made of the consequences of her rulings, and the backlash against her is quickly swept under the carpet. It did nothing to change my opinion on the woman, and hopefully it will not fool others into believing she was anything less than a heartless harridan. An interesting film that borders on Thatcher loving propaganda or at least a retouching of history. It’s clear hope is to do to for Maggie what Dame Helen Mirren did for The Queen. Peppered with factual events, but polluted by touchy feely nonsense to make a very cold character seem not only palatable, but iconic. Careful you don’t fall for such trickery…

An early Christmas present…

Hugo is an orphaned boy living in the hidden spaces of Paris’s Gard De Nord train station, spending his days keeping the clocks running, thieving from a toy stall and trying to avoid the pompous guard keen to send him off to the orphanage. Puzzled by an old automaton his late father left him, Hugo has a chance encounter with a book smart girl and together they set out to solve the machines mystery.

Stunningly made and lovingly told, it’s difficult not to get swept up in the magic of this film. When the story gets going though it’s fair to say it transgresses the title of ‘kids’ film (it may well go clean over the kiddiewinks heads), becoming more a film that will be enjoyed, appreciated and perhaps beloved by adults who are kids at heart. It has adventure and intrigue, heart and brains. Scorsese’s love of early cinema really shines through, and the 3D really adds to the wonder piled on every snowy scene. The station itself is marvellous in its detail and grandeur and a particular nod must go to Sacha Baron Cohen’s puffed up policeman character who comically pursues Hugo endlessly.

Whimsical and endearing, enchanting and humorous, this beautifully crafted adventure is the must see of the Christmas season.  It certainly put a smile on this big kids face, and I spring in my step as I bound through a snowstorm out of the cinema and all the way home.

Laughkemia…

Joseph Gordon Levitt plays a late twenties radio producer going about a perfectly normal life when his world is rocked by the news that he has a rare form of cancer. The film charts his battle with the disease and the reactions of those around him, from stoner friend Seth Rogen, shell shocked girlfriend Bryce Dallas Howard and new psychologist Anna Kendrick.

Everyone is familiar with the chilling statistics about cancer, yet even with the phrase ‘1 in 3’ engrained in us, there is still something that makes me think it’s something that will never affect me. It’s something that happens to other people. Older people. But the truth is cancer is indiscriminate in its devastation and no one is off limits. So its films like these that really ram home a particularly frightening truth.  But the real genius of this film lies with its cast, who make it believable, funny and touching. It plays upon the taboos around cancer and questions dynamics between family friends and lovers. So far from run of the mill weepie, this film has wit and a point (unlike a certain Kate Hudson film I recently dredged through).

It may have Seth Rogen in it, but don’t expect Knocked Up or Superbad level of laughter or crudeness, Joseph Gordon Levitt uses his easy going likeable persona to give this film a solid foundation with heart, being entirely relatable throughout. There are really great funny moments, but they are dry and work fantastic in the context. There is a lesson to be learned in this ‘buddy film with bone cancer’ story, and although Levitt is the lead, it’s Rogen who goes through a transformation.

There are of course moments of sadness too. It was in fact Angelica Houston’s performance as over bearing but frightened mother that made me well up (you’ll know the scene when it happens). But all in it’s a really, dare I say, lovely sweet film. The chemistry between Levitt and Anna Kendrick (another great actress who deserves a breakout film) is endearing. I’m looking forward to seeing it again, which is a clear indication that’s it’s one the years finest offering.

Marilyn and Me…

This film is the true account of a young man (Eddie Redmayne, earthy good looks, like a handsome Dean Gaffney) who finds himself a position as a runner on the film set of The Prince and The Showgirl, a bumbling rom com based around the pairing of Sir Laurence Olivier (Kenneth Branagh on fine form) and Marilyn Monroe (Michelle Williams). He then discovers himself in the eye of the storm as Miss Monroe’s crazy life whirlwinds all over the production, and he gets a glimpse at the girl behind the glamour.

This narrative of this film is truly overshadowed by Michelle Williams’s towering performance as the late Marilyn Monroe. From her first appearance on screen she captures all of the mystery, sexiness and glamour that propelled her into becoming an icon. However away from the adoring press, she plays Monroe with an endearing vulnerability and fragility, an icon carried away on hype but plagued by issues of self worth. Surrounding herself with what we would now refer to as an entourage ( including a life coach), she ruffles the feathers of Sir Laurence by continually fluffing lines and waltzing off set. Her aspirations to be a great actress and worthy of her fame are constantly crippled by her fear that she is a hack and fraud. Branagh also shines as the enraged Olivier, regularly bursting into fits over Marilyn’s lost little girl behaviour and diva like no shows.

Williams gradually opens up to the young Redmayne, and the pair share a brief dalliance, showing her charm and intelligence as well as her destructive spontaneity and dependence on others and drugs. She simply disappears into the role of Marilyn, someone electric to watch and yet endearingly damaged. It feels more like the real deal than just an impersonation.

It’s a film about the trappings of fame, first crushes and pursuit of self love. A good watch heightened by a stunning and exquisite performance.

Tucker and Dale are two well meaning sweet hilly billy types who are vacationing at their summer house at a remote lake. However camping not far by are a group of ‘straight out a slasher film’ teens who spook each other out with Friday the 13^th style ghost stories. But when one of their friends go missing they assume Tucker and Dale to be crazed killers and set out to defeat them. Misunderstandings ensue with funny, tragic, gory results.

This is a really great hidden gem of a film and does entertain throughout. It’s a nice spoof twist on done to death teen slasher films and has some great comedy moments (my favourite involving a wood chipper). The title makes it a bit hard to know what you’re getting, but give it a go.

Ewan McGregor plays a lonely graphic designer who shortly after his mother dies is hit with a double whammy of learning that his dad is gay and has terminal cancer. Befriending a quirky actress he begins to face his own commitment fears and the sets out to start a romance.

I always approach indie films with a sense of caution, I admire the fact that they will not adhere to a Hollywood narrative and like to explore complex emotions, but often I find them a bit too self pleasingly joyless. They always remind me of the type of person you meet at a party who goes to Art School and doesn’t own a tv. There’s probably a point to it, but they’re often just a tad depressive and dull.

And so it is with Beginners. Credit must go to Christopher Plummer who plays the elderly gay father, who after decades in the closet finally feels free enough to embrace who he truly is. If the film had focussed more on his story then it could have been a great deal more inspiring and interesting. However the spotlight falls on McGregor, a lonely soul struggling through his own life. It is at times charmingly quirky, but on the whole it is a bit too alternative to be palpable to a mainstream audience.

Indie fans will lap it up, but everyone else should avoid.

A no fun home run.

Based on a true story, Brad Pitt plays a baseball manager facing hard times at his lowly club due to finances. However when he teams up with statistician Jonnah Hill they implement a radical theory based on logarithms and equations that begins to revolutionise the game.

To be honest I only really saw this film because several glowing write ups intrigued me and because the script was penned by Social Network writer Aarron Sorkin so I was hoping this might be a hidden gem of a film. And although Brad Pitt is really great in it and it’s really well written, it is still a little bit dull.

You don’t need to know a thing about Baseball to understand the story, in fact baseball barely enters into it. This is a movie about what goes on behind the field, in the offices and locker rooms. It’s a film about numbers and spreadsheets that only really works because it’s based on real events. So although it’s interesting to watch Brad Pitt take a chance on science that subsequently works and takes his under dogs all the way to the top, there’s only so much excitement you can invest in equations. There is a fantastic scene though where Brad manipulates three separate rivals in a serious of 30 second phone calls that was fun and fresh to watch. However it’s still a sporting drama, and the climax turned out to be a bit damp really.

Kudos to its stripped away set pieces, dialogue and acting, but it’s not enough to make it riveting or memorable.

A medium rare horror that puts the vamp back into Vampires…

In a post-apocalyptic world over run with vampires, a hunter know only as ‘Mister’ takes in an orphaned teen and together they tread cross country looking for other survivors and dealing with dangerous forces along the way.

This film owes much to several other films, with some recent hit all seemingly spliced together; It’s a little bit like The Road in that man and boy are struggling in an alien world, it’s a bit like I Am Legend in surviving the vampires by nightfall, and it’s a bit like the television series The Walking Dead. So even though it stars no big names and the plot is not the most original, it still has plenty of gore, chases and showdowns. It’s worth a watch, but not for the faint of heart. The ‘vampires’ behave much more like zombies in that all they want to do is feast on the living. It’s got some great frights too, particularly towards the start, so make sure to have your guard up from the get go. It’s nice to see vampires as vicious souless predators again, instead of pretty boy bean flickers peddled by other successful franchises.

Nothing groundbreaking, but a good solid horror action film.

Breaking Dawn, my Breaking point: how this went from tolerable teen vampire angst to bat sh*t crazy story telling…

I’ve always attempted to approach each Twilight film with an open mind, I know I’m not its target teen girl audience but I do my best to see the films for what they are. The first one I didn’t enjoy, I didn’t think it justified the hype and I didn’t think the story was particularly good or the acting either. The second and third kind of found their feet with the human/vampire/werewolf love triangle, so they at least had some structure, and a revenge plot that’s sowed in the first is tied up by the end of the 3^rd so there was also a sense of conclusion. Everything considered the second and third were watchable, almost enjoyable in parts, films (most of the parts involving Taylor Lautner with his shirt off, but that’s by the by). My biggest bug bear with these films is that I’ve never bought into Edward and Bella’s undying love. They don’t look like they enjoy anything other than their shared drama. I don’t get what she sees in him, he’s an immortal Vampire, and it’s just a bit of a deal breaker for me.

This effort though is absolutely bonkers.  It would be easy to go all pun-tastic and say this instalment of the Vampire saga sucked (chuckle chuckle) or this werewolf epic has a barking plot (titter titter) but such light hearted foolery would distract from a very serious point: whoever okayed this crap really deserves to be strung up, even Nicholas Cage would guffaw at some of the awfulness weaved through this insane nonsense.

So first to the story. Bella and Edward are to marry, and at some point following their matrimony Edward is to finally do the dirty deed and turn a willing Bella into a vampire so that there loving union be permissible by some overseeing Vampire Vatican. So far, so good. However what follows is a very hush hush discussion about them making love whilst Bella is still mortal (apparently a huge no no for a vampire) out of fear Edward might kill her mid embrace. However the pair go on a bizarrely out of context honeymoon, go at it like rabbits, survive it and Bella falls pregnant. She decides to keep it and no one is happy, least of all love rival teen wolf Jacob who thinks birthing the nasty little half breed will kill Bella.

There are the bones of an interesting story in there, but the story telling itself is awful. Firstly the attempts to inject humour into the wedding sequence to break the po faced tone these films often set is so cringingly uncomfortable you’d think Ricky Gervais penned it. Secondly their wacky Brazilian honeymoon went on for too long and crossed over into cheesy soft core porn, complete with atrocious scoring and editing. And thirdly (and perhaps most critically) Bella’s decision to keep the baby makes no sense, everything jumps into fast forward and she has the critter in about a month. But perhaps my favourite moment is when the poorly CGI’d wolves have a telepathic chat with one another about honesty and loyalty. It’s a jaw dropping, eyes rubbing, ‘did that really just occur’ thundering cheese force of a sequence that would be more at home in a hazily drawn, badly dubbed eighties cartoon than in a Franchise of this magnitude.

I left the cinema in a daze. Instead of mildly irked from all the teen angst that I normally just brush off, I was totally baffled by the content, the direction, the script, just everything. It was entertaining and funny in a way it was not intended to be.   It’s a massive let down to a franchise that has always maintained credibility by sticking rigidly to its stylistics and muted colours. Perhaps it’s just the material their working with, but this a ridiculous chapter in the stories finale.