Thanks for Sharing  (2012)    61/100

Rating :   61/100                                                                     112 Min        15

There are shades of meaning here, but overall this is another American template film – cheesy fluff disguised as comedy and accompanied with repetitive chirpy music, interspliced with moments of real drama. The trouble with this ‘playing it safe’ formula is that it rarely satisfies, either as simple entertainment or as serious thought provoking art. The subject of the day is sex addiction, and two of the main characters, played by Mark Ruffalo and Tim Robbins, are sober former addicts who have bonded through their therapy sessions, where they meet new addition to the group Neil, played by Josh Gad. Ruffalo’s self will is put to the test with succubus Gwyneth Paltrow, Robbins must confront the long lasting effects his addiction has had on his family, meanwhile Gad is the only one who really convinces as having real problems as we see him trying to resist rubbing up against women in the subway and give up junk food at the same time – then in steps pop artist Pink as the sex addicted woman simply in need of a male friend and a good hug.

Comparing this to Steve McQueen’s ‘Shame’ (11), which was a much more focused portrayal of the same subject, it’s impossible not to see this as almost laughably bad for the most part, and it is not really until the final quarter that it dares to show any real teeth at all. The inclusion of Pink doesn’t help – she is actually quite good in it, but there is a natural dismay at seeing someone who already has an established high profile career and image appear on film at the expense of another actress trying to get a foot in the door, especially when they appear onscreen out of the blue and look for all intents and purposes exactly as they do in their other career.

Paltrow’s character almost laughs off sex addiction as an excuse for men to play around – and it is fair criticism for something that isn’t really in the public domain, asides from Michael Douglas publicly claiming he was a victim of it, and the aforementioned ‘Shame’. Is it a real condition on a par with alcoholism? This film did not leave me especially convinced. Could it perhaps be that it is more the cocktail of chemicals that must be floating around the body of someone who is constantly chasing tail – a mixture they enjoy but also suffer from: the weight of society’s watchful gaze, the lies and deception that might come with that: the stress of worrying about infection constantly: the knowledge one day it would have to end in order to have a family: the boredom of mundane work compared to the adrenaline fix of trying it on with every hottie around (especially the ones at work). With a substance addiction even though the body can’t handle what’s being thrown at it, that same body can continue to physically administer it – but with sex the body will reach a point where it’s simply no longer possible to continue with it, and surely drive must fall when that happens?

Probably it is also a question of loneliness, or emptiness – and perhaps it is possible to become addicted to anything that can be used to fill that void, forcing any addict to stare into it whenever the fix has run out, spurring them to run back to their crux with ever increasing desperation. The film shows the support group giving up on masturbation for extended periods of time (possibly indefinitely) – I was always under the impression human males have to ejaculate a certain amount of times a week in order to keep various bits and bobs healthy. Naturally, I was never sufficiently interested to investigate this further – I can only advise that easily the most satisfying way to end a sexual encounter is to quickly EAT your partner. Interpret that how you will.

Renaissance  (2006)    61/100

Rating :   61/100                                                                     105 Min        15

The most striking aspect of this animation is its austere use of black and white contrasts, which initially made it a little painful to watch (lights had to be turned off as a necessity) but come the end I was thoroughly enjoying its unique style. If you were to imagine a beautifully inked noir graphic novel suddenly come to life as a series of moving pictures before you, this is exactly what you would see. The title refers to the literal meaning of the French word, rebirth, and the story takes place in Paris in the year 2054, where we see a young woman being kidnapped and a hard boiled cop enjoined to track her down.

Daniel Craig voices the lead, and as always with animation there is the inherent distraction of time spent thinking ‘I know that voice! Who is it, hmm…’ and the satisfaction of finally getting there (or the irritation of not), to help everyone along, there is a connection linking the hero to the villain, and again from the villain to the guy in the middle. The plot revolves around the disappearance of the girl and the cosmetics company she works for, unfolding in very traditional film noir style. Enter the role of the disappeared’s sister, and the worst elements of the film are revealed, as suddenly both the dialogue and its delivery, along with the concepts, nose dive into a corny and ill developed pastiche of the genre.

It’s not gripping, but it does have a lot of credible artistry to it. Fans of different styles of animation (a combination of motion capture and 3D computer graphics were used here) will probably get more out of it than followers of film noir will, but it’s probably still worth a look in for both.

Only God Forgives  (2013)    61/100

Rating :   61/100                                                                       90 Min        18

Danish writer/director Nicolas Winding Refn’s latest film comes exactly two years after his phenomenally successful ‘Drive’, and once again features Ryan Gosling in a central role, together with sharp ultra high resolution digital camera work (specifically, using the Arri Alexa), and more stylised and brutal violence. This is a lot more surrealist than Drive was, with the story set in Thailand and focusing on a pair of American brothers who run a boxing gym as their legitimate business enterprise, with all manner of things going on behind the scenes. When one of them commits a particularly heinous crime, it sets in motion a whirlwind of bloody acts, which also draws their mother, played by Kristin Scott Thomas, reluctantly from the States and into the fray.

It is the backstory of Gosling’s character Julian, one of the brothers, that really anchors the piece, and indeed the entire film could be viewed as the inevitable cosmic consequence of what he has done. Or, perhaps, what his psyche does to itself, as feeding into this, it is not always apparent whether what we are viewing is really happening, or is simply the visualisation of Julian’s thoughts, fears, and desires. With ‘Drive’, I really didn’t see what all the fuss was about, it was essentially a cinematic version of the video game ‘Grand Theft Auto : San Andreas’, and anyone familiar with the game would likely not find anything terribly original in the film. This time around, however, I am a fan of what I think the director was trying to achieve. He has certainly been successful with the stylisation of the local Thai police investigator Chang (Vithaya Pansringarm) who operates throughout like a nihilistic ninja, a personification of consequence enforcing the balance of nature via murder.

Unfortunately, the film does suffer from several over indulgences, and a heavy dose of gratuity when it comes to the violence – some of which is arguably necessary, but, as with several instances in Tarantino’s career (or, worse yet, Eli Roth), there will come moments that have you wonder whether their inclusion has more to do with childish bloodlust rather than story. The beginning suffers the most from that dreaded criticism of art house fare – laughability, as parts, in between the segments of gritty horror that this film depicts, just seem a bit silly. It reminds The Red Dragon of a version of Chekhov’s Three Sisters that he once seen onstage where the actors constantly stopped and stood still for ages in complete silence (this was supposed to be for reflection, but made the piece over three hours long, and when one is a dragon trapped in the centre of the Grand Circle for what seems like an eternity whilst absolutely nothing happens onstage at all, one very quickly gets HUNGRY, a state of being which my insatiable insides decided to announce to THE ENTIRE AUDITORIUM for the duration of the play. My stomach, in fact, became the narrator for Chekhov’s Three Sisters), something similar happens here – this is most definitely not a film to take lots of popcorn, or food in general, into.

These points aside, I am absolutely in love with the cameras they used, which show everything in pristine detail and manage to make what is probably otherwise an average grubby looking street, appear quite beautiful onscreen, a combined success of equipment and the strong and memorable choice of lighting used throughout. The acting is equally sharp, with Kristin Scott Thomas in particular giving a truly powerful and domineering performance, wielding her character with a crackling vehemence, one given extra gravitas and authority by a commanding American accent.

Worthy of note for what it attempts to do, though do be prepared for sanguine and despotic darkness from start to finish and it remains to be seen whether its misgivings will be bumps in the road for Nicolas Winding Refn, or will entrench themselves into stylistic trademarks. It also seems likely that the director may have delved into Thai cinema for research, certainly the feel of the editing and some of the shots used evoke memories of the work of Apichatpong Weerasethakul, and his Palme d’Or winner ‘Uncle Boonmee Who Can Recall His Past Lives’ (10). Just like ‘Drive’ before it, the film is dedicated to the (still living) Chilean-French surrealist director Alejandro Jodorowsky, of whose work ‘El Topo’ (70) is absolutely recommended viewing.

Welcome to the Punch  (2013)    61/100

Rating :   61/100                                                                       99 Min        15

The most obvious and memorable thing about this film, other than it’s rather ridiculous title, which at least forewarns you of the violence you can expect to see, is that the entire film has been desaturated and colourised various shades of blue, a post-production procedure that is used ever more frequently to make work seem more ‘urban’ or gritty, but not usually to quite the excess as can be seen here. It actually works reasonably well in this scenario, and does give a very distinctive feel to the movie, although it also kind of feels like the whole film was shot around a dimly lit swimming pool. It’s a crime thriller that sees determined cop James McAvoy pitted against successful professional criminal Mark Strong in and around London, with support from Andrea Riseborough, Peter Mullan, David Morrissey, and Daniel Mays. The acting and unique look of the film are good enough to make it all right, but there’s little of any real originality or substance here, and it’s not nearly as explosive as the title suggests it might be. If the ushers punched you in the face when you walked into the screening it might be more memorable, an introduction to 4D cinema perhaps…

Gambit  (2012)    61/100

Rating :   61/100                                                                       89 Min        12A

This really isn’t very funny at all. A remake of the 1966 film of the same name that starred Michael Caine and Shirley Maclaine, it bares precious little in common with its predecessor and spent the better part of two decades in development hell before finally being helmed here by Michael Hoffman (‘Restless Natives’ 85) and features a perhaps degraded over time script from the Coen brothers.

It stars Colin Firth as an art expert who is intent on defrauding the boss he hates, played by Alan Rickman, with the help of Cameron Diaz sporting a rich Texan accent, which takes most of the film to get used to. Stanley Tucci makes an appearance as a German rival to Colin Firth, and the talented and roundly respected cast are what finally lift the film someways from the doldrums of the truly awful first half. It won’t have you laughing much, but it may leave you with a smile on your face by the end of it. Not quite the beaming, bedazzling smile of Cameron Diaz, but a smile nonetheless.