Tag Archives: Drama

Tracks  (2013)    73/100

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Rating :   73/100                                                                     112 Min        12A

Wonderful film that shows the true to life adventure of one young woman’s determined journey through the deserts of Western Australia in the mid 1970’s, from Alice Springs in the heart of the country all the way to the Indian Ocean. The woman in question is Robyn Davidson, played in a fairly gutsy portrayal here by Mia Wasikowska, who became famous as ‘the camel lady’ through her stoic decision to try and travel alone with only a few camels to carry her luggage as company, despite not having a penny to her name to begin with. Eventually, she is forced to accept funding from National Geographic and begrudgingly has to occasionally suffer the company of their photographer Rick Smolan (Adam Driver), leading to one of the most interesting moments when she can’t stand his presence and talking anymore and so decides to shag him to just to get him to shut up. It’s certainly a novel approach to seduction.

Lurking behind this sudden jumping of her companion’s bones is a crawling loneliness that echoes throughout the film and eats away at the main character, who is kind of making the grandest statement of just how much it defines her, and we see shades of her past with the suicide of her mother that underpins her young adult relation to the world. The film takes its time and consistently treats us to views of the austere landscape whilst a very well judged score plays throughout, interspersed with moments of human interaction and reflection, and this technique works really well for the narrative, with the balance and tone suitably adjudged by director John Curran (‘The Painted Veil’ 06, ‘Stone’ 10), and it certainly shows lots of promise for debut screenwriter Marion Nelson. Definitely worth going to see.

Locke  (2013)    72/100

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Rating :   72/100                                                                       85 Min        15

An extremely focused and potent film about consequences and responsibility. The entirety of this film takes place within the car of Ivan Locke (Tom Hardy) as he drives away from work and not to home as usual, but to deal with the long shadow cast by some of his previous actions. Although it does not explicitly say so for a little while, it’s fairly obvious from the beginning that this event is the birth of an unplanned for child, one that Locke’s loving wife and current two sons do not know about. We learn the central character has issues of abandonment with regards to his own father, and so he makes several potentially life changing decisions as events pile on top of one another – he was due to pour the largest amount of concrete in Europe ever the following morning and has to prep someone else to do it via phone, for example, and he is partly forced and partly decides for himself that the time has come to confront everything.

The way we hear all of this play out via hands free phone conversations as he’s driving works really well, and it’s quite heart breaking listening to some of the reactions. Hardy is wonderful in the role, sporting a Welsh accent here, one with echoes of Bane in the background which kind of fits with his first name of Ivan, and both he and the script hold and carry interest from beginning to end, resulting in a captivating and meaningful drama.

I shan’t list the names of the actors in voice support as it’s actually better not to match faces to them as you watch the film. Movies that concentrate on only one or two characters in restricted settings are usually always worth watching – see the original ‘Sleuth’ (72), ‘Closet Land’ (91) and ‘Buried’ (10).

Calvary  (2014)    72/100

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Rating :   72/100                                                                     100 Min        15

Another film featuring Brendan Gleeson and a healthy dose of Irish black humour (see ‘In Bruges’ 08 and ‘The Guard’ 11 for good examples of more) and once again featuring topical satire at the expense of the Catholic church, here courtesy of Gleeson’s central character, father James Lavelle, who is told during the film’s introduction he will be killed in a week’s time by a victim of child abuse at the hands of a different Catholic priest in years gone by. The setting is a small Irish town in County Sligo (Easkey was the main filming location) so Lavelle knows who his would be assassin is, but we the viewers do not. This mixture of dark comedy, serious issues and not quite whodunit but who is going to do it, creates a unique film with another predictably great leading performance from Gleeson, but also very solid support from the likes of Dylan Moran, Chris O’Dowd, Kelly Reilly Isaach De Bankolé and David Wilmot. The title is taken from the name of the site just outside of Jerusalem where the Bible tells us Jesus was crucified, and it’s written and directed by John Michael McDonagh who’s last project was the aforementioned ‘The Guard’ – here he has maintained the same level of humour as before, but injected it with a memorably dark and astute portmanteau of the often scandalous situation the Catholic church finds itself in worldwide, combined with ever relevant questions, and tests, of faith.

Noah  (2014)    73/100

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Rating :   73/100                                                                     138 Min        12A

I really wasn’t expecting to enjoy this, after all who doesn’t know the story? There seemed little point in exploring the biblical/mythical flood, a story that is found in many ancient texts not just those of the old testament, and so it was a very pleasant surprise to find that the film was not only visually interesting, but quite entertaining to boot, which is absolutely the creative stamp of the director, Darren Aronofsky, who fought a long, hard, and ultimately successful battle against his producers to have his final edit of the movie be the one shown in cinemas.

Russell Crowe plays the titular Noah and he is on top form here, carrying the film in no small measure, whilst Jennifer Connelly plays his wife and Logan Lerman and Douglas Booth his two sons, with Emma Watson along for the ride as a random girl they pick up on their journey to meet Methuselah (Anthony Hopkins), from whom they hope to gain wisdom and guidance after Noah has a vision presaging the great flood. There is allegory of our modern day world, as we see clear signs of metallurgy that would be more fitting in today’s time frame, and the film plays very heavily on all things done in the name of religion without thought to their simple and distinct morality, which I think was a perfectly legitimate path to go down, especially since it’s not like we’re dealing with matters of historical record here – interestingly, a long proposed geological theory explaining the myth is that the stories may have originated after the Bosphorus broke, flooding the Black Sea with the waters of the Mediterranean and submerging the civilisations there. This is also one of the prime candidates for the Atlantis myth, although there are many others, the ancient volcanic eruption on the island of Thera, as another example.

The somewhat ridiculous nature of the story in that one family are supposed to repopulate the Earth is played on too, with one of Noah’s sons complaining that he will have no female companion (the eldest having already claimed Watson who is barren anyway) and demanding that Noah go and get him one. If only Ray Winstone, who plays the villainous leader of the mob who want the Ark for themselves, had explained it to him in his distinctive Cockney accent : ‘You will have to fuck your fucking muva boy’.

Losing a little to melodrama, and lacking in the acting department with the fresher faced members of the cast, this is still worth going to see as an enjoyable spectacle with generous helpings of morality to chew over.

The Double  (2013)    65/100

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Rating :   65/100                                                                       93 Min        15

The second film written and directed by Richard Ayoade (probably best known for playing Moss in ‘The IT Crowd’) and starring Jesse Eisenberg and Mia Wasikowska in the central roles with many of the cast from his previous film, the wonderful ‘Submarine’ (10), appearing in support. The story is an adaptation of the novella of the same name by Dostoyevsky, first published in 1846, concerning the appearance one day of a man’s exact physical double, here at his place of work, who embodies everything he isn’t – the double is confident, the double is admired, the double is brassy to the point of being criminally indulgent and offensive but people love him for it, and so on.

It’s great to see a new filmmaker experimenting with their own ideas, as is the case here, with plenty of room for personal interpretation opening open as we see the double zero in on the original character’s love interest. Is this imposter what he would become if he were to drastically change his personality to become more of a traditional alpha male? Would such an attempted change result in an almost schizophrenic interim period, or perhaps even a corruptive downward spiral?

Shot within a fairly constrictive local environment of workplace/tower block/diner and with consistent dark hues of yellow and green, the piece has the vibrant ambivalence of feeling both clinical and accessible – largely sold to us by terrific acting from Eisenberg himself, no mean feat when we consider to pull it off he had to do each take twice and continually match the timing with his invisible counterpart to perfection.

Unfortunately, experimenting too wildly can easily go awry, and here Ayoade has admitted that he struggled the most with the ending, which alas comes across onscreen as something which had up until then been interesting and thought provoking descends into a series of fairly nonsensical events and it ends up just being too whimsical and loose. Asides from the final furlong, it shows a lot of promise for the fledgling writer/director though, and it should still prove fairly interesting if you’re looking for something a little bit different.

Starred Up  (2013)    66/100

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Rating :   66/100                                                                     106 Min        18

From director David Mackenzie (‘Young Adam’ 03, ‘Perfect Sense’ 11) and very sensibly filmed in chronological order, this at least attempts to show the progression within prison of an extremely violent character, from the young, hyper aggressive newcomer on the wing with experience of prison tactics, to the member of an inmate ‘anger management’ group, something that makes him feel part of something and we can see the inklings of potential reform appear.

There is the distinct feel of something made for the movies here, with the violence and goings on accentuated for that purpose, and it is debatable how much of a character progression we actually see, indeed it is very difficult to get behind the protagonist at all in the beginning and unusually for a prison film we actually want to see the guards take him round the back and give him a good kicking. We eventually learn that our main character, Eric (Jack O’connell), has a dark past of abuse and that his own father, played by Ben Mendelsohn, is imprisoned on the same wing with him, and utlimately although it is well put together and acted, it never really completely escapes from that feeling of ‘is this just a little too much to get behind or really believe’.

The term ‘starred up’, we are told, refers to someone who has been marked as an up and coming leader, and in terms of a remorseless pathological killer it certainly fits Eric, though not exactly new territory for O’connell if you have seen the very memorable films ‘Eden Lake’ (08) and ‘Tower Block’ (12). Arguably a better and just as gritty, but not as well publicised, recent prison film is ‘Offender’ (12).

A Long Way Down  (2014)    30/100

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Rating :   30/100                                                                       96 Min        15

The title of this film relates directly to its central premise of four people who happen to try and commit suicide by launching themselves off of the same building roof at the same time but, upon finding they actually have an extreme commonality with a few other human beings, they decide not to, at least for a while, and we follow the growing relationship between the four as we also come to learn what drove them up there in the first place. It’s so bad though, it could easily be interpreted in a number of other ways.

The central cast comprise Pierce Brosnan, Toni Collette, Imogen Poots and Aaron Paul, and almost all of the attempted moments of pathos or comedy completely fail, but this is all hindered by the fact that none of the main characters really seem to like each other much, and indeed it is difficult for the audience to like any of them either. Their reasons for ending it all run the gamut, with various degrees of plausibility – in fact one of them isn’t even sure he has a reason, which according to him makes his case the most ‘tragic’, and one of the others can’t handle looking after her severely handicapped child any more – it’s very difficult to find anything approaching sympathy for reasons like these.

It’s adapted from a Nick Hornby novel (who also wrote ‘High Fidelity’ and ‘About a Boy’) and asides from one amusing scene brought to life by a cameo performance from Rosamund Pike, there’s nothing really worth watching here. Brosnan and Collette do there best with what they’re given to work with, Aaron Paul continues on with his demented baby routine on the back of ‘Need for Speed’ and Imogen Poots comes the closest of the lot to bringing any meaning to the film, but alas in isolation it isn’t enough.

Yves Saint Laurent  (2014)    55/100

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Rating :   55/100                                                                     106 Min        15

Boring with a capital B – this follows in the vein of the two films about Coco Chanel, both of which were death affirmingly dull, as the French language biography of another power house in the fashion world, in this case Frenchman Yves Saint Laurent – and what does he have of interest or value for the cinema going public? Well, not much really, we learn he was vain and spoiled, what a surprise, and that he liked having sex with men as well as women, again what a surprise, and that his ego and his vices took a catastrophic toll on his life. Not clichéd at all then, but there is also a coldness to the direction and the acting that makes it difficult to really get into the film. It warms up a little later on, possibly due to the story moving to the warmer climes of Morocco, but if you’re really interested in Laurent you would be much better off investing in some of the literature concerning him, rather than this somewhat ill conceived wreck of a movie.

Labor Day  (2013)    0/100

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Rating :   0/100            COMPLETE INCINERATION            111 Min        12A

Why, why, why oh why did Kate Winslet agree to do this film? This is beyond abysmal. It begins by suggesting it might be going down into ‘Straw Dogs’ (71 & 2011) territory, but then it quickly does a U-turn into the realm of Nicholas Sparks (although Joyce Maynard actually wrote the book this is based on). This essentially tells the story of an escaped prisoner (Josh Brolin) who abducts Winslet and her young son in order to hide out at their house for the evening, where he ‘has’ to tie her up, even though he’s a nice guy you understand, so that it looks like he gave them no choice should someone come in. Within a few days she has been banged so many times by him that she is quite willing to give up everything and take her son out of school, take all their money out of the bank, and flee with him across the border to Canada.

It’s ridiculous, I’m surprised he didn’t try to have it off with the boy at the same time and manage to sell it to the pair of them as normal. To make the clichéd point that perhaps someone who has been sent to jail may still be a nice person, and someone walking around free may not be, we see a mentally handicapped child left over at the house by his mother to be looked after by Winselt and co for the day. Not fearing the mentally handicapped child’s ability to recognise him as a CONVICTED FELON ON THE LAM Brolin teaches the kid baseball and gives him, presumably, the best day of his live with a ‘real man’ father figure, much as he presents to Winslet’s son. On the return of the mother, the child achieves the impossible and recognises who Brolin is and dutifully tries to inform his loving mother, who, in order to shut him up whilst she is talking, turns around and SOCKS HIM IN THE FACE, before cheerfully saying goodbye and carting the dazed and befuddled child out of the door.

This child abuse doesn’t end with the loving parents of the town though, a local police officer (played by none other than Dawson, James Van Der Beek) after seeing Winslet’s child casually walking down the street actually threatens to arrest him unless he gets in the car so that he can give him ‘a ride home’. Hmm. After Brolin begins his attempted rape/seduction of Winslet by tying her up slowly in front of her kid, he follows this up with the old one-two of baking absurdly rich and perfect peach pie, an age old seduction technique guaranteed to charm the pants off any sex starved middle aged house wife, especially if they can’t cook themselves. In the years to come we see Tobey Maguire appear as Winslet’s boy in the future and guess what he does for a living? He bakes THE SAME FUCKING PIE on an industrial scale. GET. TO. FUCK.

Under the Skin  (2013)    69/100

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Rating :   69/100                                                                     108 Min        15

This is only director Jonathan Glazer’s third feature film (the other two, ‘Sexy Beast’ 2000 and ‘Birth’ 04 are definitely both worth watching too) and as an adaptation of Michel Faber’s 2000 novel of the same name it’s his most ambitious project yet. The essence of the plot is that aliens have come to Earth and managed to don themselves in our skin, and they go around collecting live human specimens for some nefarious purpose. Interesting, but nothing especially new – however the delivery mechanism is uncomfortably captivating. Scarlett Johansson plays the primary alien honey trap and we watch her drive around the streets of Glasgow in a white transit van (it was nice of the aliens to target our mercurial ned population) trying her hand as a pick up artist, though one imagines her perhaps not having too much difficulty with this, she is after all Scarlett Johansson even with a black wig on. The necessity for the wig becomes obvious when we realise that some of the film is actually comprised of real footage and features members of the public rather than actors.

I love this concept – not only is it daringly unique but, especially with what happens to the men she seduces, it is a very powerful statement on what could lie beneath the skin of any potential partner, whether the viewer wants to interpret that in terms of disease, personality or both. Does it also perhaps imply Scarlett Johansson has a fetish for Scottish men? She is welcome to a cup of tea courtesy of The Red Dragon if so, although I am reliably informed by one of my pregnant female friends (I impregnate human females on a regular basis) that miss Johansson is expecting, so many congratulations to her and her fiancé.

As the film progresses it moves away from this concept somewhat to focus on the character of the main alien herself (assuming it has a gender) as she has a bit of a moral/personality crisis. This is where the film is at its weakest – we spend a lot of time with the director trying to convey this change across to us, but it usually amounts to little more than the principal lead staring into space, or at a wall, and the sci-fi concept of something non human coming to consider their humanity is something that most audiences will be overly familiar with.

There are plenty of moments of darkness and just as many of contemplation, creating several very, very memorable scenes, and there are many physically brazen performances from the cast to accompany them, none more so than from the leading lady herself. She is wonderful throughout, but in this physical aspect she was also the perfect choice. Consistently held up as an ideal in terms of both beauty and sex appeal in the real world, we see her examine her naked skin and body in the mirror in growing curiosity, though it is an opportunity half realised as personally I would have liked to see more focus on this aspect – not for the sake of perving but rather to show that everyone, even the most supposedly flawless person, can find parts of their bodies that are not ‘ideal’ and from certain angles look pretty far from it. The film does at least delve into this denuding of perfection.

A movie like this is always worth going to see if only to appreciate an artist trying to create something original. It’s largely a success and it will certainly stay with you for a long time, just be prepared for lots of nudity and sinister, yet not entirely alien, concepts.

Scarlett Johansson enjoying the Scottish sunshine