film – Page 2 – Hello Curns

Napoleon Dynamite

I like films with a plot and Napoleon Dynamite is missing much of one but somehow the offbeat comedy works in a subtle – not laugh out loud – way.

If Napoleon Dynamite is to be believed, Idaho (or at the very least a place called Preston) is stuck back in the mid-Eighties and everybody is slightly odd. Napoleon is a school misfit with a misfit brother (who cruises Internet chat rooms), a misfit uncle (who is trying to recreate his high school football days) and a misfit friend Pedro who is trying to become Class President and is up against the all-American cheerleader, Summer. Add to that some milk-tasting contest and eating raw egg yolks in a chicken farm and I’m happy to admit it was a very strange experience.

Usually, I like films with a plot and Napoleon Dynamite is missing much of one but somehow the offbeat comedy works in a subtle – not laugh out loud – way. Add to that the massive Idaho landscapes and somehow you have an enjoyable way to spend a few of December’s final hours in a cinema. Just thank goodness for LaFawnduh.

A Mighty Wind

IMDB Says, “Mockumentary captures the reunion of 1960s folk trio the Folksmen as they prepare for a show at The Town Hall to memorialize a recently deceased concert promoter.

So the set-up of the DVD we watched last night was a television reunion of a few old folk singers who had hits in the sixties. Christopher Guest’s A Mighty Wind isn’t as good as Best In Show or This Is Spinal Tap but it’s a passable and amusing way to spend an evening. It seemed less realistic than other spoof-documentaries and I found some of the deleted scenes on the DVD to be funnier than the movie itself. However, there are some good performances and interesting soundtrack and it does make you smile.

Worth taking a chance on.

The Day After Tomorrow

The message to all of Planet Earth is, of course, corrupted to work for the film and lost after the first third. But that doesn’t make any difference.

So I’ve just got back from a nice – but rushed – meal and a visit to Clapham Picture House to see Roland Emmerich’s The Day After Tomorrow, starring Dennis Quaid and Jake Gyllenhaal. It’s a vision of what will happen if we don’t all take up cycling, ditch the cars and stop throwing out refrigerators with the trash (or some such thing).

Actually, it’s a disaster movie with a message and it certainly makes the grade as the first, although the message is somewhat lost along the way and the plot is, like all movies in this genre, ridiculously enjoyable. Basically, it starts to rain and then gets very cold and the only place where you seem to be able to survive is in the New York is the public library (and that’s because you can burn the books). Gyllenhaal’s dad, is of course, the only person on the whole of the American continent who can save him so he tries to. Marvelous, stupid and thoroughly entertaining.

Ian Holm puts in a notable performance from a remote Scottish weather station where – at the moment of disaster – they decide to toast England, Manchester United and Mankind (so not very convincingly Scottish – although they, of course, drink a decent malt to ward off the end).

It’s a mankind-in-peril, gripping disaster movie and I found it immensely entertaining. It’s stunning when it’s building and the effects are at their best (and who cares if the ice at the start looks computer generated)? Sadly, it does fade a little towards the end – especially as any last elements of believability fly out the window – but as a couple of hours entertainment you must go and see this film.

The message to all of Planet Earth is, of course, corrupted to work for the film and lost after the first third. But that doesn’t make any difference.

Unexpected Movie Gems

Despite the fact that you can be critical of television over Christmas 2003, I really think that it served me some unexpected movie gems.

There was something of an 80s flashback over the Christmas period which set me thinking about my teenage years – although I am not suggesting you should now read my regurgitated teenage angst. The flashbacks came in the form of three films on free-to-air television that I caught by accident (by which I mean I didn’t know there were on until I flicked past them).

Firstly, we had the excellent Footloose (Kevin Bacon, dancing) which is a film I must have seen several hundred times and never get bored. It’s those standing up for you rights and proving your responsibility moments that resonated with people of a certain age when it was released. It’s helped by the fact that the 80s electro-pop soundtrack was pretty good (for the time) and Kevin Bacon is moody and supports a tight fitting vest at one point!

Then, on New Years Day, we had another teen angst film in the shape of The Breakfast Club. From the John Hughes stable (he made one of my all time favourite movies, Some Kind of Wonderful) this was a teen film with a difference. The film is – almost entirely – dialogue driven and there is very limited action. It’s set in the detention room on a Saturday where a small group of students (of all the stereotypes) must spend the day together as punishment for various misdemeanours.

Again, we are treated to the teen isolation, the misfits and the stupidity of the adult world. And, it also features a soundtrack that instantly brings to mind the mid-Eighties including Don’t You by Simple Minds – which is possibly the only Simple Minds track that I can listen to again and again.

Sandwiched in between Footloose and The Breakfast Club and shown sometime in that almost-dead period between Christmas and New Year was the first Back To The Future movie (which again has a soundtrack of it’s time featuring Huey Lewis and The News, Eric Clapton and Lindsey Buckingham). What struck me about it (apart from the now dated effects) was how good a film it really was. There are some superb performances in it (Christopher Lloyd and Crispin Glover) and it was a real combination of teen and sci-fi movies. It was also the first film I can recall going to the cinema more than once to see – it must really have inspired me as a 15 year-old. Superb stuff.

So, despite the fact that you can be critical of television over this past Christmas period, I really think that it served me some unexpected movie gems. And for that, I am grateful.

Love Actually

This is really an inoffensive, somewhat amusing, light-hearted, feel-good British comedy.

Love Actually is not the film I imagined it to be. I guess you can call it a romantic comedy and it seemed like a sensible film to watch on New Year’s Day. The cinema was packed which suggests we wen’t the only ones with that idea.
I should say from the beginning, it’s sentimental and feel-good. If those words put you off then you shouldn’t really see this film. I do think, however, that if you have ever (even once) got a little lovey-dovey then could go and see this movie and get something out of it.

It’s weaves a whole stack of separate stories together about people in love or finding love (and even out of love) with the backdrop of Christmas in London. Richard Curtis (of Four Weddings And A Funeral fame) makes his directorial debut and provides a very well-shot image of 21st Century London at Christmas. There are some really well-done sequences around the city which gives somebody like me – who thinks he’s seen all he wants to of London – something to smile at.

Having said it’s well-shot it is not without problems. Too many stories are intertwined leaving too many questions unanswered. When you leave a cinema questioning some of your understanding about who was who and where things were set you know that at some point this film failed. Why have the whole Wisconsin sequence, for example? And what happened to the Laura Linney parts – I suspect there is something on a cutting room floor that explains all that somewhere.

But don’t let that put you off. Liam Neeson’s storyline is great (even if it stretched believability a little), Emma Thompson is superb (and you will feel for her as she opens a Christmas present) as Alan Rickman‘s wife (he too stands out with a great, typical Rickman performance). Even Hugh Grant is believable as a Prime Minister who falls for his tea lady (Martine McCutcheon).

What I liked, although I have no idea if they will translate to the US, are the really British touches. Ant and Dec are the kid’s TV presenters; Jo Wiley is a DJ and Wes Butters does the chart run down for the Christmas Number One. And there wasn’t an over abundance of red London busses – which must be a first for British films.

This is really an inoffensive, somewhat amusing, light-hearted, feel-good British comedy and I hope it does well. If you read the message boards over at the Internet Movie Database you’ll read about people walking out in shock and disgust – which, if you’ve seen the film, is just as amusing.

The Quiet American

Michael Caine is excellent in The Quiet American.

Thanks to the joy of dvdsontap, I have just watched Michael Caine in The Quiet American, the adaption of Graham Greene’s novel about an American spy, Alden Pyle (Brendan Fraser).

Pyle is a US agent who is backing an anti-communist force in Vietnam and befriends British journalist Thomas Fowler (Caine) before ending up part of a love triangle with a local Vietnamese girl, Phuong (Do Thi Hai Yen).

Caine was superb as the Saigon-based reporter – an understated performance that steals the show. The movie is well produced, and the atmosphere of the Far East is brilliantly portrayed. I would never have gone to the movies to see this, but I am so glad that I added it to the DVD list.

The Hours

I came out of The Hours somewhat stunned. This is a remarkable film and I thoroughly enjoyed it. Nicole Kidman, Meryl Streep and Julianne Moore are all superb and utterly believable. The link between the three (Kidman as Virginia Woolf, Moore as a 1950s depressed housewife and Streep as a confident modern woman) are seemingly only linked by a book – Mrs Dalloway.

The lives of the three are crumbling in various ways and this conveyed well on screen. Kidman –hardly recognisable thanks to great make-up –is superb and going slowly mad in 1920s Richmond. Moore’’s character appears to have feelings of worthlessness while Streep is coping with modern day New York while her relationship seems to be going nowhere and a good friends suffers with AIDS.

This isn’t a happy film. Many of the scenarios are quite sad but it isn’t really a depressing film either. It’s engrossing and engaging and even the supporting characters are played brilliantly.

Film: Daredevil

I was very surprised that I did not enjoy Daredevil more. It’s darker and more disturbing than many a super-hero flick and while this, for some, may be the appeal, it just didn’t do it for me. It’s also oddly constructed. We first meet the superhero as he collapses on the floor of a church. Why? Well, he’s half way through a battle with one of the villains – Bullseye (an Irish hitman capable of killing talkative old ladies on planes with nothing more than his finger and a peanut).

And so the film lurches backwards as we are told Matt Murdoch/Daredevil’s story. He grew up with his father -a boxer – and singled out for the bully treatment when he was a kid. Blinded in a dockside accident by a hazardous chemical, Daredevil’s face remains remarkably unmarked as he matures in the talented pro-bono lawyer played by Ben Affleck.

Once the Flashback sequence is over we return to our hero in mid-Organ scaling (as in church organ) battle. Who considered the middle of the narrative a sensible place for us to join? I guess it has worked before, but not here. In true super-hero style, our almost dead star rises and battles to the end. Of course, as in all such movies one wonders why the world hasn’t worked out that Matt Murdoch and Daredevil are the same. They are Ben Affleck in red leather.

Ah, dear Ben. I appear to be in the minority who were not convinced by his portrayal of a super-hero. He was too “leading man in a romantic comedy” for me, despite the tight leather gear which didn’t seem to turn him into the sex-hunk that I thought it might – Chris O’Donnell looks better in tight leather in Batman and Robin. Colin Farrell tries hard to be brutish with sex-appeal and he almost pulls it off, especially considering the target on his forehead isn’t really that great to look at.

I really can’t be sure what made this film fail for me. Maybe it was too dark for a super-hero flick or maybe that the story was not compelling. Maybe it was the fact that at least one villain survived for a sequel in a far too obvious fashion. Daredevil may be a comic hero but you don’t have a super-hero “thing” to latch on to (Superman flies, Spideman has a web and Batman has a utility belt). Daredevil’s other senses are enhanced. Big wow. Maybe it was the violence that felt too real and not comic-book enough or maybe it was that the supporting characters never really moved from being one-dimensional support.

I guess, in the end, I would have been disappointed if this crime-fighter had come to my rescue. I’d have been happy with Batman, thrilled if it was Superman and delighted if Spiderman liberated me. If Ben turned up in red leather I just might have laughed.

Film: 8 Mile

I have no idea if this in any way reflects real life in downtown Detroit. I have no clue if rap culture is, in any way, well served by his film but it is a great movie which I thoroughly recommend.

I walked out of the Odeon loving Eminem’s 8 Mile. On reflection, I still think this is a great movie. Who cares if it’s Saturday Night Fever or Karate Kid for a new generation? Does Eminem’s apparent turn around about all things gay worry me? Not at all. This is an excellent film. I do, however, have one question, where are all the guns?

I have never visited Detroit nor any of its downtown neighbourhoods. Fortunately, I’ve never been in the middle of any kind of big gang culture. But in this movie, there were two guns (three if you count the paint-ball). One is pulled on Jimmy (Eminem) and one is waved around by Cheddar Bob, who promptly shoots himself while those involved in the gang fight around him look on like they’d never seen a gun. If I were to believe the news media, this place would have been crawling with weapons and Jimmy would have probably pulled several on his attackers. A movie for nice liberal sensibilities? It just struck me as odd. Perhaps it’s real, but it seemed wrong.

That is, however, but a small gripe. Like yesterday’s film, The Good Girl, we have a central character with an apparently dead-end life but dreams of something better. This time, the lead is surrounded by people who believe in him although he doesn’t believe in himself. The final battle, where Jimmy – or Rabbit – proves himself to be great, is a freestyle rap event that is so far removed from anything in my life or frame of reference that I have no idea if it’s believable, amusing or insulting. Having said that, it is a great conclusion to the movie and had me hooked.

Surprisingly, Eminem’s music doesn’t dominate the movie. I was slightly disappointed there wasn’t more. We first hear his musical talents when he sings a lullaby to his sister. A repositioning of man whose music has been the centre of controversy for years? So, if we don’t get to hear much of his music, how does he stand up as an actor? Pretty well, I would have said. His baseball-cap (and hood) mask much of him revealing only a cool, moody, brooding man writing rap lyrics on scraps of paper to music pumped into his head through headphones. As the movies is apparently based on some of his own life, I suspect this wasn’t a great leap for him to play. He does pull it off with conviction and you can take the journey into Jimmy’s world and lose sight of Eminem. I’d be interested to see if he acts again and with the huge box office takings predicted, most will bet he will.

I have no idea if this in any way reflects real life in downtown Detroit. I have no clue if rap culture is, in any way, well served by this film but it is a great movie which I thoroughly recommend even if you are asked to believe that, when life hits rock bottom, you’ll win on the bingo.

Film: The Good Girl

Good. But not good enough. While Aniston is good, she is not great. It seems much of the praise is due to the fact that she is playing against the Friends Rachel-type. She an actress for goodness sake, if she only has that one role she has no career. This role proves she can play against type and, I guess, that means she is an actress.

What has surprised me about Miguel Arteta’s The Good Girl, starring Jennifer Aniston, are the generally positive (if not glowing glowing) reviews for this film.

Admittedly this is not quite the Jennifer Aniston vehicle that you would expect from Hollywood right now. It’s no romantic comedy, rather a drama following Justine (Aniston), a woman in a dead-end job in a dead end town, who falls for Jake ‘Donnie Darko’ Gyllenhaal’s Holden Worther. Not much to it so far and certainly not enough reason for the praise.

So, to the plot. Problem one for our lead, Justine is married to a full time stoner (part time painter) played with conviction by John C. Reilly. Problem two, Holden seems to think he is Holden Caulfield, the central character in Catcher in The Rye. If I was to say he was “unhinged” I’d be playing it down. So, cue a crisis of conscience for her and a serious infatuation/breakdown for him.

While Aniston is good, she is not great. It seems much of the praise is due to the fact that she is playing against the Friends Rachel-type. She an actress for goodness sake, if she only has that one role she has no career. This role proves she can play against type and, I guess, that means she is an actress. Her narration is okay but somewhat draining to listen to. Gyllenhaal’s good but, given the characters are odd-balls not a million miles apart, he is not as engaging as he was in Donnie Darko.

I guess it hangs on the believability of the adulterous relationship and, for me, it was not that credible. Perhaps it hangs on the ability for Aniston and Reilly to be a couple at the end, but it’s not convincing. There were words unspoken which should have been spoken. Where are the sparks? Where was the fire and the passion between any of the characters?

Sadly, it lacked the ability to engage me for the one and three-quarter hours. Which meant I started to feel the cinema seat beneath me. At that point, I knew this wasn’t going to be added to my “greatest films” list. Which is a shame. Good. But not good enough.

The Lord of The Rings

There are, perhaps predictably, few surprises in this second film. However, it remains a stunning piece of cinema and one that I will certainly see again and again.

Being New Year’s Eve I decided to hide away from some excessive partying and see Lord of the Rings: The Two Towers in central London.

The second cinematic instalment starts more-or-less at the point we left of with Frodo dreaming of Gandalf’s fall. I began by thinking we were in for a decent length of re-worked footage from the first film but, of course, I was wrong.

If you haven’t seen the first film and haven’t read the books you will need to do one of them before seeing this film for no concession is made to explain the previous tale. Thus, we must accept that the Fellowship is now split into three and we have three stories.

Frodo and Sam’s tale gets darker as the film progresses as Frodo comes under the influence of the ring. They are joined by Gollum which is a superb character despite being a computer-generated image.

The second group of Aragorn, Gimli and Legolas go in search of Merry and Pippin only to find themselves rushing to the aid of King Theoden of Rohan and featuring some amazing battles sequences. Merry and Pippin themselves find the company of the Ents whose role seems to have been played down in the film. The Ents are my favourite characters from the books and I had been waiting to see if they could be brought to life convincingly on the screen. Peter Jackson has done an amazing job on them and I was only saddened that they didn’t appear more.

There are, perhaps predictably, few surprises in this second film. There is little to discover in the central characters and, with perhaps the exception of Gollum, very little seems to be learnt about newer characters. However, it remains a stunning piece of cinema and one that I will certainly see again and again.

The Guardian has a summary of the main players. Other reviews can be found at Empire Online and Teletext.

Die Another Day

Bond has been around for 40 years. Is he sill up to it?

I saw the new James Bond film today. Apparently, Bond is 40 – which means the formula has been around for a while. Die Another Day is as cheesy as many a Bond, yet it remains an entertaining cinema experience. I’m sure, however, that it won’t be voted a classic. It’s less secret-agent more agent-detective and the Bond-girls are now more MI5-partners (or more accurately NSA-partners). There are some fantastic scenes on the ice (using The Eden Project as a backdrop) and gadgets galore. If I had any complaints about the film it would be the quality of some of the effects which is, to say the least, not up to standard. [Official Site]

Donnie Darko

The Guardian said, Is it a horror film? A black comic parable of Generation X angst? A teen drama with a psycho edge? If not, what the hell is it?

Possibly the strangest and most compelling film I have seen all year and it’s not had a great deal of coverage. Donnie Darko’s website is very wierd and I am not sure you’ll get much from that. Tom, on the other hand, raves about it. You can read more reviews here or at The Guardian. I can’t explain it. Go see it.

My Big Fat Greek Wedding

My Big Fat Greek Wedding was something of a hit and miss film. You learned much about the Greek (lead) character, Toula, and her inter-family relationships. But you learned very little about her love interest, Ian. If the point of the film was to show the development of Toula from the shy woman living life for her father by waiting tables (“seating hostess”) in his restaurant to the confident, beautiful self-styled woman that Ian Miller falls in love with, then, I guess, it succeeded. Sadly, because you know so little about him and his one-dimensional parents, this film feels empty and fails to pull you in.

Reviews will tell how My Big Fat Greek Wedding makes you laugh, cry and feel. I, however, was left wanting more. The large Greek family, played with love and humour, finally come to accept non-Greek Ian into the family. Ian, however, never challenges that their acceptance requires him to turn into them. Far from celebrating diversity, the film fails to show both sides of the tale and we are forced to believe that Ian will do anything, unquestioningly for Toula. I suspect that I am trying to read too much into, what should be, a light Saturday night romantic comedy but as the film played out its story I found myself less and less engaged.

Having said all this, there were some laugh-out-loud moments and some top-class performances. Andrea Martin (Aunt Voula), Michael Constantine (Gus) and Lainie Kazan (Maria) all stood out. The performance of Nia Vardalos (Toula), who also wrote the story, is also worth mentioning as she certainly conveyed Toula’s side of the story. Unfortunately, that’s all I felt I got (Toula’s side) and it could have been so much more.

Matt Damon is Jason Bourne

The Bourne Identity delivers an action-packed thrill, featuring a surprising turn from Matt Damon.

I saw a pumped-up Matt Damon on The Bourne Identity last weekend. Sadly, I am a sucker for this kind of action movie. They have little point but tell a tale that absorbs you for 90 minutes and gives you an all-action thrill for some of that time. What more do you want from a cinema-going experience?

My Review: Who would that thought Matt Damon could, convincingly, play the international agent? Yet a beefed-up Matt holds his own in the world of blockbuster espionage – that’s a world of martial art acrobatics and high-speed car chases down back alleyways (and flights of stairs). Franka Potente manages to keep the role of Marie convincing when many would have just walked away from Jason Bourne (Damon) at their first meeting. It’s a Friday night, action-packed, spy-game blockbuster (with a twist of amnesia) and, unfortunately, nothing more.