Saturday, 22 January 2011
Black Swan - Cineworld - 21/1/11
Beautiful young woman is turned into a swan by an evil sorcerer, handsome prince discovers beautiful swan, prince falls for wrong swan, beautiful young woman discovers the prince falling for the wrong swan and promptly kills herself soon to be followed by the prince.
Darren Aronofsky isn't a director who is afraid to take chances or to follow his own vision...from the highs of "Pi" and "The Wrestler" to the twisted, dark, arresting "Requiem for a Dream" and then to the universally derided "The Fountain" this is a director who has done it his way. He makes films that are driven by story and performance...he isn't a CGI freak or a man who requires a budget that could wipe out third world debt to make films that are interesting, disturbing, upsetting, inspiring and different. With "Black Swan" he has excelled himself, this is a film that combines the weird and wonderful of "Requiem for a Dream" and "Pi" with the glorious storytelling of "The Wrestler". It is as close to perfect as it may be possible to get.
Nina (Natalie Portman) is a ballet dancer who is short on confidence, nervous, uneasy and uncomfortable in her own skin. The significance of her skin should not be understated as it is the source of much discomfort for her throughout the film. When she is chosen by company director Thomas (Vincent Cassel) for the lead in "Swan Lake" it should be the cue for a new dawn, happiness and fulfillment but is, instead, the starting point of a hysterical dive into a schizophrenic hell that ultimately sees her follow the Swan Queen literally as well as metaphorically.
Nina is haunted by nightmarish visions of her own body changing, driven to the edge of despair and to the heights of ecstasy by her nemesis and friend Lily (Mila Kunis) and thrust into sheer desperation by Thomas and her feelings for him. It is an unravelling and descent that is truly hypnotic...it simply isn't possible to take your eyes off of Portman as she delivers a performance that will stand as a career high in an already impressive career.
Throughout the film Aronofsky makes use of and reference to reflection...mirrors, windows, doppelgangers, portraits, look-a-likes all feature prominently as Nina unravels. At times it is very difficult to tell what, or who, we are really looking at. Is what we are seeing real or a mirror image? Is Nina herself simply a reflection of herself within her own fragmenting subconscious? On occasion Aronofsky even managed to tap into my own greatest fear...my reflection refusing to reflect and acting independently of me. Barely a scene passes without some sort of mirroring or reflection...the enormous mirrors inside the dance studio, dark windows on the subway, dancers mirroring one anothers movements and, of course, the dark reflection of the Black Swan herself.
Metamorphosis is another key element within the film as Nina transforms, both literally and metaphorically, into the Black Swan. But it is not only Nina who is shifting shape and transforming; her mother has changed from dancer to mother, Lily is desperately trying to become Nina, former prima ballerina Beth (played superbly by Winona Ryder) is transformed from "little princess" to cripple. Nobody is who they appear to be and nothing is what it seems to be.
Much of the discussion on "Black Swan" has, naturally, centered on the dance...most importantly on Portmans ability to dance. I have some experience in this field having appeared on stage with the Kirov and have actually appeared in "Swan Lake". Admittedly I wasn't dancing and was simply an extra body used to "pad out" certain moments but it's closer than you've come to being a professional bloody dancer so...so...there! I don't know how good or bad Portman was but I found the dance scenes to be convincing and beautiful.
I have a very close friend who has never forgiven Aronofsky for "The Fountain" which he described as "...a load of mince". To that friend I say "Bobby, forgive Aronofsky, forgive him then see the Black Swan and have your faith in him restored".
Friday, 21 January 2011
Season of the Witch - Cineworld - 20/1/11
Did you know that there were Americans fighting in the crusades?
Neither did I.
In this historically accurate...
No, wait.
Let me just check my notes.
Ah!
In this hysterically inaccurate romp Nicholas Cage and Ron Perlman desert the crusades, head for home and end up escorting a young woman accused of being a witch who has brought plague to the land to a castle full of monks who will determine her guilt or innocence. On the way they pick up a guide in the shape of Combo from "This is England" who has, for reasons I don't really understand, decided to play the part with a New Yoik accent. En route to the castle of monks they encounter a pack of zombie wolves, hallucinations and a rope bridge that makes the one Indiana Jones has to cross in "Temple of Doom" look like the Golden Gate Bridge.
When they eventually make it to the monkhouse they discover all the monks are dead from plague and, worse, the witch isn't a witch...she's the devil! Satan! Beelzebub! Lucifer! He who walks backwards! The beast! Seriously...he's got horns and wings and everything. Unable to take care of Nic Cage, Ron Perlman and a pre-pubescent altar boy on his own the devil re-animates the monks and a battle between the living and the dead takes place for no real reason other than it gives everyone the chance to look grim faced while lopping off the heads of undead monks.
Quite clearly this is the greatest film ever made.
Sorry.
Let me check my notes again...
Um...
Oh, yes.
No.
Quite clearly this is a load of old tosh.
But, dear, dear reader, it was also gloriously, brilliantly, dementedly, wonderfully, awfully entertaining. It can't all be Ozu and black and white Polish realist cinema you know. Occasionally it does you no harm at all to simply sit back and let the pretty pictures entertain you. "Season of the Witch" is, I think, knowingly camp and fabulously ridiculous...nobody involved would make any claim for "art" or a case for it being a film loaded with hidden meaning; it's a chance for Nicolas Cage to do, well, Nicolas Cage and for everyone else to enjoy getting dressed up and fight monks, devils and zombie wolves.
Thursday, 20 January 2011
Glasgow Film Festival
It's back...
The GFF launched its programme for this year and what a programme it is.
With the return of "Fright Fest" (8 horror beauties), "Beyond Bollywood" (taking a look at the best in Indian cinema), a world cinema strand "It's A Wonderful World", independent cinema, Scottish film and much more it promises to be a really memorable festival.
Director Allison Gardner is keen that the festival offers "...something for all tastes" and this year seems set to do exactly that.
Roll on the GFF!
The GFF launched its programme for this year and what a programme it is.
With the return of "Fright Fest" (8 horror beauties), "Beyond Bollywood" (taking a look at the best in Indian cinema), a world cinema strand "It's A Wonderful World", independent cinema, Scottish film and much more it promises to be a really memorable festival.
Director Allison Gardner is keen that the festival offers "...something for all tastes" and this year seems set to do exactly that.
Roll on the GFF!
Get Low
This review originally appeared on MyFilms during the 2010 EIFF. "Get Low" is given a cinema release from 21/1/11.
OK.
If I was a film-maker and I was going into see a studio executive with a pitch for a film there are certain things that would make me feel very confident about the meeting ending positively for me;
1) a good script
2) a great story
Those two things should be enough on their own but we all know the executive is looking at the Benjamins and not the Art.
Imagine though if I was able to go into the pitch with one and two as well as;
3) Robert Duvall.
4) Bill Murray.
5) Sissy Spacek
I would bet everything I had on the executive biting my hand off for my good script and great story on the back of a cast like that.
I mean seriously boys and girls we are talking about acting royalty here.
Robert Duvall?
Bill Murray?
Sissy Spacek?
I would crawl naked over broken glass to see a film with even one of those people in it.
To get all three together is just...well, it's just too much.
You could get the three of these people to star in "Avatar" and it would elevate it from ridiculous, pompous, overblown, cynical cash cow, cinema misery to high art.
Seriously.
Let's look at the type of people we are talking about..."The Road", "The Godfather", "The Godfather Part II", "Sling Blade", "Lonesome Dove", "Apocalypse Now", "Ghostbusters", "Lost in Translation", "Rushmore", "The Royal Tenenbaums", "Broken Flowers", "Groundhog Day", "The Straight Story", "Carrie", "Badlands".
What a list.
When you throw in some of the most beautiful cinematography, a sizzling script and a story that practically bleeds honesty and purity of purpose from its heart then you have a film that deserves to be seen by anyone who has even a casual interest in cinema.
This was, without a doubt, one of the best films I have seen...not this year, not at the EIFF, not in the last few years, just one of the best films I have seen. It oozes class. It's a film that will take its place on "favourites" lists of everyone who sees it.
Duvall plays hermit and local legend Felix Bush, a man with no friends, no family and, apparently, no interest in either. When he comes into town to plan his own funeral with a bundle of dollar bills that could make a rich man jump for joy local funeral director Frank Quinn (Murray) grabs the opportunity to arrange the funeral despite knowing that Bush won't make that easy.
Bush wants to arrange his funeral with one difference...he will be in attendance. He wants to hear what everyone has to say about him, to hear the myriad stories and legends that have sprung up around him during his years of self imposed exile. As the plans take shape it becomes clear that something from the past is haunting Bush and that his real purpose in organising his funeral isn't the one he has presented to Quinn.
A touching and totally convincing relationship between Bush and Mattie Darrow (Spacek) lends emotional depth and deeper tones to a film that is already full of emotion and that has been constructed with love and affection by director Aaron Schneider. When the truth comes out it is achingly painful but also uplifting as we see the tortured soul of Bush freed from the shackles of what has been haunting him.
It isn't possible to say enough good things about a film like this.
See it.
Then go and see it again.
Then take a friend to see it.
Perfect.
OK.
If I was a film-maker and I was going into see a studio executive with a pitch for a film there are certain things that would make me feel very confident about the meeting ending positively for me;
1) a good script
2) a great story
Those two things should be enough on their own but we all know the executive is looking at the Benjamins and not the Art.
Imagine though if I was able to go into the pitch with one and two as well as;
3) Robert Duvall.
4) Bill Murray.
5) Sissy Spacek
I would bet everything I had on the executive biting my hand off for my good script and great story on the back of a cast like that.
I mean seriously boys and girls we are talking about acting royalty here.
Robert Duvall?
Bill Murray?
Sissy Spacek?
I would crawl naked over broken glass to see a film with even one of those people in it.
To get all three together is just...well, it's just too much.
You could get the three of these people to star in "Avatar" and it would elevate it from ridiculous, pompous, overblown, cynical cash cow, cinema misery to high art.
Seriously.
Let's look at the type of people we are talking about..."The Road", "The Godfather", "The Godfather Part II", "Sling Blade", "Lonesome Dove", "Apocalypse Now", "Ghostbusters", "Lost in Translation", "Rushmore", "The Royal Tenenbaums", "Broken Flowers", "Groundhog Day", "The Straight Story", "Carrie", "Badlands".
What a list.
When you throw in some of the most beautiful cinematography, a sizzling script and a story that practically bleeds honesty and purity of purpose from its heart then you have a film that deserves to be seen by anyone who has even a casual interest in cinema.
This was, without a doubt, one of the best films I have seen...not this year, not at the EIFF, not in the last few years, just one of the best films I have seen. It oozes class. It's a film that will take its place on "favourites" lists of everyone who sees it.
Duvall plays hermit and local legend Felix Bush, a man with no friends, no family and, apparently, no interest in either. When he comes into town to plan his own funeral with a bundle of dollar bills that could make a rich man jump for joy local funeral director Frank Quinn (Murray) grabs the opportunity to arrange the funeral despite knowing that Bush won't make that easy.
Bush wants to arrange his funeral with one difference...he will be in attendance. He wants to hear what everyone has to say about him, to hear the myriad stories and legends that have sprung up around him during his years of self imposed exile. As the plans take shape it becomes clear that something from the past is haunting Bush and that his real purpose in organising his funeral isn't the one he has presented to Quinn.
A touching and totally convincing relationship between Bush and Mattie Darrow (Spacek) lends emotional depth and deeper tones to a film that is already full of emotion and that has been constructed with love and affection by director Aaron Schneider. When the truth comes out it is achingly painful but also uplifting as we see the tortured soul of Bush freed from the shackles of what has been haunting him.
It isn't possible to say enough good things about a film like this.
See it.
Then go and see it again.
Then take a friend to see it.
Perfect.
Tuesday, 18 January 2011
Outcast - Filmhouse - 17/1/11
"The most original horror since "Let the Right One In" screams the poster for "Outcast"...trust me, that is further away from the truth than my declaring myself the best looking man in Scotland. That is to say...pretty bloody far away from the truth. I'm not even the best looking man in my flat and I live alone.
Lurking within Colm McCarthys script lies a really novel and interesting gothic horror tale.
All the right parts are present; black magic, ritual, gypsy traveller folk, legend, myth, an unGodly beast, urban backdrop...yet despite all of that "Outcast" never really delivers or convinces. In part this is to do with the writing, McCarthy appears to think that in order for his Edinburgh setting to be convincing that all of the Scottish characters should end every sentence with "like" or "ken". The cast appear to be aware of the limitations of the script because at times they appear genuinely uncomfortable in delivering them...James Cosmo in particular seems to know that, at best, the dialect is poorly researched and, at worst, is patronising and a bit daft.
Sadly some of the acting isn't good enough either...I'm well aware that that is an easy thing for someone like me to say, sitting here behind a keyboard without ever having appeared on screen but I don't think I would be alone in thinking that, at times, some of the performances were not much beyond am-dram level. In particular Hanna Stanbridge is, at times, uncomfortably awful in her attempt at portraying the sort of school of hard knocks girl that Katie Jarvis played so brilliantly in "Fish Tank". If Stanbridge was the best of those who turned up at the auditions then the state of acting in Scotland is in a perilous condition.
As a counter to the near balsa like performance of Stanbridge was the ever brilliant Kate Dickie who was, again, perfection. Even during scenes that would have been ludicrous in the hands of lesser talents are played brilliantly by Dickie. Proof of this comes during a scene when Dickie has to battle through the ether against James Nesbitt...miles apart and attempting to outsmart one another they each sit naked before a naked flame; Nesbitt looks like a middle-aged man pleasuring himself while his wife is in the other room, shuddering, groaning and grunting but Dickie seems to be genuinely in touch with something outside of herself. It's the perfect example of why she is, without doubt, the finest actress working in Scotland...and possibly the UK.
There are things to enjoy in "Outcast"...the story of a young man being hunted in connection with some dark secret, some of the special effects, the performance of Dickie and the backdrop of a never more sinister Edinburgh the truth is that you are left feeling disappointed and not mesmerised. A missed opportunity for all concerned.
Friday, 14 January 2011
An Interview with Paul Heaton
When I was sixteen I managed to convince a girl in my class called Emma to go out on a date with me. I’d adored her from a distance for a long while. I couldn’t believe it when she agreed to go out with me. What a date I had line up for us...tickets to see The Beautiful South at the Playhouse theatre in Edinburgh. The Beautiful South had only just released their first album “Welcome To...” and they were big news thanks, in part, to their being the new project of Paul Heaton, former lead singer of The Housemartins. Oh, by the by, I had got good seats too...three rows from the stage. It was a great gig and I was giddy with excitement at the prospect of the train journey home; surely Emma would be as happy as I was and would reward me for my efforts with a kiss and a cuddle at the back of a deserted carriage.
Now, 22 years later Emma and I are still together and as happy...
No, not really.
The magic of the “South” wasn’t potent enough to see true love bloom...outside of the venue Emma met her big sister who, unbeknown to me, had also attended the gig and the two of them made their way to the station without me and I was left alone. It’s a bit sad that isn’t it?
I wonder what Paul Heaton would make of this I thought to myself that night back in 1989. I wondered, too, if he had ever taken a girl to the movies on a date, had he had more success than me in the dark of the back row?
“You should’ve known with a name like Emma” says the man who has provided the soundtrack to more moments in my life than almost anyone else “No, I never chose to take a girl to the cinema. One of my first dates was taking a girl to Sheaf Valley Simming Baths in Sheffield. I couldn’t swim and, unfortunately, my mum noticed me walking out the door with a towel. She stopped me from taking trunks or a towel so I had to watch from the public balcony as my “date” slipped off to the other end with another boy. Not a great start.”
There is something truly comforting about that story but I don’t know what it is...maybe it’s just the knowledge that one of my heroes was as much of a loser as I was when I was a kid?
There won’t be too many people who aren’t aware of Paul Heatons music, from The Housemartins and their chart bothering hits like “Happy Hour”, “Caravan of Love” and “Me and the Farmer” to the enormous success of The Beautiful South who had more hits than The Beatles, Elvis and Westlife combined...or something. I wonder if you could have written a song for a film, any film from any time, what film would it be and why?
“Probably Easy Rider. I would've liked to have sat down with someone like Chip Taylor and say 'let's give this rebellion some direction'. So much of 50's and 60's White America was rebellion against short hair or Mom and Dad or soft music or whatever meaningless argument they'd had with their girlfriends that week. 1969 was a time when North American white rebellion was on the verge of being politicised. What America got was the banal words to 'Born to be Wild'. Another narcissists anthem.”
Sticking with the idea of music for films let’s start thinking about the soundtrack for “Heato: From the Beautiful North to the Beautiful South” which is going to be a gritty tale of one young Northerners rise to stardom. Who would play the role of Heaton and what music would you choose for the opening and closing scenes?
“I would probably like Tom Courtenay to play me. I think he could do my voice. Or Rob Brydon. As for the music; Scene 1] Courtenay is looking up and down the shelves of a local off licence comparing can prices to alcohol volume. In the background Karine Polwart's Holy Moses plays quietly. As Courtenay steps out into the dazzling Hull sunshine and opens his first can, Karine's voice bellows out 'Here's a thing you cannot do. He did it anyway just to prove it was not true'.
Last scene] As the Biopic is in reverse, this features Heaton as a 6 year old boy on his back, on a park's merryground. Facing the stars and eventually reaching out to them he sings along to Laura Cantrell's 'Oh so many years'. I chose the latter because in the film, when referring to the different loves of his life, he constantly says 'I don't think I've ever loved anybody like I've loved this earth'. The former because it sets the scene.”
That answer provides the answer to the question “What’s the difference between Paul Heaton and me, I mean his first “date” ended in disaster and embarrassment just like mine so what’s he got that I haven’t?” Well, clearly, he’s got the ability to give an answer like that to a, lets be honest, fairly bland question. Bit frustrating that...I liked it better when we were on the common ground of adolescent loser.
I see you as a songwriter who has a particularly British view of things, not in any parochial sense, but your songs still manage to have a universal appeal. Are there any British films or directors that you particularly enjoy?
“Paddy Considine I like and, of course, Shane Meadows. Further back I like John Schlesinger. I’m not so sure if I have a particularly British view of things. I just look out my window and write what I see as opposed to looking through some “Transatlantic Kaleidoscope”
Football has always been a big part of your life and it’s always been a popular backdrop for films. Are there any football films that you enjoy and, as an aside, what would make you happier; the Blades in the Premier League or Wednesday going bust?
“As a genre I don’t think it really works. Neither of those things would make me happy. I don’t like the sort of supporters that the Premier League attracts and if the Piggies went bust who we going to hate? Rotherham? Barnsely? Forget it. Rivalry, no matter how bitter or divisive is the reason your a supporter of that team”
If I could take you back to the day you first signed for Go! Discs and offered you a professional contract for Sheffield United at the same time which would you have chosen?
“Go! Discs. I would never have had the discipline to play professional football.”
If Dante is right and there is a Hell and at the bottom of it is poor old Judas trapped in ice for all eternity which film would you choose to play on a loop to further his misery?
“I think probably one of those awful 'Invader as Victim' films that Hollywood made after the Vietnam war. Full Jacket Potato, A bag of crisps now, Veggieburger Hill, Born on the 1st of April, The Beer Hunter. I've never seen such a crude, pathetic, self pitying load of shite in all my life.”
If I were to create a film festival that was going to be curated in the same way as the “Meltdown” music festival what films would you choose?
“They’re not going to ask someone like me to curate anything like Meltdown are they? At Meltdown I’d pick the “Free Willy” trilogy and at your alternative film festival I’d probably pick “Il Postino”, “The Killing of Fred Hampton” and a John Pilger documentary.”
You have been a big influence in my life and one of the things your responsible for is introducing me to gospel music. I’d always listened to soul, because my mum and dad were both Mods in the 1960’s, but I’d never heard gospel until I started listening to The Housemartins. Who were the influences on you as a young man?
“Strummer, Rotten, Richard Brewis (English teacher), Alfred Wirth (a German friend) and Al Green. Oh, and me mum and dad”
Now we’re back on common ground Heaton and I...my mum and dad are the biggest influence on my life, I had an English teacher who was just so significant (Dave Ewing) and you could substitute Heaton and Morrissey for Strummer and Rotten. I didn’t have a German friend though...which is a shame.
I remember discovering the motif “Take Jesus, Take Marx, Take Hope” on the inner sleeve of, I think, “The People Who Grinned Themselves To Death” album. I didn’t know what that meant and so it started me thinking and investigating. Really, I think, it was the start of my developing an interest in politics and it informed my political stance. As a socialist I wonder how you feel now about the “New Labour” government/experiment and what’s happened to the Left in Britain?
“One of the things I am most proud of is having the vision to not vote Labour in 1997 and vote Socialist Labour. It was SO obvious when people were saying let's just get back into power and then we'll go to the left. From the 80's I was aware of the Militant Tendency in the Labour Party. They were frighteningly dull but nowhere near as undemocratic and shifty as the lot who turned up in the mid 90's. New Labour are a free market, deregulating bunch of libertarian assassins. The left need to decide what it is to be left in Britain and then challenge or leave behind the afore mentioned doctrine. It needs almost dictatorial socialism of the party first and then it needs to present that to the country fairly and squarely. Unfortunately the Miliband Tendency, that is the 3rd choice in One Party State Britain, has a pretty firm stranglehold on any debate.”
It isn’t an exaggeration to say that Paul Heaton has been one of the most significant influences on my life; music, politics and even fashion have all been touched by the hand of Heato! Listening to what he has to say about films, music, football and politics I’m sure it’s not difficult to see why...and he was right; I should have known with a name like Emma.
Thursday, 13 January 2011
The Next Three Days - Cineworld, Edinburgh - 13/1/11
Russell Crowe is John Brennan.
John is a pretty nice guy.
He teaches at a community college.
John is married to Laura...she is beautiful and has a good job but doesn't get along with her boss.
John and Laura have a lovely little boy called Luke.
One day the police come to John and Laura's home and arrest Laura for killing her boss with a fire extinguisher.
Laura goes to prison.
When John takes Luke to visit Laura in prison Luke will not kiss Laura.
Laura wonders "Will he ever kiss me again?"
John goes a bit mental and decides that because his wife is innocent (he knows this, he just does) that he will help her to escape.
John goes to see Liam Neeson.
Liam Neeson is a man who has escaped from prison and written books about it.
Liam Neeson has a scar.
John asks Liam Neeson about how he escaped and foolishly reveals his true agenda.
Liam Neeson tells John everything he needs to know about escaping from prison.
John helps Laura to escape from prison and they go to Venezuela with Luke.
Luke kisses Laura.
Back in America the police start to think Laura might have been innocent.
In the cinema an audience member is so enraged by how predictable, formulaic and just plain awful this film is that he sets fire to the screen, breaks into the projection room, burns the master copy of the film, drives to every other cinema in the country that is showing it and burns their copies, kidnaps Russell Crowe (you don't need to know how) and holds him for ransom...he threatens to keep Russell captive unless the writer, director and studio executive who green lit this project promise never, ever to make another film.
Sadly the most exciting bit of this review is the last paragraph and it is the only bit of the review that isn't true...except for the bit about "The Next Three Days" being predictable, formulaic and just plain awful.
John is a pretty nice guy.
He teaches at a community college.
John is married to Laura...she is beautiful and has a good job but doesn't get along with her boss.
John and Laura have a lovely little boy called Luke.
One day the police come to John and Laura's home and arrest Laura for killing her boss with a fire extinguisher.
Laura goes to prison.
When John takes Luke to visit Laura in prison Luke will not kiss Laura.
Laura wonders "Will he ever kiss me again?"
John goes a bit mental and decides that because his wife is innocent (he knows this, he just does) that he will help her to escape.
John goes to see Liam Neeson.
Liam Neeson is a man who has escaped from prison and written books about it.
Liam Neeson has a scar.
John asks Liam Neeson about how he escaped and foolishly reveals his true agenda.
Liam Neeson tells John everything he needs to know about escaping from prison.
John helps Laura to escape from prison and they go to Venezuela with Luke.
Luke kisses Laura.
Back in America the police start to think Laura might have been innocent.
In the cinema an audience member is so enraged by how predictable, formulaic and just plain awful this film is that he sets fire to the screen, breaks into the projection room, burns the master copy of the film, drives to every other cinema in the country that is showing it and burns their copies, kidnaps Russell Crowe (you don't need to know how) and holds him for ransom...he threatens to keep Russell captive unless the writer, director and studio executive who green lit this project promise never, ever to make another film.
Sadly the most exciting bit of this review is the last paragraph and it is the only bit of the review that isn't true...except for the bit about "The Next Three Days" being predictable, formulaic and just plain awful.
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