The Best Films of 2014

Scarlett Johansson in Under the Skin

 

Of the 350+ films I saw this year, these are the best ones. Some of them were released last year and I’ve been a bit slow getting round to them. Some of them were released even longer ago. The criteria are – I watched them in 2014 and I liked them. That’s it.

 

 

 

The Best

 

Computer Chess (2013, dir: Andrew Bujalski)

Andrew Bujalski, inventor of mumblecore, proved there’s life in the old beast yet with this retro-verité drama about geeks meeting in the 1980s to pit their programs against a chess-playing computer. Shooting on original video cameras in fuzzy-edged boxellated black and white, Bujalski catches the moment when the let-it-all-hang-out era died and our brighter, geekier world was born.

 

In a World… (2013, dir: Lake Bell)

A comedy of modern manners strung onto a plot about voice artists vying for the throne of the newly dead king of the hill. The savviest, screwballiest Hollywood comedy in years came from left-field, from writer/director/star Lake Bell, playing the daughter of a famous voiceover artist trying to get out from under dad’s reputation. It’s sentimental in all the right ways too.

 

The Canyons (2013, dir: Paul Schrader)

The sensational Lindsay Lohan’s “right, I’m back” movie is also Paul Schrader’s best for decades, a turning over of the paving slab to see what low-lifes slither about beneath. It’s The Canyons, not The Hills, so don’t expect Hollywood to come out smelling of anything but bad drugs, mercenary sex and broken dreams.

 

Stranger by the Lake (2013, Alain Guiraudie)

Don’t watch if you can’t take the sight of gay male sex. If you can you get a remarkable French drama about a killer at large on a nudist beach where homosexual omerta guarantees him a free ride, in any way he fancies. It’s beautifully composed, dramatically as taut as you like and even the soundscape is a thing of wonder.

 

Under the Skin (2013, dir: Jonathan Glazer)

How odd that Scarlett Johansson suddenly cornered the female sci-fi market (with this, the Avengers movies, Her and Lucy). This is the best of the bunch, with ScarJo playing a killer (in every sense) alien who cruises round Glasgow, Scotland, enticing men into her white van and then taking them back to her lair. Shot painstakingly with real, unsuspecting Glaswegians picked up off the street playing the dupes, it’s a triumphant return to movies for writer/director Jonathan (Sexy Beast) Glazer.

 

Of Horses and Men (2013, dir: Benedikt Erlingsson)

There are scenes in this elemental Icelandic movie that you will never have seen before, some hilarious, others just jaw-droppingly wha? It’s a unique rural drama that seems to suggest that people are at their happiest and least stressed when they behave most like animals. Watch that young woman swish her tail when the visiting Spaniard shakes his mane. Brilliant.

 

Norte, The End of History (2013, dir: Lav Diaz)

A four hour epic shot in long continuous beautifully framed takes, about a rich young law student and the poor street-pedlar woman whose life he affects maximally without even realising what he’s done. Wait two hours for the first “what the hell just happened” moment, and then another 90 minutes for the second, while a new (to me) master Lav Diaz casts his spell.

 

 

Only Lovers Left Alive (2013, dir: Jim Jarmusch)

If you were going to cast the supercoolest vampire film ever, you’d want Tilda Swinton and Tom Hiddleston in it. And you’d want Jim Jarmusch to direct it, wouldn’t you? That’s exactly what you get with this aching paean to immortal hipsterism shot in crumbling Detroit and labyrinthine old Tangier. No one ever says “I feel so very very tired,” as they do in cornier movies, but that’s the spirit. Plus jokes, hipster jokes.

 

 

Goodbye to Language (2014, dir: Jean-Luc Godard)

At one level Jean-Luc Godard’s boy-meets-girl drama of collaged visual styles and overlapping dialogue looks like the result of using every preset on Final Cut Pro software; at another it’s a brilliant exercise in trying to reformulate film syntax. Genius.

 

Edge of Tomorrow (2014, dir: Doug Liman)

Tom Cruise as a soldier repeatedly being killed, each time back to life a little bit tougher, sharper, wiser in Doug Liman’s sci-fi extravaganza that looks, feels, smells like something Arnold Schwarzenegger would have graced in the 1980s.

 

Welcome to New York (2014, dir: Abel Ferrara)

Abel Ferrara’s drama about/not about Dominic Strauss Khan and his sexual escapades in New York looks like it was shot entirely on one camera, stars Gérard Depardieu and Jacqueline Bisset and suggests obliquely that the people who run the planet are sociopaths.

 

 

 

 

 

Honourable mentions

 

Gary Bond sinks a beer in Wake in Fright
Gary Bond sinks a beer in Wake in Fright

 

Wake in Fright (1971, dir: Ted Kotcheff)

A restored 1971 Australian classic about a nice schoolteacher having a wild weekend of up-close Ocker masculinity out in the Outback of the Outback.

 

Blue Is the Warmest Colour (2013, dir: Abdellatif Kechiche)

Lesbian sex was its big sell but it’s the acting that’s the thing in this slow (as in Slow Food slow) French drama about a young girl’s sentimental education.

 

Klown (2010, dir: Mikkel Nørgaard)

The Danes do comedy in this road movie about two inadequate blokes and a ten-year-old boy on a “tour de pussy”. Inappropriate comedy fans, this is for you.

 

All Is Lost (2013, dir: JC Chandor)

Robert Redford is all at sea on a sinking yacht in the virtually wordless thriller from JC Chandor, who made the banking business sexy with Margin Call and proves lightning does strike twice here.

 

Fossil (2014, dir: Alex Walker)

A British couple in trouble are befriended by a lovey-dovey twosome in this four-hander that looks good, hits a few deep notes and goes as badly whacked-out as outsider-couple dramas generally do.

 

Back to the Garden (2013, dir: Jon Sanders)

Really? A film set in Kent (the “Garden of England”) and made for nothing? Yes, and you won’t find a better recent film about confronting that moment when you realise your parents’ generation are dead and your lot are next.

 

Dallas Buyers Club (2013, Jean-Marc Vallée)

Part of the McConaissance, with Matthew McC as the homo-hating cowpuncher who discovers he’s HIV+ and breaks the law to fix himself. A brilliant exercise in Hollywood storytelling economy.

 

The Past (2013, dir: Asghar Farhadi)

Asghar Farhadi casts The Artist’s Bérénice Bejo as the woman about to marry for the third time, to a man with a wife in coma. How the wife ended up in the coma is what this subversive, complexly plotted drama is all about.

 

The Lunchbox (2013, dir: Ritesh Batra)

A Mumbai desk jockey gets the wrong lunchbox at work and starts up a relationship with the neglected wife who prepared it. Life-changes all round in this lovely romance made with a very light touch.

 

An Episode in the Life of an Iron Picker (2013, dir: Danis Tanovic)

A dirt-poor Roma man tries to get medical help for his pregnant wife in this immensely sweet drama that comes with this seal of authenticity – it really happened, and to this lovely couple.

 

The Lego Movie (2014, dir: Phil Lord, Christopher Miller)

The incredibly smart Lego people got Phil Lord and Christopher Miller of 21 Jump Street to script/direct their movie, a fast-moving Star Wars-y affair with Liam Neeson and Will Ferrell its standout voices. Four viewings necessary.

 

Starred Up (2013, dir: David Mackenzie)

The best British jail drama since Scum, all those years ago, with a starry turn by Jack O’Connell as the new lag running into all the usual bad stuff inside. Spectacular.

 

Locke (2013, dir: Steven Knight)

Tom Hardy sitting inside a car for 90 minutes and making phone calls. That’s all there is to this super-high-concept drama that screws more tension out of the situation than you could imagine possible.

 

Blue Ruin (2013, dir: Jeremy Saulnier)

A hillbilly milquetoast is forced into an unlikely revenge-driven killing spree in a drama that grips from the first second and holds you there till the grisly end.

 

The Counselor (2013, dir: Ridley Scott)

Ridley Scott and Cormac McCarthy’s loquacious drama about a high-flying lawyer who hasn’t realised he’s swimming with the sharks (Javier Bardem, Brad Pitt). A sleek, ratchet-like thriller of pitiless inevitability.

 

Sofia’s Last Ambulance (2012, dir: Ilian Metev)

So simple, so effective, a documentary that follows a Bulgarian ambulance team and focuses entirely on them, never the people they’re treating. Tight, unusual, very humane.

X-Men: Days of Future Past (2014, dir: Bryan Singer)

The best of the X-Men movies gains a position in this list because of director Bryan Singer’s sheer ability to keep so many stories, characters and settings constantly in play. And his observation that the 1970s might as well now be an alien universe is interesting too.

 

 

 

 

The Underrated

 

Antonia Campbell-Hughes and Julian Morris in Kelly + Victor
Antonia Campbell-Hughes and Julian Morris in Kelly + Victor

 

Kelly + Victor (2012, dir: Kieran Evans)

A nice lad falls for a totally fucked up girl in this brilliantly acted, nicely observed Liverpool drama about a boy, a girl and a lot of bondage gear. No “ferry across the fucking Mersey” (the director’s words) visible. Hoo-fucking-ray.

 

Seduced and Abandoned (2013, dir: James Toback)

An exquisite and slyly clever documentary that’s not really a documentary at all, about old mates Alec Baldwin and James Toback talking to the movie world’s money men at Cannes. Fascinating, proper inside-Hollywood reveals.

 

Bad Grandpa (2013, dir: Jeff Tremaine)

Johnny Knoxville deserves the Sacha Baron Cohen award for bravery for the audacious stunts he pulls off as the titular grandpa, and Jackson Nicoll – what, 10-years-old maybe? – even more for his turn as the grandson. Yes, it’s a Jackass movie and that ship has sailed, but it’s also a very funny, one-of-a-kind affair.

 

Metro Manila (2013, dir: Sean Ellis)

A poor Filipino family moves to the big bad city and what looks like a drama about the innocent getting monstered turns into one of the best heist films of the year. Brilliantly made, brilliantly acted.

 

Safety Not Guaranteed (2012, dir: Colin Trevorrow)

Aubrey Plaza, one of those girls who can go from hot to not in the blink of an acting eye, dominates this no-budget smartly written mumblecore sci-fi about a rookie journalist chasing down a pudgy middle age guy who claims to have built a time machine. Fabulous.

 

Oldboy (2013, dir: Spike Lee)

Hated because a) it’s not as good as the original and b) people like to kick Spike Lee, who proves here he’s an intelligent, accomplished gun for hire, while Josh Brolin excels as the asshole incarcerated by person(s) unknown for 20 years and now wanting payback.

 

The Secret Life of Walter Mitty (2013, dir: Ben Stiller)

Ben Stiller’s brilliantly crafted reworking of the story that Danny Kaye made a hit film with in 1947 – about a geek whose rich fantasy life starts to invade his real one – is too unclassifiable to hit the “best of” lists.

 

8 Minutes Idle (2012, dir: Mark Simon Hewis)

A simple British comedy about a Bristol call centre that’s clearly been written by someone who’s worked in one – the cameraderie of the drones is palpable, their maddened boredom too. And star Tom Hughes is great as a post-Uni slacker working out what to do next.

 

The Monuments Men (2014, dir: George Clooney)

OK, so it’s not a Tarantino movie. But George Clooney’s amiable comedy about a crack team saving art before the Nazis destroy it isn’t meant to be. It’s meant to be Von Ryan’s Express/Hogan Heroes reimagined. Job very much achieved.

 

The Invisible Woman (2013, dir: Ralph Fiennes)

Felicity Jones is surely going to get an Oscar one day, but this film actually belongs to Ralph Fiennes (who also directs) playing her lover, Charles Dickens, as the world’s first media celeb. It’s a sweet film about love, in the end, with intelligent digressions.

 

Felony (2013, dir: Matthew Saville)

A gritty Oz cop melodrama written by its star, Joel Edgerton, the supercop who fucks up one night and spends the rest of the film getting further and further in the shit as he tries to wriggle free. Tom Wilkinson contributes another of his sneakily intelligent peformances as Edgerton’s superior.

 

All This Mayhem (2014, dir: Eddie Martin)

If you’ve never heard of the Pappas brothers, Ben and Tas, this excellent and shocking documentary about their 1990s rise and fall is well worth the ride, even if you’ve no interest whatsoever in skateboarding.

 

God Help the Girl (2014, dir: Stuart Murdoch)

A strangely 1960s-ish and intensely cute love letter by Belle and Sebastian frontman/director Stuart Murdoch to his star, Emily Browning, here fetishised in a boy-meets-girl Scottish musical recalling – if you’re fanciful – The Umbrellas of Cherbourg.

 

Chef (2014, dir: Jon Favreau)

Jon Favreau is one of the great under-revered directors of our era, and Chef – a road movie about a celebrity chef getting his mojo back – is exactly the sort of easy-looking, effortlessly digestible charmer he seems to be able to knock out at will.

 

Mystery Road (2013, dir: Ivan Sen)

An Aborigine cop tries to find out who killed an Aborigine girl – with stone-faced resistance from his white co-workers – in a beautifully shot Down Under cowboy thriller with one of the best shootout finales ever committed to film.

 

The Congress (2013, dir: Ari Folman)

Waltz with Bashir director Ari Folman pushes animation even further this time, with a psychedelic meditation on fantasy and reality starring Robin Wright as an actress who is digitised and inserted into any set-up the imagineers fancy. Highly highly unusual.

 

 

 

The Overrated

 

Emile Hirsch and Paul Rudd in Prince Avalanche
Emile Hirsch and Paul Rudd in Prince Avalanche

 

Prince Avalanche (2013, dir: David Gordon Green)

Two guys paint a road and David Gordon Green swerves back into George Washington territory in a film that’s Waiting for Godot with Girl Trouble. Tim Orr’s camera is lovely, 1970s and sun-dappled, but there’s a hole where the meaning should be.

 

Blue Jasmine (2013, dir: Woody Allen)

Another of Woody Allen’s overhyped “returns to form”, this time featuring a relentlessly over-acting Cate Blanchett as a super-entitled bitch whose ship has sailed. Watch instead Sally Hawkins.

 

Thor: The Dark World (2013, dir: Alan Taylor)

Everything that’s wrong with bad superhero films in one film – too many characters, too much gobbledegook, a lack of humour, though Tom Hiddleston’s Loki remains a fun watch. More to come (sigh).

 

The Butler (2013, dir: Lee Daniels)

Lee Daniels’s epic about the black butler (Forest Whitaker) to a whole bunch of POTUSes attempts to square the radical tradition with the gradualist conservative move towards black civil rights. Proficient, nothing more.

 

Saving Mr Banks (2013, dir: John Lee Hancock)

How Walt Disney (Tom Hanks) strongarmed PL Travers (Emma Thompson) into letting him film her Mary Poppins. The leads are genuinely fabulous and brilliant, but all that Travers backstory? Really?

 

Frozen (2013, dir: Chris Buck, Jennifer Lee)

On my own here, I know, a triumph for lovers of adenoidal singing of the sort of Broadway songs that Eric Idle spoofed so brilliantly with his Song That Goes Like This. The snowman and reindeer are funny but the central characters, what utter drips.

 

The Grand Budapest Hotel (2014, dir: Wes Anderson)

It still hasn’t sunk into Wes Anderson’s head that a) a little whimsy goes a long way and b) it has to be in the service of something, if only a good story. Here, though Ralph Fiennes is joyously funny as a devious owner of an old Mitteleuropean hotel, as a film it’s Sachertorte with cream, then more cream.

 

The Amazing Spider-Man 2 (2014, dir: Marc Webb)

Marc Webb’s second pop at Spider-Man is immeasurably worse than the first, fails to weld live-action into increasingly cartoonish set-ups, has too many villains, and feels like little more than a franchise placeholder or a sop to fanboys who will buy any old crap.

 

22 Jump Street (2014, dir: Phil Lord, Christopher Miller)

The jokes were all done in 21 Jump Street – and Phil Lord and Christopher Miller’s extensive running gag in the closing credits, in which they trail the franchise’s development all the way to 34 Jump Street: Return of the Ghost – shows they know it. Jonah Hill, Channing Tatum remain a hot combo though.

 

And if you want to watch or buy any of the films, this Amazon link will allow you to do just that – enjoy!

 

© Steve Morrissey 2014

 

 

 

Computer Chess

Patrick Riester in Computer Chess

 

A movie for every day of the year – a good one

 

 

9 March

 

Bobby Fischer born, 1943

On this day in 1943, the future chess grandmaster Robert James Fischer was born in Chicago, Illinois, USA. The son of a communist teacher and of either the physicist Paul Nemenyi or the biophysicist Gerhardt Fischer (the FBI believed it was the former), Bobby learnt to play chess aged six and became immediately fascinated with the game. He played against his first master, Max Pavey, aged eight and though he lost it led to an introduction to the Manhattan Chess Club, where he was tutored by William Lombardy, and then the Hawthorne Chess Club, where Jack W Collins was his mentor. By age 13 Fischer was playing 12-board simultaneous exhibitions. The same year he was being credited with having played “the game of the century” against International Master Donald Byrne. By 14 he was US champion. By 16 he had dropped out of school – “You don’t learn anything at school” he said. By 20 he was a multiple US champion with a profile in Life magazine. In 1960, aged 27, and having retired twice already, he set out to win the World Championship, which he achieved in 1972, beating Boris Spassky in a blaze of publicity at the height of the Cold War – the Soviets had had, until 1972, a lock on the world title. Fischer did not play another competitive game in public for 20 years, when he again played Spassky and, in spite of “playing the openings of a previous generation”, according to grandmaster Andrew Soltis, and unwilling to use computers to aid his game, unlike everybody else, he beat Spassky again. He died in 2008 of kidney failure, having spent the years since 1992 in exile from his home country.

 

 

 

Computer Chess (2013, dir: Andrew Bujalski)

Andrew Bujalski is often credited with having invented the mumblecore movement of lo-fi film-making that swept through indieworld in the mid-noughties. It was as refreshing as it was infuriating – not every actor is good at improvising, and making a virtue of that doesn’t make a bad performance better. But Bujalski sidesteps the entire genre with this film, which has all the hallmarks of a late 1970s documentary shot on archaic black and white video cameras. Yes, that’s exactly what mumblecore films looked like too, especially Bujalski’s, but he’s really gone the whole hog here, to the extent that it would be easy to watch for a good 20 minutes or more convinced that what you’re actually seeing is some resurrected documentary being shown as part of a “how quaint we were” retrospective. Bujalski is up to something far more intriguing. The focus of this supposed documentary is a competition held annually by computer nerds in an attempt to find out whose program is best at chess. Simple as. What it’s actually about, though, is the birth moment of the culture we inhabit now – nerdworld – and the death of the dominant touchy-feely culture exemplified by hippies, their free love, letting it all hang out and orgasm as a right. Bujalski focuses on a select few people at the event – Mike Papageorge, the antsy programmer, Shelly, the only woman there and the sort of full-on nerd who doesn’t realise that her tight stripey 1970s sweater really emphasises her breasts, though Mike certainly has. And Peter, a young, speccy programmer who is targeted by free-loving creep Dave and his fleshy belle (Cyndi Williams) – the scenes where they try to get Peter to indulge in a bit of harmless swinging are the film’s highlight, funny yet awful. The cinema loves the 1970s but Bujalski’s noticed something else about it, apart from the hair, clothes, cars and fondness for the colours orange and purple – he’s noticed how alien a lot of it looks now, the re-birthing therapy, the casual sexism, the regular drug-taking, the open marriages. And how seedy a lot of it looks from this end of the telescope. too. Which is why, I’m guessing, he shunts the film from bleachy black and white into a garish Super 8 Kodachrome look for a few minutes towards the end. Partly to demonstrate that there is life outside the airless motel where the weekend of human v computer v chess board is going on. Partly to show us the colour schemes in their full florid glory. Not everyone likes this film. I loved it.

 

 

Why Watch?

 

  • A great film and a real one-off
  • Myles Paige as Mike Papageorge
  • A comedy so bone dry it’s hard to work out if it is a comedy
  • It’s shot on Sony AVC-3260 cameras, a tube camera from the 1970s

 

© Steve Morrissey 2014

 

 

Computer Chess – at Amazon

 

 

 

 

20 January 2014-01-20

Alexandra Holden, Lake Bell and Fred Melamed in In a World

  

In A World (Sony, cert 15, DVD)

Writer/director/producer/star Lake Bell’s debut takes a real life event – the death of voiceover king Don La Fontaine (the guy whose every trailer started “In a world…”) – and builds an almost Woody Allen-ish comedic story around it, about the pretenders jostling for his crown. Onto that it bolts a sentimental story of young under-achieving vocal coach Carol (Bell) and her difficult Oedipal relationship with her dad (Fred Melamed), a big noise in the voiceover biz. And off the side it hangs a “will they/won’t they” romance between Carol and studio whizz Louis (Demetri Martin). And then, as if that weren’t enough, just to the side of that it twin-tracks the story of Carol’s dizzy sister (Michaela Watkins) and her really nice, funny boyfriend (Rob Corddry). That’s a lot of stories. But they manage to jangle along together towards a satisfying finish in this funny feisty comedy mixing the freshness of indie with the sleekness of Hollywood because the focus is mainly on Carol, and largely because it is written and performed at screwball speed and with no time for cutesy girls with sexy baby voices – one of the film’s clear girl-power messages. Is In a World perfect? No. But it is very good, and the odd untied loose end, the occasional not entirely believable relationship actually doesn’t matter that much when a film moves this fast and with this much sass.

In a World – at Amazon

 

 

Computer Chess (Eureka, cert 15, Blu-ray/DVD)

For a good ten minutes at the beginning of Computer Chess I thought I was actually watching a documentary made in the 1970s, about computer geeks at a competition to see whose program plays the best chess, all shot on that weird blurry black and white TV video which was about back then. But then I remembered that it was a film by Andrew Bujalski – often credited as the inventor of mumblecore – and I reset my expectations to “mock-doc comedy”. A couple of days later I reset them again. Because this really is an immensely smart film with a lot to say, hidden inside what looks almost like a verité offering about socially clueless people all meeting up, the sort of people who go to pieces the moment they look up from their keyboard. And it’s set in the 1970s because that’s when the culture we live in now was born – geekworld. Against that Bujalski sets the dominant culture of the day, the letting it all hang out, druggy, sex-is-compulsory world of the late 1970s. It’s the old romantics versus the new puritans, the roundheads versus the cavaliers. Negotiating these twin poles are programmers Peter (Patrick Riester), a new nerd in town, and Mike Papageorge (Miles Paige), the braggart who spends much of his time wandering the hotel looking to get laid. Where they go, what they do, the people they bump into – a geek girl in a tight stripy 1970s sweater who just hasn’t noticed how big it makes her breasts appear, the super-officious competition organiser, a couple who fancy swinging the night away – that’s how the film passes its time. And every encounter is golden.

Computer Chess – at Amazon 

 

Hours (Signature, cert 15, Blu-ray/DVD)

Poor Paul Walker. He became an increasingly unimportant element in the Fast and Furious franchise and was visibly being hustled towards the exit in the last, rather good, instalment of the series, playing second banana to relative newcomer Dwayne Johnson, his dialogue reduced to a series of “what he said” lines. But he’s left behind him proof that he actually could act, a decent thriller that’s also an indication of where Walker might have been heading in the future. It’s a one-hander, more or less, with a slightly tubby Walker playing a new dad whose wife dies in labour just moments before Hurricane Katrina hits New Orleans. Leaving dad literally holding the baby – no, not literally, she’s in an incubator – while around him pandemonium breaks out, the hospital is evacuated, the power goes off, and a string of “it just got worse” incidents test his ingenuity and resolve. Whether the baby die or not is the maguffin keeping this film moving towards its big melodramatic 1950s finish, while Walker (also the film’s producer) demonstrates a likeability, pluck and depth that were never on display while he was razzing a Dodge Charger or Chevrolet Camaro up and down the strip. Pretty pretty good.

Hours – at Amazon

 

 

Kelly + Victor (Verve, cert 18, Blu-ray/DVD)

Boy meets girl for mephedrone and erotic asphyxiation in this explicit Liverpool-set drama strong on mood, avoiding “ferry across the fucking Mersey” (as director Kieran Evans puts it in the extras Q&A) cuteness. Avoiding cuteness all round in fact. Unless you count the love story it tells, which is genuinely touching. Because what Kelly + Victor does do rather nicely, once it’s introduced us to two youngish people who meet at a club full of dancing druggies and then go home to Kelly’s, where she inducts him into a whole world of pleasurable pain, is introduce us to them again, as people who are totally overwhelmed by love, as if they were rushing on something that came in pill form. I haven’t read the British Board of Film Classification’s ruling on why it’s been handed an 18 certificate but I guess it’s either for the relentless language, the relentless nudity, the drug-taking, or the scenes of strangling, cutting with broken glass and other S&M stuff that the two committed actors (big shout to Antonia Campbell-Hughes and Julian Morris) have signed up for.

Kelly + Victor – at Amazon

 

 

Museum Hours (Soda, cert 12, DVD)

The sight of Mary Margaret O’Hara as one of the actors in industry outsider Jem Cohen’s fusion of documentary and drama is just one of the signs that Museum Hours isn’t going to be your average movie. O’Hara has released only two albums in a career lasting more than 30 years, but those are the stuff of legend (allmusic.com calls her Miss America “a work of mad-scientist genius”). So, to the film itself, a work of pensive observation about a visiting Canadian (O’Hara) being taken under the wing of an art gallery guard (Bobby Sommer) in Vienna. He tells her he used to manage rock bands, back in the day. She listens to these and other stories, smiles, is taken to coffee, shown about town, smiles some more. Meanwhile, Cohen plays about with our expectations, dropping in moments of pure documentary – I doubt anyone in this film apart from O’Hara and Sommer is an actor, apart from the naked people who turn up in a fantasy sequence (more playing about). Museum Hours isn’t going to be everybody’s cup of tea (lemon, no sugar), but it’s part of a new emerging field, where the boundaries between – mumblecore and documentary, or overground and underground, or gallery and cinema – all meet and blur. And once you’ve re-attuned expectations accordingly, it seems to reveal itself as an invitation to understand the simple joy of looking. I think.

Museum Hours – at Amazon

 

 

White House Down (Sony, cert 12, Blu-ray/DVD)

If you’ve seen Olympus Has Fallen, in which sidelined spy guy Gerard Butler saves POTUS Aaron Eckhart, you, like me, have had your time severely wasted. But wait till you see White House Down, in which sidelined spy guy Channing Tatum saves POTUS Jamie Foxx. It’s even worse, though it takes a good 45 minutes to establish its uselessness, and then another half an hour before it finally enters hilariously must-see terrible territory. The plot: Tatum is a sidelined spy guy, Foxx is the Obama-alike President, all folksy shit and windbaggery, and the White House is attacked. And Tatum saves him. Is that a spoiler? Only if you think that in a Roland Emmerich film – the director who blew up the White House in Independence Day but didn’t kill Prez Bill Pullman – the president is going to get killed. It is grim and unpleasant to bring up Emmerich’s nationality here, but a German making a film that is so in thrall to the cult of the leader, well, he should just have asked for a rewrite. The film badly needs one anyway, unless you are really interested in the chain of command once a president is missing presumed (by all but Channing) dead, or have a fixed desire to have the 25th Amendment explained. Short answer: once this film got greenlit on the strength of its nine word pitch it just didn’t know what to do to fill its 131 minutes of running time and so does the action movie equivalent of jazz hands – helicopters, explosions, guys running around, stuff. Things to note in case you take one of the many invitations to nod – Channing keeps his top on, though there is a hose-down scene strongly reminiscent of the opening to the 1996 Pamela Anderson vehicle Barb Wire; Jamie Foxx deliberately and depressingly opts to swap presidential shoes for trainers at one point, thus reassuring the brothers that… oh, you know; there actually are really good actors in this (nothing against Tatum and Foxx, but Richard Jenkins, Maggie Gyllenhaal, James Woods). Anything else? I did say it was skullfuckingly stupid, right?

White House Down – at Amazon

 

 

The Colony (E One, cert 18, DVD)

Who does not love Laurence Fishburne? Morpheus himself dignifies this post-apocalyptic survival thriller that actually stars Kevin Zegers. Playing the wise, rumbling leader of a snowbound colony in a world destroyed by humanity’s foolish fiddling with nature, Fishburne is a reassuring guide through the first half of this movie, the bit where it looks like it’s going to be a reworking of John Carpenter’s The Thing. The good bit. Then, Fishburne, Kevin Zegers, titular star on account of Zac Efron-y looks, and a bunch of guys in what might as well be Star Trek red shirts head off to another colony where… I’ll leave the plot there. But I will warn you that things take a dive, and the film slips from being a tense thriller set in a well conceived dystopia to something more akin to an action movie, except director Jeff Renfroe apparently can’t direct action. But never mind, because Renfroe and co-writers slip a gear again, switching genres into something more like a zombie movie. And then again into torture porn, possibly having talked themselves into believing that they’re “confounding genre expectations”, when a wiser head (ie mine) would have told them to stick with the good stuff early on.

The Colony – at Amazon

 

© Steve Morrissey 2014

 
  
All titles out in the UK week commencing 20 January 2014