3 November 2014-11-03

 

 

Out in the UK This Week

 

 

 

Chef (Lionsgate, cert 15, Blu-ray/DVD/digital)

The US TV show Diners, Drive Ins and Dives seems to be the inspiration for Jon Favreau’s warm-hearted comedy – which is simple, fun and just works. The story of a jaded high-flying chef who rediscovers his mojo working on a food truck, it’s put together with Favreau’s usual under-estimated skill (he writes and directs as well as stars), and he drafts in a few famous names (Scarlett Johansson, Sofia Vergara, Robert Downey Jr, Dustin Hoffman, Oliver Platt) for what look like “I promise you, one day’s work, max” appearances. Though welcome, none of them are essential. Dealing incidentally with our culture’s internet-driven “always-on-ness” and its risk aversion, as well as the quantity theory of child-rearing (the chef has his neglected son in tow as he drives his truck around the country), it drops in its smart observations the same way it uses its name cameos – like tastebombs. A familiar feelgood recipe served with a flourish.

Chef – Watch it/buy it at Amazon

 

 

 

Mystery Road (Axiom, cert 15, Blu-ray/DVD/digital)

This is an excellent and very old school “down these mean streets a man must walk who is not himself mean” film noir, which once upon a time would have starred Bogie or Mitchum or Dick Powell. Now it stars Aaron Pedersen as the aborigine copper in a very white Outback who is on the case of the murder of an aborigine girl, and none of the locals (including Hugo Weaving, Ryan Kwanten and Jack Thompson) could care any less about it, on account of her colour. Mystery Road‘s excellence stems from this simple, driving set-up, the economy of Ivan Sen’s writing and direction, and Pedersen’s precisely measured, typically Marlowe-esque performance as the detective whose head is not turned by either threat or promise. Though he dresses like a cowboy, complete with white hat. The Outback’s big, open landscapes are used to great effect, Sen stages scenes within aborigine townships – rarely glimpsed on film – which add an extra flavour, and he even gives us a finale that puts a remarkable spin on the old shootout finish. This is genre served neat with a twist. Can’t wait for Sen’s next.

Mystery Road – Watch it/buy it at Amazon

 

 

 

The Fault in Our Stars (Fox, cert 12, Blu-ray/DVD)

A film that falls into the “this one really isn’t for you” category, because I’m not a teenage female virgin. If I were, would I fall swooningly for this story of two teenagers with cancer falling for each other? I think it would depend how much I identified with its stars, Shailene Woodley and Ansel Elgort (who played brother and sister in Divergent). Woodley is clearly the better actor, though Elgort has the harder role, of the swaggering cock whose brash exterior hides a heart of gold. And for others reading this who also fall into the “it’s not for you” category, its story – of the two meeting, falling, going to visit their favourite author in Amsterdam and on to a tragic end, I can say no more – is just enough to keep the interest up. At heart a self-help homily, The Fault in Our Stars doesn’t quite have the emotional authenticity of The Spectacular Now (which also stars the gifted Woodley and which has still amazingly not been released in the UK) but it’s a tender and sincere film and less mawkish than Now Is Good, which covered similar territory.

The Fault in Our Stars – Watch it/buy it at Amazon

 

 

 

Wolf (StudioCanal, cert 15, DVD)

This slightly self-consciously (shot in black and white!) down-and-dirty Netherlands drama about a kickboxing Moroccan petty thief running into girls-gangs-guns trouble threatens almost at every turn to become a running cliché. In fact that’s the way I saw it. So, I stopped watching because I realised I was tired, and I came back the next day. And with a fresh eye open to the nuance of the performances, appreciative of the pacey writing and the tight editing, I could see that it was riding the clichés, not drowning in them. Following two friends – the wayward but possibly decent-at-heart fighter Majid (Marwan Kenzari) and his sneaky motormouth mate Adil (Chemseddine Amar) – it is suffused with a sense of impending doom, which periodic eruptions of violence and sex only heighten. Kenzari is a charismatic performer, Amar a fine actor and they’re joined by Bo Maerten, all Bardot lips and Loren curves, as the va-va-voom in Majid’s life.

Wolf – Watch it/buy it at Amazon

 

 

 

God Help the Girl (Metrodome, cert 15, DVD)

Re-calibrate your movie settings before watching this lo-fi musical, the feature debut of Belle and Sebastian frontman Stuart Murdoch. Because, as you might expect from a man whose Scottish band’s name references a 1960s French children’s book and TV show, we’re spiritually five decades back, Murdoch’s film being full of the impishness of A Hard Day’s Night and the austere beauty of the French New Wave, with hints of The Umbrellas of Cherbourg’s thrown in for wistful colour. Emily Browning is Murdoch’s Catherine Deneuve, a young woman who’s run away from treatment in a mental health facility and who we follow as she gets a band together in the neglected social spaces and rehearsal backwaters of Glasgow. In keeping with its influences, Browning and fellow travellers have the habit of bursting into song every five minutes – which also takes some re-calibration. But give it a while… it’s a sincere and sweet affair and its songs and coltish almost-optimism do eventually strike a root into the soul. In the interim, its fetishisation of Browning face, her lips in particular, give you something to look at.

God Help the Girl – Watch it/buy it at Amazon

 

 

 

Tony Benn: Will and Testament (Praslin, cert 12, DVD)

“I got a death threat the other day. I have haven’t had one in ages. I was so chuffed…” says Tony Benn, the British politician once dubbed “the most dangerous man in Britain” by one of the tabloid papers. Benn is speaking as an old man, towards the end of the filming of director Skip Kite’s project to record Benn’s life story, which ended with his death earlier this year. It is, in essence, an extension of Benn’s own diaries, which give his version of events. It follows Benn from service in the Second World War, to parliament after it, to ministerial office in the 1960s and 1970s, to his post-parliamentary career as a left wing firebrand – “I’m leaving parliament to devote more time to politics,” he famously said, with typical wit. There are touching glimpses of Benn’s personal life – his devotion to his wife – his verdicts on various leaders of the Labour party (he never understood why Kinnock denied his own beliefs, is harsh on Blair for turning Labour into a Thatcherite party). But no mention of the European Union – which Benn was against as an undemocratic organisation. No dealing with the charge that it was Benn and his ilk who made the Labour party unelectable in the 1980s and forced the Thatcherite turn of his party. No analysis of Benn’s ability to back into the spotlight, cup of tea in one hand, pipe in the other, “who, me?” look of surprise on his face. In fact the modern politician Benn most resembles is Ukip’s affable, blokeish Nigel Farage. I wonder what he’d make of that? A lovely eulogy.

Tony Benn: Will and Testament – Watch it/buy it at Amazon

 

 

 

The Killing Fields (StudioCanal, cert 15, Blu-ray)

A Blu-ray digital restoration of the most British (director, producer, writer, cinematographer, supporting stars) of the war films from the Vietnam era. The Killing Fields pulls two dummy moves. For a start it isn’t about Vietnam at all, but about Cambodia, though from the way director Roland Joffe marshals his characters and scenes – the evacuation of Phnom Penh looking much like many cinematic evacuations of Saigon – you’d be forgiven for thinking it was a Vietnam movie. And it’s not really about its lead character, Sam Waterston, as the New York Times reporter still trying to get stories out of the wartorn capital as the Khmer Rouge advance. It’s about his translator/fixer Dith Pran (played by Haing S Ngor) and what happens to him after the Americans leave and he is left behind as the Khmer Rouge start on their regime of cultural renewal (ie destruction). This double feint – essentially an attempt to sell a film about one thing/person as a film about another – does The Killing Fields no favours. However, Bruce Robinson’s screenplay gives the film a newsreel urgency, which Chris Menges’s cinematography replicates. But these can’t prevent a high-minded stodginess setting in, and there’s the distinct sense that Joffe has set out to show that the Brits are every bit as good as the Americans at this sort of large-scale film-making. They’re not – and it’s obvious in every mass crowd scene and even in the sound design when the bullets start flying (was that really a ricochet from a John Wayne movie?). Quibbles, perhaps, because this is still an important film, powerful in individual scenes, impressively played (a young John Malkovich, Julian Sands, Spalding Gray and Craig T Nelson) and it’s worth remembering that Haing S Ngor was a survivor of the Khmer Rouge and only agreed to make the film so the world would know what happened in Cambodia.

The Killing Fields – Watch it/buy it at Amazon

 

 

 

 

© Steve Morrissey 2014

 

 

 

 

 

 

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