January 2015 Film Viewing Round-Up

I don’t write full reviews of every film I see, because I’d spend more time writing than watching, probably, and I’ve been seeing quite a few things at home. However, I thought I should offer some brief thoughts about my other January viewing, as I’m adding ratings for these films to my full A-Z list.


© The Weinstein Company

Big Eyes (2014, USA, dir. Tim Burton) [Tue 13 Jan at Cineworld West India Quay]. This is perhaps a slight film from Burton, but it marks a more grounded move in his storytelling of recent years, dealing with the real-life events surrounding artist Margaret Keane (Amy Adams), whose husband (Christoph Waltz) passes off her somewhat kitschy paintings of doe-eyed children as his own in order to enjoy success. Whatever truth there may be in his arguments — the film emphasises what a difficult time the 1950s was for a woman to be an artist — he’s a domineering husband, and Adams finds herself amongst all the shallow trappings of success.

The Craft (1996, USA, dir. Andrew Fleming) [Tue 13 Jan at home]. A trio of high-school witches led by suitably gothy Fairuza Balk welcomes a new member in the form of Robin Tunney, who’s transferred to their school. Things take a turn as their power increases and Tunney rebels against their increasingly violent actions, but the film remains a sort of campy pleasure, which gives plenty of agency to these four women.

D’est (From the East) (1993, Belgium/France/Portugal, dir. Chantal Akerman) [Thu 22 Jan at ICA]. You couldn’t get more different with Akerman’s East European travelogue, as she moves from Germany to Russia with her watchful camera. There’s an eeriness that’s evoked by its frequent extended tracking shots, whether across industrially-blighted scenery or along long ranks of people standing in the cold by roads, presumably waiting for a bus. There’s no dialogue as such, though a fair bit of unsubtitled talking emphasises that this is an outsider’s view of an only newly capitalist society, and the faces directed towards the camera speak volumes about their lives.

Get Over It (2001, USA, dir. Tommy O’Haver) [Sat 10 Jan at home]. It may hardly be inspired but it’s fun to watch this teen film, which fits into the contemporary trend for sort-of-adaptations of classic literature (in this case, Shakespeare’s A Midsummer Night’s Dream, a modern production of which features in the film). A young Ben Foster plays the rather bland leading man, and Kirsten Dunst pops up as a love interest, but the performances from a bunch of actors at the start of their careers are all enjoyable and the film moves along briskly.

Holes (2003, USA, dir. Andrew Davis) [Mon 5 Jan at home]. A very silly film with a good sense of its dusty desert location where the youthful protagonist (Shia LaBeouf) digs holes as part of some kind of Disneyfied child chain gang. As family entertainment goes, it’s fine, but the emotional epiphanies are all fairly cliched.

I Could Never Be Your Woman (2007, USA, dir. Amy Heckerling) [Mon 26 Jan at home]. Even lower in esteem amongst Heckerling’s recent work than Loser (see below), but this romcom featuring an older woman (Michelle Pfeiffer) and her younger lover (Paul Rudd) is still fitfully pleasing, despite the shmaltz of its premise. There’s an early role for the adaptable and talented Saoirse Ronan, and many odd and surprising cameos from various UK television celebrities, betraying that it was partly shot near London.

© Walt Disney Motion Picture Studios

Into the Woods (2014, USA, dir. Rob Marshall) [Sun 11 Jan at Peckhamplex]. I confess I watched this while somewhat drunk, so a lot of the details escape me. I’m not a huge Sondheim fan, but this is all mounted very handsomely, with particularly good performances from a delightful Emily Blunt as more-or-less the lead role, as a woman who must gather up a bunch of magical items from various fairytales in order to be able to conceive a baby, and Chris Pine as a deeply narcissistic prince with a great dance-off scene. Meryl Streep shows up too and steals scenes in ways that Johnny Depp can only dream about nowadays.

Loser (2000, USA, dir. Amy Heckerling) [Sat 10 Jan at home]. After the comedic high point of Heckerling’s Clueless five years before, this film came in for a bit of a kicking, and to a certain extent you can see why. Its story of gawky provincial kid Jason Biggs going to college in the Big Apple hits a lot of familiar notes, and bless her Mena Suvari is not convincing, but there’s still plenty to enjoy all the same.

Sheen of Gold (2013, New Zealand, dir. Simon Ogston) [Fri 2 Jan at home]. A documentary about New Zealand 80s garage punk band the Skeptics, one of the bands on legendary indie label Flying Nun and one I’ve loved since growing up in New Zealand. Like a lot of NZ music of the era, their angular sound borrows a lot from UK post-punk bands like the Fall while adding a certain Antipodean slant. The documentary itself is primarily talking heads, with archival material spliced in where available, including footage from the last gig by the band prior to the untimely death of their lead singer in 1990.

© Winchester Films

Slap Her, She’s French! (aka She Gets What She Wants) (2002, USA, dir. Melanie Mayron) [Tue 13 Jan at home]. The title sounds dire, the setup is familiar (French exchange student Piper Perabo comes to Texas and throws everything into disarray for the local teen queen Jane McGregor) and indeed some of the filmmaking is squarely in the clunky made-for-TV exposition mode, but there’s plenty to enjoy here. The performances are broad in a comically enjoyable way, and what seems initially like a bit of easy European xenophobia turns out to be a misdirect (though in any case, the film makes far more fun of Texans than French people).

Tabu (1931, USA, dir. F.W. Murnau) [Sat 10 Jan at home]. Often subtitled “A Story of the South Seas”, this sees expressionist German director Murnau filming on the island of Bora Bora in the Pacific, imparting a sense of untouched paradise fraught by forbidden love between a commoner and a princess. There’s hints of ethnographic condescension, but for the most part this is touching, and undeniably beautiful.


I also saw some early Eric Rohmer films (The Baker of Monceau and Suzanne’s Career), but you’ll have to wait until they crop up in the Criterion Collection for my review.

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