Animals (2019)

Moving in my theme week to a non-American setting, this is a film by an Australian director but set in Ireland (although the original novel was set in England). It’s very much less a comedy in generic form, although Alia Shawkat’s character has a black comedic spirit, and somehow infuses the dramatic elements with a sense of playfulness. It’s fair to say that not every critic was particularly enamoured of this film, but like a lot of the comedy-drama films I’m covering this week, it’s the relationship elements that complicate the story and create a darker undertow, which I think is well exploited here.


I don’t really know sometimes why I give ratings to films, but there’s an allure to it, the possibility of further stratification and classification for the unruly diversity of filmmaking, though it’s mostly just a way to easily indicate that I liked or disliked something. I have tried to simplify it to a sort of traffic-lights system, which is much the same as thumbs-up/thumbs-down simplification with an extra category for ‘meh’. Needless to say, it’s an inadequate way of assessing a film, and so the vast majority of my ratings are ‘GOOD’ (or if we’re doing star ratings, *** or ***½, perhaps) and those could go either way: they could be bad films I’m trying to find something nice to say about, or great films I need some time to sit with before I’m willing to take the extra step of proclaiming their greatness. Maybe in fact, the idea of talking about good or bad, great or failed, is just a bad way of talking about films; it should really be about what they inspire us to think about, or how they make us feel, or how they make us want to think differently about life and some peoples’ experiences of it.

This is all a long-winded way of saying that I think I really liked Animals but maybe I’m not exactly sure. After all, the characters themselves are pretty unlikeable people, though Holliday Grainger and Alia Shawkat are both very good at making them appealing despite all their flaws, and their increasingly tedious commitment to partying and getting drunk. Watching Shawkat minesweeping all the leftover white wine in a bar helped to really make me feel all that drinking in a visceral way, and I too know the bitter reality of waking up the next morning after too much white wine (and the white stuff is very much their drink here, though there’s plenty of other controlled substances too). It’s a film about feeling like maybe you’re growing out of your 20s, and maybe you need something more, but not being sure about what that “more” might be. You (and in this film, that “you” is Grainger’s Laura) think it might be about settling down, getting married, moving out of your shared house with your best friend (that’s Shawkat’s Tyler), or maybe it’s about applying yourself to the creative work you really want to do but have never managed to focus on — but it’s equally clear that maybe you don’t have a clue.

I love Alia Shawkat, and she is excellent at embodying this unruly young woman, but her Tyler isn’t unlike the one in Fight Club, a sort of unknowable character interpreted by those around her (chiefly Laura, for Laura’s is the film’s point of view for the most part), a cipher, an enabler or just a convenient excuse for the life you’re living and the decisions you’re putting off. Appropriately, then, she is given some rather arch and unnatural dialogue at times, as if to almost highlight her place is within this narrative of Laura’s journey. Grainger is the one who shines most as an actor, conveying the confusion of her age, and of the expectations placed upon her (gently, or by herself, but nevertheless very palpable). The men, and there are several, seem almost forgettable by contrast, but really this is a film about female friendship above all and that’s what I loved about it, for all that both are quite difficult and unlikeable as people. I probably shouldn’t have cared about them, but yet I ended up doing so (that’s the acting) and feeling like maybe they were the ones who should have been in a relationship, and maybe they were.

Animals film posterCREDITS
Director Sophie Hyde; Writer Emma Jane Unsworth (based on her novel); Cinematographer Bryan Mason; Starring Holliday Grainger, Alia Shawkat, Fra Fee; Length 109 minutes.
Seen at Curzon Aldgate, London, Saturday 3 August 2019.

LFF 2019 Day Five: Sweet Charity (1969), Make Up, A Son and Rose Plays Julie (all 2019)

My first day of four films was day five of the festival, which I started with an archive screening of a new restoration of Bob Fosse’s Sweet Charity, with an alternative ending sequence thrown in at the end (wisely ditched from the original film in my opinion), then a new British film introduced by its director, a Tunisian-French co-production with a star more familiar with French cinema, and finally the last screening of Rose Plays Julie, part of the official competition, and a striking Irish film which bristles with technical sophistication.

Continue reading “LFF 2019 Day Five: Sweet Charity (1969), Make Up, A Son and Rose Plays Julie (all 2019)”

Room (2015)

As with The Babadook a year or two ago, I’m again prompted to wonder how this film plays to parents and whether it doesn’t allegorise some of the fears and traumas involved in parenting. I open this way because of all the things the film touches on, it seems to me that the experience of being held captive by a rapist (which is, after all, sadly a real-life torn-from-the-headlines occurrence) is relatively low on the film’s list of interests, though it probably covers more of a realistic emotional arc than, say, the TV show The Unbreakable Kimmy Schmidt. But I get that this is largely because the real-life cases are sensationalised media events, and Room is more interested in how that experience captures an (admittedly dark) side of both being a mother and, to a certain extent, being a woman within a society that empowers this kind of emotional (here literal) imprisonment.

So, yeah, it’s pretty bleak to watch — for all that it eventually opens out a bit — but most of what’s good about the film is in the script and in the acting, especially Brie Larson as the ‘Ma’ (her name is Joy, it turns out). It’s just that in the telling there’s an insistence to certain elements of the directorial style. It’s not merely that I dislike voiceovers (here, it’s the childlike wonder and naïveté of Jacob Tremblay’s Jack who does the duties), but in distancing itself from the kind of domestic horror that The Babadook or We Need to Talk about Kevin (2011) did so well, it layers on rather too thickly a sweeping orchestral score and questing camera movements. The film ends up pushing emotional buttons as voraciously as González Iñárritu, which is to say I imagine it’s going to win quite a few awards, but for me that undermines what it’s trying to achieve in the script. Perhaps I just expected a bleaker and nastier film, but then if this is a film about the fears of parenthood — of inevitably having to let your children into an understanding of the worst of human experience — it’s a film about warmth and security too.

Room (2015)CREDITS
Director Lenny Abrahamson; Writer Emma Donoghue (based on her novel); Cinematographer Danny Cohen; Starring Brie Larson, Jacob Tremblay; Length 117 minutes.
Seen at Picturehouse Central, London, Monday 18 January 2016.

The Lobster (2015)

The end of the year is always the time to catch up with movies which, for whatever reason, one neglected on first release. I had thought I wouldn’t really enjoy The Lobster and so I spent much of the film trying my best to resist it, though there are elements which work in its favour in that respect: the deliberately stilted line readings (especially Rachel Weisz’s voiceover narration), the bleakly deadpan acting, the black comedy of a world in which people must couple off again within 45 days after breaking up or be turned into an animal of their choosing. However, once you get into the film’s rhythm there are some genuine laughs, not least at the appalling banality of some of the conversation (such as Ben Whishaw’s with his ‘family’ near the end), or the ridiculous conceit of matching people up by superficial physical characteristics (to the extent that most of the characters are identified only by these qualities). Colin Farrell, in downplaying his usual hyperactive shtick, makes for a compellingly strange anti-presence at the heart of the film, while around him are some of the leading character actors of European cinema — for this is, by its many co-producing credits, a very European film. In thinking about its satirical take on coupledom and romance, it has grown in my opinion since I saw it, and it may yet continue to do so. Whatever else, it certainly marks a distinctive comic vision.

The Lobster film posterCREDITS
Director Yorgos Lanthimos Γιώργος Λάνθιμος; Writers Efthimis Filippou Ευθύμης Φιλίππου and Lanthimos; Cinematographer Thimios Bakatakis Ευθύμης Φιλίππου; Starring Colin Farrell, Rachel Weisz, Léa Seydoux, Ariane Labed, John C. Reilly, Ben Whishaw; Length 118 minutes.
Seen at Prince Charles Cinema, London, Wednesday 30 December 2015.

Brooklyn (2015)

This blog has been a fan of young Irish actor Saoirse Ronan since we (ahem, I) first encountered her only a short couple of years ago in Byzantium (although of course her career stretched back some time before this, as I’ve been belatedly catching up with). It would be difficult to claim any of the films in which she takes a lead role as particularly great (I remain fond of How I Live Now, but perhaps I’m in a minority there), but these — and even the ensemble casts she’s been amongst — have all been enlivened by her facility for getting inside a character. Her latest character is Eilis, an impoverished small-town girl in early-50s Ireland who moves across the Atlantic for a chance at a better life. It’s an immigrant’s story, told with generosity and affection, as she is torn between the new life she’s making for herself and the old country. A friend of mine calls the film “low-stakes” in the sense that it becomes clear that things will work out for Eilis whatever happens — at a story level, she has a choice between two good, decent men (Emory Cohen in New York, and Domhnall Gleeson in Ireland) — but from the character’s point-of-view these choices are pretty critical, and the very fact that men and matrimony should play a central part also reflects on her society and its limitations on her own aspirations. That said, she works hard to achieve a career in book-keeping, and the film’s focus remains on Eilis and her own future, meaning it’s far from depressing. It’s also curious the extent to which it avoids any overt sentimentality (orchestral score aside, though even that is a lot more sympathetic than it could have been in the wrong hands), achieving a rich emotional register without being melodramatic. To that we can credit screenwriter Nick Hornby, a dab hand at this sort of thing, as well as director John Crowley, and the glorious images conjured up by cinematographer Yves Bélanger. But most of all, we can credit Saoirse Ronan, an actor who can improve even the patchiest of source materials, and this source is not patchy at all.

Brooklyn film posterCREDITS
Director John Crowley; Writer Nick Hornby (based on the novel by Colm Tóibín); Cinematographer Yves Bélanger; Starring Saoirse Ronan, Emory Cohen, Julie Walters, Domhnall Gleeson, Jim Broadbent; Length 112 minutes.
Seen at Picturehouse Central, London, Tuesday 10 November 2015.

Miss Julie (2014)

It’s impossible to watch this adaptation of August Strindberg’s 1888 play without being aware of its stage-bound origins. There’s something very theatrical about its presentation, including that it has only three actors in it (other people are heard but never seen), and yet it’s never less than gorgeous to look at. There’s a classical simplicity to the framings that gives maximum exposure to the acting, and all of the actors do some of their finest screen work (though quite whether Colin Farrell will ever win me over, I’m not sure). That said, it’s a pretty exhausting watch, perhaps because of Strindberg’s writing, which immures the characters in a deadening and dreadful inevitability, as they — well, certainly the women (Jessica Chastain as the title character, and Samantha Morton as her household’s cook, Kathleen) — struggle towards self-destruction, helped along by the conniving of Farrell’s aspirational servant John. I suppose it all must reveal something about a certain pathology on the part of Strindberg and his era that he seems to will his female characters towards death (I understand it was inspired by Darwinism), but then he loops in the toxic effects of class stratification — Kathleen and John are a couple, both in the employ of the Count and his daughter Julie, in whose presence John becomes a shuffling, obsequious servant — and perhaps, after all, there’s something more to it. I suspect it will play well to those who are already great fans of the play, and even as I write this I can’t help but wonder if the elements that conspire to make it a tough watch couldn’t in fact be construed in its favour? Chacun à son goût.

Miss Julie film posterCREDITS
Director/Writer Liv Ullmann (based on the play Fröken Julie by August Strindberg); Cinematographer Mikhail Krichman; Starring Jessica Chastain, Colin Farrell, Samantha Morton; Length 130 minutes.
Seen at Curzon Mayfair, London, Wednesday 9 September 2015.

March 2015 Film Viewing Round-Up

Herewith some brief thoughts about films I saw in March which I didn’t review in full.

The Boys from County Clare (aka The Boys and Girl from County Clare) (2003, Ireland/UK/Germany)
Divergent (2014, USA)
London: The Modern Babylon (2012, UK)
Perceval le Gallois (1978, France/Italy/West Germany)
The Perks of Being a Wallflower (2012, USA)
The Prestige (2006, UK/USA)

Continue reading “March 2015 Film Viewing Round-Up”

Frank (2014)

Frank Sidebottom was a musical alter ego of the late Chris Sievey, who gained some localised renown in England from the 1980s onwards with his massive papier-mâché head and cheerfully nasal song delivery. However, this film, which is co-written by Jon Ronson and based on accounts of his time in Sidebottom’s band, is not about Frank Sidebottom. It just takes the idea and image of that character and grafts it on to a far more thoroughgoing American story, one that trades on the legacy of outsider musicians like Captain Beefheart (the legend of him imprisoning his band to record the seminal Trout Mask Replica album), Roky Erickson and Daniel Johnston (whose mental health issues have been well documented) and perhaps a bit of Jandek (with his laconic public appearances). One needn’t necessarily know the music or stories of any of these artists, but Frank has its own catchy tunes, in amongst the rather more abstract noise, of the in-film (and unpronounceable) band Soronwfbs, led by the eponymous Frank (Michael Fassbender). Ronson’s own alter ego is the lead character Jon (Domhnall Gleason), an entirely annoying, self-interested twerp whose youthful naïveté also allows him to take on the challenge of joining Frank’s band, and whose self-absorption never seems to waver over much of the film’s running time. And yet, Fassbender’s largely masked performance has enough pathos that even when the film has transitioned from being an awkward comedy of Jon’s English manners to something altogether darker and more mysterious as the band slowly come together only to quickly fall apart, the audience is still on board.

Frank film posterCREDITS
Director Lenny Abrahamson; Writers Jon Ronson and Peter Straughan; Cinematographer James Mather; Starring Domhnall Gleeson, Michael Fassbender, Maggie Gyllenhaal; Length 95 minutes.
Seen at Cineworld Haymarket, London, Sunday 11 May 2014.