Jao nok krajok (Mundane History, 2009)

There’s something to Anocha Suwichakornpong’s filmmaking, a sort of dreamy, elliptical oddness that has long stretches of quiet watchfulness (long takes with a fairly static camera, though often handheld so a bit shaky)… but then there are these little flares of strangeness (and I still can’t help but thinking about fellow Thai filmmaker Apichatpong Weerasethakul in this regard). This is a story of two men: Ake, from a rich family, who has mobility issues (Phakpoom Surapongsanuruk); and the other, Pun (Arkaney Cherkam), his carer, from somewhat lower down the rungs of society. There’s almost an upstairs-downstairs dynamic (we also see the family’s cook), but that’s not really dwelt upon. What unfolds is largely this slow evolution of feeling between the two, with sort of mystical asides to astronomy and an unexpected scene of childbirth at the end (even the appearance of the opening credits 15 minutes in took me by surprise). I can’t explain what it’s doing, but it’s interesting enough for me to want to watch more by the same filmmaker (her more recent film By the Time It Gets Dark had much the same effect on me).


FILM REVIEW
Director/Writer Anocha Suwichakornpong | Cinematographer Ming-Kai Leung | Starring Arkaney Cherkam, Phakpoom Surapongsanuruk | Length 82 minutes || Seen at home (DVD), London, Wednesday 1 March 2017

Kakera (Kakera: A Piece of Our Life, 2009)

Sometimes you can look at a film’s write-ups and realise it’s something you’ll love, but at other times a film will just surprise you — and this one for me is very much the latter. I can’t quite put my finger on what I respond to in director Momoko Ando’s style but she definitely has an eye for framing, and for almost deadpan actions — just simple stuff sometimes, like the way her protagonist Haru rolls out of bed in the morning. Of course the acting is key too, and Hikari Matsushima manages to convey Haru’s withdrawn persona really well without making her unlikeable. As the relationship story progresses, it goes in some odd directions, but ultimately this is a quiet, reflective film about quite turbulent emotions.


FILM REVIEW
Director/Writer Momoko Ando (based on the manga by Erika Sakurazawa) | Cinematographer Koichi Ishii | Starring Hikari Mitsushima, Eriko Nakamura | Length 107 minutes || Seen at home (DVD), London, Saturday 18 March 2017

Alle Anderen (Everyone Else, 2009)

I suppose at one level nothing much really happens, nothing overtly melodramatic, but really everything does. There’s an entire relationship in these two hours — between Chris (Lars Eidinger) and Gitti (Birgit Minichmayr), on holiday in Italy — and for a change it’s a fairly believable one. It sort of channels the awkward, uncomfortable feeling you get when you’ve made a couple-y in-joke at an inappropriate moment in mixed company and your spouse glares at you and you shrink inside (well, that’s just Chris’s side). The extent to which you believe these two have a future probably depends on where you are yourself in respect to a relationship, but I’m inclined to the German Weltanschauung. I’m guessing hell is everyone else when you’re together (there’s a particularly dull second holidaying German couple introduced later on), or maybe it’s just these two. It’s a film that’s deeply suggestive (about love, about work, about possible futures) without ever tipping over into judgement.


FILM REVIEW
Director/Writer Maren Ade | Cinematographer Bernhard Keller | Starring Birgit Minichmayr, Lars Eidinger | Length 119 minutes || Seen at home (DVD), London, Monday 16 January 2017

Film Round-Up May 2016

So much for writing separate posts for everything; that didn’t really work out for me in the long-term. I still watch a lot of movies (more than ever) but in terms of writing I go through phases, as I’m sure many of us who try and write about films do, and right now I’ve not really felt an urge to write up my film reviews (beyond a few short sentences on Letterboxd). So here’s a round-up of stuff I saw in May…

New Releases (Cinema)

Captain America: Civil War (2016, dir. Anthony Russo/Joe Russo) Surely many people are in the same position as me, of now being quite emphatically weary of superhero movies. I’d largely sworn off them this year (hence no X-Men: Apocalypse for me, no Batman v. Superman), but I dragged myself along to this third Captain America film (more if you include the Avengers ones which also feature most of these characters) because I’d liked Captain America: The Winter Soldier (2014) more than many other superhero flicks. Needless to say the demands on “fan service” (catering to the fans by featuring storylines for all the characters, which by now is getting to be quite a few) made it overlong, but there was a general avoidance of extended city destruction and it grappled with more complex moral issues than most of these films manage. [***]

Everybody Wants Some!! (2016, dir. Richard Linklater) I saw this twice, because I wanted to be sure whether I really liked it. Granted, it has some serious problems, not least an overly affectionate regard for a group of people (and an era) some might say is beyond reclaiming. That affection goes for unironic female nudity (thankfully fairly brief) and lusty testosterone-fuelled sporting men (though that’s in the title), and yet I still find Linklater’s ability to put together a film pretty peerless, and for all that they were unlikeable characters (for the most part), I found it likeable watching these baseball players through Linklater’s fairly soft-focus filter. [***½]

Evolution (2015, dir. Lucile Hadžihalilović) Seen for the second time also; I’ve written up my initial viewing at the London Film Festival last year. Still beguiling and mysterious, though even at its short running length and for all its excellent qualities, the sense of creeping dread and its ominous atmosphere means I don’t think I’ll be revisiting it again in a hurry. [****]

A Flickering Truth (2015, dir. Pietra Brettkelly) A documentary about the beleagured Afghan film archives, and their attempts to preserve a film heritage which has suffered through various regimes and bitter warfare. Plenty of dusty shots of picking through rubble, and quite affecting in its interviews with long-standing workers there, who’ve dedicated their lives to these films, though it never really lifts off as a film. [***]

Green Room (2015, dir. Jeremy Saulnier) I wrote this up already here, though already its tinged with melancholy at the passing of its star Anton Yelchin. Now that it’s sat with me for a little while, I think if anything I may have underrated this gory siege film: it may not appeal to those who dislike this kind of content, but it’s done a lot more ably and interestingly — and stylishly — than many of this genre. [***]

Heart of a Dog (2015, dir. Laurie Anderson) A strange little personal documentary by musician/artist Anderson, who narrates a digressive story made up of animation, home-shot footage and various other media, in an attempt to deal with loss — ostensibly of her beloved dog, but at a wider level with her husband and with her own mortality. It seems too ragged to work initially, but it has a cumulative power. [***½]

As Mil e Uma Noites: Volume 3, O Encantado (Arabian Nights Volume 3: The Enchanted One) (2015, dir. Miguel Gomes) I wrote this up with the other two already here. A bold experiment which didn’t entirely captivate me as it did other critics. [***]

Money Monster (2016, dir. Jodie Foster) There’s an oddly old-fashioned feel to this movie, perhaps because it harks back to Network and Broadcast News and other such newsroom-set movies. The hostage situation that TV host George Clooney finds himself in helps to draw in arguments about modern capitalism and recent financial woes, but in the interplay between Clooney and his producer Julia Roberts, this remains largely a story about a news anchor handling a complex situation. Like Our Kind of Traitor below, it may not be a major work, but it’s an enjoyable watch. [***]

Mon roi (aka My King) (2015, dir. Maïwenn) This relationship drama between Vincent Cassel’s self-assured chef and Emmanuelle Bercot’s (rather unbelievable) lawyer proceeds at a rather strained tempo. It’s not inherently bad, but your tolerance for melodramatic fireworks and exuberant Acting may affect how much you like it. [**½]

Our Kind of Traitor (2016, dir. Susanna White) A straightforward spy thriller with the terminally dull Ewan McGregor in the lead, though Naomie Harris as his wife is excellent, and Stellan Skarsgård runs away with the film as a Russian mobster/money launderer. Because of these performances, it’s actually a lot better than one might expect, and certainly passes the time ably enough. [***]

Special Screenings (Cinema)

Feminists Insha’allah! The Story of Arab Feminism (2014, dir. Feriel Ben Mahmoud) It presents a broad sweep for an hour-long film and it does its best to fit in some key historical events and personas for a broad audience presumably unfamiliar with the subject. There are some interviews from interesting perspectives on the key issues as the film sees them, although these are predominantly polygamy and the hijab, which given the preponderance of French commentators is a little loaded. The audience I saw it with (primarily academic) came to the consensus that it was pretty simplistic, and notably omitted any class-based issues, not to mention focusing on key male figures in the early history. However, as a basic intro you could do worse, and it’s good to see another perspective on a narrative of Islam that doesn’t cleave to the usual subjects. [***]

Hamlet liikemaailmassa (Hamlet Goes Business) (1987, dir. Aki Kaurismäki) A pendant to the BFI’s months-long Shakespeare season is this Kaurismäki film, which in its preponderance of plot puts it a little out of pace with his other films. That said, it still retains a mordant deadpan humour that works rather well, at least at times. [***]

Losing Ground (1982, dir. Kathleen Collins) I was trying to work up a review of this film, but I find it difficult to capture my feelings upon seeing it. More or less rescued last year by Milestone Video, the founders of that label provided a brief introduction. It’s one of the earliest feature films by a Black American woman (who sadly died only a few years after making it), and certainly doesn’t lack for the quality of its acting, or its unusual setting amongst fairly comfortable middle-class intellectual couple (she is a lecturer, he a painted) — indeed, eschewing the usual ghetto/violent setting of most African-American films probably didn’t help its commercial prospects at the time. In any case, I immediately bought a copy on DVD and advise anyone else to try and watch this film. Some of its technical qualities seem a little ropey, but it has a great energy and a keen visual eye. [****]

Radio On (1979, dir. Christopher Petit) A ‘mystery film’ screening at the Prince Charles Cinema, and it’s fair to say many of the audience were probably expecting something a bit more trashy, but Petit’s homage to German road movies (à la Wim Wenders) still has a sort of slow-burning spell of gloomy depressing English towns appropriately filmed in monochrome. It’s hard to make out all the dialogue, but there’s an energy to its peripatetic aimlessness which is helped along by the choice of music (Bowie, Kraftwerk, all the usual suspects) — well, aside that is from a cameo by one Sting. [***½]

Trouble Every Day (2001, dir. Claire Denis) A new feminist collective focusing on horror movies put on this screening as the introduction to their project, and as a fan of Denis’s work, I felt I should catch up with it. It’s a gory horror film with a hint of vampirism, but suffused with slow-mounting threat (though just looking at Vincent Gallo’s face will achieve that nicely). When it does go gory, nothing is held back, and the mood of frank eroticism only makes the bloody turns the more upsetting. Moreover it’s shot with a lot of extreme close-ups and a grainy weariness that only enhances that lack of distance. It seems to be saying something about the way love is (literally) an all-consuming passion, and in depicting that it certainly doesn’t pull any punches. [***½]

Home Viewing

Cold Comfort Farm (1995, dir. John Schlesinger) Broadly likeable in its way, though at times I couldn’t tell if it was going for warm-hearted satire on the ways of simple country folk, or nasty-edged class-based caricaturing of the yokels. Of course, Beckinsale’s Emma-like central character is little better, yet on the whole it remains fairly light in tone. [**½]

Desperately Seeking Susan (1985, dir. Susan Seidelman) You don’t expect a mid-80s US film to recall Céline and Julie Go Boating, but then again why not? The playfulness and feminine camaraderie of that Parisian film transfers well to NYC, and the stars here never looking anything less than glorious — of their time, yes, but never ridiculous. It’s a film about performance and having fun and in the process finding out what you want. It’s a delight. [****]

Down with Love (2003, dir. Peyton Reed) I’ve reviewed this already here, but to recap based on yet another viewing, it’s a hugely underrated masterpiece of 2000s retro filmmaking which both delights in the costumes, set design, and possibilities of the widescreen frame which come from its early-60s NYC setting (although somewhat conflated with the 50s) via Doris Day comedies, Frank Tashlin satires and a hint of Nick Ray. Yet this isn’t ultimately nostalgia exactly — there are plenty of ways in which the zippy dialogue hides darker unpleasant facets to the era’s sexual politics. But chiefly this is a film whose real stars are its (nominally heterosexual, but that’s part of the satire one suspects) supporting players David Hyde Pierce and Sarah Paulson, so utterly perfect and so brilliantly played that even my usual dislike for McGregor and Zellweger is forgotten — though in truth, their goofy smiles fit the material quite well. Ah, “Catcher Block. Ladies’ man, man’s man, man about town.” I love this film. [****½]

Lemonade (2016, dir. Kahlil Joseph/Beyoncé Knowles Carter) I’ve listened to the album a lot since first watching this and it strikes me the film is quite a different proposition. If you can believe the album is just about her and Jay-Z you can’t really take that from the film, which broadens the focus, and really allows for a range of black stories and experiences, moving from the specific to the political. It’s ravishing, raw and moving, and it’s definitely one of the best films of the year. [****]

Lovely Rita (2001, dir. Jessica Hausner) As a big fan of Amour Fou, it’s interesting to watch this early film by director Jessica Hausner and identify some stylistic continuities. There’s a stillness to the way scenes play out, an affectless quality to the acting, and underlying it all, something utterly morbid. Here though there’s an ugly visual texture which may be due to financial constraints but which is completely embraced and even feels right for the story — little tics like the quick zooms and the self-conscious acting which suggest dated and cheesy TV soaps. It makes the way the actions of the title character unfold that much more surprising, even shocking. It’s an interesting debut in any case. [***]

Luck by Chance (2009, dir. Zoya Akhtar) A likeable amusing behind-the-scenes take on Bollywood, ahem, the Hindi film industry. It’s a classic tale of the little guy getting a big break and (almost, maybe) getting corrupted in the process. If I were better versed with the context I’d have picked up on a lot more of the celebrity cameos and maybe a bit of the satire, but it all still works very nicely. [***]

My Life Without Me (2003, dir. Isabel Coixet) There’s a little clunkiness to some of the meaningful symbolism, but as far as films about women tragically dying young this is about as good as they can get, and its probably just as well it wasn’t directed by its producer Pedro Almodóvar. There’s a small dose of whimsical magic realism but it’s mostly grounded in the acting, primarily Sarah Polley and Mark Ruffalo. [***]

Pasqualino Settebellezze (Seven Beauties) (1975, dir. Lina Wertmüller) I was all set to detest this film at the start, with its grimy 70s palette and more to the point a protagonist who is vain, brutal, nasty, misogynist trash. And yet somehow it becomes something different by the end, as he undergoes a gradual dehumanisation when captured by the Nazis, as all of what he considered his integrity and morals (very little he had too, mostly around ‘protecting’ his sisters) are stripped from him. I’m not convinced by the use of concentration camps in this way, as it seems like a cheap exploitative means to making a moral point, but there’s no winners here after all so perhaps I’m overthinking it. In any case, it achieves some kind of cumulative power that is affecting. [***]

Picture Bride (1994, dir. Kayo Hatta) A sweetly sentimental film about early-20th century Hawaii and the practice of arranged marriage, focusing on city girl Riyo transplanted to a sugar plantation with a much older husband and coming to find some value in the life there. Nice performances and a surprise cameo by Toshiro Mifune as an ageing benshi. [***]

She’s Beautiful When She’s Angry (2014, dir. Mary Dore) A very solidly made documentary about second wave feminism in the US which nimbly flits through a range of issues from a variety of women (of many races and classes), and also looks at some modern expressions of feminist action. I think it does a particularly good job of celebrating and honouring achievements while also acknowledging the range of opinions which exist (and have existed), and that continued action is necessary. It is ultimately about a certain period of history, but it’s not kept in isolation. There are still plenty of stories to tell. [***½]

Sisters in Law (2005, dir. Kim Longinotto/Florence Ayisi) Kim Longinotto tells another fascinating story of women in marginalised spaces fighting for rights, this time in Cameroon. There’s clearly a wider picture of a society based on ‘traditional’ values trying to change, or rather being pushed to do so by the strong women of this story (whether those bringing charges of assault, rape and the like, or those defending them or judging their cases). However the film really focuses in on these key four stories and follows them through, and it is in its way, after all the detailed accounts of abuses heard earlier, a heartening one. [***]

Star Men (2015, dir. Alison Rose) A likeable documentary in which four British astronomers reunite in California 50 years after first meeting one another. It touches on the professional work and research each has done, as well as their respective personalities, and cannot help but address mortality. The filmmaker inserts herself as a sort of fan into the storyline, and her style (particularly with the music) seems to recall Errol Morris. Rather devolves into an extended hiking sequence towards the end, but does have some lovely nature photography not to mention some nice insights along the way (not least that evolution demands death to allow new ideas to take root, an observation by one of the elderly men). [***]

Their Eyes Were Watching God (2005, dir. Darnell Martin) A very creditable film about one woman’s self-determination and struggle to find her identity in the American south, based on Zora Neale Hurston’s great novel (which I was reading at the same time). It’s made for TV and as such feels a little airbrushed around the edges (nobody really ages much despite its sweeping span), pushed perhaps more than it needs to be into a certain generic mould for such stories, but the acting is excellent across the board and the film is beautifully shot. [***]

Underground (1928, dir. Anthony Asquith) Excellent Tube-set London melodrama with a love triangle which goes awry. Expressive camerawork with a fine new score by Neil Brand. [***½]

L’Une chante, l’autre pas (One Sings, the Other Doesn’t) (1977, dir. Agnès Varda) There’s something almost disarmingly sweet-natured to this film about politically active 70s French feminists, but perhaps that’s the prevailing hippie vibe of its lead actor who travels around the country in a van singing right-on songs about a woman’s right to choose. It’s a good film though and it still looks great, with vibrant colours and a keen eye for framings. Its political message too is warmly inclusive while celebrating the right to a legal abortion. [***½]

Visage (Face) (2009, dir. Tsai Ming-Liang) Every great director has their self-indulgent French film which premieres at Cannes and promptly disappears (well it passed me by at the time). It’s a typically visual film, with scenes that don’t seem to hang together, except perhaps as notes towards an essay on grief, loss, the passage of time, artistic creation, things like that. It has a lot of Tsai’s familiar motifs (it basically kicks off with a deluge) and has plenty of French acting greats. An interesting work that would probably benefit from being seen on a big screen. [***]

Zir-e poost-e shahr (Under the Skin of the City) (2001, dir. Rakhshan Bani-Etemad) I found the narrative a bit difficult to follow at times, but basically it’s about a poor family whose son is struggling to make a better life for himself. Gets a little overwrought at times but mostly is a fine domestic drama. [***]

Criterion Collection Home Viewing

I also watched Ivan Grozniy (Ivan the Terrible) (1944/1958, dir. Sergei Eisenstein), L’avventura (1960, dir. Michelangelo Antonioni), Pygmalion (1938, dir. Anthony Asquith/Leslie Howard), Do the Right Thing (1989, dir. Spike Lee) and Gimme Shelter (1970, dir. Albert Maysles/David Maysles/Charlotte Zwerin) as part of the Criterion Sunday series, but you’ll have to wait for those reviews.

It’s Complicated (2009)

It’s very easy for critics to be sniffy about the oeuvre of Nancy Meyers: gentle, sometimes sentimental, romantic comedies about people later in life dealing with messy relationships and families. But I don’t know, I think her films have more going on than her detractors might allow. After all, it takes some skill to make actors like Alec Baldwin and Steve Martin into blandly appealing, even likeable leads when so much of their screen personae are based around being acerbic, dominating alpha males — to such an extent in fact, that star Meryl Streep (as divorcee Jane) almost gets the film stolen from her by this duo of her ex-husband Jake (Baldwin) and new flame, architect Adam (Martin). Sure it’s all very comfortable (and white) middle-class suburbia, people living in just-so houses doing delightful things like baking and architecture, but that’s these characters’ lives and it’s all put across expertly by Meyers and her actors. Within this world of existing jobs and familial obligations, the central relationship entanglement in which Jane finds herself almost doesn’t register, but it’s handled sensibly, in a mature way that most comedies can’t manage (especially those flirting with slapstick, as this does at times). It’s a pity that Lake Bell, a woman with plenty of comic talents both in front of and behind the camera, has such a thankless role as Jake’s vain new wife Agness, but that aside this is a likeable, warm-hearted film that works well when one is laying up ill on a sofa.


FILM REVIEW
Director/Writer Nancy Meyers | Cinematographer John Toll | Starring Meryl Streep, Alec Baldwin, Steve Martin, John Krasinski, Lake Bell | Length 120 minutes || Seen at home (streaming), London, Thursday 29 October 2015

An Education (2009)

Based on Lynn Barber’s memoir of growing up, this 1960s coming of age film put star Carey Mulligan in the spotlight, and deservedly so. She is excellent in the central role of Jenny, a smart and studious schoolgirl in the prim suburbs of ‘swinging’ London who meets socialite David (Peter Sarsgaard) by chance and soon gets caught up in the romance of his whirlwind life, itself largely built on lies and deception. Her education, then, is not of the academic variety, but amongst the chancers and hangers-on of the real world. It’s all very handsomely mounted in its period detail and settings (though one gets the sense that these leafy West London residential streets haven’t necessarily changed all that much), and tells its story with economy and verve, thanks to Nick Hornby’s script and the help of an extensive range of English acting talent.


FILM REVIEW
Director Lone Scherfig | Writer Nick Hornby (based on the memoir by Lynn Barber) | Cinematographer John de Borman | Starring Carey Mulligan, Peter Sarsgaard, Olivia Williams, Dominic Cooper, Rosamund Pike | Length 95 minutes || Seen at home (blu-ray), London, Tuesday 20 October 2015

Harry Potter and the Half-Blood Prince (2009)


FILM REVIEW || Director David Yates | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Bruno Delbonnel | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Jim Broadbent, Tom Felton | Length 153 minutes | Seen at home (Blu-ray), London, Wednesday 1 January 2014 || My Rating 3.5 stars very good


© Warner Bros. Pictures

I suppose as a reviewer you get to the point with a long-running series where you run out of useful things to really say about it, or maybe it’s just because I’ve been writing these things every other day for the past few weeks. This sixth instalment of J.K. Rowling’s teenage wizarding series is every bit as well-crafted as the previous film, and follows in much the same vein. If anything it encompasses some even darker textures, though these are counterbalanced by some of the deftest touches of humour so far in the series, and while it draws back somewhat from the previous film’s political worldview, there’s enough here that’s enchanting.

Continue reading “Harry Potter and the Half-Blood Prince (2009)”

Fast & Furious (2009)

I had hoped to have this series wrapped up this week, but I’ll be taking a little break before returning with parts 5 and 6 at the start of next week. In the meantime, I have some new release reviews (of the 12th Star Trek, and Mud) to post tomorrow.


FILM REVIEW: Fast and Furious Week || Director Justin Lin | Writer Chris Morgan | Cinematographer Amir Mokri | Starring Vin Diesel, Paul Walker, Michelle Rodriguez, Jordana Brewster | Length 107 minutes | Seen at home (Blu-ray), Wednesday 15 May 2013 || My Rating 2.5 stars likeable


© Universal Pictures

With the easy familiarity of a family gathering — which as ever includes a few barely-hidden resentments — we get to rejoin the original cast members after the two intervening films, jettisoning only the definite articles in the title. The sole character from the third who returns is Han (Sung Kang), meaning this is technically a prequel, though set five years after the first film. Also returning is Dom’s beloved hotrod (as pictured on the poster) and some of the perfunctory plotting and ridiculous setups (driving drugs through tunnels between the US and Mexico, for example). However, by this point, it all just seems part of the mythology of what is effectively an alternate reality — one in which bad guys need fast drivers — and in the warm glow of the cast reunion I’m fine with that.

Continue reading “Fast & Furious (2009)”