Whatever else came from the Wall Street crash of 2008, it’s certainly been the impetus for plenty of films since then, going right back to my first entry on this blog, Arbitrage (2012), not to mention the following year’s The Wolf of Wall Street — though those are less specifically about 2008, as about the broken culture of high finance. The Big Short certainly gets that culture across well, while digging deeper into the specifics of sub-prime mortages, collateralised debt obligations (CDOs) and the other jargon and terminology, framing it in an easily-digestible way for viewers whose understanding of such matters is fairly shaky (i.e. most of them, presumably). What this means in practice is jittery camerawork with lots of racking of focus and quick zooms, along with the interpolation of awkward cameos purporting to explain the more abstruse concepts, hosted by such figures as Selena Gomez at a gambling table and Margot Robbie (harking back to Wolf again) in a bathtub. The problem is that all of these tropes are largely distracting, while the bulk of the narrative prefers to focus on a few quirky characters whose stories are presumably more interesting, though it’s not clear to me that they were really central to the crisis (basically they’re traders who made a buck from everyone else’s misfortune). So there’s Christian Bale’s doctor with Aspberger’s, a Cassandra-like figure largely separate from the rest of the cast; there’s Steve Carell’s fund manager and his staff; there’s Ryan Gosling’s shark-like trader; and there’s the small garage-based midwestern startup led by John Magaro, who enlist the help of former Wall Street highflyer-turned-environmentalist Brad Pitt. Needless to say, the acting talents on screen — not to mention the comedy chops of director/writer Adam McKay — ensure that the film is never boring. I’m just not certain that this film filled with shouty men in suits is ever very much more than just a snappily entertaining, fitfully amusing digression.
NEW RELEASE FILM REVIEW Director Adam McKay | Writers Adam McKay and Charles Randolph (based on the book by Michael Lewis) | Cinematographer Barry Ackroyd | Starring Steve Carell, Christian Bale, Ryan Gosling, John Magaro, Brad Pitt | Length 130 minutes || Seen at Cineworld Haymarket, London, Friday 29 January 2016
There’s something delightfully old-fashioned about this new film by Angelina Jolie (styling herself “Jolie Pitt” in the credits), set in the 1970s and to all purposes a throwback to that era — if not an earlier one indeed (hints of Michelangelo Antonioni perhaps, albeit without that director’s rigorously architectural framing). Needless to say, viewers familiar with the couple’s pairing in Mr. and Mrs. Smith (2005) will probably be taken aback here, as this is unapologetically an ennui-laden erotic thriller, where any eroticism is deeply tied up with voyeurism, not to mention a traumatic event which remains only hinted at for much of the film. The Pitts play a childless couple of 14 years, Vanessa and Roland, who have travelled to a small French seaside town for the summer. Their neighbours in the comfortably-appointed hotel are a newly-married couple on their honeymoon, Léa and François (Mélanie Laurent and Melvil Poupaud). Thus begins a drama of erotic transference in which demons are unearthed, though at a glacial pace weighed down by long, pregnant pauses and periods of relative inactivity — Vanessa is a former dancer who mostly prefers to hide from the world (often under oversized hats), while Roland is a writer who mostly spends his time in the local cafe, drinking and chatting to proprietor Michel (Niels Arestrup). Jolie Pitt gives a steely performance, all the better given her character is so closed off from both the world and even her husband. For me it’s Brad Pitt who’s the weak link here (though he’s a fine actor), and though it seems like this must be quite a personal film, the casting also gives the sense of a vanity project. Needless to say, I think Jolie has crafted something really out of step with the rest of American film culture, and it’s all the more welcome for that.
NEW RELEASE FILM REVIEW Director/Writer Angelina Jolie [as “Angelina Jolie Pitt”] | Cinematographer Christian Berger | Starring Angelina Jolie, Brad Pitt, Mélanie Laurent, Melvil Poupaud, Niels Arestrup | Length 122 minutes || Seen at Picturehouse Central, London, Tuesday 15 December 2015
NEW RELEASE FILM REVIEW || Director Ridley Scott | Writer Cormac McCarthy | Cinematographer Dariusz Wolski | Starring Michael Fassbender, Cameron Diaz, Javier Bardem, Brad Pitt, Penélope Cruz | Length 117 minutes | Seen at Cineworld Haymarket, London, Tuesday 3 December 2013 || My Rating bad
Oh dear, where do I start? I went into this film — whose showing was conveniently aligned with a two-hour gap in my schedule, rather than because I specifically sought it out — with low expectations, to which the film was more than equal. I’ve read and enjoyed novels by Cormac McCarthy in the past, as I have watched and enjoyed films by Ridley Scott, though both are known for a certain pared-down muscularity to their work. It’s not simply that I did not connect with this product of their collaboration, because in many respects I admired the filmmaking on show, as found it to be actively offensive.
NEW RELEASE FILM REVIEW || Director Marc Forster | Writers Matthew Michael Carnahan, Drew Goddard, Damon Lindelof and J. Michael Straczynski (based on the novel by Max Brooks) | Cinematographer Ben Seresin | Starring Brad Pitt, Daniella Kertesz, Mireille Enos | Length 116 minutes | Seen at Cineworld Shaftesbury Avenue [3D], London, Wednesday 3 July 2013 || My Rating good
It’s fair to say I went into this without high hopes. I was aware of some of the fraught production history, though primarily from having read a few reviews beforehand. Yet I like Brad Pitt as an actor, and in the end really enjoyed this tense and gripping thriller about a zombie apocalypse.
It has limitations obviously. For a start, it’s probably best to think of it as a film about a catastrophic viral outbreak, with the zombies being a sort of convenient writers’ short-hand for something Very Bad that is nevertheless Obviously Fictional. I don’t think these zombies share much in common with other cinematic and fictional zombies: they’re in essence just monsters (quick, lethal, dangerous). As an outbreak that needs to be contained, the hopes of (yes) all humanity are basically on the shoulders of Brad Pitt’s former UN investigator Gerry, whose singular ability to spot the zombies’ weaknesses is surely only explicable because the numbers of intelligent people have been so depleted — mostly it’s just military types remaining, with the odd civilian like Gerry who’s been whisked to the safety of a convoy of ships in the Atlantic.