A friend enjoys food-related films, so what can I say, I went along to see Burnt despite its almost uniformly terrible reviews. Therefore my first observation is that the end product is nowhere near as bad as those suggest. Of course it’s still essentially that — Hollywood product, albeit set in London and ticking off a lot of the tourist views of that city — but it coasts by on the charisma of its lead actors, all of whose work I enjoyed even if they’re hardly stretching themselves. If it’s a “comedy”-drama, then the comedy is in the broad strokes; I wouldn’t call it laugh-out-loud funny or anything. It’s more of a character study of one borderline-unstable man trying to find himself by learning to work with and trust other people. The film’s greatest weakness then is undoubtedly in the screenplay. The characters are stock and overly familiar (Gordon Ramsay is an executive producer, and Bradley Cooper’s Adam Jones isn’t far from his own carefully-constructed and endlessly-repeated media stereotype of the highly-strung rebellious bad-boy chef). The exposition, too, is wretchedly clunky, with characters like Omar Sy’s sous-chef Michel expected to recount their past dealings with Adam when meeting him, so as to catch us all up (oh sure, Adam’s drink/drug-fuelled youth is called on as a reason why this is necessary, but it’s a thin veneer). There’s lots of tedious to-do about Michelin stars, which as someone who used to care about such things when eating out is boring enough (I’m so done with tasting menus by the by), but will surely be of less than no interest to the rest of us (Jon Favreau’s Chef dealt with street food last year, which may not have been any less predictable a script, but it was at least a more likeable milieu). Worst of all is Adam’s hackneyed character arc, plotted out with plodding predictability, as he learns to work with others, repair his relationships, learn to temper his controlling behaviour, blah blah blah. But it all looks very nice, the actors have an easy charm, and I quite like workplace dramas even if every plot point here is punctuated by food p0rn.
NEW RELEASE FILM REVIEW Director John Wells | Writer Steven Knight (based on a story by Michael Kalesniko) | Cinematographer Adriano Goldman | Starring Bradley Cooper, Sienna Miller, Daniel Brühl, Omar Sy | Length 101 minutes || Seen at Cineworld Wood Green, London, Saturday 7 November 2015
NEW RELEASE FILM REVIEW || Seen at Genesis, London, Monday 4 August 2014 || My Rating good
You can’t deny that Marvel Studios have done a good job at shaping their film presence over the last decade, in a way that goes well beyond just giving Stan Lee his surely contractually-obliged cameo (and yes, there’s one here too). It just seems, though, as someone who is coming over time to appreciate a well-written screenplay, that there’s an overabundance of detail (of plot, characters, worlds, special effects, music and noise): a sensory overload at times. Maybe that’s to do with the source material, but for a two-hour film, there certainly are a lot of distractions. Partly that goes with the fantasy sci-fi setting, but the opening half hour features plenty of breathless cross-cutting between all-but-identically-named worlds, blathering on about nonsense with silly names, trying to sketch out various tribal allegiances that you need series TV (or a comic book) to really do justice to. At the core of the plot, though, is a mysterious orb, a classic MacGuffin whose purpose and power is fairly redundant. After all, the point is surely the journey of the five outlaw protagonists, led by Chris Pratt’s likeable goofy Andy Peter “Starlord”, as they pursue this orb — and at that, the film succeeds.
NEW RELEASE FILM REVIEW || Director David O. Russell | Writers Eric Warren Singer and David O. Russell | Cinematographer Linus Sandgren | Starring Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner | Length 138 minutes | Seen at Cineworld Shaftesbury Avenue, London, Sunday 5 January 2014 || My Rating excellent
We’ve not really had much of the year, so it’s a bit of unwarranted hyperbole (or backhanded sarcasm) to start proclaiming this the best film so far this year, but I did enjoy it a fair bit. I might even go so far as to say that if I’d seen it last year, I’d have included it somewhere in my ‘best of’ list. It’s a story about storytellers, and it lets them get on with telling their respective stories with fairly little practical interest in the plot details (they’re there of course — it’s even loosely based on real events — but they’re hardly emphasised). It’s more of a series of character studies interconnected by music-focused setpieces — in fact, so foregrounded is the contemporary pop music that the film strongly brings to mind the cinema of Martin Scorsese (and his later imitators, like Paul Thomas Anderson), helped along by the cameo appearance of one of his key collaborators of the 1970s. As a pastiche of period style and set design it’s very accomplished, and as an entertainment it’s certainly enjoyable; I’m not convinced it’s very much deeper than that, but there are worse people in whose company to spend a couple of hours at the movies.
NEW RELEASE FILM REVIEW || Director Derek Cianfrance | Writers Derek Cianfrance, Ben Coccio and Darius Marder | Cinematographer Sean Bobbitt | Starring Ryan Gosling, Bradley Cooper, Eva Mendes, Ben Mendelsohn | Length 140 minutes | Seen at Cineworld Haymarket, London, Thursday 25 April 2013 || My Rating good
I get the feeling that this is a film that’s a bit in love with itself, though I do tend to get that feeling whenever a running time greatly exceeds two hours. Thankfully, the extra investment of time is largely borne out by what’s on screen, with a few caveats that made me feel if anything that maybe a bit of extra time was needed. Maybe it should have been a mini-series. But I’m getting ahead of myself.
The Place Beyond the Pines is a film of three distinct acts, the first two separated by a fairly short period of a year or two, the third taking place 15 years later. The central characters are Luke (played by Ryan Gosling) and Avery (played by Bradley Cooper), as well as their respective sons. Riding as a motorcycle stuntman in a travelling carnival show, Luke learns early on that he has a son with Romina (played by Eva Mendes), but when he tries to do what he thinks is the decent thing she resists his advances (she has already moved on), and he gets sucked into criminality. Avery enters the story later as a cop who gets mixed up in their relationship, and 15 years later their sons have to deal with the fallout. That’s really as much as I can say without giving away too much of the plot, but it’s essentially a ‘sins of the fathers’ scenario with added layers of class angst and existential yearning.