I hope Kelly Fremon Craig gets to keep making movies, and I hope she takes over from Richard Linklater’s deeply boycentric visions, which I’m only reminded of because Blake Jenner must be going through the ‘sensitive jock’ phase of his career. But no, this is a film about Nadine (Hailee Steinfeld) and it’s wonderful. It has great timing and an ear for dialogue, whether comic or dramatic (and it does certainly run the gamut). The score isn’t too assertive, even if I did spend the first 10 minutes thinking it was a retro 80s film (fashions come around, I guess). I didn’t buy everything that happened, and the ending felt more than a little bit tacked on — the character cycle Nadine is trapped in doesn’t seem like it’ll have a happy resolution, but the film is above all generous to its characters. However, it felt particularly right in its character interactions and in the moves from angst (no Nadine, stay away from Jordan Catalano… or whatever his name is in this film*) to very droll comedy to lacerating drama, like any good coming of age film. And it’s definitely a good one.
[* It’s Nick, and he’s no good.]
NEW RELEASE FILM REVIEW Director/Writer Kelly Fremon Craig | Cinematographer Doug Emmett | Starring Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Blake Jenner, Hayden Szeto | Length 99 minutes || Seen at Cineworld Leicester Square, London, Tuesday 6 December 2016
The first Pitch Perfect was not only a surprise hit, it was also quite an act for a sequel to match. This sequel is from the same writer, but it seems the brief has been to faithfully recreate the exact structure of this first film. So we get an embarrassing audition (for new girl Emily, played by Hailee Steinfeld), a ‘riff-off’ scene, a romantic sub-plot (Amy and Bumper, but also, more boringly, Emily and Benjy), and a big show at the end (the Worlds) with a final song formed from snippets built up throughout the film. This means there’s still a lot of the same delights, but it just seems that little bit more tired. The first film’s stand-out performers are given more time (Rebel Wilson and Adam DeVine as Fat Amy and Bumper, in particular), with Skylar Astin’s Jesse barely even registering. And while there are still plenty of laughs, particularly when building on established characters, the writing for the newbies can sometimes be lazy (Chrissie Fit as the embattled Guatemalan immigrant caricature Flo springs to mind), while director Elizabeth Banks and her comic foil John Michael Higgins as the announcers/a cappella bigwigs shade over rather worryingly from comedy sexism (which can at least be rebutted by Banks’s eye-rolling) into full-blown comedy racism towards the end (and as both are white, there’s no rejoinder to this unexpected nastiness). However, I enjoyed the rivalry with German a cappella villains Das Sound Machine, and Beca’s strange chemistry with their leader Kommissar (Birgitte Hjort Sørensen), and the largely unfamiliar songs grew on me with a second viewing. It’s not the classic of the first film, and probably not one I will be re-visiting quite as often, but it still certainly has its pleasures.
NEW RELEASE FILM REVIEW Director Elizabeth Banks | Writer Kay Cannon (based on the book Pitch Perfect: The Quest for Collegiate A Cappella Glory by Mickey Rapkin) | Cinematographer Jim Denault | Starring Anna Kendrick, Rebel Wilson, Brittany Snow, Hailee Steinfeld, Adam DeVine | Length 115 minutes || Seen at Brixton Ritzy, London, Saturday 16 May 2015 (and Cineworld West India Quay, London, Wednesday 19 May 2015)
NEW RELEASE FILM REVIEW || Seen at Cineworld West India Quay, London, Monday 14 July 2014 || My Rating likeable
There are Hollywood films where I sometimes wonder if the economics of the thing are driven by the idea of just putting some currently-hot talents in front of the camera even when nothing else seems to have been thought out (the script, usually) and the hope that everything will come together when the camera starts rolling. It wouldn’t be surprising, because sometimes I’ve enjoyed a film perfectly well based on the pleasure of watching some charismatic stars do their thing. I’m pretty sure it’s the reason I liked Begin Again, for example, which I only went to because it filled a gap while I was waiting to do something else. It features a handful of actors I really enjoy watching, who generally have the sense of people who are winging it (not necessarily always a bad thing). A particular stand-out is Mark Ruffalo, who does his usual rumpled washed-up shambolic thing with all his customary aplomb. In this, he’s Dan, a music A&R man who’s just been fired by his company, and in a night of disconsolate drinking happens across Keira Knightley’s singer-songwriter Gretta in a bar. She’s just been pulled up on stage during an open mic night by her equally unsuccessful friend Steve (James Corden), but Ruffalo sees something in her. We get this scene at least three times, from three different perspectives, and we quickly learn that Gretta’s split up with her rock star boyfriend Dave (Adam Levine, himself a lead singer in some kind of rock band). Dan, too, is estranged from his wife Miriam (Catherine Keener) and daughter Violet (Hailee Steinfeld), so this odd couple sort of help each other through their respective issues — I’d say it was another story about a damaged middle-aged male ego being restored by a spontaneous, impulsive young woman, but it’s not quite as cut-and-dried as all that. Nevertheless, as I’ve already hinted at above, these aspects of the story weren’t always convincing to me — certainly, Dan’s plan isn’t, the one to record an album with Gretta outdoors, as a sort of ode to New York — though we do get some nice details about the music industry along the way (with small roles for Mos Def and CeeLo Green). If I’d seen director Carney’s first film Once, I’d assume it was a retread of that with bigger names. Nevertheless, those actors do carry the movie a lot further than it sometimes deserves.
CREDITS || Director/Writer John Carney | Cinematographer Yaron Orbach | Starring Keira Knightley, Mark Ruffalo, Catherine Keener, Hailee Steinfeld, Adam Levine | Length 104 minutes