Sisters (2015)

The legacy of Saturday Night Live has always weighed strongly over American comedy since its debut in 1975, not least in the last 10-15 years. One of the strongest of the players in that time has been Tina Fey, lead writer at SNL before heading on to create and star in 30 Rock (itself loosely based on the show), and her friend Amy Poehler has often been involved in her work. In transferring the hit-and-miss variety comedy approach to film, this year has already thrown out Trainwreck (which shares a lot of SNL alumni), but Sisters is in an even more direct line, given its lead actors as well as its screenwriter Paula Pell, a long-term writer for SNL also. So it should be no surprise that it’s quite often very very funny. It’s also perhaps not so surprising that there’s a variable quality to the humour, and some lands a lot better than others (or maybe we can say it works better on different audiences). There’s also an undertow of sentimentality that becomes most evident towards the conclusion, but for the most part Sisters remains a solidly entertaining comedy based around the antagonism between the two leads — Fey as Katie, a mother with no ability to hold down a job; and Poehler as her younger sister Maura, far more responsible and in control of her life — as they return to Florida to help their parents move home. This premise could easily have bombed with smug male leads (and indeed I understand Vince Vaughn has already more or less made this film), as its one-last-party-gone-awry plot leads to an extended period of home-trashing, which would far more quickly have outstayed its welcome without the chemistry between Fey and Poehler. Bobby Moynihan’s superlative physical comedy is somewhat wasted in a supporting role, by requiring him (as in so much of his earlier SNL work) to be a sort of stand-in for Chris Farley, but it’s great to see comedians of this calibre get to deliver some really funny material. I’m just left wishing it was all a bit tighter and less gloopy towards the end, but maybe I’m being unfair. It’s worth a watch.


© Universal Pictures

NEW RELEASE FILM REVIEW
Director Jason Moore | Writer Paula Pell | Cinematographer Barry Peterson | Starring Amy Poehler, Tina Fey, Dianne Wiest, James Brolin, Ike Barinholtz | Length 118 minutes || Seen at Cineworld Wood Green, London, Sunday 13 December 2015

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April 2015 Film Viewing Round-Up

Herewith some brief thoughts about films I saw in April which I didn’t review in full. It includes a couple of films I actually saw in March but had thought I’d write up in their own posts (I didn’t).


Avengers: Age of Ultron (2015)

Avengers: Age of Ultron (2015, USA, dir. Joss Whedon) [Sat 25 Apr at Cineworld Wood Green]. Look at how crowded that poster is and you’ll get some sense of the film, assuming you haven’t already seen it. I enjoyed it perfectly fine, but I get the sense that whereas for the average punter, it’s a long film, for fans of yr Marvel Cinematic Universe and those who are heavily invested in these characters, it’s probably not long enough. They even add new characters (one of whose superpowers I’m still not clear about, but perhaps it’s the power to do whatever’s required by the narrative at any given point). The crowdedness of the ensemble cast is evident in the number of scenes where everyone’s just standing around, stepping forward periodically to deliver their line and then stepping back. Whedon does the best he can and adds those nice little self-aware lines which define his work (like Linda Cardellini’s “I’ll always support your avenging…”, not the mention the snarky asides) but it’s still a big pummelling superhero film that has a protracted denouement, a nonsense evil villain plan (though James Spader is always dependable in such a role) and lots and lots of CGI effects (which are at times so indifferently executed I thought I was actually watching a video game, as in the opening sequence). YMMV. ***


The Book of Life (2014)

The Book of Life (2014, USA, dir. Jorge R. Gutiérrez) [Mon 6 Apr on a plane]. A film I missed when it came out was available on my trip over to the States, so I availed myself of the opportunity, and even given the small size of the screen, it still impressed by its artful and gorgeously-coloured use of Mexican motifs in its story of rival suitors for a lady’s affections. It nods towards female empowerment, even if it has an old-fashioned adventure feel, but ultimately it’s the richly textured design that saves it. ***


En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, 2014)

En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence) (2014, Sweden/Norway/Germany/France, dir. Roy Andersson) [Thu 30 Apr at Curzon Soho]. Its pace is slow and deliberate, constructed in a series of tableaux-like images which frequently fade to black before the next image commences, and in many ways it takes its cue from that first scene, in which a tourist couple examine birds in glass cases, one of which is the titular (stuffed) pigeon. The humans throughout the film are themselves as waxy and pallid as dead creatures placed on display, and the sets are deliberately minimal in a depressingly beige way. But while Roy Andersson’s film is nominally a (black, deadpan) comedy, it’s really a cautionary moral tale of the bleak dangers inherent in capitalism, as our two Beckettian like heroes wander through a glum dyspeptic world retailing their ‘comedy’ joke items to little interest. There are restrained outbreaks of weirdness — jaunty songs, alternate realities, dreams — which suggest something deeper is going on, and indeed I think this one will work in most people’s minds afterwards, even if it sometimes seems a little inert while it’s going on. ***


Insurgent (aka The Divergent Series: Insurgent, 2015)

Insurgent (aka The Divergent Series: Insurgent) (2015, USA, dir. Robert Schwentke) [Sun 29 Mar at Cineworld West India Quay]. Having enjoyed star Shailene Woodley’s work elsewhere, I decided to watch the first film in the Divergent series in anticipation of this new one (and reviewed it in my March roundup). Usually the way these kinds of series go is that they drop off in quality with each successive instalment, but the first set up such a ridiculous and unbelievable world (dividing everyone into mutually-exclusive castes based on ability) that the bar wasn’t too high, and indeed has been cleared by Insurgent. I’m not saying the second film is a triumph — the world is still constructed along weirdly rigid lines, and the test that evil leader Jeanine (Kate Winslet) sets for Woodley’s Tris is a bit confusing — but it opens up its world in interesting ways and sets up a next episode that I’m actually looking forward to.


Notting Hill (1999)

Notting Hill (1999, UK, dir. Roger Michell) [Sun 19 Apr on a plane]. I’m probably not supposed to like this, but what can you do. Every time it comes on — and I only tend to watch it when it’s there right in front of me — I end up watching the whole thing, and this has happened more than once, so it’s not just some kind of momentary weakness. I’ve not been sold on all screenwriter Richard Curtis’s films, though I’ve liked more than I’ve disliked, but Notting Hill just seems to work despite all its inherent naffness. Julia Roberts plays a big-time Hollywood star, Hugh Grant is a diffident English bookshop owner, they meet cute, one things leads to another, there are some funny setpieces, and well, it passes the time very pleasantly. **½


Pitch Perfect (2012)

Pitch Perfect (2012, USA, dir. Jason Moore) [Fri 24 Apr at a friend’s flat]. I’ve reviewed it before, and it’ll probably show up on this list many times more in the future, because I do love Pitch Perfect. It’s not just Anna Kendrick, whom I’ve recently had cause to hymn once again for The Last Five Years, but the ensemble cast and the time-honoured building-to-a-big-showdown narrative construction, not to mention the hummable music. ****


Premium Rush (2012)

Premium Rush (2012, USA, dir. David Koepp) [Sat 4 Apr at home]. At a certain level this is a fairly slight premise — Joseph Gordon-Levitt’s bicycle courier must deliver a package across Manhattan by a deadline, hotly pursued by Michael Shannon’s corrupt cop — but this is essentially an action film, and you don’t want to complicate the purity too much. That said, the filmmakers weave in a story of immigration and bureaucratic corruption without overwhelming the central chase motif, which is handled with a great deal of vigour and momentum. It also (as far as I can tell) charts a realistic depiction of New York geography as Gordon-Levitt frantically switches up routes to his destination. ***½


Wild Card (2015)

Wild Card (2015, USA, dir. Simon West) [Tue 31 Mar at Cineworld Wood Green]. The great Jason Statham returns in another action romp which as per some other recent outings, shows just a hint of actorly character development around the edges, as he essays the role of Nick Wild, Las Vegas security specialist. Most of the big name cast members (and there are a few: Jason Alexander, Stanley Tucci, Sofia Vergara, Hope Davis, Anne Heche) are there for single scenes only, leaving the main showdown to be between Statham and Milo Ventimiglia as a narcissistic, abusive gangster. If you’ve seen a Statham actioner before, you’ll probably recognise the broad contours, but in the tightness of the filming and the polish of the script this one is probably his best since Safe. ***

Pitch Perfect (2012)


FILM REVIEW || Director Jason Moore | Writer Kay Cannon (based on the book Pitch Perfect: The Quest for Collegiate A Cappella Glory by Mickey Rapkin) | Cinematographer Julio Macat | Starring Anna Kendrick, Rebel Wilson, Anna Camp, Brittany Snow, Skylar Astin | Length 112 minutes | Seen at Peckhamplex, London, Monday 31 December 2012 (and also at home on Blu-ray on numerous occasions, and at a friend’s home on DVD, Saturday 27 July 2013) || My Rating 4 stars excellent


© Universal Pictures

The last film I saw in 2012, and one I enjoyed so much I immediately went and ordered the Blu-ray from the USA where it had already been released, is this campus comedy tapping in to the (presumably burgeoning) activity of collegiate a cappella singing. And yes, although that’s the kind of thing that TV series Glee does, this film feels far more fresh and interesting.

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