Another year (or two), another David O. Russell film starring Jennifer Lawrence, in what is becoming something of an end-of-year holiday tradition by this point. However, unlike 2013’s American Hustle and Silver Linings Playbook before that, here Bradley Cooper is relegated to what’s little more than a supporting role, leaving Robert De Niro (another recent Russell stalwart) to step in as the main support to Lawrence, which doesn’t entirely pay off. Still, it does mean that romance very much takes a back seat to the ‘based on real events’ story of Joy, a frustrated American housewife who invents… a mop. You get the sense that this aspect of the story, the very ordinariness of her invention, was the draw for Russell, who uses it to craft an arc from Joy at home watching TV soap operas with her agoraphobic mother (Virginia Madsen), to a literal soap opera in which her sudsy invention conquers living rooms across the country via the Home Shopping Network (which is where Cooper comes in). Along the way there’s plenty to enjoy, including a big performance from Isabella Rossellini as Joy’s financier Trudy, but it all fades in the memory rather quickly once the film’s finished.
NEW RELEASE FILM REVIEW Director/Writer David O. Russell | Cinematographer Linus Sandgren | Starring Jennifer Lawrence, Robert De Niro, Édgar Ramirez, Diane Ladd, Isabella Rossellini, Virginia Madsen | Length 124 minutes || Seen at Cineworld Haymarket, London, Monday 28 December 2015
Unlike in 2013, I haven’t been writing reviews of every film I’ve seen this year. I also had trouble finding enough enthusiasm to write about some of the big tentpole blockbusters of the year, mainly because so many others have cast in their two cents, that mine seem entirely beside the point. Still, you’re more likely to have seen these films, so I thought I should at least write a few sentences to give my opinions, and you can disagree with me in the comments if you wish! (For what it’s worth, I’ve also taken to adding my ratings for unreviewed films on my A-Z and year pages.)
Gone Girl (2014) || Seen at Odeon Camden Town, London, Tuesday 7 October 2014 || Director David Fincher | Writer Gillian Flynn (based on her novel) | Cinematographer Jeff Cronenweth | Starring Ben Affleck, Rosamund Pike, Neil Patrick Harris | Length 149 minutes || My Rating very good
David Fincher continues to extend his auteurist credentials with another film dwelling in the twists, turns and dead-ends of narrative fiction, shot in a coolly modernist style, with dark corners and muted colours befitting the shifting allegiances and motivations of the characters. Ben Affleck does well as the put-upon husband Nick in small-town America whose wife has gone missing, and Rosamund Pike has a piercing intensity as that New York-born and bred wife Amy, but beyond those plot points it would not be wise to stray, suffice to say there is a twist, and more than one at that. It’s a film that doesn’t just find its drama in the orchestrated chameleonic performances of its core cast, but is itself about performance, about lives moulded by societal or parental pressures (whether the expectations of precocity and feminine perfection as forced upon Amy by her author parents, or the expectations of marriage taken on by both leads, or the requirements of the ‘gone girl’ narrative when reconfigured by the media). In a sense — and to this extent I agree with criticism of its misogynistic underpinnings — it’s about a clueless husband taken advantage of by a conniving woman deploying rape allegations and other standbys of the tabloid press, but yet the film seems too self-aware of the ways that all of its protagonists shape and control their representation for it to fully fall into that trap. However, basically what I’m saying is that this film, more than most blockbusters of 2014, would seem to repay further investigation.
Interstellar (2014) || Seen at Science Museum (IMAX), London, Tuesday 11 November 2014 || Director Christopher Nolan | Writers Jonathan Nolan and Christopher Nolan | Cinematographer Hoyte van Hoytema | Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine | Length 169 minutes || My Rating good
Christopher Nolan is another kind of auteur, though he seems to specialise in unselfconscious pomposity (or at least, so it seems to my mind). Seen on a 70mm IMAX screen, this is undeniably big and undeniably epic in scope, with huge bassy rumblings and the kind of sound design and picturesque cinematographic vision engineered to convince of the earnestness of the undertaking. Without giving away any prized ‘spoilers’, it increasingly suggests an updating of Kubrick’s 2001: A Space Odyssey (also recently on re-release) albeit without the kind of understated intelligence of design that Kubrick’s films always exhibited. Aside from some affecting early scenes with McConaughey’s astronaut/engineer/farmer and his children, I’m not even sure the more upfront sentimentality always works in the film’s favour, as it progressively becomes more loopy — and it certainly seems to me that the almost mystical treatment afforded to black holes and other astral phenomena are somewhat akin to religious texts’ relationship to God (though with that latter concept somewhat ponderously replaced here by Gravity and/or Love). Some of the ideas seem rather too incredulous, at the same time grounded in character interactions which smack rather more of cliché, but I cannot deny that it held my attention effortlessly for three hours, and should at least be given points for trying something bold, epic and heartfelt.
The Hunger Games: Mockingjay Part 1 (2014) || Seen at Cineworld Fulham Road, London, Monday 24 November 2014 || Director Francis Lawrence | Writers Danny Strong and Peter Craig (based on the novel Mockingjay by Suzanne Collins) | Cinematographer Jo Willems | Starring Jennifer Lawrence, Philip Seymour Hoffman, Julianne Moore, Josh Hutcherson, Natalie Dormer | Length 123 minutes || My Rating likeable
Another instalment in the ongoing young-adult dystopianism that’s been part of all our lives for the last decade or so (whether under this franchise’s title, or previous ones you may guess at; even if you haven’t read any books or seen any films, you can’t possibly be unaware of the trend). I certainly enjoy the range of darker and more complicated emotions this kind of thing leads to, even if the way they’re handled remains strictly teenage (although most mainstream entertainment pitches itself to that age range, to be fair). With Mockingjay, Jennifer Lawrence’s Katniss starts to really doubt her own abilities to lead a revolution as the stakes become more serious (the film is largely based in the underground compound of District 13, as they make periodic sorties to disrupt the Capitol and its propaganda), though even when crying in a dark corner, Lawrence remains effortlessly watchable. If there are any ‘games’ here, they take place in the real world of the film (Panem), which seems to make them curiously less engaging than the engineered ones of the previous two films. It also seems to squander an obvious cliffhanger ending point, but I’ll undoubtedly be back next year to see how things wrap up.
NEW RELEASE FILM REVIEW || Seen at Cineworld Shaftesbury Avenue, London, Thursday 22 May 2014 || My Rating likeable
Perhaps I’m just getting weary of superhero movies now, but it’s not just me, surely? Days of Future Past, while hardly being terrible (sorry, X-Men Origins: Wolverine), is not the equal even of its immediate predecessor, X-Men: First Class (2011, although I’m setting aside 2013’s The Wolverine). I had hope for Marvel movies after the surprisingly enjoyable Captain America: The Winter Soldier, but that was made by a different studio. By comparison, Days of Future Past just seems lazy and bloated. There’s an end-of-days apocalyptic plotline, including a thin excuse to bring together the different timelines (and their respective actors), but it’s no more compelling than Star Trek: Generations so many years before, another franchise to which Patrick Stewart has lent his considerable actorly gravitas. As with that franchise, here too it’s ultimately the younger generation who are more convincing and enjoyable in their roles, James McAvoy as Xavier and Michael Fassbender as Magneto nicely playing off one another, though Hugh Jackman’s Wolverine remains dependable across both timelines. There’s also an expanded role for Jennifer Lawrence, and it’s just as well she’s such a fine actor as she’s required to express plenty of fairly uninflected rage and caprice. Indeed, if there’s anything I’ll remember about Days of Future Past in years to come, it won’t be the special effects or the big setpieces or the now-canonical protracted final battle sequence, but the sense of so many very talented actors (those named above, along with a smaller role for Peter Dinklage, and poor Anna Paquin all but left on the cutting-room floor) being wasted on over-extended big-budget bloat.
CREDITS || Director Bryan Singer | Writer Simon Kinberg (based on the Uncanny X-Men comic book storyline “Days of Future Past” by Chris Claremont and John Byrne) | Cinematographer Newton Thomas Sigel | Starring Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Peter Dinklage | Length 131 minutes
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 Francis Lawrence | Writers Simon Beaufoy and Michael Arndt (based on the novel Catching Fire by Suzanne Collins) | Cinematographer Jo Willems | Starring Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Donald Sutherland, Stanley Tucci | Length 146 minutes | Seen at Cineworld Wood Green, London, Sunday 24 November 2013 || My Rating good
Blockbuster franchises by their nature always seem to be perfect for teenage viewers, more than ever in recent years. I suppose that Peter Jackson’s Tolkien adaptations skew a little older, just as that seemingly unending Harry Potter series went for the younger ones. But even amongst the crowded marketplace, The Hunger Games has set itself rather above the competition to my mind. That said, I haven’t read the books, and I don’t think the films are perfect by any means, but they flesh out a credibly multilayered world with a more dystopian bent than you might expect given the target audience, and occasional flashes of cutting satire. Most of all, the series has for its lead actor Jennifer Lawrence, who’s been carving out quite a niche in playing resourceful young women since her breakout performance in Winter’s Bone (2010). This second film in what’s shaping up to be a tetralogy is another notch in her acting belt and a proficient change of pace for the franchise.
FILM REVIEW || Director Debra Granik | Writers Debra Granik and Anne Rosellini (based on the novel by Daniel Woodrell) | Cinematographer Michael McDonough | Starring Jennifer Lawrence, John Hawkes | Length 98 minutes | Seen at home (Blu-ray), Tuesday 16 July 2013 || My Rating very good
One of things I like about movies is that they take me places I’d never otherwise visit, and set their stories amongst people I’d never otherwise meet. I can’t say how accurate this depiction is of the Ozarks (a mountainous area roughly in the centre of the United States), but it certainly feels close to the bone, and has an excellent control over its atmosphere.
This is a hard-edged world where people are wary of one another and resort to desperate means to make ends meet. The film is best when it’s setting out the elaborate rituals that people in this part of the world follow; in many ways, it is these that motivate the entire drama. Just in visiting her friend’s home, Jennifer Lawrence’s character Dolly must ask her friend’s husband for permission to enter, and this overly-polite pas de deux is repeated on several occasions. Even the police officers approach others with caution, though that may partly be that Dolly’s uncle ‘Teardrop’ (John Hawkes) is somewhat unhinged. These are, relatively-speaking, the ‘good guys’ though; when Dolly comes up against the really dangerous characters, she comes out rather the worse for it. And again, there appear to be delicate issues of etiquette even around violence: it’s the female family members of local kingpin ‘Thump’ Milton who dole out the punishment for Dolly’s transgressions.