The Talented Mr. Ripley (1999)

It must be easy to take against this film, after all it has pretty much no likeable characters. The title character, Tom Ripley (Matt Damon), is a sociopathic grifter in the 1950s, taking advantage of opportunities to inveigle himself into the company of the wealthy, upper-class New York set, sponsored to fly out to Italy by the father of dissolute Ivy Leaguer Dickie (Jude Law), who is living la dolce vita with his girlfriend Marge (Gwyneth Paltrow), playing jazz and mooching from seaside resort to bustling city. Dickie is an entitled asshole, friendly to a point, with friends (like Freddie, played by Philip Seymour Hoffman) who are even worse. And along the way, Ripley manages to win the attentions of Cate Blanchett’s heiress Meredith by pretending to be Dickie, which leads to some almost-screwball situations (the comedy premise somewhat attenated by the resulting murders). Only Marge manages to be in any way pleasant, but she’s as much a product of her upbringing as Dickie, though she comes to see through Ripley’s dissimulations. Still, it may run long, but it’s all acted extremely well, with Jude Law particularly rising to Dickie’s arrogant golden boy, and John Seale’s cinematography looks great, though you can’t really fail with locations like Venice. Matt Damon plays Ripley very inscrutably, and the filmmakers toy with a gay subtext though they thankfully stop short of having it explain Ripley’s sociopathy. It’s a strong psychological thriller, and among Minghella’s finer films.


FILM REVIEW
Director/Writer Anthony Minghella (based on the novel by Patricia Highsmith) | Cinematographer John Seale | Starring Matt Damon, Gwyneth Paltrow, Jude Law, Cate Blanchett, Philip Seymour Hoffman | Length 138 minutes || Seen at home (DVD), London, Saturday 29 August 2015

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Spy (2015)

I hated Paul Feig’s last collaboration with Melissa McCarthy, The Heat, so it’s fair to say I wasn’t expecting much out of this return to another well-worn genre (guess which). And though it’s not perfect in every respect, thankfully it’s a lot better — and more sustainedly funny, too. The set-up is that Susan Cooper (McCarthy) plays a shy back-room support role for Jude Law’s suave agent in the field, but when he is taken out of the picture she needs to step up to become a field agent herself. British TV audiences might have difficulty accepting Miranda Hart as a bumbling best friend, or Peter Serafinowicz as a sleazy Italian, but the way these archetypes are framed within the story is certainly done with a lot more intelligence than this year’s Kingsman: The Secret Service, another (apparently) comic take on the James Bond ethos. Perhaps best of all — surprisingly — is Jason Statham, as an utterly unironic (and therefore hilarious) spy film superhero, embodying all the worst traits of Bond, and easily confounded by Susan Cooper. The simple twist is handled with aplomb, and McCarthy puts across her best comedy performance yet (especially when she sheds the shy persona to take control), but most importantly, Spy is funny when it needs to be.


© 20th Century Fox

NEW RELEASE FILM REVIEW
Director/Writer Paul Feig | Cinematographer Robert Yeoman | Starring Melissa McCarthy, Jason Statham, Rose Byrne, Miranda Hart, Jude Law | Length 120 minutes || Seen at Peckhamplex, London, Saturday 13 June 2015

The Grand Budapest Hotel (2014)


NEW RELEASE FILM REVIEW || Director/Writer Wes Anderson | Cinematographer Robert Yeoman | Starring Ralph Fiennes, Tony Revolori, Jude Law, F. Murray Abraham, Saoirse Ronan | Length 99 minutes | Seen at Cineworld Haymarket, London, Sunday 24 March 2014 || My Rating 4 stars excellent


© Fox Searchlight Pictures

And thinking again of the sameness of Vinteuil’s works, I explained to Albertine that the great men of letters have never created more than a single work, or rather have never done more than refract through various media an identical beauty which they bring into the world.
— Marcel Proust, La Prisonnière (1923, trans. C.K. Scott Moncrieff and Terence Kilmartin)

Like perhaps many (too many?) in the English-speaking world, I have never encountered the writing of Stefan Zweig, from whom director and writer Wes Anderson claims inspiration for this confected mittel-European tale set over three successive post-World War II generations. However, I find myself drawn to comparisons with the work of Marcel Proust, which I am reading at the moment and have been for about the last year (making such connections rather more inevitable perhaps; I don’t know whether the quote above is really relevant, but I read it this morning, so it’s in my mind, and it does seem to speak to Anderson’s oeuvre). Mainly it’s the sense that this huge cast of characters have been distilled down into a series of fragmentary glimpses as relayed via an unreliable narrator through many layers of history and nostalgia and refracted by a world-changing war. It’s this last detail which seems most to suffuse the film, for it provides most of the pathos, that sense which is only hinted at around the edges and in small almost-throwaway lines, as it becomes clear in the telling that all of these characters — indeed this whole worldview and way of life — have since disappeared. But in many ways that’s what Anderson’s filmmaking has been building to, conjuring up a spectral reminiscence of a lost world.

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Anna Karenina (2012)


FILM REVIEW || Director Joe Wright | Writer Tom Stoppard (based on the novel by Leo Tolstoy) | Cinematographer Seamus McGarvey | Starring Keira Knightley, Aaron Taylor-Johnson, Alicia Vikander, Jude Law, Domhnall Gleeson | Length 129 minutes | Seen at home (Blu-ray), London, Monday 3 February 2014 || My Rating 3 stars good


© Universal Pictures

I’ve only recently become familiar with British director Joe Wright from his 2005 adaptation of Pride and Prejudice. On the basis of his short filmography, he seems to like adapting heritage literary sources. That earlier film showed a fair amount of directorial flair, but in this new film he rather surpasses himself, to the extent that the technical aspects of the filmmaking become even more central to the tale being told than any of the acting (though there are some standout performances, on which more below). I’m not entirely convinced this always adds to the story being told, but it certainly makes for some striking cinema.

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Side Effects (2013)


NEW RELEASE FILM REVIEW || Director Steven Soderbergh | Writer Scott Z. Burns | Cinematographer Steven Soderbergh (as “Peter Andrews”) | Starring Rooney Mara, Jude Law, Catherine Zeta-Jones | Length 106 minutes | Seen at Cineworld Shaftesbury Avenue, London, Wednesday 13 March 2013 || My Rating 3 stars good


© Open Road Films

I find this latest (and apparently last) film of Steven Soderbergh to be troubling, but it’s difficult to locate quite how without invoking that ever-present spectre of “spoilers” (I may do it later; I shall warn appropriately). It’s set up as a medical thriller, dealing with the effect that prescription drugs can have on people. The opening shot shows blood on the floor of a swanky apartment, before the film backtracks by three months to introduce our heroine Emily (Rooney Mara) and, after a bit of backstory and a series of personal setbacks, her psychiatrist (Jude Law). This is all firmly set in upper-middle class territory, with cocktail parties on ships, expense accounts, nice clothes, comfortable living situations, the whole deal. Our heroine’s partner (Channing Tatum) is a disgraced former investment broker, recently released from prison. Our heroine has some kind of job in a design firm, while the psychiatrist is having to take extra jobs (including $50k from a pharmaceutical company to help with their drug trials) to make ends meet, what with the Manhattan apartment and a kid and a wife out of work.

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