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
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 Genesis, London, Tuesday 23 September 2014 || My Rating good
John le Carré’s work was most recently brought to the screen in Tinker, Tailor, Soldier, Spy (2011), a film set in a world of muted colours, grey men in grey suits, smoking in drab offices. The palette of this new adaptation of a different Le Carré work updates itself to a more recent era, but in many ways there’s still the same sense of back-office drudgery. Philip Seymour Hoffman, in one of his final roles, unkemptly shuffles around, trying his best to blend into his urban surroundings, and constantly puffs on a cigarette. For, after all, this is a European thriller, set in the immigrant city of Hamburg, and as a nod to this, all the actors speak in German accents. They all do fine with it, but it’s more distracting than it probably needs to be. It doesn’t help too that the first hour flits around amongst a widening array of minor characters (including a criminally underused Daniel Brühl). All of them feed into the main story, but it takes its time to come together. When it does, it’s all rather anticlimactic, but you get the feeling that this is exactly what the filmmakers wanted, and Hoffman is a great actor for finding the best from this kind of setup. Appropriately for Anton Corbijn, a director who graduated to film via photography, it’s handsomely shot by French DoP Benoît Delhomme, all sleek lines and beautifully crisp, in many ways quite at odds with the characters. It’s no masterpiece perhaps, but it’s put together with care and acted with great resourcefulness, about characters who take their time to watch and observe. In that respect, it passes the time well.
CREDITS || Director Anton Corbijn | Writer Andrew Bovell (based on the novel by John le Carré) | Cinematographer Benoît Delhomme | Starring Philip Seymour Hoffman, Rachel McAdams, Willem Dafoe | Length 121 minutes