A quintessential Bergman-esque chamber drama of a couple dealing with their slow break-up and rapprochement over a period of about a decade, told in six chapters (six hour-long episodes in the TV version, but I watched the film version at half that length). There is barely anyone else on screen for the running time, and that’s really not much of an issue, because this is about these two people and the particular way they seem so happy together but, actually, aren’t. The acting is excellent, but I’m not sure I can summon enthusiasm for Bergman’s dramatics at this point in my life. However, I certainly wouldn’t wish to discount it: I was all ready to be very cynical early on, but I concede that the drama did eventually reel me in somewhat (even if I don’t accept this is necessarily how all marriages are).
I don’t intend to make a strong case for High School Musical auteur Kenny Ortega’s latest film, but it is brightly coloured and likeable in a fairly anodyne way, as befits a made-for-TV Disney Channel movie. The premise is that Disney’s famous villains, having been sent away to live on the Isle of the Lost, far from the good guys, have grown up and a number of them now have children who are to be reintegrated into the mainstream world of Auradon, where their parents hope they will continue to spread their legacy of evil-doing. As ever, the hierarchical society is premised on benign royalty (Beauty and the Beast in this case) ruling justly over a fluffily-updated mediaevalesque world populated by bland white prep kids. It’s up the bad guys to inject some colour (not to mention people of colour, for that matter) and they are all so clearly far more interesting than the ‘heroes’ that this amounts to its own form of critique. Certainly brief book-end appearances by musical veterans Kristin Chenoweth (as Maleficent) and Kathy Najimy (as the Evil Queen) lend a bit of Broadway pizazz to the older generation (which also includes a Black Cruella de Vil and an Iranian-American Jafar), though generally the film could do with more music and dance numbers — I understand these were only added at the late arrival of Ortega to the project, so at least there are some I suppose. The kids are all pleasant to watch, with Maleficent’s daughter Mal (Dove Cameron) being the purple-haired highlight. There’s not a whole lot more to say, and for what it sets out to achieve it feels like it’s generally a success.
CREDITS Director Kenny Ortega; Writers Josann McGibbon and Sara Parriott; Cinematographer Thomas Burstyn; Starring Dove Cameron, Sofia Carson, Kristin Chenoweth, Kathy Najimy; Length 112 minutes. Seen at home (DVD), London, Wednesday 27 January 2016.
NEW RELEASE FILM REVIEW || Seen at Cineworld Haymarket, London, Wednesday 5 November 2014 || My Rating good
This film, which appears to be largely a family affair (director, producer and editor all hail from the Gilroy family, the first of whom is married to the female lead), is another flourish of retro respect towards the scuzzy lo-fi VHS aesthetics of the 80s, a very literal ‘video nasty’ in many ways, which at certain levels reminds me of Henry: Portrait of a Serial Killer (1990). It’s a character study of Lou (Jake Gyllenhaal, lean, slick of hair and with a stooped shuffle), a low-life criminal and sociopathic grifter just looking for a career, who stumbles into filming real-life crime footage for breaking news items on cable news. In finding his niche, Lou is at some level just exploiting the already dubious ethics of TV news journalism, though in his own work he pushes at these pretty hard, and it doesn’t take long before he’s breaking police lines and moving bodies for a better shot composition. And yet it’s also a subtly twisted satire on management techniques, as Lou takes on the naïve and desperate Rick (Riz Ahmed) as his assistant, lecturing him on being a good employee and deploying all his online business learning in negotiations first with Rick and then with the TV station and its producer Nina (Rene Russo). There are plenty of laughs in fact, though a lot of them are of the excruciatingly uncomfortable variety, as we recognise the intensity of Lou’s delusional beliefs being played out, an unfettered id wreaking havoc with real-life consequences. All this is shot in an immersively lo-fi digital video format (notably by Robert Elswit, a frequent collaborator with Paul Thomas Anderson, and who has in the past inveighed against digital), which gives it all an extra level of discomfiting presence. Ultimately, how the viewer responds is likely to be related to their tolerance for these techniques, not a million miles from the morality plays of Michael Haneke if (thankfully) lacking some of the more acute skewering of audience complicity. It’s certainly a strong directorial effort for Gilroy, and a fine performance for Gyllenhaal.
This screening was presented as part of a series dedicated to the visual spaces of television, alongside a shorter work called “The Saliva Milkshake” (reviewed below). The image is a screen capture of the film’s title card. Both were originally shown on the BBC, with the feature originally aired on 12 May 1981 as part of the “Play for Today” series, and the shorter work on 6 January 1975 in the “Centre Play” series.
SPECIAL SCREENING FILM REVIEW || Director Alan Clarke | Writer David Leland | Cinematographer Ken Westbury [as film cameraman] | Starring Rosalind Ayres, John Duttine, Derrick O’Connor, Warren Clarke, Colin Blakely | Length 73 minutes | Seen at BFI Southbank (NFT3), London, Monday 24 February 2014 || My Rating good
I feel as though I preface a lot of my reviews by claiming I’m no expert on what I’m about to write about, but I must at least be honest. This is going to occur fairly frequently when one dips into areas of filmmaking that are strange or unusual or otherwise outside the mainstream, but I wouldn’t have it any other way. In this case, the format of the standalone television drama (whether a half-hour segment or a feature-length presentation) is one that has been particularly ill-served by advances in distribution over the last few decades. There are still huge numbers of TV shows languishing in archives (or entirely wiped from them) that get very little airing nowadays. They may have garnered larger viewerships than many cinema-distributed films at the time, but for only one or two airings many decades ago. It’s this context in which I come to this film I’m reviewing now, a fascinating document of a past era (albeit tackling themes still very much relevant now), which I saw in a one-off archival screening at the British Film Institute.
NEW RELEASE FILM REVIEW || Director Adam McKay | Writers Will Ferrell and Adam McKay | Cinematographer Oliver Wood | Starring Will Ferrell, Steve Carell, Paul Rudd, David Koechner, Christina Applegate | Length 119 minutes | Seen at Cineworld Enfield, London, Monday 23 December 2013 || My Rating worth seeing
It’s surely the most trailered and hyped-up release of the season. There were few places to turn where Will Ferrell’s Anchorman persona, newscaster Ron Burgundy, has not popped up at some point ever since he announced the return on US late-night TV talkshow Conan well over a year ago. The original film of 2004 has found an ever more committed fan base since being released to DVD and remains familiarly quotable. With the sequel, the setting has moved forward a bit from the mid-1970s to the early-1980s, and from the West coast of San Diego to the Big Apple of New York, meaning all the period references have been overhauled. There are a huge number of additional cameo appearances, and all the core cast have returned. So maybe that explains why the feeling of finally sitting in a cinema to watch this return was so deflating for me. I can’t say it entirely lacks laughs, but it does lack cohesion. I don’t doubt the cast had fun making it, but the experience of watching it is a little wearying, especially for a comedy film that nudges two hours in length.