Monthly Archives: November 2011

There’re times when I worry about identifying with characters portrayed in films. Is this really masterfully insightful story telling? Am I supposed to be feeling this much empathy for that chap with the chainsaw?

Take Shelter is a film about mental illness and the way it affects both the sufferers and their families. More than that; it’s a compelling portrayal of fear in modern society and a man who tries very hard to “be strong” in the face of apocalyptic visions. In doing so he manages to bring his own worst fears to fruition, but at the same time he also reduces them to what they are. It’s a near heartbreaking but weirdly uplifting film that left me bleary eyed multiple times. Not that this will stop marketing people from trying to sell it as a “Terrifying Psychological Horror” when the DVD comes out.

Anyway, where’d I put my shovel?

Take Shelter . 2011 . Jeff Nichols

Reviewed by Guy Garrud

A rogue supercomputer threatens to take over a giant software corporation and ex-employee / hacker / video game enthusiast Billy Flynn (Jeff Bridges) is the only one who can stop it when he’s transported inside the computer.  There he meets up with super programme Tron and together, they revolt against their omnipotent overseer.
Yeah, right.
But ignore the vague, preposterous story – it’s merely a conduit for Tron’s unique visuals.  The brightly coloured, neon lights are of course pretty primitive in today’s age, but they do have a certain retro charm and allow for some surreal, geometric screensaver landscapes.  And for all its flaws, the narrative does allow for some cool set pieces – the well-parodied, gladiatorial disc duels and motorbike battles in particular, though they’re unfortunately underused.  Then again, it’s Bridges who shines the most, lighting up the screen with his magnetic charisma.
Just look past the atrocious script, bit brain.

TRON . 1982 . Steven Lisberger

Reviewed by Ed Nightingale

Last week, Jameson Cult Film Club took over the Manchester Town Hall for a one-off screening of this ultimate in time-travel fantasy, populating those hallowed halls with madcap actors, whisky cocktails and repeated renditions of The Power of Love. The whole night was wonderfully put together and a great homage to a fabulous film. I had forgotten quite how good Back to the Future is; such exuberent silliness and non-patronising knowingness to its kitschy references. The script went through a million re-writes but the end result is a polished and frenetic plot that whips along at such a fun pace (88mph perhaps?) that all the days cares and woes are kicked out of the cinema door for just over an hour. Fox and Lloyd were inspired casting; boggle-eyed and jittery and just the right level of kooky. A lovely trip back to when blockbusters were just happy to be fun.

Back to the Future . 1985 . Robert Zemeckis

Reviewed by Screen150

You can’t choose your family, but it’s funny how death can bring people together.  Edward Bloom (Ewan McGregor/Albert Finney) is an incessant storyteller, to the detriment of the relationship with his son Will (Billy Crudup) who is embarrassed by his father’s absurd fantasies.  But as Edward nears death, Will is determined to sort fact from fiction and find out the truth behind his father’s elaborate tales.

Big Fish is Tim “hit-or-miss” Burton’s Forrest Gump.  The film takes us through Edward’s extraordinary (imaginary?) life and, by extension, Burton’s imagination.  The style is typical of his fantastical dream worlds, but unlike his other material there is (disappointingly) a stronger basis in reality. 
Essentially, the film is a coping method for death – celebrating life rather than mourning its end.  It’s beautifully shot and charming, yet Big Fish just didn’t hit me emotionally as intended.  Perhaps Burton should stick with darkness rather than sweetness.

Big Fish . 2003 . Tim Burton

Reviewed by Ed Nightingale

Now then; I enjoyed 300. It was a visually unique take on both the greek-mythology subgenre as well as a bold attempt to literally translate a celebrated graphic novel onto screen. It helped that Frank Miller’s words were so carefully crafted and the panels of the graphic novel lent themselves so well to this postmodern myth cinema styling. Where Immortals falls down is a lack of this Miller basis and both the story and dialogue fall back on cringeworthy Hollywood cliche. There is a pathetic underlying anti-atheist feel and after all that hacking and stabbing the most mutilated victim is Greek mythology itself which is wilfully ignored. Director Tarsem makes it all looks very pretty – Tartarus is a particular highlight, as are the various costumes and helmets – but the lack of a mythologically robust storyline robs Theseus et al of a certain sheen and the whole thing ends up feeling spineless.

Immortals . 2011 . Tarsem Singh

Reviewed by Screen150

[Transcription of written notes]

Here we go. I haven’t seen the first three films but I’m sure it’ll all make sense.

OK, this chap must be the werewolf. He’s not actually turned into one but everyone keeps calling him an animal… poor guy seems to be getting beaten up a lot.

So, she must be the main character…Catherine? Doesn’t talk much… seems to spend a lot of time wandering round bleak moorland. Actually, it was quite a bold move to relocate the last book to rural Yorkshire.

Ah, this must be the vampire, this Edgar chap with “ice in his veins.”

Finally, a fight in front of the pregnant girl…

Oh, it’s over, and nobody even got bitten.

More lying around on wet moorland…

And she’s dead… hang one, wasn’t that supposed to be the cliff-hanger?

More of Heathcliffe pacing around t’moors and… wait; am I in the right screen?

Twilight: Breaking Dawn . 2011 . Bill Condon

Reviewed by Guy Garrud

I’ve always enjoyed Clooney’s forays into directing, like Eastwood he’s one these actor-turned-directors who seems to have actually been taking notes. Good Night and Good Luck was one of my faves from the past ten years.

This too is solid stuff, although doesn’t break any truely new ground. The plot trips along at a good pace and the characters are believeable, if not particularly likeable. The imagery is a bit US-flag obvious, but it works. Clooney himself plays a Democratic presidential candidate and does so with equal parts suave and smarm but is most compelling in the shadows when his darker aspect comes to light, so to speak.

Ryan Gosling fits the leading man part nicely and seasoned supporting cast are particularly superb. The occasional whiff of Democratic propaganda arises, especially during Clooney’s speeches, but the film works hard to instill a certain amount of unease and is mostly successful.

The Ides of March . 2011 . George Clooney

Reviewed by Screen150

Some people will tell you The Italian Job is the premier Brit heist flick of the 20^thcentury. Some people are ninnies: while the Ealing films have long since become a by-word for cosy thrills, there’s a genuine transgressive charge to The Lavender Hill Mob, the studio’s much-loved tale of white collar crims pining for a better life.

The setup’s perhaps a little familiar but here’s the skinny: Alec Guinness is a frustrated bank clerk and Stanley Holloway the souvenir-maker with whom he hatches a plan to smuggle pinched bullion across the channel. It’s marvellously bittersweet: the grubby stain of post-war austerity is elegantly captured and the pall of stunted lives lingers. There’s also a thrilling car chase, a jumble of familiar faces and a moment of pure cinematic exhilaration as Guinness and Holloway tumble giddily down the steps of the Eiffel Tower. Never has grand larceny seemed so supportable.

The Lavender Hill Mob . 1951 . Charles Crighton

Reviewed by Nick Garrard