Christopher Morris isn’t exactly a stranger to controversy. His red hot satire seems to have upset as many people as it has made laugh. The Daily Mail set were flabbergasted at Brass Eye as they were told it was making light of paedophiles. Actually, it was making fun of Daily Mail readers. His comedy has always veered between disturbing (like Jam) and supremely silly (The Day Today). Four Lions, his first feature film, deals with serious subjects but is actually one of his silliest pieces of work.
The film follows the most useless group of terrorists since the People’s Front of Judea. Omar (the excellent Riz Ahmed) is a young man who wants to make his mark on the world by blowing himself up. After a disasterous stint at a training camp in Pakistan with friend Waj (Kayvan Novak), Omar and his cell decide to go it alone and organise their own attack on London. Unfortunately for Omar, the idiocy of Waj, Barry (Nigel Lindsay), Hassan (Arsher Ali) and Fessal (Adeel Akhtar) complicate matters at every turn.
The earlier Monty Python reference is very apt, as there is something very Pythonesque about the humour here. The characters are extremely stupid, almost to a surreal level. Even Omar, the brains of the outfit, is stupid by definition – he has a nice life in the Britain with a beautiful wife and son, yet he wants to destroy it. This was Morris’s intention, to show how muddled your thinking must be believe being a suicide bomber is a good idea.
I suppose Daily Mail readers will say that the film is making light of terrorism, of showing suicide bombers being nice people. It is true that by using the template of a heist movie, Morris does make the audience (the real target of the bombs) root for the bombers at some points in the film. This is because the characters are engaging and, yes, not wholly evil. However, they aren’t brain washed – they are aware that what they are doing will lead to mass slaughter. The fact that these “normal” people could be capable of this is perhaps more terrifying than portraying them as classic baddies, and certainly more realistic.
This is a truly hilarious film, but the jokes do not detract from how upsetting much of it is or how tragic for all concerned. Morris has pitched the whole thing about as well as you could have hoped for, walking an extremely thin tightrope the whole way. Like his old mucker Armando Iannucci (co-writer of the In the Loop) he is making comedy that gets to the heart of matters.
Sunday, 4 July 2010
Review - Sex and the City 2
The first Sex and the City film was a big disappointment. Most of it was just fashion porn, with some truly hideous mawkish moments (more often than not starring poor Jennifer Hudson). A few genuinely touching bits were cancelled out by the extended wedding fashion shoot cringing.
Now that I have accepted that SATC on the big screen will always be a horrible version of the TV series, I could enjoy the second outing as a mildly amusing romp. The faux-seriousness of their supposed problems aside (you do have it tough, girls – having the children you so desperately craved, the love of your life that eluded you so long, or a demanding job), the film is an enjoyable trip with your four favourite girlfriends, even if they are bastardised versions of people you once loved.
The plot, as it goes, concerns Carrie, Miranda, Samantha and Charlotte worrying about their lives and going on an all expenses paid trip to Abu Dhabi. Compared with the first film, fewer moments stuck in my proverbial craw. Those that did were:
Kim Cattrall and Cynthia Nixon are great comedic actresses, outshining their co-stars in a way that wasn’t noticeable in the TV show. Working with a so-so script, they deliver some great lines. Sarah Jessica Parker and Kristin Davis’s characters are often just annoying.
Generally this is funnier and ten times stupider than the first film. Which means it is a hundred times stupider than the original series. Let it wash over you and, whatever you do, don’t analyse it.
Now that I have accepted that SATC on the big screen will always be a horrible version of the TV series, I could enjoy the second outing as a mildly amusing romp. The faux-seriousness of their supposed problems aside (you do have it tough, girls – having the children you so desperately craved, the love of your life that eluded you so long, or a demanding job), the film is an enjoyable trip with your four favourite girlfriends, even if they are bastardised versions of people you once loved.
The plot, as it goes, concerns Carrie, Miranda, Samantha and Charlotte worrying about their lives and going on an all expenses paid trip to Abu Dhabi. Compared with the first film, fewer moments stuck in my proverbial craw. Those that did were:
- The wedding. Given the history of the two characters it felt deeply wrong, even if the ceremony was fabulous.
- Why did Penelope Cruz have a cameo? What did that bring to the film?
- What was going on with the accent of Samantha’s “Danish” guy? He sounded like he was from Rotherham.
- Many outfits were just ludicrous - taffeta and souks do not mix.
Kim Cattrall and Cynthia Nixon are great comedic actresses, outshining their co-stars in a way that wasn’t noticeable in the TV show. Working with a so-so script, they deliver some great lines. Sarah Jessica Parker and Kristin Davis’s characters are often just annoying.
Generally this is funnier and ten times stupider than the first film. Which means it is a hundred times stupider than the original series. Let it wash over you and, whatever you do, don’t analyse it.
Tuesday, 15 June 2010
Review - Hot Tub Time Machine
This film follows three 40-somethings and a 20-something as they travel to the 80s in a magic hot tub at a skiing resort. Gritty realism isn’t really what the director Steve Pink is going for. Instead it is very, very stupid and very funny.
The three old friends (John Cusack, Craig Robinson and Rob Corddry) leap into their own teenage bodies and must relive an eventful weekend from their past. The results are very rude and crude, with lots of retro references and general making fun of the past. Everyone apparently had day-glo clothes and very bad hair back then.
This is obviously riding the coat tails of The Hangover, and it just isn’t up to that standard – because it isn’t as funny, but also because it doesn’t have a nugget of sweetness at its centre. It is also a bit smuttier than many “gross-out” comedies of late. As long as you aren’t a prude, it should give you an evening of laughs if nothing else.
The three old friends (John Cusack, Craig Robinson and Rob Corddry) leap into their own teenage bodies and must relive an eventful weekend from their past. The results are very rude and crude, with lots of retro references and general making fun of the past. Everyone apparently had day-glo clothes and very bad hair back then.
This is obviously riding the coat tails of The Hangover, and it just isn’t up to that standard – because it isn’t as funny, but also because it doesn’t have a nugget of sweetness at its centre. It is also a bit smuttier than many “gross-out” comedies of late. As long as you aren’t a prude, it should give you an evening of laughs if nothing else.
Monday, 31 May 2010
Film review - Kick-Ass
This film has predictably caused a tabloid frenzy, but really it is no more violent than many aimed at adults. The only difference is that a little girl takes part in said violence and swears a lot – which sensible people know is hilarious and awesome.
Dave Lizewski (Aaron Johnson) is a geeky high school student who decides to follow in the footsteps of Peter Parker and be a superhero. Unfortunately, he hasn’t been bitten by a handy radioactive spider, and so is just an ordinary teenager wearing a customised wetsuit. Even more unfortunately, the fake superhero gets mixed up with some real criminals.
Superficially, Kick-Ass deals with similar issues to Alan Moore’s Watchmen, but does not take seriously the question of what would happen if superheroes were real. This is more in the Mystery Men mould of films about stupid superheroes.
Johnson is too bland for the role – not nerdy enough to convincingly play the character or with enough spark to make you care very much. He is out-shone by the supporting players, particularly Christopher Mintz-Plasse as rival fake superhero, the Red Mist, and Nicolas Cage as the real deal, Big Daddy. But it is Chloe Moretz as Hit-Girl who really steals the show. Cute and with killer delivery, she is a little star in the making and what the film will be remembered for.
Written by Jane Goldman and the director Matthew Vaughn, the English roots can be seen in the casting (Dexter Fletcher!) and the liberal sprinkling of art from the YBAs in the rich baddie’s house. The film has pretensions of following Tarantino, but despite the Kill Bill-style violence they don’t quite pull off.
Instead they have crafted a violent thrill-ride which is light on plot, but heavy with laughs. It’s not big, and it’s not clever, but Kick-Ass is a whole lot of fun.
Dave Lizewski (Aaron Johnson) is a geeky high school student who decides to follow in the footsteps of Peter Parker and be a superhero. Unfortunately, he hasn’t been bitten by a handy radioactive spider, and so is just an ordinary teenager wearing a customised wetsuit. Even more unfortunately, the fake superhero gets mixed up with some real criminals.
Superficially, Kick-Ass deals with similar issues to Alan Moore’s Watchmen, but does not take seriously the question of what would happen if superheroes were real. This is more in the Mystery Men mould of films about stupid superheroes.
Johnson is too bland for the role – not nerdy enough to convincingly play the character or with enough spark to make you care very much. He is out-shone by the supporting players, particularly Christopher Mintz-Plasse as rival fake superhero, the Red Mist, and Nicolas Cage as the real deal, Big Daddy. But it is Chloe Moretz as Hit-Girl who really steals the show. Cute and with killer delivery, she is a little star in the making and what the film will be remembered for.
Written by Jane Goldman and the director Matthew Vaughn, the English roots can be seen in the casting (Dexter Fletcher!) and the liberal sprinkling of art from the YBAs in the rich baddie’s house. The film has pretensions of following Tarantino, but despite the Kill Bill-style violence they don’t quite pull off.
Instead they have crafted a violent thrill-ride which is light on plot, but heavy with laughs. It’s not big, and it’s not clever, but Kick-Ass is a whole lot of fun.
Film review - I Love You Phillip Morris
They say that truth is stranger than fiction, and this certainly applies to the life and times of Steven Russell (here played by Jim Carrey). Once a happily married policeman, he came out and became a conman with a knack for escaping from prison.
His story is portrayed with a light, playful touch by writer-directors Glenn Ficarra and John Requa, who previously brought us Bad Santa (2003). There is something about the film which feels unoriginal – perhaps the wacky tone, hyper-real production design and Texas setting makes it too Coen Brothers-esque – but it is still a hilarious and fascinating tale.
Carrey is brilliant as the audacious protagonist, walking the thin line between his comic and serious acting personas. There are moments of pathos amongst the scams, which he pulls off with aplomb, but he is also happy to partake in a little slapstick. Ewan McGregor seems a little old to be playing Steven’s titular lover – the character is supposed to be an ingénue. However, he gives a very sweet performance.
It is unusual to have a gay romance portrayed in a mainstream film, but this is not a romantic comedy. The focus is on plot, and what a plot it is. See it and be amazed at what one guy got away with.
His story is portrayed with a light, playful touch by writer-directors Glenn Ficarra and John Requa, who previously brought us Bad Santa (2003). There is something about the film which feels unoriginal – perhaps the wacky tone, hyper-real production design and Texas setting makes it too Coen Brothers-esque – but it is still a hilarious and fascinating tale.
Carrey is brilliant as the audacious protagonist, walking the thin line between his comic and serious acting personas. There are moments of pathos amongst the scams, which he pulls off with aplomb, but he is also happy to partake in a little slapstick. Ewan McGregor seems a little old to be playing Steven’s titular lover – the character is supposed to be an ingénue. However, he gives a very sweet performance.
It is unusual to have a gay romance portrayed in a mainstream film, but this is not a romantic comedy. The focus is on plot, and what a plot it is. See it and be amazed at what one guy got away with.
Film review - Green Zone
It’s not surprising that a war film is depressing, but Green Zone isn’t depressing because of the loss of life on screen; our hero doesn’t have to comfort a dying friend or reflect on what it means to kill a man like usual. Instead what is depressing is the politics behind the war itself. The situations depicted here are exasperating and all too close to the truth for comfort.
Chief Warrant Officer Roy Miller (Matt Damon) has the pointless task of searching Baghdad for weapons of mass destruction in the aftermath of the 2003 Iraq invasion. When a CIA agent points out just how pointless it is, he starts to investigate the evidence for the war itself.
This is a taut, tense thriller, full of fast-paced intrigue. Paul Greengrass has combined his talents for message films with the Bourne side here, and it is an assured take on a difficult subject. Damon is impressive in the lead role, and it is lovely to see the Wire’s Amy Ryan on the big screen as a journalist. Greg Kinnear portrays the spineless suit charged with covering up the government’s tracks very well indeed.
As I’ve said, this is an enjoyable, pacey film about intelligence briefings – you should by now have smelled a rat. This is not All the President’s Men, but a fictionalised and much simplified version of what actually happened. Unsurprisingly, this retelling is also not particularly kind to the Americans. As an enjoyable night out at the cinema, Green Zone works really well. The danger is that people will think these events actually happened in this way. If only it were that simple.
Chief Warrant Officer Roy Miller (Matt Damon) has the pointless task of searching Baghdad for weapons of mass destruction in the aftermath of the 2003 Iraq invasion. When a CIA agent points out just how pointless it is, he starts to investigate the evidence for the war itself.
This is a taut, tense thriller, full of fast-paced intrigue. Paul Greengrass has combined his talents for message films with the Bourne side here, and it is an assured take on a difficult subject. Damon is impressive in the lead role, and it is lovely to see the Wire’s Amy Ryan on the big screen as a journalist. Greg Kinnear portrays the spineless suit charged with covering up the government’s tracks very well indeed.
As I’ve said, this is an enjoyable, pacey film about intelligence briefings – you should by now have smelled a rat. This is not All the President’s Men, but a fictionalised and much simplified version of what actually happened. Unsurprisingly, this retelling is also not particularly kind to the Americans. As an enjoyable night out at the cinema, Green Zone works really well. The danger is that people will think these events actually happened in this way. If only it were that simple.
Film review - Shutter Island
This 50s-set thriller is a bit of a disappointment – especially as it comes from Martin Scorsese. US Marshall Teddy Daniels (Leonardo DiCaprio) and his new partner (Mark Ruffalo) arrive on the 100-per-cent spooky titular island to find an escaped mental patient. As a storm hits, Daniels starts to believe that there is more going on at this hospital than there first seems.
It is obvious right from the get-go that Scorsese is paying homage to his favourite B-movies of the 40s and 50. In the opening scene the score is full of orchestral crashity-crashity boom-ba-boom, when all we’re looking at is Leo on a boat. The melodramatic score and ominous shots of the island as it comes into view seem totally over the top to a modern audience – instead of building tension it makes everything seem quite humorous.
There’s no let-up in the hokum when we reach the island – the mental institution is run by everyone’s favourite screen baddy (Ben Kingsley) and an archetypal creepy German (Max von Sydow), and of course “there’s only one way off the island”. Once the massive storm comes, there is no way off the island, and we follow Leo as he runs around the forest, soaked to the skin and desperately trying to find the truth.
In the end this is just a lot of noise and driving rain signifying very little. There’s nothing wrong with the performances – DiCaprio is fine in the leading role, Ruffalo gives a quality performance and Kingsley is everything you expect – and there are some creepy moments, but the slow pace and unintentionally hilarious flashbacks will leave most feeling cold. The film just doesn’t sweep you along like it should.
As a silly thriller, it works well enough. If you want some deeper meaning, it is best to look elsewhere.
It is obvious right from the get-go that Scorsese is paying homage to his favourite B-movies of the 40s and 50. In the opening scene the score is full of orchestral crashity-crashity boom-ba-boom, when all we’re looking at is Leo on a boat. The melodramatic score and ominous shots of the island as it comes into view seem totally over the top to a modern audience – instead of building tension it makes everything seem quite humorous.
There’s no let-up in the hokum when we reach the island – the mental institution is run by everyone’s favourite screen baddy (Ben Kingsley) and an archetypal creepy German (Max von Sydow), and of course “there’s only one way off the island”. Once the massive storm comes, there is no way off the island, and we follow Leo as he runs around the forest, soaked to the skin and desperately trying to find the truth.
In the end this is just a lot of noise and driving rain signifying very little. There’s nothing wrong with the performances – DiCaprio is fine in the leading role, Ruffalo gives a quality performance and Kingsley is everything you expect – and there are some creepy moments, but the slow pace and unintentionally hilarious flashbacks will leave most feeling cold. The film just doesn’t sweep you along like it should.
As a silly thriller, it works well enough. If you want some deeper meaning, it is best to look elsewhere.
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