Christmas has long offered fertile material for film makers. Every year, Hollywood produces a raft of sleigh-belled, Santa-hatted fare for our delectation, and often the forced jollity of it all fails to entice us.
Last year’s disappointing Fred Claus was a case in point, so it is surprising that its star Vince Vaughn decided to go with another festive film so soon. Four Christmases, however, exceeds expectations by being that rare thing: a Christmas comedy that is genuinely funny.
Brad (Vaughn) and Kate (Reese Witherspoon) love each other very much, but hate to spend Christmas with their families (as Brad puts it, you can’t spell ‘families’ without ‘lies’). Every year since these yuppies met, they’ve gone on a fabulous holiday to avoid traipsing between the four households of their divorced parents. But when all flights are grounded on Christmas Day, they have to do their duty and visit their loved ones.
The couple progress from one parent to the next, each prone to causing major embarrassment and physical injuries to their offspring. There’s Brad’s redneck father and wrestling brothers, his hippy mother and her toy boy, and Kate’s born-again mum. Brad and Kate are confronted with everything they hate about their pasts, but end up seeing what they are missing from their future in a series of very sweet moments that intercut the slapstick.
What really lift this up from your usual romantic comedy mush are the performances. Vaughn and Witherspoon are very convincing as a couple, despite the height difference (they look like they’ve been drawn to different scales), and the parents are all played by Oscar winners (Jon Voight, Robert Duvall, Sissy Spacek and Mary Steenburgen).
Much of the script was improvised by the actors, and this is where Vince Vaughn really excels, churning out pop culture references and barbs with his cuddly charm. Witherspoon shows the comic timing that gained her so many fans in Legally Blonde and delivers the more serious scenes beautifully.
The director, Seth Gordon, has only one other feature under his belt, the cult documentary King of Kong about obsessive video game players. Four Christmases seems like an odd follow up, but it does touch on a real and universal theme: our families might drive us crazy, but we need them.
We may also need this gentle and hilarious reminder when we are struggling to stay sane in December.
Thursday, 27 November 2008
Zack and Miri Make a Porno
For Kevin Smith fans, Zack and Miri Make a Porno was a slightly worrying prospect. It’s not set in the same filmic universe as most of Kevin Smith’s films (you can tell this because it’s not set in New Jersey, and Jeff Anderson’s character isn’t called Randal). The only other film that he’s made without Jay and Silent Bob was Jersey Girl, an ok film struck down by the curse of Gigli. There is no need to fear, however, because from the very first scene it is clear that we are in classic Kevin Smith mode; the movie is chock-full of the filthy humour, endearing moments and lack of cinematographic flair that we have come to love.
Zack (Seth Rogen) and Miri (Elizabeth Banks) have been best friends since high school, and share a flat. Faced with major money troubles, they decide to get out of debt by making and starring in a porn film. They find that turning a platonic relationship into a sexual one has consequences.
The script is full of Smith’s trademark dirty discussions and some pretty gross moments. The scenes where the ragtag cast and crew make the film are very amusing and reminiscent of his debut, Clerks¸ shot in the shop where he worked outside of business hours. Porn is an innately funny genre, what with the ridiculous scripts and acting, and this film gets its money’s worth out of the concept.
The cast is eclectic, and all the better for it. It is always nice to see Smith regulars Jeff Anderson and Jason Mewes on screen, this time joined by real porn stars Traci Lords and Katie Morgan. Josh Rogen is cuddly and sweet as Zack (a character obviously based on Kevin Smith) and Elizabeth Banks is charming as Miri, if a little bland. She is definitely flavour of the month in Hollywood, but her face so closely resembles Parker Posey’s that I always have unrealistic expectations of her wackiness and comedic talent, leaving me slightly disappointed.
But it is Justin Long (last seen in Die Hard 4.0 and Ed) who steals the show in a single scene. Using an unnaturally low voice to play a gay porn star, he manages to be at once creepy, cool and hilarious. It is the highlight of a very funny film with a very sweet heart.
Zack (Seth Rogen) and Miri (Elizabeth Banks) have been best friends since high school, and share a flat. Faced with major money troubles, they decide to get out of debt by making and starring in a porn film. They find that turning a platonic relationship into a sexual one has consequences.
The script is full of Smith’s trademark dirty discussions and some pretty gross moments. The scenes where the ragtag cast and crew make the film are very amusing and reminiscent of his debut, Clerks¸ shot in the shop where he worked outside of business hours. Porn is an innately funny genre, what with the ridiculous scripts and acting, and this film gets its money’s worth out of the concept.
The cast is eclectic, and all the better for it. It is always nice to see Smith regulars Jeff Anderson and Jason Mewes on screen, this time joined by real porn stars Traci Lords and Katie Morgan. Josh Rogen is cuddly and sweet as Zack (a character obviously based on Kevin Smith) and Elizabeth Banks is charming as Miri, if a little bland. She is definitely flavour of the month in Hollywood, but her face so closely resembles Parker Posey’s that I always have unrealistic expectations of her wackiness and comedic talent, leaving me slightly disappointed.
But it is Justin Long (last seen in Die Hard 4.0 and Ed) who steals the show in a single scene. Using an unnaturally low voice to play a gay porn star, he manages to be at once creepy, cool and hilarious. It is the highlight of a very funny film with a very sweet heart.
Sunday, 16 November 2008
Review - Quantum of Solace
I wasn’t as enthused as everyone else by Daniel Craig’s first outing as James Bond in Casino Royale. Although reasonably enjoyable, in my mind Bond does not have sandy hair and a face like a beefy Sid James, and it was all a bit too serious. Quantum of Solace continues in the same vein, as our hero grieves Vespa Lynd by moodily killing people all over the world.
Bond is on the trail of a new, and very secretive, terrorist organisation. One of its members is Dominic Greene (Mathieu Amalric, playing a slightly more evil version of Jools Holland), a supposed environmentalist who likes staging coups and ruining the lives of poor people. Bond’s determination to stop him, against the wishes of MI6, leaves him a target.
Craig is robotic and emotionless – Bond is still so upset about his girlfriend dying in the last film that he is not allowing himself to feel. It may be intentional, but his ice blue eyes are so cold that it is hard to sustain one’s interest. Judy Dench is suitably matriarchal as M, but I was upset by her incongruous use of a short ‘a’ sound in the word ‘bastard’; she may be from Yorkshire, but that’s not the RP she was taught at the Central School of Speech and Drama.
My main concern is that most of what made Bond films special has gone out the window. The villain, though creepy, is perhaps not quite evil enough, and the Bond girls (Olga Kurylenko and Gemma Arterton) don’t get much screen time or a chance to be glamorous. If it wasn’t ‘cool’ enough, maybe they shouldn’t make them at all. Hopefully, with Casino Royale an origin film and Quantum of Solace about getting over that origin, the next instalment will see Bond emerge as a confident, suave and slightly more cheery fellow.
The action scenes here are gritty, exciting and numerous, almost making up for the shortcomings; this Bond is not averse to getting into fist fights, and looks like he could handle himself. Overall this is solid action fare, with car chases, explosions and plenty of hanging off scaffolding to enjoy, but it will not be anyone’s favourite Bond film.
Bond is on the trail of a new, and very secretive, terrorist organisation. One of its members is Dominic Greene (Mathieu Amalric, playing a slightly more evil version of Jools Holland), a supposed environmentalist who likes staging coups and ruining the lives of poor people. Bond’s determination to stop him, against the wishes of MI6, leaves him a target.
Craig is robotic and emotionless – Bond is still so upset about his girlfriend dying in the last film that he is not allowing himself to feel. It may be intentional, but his ice blue eyes are so cold that it is hard to sustain one’s interest. Judy Dench is suitably matriarchal as M, but I was upset by her incongruous use of a short ‘a’ sound in the word ‘bastard’; she may be from Yorkshire, but that’s not the RP she was taught at the Central School of Speech and Drama.
My main concern is that most of what made Bond films special has gone out the window. The villain, though creepy, is perhaps not quite evil enough, and the Bond girls (Olga Kurylenko and Gemma Arterton) don’t get much screen time or a chance to be glamorous. If it wasn’t ‘cool’ enough, maybe they shouldn’t make them at all. Hopefully, with Casino Royale an origin film and Quantum of Solace about getting over that origin, the next instalment will see Bond emerge as a confident, suave and slightly more cheery fellow.
The action scenes here are gritty, exciting and numerous, almost making up for the shortcomings; this Bond is not averse to getting into fist fights, and looks like he could handle himself. Overall this is solid action fare, with car chases, explosions and plenty of hanging off scaffolding to enjoy, but it will not be anyone’s favourite Bond film.
Monday, 10 November 2008
Review - Gomorrah
As one watches the Godfather or Goodfellas, life in organised crime does look sort of glamorous – until the bullets start flying and the knives start slitting throats, of course. In Gomorrah, it doesn’t seem glamorous for even a second. This brutal Italian film examines the Camorra, Naples’ version of the Sicilian Mafia, and the damage it does. As you watch these men and boys go about their lives in crumbling concrete estates soaked in grey light, you would be forgiven for thinking you were watching a 1980s Mike Leigh film. This is certainly not the sun-drenched Italy of travel brochures, all blue seas and pasta.
Gomorrah follows the lives of disparate people involved with the Camorra, which the viewer learns has its finger in many pies (toxic waste dumping being the most upsetting for someone like me who was brought up on Captain Planet). Young Totò (Salvatore Abruzzese) is a new recruit who we see losing his innocence quite spectacularly. The fact that this boy does so in an England football shirt makes it all the more upsetting. Marco (Marco Macor, a dead ringer for a young Robert De Niro) and Ciro (Ciro Petrone) are two bumbling wannabe gangsters taking on the local Don. Pasquale (Salvatore Contalupo) is a tailor creating haute couture gowns for the Camorra who attempts some very risky moonlighting for a rival, and Don Ciro (Gianfelice Imparato) is a money collector trying to survive as a turf war rages around him. These are just some of the stories woven together to form a picture of a city living in fear of this organisation, and there are none more afraid than those working for it.
The film is based on a book by Roberto Saviano, who now lives under police protection because of the attention he has brought to this secret society. Shot in a grainy, semi-documentary style, everything feels extremely authentic. The lingering shots do slow the pace to a crawl at times and it is not always clear which sides some of the characters are on, but overall this is a bloody and eye-opening introduction to a way of life we don’t often hear about, and one which seems to be without end.
Gomorrah follows the lives of disparate people involved with the Camorra, which the viewer learns has its finger in many pies (toxic waste dumping being the most upsetting for someone like me who was brought up on Captain Planet). Young Totò (Salvatore Abruzzese) is a new recruit who we see losing his innocence quite spectacularly. The fact that this boy does so in an England football shirt makes it all the more upsetting. Marco (Marco Macor, a dead ringer for a young Robert De Niro) and Ciro (Ciro Petrone) are two bumbling wannabe gangsters taking on the local Don. Pasquale (Salvatore Contalupo) is a tailor creating haute couture gowns for the Camorra who attempts some very risky moonlighting for a rival, and Don Ciro (Gianfelice Imparato) is a money collector trying to survive as a turf war rages around him. These are just some of the stories woven together to form a picture of a city living in fear of this organisation, and there are none more afraid than those working for it.
The film is based on a book by Roberto Saviano, who now lives under police protection because of the attention he has brought to this secret society. Shot in a grainy, semi-documentary style, everything feels extremely authentic. The lingering shots do slow the pace to a crawl at times and it is not always clear which sides some of the characters are on, but overall this is a bloody and eye-opening introduction to a way of life we don’t often hear about, and one which seems to be without end.
Friday, 31 October 2008
Review - W.
It is perhaps indicative of the quality of this biopic that it is bookended by the most banal of President George W. Bush’s crises: the pretzel in the throat incident. When I heard that the notorious lefty Oliver Stone was going to film the story of the most hated President in living memory, I (like everyone else) expected a savage indictment of the man. In the end this film, like the partial choking, is mildly amusing but ultimately harmless.
The most puzzling thing about this movie is that it completely bypasses the interesting aspects of W.’s life and presidency: the draft dodging, the drinking, the religious epiphany, the wrangling of the 2000 election, September 11th. Instead, Stone and screenwriter Stanley Weiser have chosen to show a few snatches of Yale frat life, a bit of the ‘lost years’ doing various jobs, and then the decision making process leading to the invasion of Iraq. Stone was presumably trying to avoid the ‘controversial’ tag as much as possible by pulling his punches, using the pretence of concentrating on the inner workings of George. Of course, he doesn’t seem to have very interesting inner workings. All we learn is that he has a very good memory, a bad case of sibling rivalry and a rich Daddy who is disappointed in him.
That’s not to say that Stone has portrayed his subject positively. Infamous ‘Bushisms’ are awkwardly shoe-horned into the script to make him look ridiculous. He comes across as an idiot and a rich kid trying to be a good ole boy, but he also seems quite innocent. His advisors, particularly the shadowy figure of Karl Rove, are the ones manipulating his hot head to their advantage.
Josh Brolin plays the current President of the United States with an authentically inauthentic Texan drawl and just the right level of down-home, smirking confidence, and he does well with the material given to him. The rest of the Bush clan are also nicely played. Elizabeth Banks comes across as a very sweet Laura Bush, and James Cromwell is suitably domineering as the elder George. The real let down comes with W.’s inner circle, particularly Thandie Newton as Condoleezza Rice. These parts are just bad caricatures; the scenes in the Oval Office would resemble an SNL skit if the script was at all witty.
All in all, this is a slow, boring, incomprehensible film. I really do not know what Stone was trying to achieve by rushing out this film in time for the election. Perhaps it would have been understandable in 2004, but as there is no danger of W. getting another term, it doesn’t seem necessary to inflict this upon us. The subject of George W. Bush would be better explored by an out and out comedy or by a serious look at his life and motivations. He probably deserves both. As it is, this is a half-baked take on a few scenes from his life. Like the pretzel, it could have done some real damage, but instead is easily wiped from the memory.
The most puzzling thing about this movie is that it completely bypasses the interesting aspects of W.’s life and presidency: the draft dodging, the drinking, the religious epiphany, the wrangling of the 2000 election, September 11th. Instead, Stone and screenwriter Stanley Weiser have chosen to show a few snatches of Yale frat life, a bit of the ‘lost years’ doing various jobs, and then the decision making process leading to the invasion of Iraq. Stone was presumably trying to avoid the ‘controversial’ tag as much as possible by pulling his punches, using the pretence of concentrating on the inner workings of George. Of course, he doesn’t seem to have very interesting inner workings. All we learn is that he has a very good memory, a bad case of sibling rivalry and a rich Daddy who is disappointed in him.
That’s not to say that Stone has portrayed his subject positively. Infamous ‘Bushisms’ are awkwardly shoe-horned into the script to make him look ridiculous. He comes across as an idiot and a rich kid trying to be a good ole boy, but he also seems quite innocent. His advisors, particularly the shadowy figure of Karl Rove, are the ones manipulating his hot head to their advantage.
Josh Brolin plays the current President of the United States with an authentically inauthentic Texan drawl and just the right level of down-home, smirking confidence, and he does well with the material given to him. The rest of the Bush clan are also nicely played. Elizabeth Banks comes across as a very sweet Laura Bush, and James Cromwell is suitably domineering as the elder George. The real let down comes with W.’s inner circle, particularly Thandie Newton as Condoleezza Rice. These parts are just bad caricatures; the scenes in the Oval Office would resemble an SNL skit if the script was at all witty.
All in all, this is a slow, boring, incomprehensible film. I really do not know what Stone was trying to achieve by rushing out this film in time for the election. Perhaps it would have been understandable in 2004, but as there is no danger of W. getting another term, it doesn’t seem necessary to inflict this upon us. The subject of George W. Bush would be better explored by an out and out comedy or by a serious look at his life and motivations. He probably deserves both. As it is, this is a half-baked take on a few scenes from his life. Like the pretzel, it could have done some real damage, but instead is easily wiped from the memory.
Wednesday, 22 October 2008
London Film Festival review - Frost/Nixon
Being young as I am, David Frost is the man I used to watch on a Sunday morning before I had Sky and had the power to flick to something interesting. Sitting there seriously in a suit interviewing the Shadow Transport Secretary, to my generation he is pretty indistinguishable from a David or Jonathan Dimbleby. There was Through the Keyhole, or course, which hinted at hidden depths (or should that be hidden shallows?), but he was just another journalist to us.
However, 30 or 40 years ago, Frost was a very big deal. The British satirical sketch show That Was the Week That Was he fronted actually transferred to America, something that nowadays would still be a bit of a coup, and he had chat shows in Britain, America and Australia. Then there are the Nixon interviews. The friend I took to see Frost/Nixon at the London Film Festival had never even heard of them, and I knew very little; Watergate is not the historic touchstone for us that it is to people glued to their television screens at the time. Nevertheless, we found this account of the meetings between Frost and the disgraced ex-President to be absolutely riveting.
Beginning with Nixon’s resignation in 1974, the films follows Frost (Michael Sheen) as he tries to arrange the interview everyone wants but no-one can get. Nixon (Frank Langella) has retired to his California beach house, making ends meet with low-end speaking engagements. He agrees to Frost’s request for an interview because he thinks he’ll be in for an easy ride. With the American television networks not interested, David must raise Nixon’s considerable fee himself. Finally, in 1977, they sit down to talk in front of the cameras.
The tension built up to this point is palpable. The director Ron Howard has managed to make the film as nerve-wracking as Apollo 13, one of his previous efforts. The years of preparation and study on both sides come down to a few hours of filming. This is a battle of wits, and only one person can emerge victorious.
Sheen and Langella are wonderful in their roles, both hitting the right balance between impersonation and characterisation. David Frost comes off as a bit of a berk, really. A man with ambitions bigger than his talents, he seems desperate for success but willing to work to achieve it. Richard Nixon appears to be very complex. Slippery as an eel and sharp as a pin, he also seems very lonely. Of course, his problems are self-inflicted, and the film doesn’t paint him as a victim.
The supporting cast is also excellent. Frost’s team of Oliver Platt, Matthew MacFadyen and Sam Rockwell are funny and charming. Kevin Bacon is quite terrifying as Nixon’s right hand man and Rebecca Hall is adorable in the role of Frost’s girlfriend.
The script they have to work with, based on the successful play, is hilarious, insightful and very, very clever. Everything, in fact, about the production screams 'quality'. This is a classy film about a fascinating subject that will leave you desperate to get home and look at those interviews again on YouTube. David Frost certainly wasn’t this exciting sitting on that sofa every Sunday morning on BBC1.
However, 30 or 40 years ago, Frost was a very big deal. The British satirical sketch show That Was the Week That Was he fronted actually transferred to America, something that nowadays would still be a bit of a coup, and he had chat shows in Britain, America and Australia. Then there are the Nixon interviews. The friend I took to see Frost/Nixon at the London Film Festival had never even heard of them, and I knew very little; Watergate is not the historic touchstone for us that it is to people glued to their television screens at the time. Nevertheless, we found this account of the meetings between Frost and the disgraced ex-President to be absolutely riveting.
Beginning with Nixon’s resignation in 1974, the films follows Frost (Michael Sheen) as he tries to arrange the interview everyone wants but no-one can get. Nixon (Frank Langella) has retired to his California beach house, making ends meet with low-end speaking engagements. He agrees to Frost’s request for an interview because he thinks he’ll be in for an easy ride. With the American television networks not interested, David must raise Nixon’s considerable fee himself. Finally, in 1977, they sit down to talk in front of the cameras.
The tension built up to this point is palpable. The director Ron Howard has managed to make the film as nerve-wracking as Apollo 13, one of his previous efforts. The years of preparation and study on both sides come down to a few hours of filming. This is a battle of wits, and only one person can emerge victorious.
Sheen and Langella are wonderful in their roles, both hitting the right balance between impersonation and characterisation. David Frost comes off as a bit of a berk, really. A man with ambitions bigger than his talents, he seems desperate for success but willing to work to achieve it. Richard Nixon appears to be very complex. Slippery as an eel and sharp as a pin, he also seems very lonely. Of course, his problems are self-inflicted, and the film doesn’t paint him as a victim.
The supporting cast is also excellent. Frost’s team of Oliver Platt, Matthew MacFadyen and Sam Rockwell are funny and charming. Kevin Bacon is quite terrifying as Nixon’s right hand man and Rebecca Hall is adorable in the role of Frost’s girlfriend.
The script they have to work with, based on the successful play, is hilarious, insightful and very, very clever. Everything, in fact, about the production screams 'quality'. This is a classy film about a fascinating subject that will leave you desperate to get home and look at those interviews again on YouTube. David Frost certainly wasn’t this exciting sitting on that sofa every Sunday morning on BBC1.
Review - Righteous Kill
Many people will be excited at the prospect of seeing Al Pacino and Robert De Niro back on screen together. One would expect this dream combination, previously glimpsed only briefly in the over-rated Heat, to only come about when an outstanding project comes along that demands the two hard nuts reunite. It is hard to see how Righteous Kill appeared to be that outstanding project. Al and Bobby must have been paid some serious green to appear in this rather average thriller.
Detectives Turk (De Niro) and Rooster (Pacino) have been partners for a long time (if this was real life, they would surely have retired by now) working the mean streets of New York. While investigating a serial killer that targets scumbags who have escaped jail, suspicion begins to fall on Turk as the bodies pile up.
De Niro and Pacino are, of course, very good, but that doesn’t mean they’re trying particularly hard. An appearance from 50 Cent is passable, but it is perhaps only Carla Gugino as Turk’s experimental love interest who shines,
The film is very claustrophobic, with lots of close ups and tight shots on the characters. I suspect that’s to hide the meagre production values (which look about the same as a mid-level Law & Order episode) rather than for any artistic reason. The script has few memorable lines and the plot will not keep your interest up to the end. This is one to see on DVD rather than in the cinema.
Detectives Turk (De Niro) and Rooster (Pacino) have been partners for a long time (if this was real life, they would surely have retired by now) working the mean streets of New York. While investigating a serial killer that targets scumbags who have escaped jail, suspicion begins to fall on Turk as the bodies pile up.
De Niro and Pacino are, of course, very good, but that doesn’t mean they’re trying particularly hard. An appearance from 50 Cent is passable, but it is perhaps only Carla Gugino as Turk’s experimental love interest who shines,
The film is very claustrophobic, with lots of close ups and tight shots on the characters. I suspect that’s to hide the meagre production values (which look about the same as a mid-level Law & Order episode) rather than for any artistic reason. The script has few memorable lines and the plot will not keep your interest up to the end. This is one to see on DVD rather than in the cinema.
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