Film review - Black Swan

Darren Aronofsky’s follow up to The Wrestler is set in a very different world – we’ve moved from the amateur wrestling ring in Nowheresville to the New York City Ballet Company. Black Swan is another portrait of a troubled soul, though. A very, very troubled soul. A completely demented soul. This psychological thriller may be far too loopy, but it is gripping none the less.

Nina (Natalie Portman) is a sweet, quiet and dedicated member of the corps de ballet waiting for her chance to shine. The company’s director (Vincent Cassel) wants to cast someone new as the Swan Queen in his production of Swan Lake, but he tells Nina that she doesn’t have the darkness and nastiness needed to play this dual role of the white and black swan. After she shows him her feisty side, he gives her the part. However, things begin to unravel for Nina as the pressure and the need to express her dark side become too much.

The descent into madness is at first intriguing, then revolting, but ultimately laughable. Body horror is not my favourite thing, and there is much tearing of fingernails and ripping of skin here. One can’t help thinking that it would have been a better film had she been slightly less psychotic and things weren’t taken so far.  

Aronofsky has chosen to film the whole thing as he did The Wrestler – in shaky cam style following the lead character around. On the one hand this seems a very odd choice for a film about a majestic art form like ballet (you don’t really get a true sense of the dancing because the shots are always so claustrophobic), but on the other hand it does mean you get to see a lot of what is best about the film – Natalie Portman. Not only is she vulnerable, childlike, hysterical and sensual by turns, she also does most of her own dancing. Her performance is a tour de force and deserves an Oscar.

Barbara Hershey is also excellent as Nina’s terrifying mother, Erica. There are few characters as nutty as Nina in film history, but Erica comes close, and is creepy as hell to boot. Mila Kunis displays her natural charm as Lily, a rival dancer seen as a threat by Nina. Only Winona Ryder seems out of place somehow as a principal dancer past her prime.

If the cinematography isn’t really to my tastes, then the set design made up for this. The liberal use of black and white in most scenes does labour the metaphor a bit (one that is also repeated in costume choices), but it gives the film an unusual and stylish look. Even in Nina’s über-pink bedroom there is a black swan soft toy among the pink fluffy bunnies.

Black Swan is an extremely dramatic film, and will not be to everyone’s tastes. If you let the drama transport you, you may be carried along to the finale. But if you stop to think, you may realise how silly it all is and exit stage left.  

Review - The Tourist

What do you call a thriller that isn’t thrilling?

The Tourist.

This remake of the French film Anthony Zimmer is meant to be frothy, star-filled fun with a bit of action thrown in, but instead it manages to make time move very slowly for everyone unfortunate enough to be watching.

Lingering shots of Angelina Jolie swanning around various European cities dressed in cream take up most of the screen time. She plays Elise, a femme fatale without a hint of danger or competence but with a dodgy English accent. Elise’s lover is some sort of master thief on the run, and the police have her staked out in case they meet up again.

After what feels like an hour, she picks mild-mannered American Frank Tupelo (Johnny Depp) – a grieving non-entity with decidedly odd hair for a teacher from the Mid West – to be her decoy on the train to Venice. Frank is now in danger because everyone thinks he’s the master thief.

So far, so Hitchcock. But unlike North by Northwest, the film is all McGuffin and no meat. So what if Frank is in danger? The camera’s still focusing on Elise’s neat shift-dress-and-shawl ensemble. Where’s the tension? The laughs? The action? The only light point in the film is when the oh-so-demure Elise orders a scampi and champagne risotto in a posh restaurant, but it wasn’t meant to be a joke.

Director Florian Henckel von Donnersmarck’s last film was the awards magnet The Lives of Others, so it is both surprising that he’d work on this kind of material, and that he’d make such a hash of it.

Jolie and Depp are two of the biggest stars on the planet, but have no chemistry. It feels like Depp, in particular, is phoning in his performance – fair enough, the script gives him nothing to work with, but he how can the man who played Ed Wood have so little character and charisma? A largely British supporting cast is also wasted, including Paul Bettany and Rufus Sewell.

A Hollywood thriller-by-numbers which doesn’t add up, The Tourist is pretty moving wallpaper and a great cure for insomnia.

Film review - The Social Network

The Social Network is a very exciting and funny film about computer programming. That may seem like an oxymoron, but when the programme in question is one of the most significant websites in history, one that changes people’s lives on a daily basis and is worth billions, it perhaps isn’t that surprising.

The film tells the (possibly quite apocryphal) story of Mark Zuckerberg (Jesse Eisenberg), the founder of Facebook, from the creation of the website until he settles the various lawsuits it in turn created. After his girlfriend dumps him, Mark gets drunk and creates a website in a night so that people can rate the hotness of female students. This gets him a lot of attention, including from the Winklevoss twins, giant blond rowers who have plans to build a dating website exclusively for Harvard students. Mark agrees to help them while at the same time building thefacebook.com. We all know which site came out on top.

It is quite unusual to have a main character of a film that is so unlikable. Mark is like Sheldon Cooper with a sex drive and without the charm – selfish, terrible in social situations and with a fragile ego. Eisenberg doesn’t try to make him sympathetic and turns out a very good performance. Mark may be the brains of the operation, but his business partner and best friend Eduardo Saverin is the heart. Played by the lovely Andrew Garfield (last seen in The Imaginarium of Doctor Parnassus), his betrayal is very sad to watch. Justin Timberlake also gives a fine performance as the founder of Napster. Refreshingly, he plays a prat rather than a cool guy.

The journey from college dorm room to Silicon Valley is fast-paced and hilarious, thanks mainly to the script by The West Wing creator Aaron Sorkin. It’s full of lines perhaps even too clever to be spoken by a load of Harvard smart alecs. The direction by David Fincher is as cool, swish and grubby as you would expect.

Despite all the quality on screen, what perhaps is most striking about the film is how recent the events depicted are. Facebook was founded in early 2004 but a world without it already seems unthinkable for many. Perhaps it is too recent, both for the filmmakers to understand the impact of the website and for the real people portrayed in the film. However, it’s hard to quibble when seeing the film is such an enjoyable experience. Roll on Wikipedia: The Movie, I say.

London Film Festival Review - Rare Exports: A Christmas Tale

I’m half Finnish, and I’m always telling people that Father Christmas lives in Mount Korvatunturi in Finnish Lapland. No-one ever believes me! They think he lives at the North Pole. Like that’s even possible.

It was therefore exciting to see that a film confirming the real origins of Father Christmas was showing at the London Film Festival. Little did I know that I had a lot to learn about Santa Claus myself. You see, the cuddly figure we’ve been brought up with was just the creation of Coca Cola. In reality, he is deadly.

Rare Exports follows Pieteri, a little boy living in the shade of Korvatunturi with his father. An American mining company has been digging deep into the mountain looking for the real Father Christmas. When children start going missing, Pieteri begins to suspect that something evil has been unleashed.

On the surface this should be a children’s film – the main character is a classic lonely child who is not taken seriously by adults, and it’s about Santa Claus. However, it is much too scary for children. The monsters evoke a strong sense of menace and are just real enough to be believable. Though perhaps not an out-and-out horror, most adults should be at least creeped out by it. British and American parents may also feel that the more relaxed attitude to nakedness shown, though typical of the Nordic countries, is not suitable for their offspring.

Rare Exports is based on two short films made in 2003 and 2005 by director Jalmeri Helander. Like District 9 before it, one interesting idea has been successfully developed and expanded into a feature. Funny, shocking and sweet, this film is very different from your usual Hollywood holiday fare, and all the better for it. I don’t think I’m ever going to look at Father Christmas the same way again.

London Film Festival Review - The Parking Lot Movie

I love slackers and slacker culture. I would like to be a slacker myself (I certainly watch enough television), but my work ethic and drive have always been just strong enough to get in the way. Spiritually, though, I am at one with these people. The Parking Lot Movie is a portrait of a slacker paradise that has been lovingly cultivated in Charlottesville, Virginia, for over 20 years. Like a documentary version of Clerks, it shows the titanic struggles and absurdities of the service industry through the eyes of these outsiders.

The Corner Parking Lot is a little car park situated opposite the University of Virginia owned by Chris Farina – a very relaxed guy who likes to wear shorts, and who also happens to be a documentary film maker himself. Chris only lets friends work in the car park, or friends of friends. This policy has meant that all his employees have been intelligent slackers – philosophy graduate students, musicians, dreamers. Director Meghan Eckman spent three years filming the goings on at the car park, and interviewing current and past attendants. The results are hilarious, moving and fascinating.

Working at the parking lot involves mostly just sitting alone in the ramshackle booth and taking money from customers. Eckman allows her subjects to go through the minutiae of all the tasks, the little rituals that have developed in this strange island of space-time. The job gives plenty of scope for these underachievers to analyse their lives, themselves, and the nature of the car park, producing many of the best lines. For example, one describes the role of the parking lot attendant as that of a “creator-destroyer god”.

Unfortunately the attendants’ philophising and mucking around has to be interrupted by those who want to use the car park. In the words of Randal Graves: “This job would be great if it wasn’t for the customers.” The interviewees do not prescribe to the maxim that “the customer is always right”. It’s more a case of “the customer is always a douche”. When you realise they deal with a lot of SUV-driving frat boys, it’s not surprising that they are cynical.

There is a sense of desolation running between the laughs, of course – no one dreams of being a car park attendant. However, for many it seems the job gave them time to find out what they wanted to do, and to grow as a human being while they did it.

Slacker culture held the Zeitgeist during the 90s, and so the The Parking Lot Movie seems to come from that decade – it’s so lo-fi that it should be soundtracked by Pavement. The low budget feel is charming, however, and doesn’t detract from the subject at all.

Eckman has found a wonderful bit of weirdness to focus her camera on, filled with droll and witty people. This documentary has everything from the sublime to the ridiculous, the mundane to the profound, the pitiful to the inspirational. And it has all been found in one little patch of concrete.

Film review - The Town

When Gone Baby Gone was released, it became easy to say that Ben Affleck is a better director than actor – his directorial debut had an assured quality to it, and at that time the roles really weren’t coming his way. His follow up, The Town, is another serious look at working-class Boston, but this time he is directing and starring. It turns out he’s good at both.

The story follows Doug Macray (Affleck), a man from the Charlestown district of Boston who has followed his father into the profession of bank robbing. Apparently, this is not an uncommon line of work in Charlestown. After a successful job, Doug and his gang discover that the woman they took hostage (Rebecca Hall) lives in the area. Worried that she may be able to identify them, he decides to find out how much she knows.

Then things start to turn romantic, and his life spirals out of control.

Affleck has produced a very tense thriller from Chuck Hogan’s source novel, full of twists, suspense and drama. There’s a lot of action, with brutal robbery scenes and a good old-fashioned car chase. The love story is particularly well handled thanks to Hall’s performance. Her character feels very real – an understated young woman who’s been through trauma and finds comfort in Doug.

The rest of the performances are also excellent, and a special mention must go to Jeremy Renner (last seen in The Hurt Locker) as Doug’s partner in crime. It’s also lovely to see Jon Hamm as an FBI agent, but fans of Mad Men will find it strange to see him in the modern world (at one particularly disturbing point he mentions Skype).

The lead performance from Affleck is by no means stunning, but shows the natural charm that got him noticed by Hollywood in the first place (before it got him noticed by the paparazzi). His character is much like Will from Good Will Hunting: a guy who should be doing great things but sticks around his neighbourhood out of misplaced loyalty. This film shows that when given interesting parts, he isn’t so bad after all.

There are a few negatives to the film – the final shootout goes on a bit, and the criminal fraternity of Charlestown is not paricularly well defined (making the role of Pete Postlethwaite’s boss in the whole affair as hard to understand as the thick Bostonian accents everyone has).

It is likely that The Town will be compared to The Departed. While it seems run of the mill next to Scorsese’s stab at a Boston-set crime film, it is certainly an enjoyable ride and another quality film from Mr Affleck.

Film review - Toy Story 3

Toy Story was the first computer-animated feature, and its second sequel may just be the best. This film about a group of toys is a heartbreaking study of change and loss, but also an accomplished prison escape movie. It’s a comedy, but will make you cry.

Woody, Buzz and the gang have resigned themselves to a quiet life in the attic when they see their owner Andy start packing for college. But when they accidently get donated to a daycare centre, they enter a toy’s paradise full of children to play with and new toys to befriend. However, all is not what it seems at Sunnyside daycare, and they realise they have to get back to Andy.

Every frame of Toy Story 3 is full of invention, and every character a delight (except Jessie, who is as annoying as ever). It is this attention to detail that lifts Pixar films above all others aimed at children. The tight plot is expertly crafted, using genre clichés from horror and thrillers that keep the adults’ attention too. A hilarious script is performed by a wonderful cast, but Ned Beatty needs a special mention for the voice of strawberry-scented Lotso, one of the great film villains of all time.

As well as all the excitement in the story, there is also a lot of sadness. Ultimately this is a tale about growing up and leaving your childhood behind, which means it will probably have more effect on adults than children – they won’t know what they’ve got until it's gone. Only Professor Coldheart wouldn’t be blubbing by the end.