LFF 2013: Mystery Road *****

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Beneath Clouds (2002) writer-director Ivan Sen has found a pitch-perfect niche in the crime-thriller genre with his new film Mystery Road, set in the Australian outback. This marvellously atmospheric and sumptuous-looking film has all the mellow attitude of a western, pausing to take in panoramic, burnt-orange sunrises and sunsets, while punctuated by bursts of action sequences straight out of a cowboy shootout, following mounting tension.

Mystery Road and Sen can also be credited for introducing the awe-inspiring Australian TV actor Aaron Pedersen to the international audience’s attention. Pedersen exudes an all-engrossing, controlled and authoritative presence on the big screen, not seen since the cowboy heydays of Clint Eastwood, Steve McQueen or Burt Lancaster. Of Australian Aboriginal descent, Pedersen makes for a likely hero in Sen’s racially tense storylines, trying here to transcend local barriers as Aboriginal cop Jay Swan.

After the murder of a local Aboriginal girl, dumped by the roadside, Detective Swan is given the case on returning to his deprived hometown, following a lengthy absence. Keen to prove his skills honed in the city and solve the crime that throws up leads far too close to home, Swan encounters the ugly stranglehold of drugs and prostitution in his township, as well as strong racial tension that plays havoc with him doing the job. In addition, Swan experiences prejudice in the workplace, including locking horns with a narcotics cop (Hugo Weaving, untitled) who seems to be one of the main culprits running the show.

The film’s slow-burn pace brilliantly mirrors then reflects the building frustrations of its protagonist in trying to get leads, a tedious process but one that does not deter Swan. Hence, there are some exciting dynamics at play because of Swan’s exclusion from his own community – who don’t fully trust him, especially after his absence – and the White folk who dominate the local landscape and surrounding farms. The film speaks volumes about the plight of Aborigine deprivation and the widening gap between the haves and have-nots. The irony is the younger community are technology-savvy with smartphones featuring heavily as a tool of communication (and a stark contrast to the apparent domestic hardship) and a digital barrier to Swan’s tracking of clues and missing people.

Pedersen as Swan portrays a man of principle, never giving up on the goal and trying to get others to take a long, hard look at themselves, including the mother of his child. Even so, Sen suggests Swan is still a flawed character with dark secrets that are touched on but not explored to veer proceedings off course. That said the White characters are painted fairly two-dimensionally as rogues and cheats. There is a commendable turn from True Blood actor, Australian Ryan Kwanten as a misguided local bad boy who fits the Australian redneck mould perfectly. Admittedly, the clichés are perhaps more unavoidable in such a crime genre that comments on social ills than the leeway Sen had with his characters’ journey in Beneath Clouds.

Mystery Road offers nothing new in terms of crime plot, but its awesome setting and tenacious hero make it an absolute must-see, especially for western fans. It’s also a chance to marvel at Sen’s superior filmmaking talent that included shooting, editing and scoring, and to be introduced to Pedersen who is set for global screen domination after this.

5/5 stars

By @FilmGazer

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If I Stay ***

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By describing If I Stay as ‘bland’ (as some critics have) falls into the same category as lazily dismissing the Twilight saga films – they serve a purpose for the hormonal young. Sure, watching loved-up teens looking and acting awkward can be a little on the dreary, lagging side for us older and ‘wiser’ (ahem) lot, but this film does have more value than to simply dismiss it as teen pulp.

For a start, If I Stay has love, tragedy and great music to enjoy, all wrapped up and delivered by ‘hot acting stuff’ Chloë Grace Moretz who gives fans her vulnerable side for a change. It may not be everyone’s cup of tea, but it’ll certainly cause a few lumps in the throat, if not moist eyes, however shamefully it tugs at the heartstrings.

Based on a young adult bestseller by Gayle Forman, If I Stay is narrated by lead character Mia Hall (Moretz) who has a great family life in Portland (with super cool parents and small brother) and is a talented cello player. She has also recently bagged the ‘rock star’ boyfriend, Adam (Jamie Blackley), as well as auditioned for Juillard School in NYC. But all this changes after a terrible car accident that puts her in a coma. In a series of flashbacks to help her, Mia must decide whether to wake up or pass onto the afterlife.

This is an effortless and emotional watch for anyone. Moretz may not be stretching her acting muscles much, but she demonstrates she can open a film and deliver. If I Stay is targeted at the young adult like the novel so expect teen love angst in spades. The passion between Moretz’s Mia and UK actor Blackley’s Adam (of Snow White and the Huntsman fame who will stir many a young heart after this and does a half-decent America accent) is genuinely believable. Blackley’s Adam is the brooding, loved-up type in the ‘Edward Cullen’ vein with Moretz’s Mia the unconfident ‘Bella Swan’ so it’s not surprising the impact this will have on the young in the post-Twilight vacuum.

Perhaps the biggest draw is the music, a mixture of rock, guitar ballards and classical cello pieces that can be enjoyed by all. Director, documentary filmmaker R.J. Cutler keeps events engaging enough with an emotive music score that accompanies or heightens the drama along the way. The music is part and parcel of the film – without it there would be little story – which makes you question how much the successful novel has been dumbed down. That said like the rocky romance, the music touches a chord to engage its target audience for maximum effect. Manipulating – you bet.

Indeed things are a little too perfect for real life – Mia’s rock chic mother (played by Mireille Enos) and former rocker dad (played by Joshua Leonard) say all the right things every time, creating the kind of perfect family life environment that any teen dreams of. And so what that reality has been suspended a little? Well it could be argued that this sugary overkill detracts from the seriousness of the subject matter post crash. However this IS a young adult drama so things will be a little diluted.

There is a nice play on events at the very end, and a brief moment where you think you’re going to scream at the screen because it looks like you’ll be left hanging – probably the most ‘taxing’ episode of the lot. This is an undemanding film, and however weepy it gets, however many nauseating, sloppy Mia-Adam entanglements we are party to, If I Stay will thaw even the coldest heart, either by music or tragedy as it finds a hook one way or the other.

3/5 stars

By @FilmGazer

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Lucy ****

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We’ve become blasé about our sci-fi stories – anything goes that initially seems crackers but gets persuasive as things progress. Luc Besson has combined a sci-fi passion with that of one of his strong, kick-ass women in Lucy, starring Scarlett Johansson. You would be forgiven for thinking it was another Malick The Tree Of Life flick for a split second with its random universe and ape shots. These are head-scratchingly bizarre. However, it takes on a The Matrix premise to explore unlocking the full potential of humankind while blasting ten tonnes out of the surroundings in full-on crime caper mode.

Lucy (Johansson) reluctantly delivers a suitcase to a hotel guest, which starts off a chain reaction of terrifying events, seeing her forced to become a mule for a multinational gang. After an accident that triggers superhuman responses – unlocking her brain’s full potential, Lucy ruthlessly turns the tables on her captors while trying to find Professor Norman (Morgan Freeman in reliable type), a specialist in human logic to tell him what she is living before her time is up.

Forget Nikita, Meet Lucy. This is the ultimate in ‘strong female role’ and suits Johansson perfectly, combining beauty, brains and brawn. Lucy does babble ten to the dozen as time slips away, and this is where, quite frankly, anyone gets lost – even Freeman as Prof. Norman, it seems! However, the idea of using 100 rather than the mythical 10 per cent of our cerebral capability is the stuff of dreams. It’s this that the film taps into and reels us in. The ramblings along the journey to that fabled total capacity seem irrelevant – trying to decipher Besson’s logic is pointless – and Lucy is certainly an entertaining distraction.

Johansson is superb in the role as we fly along on her trajectory as she uses mind power to get to her destination. Another thrill about her character is she delivers justice to the corrupt, which is a heady mix, complete with post-Matrix moves that will simply delight fans. There is a very odd and brief ‘relationship’ dalliance with French cop Pierre Del Rio (Amr Waked), like ticking that box for the sake of it, which seems quite bizarre and misplaced. Still, as before, trying to crack what Besson is trying to say is pointless energy spent and it’s best to just sit back and whoop at the whipping Lucy gives the baddies – some of it particularly brutal.

‘Take with a pinch of salt’ the plot here – perhaps even put your brain to one side if needs be. Just take Lucy first and foremost as an action crime flick with a great female protagonist that’s soaked in sci-fi insanity. True, it will get you thinking about ‘what if’ we could operate like that and have that power prowess, and that along with Johansson in some exhilarating action sequences makes Lucy as great action flick to catch.  Oh, and if you catch Besson’s drift, answers on a postcard, please!

4/5 stars

By @FilmGazer

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What If ***

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Daniel Radcliffe is trying all kinds of film projects in an attempt to shake off the boy wizard label once and for all – and understandably so. This time, it’s rom-com territory, but not just any old rom-com, one of those quirky indie ones that seem to embrace oddball characters and allow them to find each other and bond. What If is one such film that allows an untraditionally good-looking rom-com lead like Radcliffe the comedy space to explore while tapping into a natural resource he so obviously has. Although very charming with a great supporting cast to help Radcliffe on his way, there is still something that doesn’t quite click about the whole picture.

Wallace (Radcliffe) has failed in a string of relationships but bonds one evening at a party with Chantry (Zoe Kazan of Ruby Sparks fame). The trouble is Chantry lives with long-term lawyer boyfriend Ben (Rafe Spall) who has the looks, the job and all. Settling for being good friends, Wallace realises he wants more, the more time he spends with Chantry. What will happen when he finally confesses all? Will he lose his best friend?

Indeed, there is absolutely a bit of When Harry Met Sally channelled here, with the whole premise of ‘can men and women be friends without the sex part getting in the way’? Obviously, the answer is no if there’s sexual attraction there in the first place. What If starts from that perspective and tries the usual banter in exploring this throughout, but is a far cry from the mega successful and well-written 1989 film (the year Radcliffe was born, incidentally). What If – based on the play Toothpaste and Cigars – does have more cool factor for a present-day audience, representing the idyllic bohemian Toronto lifestyle and social set – thankfully, not re-treading the same-old New York stomping ground (again).

Radcliffe and now real-life squeeze Kazan are an intriguing and complimenting match – both not your standard rom-com fit. This gives things a more commonplace feel that more cerebral rom-coms are favouring. Radcliffe delivers some hilarious lines but needs work on his delivery to perfect a seamless combination of funny and charming – it does feel forced sometimes. That said Kazan seems to have perfected her art and picks up the ball in certain scenes with breezy and witty charisma.

It’s perhaps the appearance of Adam Driver as Wallace’s best friend Allan, an actor no stranger to rom-coms – and soon to take the lead in Hungry Hearts – that also keeps things spirited and on an even keel. Driver is a master at delivering harsh, hysterical truths and is a much-needed catalyst here, alongside Canadian-born Mackenzie Davis as brilliantly wild and kooky dreamer Nicole. Amidst all the oddity, screenwriter Elan Mastai and director Michael Dowse still feel the need to add the stereotypical man-eating blonde bombshell (Chantry’s sister) Dalia (Megan Park) that feels like a token nod to all carbon-copy rom-coms and quite out of place here.

The film does amble off to an entirely different continent, which always poses a risk with a rom-com in dampening the affection we are meant to be developing for not only the characters but also the place in which the film is set. This is the part of the story that is less strong and tad slapstick in nature. But we do get an introduction to Fool’s Gold that will have you drooling or baulking and is the key ingredient and link that this film will be remembered for.

What If is a solid start to a career path that really suits Radcliffe’s personality and it will instantly please fans of the actor. It’s a crowd-pleaser rather than a notable notch in the Radcliffe acting belt in this respect, with a bit of fine-tuning by the actor if he chooses to pursue this comedy avenue. It’s a film that also grows on you because the supporting cast do so well to keep it grounded while providing Radcliffe his centre stage to experiment. It’s certainly watchable nevertheless if nothing else appeals at the box office.

3/5 stars

By @Filmgazer

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Into The Storm **

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The novelty of ‘found footage’ films is starting to wear thin. Not only does it always have certain shots that couldn’t possibly have been captured by any of the characters – hence rendering the status quo questionable, but also it expects us to arrogantly take it a little more seriously, which in this case is laughable. Into The Storm is such film.

It’s only like Twister only in subject matter – and tries to go one better in the twister CG stakes. As for the characters, there’s nowhere near as much investment as in the former, rendering them mere pawns in the effects game.

Set over one day, a bunch of storm chasers making a documentary and townsfolk of Silverton – in the path of the storm – document what happens when a series of tornadoes touch down in their town.

Final Destination 5 director Steven Quale is no stranger to suspense, and Into The Storm sets a chilling, moody scene for things to come, showing us several groups of people who will be affected, including a daft pair of YouTube hero wannabes that supposedly supply the light relief. Like Twister, there are relationship issues to resolve in the eye of the storm and clashes of personality, but the former often results in overly schmaltzy pieces to camera, filmed as ‘final farewells’. What would have made things more interesting is a little surprise as to who meets their maker, as Quale’s cast seems blandly expendable.

That said Richard Armitage (The Hobbit) and Sarah Wayne Callies (The Walking Dead) make a commendable pair of heroes but are never fully realised, though they try their hardest with a script designed to make the storm as the star. Indeed, there are some incredibly absurd lines they must deliver that you also feel sorry for them as they battle the elements too.

This film is all about the twisters and is best watched on the largest screen with the biggest sound system in operation. In cinematic times that are 3D-obesssed, it’s very surprising that Quale and the studio didn’t opt for this to really drag us into the action – but then it couldn’t claim the ‘found footage’ mantra (and budget was probably tight).

Into The Storm has ample, loud thrills – including a fantastic fiery moment – for tornado fans but characters that you don’t have to care much about to enjoy the ride. It’s a shame about the overly lengthy emotional bits to camera that upset the momentum and the excruciating patriotic end shots that try to inject some comical human element into the proceedings. Take this film as the title suggests and you will ride knowingly into to get the most out.

2/5 stars

By @FilmGazer

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LFF 2013: The Congress ***

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Waltz With Bashir animator Ari Folman takes on the advancing techno nature of the Hollywood film industry in his hybrid (live action/animation), political sci-fi The Congress. It’s hard to distinguish whether the film itself or the myriad of ideas it boldly flags deserve the true credit. Debate aside, Folman uses animation to illustrate the ‘death of the physical actor’, ironically using retro 2D drawings like an old Disney cartoon, perhaps as a personal protest of the more advanced 3D animation coming out of the studios now.

Robin Wright (playing herself), now fortysomething and struggling to find work, was once a celebrated Hollywood actor going places and the darling of the big studio who has financed her career, ‘Miramount’, especially in her heyday in The Princess Bride (1987). Her agent Al (Harvey Keitel) comes to tell her of a one-off deal proposed by studio boss Jeff (Danny Huston) to keep her in the spotlight forever – allowing the studio to create an avatar of Robin Wright to use as it wishes in future productions. This does come at a price: no negotiation on the kind of film featured in, a one-off payment and a promise never to act again. However, the consequences of Wright’s agreement come at a far bigger price than she could never imagine, as the animated and live worlds collide.

There are a whole number of juicy topics addressed in this near-future-set film, including the supposed advancement of technology for the better good, ageism, sexism, loss of identity, intellectual property to corporate terrorism to name a few. It often feels like a smattering of ideas fired out of a barrel, like following a live animated debate at times. The only settling factor is watching Wright as herself and as her 2D avatar, both with a weary sadness to her features as the business of the film business takes its toil.

The first half of the film depicts the grace and elegant of Wright in the flesh with the camera still adoring her. The troubling element is being asked to believe Keitel as the fictitious casting agent. It appears mixing live-action and animation works but mixing real-life and fiction gets a tad muddled when one actor is playing herself with dignity, and the other incorporates a fictional character.

Once Wright drives into the animated zone of Abrahama, the new studioland that takes over reality at the security crossing (straight out of Roger Rabbit territory), she becomes lost, like a ghost of her former self within a colourful canvas of eccentric characters. There is some fun to be had spotting other stars who have ‘gone avatar’ too. It’s here where plot gets skewed a little and a psychedelic smorgasbord of events peppers the scenery. Thankfully, there is one plot driver to grasp onto – Wright trying to find her son.

The Congress is advanced in its own technology and thinking, raising many social concerns we all have about the future of the digital revolution that could retire the very beings that have created it. If nothing else, The Congress plays to our fears, perhaps ironically, with hindsight affecting our view of it as a piece of social commentary too?

3/5 stars

By @FilmGazer

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God’s Pocket ***

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If you think you’ve got/had it rough you haven’t experienced God’s Pocket. Mind you, don’t let any of the locals hear you snigger because only they are qualified the kick their crumby situation and location. This is a story directed by Mad Men’s John Slattery, based on a novel by Peter Dexter about a working-class dive of South Philadelphia, USA and its sorry inhabitants. It’s also one of the last films to feature the brilliant Philip Seymour Hoffman alongside an impressive cast of Mad Men’s Christina Hendricks, John Turturro, Eddie Marsan and Richard Jenkins. It’s a slice of rundown despair covered with a large topping of jet-black humour that feels oddly paced at times.

Mickey (Seymour Hoffman) is married to local girl Jeanie (Hendricks) who loses her cocky adult son, Leon (Caleb Landry Jones) at work one day in a supposed ‘accident’ – unbeknown to them, the fallout from a racist attack. Jeanie is convinced there has been foul play, and wants Mickey to find out more through his shady ‘associates’ that include friend and fellow screw-up Bird (Turturro).

But like a lot of things in Mickey’s life, nothing is ever simple. Meanwhile, following a misprint in the local newspaper about the death of her son, sleazy, booze-addled columnist – and local ‘hero’ – Richard Shellburn (Jenkins) reluctantly agrees to set things straight and interviews the family. On meeting Jeanie, he falls for her voluptuous charms and supposed vulnerability, trying to woo her.  News spreads and things get ugly, while broke Mickey can’t afford to pay for his stepson Leon’s funeral, much to the annoyance of slippery undertaker Smilin’ Jack Moran (Marsan).

This character drama is probably one of the bleakest fictional ones on screen in a while, with its dark humour lifting it out of the very pits of despair and Hendricks providing a flicker of loveliness in the rut. The performances are unanimously intriguing, with a cast that fits like a glove – it’s just a shame it will be known more as ‘the last Seymour Hoffman film’ rather than Slattery’s directorial debut. That said there are some rather memorable and exacerbating characters to ‘feel superior to’ and appalled at alongside some stereotypical Italian/Irish-American ones thrown in for good, safety measure (hence some clichéd aspects). All of them revolve around a hovel of a bar, like every good soap opera or latter-day western.

But Cheers it’s not, more like an American Eastenders in the gloom stakes – but with farcical humour injected. In fact the latter goes oddly slapstick in moments, pulling you out of the mire that’s been so effortlessly developed in Slattery’s setting and into an altogether different stride. It seems to be down to Seymour Hoffman’s character’s ‘shit happens’, blasé attitude to bring you back into the haze and pace of God’s Pocket – in a sense, re-emphasising once you’re there you never leave.

There is also a pocket of ‘bad taste’ involving Jenkins’ Shellburn character that feels vexing in how it wants one character to be ultimately perceived and is less satisfactorily resolved. These and the peculiar ending make it tricky to decipher the film’s overall impression it wants to make with its audience, even with the help of a little narrative. It’s a mixed bag of affairs that you could argue makes it all the more curious. If you like your drama way down on its luck with a black heart, God’s Pocket is totally watchable in this respect, but be prepared to be jolted out of the doldrums by absurd comedy that upsets the chagrin.

3/5 stars

By @FilmGazer

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Step Up 5: All In ***

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It’s compulsive viewing, like America’s Got Talent, not because anything groundbreaking is going to happen in the latest Step Up instalment, but because we’re secretly fascinated by how the choreographers will up their game in version 5, All In. There’s also that respect and awe we hold for such nubile young things without an ounce of unwanted abdominal flesh on show, demonstrating double-jointed moves that the rest of us can only marvel at. Dancing aside – ironic, considering that’s why people pay to watch this seemingly never-ending saga, the rest of the ‘loosely termed’ plot is mind-numbingly super cheesy that you do one or both: groan loudly or laugh incredulously. Either way, once the moves hot up, it’s like ‘street dance panto’ that can’t fail to entertain in some way.

The Mob leader Sean (a ripped Ryan Guzman) and his Miami crew return, this time ‘surviving’ in LA on the last of the proceeds of a Nike advert. Yet another disastrous audition leaves Sean and co weighing up their options, with dancing as a paid career looking more and more unlikely. They also cross the path of a swaggering Jasper (Stephen Stevo Jones) and his Grim Knights crew – who you just know they’ll encounter and triumph over later. Meanwhile, The Mob ventures home to Miami, defeated, while a headstrong Sean remains, determined to succeed. He comes across his old pal Moose (Adam G. Sevani) whose eccentric family give him a place to crash (a dance studio store cupboard) in return for fixing their loos. Moose has since ‘grown up’, got a steady engineering job, an apartment and a lovely, understanding partner Camille (Alyson Stoner).

However, after Sean (too) conveniently discovers a Las Vegas dance competition online called The Vortex, presented by the flamboyant Alex (Izabella Miko), with a first prize of a three-year dance contract – and a bit of security that Sean craves, Moose helps pull together a new crew. This includes equally strong-willed Andie (Briana Evigan from Step Up 2). As new moves come together, sparks fly in the romantic arena. What’s stopping them go all the way?

Acting doesn’t really come into the equation; it’s all about the 3D dancing – when debut feature-film director Trish Sie remembers to use this feature. Still, there’s a lot of humour resounding from a script to die (from laughter) for, plus intentional gags supplied mostly by the supporting characters that all get their minute to shine. The choreographers excel themselves once more at least, especially with the final dance off – resembling the 2012 Olympics’ Opening Ceremony in industrial theme. Thankfully, there are more routines than tiresome flash mob moves this time too, making things more creative and interesting for 3D viewing.

Guzman and Evigan as moody Sean and frustrated Andie keep us guessing as to when the first steamy clinch will happen. Meanwhile, they make a pair of believable leaders of the pack. There’s quite a wait though for love to blossom, but a great fairground routine to enjoy in the interim set to Bobby Brown’s ‘Every Little Step’ – like some latter day Rogers and Astaire. To be perfectly honest, as soon as any flesh comes on display, this acts as a convenient distraction from the lame acting until the next dance routine kicks in and saves the moment. Sie doesn’t veer too far from the original Step Up brief. Fans would be disappointed if she did.

Step Up 5 is another vehicle for showcasing the latest, creative street dance moves. Be ‘All In’ with this and resign yourself to the mawkishness to get the most out of it. It’s the only way.

3/5 stars

By @FilmGazer

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Mood Indigo ***

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If incredibly imagination alone were the key to a successful film, then writer-director Michel Gondry’s L’écume des jours or Mood Indigo would be a guaranteed box-office smash. It’s like an animated delicacy that ignites the creative juices with every scene, beautifully crafted to help tell a delicate story of loss. However, as much as fans of Gondry (Eternal Sunshine of the Spotless Mind, La science des rêves) will revel in his trademark surrealism and visual effects once more, the storyline is a little lacking in substance and doesn’t appear to translate as well from Boris Vian’s heart-felt 1947 novel about losing a great love (translated as Froth on the Daydream and Foam of the Daze).

Wealthy, inventive bachelor Colin (Romain Duris) has everything he has ever asked for and is financially comfortable. What he doesn’t have is someone to share it with – until he meets Chloé (Audrey Tautou) at a friend’s party and they fall in love. Everything is peachy until the couple marry and go away on honeymoon. The first night Chloé contracts an unusual illness overnight – caused by a flower growing in her lungs. Their idyll is rudely broken as Colin endeavours to find a cure before it’s too late while trying to avoid financial ruin.

Gondry sets the scene and the appetite for some zany antics perfectly, with the animation quenching the senses and thrilling all who take it in. His cast of Duris and the ever-delightful ‘dolly-like’ Tautou are made for his films, both never failing to deliver here. In fact, the show-stealing character is Omar Sy as Colin’s right-hand-man, Nicolas, who pulls the whole narrative together when it veers off on an indulgent Gondry tangent.

In terms of wackiness that always goes hand in hand with a touching sensitivity to the characters’ mood moment, one of the most memorable scenes is Colin taking Chloé on a ‘cloud capsule ride’ over an apparent building site on their first date. It’s sheer brilliance of quirky imagination as they take in their surroundings (and each other).

However, as the ‘illness’ of the growing flower progresses – that appears to be a metaphor for lung cancer, the story seems to subside, as if getting lost in the enveloping darkness that the production takes. Whether there is not enough relationship development to begin with to really get a sense of how deep Colin and Chloé’s love for each other is, or the written word just gets lost in translation as the creativity takes over, who knows, but we feel the depressed pet mouse’s gloom at what should be a momentous time.

Still, there is always the hilariously funny dance move that involves bandy legs and arms to enjoy and the introduction of the ‘pianocktail’ that would make a grand central party piece, though whether there is enough to entice anyone who is not a Gondry fan to pay to see Mood Indigo on the big screen is debatable, however creative he gets and charming Duris and Tautou are.

3/5 stars

By @FilmGazer

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