filmgaze.com - Part 20

Magic In The Moonlight ***

Posted: 21/09/2014

There is an uncertain magic that keeps things playfully charming for Woody Allen and his new comedy/mystery, Magic In The Moonlight. It may well be the appeal of 1920s’ French Riviera – the perfect setting for the naughtiness and intrigue – having a significant role here, but the cast of Colin Firth and Emma Stone is a curious coupling in itself. Both play to typecast strengths – his conceited Englishman, hers sassy American cutesy, keeping things buoyant and fluffy enough. That aside there seems to be something ‘wanting’ with this particular Allen caper – like we’ve just been party to one episode of a three-part series.

English stage magician and debunker of the supernatural Stanley Crawford (Firth) is invited by a colleague to the south of France to help unmask a possible psychic fraud, young celebrated American spiritualist Sophie (Stone) who is staying with her mother as long-term guests at a wealthy widow’s house. Sophie has captured the heart of serenading love fool Brice (Hamish Linklater), the widow’s son and heir who wants to marry her.

However, as Crawford spends more time with Sophie, he starts believing she does have some sort of special powers to communicate with the spirits, or worse, he is falling in love with her, against all commonsense and logic.

Firth becomes Darcy once more – a little brasher and more sarcastic than the Austen hero, but nevertheless, suitably pompous and obnoxious for 1920s wealthy society. In fact the very beginning of Crawford and Sophie’s meeting holds the real gems of laughter and makes for riotous affair. It toys with the standard idea of Americans and Englishmen’s miscommunication and subsequent jibes that all can gleefully equate to. Add the high society bubble the characters live in, and it’s a microcosm of unregulated banter in a time before political correctness existed.

Now Darcy and Elizabeth were in the same league; it does take a huge stretch of the imagination to believe that Crawford and Sophie could somehow bond, let alone unite – but the setting again is both forgiving and magical. Firth and Stone are an utter delight, with the latter moving from insufferable intellectual snob one minute to soppy, loved-up pup the next with dashing aplomb. Stone musters up all her brisk retorts into one delicious role here, but without forgetting to ease beautifully into vulnerability at the right moment. A standout performance that keeps all the others grounded is that of Eileen Atkins as Crawford’s impassable Aunt Vanessa who is an absolute tonic to enjoy in response to Crawford’s moments of haughtiness and self-pity.

Allen’s films are all about magic, only in this one, he tries to question where real magic lies. Less philosophical and more light-hearted in nature – which opens it up to greater comparison and criticism, Magic In The Moonlight is by its very nature a piece of trickery; it captivates you in setting and performance and pulls the wool over any inquisitive eyes as to finding any greater depth. It’s about the magic of love, pure and simple, and is nothing short of a consumable and affable piece of humorist filmmaking along the lines of P.G. Wodehouse and those enchanting movies of the Forties. It’s only Allen aficionados who may take umbrage with the ‘light writing’ style.

3/5 stars

By @FilmGazer

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A Walk Among The Tombstones ***

by lgileskeddie

Posted: 21/09/2014

It’s Liam Neeson in his vigilante element again – for those who like him that way, tasked with saving the day and bringing rough justice to those who deserve it. Only this time, the lines of good and bad are very hazy indeed, designed to question our moral high ground. It’s a twisty, turny plot – possibly overdone – by Minority Report and The Wolverine writer Frank Scott who pens and directs here, based on a Lawrence Block novel of the same name.

Neeson is PI Matthew Scudder, a former NYPD cop since retired after a fatal shooting. Reluctantly, he is hired by drug kingpin Kenny Kristo (Dan Stevens) to find out who kidnapped and brutally murdered his wife. Scudder uncovers the culprits, as the two sides of the law blur unrecognisably.

It’s another Taken, basically, with Neeson the hired gun with a dubious past – something we are party to at the start, shot in a gritty 80s’ TV cop show style. However, just whom he has to align with to get justice for the innocent in this makes A Walk Among The Tombstones a little different from the shoot-em-up norm. It’s this that gives the film its unsettling feeling throughout. Indeed, our faith in Neeson in such a role gives us a little bit of an anchor and reassurance, as we know that whatever ugliness his character is exposed to, he’s not for changing. Neeson can do no wrong in such a role either, and as long as we never tired of him doing so, Tombstones ticks all the boxes.

However, it’s Downton Abbey’s Stevens who is quite captivating in their scenes together, initially because of the absence of an upper-class English twang (he’s American in this) and his steely, blue-eyed stare as the wounded drug lord. The actor totally plays against-type – even if you have seen the recent The Guest – which will surprise and excite fans of the actor’s full potential. The fact that this story goes a little bonkers at the end still doesn’t distract from a moody, menacing Stevens. It’s like watching the stiffness evaporate and a new actor being reborn. His performance is the only unique thing about Tombstones, though the rest is watchable enough with a decent amount of tension brewing at all times.

A Walk Among The Tombstones offers an intriguing, slow-burning crime mystery with a solid actor at the helm. Far darker in spirit that Neeson’s recent action roles, mindless violence is only used to enhance the nastiness of a situation – usually the serial killing moments. A good deal of the time, Neeson does his trademark, poker-faced pondering, with Scott devoting a little too much time to this when a slicker film could have been trimmed. Still, the film adequately plays with your mind and manages to keep your curiosity on track to deliver the final outcome.

3/5 stars

By @FilmGazer

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A Dangerous Game ****

by lgileskeddie

Posted: 15/09/2014

The first thought that pops into the mind watching filmmaker Anthony Baxter’s follow-on film to You’ve Been Trumped (2011), A Dangerous Game is, can there really be that many people needing to play golf on Planet Earth? The rest is a powerful expose of the usual greed, arrogance and miscommunication that such documentaries are so apt at stoking. This second film is no exception, with the filmmakers getting right under the international skin while tussling Donald Trump’s quiff once more. It’s as thrilling at getting the wealthy’s back up as it is educational and genuinely concerning.

In A Dangerous Game – doubling up as a nickname for ‘golf’ here, Baxter and team (writer Richard Phinney) go up against other corporate ‘villains’, picking up where the previous film/investigation left off, including revisiting at the Menie Estate in Aberdeenshire, Scotland. They also delve into the effects a proposed luxury golf course development – complete with swanky ‘Grand Design-styled’ housing – will have on the surrounding hilly and drought-stricken terrain above Dubrovnik in Croatia.

This is not meant to be a ‘rich bashing’ exercise of haves verses have-nots, but there is a real sense of that; let’s face it, if you had the chance to put a hole in one in lush green surroundings and then retire of an evening to a poolside house just off the course, wouldn’t you at least entertain the idea, before responsibility and reality kicked back in? Baxter and co are not trying to be righteous here rather point out the facts. They do a great job of filling in those who haven’t seen the 2011 film, as well as presenting the scientific and social consequences of developing the land – the science always convinces.

What is highly topical with the Scottish Independence vote around the corner is the Menie Estate is in the First Minister Alex Salmond’s constituency – he who decided not to comment for this film. Ironically, it’s like a Unionist’s dream documentary without consciously meaning to be. But the real anger is still directed at Trump, the folk devil of corporate malaise. It’s also what fans of the first have been waiting for – the sequel of Trump v Baxter. And it’s worth waiting for, Baxter’s contained dignity at Trump’s arrogance. What’s more fascinating to observe this time around is a paranoid Trump as Baxter has grown into “a much more important person” (patronising and daft indeed).

Without revealing more, in brief, A Dangerous Game explores the widening gap between the rich and the poor – using golf developments as its example. It does so in an incriminating fashion, without sensationalising (considering there is a lot of shocking political manoeuvring to be found this time). Baxter’s second film is a satisfactory sequel to what the filmmaker began. However, it’s not him but the above fundamental issue that’s “much more important” as we are made aware of not being complacent about the power of the little person. Things can be changed in a David and Goliath battle.

4/5 stars

By @FilmGazer

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They Came Together **

by lgileskeddie

Posted: 10/09/2014

This is a film for all those cutesy New York rom-com haters – especially those whose idea of watching You’ve Got Mail (starring Meg Ryan and Tom Hanks) is like someone running fingernails down a blackboard. Ironically, in spoofing Hollywood’s treaclely genre, you have to go through all the exact same clichés again that cause such an adverse reaction. Writer-director David Wain tries to keep our interest throughout 80+ minutes by sending these up but strangely, the opposite happens – you start longing for the real thing.

When Joel (Paul Rudd) and Molly (Amy Poehler) meet, it’s hate at first sight: his big Corporate Candy Company threatens to shut down her quirky indie sweetie shop. Plus, Joel is hung up on his sexy ex. But amazingly, they fall in love, until they break up about two thirds of the way through [Lionsgate UK].

Rudd and Poehler are well matched and suited to assault the rom-com. Having worked with Wain before on Wet Hot American Summer (2001), they’re perfectly cast to deliver the skillful jabs. However, their effect is only as good as the writing that starts wearing thin on gag material. Wain is clever to pick up on any possible audience ‘flagging’, having Joel and Molly’s wisecracking best friends (played by Bill Hader and Ellie Kemper) also become bored in Joel and Molly’s relationship story told over dinner out. The trouble is this doesn’t then rejuvenate our interest.

There are a few half decent laughs in They Came Together, as well as some that fall as flat as a pancake. The danger of mocking the rom-com that can be flimsy in substance is the satirist looks even more superficial, defeating the purpose altogether – unless you go to the ultra-silly, slapstick extreme of the Airplane! Saga. They Came Together is watchable but will make a better date DVD/Blu-ray when it gets its home entertainment release.

2/5 stars

By @FilmGazer

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Sex Tape *

by lgileskeddie

Posted: 10/09/2014

The only thing that Sex Tape can be commended on is how trim its leads have got for their parts – well, Cameron Diaz just looks even fitter. In fact, like all ‘cuddly’ comedians who lose weight, you spend the first ten minutes trying to get over how different Jason Segel looks, by which stage, engaging in the trigger-fire of dialogue between the screen married couple gets more difficult that you ultimately revert back to pondering over how trim Segel looks. It’s all pert bots, really, until a tame The Hangover reveal at the end.

Annie (Diaz) and Jay (Segel) are married with two kids and have a great, comfortable lifestyle. The trouble is, things have got too comfortable and hectic that the couple rarely have time to do ‘the deed’. Finally, getting a night off together with the kids around Grandma’s, they decide to get physical – like the olden days – and re-enact the Karma Sutra positions to camera (after a tipple too many). To their horror – and the power of today’s Cloud technology, they discover their ‘tape’ has been uploaded for all to see, prompting a desperate nightlong recovery of said video and hardware.

Diaz and Segel have already proven they have a natural comedic rift after Bad Teacher (2011), so this isn’t what’s the problem ere. There are even some odd funny moments of recognition for time-strapped parents to snigger over too. However, the general smugness of the screen family’s situation followed by the one running joke – ‘we’re going to be exposed, literally’ – soon wears a little thin. Added to which, there are scenes straight out of other successful comedies, like Steve Martin in Father of the Bride facing off some wealthy in-laws’ canine (Segel’s turn in this).

Perhaps the biggest (unintentional) snigger – followed by some eye rolling – is the blatant Apple (iPad) plugs throughout. Now this could be Sony poking fun, as some of the delivery is way too cringe-worthy to be taken seriously? Indeed, when they may or may not be being cynical we are later treated to a patronising lecture by YouPorn king and family man (played by Jack Black) about relationship matters. If this is tongue in cheek, it’s not obvious, but we can only hope it is.

Perhaps stay at home and take a leaf out of Annie and Jay’s book by making the most of your time together – but keep the technology at bay if the drinks are flowing – Sex Tape is a perfect example of ‘the oldies’ not fully understanding the dangers of new technology that kids seem to take for granted. Just don’t expect ‘bang for your buck’ if you go see this at the cinema; it lacks salacious flesh and sordid humour for someone classed R-rated!

1/5 stars

By @FilmGazer

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LFF 2013: Mystery Road *****

by lgileskeddie

Posted: 31/08/2014

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 ***

by lgileskeddie

Posted: 31/08/2014

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 ****

by lgileskeddie

Posted: 25/08/2014

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 ***

by lgileskeddie

Posted: 25/08/2014

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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