LFF 2015: Men and Chicken ****

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Posted: 17/07/2016

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In a sick twist that might have Darwinists uniting with the god-fearing out there, writer-director Anders Thomas Jensen (Adam’s Apples (2005)) places Mads Mikkelsen (Hannibal) once more in the midst of a darkly insane comedy, this time about ‘origins of man’. The title of Jensen’s latest penmanship, Men and Chicken, gives a small clue as to humans and animals being involved and throws up some interesting ideas about our gene pool along the way.

When Elias (Mikkelsen) and Gabriel (David Dencik)’s elderly father passes away, he leaves them a video to watch. To their shock, they find out he is not their biological father – their mothers they never knew. They are in fact half-brothers, and their real father lives on the remote island of Ork. Armed with questions, the brothers go in search of him, to discover he is a scientist and his des res is a remote, dilapidated sanatorium (over)run by their insane half-brothers, Franz (Søren Malling), Josef (Nicolas Bro) and Gregor (Nikolaj Lie Kaas) who live with a bunch of animals and favour violence as a way of dealing with family disputes. But where is Dad? An accident extends Elias and Gabriel’s stay, where the dark secrets of their family’s past are found in the basement.

This gloriously eccentric and near gothic farce has a hint of Psycho to it. It sets the whacky scene from the start with the camera panning down to ‘dad’s’ crotch as he’s delivering his video message. Introduced to Elias, a definite Asperger’s sufferer with a sex addiction (Mikkelsen in delightfully ghastly, against-type form), and Gabriel, an academic but socially inept worrier, the penny drops that something isn’t quite right. Just how are these two related – physical similarities aside? It’s time for a short road (and ferry) journey to fictional hillbilly Denmark.

The cast are exceptional, wilfully blending acts of politically incorrect humour and perversion with moments of wistful vulnerability in the most unusual coming-of-age comedy in a long time. Aside from the slapstick beatings – like something from a less than silent movie age, the funniest scene is more vocal. It sees the brothers sat around a dinner table in ‘last supper’ fashion, introduced to a Bible for the first time by Gabriel, acting like some crusader who plans to civilise his siblings. Here, Jensen pokes fun at interpretation of the holy book and use of it as a tool to separate man from beast, giving a devilishly simplistic account that’s sure to be controversial to some, but highly amusing to, say, Dawkins fans.

The quirky sibling activity actually serves as a bizarre bonding session, including the communal sleeping and badminton matches, where each brother has a key feature needed for the other’s development and social conditioning. The latter might be in vain but it’s all in aid of the grand reveal, the clues of which – with hindsight – are subtle characteristics of the personalities. This is highly hilarious and equally shocking to witness while captured by Sebastian Blenkov’s atmospheric and tonally significant cinematography.

Men and Chicken is an extraordinary dark comedy for those wanting pitched blackness and heaps of lunacy. Strip away social conditioning and religion, and ironically, while the insane might run the asylum their actions begin to appear explainable, even normalising, when compared to the outside world’s perspective.

4/5 stars

By @FilmGazer

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Ghostbusters ***

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Posted: 17/07/2016

Ghostbusters

When the dust settled after the controversial announcement that beloved 80s film Ghostbusters would return to screens in 2016 with an all-female lead – directed by feminist film-maker Paul Feig (of Bridesmaids fame), the next thing to make peace with was having his Bridesmaids stars, Kristen Wiig and Melissa McCarthy, in those familiar jumpsuits with proton guns chasing ghosts.

Indeed, to say this didn’t take a little getting used to at the start of watching the new reboot would be a lie. After all, Wiig and McCarthy come with great expectations and a presumed guarantee to provide big laughs. Their futile banter always raises a few giggles. In fact, it felt like watching the funny girls doing a Ghostbusters spoof, initially. However, the supporting roles from fellow Ghostbusters, the brilliant Kate McKinnon and equally great Leslie Jones are so strong that the new film has its very own personality and fun vibe, even though it had many nods to the original for fans, as well as cameos from the 1984 cast, Bill Murray, Dan Aykroyd, Sigourney Weaver, Annie Potts and Ernie Hudson.

The plot is much the same as the first: The usual ghostly activity begins brewing below Manhattan streets, leading to paranormal enthusiasts Erin (Wiig), Abby (McCarthy), eccentric nuclear engineer Jillian (McKinnon) and subway worker Patty (Jones) forming a Ghostbuster girl gang to stop the supernatural threat taking over their world.

There is a naturally funny quartet at the centre of this, which is what any attempted reboot needed. The original ‘silliness’ is still there, though it feels a little forced until the film finds its flow. The show-stealer is actually beefcake Chris Hemsworth as the girls’ eye candy and hapless ‘bimbo’ assistant Kevin. To say Hemsworth is funny is an understatement – further enhanced by the end credits, so stay put and watch, as well as to the very end for an exciting teaser for the next planned installment.

Co-writer Feig and his writing partner Katie Dippold of The Heat and Parks and Recreation fame) seemed to have taken the sexist online jibes onboard and worked them into the script, including a YouTube moment the Ghostbusters share over an online comment, “ain’t no bitches gonna hunt no ghosts” posted in response to their video. The biggest two-finger salute to the naysayers goes to Hemsworth in the traditional female ‘ditzy’ role, a highly entertaining role reversal that any sex will appreciate. By all means, none of this is ‘in-yer-face’ obvious either. There are loads of nods to other films and their iconic scenarios, helped by the casting of Andy Garcia, Cecily Strong and the like, so it’s an entertaining mix to pick through.

However, the main grievance is the distinct lack of ‘baddie’ here, with virtually no personality that they come and go without marking much of a mark. This is only saved by things like McKinnon’s excellent set-piece of gun-ho slaying of ghouls in an end showdown, a nod to Michael Jackson’s Thriller video, and a Stay Puft cousin on the loose. The effects also try to retain the 1984 production aesthetics, without surrendering to latter-day ones that have come on leaps and bounds.

All in all there is a feeling of something new in the air, but with a comforting dosage of nostalgia. Feig appears to have got most elements just right in the 2016 reboot, enough to provide a solid, spooky night out at the cinema.

3/5 stars

By @FilmGazer

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Now You See Me 2 ***

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Posted: 17/07/2016

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The Four Horsemen (rogue magicians/illusionists) are back – with Lizzy Caplan as Lula taking Amy Adams’ position – to pull the wool over their latest victims’ eyes (and ours). This second dazzling cinematic spectacle is directed by John M. Chu, full of confidence, charisma and style once more. However, Now You See Me 2 does get caught up in its own hype.

After being coaxed out of hiding, the wanted Four Horsemen are tricked into stealing a computer chip – the size of a playing card – or face their whereabouts being publicly exposed. They decide to turn the tables on their trickster while trying to avoid falling into the hands of the law. Can they clear their name while reveal who has set them up?

Watching the latest film is much like following a complex and stylish illusion at play, with a near consistent barrage of dialogue to sidetrack you and camera angles designed to avert your eyes where the makers need you to look. In this respect, it does take the magic out of portraying magic on screen, and in its place is a whirl of a ride full of stylish moves. Chu does not lose any of the energy of the first 2013 film though, as the plot has its own natural momentum as the tricks unfold.

However, a lot of the tricks outstay their welcome. As in one key scene, as much as watching a playing card being cleverly past between players is fascinating, you just want them to get to the punch line much quicker.

It’s encouraging to see all the original cast returning though, all neatly slotting back into their places in the major con, and with Harrelson playing for double thrills, and Freeman getting to play a camp magician again with his own self-assured panache. Caplan is a nice addition to the team, holding her own among the boys, but gradually becoming annoying as the ‘shouty new girl’ constantly trying to fit in. The real scene stealer is Radcliffe as the crazed baddie. He is intriguing to watch in such a role and should do a lot more to permanently shake off the Potter mantle.

Now You See Me 2 is not a bad gig to attend, and even though there are new tricks to be thrilled by, it just doesn’t have anything new up its sleeve, plot-wise. Short of a few revelations and old rogue faces popping up, the joke is still on us, the punter, as the stage setting – and disappearing act – feels much like watching the 2013 show.

3/5 stars

By @FilmGazer

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Central Intelligence ***

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Posted: 30/06/2016

central-intelligence

Proving bromances still have their own unique appeal is new comedy Central Intelligence. The key is getting the right pairing, which is why this one is an easy watch as it stars Dwayne ‘The Rock’ Johnson opposite Kevin Hart. Just as well the relationship is the central focus here as the narrative takes second place.

Overweight teen geek Bob Stone (Johnson) has never forgotten high-school athlete Calvin Joyner’s (Hart) act of kindness after he was rudely ‘exposed’ in the school gym in front of all the pupils. Grown-up Calvin is now stuck in a rut in an accountancy firm, married to his high-school sweetheart Maggie (played by Danielle Nicolet), but missing his glory days as the school’s most popular kid and likely to succeed – until Bob gets in touch via social media.

Stone is now a muscular CIA agent who needs Calvin’s numerial skills to crack the mystery of who’s compromising the US spy satellite system and trying to frame him for the murder of a former agent. Suddenly, Calvin’s world gets turned upside down and a little exciting, and all before the high-school reunion.

The story’s outcome is predictable – as is always the case where ‘brothers’ overcome adversity. However, it’s the journey taken full of gags and scrapes that matters. Hart is his usual fast-talking self, but it’s Johnson’s admirable comedy skills that meet the diminutive comedian head on to keep the verbal game of ping-pong fresh and fluid.

In fact, Johnson moves smoothly between personas, from goofy old pal, to lethal killing machine, to marriage shrink madness. He seems to be in his element, combining the film typecasting he’s known for (action figure) with the softer side he has adopted in his past family-centric films. Bob acts as a great catch-all role to watch Johnson thrive in for fans.

Hart thrills as Johnson’s naive fall guy, complete with oodles of charm, and the joke is not lost on the size differences between the two, as they share the limelight. It also helps that both men have done action comedy and marry their own personalities to the roles.

Co-Writer-Director Rawson Marshall Thurber’s comedy also taps into the screen popularity of high-school flicks, with reference to John Hughes’ Sixteen Candles throughout. This stomping ground of personal development plus the great comedic timing give the otherwise thin plot a touch of depth. Just as well, as even though Amy Ryan lends her steely gaze and authority as agent-in-charge Pamela Harris in this, the action set-pieces seem sporadic and only there to serve as a gauge as to where the boys’ relationship lies at any one point.

As with the reference to Eighties/Nineties high-school films, Breaking Bad fans will also get a gleeful nod from Aaron Paul as a CIA operative, while Jason Bateman brings on the delicious nasty in one defining scene for his character, bully Trevor. It is a comedy full of delightfully entertaining moments.

Central Intelligence plays by narrative numbers but has loads of Hart and Johnson to make it a bold choice for cinemagoers looking for a fun night out.

3/5 stars

By @FilmGazer

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The Conjuring 2: The Enfield Case ****

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Posted: 22/06/2016

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Those who saw the first The Conjuring film back in 2013 will know the eerie effect it had. It was old-school scare tactics, much more about psychological effects than reliant on lots of latter-day special effects.

Far more sinister – and like horrors before it, such as Poltergeist (1982), those in the know of ‘strange happenings’ occurring to The Conjuring’s cast and crew during filming will also be curious about watching the second installment, especially as this is based on the infamous, real-life Enfield Poltergeist haunting of the late Seventies.

The Conjuring 2 incorporates exactly the same scare tactics as the previous film, once you get past the amusing ‘mockney’ tones of the North London family as it is first established at the start.

Lorraine (Vera Farmiga) and Ed Warren (Patrick Wilson) have possibly gone too far investigating the spirit world, after the former foresees her husband’s demise. They decide to stop their paranormal investigations for the sake of their family and marriage.

However, one English family, The Hodgsons, in Enfield, North London, desperately needs their help, after its youngest daughter Janet (Madison Wolfe) becomes possessed by the spirit of a former resident – and maybe something more sinister. The Warrens realise there’s a link to their suffering and this family’s, and decide to help them.

The casting, from returnees Farmiga and Wilson, to young Wolfe, is faultless, and the stars of the first film give the same alluring performances and convincing on-screen relationship that you feel you’re in familiar and capable hands, even before the scares really take hold.

The same key writing-directing team returns, knowing the material inside out – and it shows. Although the setting is in a different part of the world, links to the first film are well versed and connected. Writer-director James Wan also performs his superior malevolent magic to disorientate you as soon as you become complacent, ramping up the tension when very little is actually happening at that moment in time. None of the occurrences are in any way new to the genre. However, the storytelling is excellent.

The film’s production value is also great, recreating that same ‘distressed’ cinematic palette as the first, and making the environment as chilling and alien as possible. This ties in nicely with recreating the time period of the 70s too.

The Conjuring 2 is just as powerful at the first film, possibly because of the catch-all ‘based on a true story’ promise. Even so, without the same team behind this one as with the first, this could have fallen flat. Instead, it’s a fitting sequel, full of scares, which also works well as an introduction to the franchise for the uninitiated because we’re taken away from the Amityville, US setting. It’s another must-see for retro-horror fans.

4/5 stars

By @FilmGazer

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LFF 2015: Bang Gang (A Modern Love Story) ***

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Posted: 22/06/2016

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Nothing grabs initial attention like a film about promiscuous young love, especially one set in ‘sexually uninhibited’ France – sunny Biarritz in the South West here. Even more so, one that toys with the term ‘gang bang’ in its full title.

Undeniably a confident debut from writer-director Eva Husson, who comes from a music video background, Bang Gang (A Modern Love Story) is not short on cinematic style. It also confidently explores modern aspects that affect sexual development too. It just does little else unique that French filmmakers haven’t already done with sexual exploration and coming-of-age themes in the past.

We are party to the downtime of several ‘bored’ suburban high-school teens who decide to create a private orgy club at one boy’s house while his mother is away on business. However, far from liberating them, youthful emotions get in the way, all publicised on social media, causing problems for some and divisions on a whole.

Husson favours the ‘voyeur’ camera style in much of her work, the setting for which is in the opening scene, seen through the eyes of one of the party – we find out whom later on. There is a softly lit, subdued tone to her cinematography, almost dreamlike, as well as an equally chilled pace that sets the scene for the players to relax and explore. Interestingly though, as reality sets in for the characters, this cinematic style becomes more ‘exposing’ and sharper focused. It’s this style verses the ‘ferocious’ pace of social media and pockets of tension that nicely play at odds but also compliment and move the plot forward.

In fact, the film’s threat is the invasion of modern-day communication methods in an otherwise idyllic innocence that the viewer is made to watch being unleashed. One such character stands as the moral compass, albeit on the sidelines to start with, until he too, through desire and opportunity, slips up – but does get to redeem himself. What is intriguing is watching the fallout and guessing the casualties from this social experiment.

The acting from a mainly debut cast is quite admirable, showing Husson’s skill at putting her ensemble at ease. There is even one to watch, Marilyn Lima, who looks like a modern-day Brigitte Bardot or Emmanuelle Béart and holds her own against the more established Daisy Broom of Girlhood (2014) and Leaving (2009) fame.

As is the case with a lot of newcomer talent, the film only stretches the imagination so far before lack of writing experience shows through – and once you have seen some teen experimentation, it does become tedious. Husson must see the action-reaction of her promiscuous teens through to the end, but Bang Gang does flag even with its controversial subject. Still, Husson has a powerful first vehicle to drive home with, if not as a critique of modern-day pressures on youth.

3/5 stars

By @FilmGazer

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The Boss **

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Posted: 22/06/2016

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To Melissa McCarthy fans, any film with her mouth running wild, delivering her trademark bluntness will thrill. The Boss is such a like/loathe character – and film – that offers exactly that. It’s a McCarthy vehicle, though a somewhat cliched one that’s plain silly, but could have been a whole lot more.

McCarthy is mega-wealthy, cutthroat business tycoon Michelle Darnell who gets arrested for inside trading, after being set up by former colleague/lover Renault (Peter Dinklage). Part of the fallout of her dismantled empire is felt by her long-suffering personal assistant, mum-of-one Claire (Kristen Bell) who is made redundant and has to take a job she hates even more.

When family-wary Darnell is released from prison, the only ‘friend’ she has in the world is Claire, who invites her to stay to get back on her feet. Darnell seizes the opportunity to rebrand herself, after visiting Claire’s daughter Rachel’s (Ella Anderson) scout club, by building a cookie empire. However, Darnell has made many enemies in the business world and some are still less than forgiving.

This is another husband-and-wife collaboration, both in writing and directing, much like the underwhelming Tammy (2014). The concept of both films co-written by McCarthy and hubby Ben Falcone should just breeze off the page with clever gags and character depth, but there just seems to be a lazy superficiality to it all, which is a crying shame.

Darnell is the perfect McCarthy study who should have been written as a more multifaceted character – especially with the family issues aspect that gets glossed over at the beginning as a bit of a joke. This doesn’t mean the proceedings can’t be slapstick, but there just is more superior comedy to be had, waiting in the wings. It’s just disappointing.

Although McCarthy is always fun to watch, the person who comes out best from all this is Bell, who gets to show a little more depth; sadly though, not her on-screen daughter Anderson whose young wings are clipped delivering the standard ‘cutesy affair’ as the childlike moral gauge. Anderson alone could have tackled something more meaty too.

To add to the daftness, Dinklage is a minature ballbuster in this – “again”. There are some genuninely funny moments between McCarthy and him but they blend into one, as the same joke is peddled. Indeed, the off-key ‘adult’ gags feel weird most of the time, in something that can’t quite decide whether it wants to be ‘below the belt’ or not in the humour stakes, especially as it feels very PG-rated rather than 15 the majority of the time.

For sheer McCarthy value, The Boss is highly entertaining though, especially as the anti-heroine disperses with ‘obstacles’ in her path to rebirth. The ending is uber predictable but necessary. In fact, The Boss never actually builds up to much. It’s like another notch on the couple’s comedy bedpost really – like Tammy, there to keep the McCarthy love alive but really done to pay the couple’s bills.

2/5 stars

By @FilmGazer

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Alice Through The Looking Glass (3D) **

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Posted: 29/05/2016

Alice

The wonder that is Lewis Carroll returns with the loveable Alice in Wonderland characters, but minus his clever, quirky storytelling in director James Bobin and screenwriter Linda Woolverton’s 3D creation, Alice Through the Looking Glass. Thankfully, the visuals capture the imagination and deflect from the lacklustre adventure.

Alice (Mia Wasikowska returning) comes home from her sea travels on her late father’s ship to find her mother, Helen (Lindsay Duncan) being forced to sell the ship (and family business) or forfeit the family home. This threatens to end her independence and adventures.

Alice returns to Wonderland through a looking glass, only to discover that dear old friend Hatter (Johnny Depp) has gone into a deep depression because nobody believes his family are still alive. In order to prove they are and change the cruel course of history, Alice must ‘borrow’ a vital time machine device from Time (Sacha Baron Cohen) and face an old adversary, Iracebeth, the Red Queen (Helena Bonham Carter).

Bobin has big creative boots to fill in Tim Burton’s absence, and he does an adequate job here, gaining the most he can out of a sparse tale with the acting talent on offer. However, the fault lies more on the writing side. Although Hatter’s family demise is interesting – as is the family breakdown and back story of another key character, there just doesn’t seem to be enough to carry the film past the eye-boggling visuals.

It needs to be brain-bending too, translatable to youngsters but fascinating for adults. The key being main character Alice and why she feels compelled to put it all on the line to uncover Hatter’s mystery and save her own sanity. It just feels too superficial, lazily aimed at the effects-hungry youngsters who should not be underestimated for craving substance either.

That said the likes of Depp, Cohen and Bonham Carter fill the story void, each expertly portraying a wonderful animated character, though lacking the narrative space to fully blossom as we are whisked away on the next whiz-bang effects sequence to solve the Hatter riddle. Wasikowska is again commendable as headstrong Alice who is crushingly vulnerable and immature at times – hence retreating into Wonderland.

Attempting to tackle Alice’s personal struggles, including her mental health and society’s expectations of privileged women of that time is stuff of another more ‘grown up’ film version. However, Alice does wake up in an institution so these aspects are still very relevant and lacking the explanation they deserve – the kids will still ask why she’s bed bound. Just as well the arresting visuals come to the film’s rescue to stop you spending any more time contemplating this oversight.

Alice Through the Looking Glass is a feast for the imagination, so the design team has well and truly done its job. It’s Carroll’s eccentric storytelling that’s woefully missing, even while revisiting the individually unique characters.

2/5 stars

By @FilmGazer

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LFF 2014: The Silent Storm ***

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Posted: 29/05/2016

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May the wrath of God help the last remaining inhabitants of an obscure, wee Scottish Island as documentary maker Corinna McFarlane (Three Miles North of Molkom (2008)) tries her hand at fiction writing and directing with The Silent Storm. It’s a credit to this fledging feature filmmaker that such an impressive cast came onboard – Damian Lewis formerly of Homeland and Andrea Riseborough of Oblivion – and for the most part, she is indebted to them for making any sense of this wild tale.

After the mill closes and the locals must depart for the mainland to earn a living, Protestant preacher Balor (Lewis) and his younger, loyal wife Aislin (Riseborough) remain on a remote Scottish island. The hardline minister is convinced that life (and industry) will return one day soon – and so will his flock. Prone to violent outbursts and abuse, Balor tries to busy himself for that day while Aislin retreats to being at one with nature and her Pagan beliefs in healing, much to her staunch religious husband’s annoyance.

One day, Balor gets a call from a charity that a Glaswegian youth with a supposed past, Fionn (Ross Anderson of Unbroken) will be entrusted into their care, with the hope of ‘curing’ the violent error of his ways. Island outcast Aislin sees a kindred spirit in this young delinquent, and feelings develop between the pair as they spend more time together. They grow stronger when fanatical Balor decides to dismantle the local kirk (church) and take it by boat to the mainland, leaving them alone on the island.

There is something quite engaging about The Silent Storm when the plot is very thin. It’s a combination of the landscape, the rugged weather and some intense performances that prop it up. After trying to work out the time period it’s set in – apparently between World Wars, though it could be anything from the 40s through to the late 50s, the next hurdle before you settle down to the enveloping storm is getting over the bizarre accents.

Both Lewis and Riseborough are naturally captivating, pouring their heart and soul into their bleak portrayals, but speaking in Scottish tongue is not their forte, especially Lewis. In fact, even though we are given clues as to Aislin’s bizarre arrival on the island, she could be anything from Scottish to French to Scandinavian as her accent continually morphs and is distracting. The only reason for her marriage to controlling Balor is one of being press-ganged into the union, perhaps, or out of safety and harms way from the other religious islanders.

The cinematography fuels the mood swings this film has, with warmer colours – and more colourful clothing for Aislin when her husband’s away – contrasted with a stormy, Turner-styled palette for painting the black, alcohol-fuelled scenes with barmy Balor. This is equally effective in setting the atmosphere, but could just be another well-intentioned diversion from the limited plot.

The story takes a trippy turn when Aislin and Fionn spend a day away in the forest, completely changing the film’s tempo and injecting some (unintentional) humour. It seems McFarlane may have spent too much time back in 2008 with the inhabitants of Ängsbacka, and wants to recreate those fun-filled hippy moments in this. It just confuses matters, taking us away from the solitary confinement that the film does well to create.

Still, the director copes well with killing the happy, clappy mood, back at the Balor house. And just when there seems to be almighty fallout building when the preacher finds out, things fizzle out before all hell is unleashed. Again, Lewis and co keep the acute tension in their love triangle tight and suffocating – it’s just anyone’s guess as to where things go next.

The Silent Storm is a fair effort in feature filmmaking, but perhaps, McFarlane should tackle another stronger writer’s material in future with the same kind of tools and talent. That said those who can’t get enough of Lewis and Riseborough will not be disappointed. Whether this indie film makes enough of a rumble at the box office is anyone’s guess too.

3/5 stars

By @FilmGazer

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