Brick (MAM)

Director: Rian Johnson
Writer: Rian Johnson
Cast: Joesph Gordon-Levitt, Nora Zehthner, Lukas Haas, Noah Fleiss
Links: offical - empire - imdb

High school loner Brian (Gordon-Levitt) discovers that his ex-girlfriend Emily (Emilie Da Ravin) has gone missing after a strange and unsettling phone call. In his journey to find the truth he is drawn into a deadly and sinister crime ring that operates in his very school.

In combining two contradictory movie genre’s first time director Johnson has produced a dazzling debut that produces this years first truly triumphant cult gem. By taking the teen trials and tribulations of high school woe’s and worries and coupling this with the dizzying detective deductions of an inky black noir thriller we are presented with a murky but magical pot boiler that grabs you tightly by the wrists and drags you through its convoluted maze to unflinching final reveal.

All the check points associated with both genre’s are happily referenced, from our loner dogmatic detective, via the femme fatales, unfortunate murder victims and shadowy criminal masterminds cleverly mixed in with the angst of growing up, high school cliques and adult-proof dialogue. We are given insight into an insular world, where adults are only a fleeting presence, teenagers are running budding criminal empires in their basements and our hero is a dishevelled, bespectacled outcast that is on a mission to find out what happened to his beloved Emily no matter the cost or consequence.

With a vocabulary and dialogue that takes its on shape and form, we are thrust into this dark, of kilter world with very little light or guidance and like any good thriller we are expected to hit the ground running to stay abreast of this unfolding, confounding whodunit.

A relatively unknown cast excel in convincing on hitting the correct character beats for both disparate genres, with a standout performance from Gordon-Levitt channelling every nuance and facet of the world weary gumshoe of yore to polished perfection. Truth be told, director Johnson feels like he has indulged in the works of Lynch a tad too much in his younger years but in doing so knows how to imbue a seemingly random or mundane every day image with a palpable sense of dread and unease that only adds to the mysterious and unnerving atmosphere throughout.

Comparisons are sure to be made with the similar tone, direction and unsettling nature of Richard Kelly’s Donnie Darko but what wonderful company to be compared too. If you are in the mood for something that engages the brain, sweats the palms and leaves you bewildered but yet full of wonder then immerse yourself in the twisty, twisted teen-noir world of Brick.

5/5

The Devil and Daniel Johnston (MAM)

Director: Jeff Feuerzeig
Writer: Jeff Feuerzeig
Cast: Daniel Johnston, Bill Johnston, Mabel Johnston, Lucas Black
Links: offical - imdb - empire

An insightful, touching and profound documentary delving into the bipolar life of cult singer/songwriter Daniel Johnston.

The line between genius and madness has often been explored in all forms of media and it still continues to hold fascination and compassion in many quarters in trying to understand the workings of the inner mind. With this moving, unflinching and frustrating documentary we are granted privy into the troubled life and times of the renowned folk singer Daniel Johnston. Through this striking film we are immersed in Daniel’s life long struggle against his mental illness and the utilisation of his creative talents, via his music and art, to combat the very devils and demons that he fears.

One of its most winning elements is that we are not given the image of a struggling hero, trying valiantly to wrestle with his inner turmoil. But we are presented with all aspects of Daniel Johnston’s character, from his creativity, through his fractured moods to his inability to adequately fit into what society deems to be normal.

Director and writer Feuerzeig ensures that we are presented with all sides of Daniel Johnston making us complicate in the gamut of emotions that his subject encounters on a daily basis. From one scene to the next we are not sure if we should feel empathy and sympathy to his confused life or dislike and frustration at his mishandling of family and friends alike.

Even with all these conflicting emotions triggered in the audience we can’t but help to feel warmth and joy towards him while we are privy to the creation of his simply elegant yet confounding musical creations. These songs hold a naïve charm and childlike innocence hidden underneath the staccato arrangements and troubling lyrics. Shining out like a cross breed of Leonard Cohen and They Might Be Giants. While his almost cartoony artistic endeavours, using repeating metaphors and characters, favour the characteristics and style of such talents as Ralph Steadman and OneNeck.

Cookie cutter cinema this most surely is not but for anyone seeking something to challenge your perceptions of mental illness, move you to the verge of tears when you understand that the love of family can still be the most powerful force in the world and reaffirm your beliefs that sometimes those with troubled lives can always find some form of love, comfort and solace then seek out this glorious little gem.

5/5

The Moguls (MAM)

Director: Michael Traeger
Writer: Michael Traeger
Cast: Jeff Bridges, Tim Blake Nelson, Joe Pantoliano, William Fichtner
Links: offical - empire - imdb

Underachiever Andy Sargentee (Bridges) decides that he needs to hatch another get rich quick scheme to curry favour with his estranged son. His great grand plan to make a fast buck is too enlist his rag tag bar room buddies and start making amatuer porn flicks.

It is safe to say that rarely do you come across many feel good, funny, frothy Porn Flicks but with the Moguls that is exactly what you get. Think Frank Capra’s glowing world view, skewed with the laconic styling of the Coen Brothers, mixed in with the spice and sauce of PT Anderson’s Boogie Nights and you begin to understand the malaise that debut director Traeger is serving up.

Yes at times this little concoction lacks focus and clarity and may layer on the sweet, sugary syrup a tad too much come the feel good denouncement but personally it’s the victory of these losers and little men that should be cherished in this jolly indie delight.

A universally dependable and amusing cast relish the chance to flex their underdog muscles to winning witty effect and every key player is given ample time to shine in a fine ensemble. Bridges does his usual laconic best with another down at heel, life’s loser who leads these ramshackle novice movie makers on a meandering series of misfires in creating their little skin flick. While Ted Danson gives possibly one of the most enjoyable performances of his career, playing the gay guy in the group that is trying too hard to remain in the closet even though everyone else knows he is out of it.

Couple this with the always watchable Fitchner and Pantoliano playing hapless buddies that have serious delusions of cinematic grandeur and you are provided with a fine display of nuanced comedic cinema that highlights the range and diversity of these usually serious players.

It’s whimsical and at times pedestrian pace may not be too everyone’s liking and aside from some minor directional missteps (speeded up sex scenes are never funny) there is a lot of praise to be offered to this debut helmer who enthuses the whole affair with enough freshness, wit and verve to happily let this dirty, little guilty pleasure bounce along to its satisfying steamy but sweet climax.

4/5

16 Blocks (MAM)

Director: Richard Donner
Writer: Richard Wenk
Cast: Bruce Willis, Mos Def, David Morse, Jeana Stern
Links: offical - imdb - empire

Down at heel, sullen cop Jack Moseley (Willis) is given the thankless task of escorting low-level criminal Eddie Bunker (Def) from his precinct to testify in the downtown Court House, 16 Blocks away. But deadly forces are conspiring to make sure Eddie doesn’t make his court appearance, in turn putting both men’s lives in terrible jeopardy.

Its always gratify to see a couple of old-timers still able to churn out the goods, especially in such well worn duds as the Buddy Movie formula, but both Donner and Willis have proven that there is still some grit and spit left in them to hold their own against all the young curs nipping at their dusty heels.

With 16 Blocks you get exactly what you expect from this kind of movie premise – mismatched, grumpy, booze sodden, life trodden cop tasked with shipping low-life, street wise, hustling minor crim downtown to ensure that some bad guys are banged up for the wrongs they have committed - learning to respect themselves and the importance of living again along its adequate running time. But when it’s done with such old school charm and nuance you can’t help but be swept along in its swing and swagger towards its slightly predictable but satisfying conclusion.

Like most Buddy Movies the success ratio resides in the interplay and interaction of the main protagonists and both Willis and Def excel at ensuring that both these polar opposites crackle with enough vitality and energy to keep the audience engaged in both of their respective plights. Willis excels at playing Moseley as the brow beaten, world weary cop, coupled with the raw, amusing, at times grating vibrancy of Def’s testifying criminal.

Sharing a similar tone, pacing and vibe as Spike Lee’s recent Inside Man. 16 Blocks attempts to replicate that 70’s cop thriller feeling, where its focus resides more on the dynamic between characters and motives, rather than on some quick witty banter before we segue into the next orchestrated action set piece. Maybe it’s my increasing age or maybe because most of the high concept 80s buddy movies covered every conceivable angle for this formula that 16 Blocks felt like a simple breath of movie fresh air in comparison to most other recent formula flicks.

3/5

Silent Hill (MAM)

Director: Christophe Gans
Writer: Roger Avary
Cast: Radha Mitchell, Sean Bean, Laurie Holden, Deborah Kara Unger
Links: offical - imdb - empire

Young Sharon Da Silva ( Jodelle Ferland) is being plagued with nightmares of a place called Silent Hill. Sharon’s father, Christopher (Bean) feels that his daughter needs medical help, while mother, Rose (Mitchell) decides to take a trip with Sharon to uncover the mystery of this strange place. Once their both mother and daughter are plunged into a nightmarish world where they must fight for their very survival and their souls.

It’s safe to say that the probability of taking a popular Videogame and turning it into a successful Motion Picture are pretty slim. Just take a look at the numerous movie misfires that such finger banging, square-eyed, relationship destroying fodder have cultivated. From the inanity of Super Mario Bros, via the tosh of Tomb Raider through to the rancid stench of Resident Evil we have been embattled with a slew of below par, sub standard, by the numbers adaptations that have bored audiences and sent gamers fleeing back to their consoles, seeking refuge from the heavy handed, hatchet men of Hollywood.

This brings us bang up to date with the latest in this long line of conveyor belt product in the shape of Christophe Gans Silent Hill. It has been five years since the impressive Gans last directed a film, 2001’s superb Brotherhood of the Wolf and it is easy to see that he has lost none of his ability to enthuse his work with visual flair, dramatic staging and elegant cinematography. If only the same kinetic energy and passion for the visual aesthetic of the piece had been channelled into the development of both character and story. Then we may have had a horror film that may not have been a classic of the genre but would have been proud to stand alongside some of the more recent, decent efforts that have graced the cinema.

Avary’s script feels like a sketchy mismatch of ideas ‘borrowed’ from other previous efforts, namely The Fog, Hellraiser and Don’t Look Now, further hampered by leaden dialogue that sounds like it has been lifted straight from the clunky cut scenes that pepper the Videogame itself. While the cast seem to plod through the motions, neither showing much interest or compassion to the hellish predicament they find themselves in. Chief among these is Mitchell’s stoic performance, who seems to give the impression that seeing malformed ash babies, bag headed knife nurses, flesh devouring mutant insects and the horrific, huge sword wielding Fiend is more akin to losing your purse on a night out rather than being stuck in the Limbo Hell of Silent Hill.

Whereas most other horror films tend to favour the short, sharp shock approach Silent Hill meanders for more than 120 minutes, outstaying its welcome well beyond the theatrics and histrionics of the ham fisted third act where Valtiel (Alice Krige) blabbers on and on about witches and purifying fire where the audience would much prefer the return of the Fiend with those big ‘bloody’ cool swords to dispatch of these annoying puritans.

It is such a shame that for all the powerful, disturbing and haunting images that this movie throws at the audience it is marred by wafer thin plotting, risible dialogue and a cast that look like they wish they were anywhere but stuck in Silent Hill.

2/5

Return of the Ting

Its been a long, long time since last I posted but felt that it was long over due that I started writing my dumb wee movie reviews again. So to kick us off here is a review of the excellent The Squid and The Whale doing the rounds at your local multiplex as we speak. Enjoy the review and if you haven't seen this little, bitter gem then go get your skates on.

I intend to post at least one movie review a week, more if I have got the time to review the usual 2 or 3 movies I see in a week. Please feel free to comment or better yet, send my your reviews and I would be happy to post them on this ickle site.

MAM

The Squid And The Whale (MAM)

Director: Noah Baumbach
Writer: Noah Baumbach
Cast: Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline
Links: offical - imdb - empire

1986 - New York City and married writers Bernard (Daniels) and Joan (Linney) Berkman decide to seperate but agree joint custody of their two sons, Walt (Eisenberg) and Frank (Kline). This frature in the family home leads to the family trying to deal with the emotions, confusion and fall-out that such a seperation can bring in an amusing and moving slice of eighties life.

It’s safe to say that Writer/Director Noah Baumbach’s parents divorce in the mid 80’s has left some rather deep, unsettling, yet painfully funny scars on this filmmakers creative cinematic psyche. By utilising this traumatic period to provide the framework for his latest movie we are provided with a bittersweet study into the unravelling relationships between the four members of the Berkman family and how the impact of such a decision effects the family brood in many humorous, saddening and uncomfortable ways.

A superb ensemble cast colour each of their characters with enough fragile humanity that we can’t help but feel and forgive them for their many foibles. Whether its Bernard’s pitiful wounded pride but inability to address his own shortcomings, Joan’s genuine warmth marred by her serial infidelity, Walt’s plagiarism and sexual frustrations with his father's student lodger or youngest Frank’s alcohol abuse and public displays of masturbation. While special praise must be given to Daniel’s in a career best performance as the boorish matriarch of this fractured family, maintaining a delicate balance between portraying a character that from one scene to the next you are uncertain whether you loathe his selfish, pretentious, petty posturing or love his simmering, dismissive nature towards anyone that he deems beneath him.

While Baumbach’s ability to write biting, pithy dialogue ensures that every character, from the main players to even the smallest cameo role – a scene stealing, creepy William Baldwin as Frank’s tennis coach being a delightful highlight - are embalmed with wit and gravitas that ensure that this nippy little number hits all the right notes and nuances in its slender running time.

In a less political and issues driven Oscars year this cunning satire would have been a sure fire front runner in all notable categories but was unjustly ignored for the usual tub-thumping and grandstanding movies that so readily plague the right-on, liberal minds of the crinkly old Academy. Ignore all the headlines that the most uncomfortable but twisted fun at the cinema these days can be found in such grot flicks as Hostel or The Hills Have Eyes, the real horrors lie in the humourous disintegration of an elitist, literary, suburban family in 80’s New York.

4/5

Tarnation (TG)

Director: Jonathan Caouette
Writer: Jonathan Caouette
Cast: Jonathan Caouette, Renee Leblanc, Adolph Davis, Rosemary Davis
Links: offical - imdb - empire

I'll start this review by pointing out that Roger Ebert gave this film four stars and hailed it as a great movie. Tarnation won best documentary at the LA Film Festival and made the selection at a host of other international festivals.

I seem to be missing something here. I really wanted to like this film. The very fact Caouette managed to make and release this film should be an achievement in itself. I just wish it had been better. I'm pretty sure it could have been much, much better. The last 20 minutes were very personal, intense and engaging. It's a shame that the first hour or so appear to be an experiment in self-indulgence.

As the press release goes, this film was made on an ultra-low budget ($218), edited on an iMac using iMovie and assembled together from 19 years of home video footage, photographs and audio recordings. The basic premise is great: a very personal film about a troubled family trying to come to terms with their dysfunctional life.

My first complaint is that this film really needed a narrator. In fact, had it used narration rather than hundreds of words of text in varying fonts, sizes and colours, it could have been a totally different film. Over use of still photographs and repetitive effects also hampered the flow of the story.

It wasn't all bad though. The opening 10 to 15 minutes and the conclusion to the film are interesting and very good viewing. Hard to watch - but that's not necessarily a bad thing.

I'm doing my best not to be too harsh on this documentary as I think it was an interesting experiment in film making. In the hands of an editor who wasn't so close to the events in the film, the two and a half hour rough cut could possibly have produced a much better 90 minute documentary.

2/5