Filth Review

Director/Writer: Jon S. Baird

Starring: James McAvoy, Jamie Bell, Eddie Marsan, Imogen Poots, Joanne Froggatt, Shirley Henderson, Jim Broadbent

Synopsis: Desperate to get the Detective Inspector promotion at work, copper Bruce Robertson (McAvoy) will try every dirty trick in the book to get ahead. The only issue is his chronic alcoholism and drug-taking, getting in the way of lucid transition.

The work of Irvine Welsh is brash, boorish and brilliant. You needn’t have read his books to have seen the impact of his stories on popular culture. From humble beginnings in Scotland, his work has been heralded across the globe as caustic cult. Hear the title Trainspotting and you realise you know the man after all. Most of his work has been adapted over the years, but due to Danny Boyle’s pitch-perfect take on the heroin-fuelled odyssey of Renton and co. the bar was set very high for future adaptations (most of which didn’t live up to the power of the prose).

17 years after Trainspotting left its enduring mark, Jon S. Baird has helped breath fresh cinematic life into Welsh’s work. He’s chosen Filth, the story of a bipolar Detective Sergeant trying to win back his wife and daughter with a promotion at work. The title says it all; Filth is a no-holds barred tale of corruption and excess, all the while laugh-out-loud hilarious.

Removing the narrative exploits of Bruce’s tapeworm that takes over certain parts of the narrative in the book, the film still hones in on the hallucinatory aspects of the story. Cutting from a third-person point of view to a singular, fourth-wall-breaking address, the world we see is warped. You often feel very close to Bruce (both compelling and repellent) or extremely distant. It makes for a character you can’t quite put your finger on and wonderfully different from the exposition-laden personalities often seen in contemporary cinema.

James McAvoy as the protagonist is simply superb. No stranger to lead roles, McAvoy doesn’t, it seems, always make a grand impression on the films he’s in. Here, however, he excels like never before. Snubbed by too many award ceremonies, McAvoy has rightly picked up the Best Actor win for the few nominations he’s had. Shifting from drunkenly ecstatic, to hungover and forlorn – with all those off-kilter exploits that come in between – he expertly moves through the trials and tribulations of this character. Helped by his Scottish nationality, with a clear understanding on the Scottish and, more specifically, Irvine’s Welsh’s humour, McAvoy seems born to play this part. Until we see another game-changer from the 34 year-old actor, this now stands as his best performance.

With a sterling supporting cast (including a scene-stealing Eddie Marsan), Filth is a wonderful companion to Trainspotting, complete as it is with a host of great characters. As easy as it to compare it to Boyle’s 1996 film, there’s another similarity between the two – an eargasmic soundtrack. Paired with Matthew Jensen’s dense yet demonstrative cinematography, reflecting the tone perfectly, the formal quality of the film is seamless. Baird has brought the tale of a Machiavellian, repugnant sort to life in such an entertaining fashion you’re bound to be revisiting it soon after.

****

Extras: Some hilarious deleted scenes, including an interaction between Bruce and a naive American; extended scenes that don’t add a great deal to the final cut; some funny outtakes; interesting interviews with many of the cast and crew; best of all, a commentary for the film from Jon S. Baird and Irvine Welsh. ****

Also posted on LiveForFilms.com

Only God Forgives Re-Review

Director/Writer: Nicolas Winding Refn

Starring: Ryan Gosling, Kristin Scott Thomas, Yayaying Rhatha Phongham, Vithaya Pansringarm, Bryon Gibson, Tom Burke

Synopsis: Julian (Gosling) and his brother (Burke) work in the criminal underground of Bangkok, with Julian dealing drugs to retain power. When his brother is killed he sets out to find the person responsible, pushed to such violent revenge mainly by his mother (Scott Thomas).

Author’s note: Back when Only God Forgives premiered at the Cannes Film Festival me and many others were sitting excited in the packed cinema. The film began, it looked beautiful and for 1 hour and 30 minutes, but it seemed like that was its only interesting facet. The Cannes press argued for the entirety of the festival over the flawless or flawed nature of the film (depending on their siding). I fell into the disagreeable category, disappointed beyond belief at Refn and Gosling’s follow-up to Drive. I spoke to a handful of people who were in two minds about it but one person seemed to indubitably “get it”. I didn’t want to lose face by going back on what I had wrote in my review but after hearing him wax lyrical about the symbolism, characterisation and construction of it I knew I had to give it a second-look. That time has now come with the home entertainment release. And the man who made me change my opinion of the film was Damon Wise who, incidentally, conducts the Q&A on the DVD/Blu-ray. He knows the film as good as its director, making the film a must-buy for film fans – not only to let people give the film another viewing, perhaps changing their opinion of it, but also to hear two men speak fascinatingly at length about the markings of this complex film.

Under plenty of consideration, there’s little to my first review that I now still stand by. Only God Forgives works on various levels, getting under your skin and burrowing into your subconscious.

Much like Fear X and Vahalla Rising, Only God Forgives plays off minimalism and style in order to portray narrative and tone. It may not be a conventional way to watch cinema, but it is an exciting one. At one point during the commentary (henceforth to be referenced to mark the DVD/Blu-ray’s worth) Damon Wise mentions music akin to Bernard Herrmann’s Vertigo score. This comment extends to a conversation on atmosphere and how Refn first saw Vertigo, not completely understanding what was happening. The reference perfectly reflects the experience of watching OGF, a bizarre foray into the vengeance sub-genre. Still, much like Vertigo, there is a dedicated following and critical appeal to be gained from the off-key style.

Perhaps what will hold up most of all for OGF is the cinematography and music. Larry Smith has repeatedly been praised in both positive and negative reviews of the film. It is a truly beguiling series of images that make up the film, always full of depth. As Wise remarks, Smith’s cinematography has an “inky quality... [where] things come out of the shadows, out of the darkness”. It is observations such as these that make the special features on the disc so special. There’s interpretation and discussion to be heard and had from Wise and director Refn’s commentary. If you aren’t wholly caught under the film’s spell, perhaps you’ll grow to change your mind after hearing their thoughts. If, when listening to the supplementary audio track, you find it difficult hearing the dialogue there isn’t much to be missed. For one, the dialogue is sparse (or, subtitled and easily read) and two, you take more notice of Cliff Martinez’s score. With both diegetic sound occurring, and Refn and Wise chatting away, you take note of the score’s power – it radiates, piercing through the other sound, even. As Refn puts it, "Music was in the foreground".

Refn additionally mentions the command of Cliff’s score by noting how the film was “conceived as a silent film" – a nod to all those who complained of the film’s all-too-subtle script. Often classed as a visionary, watching OGF emphasises Refn’s control over visuals. It may not only be sound that penetrates you, but such vibrant colours. The director mentions how the film’s colour was inspired by old Disney movies, a better indicator than any on how important it is. If, by the end, the film has not satisfied you in terms of narrative, it should have via aesthetics.

As a story, it is a tough one to follow. You may be confused by the presence of Vithaya Pansringarm (dubbed “The Angel” by some) or put off by the muted appearance of Ryan Gosling. Gosling has his moments of impacting the odd scene, but he still appears worryingly wooden. Of course, it is part of the film’s set-up, but his performance still feels slightly too restrained. However, if Gosling takes a back seat, so to speak, co-star Kristen Scott Thomas ignites the screen with her fiery mother character. Swearing and swaggering through the Thai landscape, she is an assertive presence in the film. With this mix of actors their respective characters; there is an added anomalous feel to the whole thing – clearly off-putting for some as seen on its initial release.

Definitely a mixed bag for most film-fans yet it should eventually been seen as a sublime piece of art; it is, it seems, something that needs a second glance. It also benefits from the DVD/Blu-ray extras, including a sterling commentary from an absorbing filmmaker and a discerning Damon Wise. Extra pleasure for Gosling fans come in the form of the behind-the-scenes extra that includes one or two Gosling quips.

Film: **** Extras: ***

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57th LFF Review: The Lunchbox

Director: Ritesh Batra

Writers: Ritesh Batra, Rutvik Oza

Starring: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui, Denzil Smith

Synopsis: Thanks to an error with the delivery, Saajan (Khan) winds up with the wrong lunch. Inside his mistaken lunchbox he finds a delicious curry that continues to get wrongly delivered every day. As Ila (Kaur) – the woman cooking all this for her husband – soon discovers the mistake she leaves a note to the man eating her husband’s food. One note leads to another and eventually Saajan and Ila begin a relationship through the lunchbox deliveries.

When Western audiences think of Indian cinema we regularly associate it with Bollywood. For the hundreds of Bollywood productions that do get released there are, however, many simplistic films absent of spontaneous dancing and elaborate plotlines. You can consider The Lunchbox a Western film – with a universal story – despite being set in a bustling Mumbai with a MacGuffin that is inherently Indian (a matter Hollywood producers will surely work around when they inevitably remake this). It’s a definite crowd-pleaser, worthy of global fame and recognition.

The lead is a figure already familiar with global fame (especially from last year’s Life of Pi) - Irrfan Khan. A respected actor across the world, Khan is commanding presence, instantly keeping you transfixed on him. He often plays quiet, self-possessed characters and here is arguably no different. However, he transforms into a romantic for The Lunchbox – the older, wiser type notable in niche rom-coms. His co-star Nimrat Kaur is a lot younger and highlights the abnormal screen coupling, yet in a film where it feels natural and warranted.

Ritesh Batra and Rutvik Oza’s story is oddly identifiable whilst being clearly Indian. The lunchbox that connects the two is not something that could work for a film set in the UK or the US (without some pretty bizarre reworking). It also isn’t anchored by token characters or customary plot designs – things happen to characters that feel more natural than most Western films purely because it acts upon its own culture.

Humour and soul are just two of The Lunchbox’s charming qualities. It isn’t visually stunning, epically scored or over-acted; it is, like Khan’s persona, quiet and virtuous in its appearance. With snippets of its runtime needing trimming, it is only a few degrees away from all-round accomplishment. It’s a real shame that India did not nominate it for next year’s Oscars as it’s now only word of mouth that will hopefully get the film the audience it deserves.

****

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Cloudy with a Chance of Meatballs 2 Review

Directors: Cody Cameron, Kris Pearn

Writers: John Francis Daley, Jonathan M. Goldstein, Erica Rivinoja

Starring: Bill Hader, Anna Faris, Will Forte, James Caan, Andy Samberg, Benjamin Bratt, Neil Patrick Harris, Terry Crews

Synopsis: Flint Lockwood (Hader) successfully got everyone off Swallow Falls after the disaster in the previous film. Now a celebrity, he’s finally getting the recognition he deserves, including a job at the prestigious Live Corp Company. Live Corp’s clear-up of Swallow Falls goes awry, eventually forcing Flint and his friends and family to head to the island on their own...now full of “foodimals”!

When Cloudy with a Chance of Meatballs came out 4 years ago it was one of the most refreshingly original animations to arrive on our screens in years. The dialogue, the characters, and the overall aesthetic were so pleasingly different that it has become a beloved contemporary classic. It was therefore expected that a sequel was on its way. Complain to your heart’s content about the “sequelisation” of most films, but Cloudy seemed like the perfect film for that. Cloudy with a Chance of Meatballs 2 does satisfy many of the fans’ needs, though nowhere near as picture perfect as the first.

As The Avengers will continue with Joss Whedon’s script and directorial efforts, the notion that if you’ve created something special it works well to carry on with it. Cloudy’s first film, written and directed by Phil Lord and Chris Miller, was a creation seamlessly envisioned. The sequel’s Cody Cameron and Kris Pearn, following that act, have a lot on their plate (forgive the pun). They have expectations to meet and a style to stick by. In some regards they have been worthy successors to Lord and Miller, in keeping with the first two’s paradigms. Still, some of the dynamics have been pushed in the way of the “bigger, bolder, better” sequel scheme and often it feels too over the top. There’s more emphasis on the team – and unfortunately more from Andy Samberg’s annoying “Baby” Brent McHale – tiresome at points when you want to see more of the surrounding cast. There’s additionally a more formidable villain figure (Will Forte’s Chester V) who’s most interesting characteristic is the way he moves. They’ve tried to better the likes of Bruce Campbell’s Mayor Shelborne baddie, falling to the feet of Campbell’s scene-stealing abilities.

The most celebrated part of Cloudy 2 has been lauded over in every trailer and TV spot – the host of foodimals, all complete with glorious pun names. It might not be worth watching any promotional spots for film as too many jokes are lost the second time round after watching the trailer. Placing the majority of the laughs on these food-animal hybrids never seems to lose its zing, mind you. The quick-fire humour of the Cloudy series works well for the “oh look, it’s a [insert foodimal here]” barrage of skits. If the monkey Steve remains your favourite after the exploits of Berry – a giant strawberry – then the film really will be lost on you. Out of the many many new characters, Berry is deliciously delightful.

Slapstick aspects may not be something you can hold against Cloudy, but the sequel certainly feels more childish. Many of the jokes that could be enjoyed by older audiences in the first have been seemingly shelved in favour of action, colour and cuteness for number 2. Always able to crack a smile, Cloudy with a Chance of Meatballs 2 won’t, however, have you in fits of laughter like the first; it has, sadly, started to cater (forgive another pun), only for the kids.

***

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Jackass Presents Bad Grandpa Review

Director: Jeff Tremaine

Writers: Spike Jonze, Johnny Knoxville, Jeff Tremaine

Starring: Johnny Knoxville, Jackson Nicoll, Spike Jonze, Georgina Cates

Synopsis: Irving Zisman (Knoxville) suddenly finds himself having to look after his 8 year-old grandson Billy (Nicoll) after his mother is taken to jail. Not wanting to face the responsibility, he decides it would be easier to travel across the country and drop him off with his dad. On the journey, however, he soon realises he’s actually quite fond of the kid.

In all three Jackass movies the least interesting skits have been with the old man/old lady played by Johnny Knoxville and Spike Jonze, respectively. The announcement of a spin-off centred purely on Knoxville’s old man, Irving Zisman, didn’t feel like the right direction for the team to take. After Ryan Dunn’s death (to whom this film dedicates itself to) the idea of a new Jackass movie seemed unlikely and imprudent – but for all those adoring fans, how else could we get to see the Dickhouse group dick around? Bad Grandpa is the answer to that question, additionally quashing the concerns from Zisman’s unenthusiastic audience.

Bad Grandpa, taken on by Paramount, becomes another entry in their catalogue alongside Airplane, Anchorman and the side-splitting Jackass trilogy. The result of director Jeff Tremaine, writer Spike Jonze and the all-singing, all-dancing Johnny Knoxville is a sketch film not as great as the ensemble stunt cinema, but funnier than practically anything out right now.

The jokes work on such a basic level – with the Jackass crew professionals at simple, inane comedy – whereby no cinemagoer should feel too disheartened if “bits” aren’t masterful examples of jesting. Saying that, some set-ups in Bad Grandpa have clearly been given some technical and time-consuming treatment, to a degree where the reality and staging become blurred. You cry with laughter at how intense some moments become.

The other laughs come from Knoxville’s performance and his wonderful way with words. So many catchphrases derive from Zisman’s dialogue, with an extra zing coming from Knoxville’s boyish charm (under that make-up). Focusing on an elderly character gives him virtually free-reign with saying and doing things; people just don’t want to correct or confront an old man. You can often see jokes and lines coming, but Knoxville always manages to bring spontaneity to the predictable.

It is mostly Jackson Nicoll as the grandson Billy that inspires shock. The boy seamlessly unites himself with the Jackass group to a point where you sometimes wonder if he knows about the joke and is not just playing along. The greatest sketch in the film – a young girl’s beauty pageant that Zisman and Billy crash – is Nicoll’s shining moment. No child actor has been this funny in years, and if a sequel is possible, it’ll be tremendous to see more from him.

Like all of Dickhouse’s work, there is so much more to be had on the DVD. The credits of Bad Grandpa are mainly made up of behind-the-scene footage – a supplementary 5 minutes of infectious laughter. Tremaine and his team can always tickle your funny bone, with Bad Grandpa being a pleasant surprise spinning-off from the likes of Steve-O, Wee Man, Bam, etc...

****

Also posted on LiveForFilms

57th LFF Review: Locke

Director/ Writer: Steven Knight

Starring: Tom Hardy, Ruth Wilson, Andrew Scott, Tom Holland, Olivia Colman, Ben Daniels

Synopsis: As Ivan Locke (Hardy) leaves work one night he begins travelling the M6, on his way to London where he makes a handful of calls fundamental to his rapidly-changing livelihood.

Despite how clichéd this may sound, it’s true – every now and again a film comes along that you know little about; it’s a small-budget, understated production, ten times greater than the sum of its parts. Locke is such a film, outstandingly orchestrated and acted – 85 minutes of perfection.

The less you know about the plot, the better. To put it basically, Ivan Locke (Tom Hardy) spends the whole film in his car ringing his family and co-workers, trying to piece together dilemmas that have freshly transpired. Locke is a tranquil man, meticulous and very involved with his family and job. We learn this slowly over the film, with Steven Knight’s script slowly establishing this very normal character.

The script is, without negating its worth, simple. With the cinematic form able to bring us vivid imagination and the unbelievable, often the realistic and plain stories are ignored in favour of something like Avatar. Locke is wonderfully refreshing, inherently European (certifiably British), and strikingly ordinary. Locke is no stereotypical hero, but he is a commendable figure in everything he does. By the end, he is more of a hero in your eyes than the likes of Batman or James Bond. The decisions he makes during the car journey are tough and critical to his well-being, but his selflessness takes charge over any egocentric intent.

There’s softness to the protagonist; humanity almost unaccountable by today’s standards. He seems unlike most people we know in life, though there’s a familiarity and authenticity to him. This idea extends to Knight’s film in its entirety. It is an idiosyncratic story, yet peppered with elements of the everyday. Locke is a building supervisor – one of best men with concrete, claims one of his contacts – a blue-collared bloke. Some may find the film dull and monotonous, an issue easy to comprehend with its fixed portrait of a man. However, there’s a dynamism to the duologue set-up (having Locke call half a dozen close-companions) drawn from understanding completely what is happening, yet constantly guessing at where things may lead.

Locke is a solid, compelling drama – quasi-thriller – that is written, directed, acted, edited and scored with finesse. Every aspect of it boasts care and craft. If Steven Knight and Tom Hardy can make a concrete pour seem nail-biting, you know you’ve found something special.

*****

Also posted on LiveForFilms