MOODY MOVIES: PS3

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Tuesday, 28 August 2012

THE NEWSROOM - SEASON 1 (8/10)

USA: Various Directors, 2012 (Created by Aaron Sorkin)

IMDB reference

Friday, 24 August 2012

LIKE CRAZY ****

USA: Drake Doremus, 2011

IMDB reference

Having heard mixed reviews about LIKE CRAZY despite its festival acclaim (winning the 'Grand Jury Prize' at Sundance) I wasn't sure what to expect from director Drake Doremus' film.

Starring young British actress Felicity Jones as Anna and Anton Yelchin as Jacob (TERMINATOR SALVATION, STAR TREK) the film follows the triumphs and turmoil of the on/off relationship the pair share having met as students in LA. With its intimate plot, naturalistic low-key aesthetic and improvised dialogue LIKE CRAZY mines familiar romantic territory to that of other American indies such as IN SEARCH OF A MIDNIGHT KISS, BEFORE SUNRISE and perhaps most successfully BEFORE SUNSET.

The pacing is slow and to begin I found it difficult to engage with the characters. Undoubtedly, my age played a part as I felt removed from the lives of these two students and that their romance lacked gravitas. However, as the story progressed and the film began to broaden its canvass to include themes such as enforced separation, other loves, parents and isolation in a foreign country it slowly but surely got its hooks into me.

The cast is fantastic with the two leads having never been better despite the odd duff line and they are brilliantly supported by the likes of Jennifer Lawrence, Alex Kingston and Charlie Bewley. Soon these performances and the fact the film has the sense to make the other partners which crop up in the lives of Anna and Jacob likeable in their own right help to invest you in their predicament. Indeed, for every aspect of a relationship (long distance or otherwise) it misses it hits two more lending LIKE CRAZY a level of emotional authenticity far beyond my expectations.

The film's stylistic flourishes using lots of close-ups, lingering slow takes accompanied by repetitive minimalist instrumental music may not be to everyone's liking but I found the culminating effect to be quite enchanting. Moreover, the scenes shot on the London underground and the film's closing montage was enough to bring tears to my eyes.

The Count's Verdict: Possibly not for everyone and even with its flaws LIKE CRAZY repays the viewer what you put in. At its best LIKE CRAZY has moments where images and sound combine to resonate in a deeply emotive way. One of my genuine surprises of the year.

Thursday, 23 August 2012

X: NIGHT OF VENGEANCE ***½

Original Title: X
Australia: Jon Hewitt, 2011

IMDB reference

I became aware of this little Aussie exploitation film via Ben and Dan’s Mondo Movie podcast and made a mental note to seek it out. Having now had the chance to see the film I’m glad I took the trouble as it holds interest beyond the mere titillation of being a film about Sydney’s prostitutes.

Perhaps most obviously described as a ‘witness on the run’ movie – see Almodóvar's DARK HABITS or even the mainstream SISTER ACT for previous forays into this familiar premise – X: NIGHT OF VENGEANCE has a simple set-up in which Holly (Viva Bianca) and Shay (Hanna Mangan Lawrence) witness a murder whilst on a job and their attempts to flee the murderer thereafter.

The obligatory scenes of nudity, violence and action akin to the genre are all present. However, where the film really excels is in its focus on the disparate experiences of these two sex workers both before and after their fatal meeting. Moreover, the two female leads are able to deliver dramatically engaging performances which energises the film beyond its sensationalist roots.

That’s not to say anything profound or of high artistic merit is achieved or aimed for by director and co-script writer Jon Hewitt. The plot is bound to a large degree to the ensuing chase. The supporting cast is rather bland. The photography is uneven: looking cheap and amateurish in some nocturnal exterior scenes and impressively stylistic in others – a particularly effective scene occurs when Shay is pursued through a nightclub, her pallid oval shaped face alight with bright red hues. Although the fact Hewitt, his DP Mark Pugh and editor Cindy Clarkson try to evoke the ghost of De Palma though use of split-screen (albeit lacking the sub-textual richness and geographical mastery of De Palma’s best work) only makes me look on this film’s merits all the more favourably.

The Count’s Verdict: X: NIGHT OF VENGEANCE is an exploitation movie which not only delivers in the T&A department it also invests you in the plight of its co-protagonists. The balance between being invited to ogle at the women as well as identify with their predicament may not be unproblematic but whatever the filmmakers’ intent they have certainly crafted a far better film than the poster suggests. See it!

Monday, 20 August 2012

GAME CHANGE (TV) ***

USA: Jay Roach, 2012

IMDB reference

It's probably fair to say I've only had a passing interest in US politics in recent years and am largely uninformed of the intricacies of presidential campaigns. Obviously, the historic dimension of the 2008 appointment of Barack Obama wasn't lost on me and I do recall the furore surrounding Republican presidential candidate John McCain's running partner - Governor Sarah Palin.

However, most of my insight was gleaned from the popular spoof of her various faux pais by comedian Tina Fey on TV show 'Saturday Night Live' which rather pleasingly find their way into this film. This comedic element hints at the more personable and less stuffy approach director Jay Roach and HBO have taken with the material.

Based on a book written by two political journalists (Mark Halperin and John Heilemann) GAME CHANGE focusses on the experience of would-be vice president Sarah Palin as she is taken from political obscurity in Alaska and thrust into the media spotlight. Julianne Moore delivers a fine impersonation of the real-life Palin deftly mimicking her tone of voice, gestures and ticks. Roach's film convincingly mixes reconstruction and archive footage inviting us into the mindset of his slightly deranged anti-heroine.

Moore is ably supported by Ed Harris as Senator John McCain and a superb Woody Harrelson as campaign strategist Steve Schmidt. Not only are the performances excellent but the hair and make-up is genuinely impressive for what is fundamentally a 'made-for-tv' movie.

Overall, the film's main thrust is in setting up the balance of power and its oscillation between Palin and Schmidt as the latter increasingly loses his influence over the maverick rookie. The satire is more subtle than scathing (although Palin and McCain have both claimed the film to be inaccurate despite neither having watched it) and nothing of any real significance is bestowed about American politics or the individuals involved. Although I found GAME CHANGE to be mildly diverting, unpretentious and well acted entertainment.

The Count's Verdict: If you have the slightest interest in Sarah Palin or the media fall out that ensued around her in the 2008 US presidential campaign you'll find HBO's GAME CHANGE breezy but slight viewing. Moreover, if you're a fan of either Ed Harris, Julianne Moore or Woody Harrelson there's plenty to enjoy here as all are on fine form.

Saturday, 18 August 2012

THE WHISTLEBLOWER ***

Germany/Canada: Larysa Kondracki, 2010

IMDB reference

This film seems to have slipped under the radar somewhat having been shot in 2010 but only being released in the UK on DVD and Blu-ray earlier ths year. With such a recognisible cast (Rachel Weisz, Vanessa Redgrave, Benedict Cumberbatch, David Strathairn, Monica Bellucci and Liam Cunningham) one must ask the question of why wasn't this film released theatrically? Without speculating about the distribution rights surrounding this German-Canadian co-production, perhaps a clue to THE WHISTLEBLOWER's 'straight-to-video' fate can be found in the rather muted merits of the film itself.

Rather unfortunately labelled a 'thriller' THE WHISTLEBLOWER is inspired by the events of real-life UN International Police officer Kathryn Bolkovac and her efforts to raise awareness of human trafficking in post-war Bosnia. Thus director and co-writer Larysa Kondracki's film must wrestle to find a balance between authenticity and entertainment.

It is hard to doubt the earnestness of the film and its intentions to engage the spectator in the humanity surrounding such a serious issue. Both Weisz as Bolkovac - the officer outcast by her peers as she risks everything to reveal the truth - and young actress Roxana Condurache - portraying the plight of one of the enslaved women - deliver committed performances. Indeed, the narrative hits the expected beats of corruption, exploitation and human suffering.

However, in keeping to its roots of re-telling a true story, one never really feels they've gained anything from this filmic experience. The result is a film that lacks the characterisation and intimacy needed for great drama or the action fuelled excitement akin to a thriller.

Ultimately, you sit through a near 2-hour film conscious of the passage of time and leave with what you brought in: human trafficking is bad and people who profit from it are vile but all too often are able to get away with it.

The Count's Verdict: Worth seeking out for the important message the film conveys although its telling doesn't always make for a great film.

Friday, 17 August 2012

THE THEATRE BIZARRE ***½

USA/France/Canada: Jeremy Kasten, Richard Stanley, Buddy Giovinazzo, Tom Savini,Douglas Buck, Karim Hussain and David Gregory, 2011

IMDB reference

This was one of two horror anthologies (the lacklustre CHILLERAMA was the other) which I was gutted to miss at FrightFest 2011 due to their twilight screening hour and my need to catch the last train home.

Having finally caught up with THE THEATRE BIZARRE its some way short of previous FrightFest fave TRICK 'R TREAT but a welcome addition to the modern portmanteau horror film nonetheless.

The film is bookended by an effective wraparound story revolving around a silent female spectator drawn into an abandoned and eerily strange cinema - the titular 'Theatre Bizarre' - where upon genre icon Udo Kier acts as our guide introducing each of the film's five tales (Mother of Toads, I Love You, Wet Dreams, The Accident, Vision Stains and Sweets).

Like most omnibus films not all the stories work and are of varying quality in terms of directing, photography, acting, effects, plot etc. First up we have 'Mother of Toads' - perhaps only notable for having Fulci 'scream queen' Catriona MacColl hamming it up as a French Lovecraftian crack-pot. Things soon improve - particularly in the writing and acting department - with 'I Love You'. Bleak it may be but full of memorable darkly heart-breaking dialogue. 'Wet Dreams' serves up Tom Savini as a shrink and his customary gore effects abound.

The tone shifts dramatically for 'The Accident' and director Douglas Buck executes a simple thematic idea in a genuinely affecting way - surely the epitome of what a 10-15 minute short film component of a horror anthology should do.

Then 'Vision Stains' starts strong but fails to fulfil its potential, particularly in the segment's climatic scene. Closing the anthology is the delightfully demented 'Sweets' which along with 'Wet Dreams' perhaps best personifies the 'Grand Guignol' antics THE THEATRE BIZARRE is so keen to evoke.

The Count's Verdict: Not a threat to TRICK 'R TREAT's crown as the best of contemporary anthology horror films but an interesting diversion all the same. Worth seeing for 'The Accident' story alone which is damn near perfect.

Thursday, 16 August 2012

CHILLERAMA **

USA: Adam Green, Joe Lynch, Adam Rifkin and Tim Sullivan, 2011

IMDB reference

Seeing as I love a good anthology horror film and reflecting on what a rarity modern portmanteau movies are I was gutted to miss out on this at last year's FrightFest. Having now seen CHILLERAMA I realise my folly in thinking this might have been worth missing the last train home for and my condolences for those that did brave the twilight screening. This just might be my biggest disappointment of the entire festival.

Things get off to a rather spirited start with a suitably grim title sequence but any gothic mood is almost immediately undone by a painfully laughless and puerile opening scene shot in lifeless black and white photography. This soon skews into a colorised framing story set at an old fashioned drive-in theatre populated by irritatingly vapid characters who take turns to deliver forced cine-literate lines that will make your heart sink.

All pretence that CHILLERAMA might actually equal the omnibus films from which it is derived is soon dispensed with as the words 'Wadzilla' appear onscreen. Aiming somewhere between the humour of the giant Boob running amok in Woody Allen's EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX BUT WERE AFRAID TO ASK and the nostalgia of fifties SF B-movies, 'Wadzilla' succeeds in raising a chortle but overstays its welcome all too soon. Painfully, one note the gags run dry well before the short running time.

Next up is the amateurish tedium 'I Was Once Teenage Warebear'.
Whatever good feeling 'Wadzilla' managed to raise in its audience this crass comedic farce soon replaces with fatigue as the wheels fall off this segment pretty much as soon as it begins. Thankfully, the stupid but entertaining 'Diary of Anne Frankenstein' soon arrives and saves this mediocrity from being a one-star film.

Sadly though, the tired closing 'Zom B Movie' which brings this anthology to a laboured close epitomises the lacklustre approach of CHILLERAMA. Devoid of genuine scares, laughs or ideas the filmmakers stubbornly go for gross out per-pubescent cock and fart jokes ad nausea until you begin to appreciate why so few horror anthologies are now made.

The Count's Verdict: If you've the appetite for horror anthologies you'll check this out. Just go in with your brain in your ballsack and an expectation only that CHILLERAMA will pass the time.