A Happy Ontario Based Morning all,
I currently sit here typing glazed in a heap of sweat after finally securing tickets for the upcoming Toronto Film Festival! For those veterans who go through this process on a yearly basis, you have my up most sympathies!
For TIFF 14 I will be volunteering at the Scotiabank Theatre, which I am very excited about! Especially as it gives me a chance to interact with film lovers from all corners of the globe. So without further delay, here are the films I shall be reviewing for the next two weeks:
A Second Chance (Susanne Bier)
While We're Young (Noah Baumbach)
Mr Turner (Mike Leigh)
I express regret that I was unable to secure more lucrative first screenings such as Foxcatcher, Wild, Maps to the Stars or Nightcrawler- but once the TIFF madness starts then it is every man for himself! However, as I am working during the festival, I may be able to get tickets on a Rush basis for things so my schedule could so easily change! But fear not, the major releases will still find a way onto my blog at some stage in 2014/2015!
Here's to a great festival everyone and just remember, if we cross paths- you just keep right on walking ha ha!
Sunday 31 August 2014
Thursday 28 August 2014
Love, Honour & Obey: Review of The One I Love
The One I Love
Director: Charlie McDowell
By Alex Watson
Making a marriage work takes tremendous effort from both parties and some times things can go array! We all know how tragic the fallout from this can be (look any number of high profile divorces in the tabloids) but we always hope that any couple can get back on track and save things. This week, debut director, Charlie McDowell brings us a stirring and original look at the real difficulties faced from a simple weekend retreat. His movie, The One I Love has been a favourite around the festival circuit recently, but will it offer anything new to your typical getaway movie?
Ethan (Mark Duplass) and Sophie (Elizabeth Moss) are a couple who are currently on the verge of separating due to a previous affair that has caused them to lose connection with each other. Their therapist (Ted Danson) suggests they take the weekend away to a retreat house in the California countryside. Once they arrive there, the animosity begins to ease gradually. But the couple soon discovers that there is a mystifying surprise awaiting them inside the guest house!
The One I Love is a very interesting and self assured debut from Charlie McDowall (son of Malcolm) that very confidently deals with the problems of every day people. The cinematography from Doug Emmett casts a much needed dark shadow upon the wondrous landscape which in turn adds to the slowly building tension. Smartly though the movie turns from being a straight forward drama about relationships, to having a sci-fi/ horror feel about it early on as it becomes apparent that the house they are staying is not the idyllic paradise it appears to be!
As characters, Ethan and Sophie are a pair who have become a shred of their former fun loving selves and throughout McDowall's picture we can feel their boredom with life and in many sense, with each other. The retreat is supposed to serve as a recharging device for their relationship, and initially the bond begins to strengthen. There is no crash course from any counselor in relationship building activities, they are alone with only each other and in a sense have to earn back the lost love. But after a night where events don't turn out to be the way either remembers it, things end up going the other way and the suspicions, doubts and old wounds continually rack up!
But the movie benefits most of all from a smart twist early in proceedings that creates a wonderfully suspenseful feel to the movie. Before you watch this film, stay clear of any spoilers because it makes the big reveal all the more worthwhile! When it hits though, the feel of the movie shifts considerably and throughout the second half of The One I Love we are second guessing every event and are left wondering just what kind of house is it that the couple are staying in? Every move they make, you sense the couple is being watched! Just who by remains a scary prospect to consider.
Elizabeth Moss and Mark Duplass do an excellent job of holding the movie together at the core and give a very realistic and heartbreaking portrayal of a couple who are falling apart at the seams. They are not outgoing or exceptional people, just a regular couple trying to get by but find themselves hindered at each turn. The chemistry between Duplass and Moss is the very thing that brings the movie alive and there is a terrific sense of happiness mixed with a heavy cloud of sadness about the way things have transpired.
The One I Love is an experience very much worth having and will by far have one of 2014 most original and refreshing twists to it. But more than that, it will make you think hard about any relationship that went wrong previous and maybe just give you a path to avoid the same mistakes in future! McDowall could well be a talent to watch and Closer to the Edge will keep a close eye on this one!
Director: Charlie McDowell
By Alex Watson
Making a marriage work takes tremendous effort from both parties and some times things can go array! We all know how tragic the fallout from this can be (look any number of high profile divorces in the tabloids) but we always hope that any couple can get back on track and save things. This week, debut director, Charlie McDowell brings us a stirring and original look at the real difficulties faced from a simple weekend retreat. His movie, The One I Love has been a favourite around the festival circuit recently, but will it offer anything new to your typical getaway movie?
Ethan (Mark Duplass) and Sophie (Elizabeth Moss) are a couple who are currently on the verge of separating due to a previous affair that has caused them to lose connection with each other. Their therapist (Ted Danson) suggests they take the weekend away to a retreat house in the California countryside. Once they arrive there, the animosity begins to ease gradually. But the couple soon discovers that there is a mystifying surprise awaiting them inside the guest house!
The One I Love is a very interesting and self assured debut from Charlie McDowall (son of Malcolm) that very confidently deals with the problems of every day people. The cinematography from Doug Emmett casts a much needed dark shadow upon the wondrous landscape which in turn adds to the slowly building tension. Smartly though the movie turns from being a straight forward drama about relationships, to having a sci-fi/ horror feel about it early on as it becomes apparent that the house they are staying is not the idyllic paradise it appears to be!
As characters, Ethan and Sophie are a pair who have become a shred of their former fun loving selves and throughout McDowall's picture we can feel their boredom with life and in many sense, with each other. The retreat is supposed to serve as a recharging device for their relationship, and initially the bond begins to strengthen. There is no crash course from any counselor in relationship building activities, they are alone with only each other and in a sense have to earn back the lost love. But after a night where events don't turn out to be the way either remembers it, things end up going the other way and the suspicions, doubts and old wounds continually rack up!
But the movie benefits most of all from a smart twist early in proceedings that creates a wonderfully suspenseful feel to the movie. Before you watch this film, stay clear of any spoilers because it makes the big reveal all the more worthwhile! When it hits though, the feel of the movie shifts considerably and throughout the second half of The One I Love we are second guessing every event and are left wondering just what kind of house is it that the couple are staying in? Every move they make, you sense the couple is being watched! Just who by remains a scary prospect to consider.
Elizabeth Moss and Mark Duplass do an excellent job of holding the movie together at the core and give a very realistic and heartbreaking portrayal of a couple who are falling apart at the seams. They are not outgoing or exceptional people, just a regular couple trying to get by but find themselves hindered at each turn. The chemistry between Duplass and Moss is the very thing that brings the movie alive and there is a terrific sense of happiness mixed with a heavy cloud of sadness about the way things have transpired.
The One I Love is an experience very much worth having and will by far have one of 2014 most original and refreshing twists to it. But more than that, it will make you think hard about any relationship that went wrong previous and maybe just give you a path to avoid the same mistakes in future! McDowall could well be a talent to watch and Closer to the Edge will keep a close eye on this one!
Nine Movie Scores You Should Listen To
Movie scores are the great unsung heroes of the cinematic world, they can be used to control pace and build tension as well as emphasise dramatic moments to goosebump levels. Some are understated while some motifs are the most memorable part of the whole package. Everyone knows John Williams' scores from Star Wars or Alan Silvestri's melodies from Back to the Future but here's a few more that are definitely worth a listen to.
J.J. Abrams' new Star Trek movies are big, shiny, explosive and a lot of fun and there's probably nobody better to score all of that than Michael Giacchino. His scores strike the perfect balance between drama and comedy. He's like Hans Zimmer but with more urgency and humour. His song titles are testament to that. Somehow Giacchino is capable of producing stunning scores but maintaining that tongue in cheek element. His score for Mission Impossible: Ghost Protocol is also worth a listen, but he really hits it out of the park with his Star Trek scores. Get it here.
The Lone Ranger - Hans Zimmer - 2013
I could talk all day about how The Lone Ranger could have been a great film, but wasn't. But of the few things it did well, Hans Zimmer's score is outstanding. It's difficult to score a western, but Zimmer is able to maintain the balance of big strings and simply melodies when required. While it has a Pirates of the Caribbean feel in places, it's also much darker. Ironically, for a film ruined by (among other things) its stupid action sequences, the stand-out track on the album is Finale, which accompanies the final train fight. The track incorporates the best parts of Zimmer's score with Rossini's William Tell Overture and it's a stormer. Hats off to the orchestra that performed the track.
X-Men: First Class - Henry Jackman - 2011
In these days of CGI, it's not often a movie scene gives me goosebumps, X-Men: First Class had one of those moments, if you've seen the film (or the trailer), you'll know that there's a scene in which Michael Fassbender's character Magneto lifts a submarine clean out of the water. Aside from looking spectacular, the scene is enhanced brilliantly by Jackman's track 'Sub Lift'. Stunning stuff, even on repeated viewings. One thing that Jackman does well is discard the joviality that can come with comic-book movies. First Class contains a nice mix of drama and tension and is worth a listen.
Pacific Rim - Ramin Djawadi - 2013
While I accept that Pacific Rim may have its flaws, I still love it. There's something about robots punching aliens that's just fun. Ramin Djawadi new this when he scored the film, the main motifs are brash but memorable, the combination of brass and strings works very well to balance the sci-fi and military themes. It's also slightly old-school. Different characters have their own defined motifs, and Djawadi also brings in an Eastern feel when required. For the balls-to-the-wall awesomeness, Tom Morello of Rage Against the Machine and Audioslave brings the guitar for a couple of tracks. Ignore the RZA obligatory tie-in track. It's beyond awful.
Guardians of the Galaxy - Tyler Bates - 2014
Yes, the songs included in the movie were awesome (and you can buy Quill's Awesome Mix) but don't for a moment let that take away from Tyler Bates' original score. The score was always going to take a back seat to the other songs, but that doesn't make it any less good. Powerful, haunting, tense, fun and beautiful. This score ticks all the boxes. From the energetic and bouncy The Kyln Escape to the emotional Groot Cocoon. The score is punchy, dark, atmospheric and proud and deserves the same recognition as the rest of the music in the film.
Alex's Picks
Blade Runner- Vangelis- 1982
Over 32 years since its release, Greek composer Vangelis' dark electronic score for Ridley Scott's Sci-Fi masterpiece is still magnificent. From its synthesized opening track, it helps create a wonderful and haunting feel and its helps bring to life Scott's noir and futuristic world. But more than that, it successful captures and in some cases, elevates the movie's emotional content, allowing the movie's heart to shine through. It's most beautiful moment however, has to be during Roy Batty's (Rutger Hauer) now infamous "Tears in the Rain" speech and mixed together it brings about possible the most poetic moment of Scott's career. Still highly recommended!
Drive- Cliff Martinez
The ambient and electro-pop score for Nicholas Winding-Refn's critically acclaimed 2011 movie has been one of the more memorable in years gone by. 'Nightcall' by French group Kavinsky succeeds in giving the movie the retro feel that needs and Martinez gives us a soundtrack that has an blood pumping but abstruse feel which ultimately allows the viewer to see the Driver's (Ryan Gosling) world through his own eyes. But the real success of the movie comes from its closing theme 'A Real Hero' by College which effortlessly mirrors the Driver's transformation through Refn's movie.
Friday Night Lights- Explosions in the Sky
Peter Berg's tale of the Permian Panthers football team would not have been such a memorable journey without Explosion's in the Sky's highly emotional post- rock score. Regular contributors to Berg's films, the group have always been able to give us a sound that tugs at our hearts. As natives of West Texas, they were able to secure the movie's hopeful yet crushing feel that they knew so well from growing up. The prominent example of it's feel has to be the movies ending theme 'Your Hand in Mine' which expertly marks the players transition from boys into men and underlays the uncertain future that might lay ahead. I personally am big fan of this group and if I were to pick one group to soundtrack my life, they would get the call!
There Will Be Blood- Jonny Greenwood
Radiohead's Jonny Greenwood appeared at first to be an odd choice for P.T Anderson to score his 2007 ethereal gem. But his largely orchestral score encapsulates the movie's portrayal of man with a twisted moral compass! Over the lengthly course of Anderson's movie, Greenwood's soundtrack becomes the movie's real voice and perfectly sums up the inner conflict that Daniel Plainview (Daniel Day-Lewis) may feel underneath his hardened exterior. Cruelly denied consideration for an Oscar due 'technicalities', Greenwood has still produced a fine and piercing piece of work!
The Lone Ranger - Hans Zimmer - 2013
I could talk all day about how The Lone Ranger could have been a great film, but wasn't. But of the few things it did well, Hans Zimmer's score is outstanding. It's difficult to score a western, but Zimmer is able to maintain the balance of big strings and simply melodies when required. While it has a Pirates of the Caribbean feel in places, it's also much darker. Ironically, for a film ruined by (among other things) its stupid action sequences, the stand-out track on the album is Finale, which accompanies the final train fight. The track incorporates the best parts of Zimmer's score with Rossini's William Tell Overture and it's a stormer. Hats off to the orchestra that performed the track.
X-Men: First Class - Henry Jackman - 2011
In these days of CGI, it's not often a movie scene gives me goosebumps, X-Men: First Class had one of those moments, if you've seen the film (or the trailer), you'll know that there's a scene in which Michael Fassbender's character Magneto lifts a submarine clean out of the water. Aside from looking spectacular, the scene is enhanced brilliantly by Jackman's track 'Sub Lift'. Stunning stuff, even on repeated viewings. One thing that Jackman does well is discard the joviality that can come with comic-book movies. First Class contains a nice mix of drama and tension and is worth a listen.
Pacific Rim - Ramin Djawadi - 2013
While I accept that Pacific Rim may have its flaws, I still love it. There's something about robots punching aliens that's just fun. Ramin Djawadi new this when he scored the film, the main motifs are brash but memorable, the combination of brass and strings works very well to balance the sci-fi and military themes. It's also slightly old-school. Different characters have their own defined motifs, and Djawadi also brings in an Eastern feel when required. For the balls-to-the-wall awesomeness, Tom Morello of Rage Against the Machine and Audioslave brings the guitar for a couple of tracks. Ignore the RZA obligatory tie-in track. It's beyond awful.
Guardians of the Galaxy - Tyler Bates - 2014
Yes, the songs included in the movie were awesome (and you can buy Quill's Awesome Mix) but don't for a moment let that take away from Tyler Bates' original score. The score was always going to take a back seat to the other songs, but that doesn't make it any less good. Powerful, haunting, tense, fun and beautiful. This score ticks all the boxes. From the energetic and bouncy The Kyln Escape to the emotional Groot Cocoon. The score is punchy, dark, atmospheric and proud and deserves the same recognition as the rest of the music in the film.
Alex's Picks
Blade Runner- Vangelis- 1982
Over 32 years since its release, Greek composer Vangelis' dark electronic score for Ridley Scott's Sci-Fi masterpiece is still magnificent. From its synthesized opening track, it helps create a wonderful and haunting feel and its helps bring to life Scott's noir and futuristic world. But more than that, it successful captures and in some cases, elevates the movie's emotional content, allowing the movie's heart to shine through. It's most beautiful moment however, has to be during Roy Batty's (Rutger Hauer) now infamous "Tears in the Rain" speech and mixed together it brings about possible the most poetic moment of Scott's career. Still highly recommended!
Drive- Cliff Martinez
The ambient and electro-pop score for Nicholas Winding-Refn's critically acclaimed 2011 movie has been one of the more memorable in years gone by. 'Nightcall' by French group Kavinsky succeeds in giving the movie the retro feel that needs and Martinez gives us a soundtrack that has an blood pumping but abstruse feel which ultimately allows the viewer to see the Driver's (Ryan Gosling) world through his own eyes. But the real success of the movie comes from its closing theme 'A Real Hero' by College which effortlessly mirrors the Driver's transformation through Refn's movie.
Friday Night Lights- Explosions in the Sky
Peter Berg's tale of the Permian Panthers football team would not have been such a memorable journey without Explosion's in the Sky's highly emotional post- rock score. Regular contributors to Berg's films, the group have always been able to give us a sound that tugs at our hearts. As natives of West Texas, they were able to secure the movie's hopeful yet crushing feel that they knew so well from growing up. The prominent example of it's feel has to be the movies ending theme 'Your Hand in Mine' which expertly marks the players transition from boys into men and underlays the uncertain future that might lay ahead. I personally am big fan of this group and if I were to pick one group to soundtrack my life, they would get the call!
There Will Be Blood- Jonny Greenwood
Radiohead's Jonny Greenwood appeared at first to be an odd choice for P.T Anderson to score his 2007 ethereal gem. But his largely orchestral score encapsulates the movie's portrayal of man with a twisted moral compass! Over the lengthly course of Anderson's movie, Greenwood's soundtrack becomes the movie's real voice and perfectly sums up the inner conflict that Daniel Plainview (Daniel Day-Lewis) may feel underneath his hardened exterior. Cruelly denied consideration for an Oscar due 'technicalities', Greenwood has still produced a fine and piercing piece of work!
Tuesday 26 August 2014
Three Best Ice Bucket Challenges
Hugh Jackman, Garrett Hedlund, Rooney Mara & Entire Cast/Crew of Pan
Out of all the ALS Ice Bucket Challenges, this one had the most party atmosphere to it as Hugh Jackman, taking centre stage brings basically everyone but the Janitor into frame to accept the challenge! Now that's what you call an interesting work day!
Tom Cruise & Chris McQuarrie
The long time collaborators founded themselves challenged by Jackman & Co to undertake the challenge- but as they point out most the crew isn't there so they decide to take the hit for them. Have to say for sheer determination these two do well, you almost feel their strain by the end!
Steven Spielberg
From the varying reactions on show, the legendary directors one was the most cool and collected (except for maybe Chris Hemsworth, though we are still waiting for JJ Abrams to dump the bucket over his head!
Out of all the ALS Ice Bucket Challenges, this one had the most party atmosphere to it as Hugh Jackman, taking centre stage brings basically everyone but the Janitor into frame to accept the challenge! Now that's what you call an interesting work day!
Tom Cruise & Chris McQuarrie
The long time collaborators founded themselves challenged by Jackman & Co to undertake the challenge- but as they point out most the crew isn't there so they decide to take the hit for them. Have to say for sheer determination these two do well, you almost feel their strain by the end!
Steven Spielberg
From the varying reactions on show, the legendary directors one was the most cool and collected (except for maybe Chris Hemsworth, though we are still waiting for JJ Abrams to dump the bucket over his head!
Sunday 24 August 2014
Black & White Town: Review of Sin City: A Dame to Kill For
Sin City: A Dame to Kill For
Directors: Frank Miller & Robert Rodriguez
By Alex Watson
Nine long years we have been kept waiting for the follow up to 2005 cult classic Sin City. Robert Rodriguez and graphic novel writer Frank Miller have suffered through numerous productions delays (including the death of star Brittany Murphy) which has caused unrest among committed fans. But the long wait is finally over and this year we are given Sin City: A Dame to Kill For! But is the long wait going to be worth the time invested?
On another wet and black night in Sin City, cocky young gambler Johnny (Joseph Gordon-Levitt) is playing a dangerous game of poker against Senator Roark (Powers Boothe), Nancy (Jessica Alba) is still recovering from the death of her beloved Hartigan (Bruce Willis). Meanwhile Dwight McCarthy (Josh Brolin) meets up with old flame Ava (Eva Green) who claims to need his help! But in Sin City, nothing is ever so straight forward!
Sin City: A Dame to Kill For hasn't lost its dark and rough feel that made the first installment so memorable and once more we are brought into a seedy and grimy town filled with corruption, murder and constant rain! But while it is great to see this place getting another adventure on screen, it doesn't feel like this has been worth the long wait. A lot of the characters we know and love such as Marv (Mickey Rourke) are still a great and knuckle bashing delight and technically wise, Rodriguez is on great form and his black and white cinematography once more looks stunning. But this installment slightly suffers from some patchy dialogue which gives the film a cliched feel.
The stories this time around are mixed bag of nuts, the first tale of Johnny winning a big game of poker but ending up losing more than he bargained for is an entertaining affair. But feels too short in comparison to the others. Dwight and Ava story flounders from being unpredictable and thrilling to being slightly wooden. An early glimpse of McCarthy life does add some excellent characterization of his early fiery personality. In this piece, Dwight is a man who is angry at the world and wants to punch it out. Ava proves to be the fuel to the fire and her snake life personality makes for some erratic moments as she is able to convincing switch between being the damsel and the ice maiden!
Nancy is a different woman from the Sin City of old and we see her floundering in a sea of self pity and aggressively channeling her anger through her dancing. But her transformation into a gun touting and scarred rebel doesn't ring true and leaves us with an ending that is perhaps slightly flat. But the monster that connects the movie together is one to cherish in Senator Roark, whose cigar smoking menace never once fades out. In a more bumped up role from the previous affair, Roark is exactly the kind of man no one should cross, especially one with goons that carry tweezers! But Marv is still a welcome returnee and his free flowing fists make the movie come alive, where it be mashing frat boys to a pulp or helping Dwight going into hell.
It's thanks to Mickey Rourke that Marv still feels like an original and compelling character and Rourke still feels born to play this muscle bound killing machine. Joseph Gordon-Levitt does well as overly confident Johnny and his eventually downfall is excellent played and Gordon-Levitt gives him a fighting desire to pick himself back up. Josh Brolin is fine as Dwight, but the movie somewhat misses the suave quality that Clive Owen was able to bring to the role before.
Eva Green makes for both great eye candy and devilish charm as Eva, from the very moment she appears the aura she gives makes her glow! It is easy to see how she so effortless intoxicates Dwight and all other men in her path, because she knows the true male weakness! But Powers Booth is the one who steal the acting stakes with his ice cold stare and the veteran is the one we are most drawn to throughout! If there is ever a Sin City 3, make sure to include this guy.
Sin City: A Dame to Kill For may not have had the end result that we had hoped for, but Rodriguez and Miller still make this a town worth revisiting. Plus as far as sequels go, this one feels far more original than any others you may see this year. Though you may want to consider leaving quickly because "Turn the right corner in Sin City and you can find anything"
Directors: Frank Miller & Robert Rodriguez
By Alex Watson
Nine long years we have been kept waiting for the follow up to 2005 cult classic Sin City. Robert Rodriguez and graphic novel writer Frank Miller have suffered through numerous productions delays (including the death of star Brittany Murphy) which has caused unrest among committed fans. But the long wait is finally over and this year we are given Sin City: A Dame to Kill For! But is the long wait going to be worth the time invested?
On another wet and black night in Sin City, cocky young gambler Johnny (Joseph Gordon-Levitt) is playing a dangerous game of poker against Senator Roark (Powers Boothe), Nancy (Jessica Alba) is still recovering from the death of her beloved Hartigan (Bruce Willis). Meanwhile Dwight McCarthy (Josh Brolin) meets up with old flame Ava (Eva Green) who claims to need his help! But in Sin City, nothing is ever so straight forward!
Sin City: A Dame to Kill For hasn't lost its dark and rough feel that made the first installment so memorable and once more we are brought into a seedy and grimy town filled with corruption, murder and constant rain! But while it is great to see this place getting another adventure on screen, it doesn't feel like this has been worth the long wait. A lot of the characters we know and love such as Marv (Mickey Rourke) are still a great and knuckle bashing delight and technically wise, Rodriguez is on great form and his black and white cinematography once more looks stunning. But this installment slightly suffers from some patchy dialogue which gives the film a cliched feel.
The stories this time around are mixed bag of nuts, the first tale of Johnny winning a big game of poker but ending up losing more than he bargained for is an entertaining affair. But feels too short in comparison to the others. Dwight and Ava story flounders from being unpredictable and thrilling to being slightly wooden. An early glimpse of McCarthy life does add some excellent characterization of his early fiery personality. In this piece, Dwight is a man who is angry at the world and wants to punch it out. Ava proves to be the fuel to the fire and her snake life personality makes for some erratic moments as she is able to convincing switch between being the damsel and the ice maiden!
Nancy is a different woman from the Sin City of old and we see her floundering in a sea of self pity and aggressively channeling her anger through her dancing. But her transformation into a gun touting and scarred rebel doesn't ring true and leaves us with an ending that is perhaps slightly flat. But the monster that connects the movie together is one to cherish in Senator Roark, whose cigar smoking menace never once fades out. In a more bumped up role from the previous affair, Roark is exactly the kind of man no one should cross, especially one with goons that carry tweezers! But Marv is still a welcome returnee and his free flowing fists make the movie come alive, where it be mashing frat boys to a pulp or helping Dwight going into hell.
It's thanks to Mickey Rourke that Marv still feels like an original and compelling character and Rourke still feels born to play this muscle bound killing machine. Joseph Gordon-Levitt does well as overly confident Johnny and his eventually downfall is excellent played and Gordon-Levitt gives him a fighting desire to pick himself back up. Josh Brolin is fine as Dwight, but the movie somewhat misses the suave quality that Clive Owen was able to bring to the role before.
Eva Green makes for both great eye candy and devilish charm as Eva, from the very moment she appears the aura she gives makes her glow! It is easy to see how she so effortless intoxicates Dwight and all other men in her path, because she knows the true male weakness! But Powers Booth is the one who steal the acting stakes with his ice cold stare and the veteran is the one we are most drawn to throughout! If there is ever a Sin City 3, make sure to include this guy.
Sin City: A Dame to Kill For may not have had the end result that we had hoped for, but Rodriguez and Miller still make this a town worth revisiting. Plus as far as sequels go, this one feels far more original than any others you may see this year. Though you may want to consider leaving quickly because "Turn the right corner in Sin City and you can find anything"
Thursday 21 August 2014
10 Great Opening Sequences
Children of Men
Alfonso Cuaron's opener to his 2007 Sci-fi masterpiece is one to cherish and proves to be a great example of succeeding in grabbing attention with minimum of effort. Clive Owen looking bored, walks into a crowded coffee shop. As he walks away (sneaking a drop of alcohol for good measure) suddenly the shop explodes! Prepare to jump with shock as this happens! Shot in one continuous take, Cuaron showcases the movie's rough feel and brings us in a future Britain where things are about to get heated!
Up
Animated opening sequences don't get more magical or devastating than UP's magnificent 'Married Life' segment. Truly anyone who doesn't find this enthralling, must have had their heart ripped out early in life, because it wonderfully captures the immense joy of finding the perfect mate and the crushing lows of losing them. It also sets up the character Carl's grumpy old man feel and aids our sympathy for him in the movie ahead.
The Social Network
Aided by Aaron Sorkin's razor sharp script, this opening break up scene in David Fincher's movie lays the ground work for Mark Zuckerburg's journey into the midst of fame and fortune, as being a red flag indicator for his difficult persona. Jesse Eisenberg and Rooney Mara truly make this scene come alive and you can feel the gradual hatred building to the point of things breaking apart! As break up scenes go, none will be more fabulously scripted than this!
Aguirre: The Wrath of God
Werner Herzog has always been a director who likes to get straight to the point, his opening sequence for Aguirre gets right to that. As we watch our band of heroes on their doomed search for El Dorado walking along a dangerous mountain path, it foreshadows the madness, murder and the series of other 'unfortunate events' that will follow suit. But what Herzog really succeeds at here, is creating an unsettling aura that will follow Aguirre throughout.
Apocalypse Now
Francis Ford Coppola's beginning to his Palme D'or winning classic is one that forever sticks in the mind. Opening with the sound helicopter blades followed swiftly after by flames rising from a tree line hit by Napalm- we sit up straight away. Interlaced with the haunted gaze of Captain Willard (Martin Sheen), it gives an eerie indicator of Willard's state of mind and the violent climax of his journey. Perfectly sound tracked by 'The End' by The Doors, this proved to be one of the last great moments of Coppola's career.
Sunset Boulevard
Billy Wilder's opening scene to Sunset Boulevard is a great moment in the history of classic Hollywood cinema, as it plays out in reverse of the story. Watching police cars with sirens blaring head towards a large Hollywood house, we hear William Holden's narration advising us someone has been killed! But as arrive on the crime scene, learn that the man is none other than Holden himself! Wilder beautifully sets up a dark and mystique feel to this tale and we are given a great device to make us wonder how Holden ended up in water?
Jaws
The moment we hear John Williams' pulsating orchestral scores, we know instantly that Jaws is about to appear. This moment caused a great number of people to fear going into open water and Steven Spielberg proves here what a master of suspense he can be. The very second we begin underwater, our bodies freeze over with fear as we see the shark about to grab his first prey! This moment would demonstrate the qualities Spielberg has been able to bring and this moment is still ageless in cinema.
Touch of Evil
Orson Welles' opening shot of his 1958 crime classic is a masterclass in how to nail one continuous tracking shot. Watching Inspector Vargas (Charlton Heston) and his wife (Janet Leigh), you see a bomb being loaded into a car- which they pass several times on the way to the Mexican boarder! Welles builds the suspense up to unbearable levels and the thought this bomb could explode at any point stays with us throughout! The dark noir feel of the movie begins with the moment and it is still one of Hollywood's most perfect examples.
Trainspotting
Danny Boyle's arrival on the world of film was cemented with his excellent opening sequence to the 1996 British Classic. Arriving on the thumping drums of 'Lust for Life' by Iggy Pop, we hear Renton's (Ewan McGregor) almost poetic 'Choose Life' speech. The scenes that follow set up the characters and encapsulates the joy that their life of heroin brings them. But it will also add to the narrative drive later on and the euphoric high comes one horrific come down!
Inglorious Basterds
Tarantino's opener to his WW2 piece is one that has life and death hanging in the balance. The moment that Colonel Hans Lander (Christoph Waltz) arrives, you know this is no ordinary soldier because he has a wit and intelligence higher than most men! Also it superbly positions the awkward place the farmer has got himself into, does he give into the demands of Landa? Or does he make a brave stand and possible lose his life? QT brings alive one his most monstrous yet elegant characters and will prove to be a dangerous adversary for all that follow
Alfonso Cuaron's opener to his 2007 Sci-fi masterpiece is one to cherish and proves to be a great example of succeeding in grabbing attention with minimum of effort. Clive Owen looking bored, walks into a crowded coffee shop. As he walks away (sneaking a drop of alcohol for good measure) suddenly the shop explodes! Prepare to jump with shock as this happens! Shot in one continuous take, Cuaron showcases the movie's rough feel and brings us in a future Britain where things are about to get heated!
Up
Animated opening sequences don't get more magical or devastating than UP's magnificent 'Married Life' segment. Truly anyone who doesn't find this enthralling, must have had their heart ripped out early in life, because it wonderfully captures the immense joy of finding the perfect mate and the crushing lows of losing them. It also sets up the character Carl's grumpy old man feel and aids our sympathy for him in the movie ahead.
The Social Network
Aided by Aaron Sorkin's razor sharp script, this opening break up scene in David Fincher's movie lays the ground work for Mark Zuckerburg's journey into the midst of fame and fortune, as being a red flag indicator for his difficult persona. Jesse Eisenberg and Rooney Mara truly make this scene come alive and you can feel the gradual hatred building to the point of things breaking apart! As break up scenes go, none will be more fabulously scripted than this!
Aguirre: The Wrath of God
Werner Herzog has always been a director who likes to get straight to the point, his opening sequence for Aguirre gets right to that. As we watch our band of heroes on their doomed search for El Dorado walking along a dangerous mountain path, it foreshadows the madness, murder and the series of other 'unfortunate events' that will follow suit. But what Herzog really succeeds at here, is creating an unsettling aura that will follow Aguirre throughout.
Apocalypse Now
Francis Ford Coppola's beginning to his Palme D'or winning classic is one that forever sticks in the mind. Opening with the sound helicopter blades followed swiftly after by flames rising from a tree line hit by Napalm- we sit up straight away. Interlaced with the haunted gaze of Captain Willard (Martin Sheen), it gives an eerie indicator of Willard's state of mind and the violent climax of his journey. Perfectly sound tracked by 'The End' by The Doors, this proved to be one of the last great moments of Coppola's career.
Sunset Boulevard
Billy Wilder's opening scene to Sunset Boulevard is a great moment in the history of classic Hollywood cinema, as it plays out in reverse of the story. Watching police cars with sirens blaring head towards a large Hollywood house, we hear William Holden's narration advising us someone has been killed! But as arrive on the crime scene, learn that the man is none other than Holden himself! Wilder beautifully sets up a dark and mystique feel to this tale and we are given a great device to make us wonder how Holden ended up in water?
Jaws
The moment we hear John Williams' pulsating orchestral scores, we know instantly that Jaws is about to appear. This moment caused a great number of people to fear going into open water and Steven Spielberg proves here what a master of suspense he can be. The very second we begin underwater, our bodies freeze over with fear as we see the shark about to grab his first prey! This moment would demonstrate the qualities Spielberg has been able to bring and this moment is still ageless in cinema.
Touch of Evil
Orson Welles' opening shot of his 1958 crime classic is a masterclass in how to nail one continuous tracking shot. Watching Inspector Vargas (Charlton Heston) and his wife (Janet Leigh), you see a bomb being loaded into a car- which they pass several times on the way to the Mexican boarder! Welles builds the suspense up to unbearable levels and the thought this bomb could explode at any point stays with us throughout! The dark noir feel of the movie begins with the moment and it is still one of Hollywood's most perfect examples.
Trainspotting
Danny Boyle's arrival on the world of film was cemented with his excellent opening sequence to the 1996 British Classic. Arriving on the thumping drums of 'Lust for Life' by Iggy Pop, we hear Renton's (Ewan McGregor) almost poetic 'Choose Life' speech. The scenes that follow set up the characters and encapsulates the joy that their life of heroin brings them. But it will also add to the narrative drive later on and the euphoric high comes one horrific come down!
Inglorious Basterds
Tarantino's opener to his WW2 piece is one that has life and death hanging in the balance. The moment that Colonel Hans Lander (Christoph Waltz) arrives, you know this is no ordinary soldier because he has a wit and intelligence higher than most men! Also it superbly positions the awkward place the farmer has got himself into, does he give into the demands of Landa? Or does he make a brave stand and possible lose his life? QT brings alive one his most monstrous yet elegant characters and will prove to be a dangerous adversary for all that follow
Tuesday 19 August 2014
Expendables 3: An Action Hero Too Far
Firstly a disclaimer; I love a good dumb film. I like switching my brain off for two hours and being entertained by explosions and one-liners. I am Michael Bay's target audience.
The Third instalment in the Expendables trilogy was released in the UK last week, and on the internet ages ago. Whoops. Despite being the school holidays and the movie having a 12A, I was at least 25% of the whole theatre audience.
The movie opens with Stallone and friends assaulting a prison train to rescue former team member Wesley Snipes because subtlety isn't the point of this movie. If you've seen the trailer, you'll know that the train then crashes into a prison and explodes. Dumb fun.
If this movie is anything to go by, Snipes has recently watched a ton of free-running videos as his character Doc leaps about like Super Mario on springs. There's a lot of this.
It's then straight into another action sequence and Terry Crews turns up to add some humour. Sadly this is the only real sequence Crews had as shooting commitments clashed with Brooklyn Nine Nine. This harbour fight sequence is fun, as it also introduces the movie's baddie, Mel Gibson.
To make a long story short (and it's the longest of the trilogy), Gibson's character, the improbably named Stonebanks injures one of the team and escapes, so Stallone goes off to take revenge. However, realising that his team of veteran soldiers is getting on a bit, he leaves them at home and recruits a new, young team, probably the main characters of the next movie. This is where Kelsey Grammer comes in as a man with a lot of phone numbers. Montage-tastic.
While Statham, Snipes, Lundgren and Couture stay at home and watch TV, Stallone and the Junior Expendables nip of to Bucharest to try and nab Gibson. Things go wrong, the kids are kidnapped and it's up to Stallone and the old guard to rescue them.
Cue explosions, more explosions, helicopter chases and a final set piece that pitches the new and old Expendables facing off against an army from a made up country. There's also the obligatory fight at the end between Stallone and Gibson.
Good points;
* Although the score is largely recycled from the last two movies, Brian Tyler's punchy strings still carry the action nicely and you'll leave the theatre humming the main motif.
* The rapport between the characters is fun, you'll probably hate the youngsters but the banter between the elder members of the group is well written.
* Harrison Ford's last minute inclusion works well.
* The location scout deserves a raise. A lot of the location work was beautiful.
Bad points;
* Jet Li! I'm a huge Jet Li fan but despite top-ish billing, he has less than five minutes of screen time and he does no martial arts at all.
* The cast was too big. Not enough time to develop the youngsters which just made them easy to dislike.
Should you watch this film? Yes, as dumb action films go, it's fun but it's not as good as its predecessors. It's also not as good as Transformers Age of Extinction which in turn is nowhere near as good as Guardians of the Galaxy. All of which are still in theatres. I watched it on a Tuesday because tickets are only £5 at Odeon. I'd be less happy if I'd paid full price.
The Third instalment in the Expendables trilogy was released in the UK last week, and on the internet ages ago. Whoops. Despite being the school holidays and the movie having a 12A, I was at least 25% of the whole theatre audience.
The movie opens with Stallone and friends assaulting a prison train to rescue former team member Wesley Snipes because subtlety isn't the point of this movie. If you've seen the trailer, you'll know that the train then crashes into a prison and explodes. Dumb fun.
If this movie is anything to go by, Snipes has recently watched a ton of free-running videos as his character Doc leaps about like Super Mario on springs. There's a lot of this.
It's then straight into another action sequence and Terry Crews turns up to add some humour. Sadly this is the only real sequence Crews had as shooting commitments clashed with Brooklyn Nine Nine. This harbour fight sequence is fun, as it also introduces the movie's baddie, Mel Gibson.
To make a long story short (and it's the longest of the trilogy), Gibson's character, the improbably named Stonebanks injures one of the team and escapes, so Stallone goes off to take revenge. However, realising that his team of veteran soldiers is getting on a bit, he leaves them at home and recruits a new, young team, probably the main characters of the next movie. This is where Kelsey Grammer comes in as a man with a lot of phone numbers. Montage-tastic.
While Statham, Snipes, Lundgren and Couture stay at home and watch TV, Stallone and the Junior Expendables nip of to Bucharest to try and nab Gibson. Things go wrong, the kids are kidnapped and it's up to Stallone and the old guard to rescue them.
Cue explosions, more explosions, helicopter chases and a final set piece that pitches the new and old Expendables facing off against an army from a made up country. There's also the obligatory fight at the end between Stallone and Gibson.
Good points;
* Although the score is largely recycled from the last two movies, Brian Tyler's punchy strings still carry the action nicely and you'll leave the theatre humming the main motif.
* The rapport between the characters is fun, you'll probably hate the youngsters but the banter between the elder members of the group is well written.
* Harrison Ford's last minute inclusion works well.
* The location scout deserves a raise. A lot of the location work was beautiful.
Bad points;
* Jet Li! I'm a huge Jet Li fan but despite top-ish billing, he has less than five minutes of screen time and he does no martial arts at all.
* The cast was too big. Not enough time to develop the youngsters which just made them easy to dislike.
Should you watch this film? Yes, as dumb action films go, it's fun but it's not as good as its predecessors. It's also not as good as Transformers Age of Extinction which in turn is nowhere near as good as Guardians of the Galaxy. All of which are still in theatres. I watched it on a Tuesday because tickets are only £5 at Odeon. I'd be less happy if I'd paid full price.
Five TIFF Movies to Get Excited About
From September 4th -14th, the Toronto Film Festival will be upon us in the province of Ontario and I am looking forward to my time volunteering at this prestigious festival no matter capacity that may be! With stars such as Denzel Washington, Julianne Moore, Tom Hardy, Mark Ruffalo and Benedict Cumberbatch paying us a visit it is hard not to get excited. Here are five movies that I will definitely seeking tickets to,
Foxcatcher (Dir: Bennett Miller)
Winner of the Best Director award at this year's Cannes Film Festival, Moneyball director Bennett returns with what could prove to be one of this years most absorbing movies. Based on the real story of Olympic wrestlers John Schultz (Channing Tatum) and his Gold Medalist brother Dave (Mark Ruffalo) and their troubled relationship with schizophrenic coach John Du Pont (Steve Carrell). With an excellent cast (including a break out turn from Carrell) and a superb director this promises big things come awards time!
Maps to the Stars (Dir: David Cronenberg)
One of Toronto's most loved names returns with a movie that is currently making waves and has been selected to be one of the festivals closing night films. With a star turn from Julianne Moore as an egocentric actress living on the edge of insanity, along with Mia Wasikowska and John Cusack protraying a father and daughter with a troubling past- from the rave reviews it received at Cannes, this could well be another feather in Cronenberg's already established modern day cap!
Men, Women and Children (Dir: Jason Reitman)
One of the more low key arrivals the festival, but after its trailer has finally arrived it has firmly grasped our attention. The story is surrounded in mystery, but from its impressive ensemble cast including Emma Thompson, Jennifer Garner, Dennis Haysbert, Ansel Elgort and errm... Adam Sandler! Jason Reitman's movie could be an engaging look at the dark secrets that people we know hold inside and the potential dangers of using the internet! Reitman's track record has been spotless so far and this movie seems certain to continue that tradition!
Wild (Dir: Jean-Marc Vallee)
Dallas Buyers Club director, Jean-Marc Vallee, makes a welcome return to the festival circuit with another hard hitting drama that focuses on addiction and the 1100 Pacific Crest Trail hike of Cheryl Strayed (Reese Witherspoon). Montreal native, Vallee has proven able to find heroes the most unlikely of places and with its redemptive theme and what appears to be a career best turn from Witherspoon, this could be one of the underdog bets come awards time!
Mr Turner (Dir: Mike Leigh)
Mike Leigh always to come up trumps when it comes to awards season and he has now succeeded in grabbing the publics attention once more with Mr Turner. Based on the life of celebrated British painter JMW Turner (Timothy Spall), whose eccentric methods helped change the way we view art forever, Leigh seems to have found a story in which construct a compelling and emotionally charged story. With a Best Actor winning turn at Cannes from Timothy Spall, this piece has rightfully earned it's Special Presentation Gala slot at TIFF!
Foxcatcher (Dir: Bennett Miller)
Winner of the Best Director award at this year's Cannes Film Festival, Moneyball director Bennett returns with what could prove to be one of this years most absorbing movies. Based on the real story of Olympic wrestlers John Schultz (Channing Tatum) and his Gold Medalist brother Dave (Mark Ruffalo) and their troubled relationship with schizophrenic coach John Du Pont (Steve Carrell). With an excellent cast (including a break out turn from Carrell) and a superb director this promises big things come awards time!
Maps to the Stars (Dir: David Cronenberg)
One of Toronto's most loved names returns with a movie that is currently making waves and has been selected to be one of the festivals closing night films. With a star turn from Julianne Moore as an egocentric actress living on the edge of insanity, along with Mia Wasikowska and John Cusack protraying a father and daughter with a troubling past- from the rave reviews it received at Cannes, this could well be another feather in Cronenberg's already established modern day cap!
Men, Women and Children (Dir: Jason Reitman)
One of the more low key arrivals the festival, but after its trailer has finally arrived it has firmly grasped our attention. The story is surrounded in mystery, but from its impressive ensemble cast including Emma Thompson, Jennifer Garner, Dennis Haysbert, Ansel Elgort and errm... Adam Sandler! Jason Reitman's movie could be an engaging look at the dark secrets that people we know hold inside and the potential dangers of using the internet! Reitman's track record has been spotless so far and this movie seems certain to continue that tradition!
Wild (Dir: Jean-Marc Vallee)
Dallas Buyers Club director, Jean-Marc Vallee, makes a welcome return to the festival circuit with another hard hitting drama that focuses on addiction and the 1100 Pacific Crest Trail hike of Cheryl Strayed (Reese Witherspoon). Montreal native, Vallee has proven able to find heroes the most unlikely of places and with its redemptive theme and what appears to be a career best turn from Witherspoon, this could be one of the underdog bets come awards time!
Mr Turner (Dir: Mike Leigh)
Mike Leigh always to come up trumps when it comes to awards season and he has now succeeded in grabbing the publics attention once more with Mr Turner. Based on the life of celebrated British painter JMW Turner (Timothy Spall), whose eccentric methods helped change the way we view art forever, Leigh seems to have found a story in which construct a compelling and emotionally charged story. With a Best Actor winning turn at Cannes from Timothy Spall, this piece has rightfully earned it's Special Presentation Gala slot at TIFF!
My Giant (Head): Review of Frank
Frank
Director: Lenny Abrahamson
By Alex Watson
No one will ever truly know or understand the methods of British comedian Chris Sievey or his reasons for creating his giant headed alter-ego 'Frank Sidebottom'. Although his comedy and overall act brought differing reactions from people, you cannot deny this was a memorable persona. Irish director Lenny Abrahamson this year brings us a film heavily inspired by the man himself. Nor there will not be any Monopoly Song or any tunes relating to football, but you can expect the music to get in strange in his movie, Frank.
Budding songwriter Jon Burroughs (Domnhall Gleason) is waiting to get his big break into the music industry. By complete accident after witnessing the attempted suicide of their keyboard player, he finds himself drafted into obscure band 'The Soronprfbs' lead by odd papier-mache headed singer Frank (Michael Fassbender) Together the band goes to a secluded house in Ireland to record an album, but Jon soon find himself out of place amongst all the madness of the group! Soon Frank and his bizarre antics begin to put a strain upon events.
If you were expecting a straight up biopic of Frank Sidebottom then prepare to be surprised because Frank is a very esoteric yet uproarious movie by Lenny Abrahamson and its unique sense of off beat humour works very well for the most part. Co-script by Sievey's former band member Jon Ronson, this movie makes audiences question what kind of art music truly is, and more important does Frank or Jon deserve a place among the mainstream?
At first Jon relishes his seemingly lucky break, when we first meet him he is a bored and creatively empty young man living at home with mum and dad. But the moment he goes on tour and finds himself locked away in a remote Irish cabin until Frank finds the 'perfect sound' he realizes that he has bitten off more than he can chew! From here on out, Jon has a front row seat to the mania that ensues. The problems of fitting in with the band is a continuing problem and he finds himself forever questioning if he earns a place there because as icy theremin player Clara (Maggie Gyllenhaal) tells him "You should go home!"
The Soronprfbs are a band whose music is hard to categorize, and although Jon through secret filming and posting of videos gets the band infamous online- their upcoming slot at the South by Southwest festival may not necessarily go to plan! However, we instantly fall in love with the giant headed Frank, particularly for his description of his facial expressions out loud. But its the mystery that intrigues Jon about him, and all around him are convinced he is a genius. Is Frank really a mad musical genius or is he really just a lunatic wearing in a silly disguise? This ambiguity makes for an interesting debate in Abrahamson's film and until the final reel we are still uncertain of our answer!
But although this film is fun and has a very quirky edge to it, Frank suffers from a uneven third act and this section makes the film dip in quality as Jon makes the transition into near insanity. Although partially stirring, Frank's fall to earth both musically and personally has a rather dull ring to it and as Jon becomes a reluctant detective to find him, it leaves a bit of a hallow ring. All errors aside, Abrahamson manages to inject enough humour into proceedings to make this a forgiveable mistake and skilfully he manages to leave things on a uplifting (albeit it fractured) note.
Michael Fassbender gives what is perhaps his most extraordinary performance to date. Sat mostly behind a gigantic staring head, he somehow manages to conjure up a stunning sense of emotion mixed with borderline insanity. But it's his skilful underplaying of the possible insanity that makes Frank all the more memorable and although he could off at any moment, we pray he comes through. Domnhall Gleason is one the who scores highest in the likeability stakes and his charming portrayal as underdog Jon is one that gives us something to cheer. Musically he may not have a clue, but compared to the other unstable members of the band, Jon knows exactly where to take them! Gleason is one the best upcoming talents currently and JJ Abrams should feel proud for casting him in his upcoming Star Wars movie!
It may not be a completely perfect movie, but Frank is still an interesting journey for film fans to undertake and it will at least make you question your taste in music afterwards. Frank Sidebottom may not be the key focus of this movie, but his legacy still lives on through Abrahamson! Though shame there was no mention of "Bobbins" or "Blimey"
Director: Lenny Abrahamson
By Alex Watson
No one will ever truly know or understand the methods of British comedian Chris Sievey or his reasons for creating his giant headed alter-ego 'Frank Sidebottom'. Although his comedy and overall act brought differing reactions from people, you cannot deny this was a memorable persona. Irish director Lenny Abrahamson this year brings us a film heavily inspired by the man himself. Nor there will not be any Monopoly Song or any tunes relating to football, but you can expect the music to get in strange in his movie, Frank.
Budding songwriter Jon Burroughs (Domnhall Gleason) is waiting to get his big break into the music industry. By complete accident after witnessing the attempted suicide of their keyboard player, he finds himself drafted into obscure band 'The Soronprfbs' lead by odd papier-mache headed singer Frank (Michael Fassbender) Together the band goes to a secluded house in Ireland to record an album, but Jon soon find himself out of place amongst all the madness of the group! Soon Frank and his bizarre antics begin to put a strain upon events.
If you were expecting a straight up biopic of Frank Sidebottom then prepare to be surprised because Frank is a very esoteric yet uproarious movie by Lenny Abrahamson and its unique sense of off beat humour works very well for the most part. Co-script by Sievey's former band member Jon Ronson, this movie makes audiences question what kind of art music truly is, and more important does Frank or Jon deserve a place among the mainstream?
At first Jon relishes his seemingly lucky break, when we first meet him he is a bored and creatively empty young man living at home with mum and dad. But the moment he goes on tour and finds himself locked away in a remote Irish cabin until Frank finds the 'perfect sound' he realizes that he has bitten off more than he can chew! From here on out, Jon has a front row seat to the mania that ensues. The problems of fitting in with the band is a continuing problem and he finds himself forever questioning if he earns a place there because as icy theremin player Clara (Maggie Gyllenhaal) tells him "You should go home!"
The Soronprfbs are a band whose music is hard to categorize, and although Jon through secret filming and posting of videos gets the band infamous online- their upcoming slot at the South by Southwest festival may not necessarily go to plan! However, we instantly fall in love with the giant headed Frank, particularly for his description of his facial expressions out loud. But its the mystery that intrigues Jon about him, and all around him are convinced he is a genius. Is Frank really a mad musical genius or is he really just a lunatic wearing in a silly disguise? This ambiguity makes for an interesting debate in Abrahamson's film and until the final reel we are still uncertain of our answer!
But although this film is fun and has a very quirky edge to it, Frank suffers from a uneven third act and this section makes the film dip in quality as Jon makes the transition into near insanity. Although partially stirring, Frank's fall to earth both musically and personally has a rather dull ring to it and as Jon becomes a reluctant detective to find him, it leaves a bit of a hallow ring. All errors aside, Abrahamson manages to inject enough humour into proceedings to make this a forgiveable mistake and skilfully he manages to leave things on a uplifting (albeit it fractured) note.
Michael Fassbender gives what is perhaps his most extraordinary performance to date. Sat mostly behind a gigantic staring head, he somehow manages to conjure up a stunning sense of emotion mixed with borderline insanity. But it's his skilful underplaying of the possible insanity that makes Frank all the more memorable and although he could off at any moment, we pray he comes through. Domnhall Gleason is one the who scores highest in the likeability stakes and his charming portrayal as underdog Jon is one that gives us something to cheer. Musically he may not have a clue, but compared to the other unstable members of the band, Jon knows exactly where to take them! Gleason is one the best upcoming talents currently and JJ Abrams should feel proud for casting him in his upcoming Star Wars movie!
It may not be a completely perfect movie, but Frank is still an interesting journey for film fans to undertake and it will at least make you question your taste in music afterwards. Frank Sidebottom may not be the key focus of this movie, but his legacy still lives on through Abrahamson! Though shame there was no mention of "Bobbins" or "Blimey"
Monday 18 August 2014
If Michael Bay Directed Up
This piece came to my attention this morning and I have to conclude this is quite an awesome piece of editing, thank god the master of explosions Michael Bay didn't get his hands on Pixar's gem, UP because it could well have been hazardous!
Hopefully this will make us all smile after a tough day at the office
Hopefully this will make us all smile after a tough day at the office
Greetings
Hi Everyone,
Happy to welcome everyone to Closer to the Edge, a website where movies always come first! Here we celebrate both the new and old releases of cinema and for some reason- like John Cusack we always have Top 5 lists
A little about me, I am a film review from the UK who is currently based in the far and very film cultured land of Toronto, Ontario (Go Blue Jays!)- previously this blog was based on Wordpress but I have decided to make the leap across to the more diverse land of Google, previous link was, http://floweringsnows.wordpress.com/ go there to access my old writings,
My favourite films include
Black Narcissus
Fight Club
The Usual Suspects
Chopper
Rush
Senna
Blade Runner
Slap Shot
Argo
Blue is the Warmest Colour
The Hurt Locker
But I'm sure that list will drastically change in the next few years
I look forward to sharing my pieces with you and hope you enjoy my ramblings on the world on film
Alex
Happy to welcome everyone to Closer to the Edge, a website where movies always come first! Here we celebrate both the new and old releases of cinema and for some reason- like John Cusack we always have Top 5 lists
A little about me, I am a film review from the UK who is currently based in the far and very film cultured land of Toronto, Ontario (Go Blue Jays!)- previously this blog was based on Wordpress but I have decided to make the leap across to the more diverse land of Google, previous link was, http://floweringsnows.wordpress.com/ go there to access my old writings,
My favourite films include
Black Narcissus
Fight Club
The Usual Suspects
Chopper
Rush
Senna
Blade Runner
Slap Shot
Argo
Blue is the Warmest Colour
The Hurt Locker
But I'm sure that list will drastically change in the next few years
I look forward to sharing my pieces with you and hope you enjoy my ramblings on the world on film
Alex
Subscribe to:
Posts (Atom)