Category / American Cinema

by hutchwp

The Force Awakens – Do your homework

The original Star Wars film was released on 25th May 1977. In the intervening years the dialogue, costumes, storylines, goofs, action figures, trading cards and just about everything else has been cross-analysed and dissected to the minutest of details, leaving the world full of Star Wars nerds always willing to provide you with an additional piece of information to “impress” you. Fans of the films hate being left behind on the details and the dedication to all things Force-related has subsequently reached unrivalled levels.

However, as Star Wars Fever grips to world again in the run up to the release of The Force Awakens, it’s difficult to stay on top of the facts of the new films. There are a few familiar faces but for the most part it’s new characters, creatures and worlds. Whilst the only way to secure your status as Force Awakens Trivia King is to watch the film several times when it hits cinemas, the film is over three months away from the big screen. What if there was a way to get ahead of the game?

Thankfully, this article is on hand to provide the lowdown on the best previous acting efforts of the main characters of the film, meaning you are familiar with their body of work and can show off your wider cinema knowledge closer to the time.

JOHN BOYEGA AS FINN
Essential viewing: Attack The Block

C'est Finn

C’est Finn

Surnameless Finn is the lead character in the new film, seemingly the good guy with a dark past as a stormtrooper. The scant details we’ve had on the character is mirrored by the limited previous performances by the actor portraying him, John Boyega.

His biggest role by far was in the much-celebrated Attack The Block (Joe Cornish, 2011), the British sci-fi coming of age action film where Boyega played Moses, the leader of a gang of youths fighting back against an alien invasion. It was an impressive turn and as a newcomer garnered him with a lot of attention, and rightly so.

If you want to go that extra mile you could seek out the wonderfully gritty British drama Junkheart (Tinge Krishnan, 2011). He has a small role as Jamal in a film that’s really all about its two lead characters, but you will get to see a fantastic film and out-nerd all your friends.

Of course, all of this will be dwarfed by his appearance in The Force Awakens and he is entering a world of super-stardom along with Daisy Ridley, another relative newcomer.

DAISY RIDLEY AS REY
Essential viewing: Star Wars: The Force Awakens Trailer

Who Rey?

Who Rey?

If a small proportion of Star Wars fans had heard of John Boyega before they announced he’d bagged the lead role, an even smaller proportion had heard of Daisy Ridley. Outside a handful of one-off appearances in the likes of Casualty, Silent Witness and Mr Selfridge, she also acted in The Inbetweeners 2 (Damon Beesley and Iain Morris, 2014) only for her scenes to be deleted. She has voiced Taeko Okajima in an English dub of Japanese anime おもひでぽろぽろ / Only Yesterday (Isao Takahata, 1991), though that hasn’t been released yet (there is a perfectly good version already available on Blu-ray and DVD should you want to check out a fantastic film).

So that brings us to the one thing she has been in that’s readily available to us all: the video to Wiley’s track “Lights On”, which you can see below.

There’s also an interactive film at the Life Saver website, though you’re going to have to play through parts one and two to get to part three.

OSCAR ISAAC AS POE DAMERON
Essential viewing: Inside Llewyn Davis, Ex Machina, A Most Violent Year

I knew the new Star Wars film would get an Oscar.

I knew the new Star Wars film would get an Oscar.

If there’s one actor in the new film you’re going to get a lot of joy out of, it’s Oscar Isaac. He has a filmography covering a wide range of genres and they’re mainly hugely enjoyable. Your starting point should be Inside Llewyn Davis (Joel and Ethan Coen, 2013). It’s especially good if you’re a huge fan of folk music, but his performance in the title role as a struggling and troubled artist is a great example of the depth he can bring to a character.

Ex-Machina (Alex Garland, 2015) should be a high priority. Not only does it tick two The Force Awakens actors off your list (Domhnall Gleeson also stars), it is an excellent piece of science fiction cinema.

A Most Violent Year (J. C. Chandor, 2014) shouldn’t be overlooked. Whilst it isn’t one to make an immediate impact, it was critically acclaimed at the time and shows another side to his abilities.

He’s had featured roles in a number of big-budget films, though you may, in hindsight, have forgotten he was in them. Agent Number 3 in The Bourne Legacy (2012), annoying Prince John in Robin Hood (2010) and the hammy Blue Jones in Sucker Punch (2011) all fall into this category. You could track down the film In Secret (2013), which is largely terrible and features Isaac in scenes of an erotic nature with Elizabeth Olsen. One to forget.

ADAM DRIVER AS KYLO REN
Essential viewing: While We’re Young, Girls (TV)

Kylo Ren looks pretty badass in everything we've seen so far.

Kylo Ren looks pretty badass in everything we’ve seen so far.

Kylo Ren has been the subject of much speculation, perhaps more so than any other character. He’s dark, he’s mysterious. The anticipation is similar to that of Darth Maul in The Phantom Menace (one thing they did get right in that film). The fact he’s hiding behind a mask helps, and his role is probably set to be similar to that of Darth Vader, with Supreme Leader Snoke as this film’s Emperor. Maybe.

As stars of the new Star Wars film go, Adam Driver strikes a friendly balance between having done enough films to show off his talent without having too many to watch to ever get on track. Additionally, for anyone who was longing for the Noam Baumbach film series action figures (strangely yet to appear), you can finally get your hands on a Driver action figure – actually the Kylo Ren Elite Series one is one of the coolest on the market (especially when it is in cosplay).

For a fantastic look at how two-faced he can make a character, then While We’re Young (Noam Baumbach, 2015) is essential viewing. He starts the film as a seemingly innocent and eager filmmaker, only to later turn out to be wholly manipulative and power-hungry individual. It’s likely light-going in comparison to The Force Awakens, but as it’s a rom-com you might be able to have a quiet night in with your other half without them realising you’re researching the new Star Wars film.

He had a brief appearance as a musician in Inside Llewyn Davis (Joel and Ethan Coen, 2014), which is covered in more detail in Oscar Isaac’s section. Driver has a cameo as a deep-voiced musician and his role is almost entirely covered in the clip below, which also features other Star Wars key player Oscar Isaac (as well as Justin Timberlake!).

The quintessential role for him thus far has in fact been on the small screen with his role as Adam Sackler in the series Girls. His role is the boyfriend of the lead character, but it has been celebrated critically and he has received three Emmy nominations for his efforts.

Elsewhere, he had a cameo of note in Lincoln (Steven Spielberg, 2012) as Samuel Beckwith, a brief appearance in another Baumbach film Frances Ha (2013) and recently starred in the lead role in indie film Hungry Hearts (Saverio Costanzo, 2015). There’s plenty to choose from and it won’t be difficult to get up to speed with his work.

ANDY SERKIS AS SUPREME LEADER SNOKE
Essential viewing: The Lord of the Rings, King Kong, Rise of the Planet of the Apes

Welcome to the Serkis

Welcome to the Serkis

If Kylo Ren is a bit mysterious, then Supreme Leader Snoke is a stealth ninja, The Third Man of Star Wars villains. Who knows what he’ll look like? Probably quite a few people by now but they’re all tight-lipped. Let’s say he’s somewhere between a small green goblin creature, a 25 ft. tall colossal gorilla, a seafaring merchant marine captain and solid sound.

What we do know is that Andy Serkis has been involved in a lot of motion capture in his time, receiving many awards and accolades for his efforts. It’s fairly easy to pick a handful of films to get you started, so much so they’re hardly worth mentioning. If you haven’t seen him as Gollum in the Lord of the Rings Trilogy (Peter Jackson, 2001-2003) then stop reading this and immediately go and watch them. All three. Extended versions if possible. After this he put in a criminally underrated performance as the titular King Kong (Peter Jackson, 2005). He also starred as Caesar in Rise of the Planet of the Apes (Rupert Wyatt, 2011) and Dawn of the Planet of the Apes (Matt Reeves, 2014). There are six huge films there, a great weekend to be had by any fan of cinema. The reason he works so well in motion-capture roles is his level of acting and the way that translates to the big screen. One thing’s for certain – Snoke will be a dynamic character with a believable drive.

If you ever get to see the episode of Pie in the Sky titled “Passion Fruit Fool”, you will see the origins of a great actor in a completely throwaway role. Actually don’t. It’s awful.

DOMHNALL GLEESON AS GENERAL HUX
Essential viewing: Ex Machina, Black Mirror: Be Right Back

He must be evil. He has a British accent.

He must be evil. He has a British accent.

Little is known about General Hux at this stage. He’s not really featured much in the trailers and none of the merchandise has featured him prominently. What we do know is that he’s part of the Dark Side, a senior figure in the newly formed First Order – an organisation build from the embers of the downfall of the Empire in Return of the Jedi.

Whilst Gleeson might remain a bit of an unknown to the wider public outside his appearances in the two Harry Potter and the Deathly Hallows films (David Yates, 2010 and 2011) as Bill Weasley, he has actually been in a plethora of excellent films since then.

The pick of the bunch is going to be the afore-mentioned Ex Machina (Alex Garland, 2015). It’s a no-brainer as you get to see excellent performances from both Gleeson and Oscar Isaac. Frank (Lenny Abrahamson, 2014) is worth watching, despite its pitfalls as a way of ruining the legacy of a well-regarded British entertainer. British romantic comedy About Time (Richard Curtis, 2013) is one to avoid. The Black Mirror episode Be Right Back (Charlie Brooker, 2013) is a short slice of ingeniously dark satirical comedy and a great way to spend an evening.

You can also see the whole of the Academy Award-winning short film Six Shooter (Martin McDonah, 2004), in which Gleeson cameos as a trolley cart attendant (his first ever role), below.

He’s an actor of real ability and will undoubtedly deliver a haunting performance despite the fact he’s such a nice chap in real life.

By the way, you pronounce his name as if& it is spelled “Donal”.

GWENDOLINE CHRISTIE AS CAPTAIN PHASMA
Essential viewing: Game of Thrones

Phasma girl

Phasma girl

If you’ve been living under a rock for the last few years then you may not have heard of a little show called Game of Thrones. If you’re THAT person, then please leave this blog straight away and catch up with the rest of the geeky world. Brienne of Tarth is a key character from the second series onwards and is also a fan favourite.

Outside of this, her most prominent role to date, Christie has also featured in two Terry Gilliam films – The Imaginarium of Doctor Parnassus and The Zero Theorem – though only in minor roles. She will also appear in the new Hunger Games film, Mockingjay (Part 2) as Commander Lyme. So now you have a legitimate reason to go to a screening of that film other than the strangely taboo reason that they’re all excellent films. The Force Awakens will be her biggest film role to date.

LUPITA NYONG’O AS MAZ KANATA
Essential viewing: 12 Years A Slave

Spot the difference

Spot the difference

Maz Kanata is, apparently, a female pirate who resides at Maz Katana Castle. The castle serves as a base for other pirates and smugglers and will undoubtedly play a big part for our heroes’ journeys as they beg, steal and borrow the MacGuffins to get to their end goals.

Lupita Nyong’o is a wonderful actress. Originally from Mexico but with a Kenyan father, she had her breakthrough role as Patsey in Steve McQueen’s excellent 12 Years A Slave (2013), for which she won an Academy Award for Best Actress (the first Kenyan and Mexican Academy Award winner). There really isn’t much else to look back on throughout her career (she breifly appeared in the film Non Stop in 2014), but if you’re going to be picky you might as well get an Oscar for your first big role then land a part in one of the biggest events in cinema this century.

Check out a clip from her amazing performance below.

The only reservation about her character is that it is completely CGId. Unfortunately there will inevitably be some CGI in the film but they are rather sneakily completely playing all of it down due to the negativity around Jar Jar Binks. A quick glance back to the Marvel Cinematic Universe films and Guardians of the Galaxy prove that Disney probably won’t get it wrong.

Star Wars: The Force Awakens will be released in the UK on 18th December 2015.

by hutchwp

Film review – Star Wars Holiday Special (Steve Binder, 1978)

There was a time about fifteen years ago when very few people had heard of the Star Wars Holiday Special. George Lucas was no doubt thanking his lucky stars as what is generally considered an abomination had disappeared off everyone’s radars, the VHS copies in the hands of the general public were slowly deteriorating and there was little opportunity for the story to proliferate.

Unfortunately for Lucas, however, the internet happened. Nowadays, the average adult fan of Star Wars has very much heard of The Holiday Special and has probably made an attempt to watch it, given that it’s so readily available on the likes of YouTube.

If you haven’t heard of it, the basic backstory is that in 1978, one year after the release of the first film, the rights to the Star Wars franchise were temporarily handed over to Smith-Dwight Hemion Productions, Winters Hollywood Entertainment Holdings Corporation and 20th Century Fox Television to make a Christmas variety programme with a loose story used as a platform for several musicians and comedians to entertain the viewers.

The general consensus is that the Nelvana-produced Boba Fett animated segments are the only parts of the film worth watching it for. It has to be said that the ten minute cartoon titled “The Faithful Wookiee” is of an exceptionally high standard and if you haven’t seen it yet then seek it out. It is the first time Boba Fett was seen (note that the release was two years prior to The Empire Strikes Back). There is slightly more to it than just this though.

First of all, you do get to see all of the original cast together, which is a pretty rare occurrence outside the original trilogy and the odd fan convention. Mark Hamill is clearly caked in make-up to cover up scarring from the motorcycle accident he had a year earlier.

With the fact it’s a variety show in mind, it is easier to accept the performances from the various musical acts. Jefferson Starship’s song “Light The Sky On Fire” is actually very entertaining. Who doesn’t want to find out if Carrie Fisher can sing? [1]

Unfortunately, the negatives far outweigh the positives. “This Minute Now”, sung by Diahann Carroll, is a segment in which she appears as the fantasy of Chewbacca’s father (or father-in-law) and comes across as if she’s auditioning for one of those late night television programmes we’re told to stay away from as children. The Wookiee segments are embarrassing with far too much dialogue, none of which is subtitled. Anything featuring Harvey Korman, Art Carney, Bea Arthur or acrobatic jugglers is extremely difficult to sit through and take it away from the realms of enjoyment.

So, as a Star Wars fan should you watch it? Well, that’s your call. Just because you’re a huge fan of the original trilogy (or indeed the more recent films) it doesn’t mean you have to watch everything ever produced, but all the toys and read all the canon and non-canon fiction. However, you shouldn’t take other people’s opinion as gospel without trying to give it a try.

Star Wars Holiday Special has never been released on home media, although “The Faithful Wookiee” was an Easter Egg on the Star Wars: The Complete Saga Blu-ray boxset released in 2011. You can watch this segment below in lower than SD.

[1] She can, though she never won a Tony Award like Mark Hamill.

by hutchwp

Film review – Begin Again (John Carney, 2013)

If Inside Llewyn Davis is the poisonous view of the hardest and most demoralising sides of the music industry, with all its rejection, squalor and misery, then Begin Again is the antidote. They are from different sides of the tracks and share nothing but a basic premise and the same city (New York) in common.

Begin Again tells the intertwining stories of two people whose lives have been ruined by the music industry. Dan Mulligan (Mark Ruffalo) has been sacked from his own record company by co-founder Saul (Mos Def) and has taken to the bottle to avoid finding focus in his life, much to the detriment of his relationship with daughter Violet (Hailee Steinfeld). He has a chance meeting in a bar with Gretta James (Keira Knightley), who has plenty of talent but no stage presence or confidence. He decides she has enough potential to turn into something more than just a singer at an open mic night, though her reluctance is powered by the recent breakdown of her relationship with Dave Kohl (Adam Levine), now seemingly destined for stardom.

Everything falls into place perfectly easily. Hurray.

Everything falls into place perfectly easily. Hurray.

Begin Again falls down where films like Inside Llewyn Davis or Carney’s last film Once succeeded for the simple reason that the songs and performances simply aren’t as good. Keira Knightley has found herself in an awkward situation. Her fame ultimately puts her as an a-lister actress and celebrity, with the ability to elevate an average film to blockbuster status due to her past successes. As a viewer, subconsciously there is an expectation that her ability as a musical performer should match that. Sadly, the studio has had this well in mind and ensured, through post-production, that her voice and entire backing track is polished to perfection, removing the intimacy seen in Glen Hansard and Markéta Irglová’s raw but powerful performances in Once. It’s an inevitable source of frustration as it is evident she has some talent, though what that is feels hard to decipher.

Ruffalo’s performance lacks conviction and the feeling that he has been really scorned by the music industry never fully materialises. Adam Levine plays his part coolly, almost as an exaggeration of his real-life personality (or what it is perceived to be). Steinfeld provides another assured performance in her supporting role, even though she doesn’t look like she’s ever picked up a guitar before. James Corden makes the most of his limited screen time.

It’s disappointing that overall this film fails to deliver on so many levels. The one thing it will be remembered for is the track “Lost Stars”, which was nominated for the Academy Award for Best Song in 2015. It is the one song here that stands up to those around which Once was built. However, one song does not a musical make; it is very unlikely this will follow its predecessor onto the West End and thus it is destined to be forgotten.

Begin Again is available for purchase now, or can be streamed on Netflix.

by hutchwp

The Intern (Nancy Meyers, 2015)

Nancy Meyers has a rich history in crowd-pleasing comedies. Her writing and directing credits include What Women Want, both Father of the Brides, It’s Complicated, The Holiday and Something’s Gotta Give. The basic premise of her latest, The Intern, is that a 70-year-old widower Ben Whittaker (Robert De Niro) signs up the the senior intern programme of a rapidly-growing start-up business, only to be assigned as the personal assistant to company director Jules (Anne Hathaway), a woman seemingly struggling to keep up with the demands of her new-found success whilst balancing it with her house-husband Matt (Anders Holm) and daughter Paige (JoJo Kushner). Initially resistant of Ben, she soon grows to his warm personality and old-fashioned sentiments, leading to doubts over the future of her personal and professional life.

This may sounds like middle-of-the-road schmaltz, but it works. Some softening colour washes, a pleasant-on-the-ear soundtrack, straight-from-GAP outfits, showroom offices and houses. It’s a look at the modern world from the rose-tinted perspective of middle-to-upper-class old people, coming together to appeal to women of anywhere between the age of about 30 upwards. It is easy on the eye and easy on the soul, but to dismiss it as just that would be wholly unfair.

internscreen

By design, Meyers has created a picture that on the surface is just a pleasant and slow-paced monorail ride through the life of Ben and Jules. However, there is quite a lot of power in the messages it is portraying. First of all, it is telling women to not lie down and take the easy road when it comes to business, despite constantly being told that attempting to be the CEO of a business isn’t correct of a woman. Secondly, just because you have a child, don’t assume that you need to forfeit your career to ensure your partner can maintain his whilst you stay at home and look after your child. Thirdly, don’t feel guilty if your partner doesn’t get any of this.

I’m not sure how this film would fair in the Bechdel Test, which scores films on how sexist the content is by checking how many named female characters are involved with conversations with other women about something that isn’t men. Unfortunately, it would probably score low because the film drowns Jules in a sea of men to highlight the isolation she is experiencing in her career (other key female characters in the office are her emotional assistant and a masseuse). It may also be seen as unfortunate that she relies on a father-figure to guide her through her issues rather than working them out herself, but that’s the nature of the beast and it isn’t at all detrimental to the overall impact of the film in the final act.

There are a few failures. Husband Matt completely loses his essence about halfway through and doesn’t seem fixed in reality, undermining the effect of his actions and Jules’s reaction to them. Too often she brings emotion to the forefront of the company – one scene is obviously playing for laughs but when she’s prioritising the retrieval of a personal e-mail over issues that could destroy the company, the thought can’t be avoided that perhaps she isn’t the right person to sit at the top.

Overall, the film is a success and will no doubt please the crowds to which its box office rivals won’t appeal. It’s slightly early for the Christmas crowds and will not be remembered when the awards season is upon us, but it if you need some surprisingly thought-provoking entertainment there are far worse ways to spend two hours.

The Intern is released at cinemas in the UK on 2nd October 2015.

by hutchwp

Irrational Man (Woody Allen, 2015)

Another year, another Woody Allen film. It must be getting tiring, all this. Coming up with excellent idea after excellent idea, living with the pressure of high expectations. Sickening then that despite this film being another example of style over substance, the substance is unquestionably absorbing and the style is abundant. Much like all of his other recent films, then.

This is the tale of university philosophy professor Abe Lucas, who arrives at a Braylin College, New England with a reputation for being both an alcoholic and a womaniser. He immediately attracts the attention of married chemistry professor Rita (Parker Posey) and philosophy student Jill (Emma Stone), the former of which is married and the latter of which is in a long term relationship to which she is seemingly dedicated. He strikes up  an intellectual friendship with the Jill that eventually leads to the suggestion of more. However, lacking enthusiasm for life, Abe seems lost until an unexpected twist of fate turns his life around and with it his attitude towards it.

A fantastic screen couple.

A fantastic screen couple.

There are six listed cast members here, but there really are only two stars here. Phoenix and Stone make a formidable pairing. He may have put on some weight for this role, but Phoenix’s allure is still very much there and his convincing lost soul act is enough to make his appeal to the much younger Stone quite believable. The conversations she has with her family, friends and an increasingly frustrated boyfriend (Jamie Blackley) are so natural they could be eavesdropping. The ability Woody Allen has to enter the mind of a young and impressionable individual is uncanny. It’s subtle but enchanting.

When the twist arrives there is inevitably a risk that it will derail the film, drawing away from the realism of the first act as it blossoms into a full-blown thriller. Thankfully it doesn’t stray too far from the mark, walking a fine line but concentrating on Abe’s irrational justifications of his actions rather than spiralling out of control, which probably would have been the easier option.

It doesn’t quite reach the joyful heights seen in Midnight In Paris, though is streets ahead of the unfathomably popular Blue Jasmine. Well worth checking out if you can find it.

Irrational Man is at UK cinemas now.

by hutchwp

Paper Moon (Peter Bogdanovich, 1973)

One of the most sure-fire ways of making an enjoyable and effective film is to ensure the chemistry between the two lead characters is strong. What better way to achieve this than by casting a father and daughter in what is essentially a buddy film?

In Paper Moon, we follow the story of tomboy orphan Addie Loggins (Tatum O’Neal) as she is taken under the wing of con-man Moses Pray as he agrees to take her from her mother’s funeral to her aunt’s house in Missouri. She is convinced he is her real father, a point that is hinted at throughout, despite his continued denial of the fact. One thing that they’re both convinced of, however, is that they make a great pair as a scamming duo, going door-to-door convincing recent widows that their recently deceased husbands had ordered them a personalised bible. This serves as an excuse for them to go on a prolonged adventure of dishonesty, an adventure that seems far more appealing than their other limited options.

The chemistry between the O'Neals is excellent.

The chemistry between the O’Neals is excellent.

Much was made at the time – and has been since – of Tatum O’Neal’s performance. Indeed, she remains to this day the youngest person to win an Academy Award for Acting. At 1 hour, 6 minutes and 58 seconds, it is also the longest performance to receive a Supporting Actor/Actress Academy Award. It is playful and at times unintentionally comedic, but the playoffs with father Ryan are brilliant to watch. One memorable scene involves a long one-shot as they drive and argue, both livid at each other before turning it around to agree despite their tones still being that of an argument. It’s almost so good it doesn’t feel like they’re acting, although it allegedly took 39 takes over two days to get right.

One thing the film never answers is the question of whether the two are really father and daughter. The decision is made instead to leave it open as they head off into the sunset, presumably to continue much as they did in this film (a relationship explored in a panned TV sitcom spin-off series starring Jodie Foster). It is a nice decision – the fact they need each other, either as a father figure or as a driver to act responsibly, is to them more important than finding out this truth, at least at this stage in their relationship.

The bonus features are worth watching and provide a valuable insight into the making of the picture. The highlight is an anecdote involving Tatum repeatedly fluffing a line, resulting in her father having to eat countless amounts of waffles, much to the delight of Tatum. In fact, this was deemed so important as an example of their chemistry that the outtake was incorporated into the original trailer.

The cinematography by the Hungarian László Kovács adds a great deal to the authenticity of the film and its success in recreating 1935 Kansas. Coupled with a timeless soundtrack and a great attention to detail in the scenery and costumes, the result is that it transports the viewer completely into the environment, adding further embellishment to the excellent performances of both stars and their supporting cast.

A unique film with a lot to offer even the most ambivalent of viewers, this is one of the best re-releases of the year.

Paper Moon is available on Masters of Cinema Blu-ray now.

by hutchwp

Vacation (Jonathan Goldstein and John Francis Daley, 2015)

The newest addition to the Vacation legacy is an attempt to reboot the previously successful franchise and bring the story to a whole new audience. It’s a shame then that it fails to do either and also tarnishes the memory of the originals in the process.

It stars Ed Helms as the now grown up Rusty, who we know as the son of the old Griswold family. He now has a family of his own to look after. Following in his father’s footsteps, he decides to reboot their family bonds by taking his wife Debbie (Christina Applegate) and two sons Kevin (Steve Stebbins) and James (Skyler Gisondo) to Walley World. Hilarity ensues.

The opening twenty minutes or so as they set up the characters is delivered in a very tedious manner and doesn’t really achieve the desired results of showing a truly dysfunctional family. There are some cheap gags as the four family members conform to some stereotypical character traits before the real action gets going and some fun starts, but to have such a slow start to a big summer comedy is a risky move that contributes to the film’s downfall.


The best moments come when the Griswolds interact with other characters appearing in cameo roles. Most notable are Chris Hemsworth as Stone, the well-endowed brother-in-law, and Charlie Day as Chad, a depressive river rafting guide. Both spawn some great moments that are let down by the punctuating gags between about rim jobs and swimming in poo.

The lowest point is when Chevy Chase appears in a wholly unfunny late scene. Watching him attempt to make the removal of a medium sized guitar from a large cabinet look awkward and clumsy for over ten seconds is simply excruciating.

It’s a valiant attempt to bring the kind of humour that made the originals so successful to a new audience but it actually tarnishes the originals as I’m now questioning whether they were all of this quality. Avoid this film unless your main priorities are familiarity with a rehashed storyline and a lack of anything remotely thought-provoking.

by hutchwp

Network (Sidney Lumet, 1976)

“Get up out of your chairs, open the window, stick your head out, and yell, and say it: “I’M AS MAD AS HELL, AND I’M NOT GOING TO TAKE THIS ANYMORE!””

When Sidney Lumet’s scathing attack on the televisual media hit the big screen in 1976, this was one of many quotes from lead character Howard Beale (Peter Finch) that resonated with the public psyche. It was a huge critical success and would eventually prove to be Lumet’s defining moment as a director.

“I’M AS MAD AS HELL, AND I’M NOT GOING TO TAKE THIS ANYMORE!”

The film opens spectacularly. We’re introduced to television news presenter Beale and the news that he has been sacked from his role at UBS due to his declining ratings. He has been given two weeks’ notice by his long-time friend Max Schumacher (William Holden in fine form) but his reaction is to go onto his next live broadcast and announce “I’m going to blow my brains out right on this program a week from today. So tune in next Tuesday.” This causes mixed reactions amongst those at the studio. The conservative Frank Brackett (Robert Duvall) leads a campaign to get rid of him immediately, whilst Diana Christensen (Faye Dunaway) sees it as a potential ratings spinner, eventually facilitating him receiving his own evening slot in which he rants about the media, advertising, indoctrination and the state of American society. It proves an instant hit and the internal politics of the situation spiral.

The entire cast are on fine form, not just those in lead roles. One stunning sequence involves Beatrice Straight’s Louise Schumacher, wife of Holden’s Max, occupies the screen for only five minutes and two seconds but this was long enough for her to win the Academy Award for best actress. It is far shorter than any other performance that has ever won an Academy Award. It’s hard to say in isolation whether it is wholly deserving of such accolades, though it is possible that the Academy couldn’t bring themselves to award the prize to Jodie Foster, the then 13-year-old who was nominated for her controversial role as Iris “Easy” Steensma in Taxi Driver. You can watch the clip in a sub-standard quality below, if that’s your thing.

The topics covered in Network resonate louder today than they ever have. The anger felt by Beale at the state of the network he works for isn’t necessarily centred around the network itself but rather the people who consume it without question. Ironically, the people who begin to love his show begin to accept it and consume it, thus keeping them watching the television rather than switching it off altogether and avoid potential further indoctrination. We now live in a society four decades later where the way information is fed to consumers is controlled more tightly than imagined in Network, be it on television, in newspapers or online. The latter of these is crucial – one of the biggest opportunities civilisation has had to take over the way information is consumed and what that information is has been hijacked by corporations and advertising. That Lumet so closely predicted this future makes this essential but somewhat eerie viewing.

Network is available on Arrow Video Blu-ray now.

by hutchwp

Stalag 17 (Billy Wilder, 1953)

Billy Wilder made a habit of directing films that are arguably the quintessential examples of their genre. In 1944’s Double Indemnity he defined the film noir genre. Then in 1950 Sunset Boulevard hit the big screen, perhaps the best film to ever tackle Hollywood itself. With Stalag 17, a film released in 1953, he directed what many people consider to be the greatest Prisoner of War (POW) film ever released. Of course, fans of The Bridge on the River Kwai and The Great Escape may argue the toss, but Stalag 17 is up there with the best of them.

One of the most memorable scenes of the film, expertly framed.

One of the most memorable scenes of the film, expertly framed.

Set in 1944, the film focuses on the titular Luftwaffe POW camp where 640 American captured sergeants reside alongside Polish, Czech and Russian captives. It is narrated by Clarence “Cookie” Cook (Gil Stratton), reminiscing on his time in the camp. The opening sequence shows two men trying to escape from the camp, whilst the remaining men in their block argue with Sefton (William Holden) about their potential success at escaping as he takes their bets. As the only person sure of their failure, Sefton wins a large supply of cigarettes from his comrades. As the men come around to the thought that their failure may have been caused by a tip off to one of the Nazi officers, suspicion falls on the ever-cynical Sefton, who appears to be profiting nicely from various trades and deals far more than anyone else held captive. Unwilling to protest his innocence, Sefton resolves to find the real informer and expose him before another there are any more casualties.

What strikes most prominently about this film is its inclination towards comedy. It is certainly rooted in the seriousness of being held as a POW in Nazi Germany, but the comradeship and light-heartedness with which the Americans deal with their situation sets it apart from other films in this genre. It doesn’t just stop at the relationship between those of the same nationality. Indeed, it takes on quite a comical depiction of the relationship between the guards and the captives, illustrating a softer side to the Nazi officers that is seldom depicted elsewhere.

As the film progresses, however, the comical aspects fade somewhat to allow the seriousness of the situation to take centre stage. This contrast is less harsh than, say, Life is Beautiful (Roberto Benigni, 1997), but it works perfectly. The light-heartedness encourages the viewer to warm to all the characters quicker than would have otherwise been possible and by the time the final act plays out the tension is at its peak.

William Holden rightly won an Oscar for his performance as Sefton, spoiling the party that year for the likes of Marlon Brando (Julius Caeser) and Richard Burton (The Robe). The popularity of the film can be put down to two factors at the time. Firstly, the film was withheld from release until 1953 because Paramount Pictures didn’t believe anyone would be interested in a POW film; only when the release of prisoners following the end of the Korean War did it have a widespread political context (both the US release and the end of the Korean War occurred in July 1953). Secondly, the backdrop of the film industry itself was focused on the Hollywood Blacklist, a list of those industry professionals considered to be supportive of communism. This was at its height in 1953, but no studios would dare release a film to directly tackle these issues. The storyline of a lone man being singled-out by his peers based on false circumstantial evidence will no doubt have gained extra resonance against this ongoing issue.

Stalag 17 deserves to be seen, for its excellent performances, magnificent direction and historical relevance. With it being a Masters of Cinema release, there has never been a better time to check it out.

Stalag 17 is available to purchase now from Masters of Cinema on Blu-Ray.

by hutchwp

Film review – The Interview (Seth Rogen and Evan Goldberg, 2014)

So, here we have it. The film that almost started World War III. The film that Sony were so adamant it was going to release they refused to listen to threats from North Korea, even ignoring the fact that they were being infiltrated by “The Guardians of Peace”, a hacking group from North Korea.

It’s a shame it’s such a terrible film.

Another failed attempt at the "water sprinkler" dance move.

Another failed attempt at the “water sprinkler” dance move.

The premise of the film is thus. Dave Skylark (James Franco) is a popular trash entertainment TV presenter in USA and has his own show called Skylark Tonight. However, as they reach their 1000th show his producer Aaron Rapaport (Seth Rogen) longs to produce something with a bit more depth. When an unlikely interview with North Korean leader Kim Jon-Un (Randall Park) becomes a reality, their breakthrough into high-brow entertainment is quickly turned into an undercover CIA mission to assassinate the leader. Hilarity ensues.

The humour in the film is generally derived from one of two sources: poking fun at the North Koreans or crude toilet humour gags. At one point a botched administering of ricin leaves the two stranded in North Korea without the ability to complete the mission. The CIA, in a continuity-challenging move, send over two additional ricin doses in a small rocket. Rogen, by this point facing imminent death due to a stray tiger (what?) and a group of about 15 guards closing in on him decides the only way to save the day is the insert the entire capsule into his anus.

Elsewhere we discover that Kim Jong-Un is a huge fan of cocktails and Katy Perry. He has emotional issues due to disconnection and lack of approval from his father. He regularly spends time with prostitutes. Despite their differences to the Western world, North Korea is a proud nation with a lack of understanding of the ways of the west. On this level it is understandable why this film would cause them a serious issue.

It’s a shame that this film has no sense of intelligent writing that has been on display in the creative outputs of both of its lead characters. Of all the films to fall flat with, it’s most unfortunate that it happened with a film that had the eyes of the world focused on it.

The Interview is out now on Blu-Ray and DVD.