A man called Bryan
Doing an experiment
A man called Bryan
A man called Bryan
Doing an experiment
Let me get this straight, right from the start. The Polka King is not a good film. It popped up on my Netflix feed as a recommended watch and I thought I’d give it a go. It didn’t look taxing and I’d had a long day. I had low expectations but still managed to be disappointed.
I now find myself in the embarrassing situation where I’ve never seen The Ten Commandments, Gone With The Wind, The Maltese Falcon, Boyhood, Crash, The Last of the Mohicans, The English Patient, Lawrence of Arabia, On The Waterfront, Unforgiven and Dr Zhivago but I have seen The Polka King.
For that, I should be entirely ashamed.
Jack Black plays Jan Lewan, a real-life polka music band leader from Austria trying to make a living in the USA. He was imprisoned in 2004 for running a Ponzi scheme (or pyramid scheme). That’s pretty much the story. There are some highs and lows.
Importantly, there are very few laughs. In fact, I didn’t laugh once. It is set up like a comedy. Everyone involved is a comedic actor (the supporting cast includes Jenny Slate, Jason Schwartzman and Jacki Weaver). The pacing of the script felt like it wanted to be a comedy.
Yet, as Black phoned in his performance and went through the motions of delivering on a part he was only vaguely interested in, I couldn’t help but cast my mind back to some of the great comedy releases from Red Hour Productions that include Tropic Thunder, Zoolander, Tenacious D in the Pick Of Destiny and DodgeBall, and wonder whether Ben Stiller simply wasn’t available to oversee this production.
There are some great Netflix Originals out there to be watched and enjoyed. This just isn’t one of them.
If the thought of a horror-comedy fills you with dread, if not for the scary monsters then more for the fact that they usually fall short of whatever they’re trying to achieve, then fear not. Little Evil may not truly be a great horror film, nor is it a hilarious comedy, but that doesn’t mean it’s a bad film. For those wanting something lighthearted this Halloween there are much worse ways to spend 95 minutes.
Adam Scott stars as Gary, a real estate worker who has married Samantha (Evangeline Lilly), who comes with baggage in the form of her son Lucas (Owen Atlas), who Gary suspects may be the Antichrist. As he unravels the truth behind his new stepson, he is forced to form unlikely bonds in a race against time to save his family and the world.
There are supporting roles from the brilliant Bridgett Everett, Donald Faison, Chris D’Elia, Kyle Bornheimer and a surprising cameo by Sally Field, though this is less surprising when you learn that director Eli Craig is her son. It’s an ensemble cast that are able to provide plenty of humour to keep the wagon rolling without ever feeling like it stutters.
The film is peppered with nods to horror greats, presumably so that fans of the genre will giddily point at the screen and say “Oh, that’s the clown from Poltergeist!” at their less-versed friends. Of course, the more likely reaction is a roll of the eyes and silence, but the references are done in good faith. Sure, giving the child a 6th birthday on 6th June is fairly obvious, but not all comedy has to be subtle to be successful.
There is a worry that the film lacks any memorable gags and also fails to produce any striking horror set-pieces, though the movement of the buried-alive scene to the start of the film provides an impactful opening.
Adam Scott is a great leading man here, producing a relatable everyman who wants to make things work despite obvious signs that something is awry. There’s an art to his delivery of disbelief that only he seems to notice that Lucas is hiding something. It’s good to see him in a more prominent role than he is usually given.
Eli Craig has produced a fine follow up to his breakthrough film Tucker and Dale vs Evil. It has found a suitable home on the VOD service Netflix, which reduces the risk of it being a flop at cinemas and will undoubtedly increase viewership in the October double-header of Friday 13th and Halloween. It is notable, however, that it has quickly vanished from the front page of the service, making foot-fall traffic a little less likely.
Incidentally, Tucker and Dale vs Evil is also available on Netflix. If you’ve seen neither, Little Evil should be the one you approach second.
Remakes, sequels, animated children’s film. Say what you want about the film studios, but if they’re judged solely on how to make money from well-marketed films, then they know how to do it. But when you look at the UK box office for 2017 on an artistic level, the top 10 leaves a lot to be desired.
Of the top ten, only La La Land isn’t classed as a remake, sequel or children’s film. You have to stoop as low as numbers 16, 17 and 18 to find Lion, Split and Get Out respectively, to start really finding good original cinematic enjoyment for adults wanting something fresh to think about.
So whilst Okja, Bong Joon Ho’s latest futuristic sci-fi action film, was booed at Cannes Film Festival when the Netflix logo appeared at the start of the film, it isn’t a surprise that the popularity of the service has really grown exponentially in recent times. In the month of June, both Okja and the excellent The Circle landed on the service, along with women’s wrestling series Glow and the new drama series Gypsy, which stars Oscar nominee Naomi Watts. I’ve finished watching all but Gypsy, and it was often the case that I actively decided to stay at home to watch these instead of going to the cinema.
My decision wasn’t financially motivated. It was because they looked like better options.
Okja tells the story of a new breed of superpig that has been created by the Mirando Corporation as the flagship programme for new CEO Lucy Mirando (Tilda Swinton), who has inherited the company from her controversial family and is looking to create a better image for their brand. In 2007, 26 superpigs were distributed around the world to various farmers. Now, in 2017, the corporation will crown the best pig as they simultaneously launch products using the meat from the huge slaughterhouses being used to house and kill 1000s of the new species. The ten-year-old daughter of one of the farmers, Mija (Ahn Seo-hyun) has grown close to the titular superpig and attempts to stop the competition from going ahead, teaming up with a band of animal rights activists that include Jay (Paul Dano), K (Steven Yeun) and Red (Lily Collins). Jake Gyllenhall also stars as eccentric television zoologist Johnny Wilcox.
Bong Joon Ho has created something exceptionally special here, getting excellent performances from all of his lead cast. But it is the performance by newcomer Ahn Seo-hyun that really captivated me. The opening sequence of the film may be all bravado and sensory overload, but the film soon settles into a much more naturalistic tone as we learn about the relationship between the young girl Mija and her best friend and childhood companion Okja. Its remarkable that the relationship feels so visceral given that there is nothing but animation for the superpig. There was a foam head made in the likeness of the eventual CGI creature to give her something to interact with. It’s an age-old technique but one that has resulted in an intimate and captivating coupling.The message contained within the film is at least on some levels for the viewer to consider the origin of the meat they are eating. “Okja is real,” director Bong Joon Ho said in a recent Independent interview. “It’s actually happening. That’s why I rushed making Okja, because the real product is coming.”
I personally felt disgusted by the end of the film and it brought back memories of Robert Kenner’s 2008 documentary ‘Food, Inc.’ Thry weren’t particularly positive memories, but they certainly were effective.
Given so many people have Netflix and can watch this film at no extra cost, it’s a no-brainer to seek it out and watch it. It might be the start of a new era of high quality original cinema heading first to home streaming platforms. Given the state of the year-to-date box office, it’s a movement everyone should be supporting.
Keith Richards: Under The Influence is a documentary film by Morgan Neville, the man responsible for the excellent Academy Award-winning 20 Feet From Stardom. Richards has a new album out – Crosseyed Heart – and the timing of this film gives it the feel of being a bit of an extended promotional interview.
Indeed, that’s exactly what it is. Bringing in a few musical friends to offer further insight, the film is actually a series of interview filmed in various locations across the USA. The fact it is just a talking heads film is not to say this is a disappointment as a documentary. Fans of the band and/or the individual will find a lot of joy from watching the series of interviews with a man who knows how to tell a tale. Most avid fans have probably already read his autobiography “Life” and an 80 minute film is never going to cover the depths of a 500-page book.
Keith Richards: Under The Influence is available excusively on Netflix now.