DVD Review: Clerks 2 (Kevin Smith, 2006, USA).
Kevin Smith. Slacker, filmmaker, responsible for a cult-cultural phonemena with Jay & Silent Bob. But after the fifth film in the "Askewniverse", Jay & Silent Bob Strike Back, Kevin Smith decided that he wanted to move on, grow up, leave the characters behind. What happened after is pretty darn infamous and can be summed up in two words... "Jersey Girl". Moving on... So Smith has gone back to where he started, "back to the well" how he puts it, to reopen the Askewniverse, one more time.
Dante (Brian O'Halloran) and Randal (Jeff Anderson) are forced to move to a new job when their place of work burns down. Now after nearly a year of working there, Dante is finally doing what he said he wanted to do for years: Get out of the slump he has been in. This invloves relocating to Florida with pushy fiancee Emma (Jenifer Schwalbach). But on the last day before he moves, things change. Things involving his boss Becky (Rosario Dawson), Go-Karts, dancing and a "donkey-show"...
There are many faults with this movie, some of which are symptomatic of Smith's way of working. There is barely any flair to his direction, something which Smith recgonises himself, and the dialogue really does have to do the bulk of the work. Even when he does try something with the camera, mainly within the ill-concieved dance sequence, it doesn't quite come off. Smith is also really rather self-indulgent but as he says he makes films for himself not others. However, the casting of his wife is completely out-of-place and she is not convincing either in her perofmance or really, her looks to nail the role. Let's just say she makes Brian O'Halooran look good nd that is saying something. This guy just cannot act. His delivery is strictly amaeturish, his character would not entice Becky in real-life for a second and when next to Jeff Anderson and Trevor Fehrman, pales into almost-insignificance.
All this being true, I can also say that I did not laugh so hard in the cinema or at home nearly as much as I laughed at this film, in the year of 2006. Smith's writing is very much for a certain crowd but to that crowd it is priceless. the scene of Randall making a LOTR fan so angry that he throws up is just ball-shatteringly brilliant . The introduction of Elias is a very welcome one. Fehrman pulling off the role with a nicely polished portrayal of a very naive teen who becomes Randal's new target. Jay & Silent Bob are as brilliant as other, enough said, and the "donkey-show" is so straight up in it's offensiveness that it has to be applauded. Rosario Dawson brings a real sweetness to the role of Becky. She does feel like someone you could fall in love with and she almost manages to make her realtionship with Dante look plausible. Smith must also be congratulated for bringing heart to the relationship between Dante and Randal, making it feel like they do love each other, but without the creepy stalker-esque nature that Randal was left with with Clerks.
So... Smith does not seem like he can get out of New Jersey. If I am honest, I really do hope that this is it. If it wasn;t for the script, this wouldn't be worth the time of day. Smith now has a choice to make, carry on with the Askewniverse knowing that your films will never be broadly loved. Or try and break out without making "Jersey Girl 2". I wouldn't want to be in his postion I must say.
Video: Way too sharp, a really obviously sharp transfer which while free of grain, really does not make a passable one. Not good.
Audio: Suprisingly decent Dolby Digital 5.1 soundtrack. While dialogue-heavy , we get some nice directional effects mainly involving people working in and out of the restaurant, but also some nice work during the "Donkey-Show". A pleasent suprise.
Extras:
Deleted Scenes - Pretty funny deleted scenes, as always with Smith DVDs, really worth a watch. The improv which Smith does not usually allow, m,akes for some very funny stuff.
Cast Commentary - One of three commentaries but the only one I have listened to just yet. Good stuff, very honest, frank and some funny stuff also, worth a listen.
Documentary - Hour and a hlaf long documentary, comprehensive stuff and again very honest. Interesting stuff involving the relationship between Jeff Anderson and Kevin Smith, which still seems fairly strained,. Maybe one for people who really know their Smith films, but as someone who does, I enjoyed it.
Funniest film of 2006 for myself but a very niche film. Great disc as well makes it a must-own for all people who enjoy the "Askewniverse".
Back tomorrow, probably with a review of "The Number 23".
Friday, February 23, 2007
Saturday, February 17, 2007
Review: Perfume - The Story Of A Murderer
If anyone else has seen this, I want your views!!!!
Review: Perfume - The Story Of A Murderer (Tom Tykwer, 2006, GER/FRA/ESP).
The most expensive European production ever embarked upon, a film which it was rumoured (but untrue) that even Stanley Kubrick could not get a handle on, a book where the sense of smell is the most important aspect of the plot. Upon release, very mixed reviews and barely any award buzz. My opinion....
Jean-Baptise Grenouille (Ben Whishaw) is born in rather extreme circumstances and would surely have been stillborn if it were not for the intense smells of the fishmarket he is born in. His sense of smell comes to define the character he will become in later life. He discovers that his purpose in life is to create the perfect scent. With the help of master perfumer Baldini (Dustin Hoffman), he acquires the skills to create the scent. But how to preserve it, is a different question entirely.
If you are to come across a more visually striking film this year, I would be amazed. Indeed, the visuals are the standout of this film. This looks like an entirely European film, reminding me in particular of the work of Jean-Pierre Jenuet with Delicatessen and City of Lost Children. It is beautiful but there is constantly a hint of darkness underneath. Sometimes this darkness comes to the fore, the smells Jean-Baptise first smells, the body of the first murdered woman which is constantly flashed back too; these images are obviously disturbing. Most of the time, it is kept to a bubbling undercurrent, like a smell which is lingering in the air which sometimes strikes to remind you of something you remember which you very much disagree with.
With all the sumptous beauty of the visuals, it is almost inevitable that something is to be lost. While I would argue that the narrative is stronger than many ithger cirtics have said, it is undeniably affected by the care taken with the visuals. Being presented with Jean-Baptiste as aoour anti-hero means that we can never truly feel for the "hero" of the piece. Although his lifelong journey is something we can latch on to, the actions he takes through the film mean that it is difficult to sympathise with him. In this aspect, it is similar to Notes On A Scandal, characters are presented who we are normally meant to identify with but in these cases, we just can't. When we are presented with other characters we can latch on to, Dustin Hoffman and Alan Rickman's specifically, they are not given enough time for development for us to understand them. The film does the best of what it can based on the source material. There is no getting away from the fact that the developments at the end will turn a lot of people off (My friend Helly was completely lost on the film from this point), but I was not. If you invest yourself in this world, I think you will go with what happens. Odd to be sure, but in the world the visuals have created in the previous two hours, it almost makes sense.
For a film lacking in character development, the perfomances are uniformally excellent. Ben Whishaw (who are only recgonised as Pingu from the Chris Morris/Charlie Brooker series Nathan Barley) is a revelation as Jean-Baptiste. His character is abhorrent and yet endlessly comelling. The sense of sheer force of will which goes with his character is something to behold and I am sorely disappointed that he got no serious awards buzz. Dustin Hoffman is distracting but still amusing in his small role. In any other film, he would feel out of place in this role, but Hoffman seems to understand completely what is required of him in the role and he really does pull it off. His fate in particular gives one of the few genuine laughs of the film. Alan Rickman also does well in a somewhat one-note role. John Hurt is wonderfully placed as the narrator and his sense of warmth and charm really moves the story along well.
Much of this review has been negative. A lot of people will not enjoy this film, there were walkouts in the cinema we were at. And yet, I loved it. The visuals are quite incredible and Ben Whishaw's perfomance alone makes this worth watching. I would very much recommend this, but I know some of you will hate it.
Opinions please!!
Review: Perfume - The Story Of A Murderer (Tom Tykwer, 2006, GER/FRA/ESP).
The most expensive European production ever embarked upon, a film which it was rumoured (but untrue) that even Stanley Kubrick could not get a handle on, a book where the sense of smell is the most important aspect of the plot. Upon release, very mixed reviews and barely any award buzz. My opinion....
Jean-Baptise Grenouille (Ben Whishaw) is born in rather extreme circumstances and would surely have been stillborn if it were not for the intense smells of the fishmarket he is born in. His sense of smell comes to define the character he will become in later life. He discovers that his purpose in life is to create the perfect scent. With the help of master perfumer Baldini (Dustin Hoffman), he acquires the skills to create the scent. But how to preserve it, is a different question entirely.
If you are to come across a more visually striking film this year, I would be amazed. Indeed, the visuals are the standout of this film. This looks like an entirely European film, reminding me in particular of the work of Jean-Pierre Jenuet with Delicatessen and City of Lost Children. It is beautiful but there is constantly a hint of darkness underneath. Sometimes this darkness comes to the fore, the smells Jean-Baptise first smells, the body of the first murdered woman which is constantly flashed back too; these images are obviously disturbing. Most of the time, it is kept to a bubbling undercurrent, like a smell which is lingering in the air which sometimes strikes to remind you of something you remember which you very much disagree with.
With all the sumptous beauty of the visuals, it is almost inevitable that something is to be lost. While I would argue that the narrative is stronger than many ithger cirtics have said, it is undeniably affected by the care taken with the visuals. Being presented with Jean-Baptiste as aoour anti-hero means that we can never truly feel for the "hero" of the piece. Although his lifelong journey is something we can latch on to, the actions he takes through the film mean that it is difficult to sympathise with him. In this aspect, it is similar to Notes On A Scandal, characters are presented who we are normally meant to identify with but in these cases, we just can't. When we are presented with other characters we can latch on to, Dustin Hoffman and Alan Rickman's specifically, they are not given enough time for development for us to understand them. The film does the best of what it can based on the source material. There is no getting away from the fact that the developments at the end will turn a lot of people off (My friend Helly was completely lost on the film from this point), but I was not. If you invest yourself in this world, I think you will go with what happens. Odd to be sure, but in the world the visuals have created in the previous two hours, it almost makes sense.
For a film lacking in character development, the perfomances are uniformally excellent. Ben Whishaw (who are only recgonised as Pingu from the Chris Morris/Charlie Brooker series Nathan Barley) is a revelation as Jean-Baptiste. His character is abhorrent and yet endlessly comelling. The sense of sheer force of will which goes with his character is something to behold and I am sorely disappointed that he got no serious awards buzz. Dustin Hoffman is distracting but still amusing in his small role. In any other film, he would feel out of place in this role, but Hoffman seems to understand completely what is required of him in the role and he really does pull it off. His fate in particular gives one of the few genuine laughs of the film. Alan Rickman also does well in a somewhat one-note role. John Hurt is wonderfully placed as the narrator and his sense of warmth and charm really moves the story along well.
Much of this review has been negative. A lot of people will not enjoy this film, there were walkouts in the cinema we were at. And yet, I loved it. The visuals are quite incredible and Ben Whishaw's perfomance alone makes this worth watching. I would very much recommend this, but I know some of you will hate it.
Opinions please!!
Friday, February 16, 2007
Review: Notes On A Scandal
Bit of an odd choice for a review from me now but one I feel is worth doing.
Review: Notes On A Scandal (Richard Eyre, 2006, UK/USA).
Barbara (Judi Dench) likes to keep an ongoing diary detailing the events surrounding her life and her work as vice-headmistress at a London secondary school. She warms to Sheeba (Cate Blanchett), a new teacher at the school, as she is attractive, confident and seemingly in a happy marraige. Things change however when Barabra discovers a secret about Sheeba's life and uses it to have Sheeba guaranteed as a friend for life. However, Barbara also has her own secrets...
The idea of a teacher sleeping with a pupil is a gripping one and one used many times (And lampooned brilliantly in a recent episode of South Park). The skill of Notes On A Scandal is in the fact that as emotive a subject as this is, it plays second fiddle to the main relationship in the movie, the one between Sheeba and Barbara. Indeed the relationship between Sheeba and Stephen (Andrew Simpson) is so underplayed that it is resolved far earlier than I expected it to be. As it is, this side of the film is very intelligently made. The motivations seem real, the chemistry between Blanchett and Simpson is made uncomfortably real and the only bad thing I can say about its presentation is that sometimes it seems a little too played for laughs and is a little tasteless. Believe me, I have nothing wrong with tastlessness in the slightest but in the context of the rest of the film, it seems very out of place. For an exmple of this, watch the audience's reaction after Judi Dench answers Cate Blanchett's phone.
What this film revolves around, and what makes it such a gripping and intelligent piece of cinema is the character of Barbara. While the screenplay, adapted by Patrick Marber, gives Dench the material to work with, she makes it seem like she has lived and breathed as this character for decades. Her portrayal as Barbara is so convincing that it makes one think about the number of sociopathic old woman we have in our society and how they are not helped, but are shoved aside. What starts as a cynical but warm-hearted perfomance soon becomes something much darker and yet you pity Barbara by the end, which given the events of the plot seems like quite a hard reach. One complaont I would make about her character, and it is a minor quibble, the last scene in another film could be seen as something hinting towards a sequel. Her character does not seem to have been resolved by the end of the film. Even though I complain about this, I do acknowledge that the filmmakers may be saying that thing do not get wrapped up as easily in real life, and indeed considering threlaism of all that has been portrayed before this scene, it would seem that this would be the case. Maybe my want for a resolution is something that really needs to be looked at!
Cate Blanchett does well in what is most certainly a supporting role. Although she provides the main thrust for the story, this is certainly not her film, and her perfomance seems to acknoweldge this. However, her character is a complex one. While the machinations of the film would make you ususally sympathise with her, she never quite earns it. While she does not deserve what Judi Dench puts her through, she certainly does not help herself. The scene in which she explains to Dench what led to the scandal certainly paints a bad picture of her in the audience's minds, and I could not shake this off for the rest of the runtime (And the people I saw this with also agreed). I do not believe that this is a case of Blanchett not pulling off the character, this is intentionally done through the script. It is to Blanchett's credit that she is willing to let herself be painted as quite an unlikeable character. The chemistry between the two leads is soemthing to behold. Both have secrets, both are disahgreeable in a number of ways but both also give theiur cgarcters shades of light and make you feel for them. In the end, you cannot reall side with either of the chgaracter's and it is too Eyre and Marber's credit tgat they do not make us favour one more than the other. Dench is unhinged but she is also obviously suffering froma form of mental illness. Blanchett does not deseve what is happening to her but not once does she try to help Dench. When she finds out what she does, she solely thinks about herself. She uses her family as an excuse to try and get Dench to stop but is only thinking of herself. And yet, woyuldn't we all in the same situation?
The supporting perofmances are uniformly solid if not outstanding. Bill Nighy does nicely in a small role and is the only person out of the main cast who you can really feel sorry for (And yet, we are told that he left his wife for Blanchett so, is he just getting a piece of karma back?). Andrew Simpson does well as the young boy Sheeba has a realtionship with. He is on the cusp of adulthood and yet to eyes outside of the relationship, he is obviously still just a boy. Along Marber's previous adaptation Closer, this never feels like it would be better done on the stage. This feels like an intelligent movie and Marber is to be thanked. Richard Eyre doe s a solid if not spectacular job but I would say that the shifts in tone at times are jarring, as said earlier. The score also desveres mention. Phillip Glass creates an unnevring mood but the music never feels out of place.
This is another great job for British films. Although it is a co-production with Fox Searchlight, it feels every bit the Bristish film and this along with "The greatest motion picture ever" Hot Fuzz and The Last King Of Scotland are a great hat-trick to kick off the year.
Back tomorrow with a review of "Perfume: Story Of A Murderer".
Review: Notes On A Scandal (Richard Eyre, 2006, UK/USA).
Barbara (Judi Dench) likes to keep an ongoing diary detailing the events surrounding her life and her work as vice-headmistress at a London secondary school. She warms to Sheeba (Cate Blanchett), a new teacher at the school, as she is attractive, confident and seemingly in a happy marraige. Things change however when Barabra discovers a secret about Sheeba's life and uses it to have Sheeba guaranteed as a friend for life. However, Barbara also has her own secrets...
The idea of a teacher sleeping with a pupil is a gripping one and one used many times (And lampooned brilliantly in a recent episode of South Park). The skill of Notes On A Scandal is in the fact that as emotive a subject as this is, it plays second fiddle to the main relationship in the movie, the one between Sheeba and Barbara. Indeed the relationship between Sheeba and Stephen (Andrew Simpson) is so underplayed that it is resolved far earlier than I expected it to be. As it is, this side of the film is very intelligently made. The motivations seem real, the chemistry between Blanchett and Simpson is made uncomfortably real and the only bad thing I can say about its presentation is that sometimes it seems a little too played for laughs and is a little tasteless. Believe me, I have nothing wrong with tastlessness in the slightest but in the context of the rest of the film, it seems very out of place. For an exmple of this, watch the audience's reaction after Judi Dench answers Cate Blanchett's phone.
What this film revolves around, and what makes it such a gripping and intelligent piece of cinema is the character of Barbara. While the screenplay, adapted by Patrick Marber, gives Dench the material to work with, she makes it seem like she has lived and breathed as this character for decades. Her portrayal as Barbara is so convincing that it makes one think about the number of sociopathic old woman we have in our society and how they are not helped, but are shoved aside. What starts as a cynical but warm-hearted perfomance soon becomes something much darker and yet you pity Barbara by the end, which given the events of the plot seems like quite a hard reach. One complaont I would make about her character, and it is a minor quibble, the last scene in another film could be seen as something hinting towards a sequel. Her character does not seem to have been resolved by the end of the film. Even though I complain about this, I do acknowledge that the filmmakers may be saying that thing do not get wrapped up as easily in real life, and indeed considering threlaism of all that has been portrayed before this scene, it would seem that this would be the case. Maybe my want for a resolution is something that really needs to be looked at!
Cate Blanchett does well in what is most certainly a supporting role. Although she provides the main thrust for the story, this is certainly not her film, and her perfomance seems to acknoweldge this. However, her character is a complex one. While the machinations of the film would make you ususally sympathise with her, she never quite earns it. While she does not deserve what Judi Dench puts her through, she certainly does not help herself. The scene in which she explains to Dench what led to the scandal certainly paints a bad picture of her in the audience's minds, and I could not shake this off for the rest of the runtime (And the people I saw this with also agreed). I do not believe that this is a case of Blanchett not pulling off the character, this is intentionally done through the script. It is to Blanchett's credit that she is willing to let herself be painted as quite an unlikeable character. The chemistry between the two leads is soemthing to behold. Both have secrets, both are disahgreeable in a number of ways but both also give theiur cgarcters shades of light and make you feel for them. In the end, you cannot reall side with either of the chgaracter's and it is too Eyre and Marber's credit tgat they do not make us favour one more than the other. Dench is unhinged but she is also obviously suffering froma form of mental illness. Blanchett does not deseve what is happening to her but not once does she try to help Dench. When she finds out what she does, she solely thinks about herself. She uses her family as an excuse to try and get Dench to stop but is only thinking of herself. And yet, woyuldn't we all in the same situation?
The supporting perofmances are uniformly solid if not outstanding. Bill Nighy does nicely in a small role and is the only person out of the main cast who you can really feel sorry for (And yet, we are told that he left his wife for Blanchett so, is he just getting a piece of karma back?). Andrew Simpson does well as the young boy Sheeba has a realtionship with. He is on the cusp of adulthood and yet to eyes outside of the relationship, he is obviously still just a boy. Along Marber's previous adaptation Closer, this never feels like it would be better done on the stage. This feels like an intelligent movie and Marber is to be thanked. Richard Eyre doe s a solid if not spectacular job but I would say that the shifts in tone at times are jarring, as said earlier. The score also desveres mention. Phillip Glass creates an unnevring mood but the music never feels out of place.
This is another great job for British films. Although it is a co-production with Fox Searchlight, it feels every bit the Bristish film and this along with "The greatest motion picture ever" Hot Fuzz and The Last King Of Scotland are a great hat-trick to kick off the year.
Back tomorrow with a review of "Perfume: Story Of A Murderer".
Sunday, February 11, 2007
Half Nelson update...
Just went on the BBFC website, Half Nelson has been certified (15, if you are bother). Importnat thing is that it is coming out over here on the 1st April through Axiom Films. I wouldn't wait if I were you and to be fair, I know most of the distribution companies in the UK and I have never heard of these guys so the chance of it getting a theatrical release you can get to is slim. Just import the DVD if my review had you interested. I reckon it's worth it.
Advance Review: Hot Fuzz
Advance Review: Hot Fuzz (Edgar Wright, 2007, UK).
When Shaun of the Dead was released in 2003, it was very mucha cult hit. As well executed as the marketing was for the film (I especially remember the ads on the outsides of phone boxes), it never turly seemed to break out. There could be a number of reasons for this, Shaun came at a time when the zombie movie genre was just starting to ramp up again. The humour was very much of a Spaced-nature, it felt like a cult film. For the Pegg-Frost-Wright team's next project, I think the guys must have learnt something from the time they have spent in America (Where Shaun did very very well it must be said), as Hot Fuzz is going to be huge. I could not be happier.
Nicholas Angel (Simon Pegg) is the best for the London Metropolitan Police has. In the fast-paced opening couple of minutes we learn that he has excelled in every area of Police training and has even gotten over being stabbed in the hand by a man dressed as Father Christmas (The man incidentally being played by Peter Jackson according to Pegg at the Q&A after). All this sucess has made his superiors (Cameos from Bill Nighy, Steve Coogan and Martin Freeman) nervous that he is showing everyone up. Because of this he is forced into a transfer to the sleepy village of Sandford. Upon his arrival he arrests half the town for public urinating and underage drinking, and in one instance trying to drink-drive, a man who later turns out to be Police Constable, Danny Butterman (my new hero, Nick Frost). The town, he discovers, has a relaxed attitude to polic enforcement, the team being more interested in eating Black Forest Gateau than looking for crime. However, Angel, with his new partner Butterman, soon discover that the townsfolk (Including Timothy Dalton, Edward Woodward and more) are not entirely what they seem.
To say this film will fast become one of my favourtie comedies ever feels almost like I am underselling it. the fact that after the first viewing, I already prefer it over Shaun, is mind-boggling to be honest. The team have really struck the ball out of the park with this one. The humour feels far more broad and yet it still hits every note for the people who have been with this team since the first days of Spaced. There are re-hashes of jokes from both Spaced and Shaun (As seen in the trailers), but they do not feel forced, they feel like naturally good jokes by themselves. The script is pretty much a laugh a minute. At first it is just the wordplay and funny circumstances surronding the little English village., but it later changes as the film becomes almost surreal in the ridiculousness of the action towards the end (Watch for the woman shooting on her bike), but again, the whole thing feels natural and completely right for the world that the tem have created.
The perofmances are top-notch and it is great to say that not once was I reminded of the charcters from wither Spaced or Shaun. Pegg as Angel completely changes his previous personnas to become very much a straight-man action hero. He is uptight and a bit of a prick at first even, but he is supposed to be. As the film goes on he loosens up (and finds an affinity for action films), and by the end becomes a top cop and a good person to boot. Frost pretty much owns the film, his character is hilarious, some of the stuff he comes out with is incredible, but he is not just comic relief. He feels like a proper charcacter. One of the film's biggest revelations concerns him and he carries off the dramatic weight of the script really really well. His brainfreeze moment is bloody brilliant also! Props most also be given to Paddy Considine and rafe Spall (who looks so different from his character in Shaun that I barely thought it was the same guy). As the Andy's, they own the scenes they are in. They are so childish and so bloody West-Country, you cannot help but laugh whenever they say anything. I have never seen Considine do comedy before but he seems to have a natural knack for it. He also gives what is my favourtie line in the whole film, "If you want to be a top cop, go fuck off up the model village". Might not sound funny now, but I almost pissed myself when I saw it.
Edgar Wright has also obviosuly grown as a director. The quick edits which were used a lot in Spaced and Shaun gradually give way to a more traditional action-movie style of editing, and Wright understands how to deliver the action perfectly. The homages are brilliant and you can tell that he studied the fundamentals of the action film before shooting. This fil excels in beign a great action film also. They are very very very funny but at the same time, you also think, "I want to have a giant shootout in a village square, IT LOOKS SO COOL!!!!!!!", yes the inner-child in me came out with glee! The kills in this film deserve a mention too, very bloody, not as gory as Shaun but getting there, but really very funny also.
If this review has been a little vague, it's just that I don't want to spoil too much of the film. I'll be back to see it this week, maybe twice and I'll be counting the days until the DVD comes out after. A truly fantastic comedy, a suprisingly gripping acion film, and already one of the best films we will see this year full stop.
If you guys want the Q&A, email me or comment. It was long but I'll transcribe it if you folks want it. Seriously see this film.
When Shaun of the Dead was released in 2003, it was very mucha cult hit. As well executed as the marketing was for the film (I especially remember the ads on the outsides of phone boxes), it never turly seemed to break out. There could be a number of reasons for this, Shaun came at a time when the zombie movie genre was just starting to ramp up again. The humour was very much of a Spaced-nature, it felt like a cult film. For the Pegg-Frost-Wright team's next project, I think the guys must have learnt something from the time they have spent in America (Where Shaun did very very well it must be said), as Hot Fuzz is going to be huge. I could not be happier.
Nicholas Angel (Simon Pegg) is the best for the London Metropolitan Police has. In the fast-paced opening couple of minutes we learn that he has excelled in every area of Police training and has even gotten over being stabbed in the hand by a man dressed as Father Christmas (The man incidentally being played by Peter Jackson according to Pegg at the Q&A after). All this sucess has made his superiors (Cameos from Bill Nighy, Steve Coogan and Martin Freeman) nervous that he is showing everyone up. Because of this he is forced into a transfer to the sleepy village of Sandford. Upon his arrival he arrests half the town for public urinating and underage drinking, and in one instance trying to drink-drive, a man who later turns out to be Police Constable, Danny Butterman (my new hero, Nick Frost). The town, he discovers, has a relaxed attitude to polic enforcement, the team being more interested in eating Black Forest Gateau than looking for crime. However, Angel, with his new partner Butterman, soon discover that the townsfolk (Including Timothy Dalton, Edward Woodward and more) are not entirely what they seem.
To say this film will fast become one of my favourtie comedies ever feels almost like I am underselling it. the fact that after the first viewing, I already prefer it over Shaun, is mind-boggling to be honest. The team have really struck the ball out of the park with this one. The humour feels far more broad and yet it still hits every note for the people who have been with this team since the first days of Spaced. There are re-hashes of jokes from both Spaced and Shaun (As seen in the trailers), but they do not feel forced, they feel like naturally good jokes by themselves. The script is pretty much a laugh a minute. At first it is just the wordplay and funny circumstances surronding the little English village., but it later changes as the film becomes almost surreal in the ridiculousness of the action towards the end (Watch for the woman shooting on her bike), but again, the whole thing feels natural and completely right for the world that the tem have created.
The perofmances are top-notch and it is great to say that not once was I reminded of the charcters from wither Spaced or Shaun. Pegg as Angel completely changes his previous personnas to become very much a straight-man action hero. He is uptight and a bit of a prick at first even, but he is supposed to be. As the film goes on he loosens up (and finds an affinity for action films), and by the end becomes a top cop and a good person to boot. Frost pretty much owns the film, his character is hilarious, some of the stuff he comes out with is incredible, but he is not just comic relief. He feels like a proper charcacter. One of the film's biggest revelations concerns him and he carries off the dramatic weight of the script really really well. His brainfreeze moment is bloody brilliant also! Props most also be given to Paddy Considine and rafe Spall (who looks so different from his character in Shaun that I barely thought it was the same guy). As the Andy's, they own the scenes they are in. They are so childish and so bloody West-Country, you cannot help but laugh whenever they say anything. I have never seen Considine do comedy before but he seems to have a natural knack for it. He also gives what is my favourtie line in the whole film, "If you want to be a top cop, go fuck off up the model village". Might not sound funny now, but I almost pissed myself when I saw it.
Edgar Wright has also obviosuly grown as a director. The quick edits which were used a lot in Spaced and Shaun gradually give way to a more traditional action-movie style of editing, and Wright understands how to deliver the action perfectly. The homages are brilliant and you can tell that he studied the fundamentals of the action film before shooting. This fil excels in beign a great action film also. They are very very very funny but at the same time, you also think, "I want to have a giant shootout in a village square, IT LOOKS SO COOL!!!!!!!", yes the inner-child in me came out with glee! The kills in this film deserve a mention too, very bloody, not as gory as Shaun but getting there, but really very funny also.
If this review has been a little vague, it's just that I don't want to spoil too much of the film. I'll be back to see it this week, maybe twice and I'll be counting the days until the DVD comes out after. A truly fantastic comedy, a suprisingly gripping acion film, and already one of the best films we will see this year full stop.
If you guys want the Q&A, email me or comment. It was long but I'll transcribe it if you folks want it. Seriously see this film.
Thursday, February 8, 2007
DVD Review: Half Nelson
Back....
DVD Review: Half Nelson (Ryan Fleck, 2oo6, USA).
The issue of drug abuse has been one which has propelled stories for centuries. Literature, art, music and film have all addressed the issue in myriad different ways. Inner cities are one of the more commonly used locations for such tales and indeed some films have dealt with drug abuse in schools. These films have painbted the students as the users who have to find a way out of this before it engulfs them in adult life. Half Nelson skews this scenario.
David Dunne (Ryan Gosling) is a history teacher in an inner-city high school. As the film starts, we see that he is the type of teacher we have seen in many inspirational tales gone past. He talks to the students not as students but as people of his level, he engages the students, they seem actually interested. Not only does he teach History, he also coaches basketball. After a game and a freak encounter with an ex we see that he is not the model teacher we would think he is, he is balancing his life with a crack addicition. After he passes out in the changing rooms and is helped by a student (Sharkia Epps), Dunne starts on a journey of self-destruction where he realises taht he may not be able to save this student from the life she starts on the path down.
After hearing about this film, a pick-up from Sundance last year, on the excellent podcast Filmspotting (www.filmspotting.net), I was intrigued. After hearing that Ryan Gosling had earned an Oscar nomination, I did something I am not prone to do, I blind bought it from a region 1 DVD selling website. I have not heard that this film has been picked up for distribution over here in the UK so I felt compelled to buy it. Considering some of the stuff that does get picked up by the independent distibutors over here, this is a crying shame. This film is exceptional. Not once does the film feel like it is trying to teach you an important moral lesson, it does not try to preach to you at all. It never even truly paints drug dealers to be bad people. A case in point is that you never find out what Frank (Anthony Mackie) the drug dealer did which resulted in the student's brother being sent to prison. Whereas other films would use this as a way of making us hate this character but it does not, he represents and alternate choice who the student could use as a mentor. What happens truly feels organic and this is down to the writing, the direction and the performances, all of which are first rate. Fleck excels in every way he can, and presents himself as a truly promising filmmaker to watch out for. Gosling also cements his place as one of this generations finest young actors. His perfomance is cocky but at the same time tragic. He believes he can change this girl's life but his actions throughout the film show that he just cannot help himself. The drug addiction has created a man who cannot do much with any intergrity. One moment late in the film is truly heartbreaking (You will know when you see it. Not if, when you see it). His face paints a picture words cannot and he truly present s what the character is going through fully.
A fucking remarkable film and one I urge you to see as soon as you can.
Other aspects of the review to follow.
DVD Review: Half Nelson (Ryan Fleck, 2oo6, USA).
The issue of drug abuse has been one which has propelled stories for centuries. Literature, art, music and film have all addressed the issue in myriad different ways. Inner cities are one of the more commonly used locations for such tales and indeed some films have dealt with drug abuse in schools. These films have painbted the students as the users who have to find a way out of this before it engulfs them in adult life. Half Nelson skews this scenario.
David Dunne (Ryan Gosling) is a history teacher in an inner-city high school. As the film starts, we see that he is the type of teacher we have seen in many inspirational tales gone past. He talks to the students not as students but as people of his level, he engages the students, they seem actually interested. Not only does he teach History, he also coaches basketball. After a game and a freak encounter with an ex we see that he is not the model teacher we would think he is, he is balancing his life with a crack addicition. After he passes out in the changing rooms and is helped by a student (Sharkia Epps), Dunne starts on a journey of self-destruction where he realises taht he may not be able to save this student from the life she starts on the path down.
After hearing about this film, a pick-up from Sundance last year, on the excellent podcast Filmspotting (www.filmspotting.net), I was intrigued. After hearing that Ryan Gosling had earned an Oscar nomination, I did something I am not prone to do, I blind bought it from a region 1 DVD selling website. I have not heard that this film has been picked up for distribution over here in the UK so I felt compelled to buy it. Considering some of the stuff that does get picked up by the independent distibutors over here, this is a crying shame. This film is exceptional. Not once does the film feel like it is trying to teach you an important moral lesson, it does not try to preach to you at all. It never even truly paints drug dealers to be bad people. A case in point is that you never find out what Frank (Anthony Mackie) the drug dealer did which resulted in the student's brother being sent to prison. Whereas other films would use this as a way of making us hate this character but it does not, he represents and alternate choice who the student could use as a mentor. What happens truly feels organic and this is down to the writing, the direction and the performances, all of which are first rate. Fleck excels in every way he can, and presents himself as a truly promising filmmaker to watch out for. Gosling also cements his place as one of this generations finest young actors. His perfomance is cocky but at the same time tragic. He believes he can change this girl's life but his actions throughout the film show that he just cannot help himself. The drug addiction has created a man who cannot do much with any intergrity. One moment late in the film is truly heartbreaking (You will know when you see it. Not if, when you see it). His face paints a picture words cannot and he truly present s what the character is going through fully.
A fucking remarkable film and one I urge you to see as soon as you can.
Other aspects of the review to follow.
Monday, February 5, 2007
Jesus christ....
It's been a while! Sorry folks, have been very very very busy at work recently and its really been knackering. I have also started making strides with my first screenplay having finally ironed out a few issues in my head with it. Also, frankly, the stuff I have been watching hasn't been worth reviewing. The Black Dahlia was a mess of a film, a pure nonsensical mess, everyone has seen The Terminator but in honour of the forthcoming release of Hot Fuzz (Review here on Saturday as I am going to a screening and Q+A with Simon Pegg + Nick Frost on Friday night which I am almost too excited about), I'll be taking a look at the 3-disc collection of Spaced. I also hope to bring you reviews of The Science of Sleep and Half Nelson (Starring Oscar nominee Ryan Gosling) and hopefully some other stuff too. Buy the new Bloc Party album, also give Little Man Tate's About What You Know a try, good stuff! Should be back tomorrow...
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