Earlier this year, both the cinematic and television community lost one of its kindred spirits in James Gandolfini. A man known for his iconic role in The Sopranos, the actor also gave some brilliant turns on the big screen, with Zero Dark Thirty and Killing Them Softly
among the most recent. Despite his untimely demise, Gandolfini is
present once again on the screen, co-starring in romantic comedy Enough Said, with Julie Louis-Dreyfus; in what is a beautiful penultimate film for the big man.
Eva
(Dreyfus) is a masseuse whose everyday life involves massaging clients
whose habits and obsessive chatter only depress her. To boot, she is a
divorced mum whose fondness for the opposite sex seems to have waned
with age, despite the impending loneliness of her daughter heading off
to realms elsewhere for further education. Cue a visit to a party, where
she meets Albert (Gandolfini), a man very similar to her; he too is
divorced and has a daughter of the same age. Despite their insistence on
being attracted to nobody at the party, the pair soon strike up a
liking for one another and begin to date.
As things appear to go well, Eva also befriends poet Marianne (Catherine Keener),
a woman whose penchant for explaining the imperfections of her
ex-husband soon result in a big revelation: Albert is, in fact,
Marianne's ex-husband. Hearing this negativeness, Eva's doubts begin to
creep in over the man she has fallen for. Will she continue the
relationship? Or will the secret be revealed and all be lost?
It's
fair to say that if this was Gandolfini's final bow in film then
everyone would be smiling from ear-to-ear and shouting his praises to
the high heavens. That's because Enough Said is a pure, unadulterated
delight of a film; one that possesses a huge heart and shares the love
and laughter between its cast and the audience.
It all resonates
from the sheer electric chemistry brought to life by Dreyfus and
Gandolfini. From the offset, where they meet at the party, the exchanges
are brutally honest and, for the most part, utterly hilarious, only
evolving into a caring thoughtfulness for one another. Their every
exchange and delivery garners a reaction from the audience, whether it
be a fond smile, a cry of laughter or, even at times, the sign of a tear
- such is the brilliance of their pairing and their playing off one
another.
With both on supreme form and helping to hammer home two
very relatable individuals, the film only excels further as the minor
characters get involved. Catherine Keener's unaware ex-wife is a nice
subtle character thrown in for a spanner in the works, while Toni Collette and Ben Falcone have fun portraying the married couple who have plenty to say about the wrongs and rights of marriage.
Enough
Said certainly nails the romantic comedy category with every inch of
its personality but it also delivers plenty of messages along the way.
Whether it be relating to the evolution of relationships, family or
personalities, Enough Said simply has enough to say about everyday life
and the trials and tribulations it brings.
This is one film you
will come out of absolutely beaming, with Gandolfini's memory living
strong through what is a hugely accomplished and funny performance.
Tackling mid-life relationships and everything in-between, Enough Said
is certainly one of the most warming and comforting films in recent
times and leaves that wonderful feeling with you long after you exit the
auditorium.
Imagine what a huge hug from the late James
Gandolfini would have been like and this is the feeling you will have
after watching Enough Said. Heart-warming, comforting and ultimately
unforgettable, this is James Gandolfini at his best and a really
wonderful delight. May he live long in the memory.
Middle-aged musings on movies new and old
Showing posts with label LFF 2013. Show all posts
Showing posts with label LFF 2013. Show all posts
Sunday, 18 October 2015
LFF 2013 - Tom At The Farm
As a young man still only in his mid-twenties, Xavier Dolan
has certainly put in a hell of a lot of work to get where he is in the
film industry. Having already directing a number of films and also
starred in them, among others, he is an undeniable talent and continues
to push the boundaries of filmmaking with strong subject topics and
cutting drama. His latest film, Tom At The Farm, once again strikes with a difficult subject and shows off his incredible knack for standout films.
Tom (Dolan) is dealing with the emotional burden of losing his partner and looks to connect with his family, despite his partner's mother Agathe (Lise Roy) in the dark over her son's sexual orientation. She owns a farm with her other son, Francis (Pierre-Yves Cardel), who incidentally knows of this secret, and is far from welcoming when Tom arrives to offer support.
With Agathe welcoming an additional face and help around the farm, Francis is quite the opposite, constantly threatening Tom and forcing him into precarious positions. As the façade continues with Sara (Evelyne Brochu) visiting as the 'girlfriend', tensions begin to rise and emotions head toward boiling point, with the fate of a family dangling on a knife edge.
Xavier Dolan's unique style of film direction continues to rear its head in what could be seen as one of his most ambitious and bold pictures so far in his glittering career. Presenting the audience with yet another homosexual-based drama riddled with emotional angst and truly vicious characters, Tom At The Farm is one film that singes itself into the brain and sticks their with a strong everlasting effect.
Intent on establishing the key characteristics of his protagonists, Dolan paints a very strong picture of each person involved in the proceedings and hammers home their reactions to the events unfolding with relative ease. From Dolan's very own Tom, whose depression and sorrow is clear for all to see, to Cardel's frankly horrible Francis, each individual is a presence when focused upon, and certainly provide the catalyst to drive the hard-hitting story on.
Dolan's turn as our main protagonist is commendable, conveying the sort of emotion you would expect from a character in his situation, while the physicality and harsh nature of Cardel's elder brother helps to create a situation in which us an audience often feel rather uncomfortable and unsettled. The pair battling with one another is helped along by a script that often stirs things up with some truly cutting dialogue and moments of true agonising awkwardness and painful scenarios. From Tom being cornered into a toilet cubicle, to a dance scene in a barn, the film's suggestive nature is as excruciating as the treatment Tom finds himself subject to, and really hits the audience hard.
It's the suggestive nature of the film that makes it so successful. Admittedly, at times, it does prove a little too much and not quite what we are looking for in such a drama, but when Dolan gets it right there are examples of great creativity in his emotional conveyance that really deliver the message.
Tom At The Farm will prove an excruciating uncomfortable view for many, with its powers of suggestion proving very unsettling at times. Despite this, director and star Xavier Dolan does counteract with powerful characters and a meaningful premise that once again shows his power of imaginative cinema and cutting dialogue.
Tom (Dolan) is dealing with the emotional burden of losing his partner and looks to connect with his family, despite his partner's mother Agathe (Lise Roy) in the dark over her son's sexual orientation. She owns a farm with her other son, Francis (Pierre-Yves Cardel), who incidentally knows of this secret, and is far from welcoming when Tom arrives to offer support.
With Agathe welcoming an additional face and help around the farm, Francis is quite the opposite, constantly threatening Tom and forcing him into precarious positions. As the façade continues with Sara (Evelyne Brochu) visiting as the 'girlfriend', tensions begin to rise and emotions head toward boiling point, with the fate of a family dangling on a knife edge.
Xavier Dolan's unique style of film direction continues to rear its head in what could be seen as one of his most ambitious and bold pictures so far in his glittering career. Presenting the audience with yet another homosexual-based drama riddled with emotional angst and truly vicious characters, Tom At The Farm is one film that singes itself into the brain and sticks their with a strong everlasting effect.
Intent on establishing the key characteristics of his protagonists, Dolan paints a very strong picture of each person involved in the proceedings and hammers home their reactions to the events unfolding with relative ease. From Dolan's very own Tom, whose depression and sorrow is clear for all to see, to Cardel's frankly horrible Francis, each individual is a presence when focused upon, and certainly provide the catalyst to drive the hard-hitting story on.
Dolan's turn as our main protagonist is commendable, conveying the sort of emotion you would expect from a character in his situation, while the physicality and harsh nature of Cardel's elder brother helps to create a situation in which us an audience often feel rather uncomfortable and unsettled. The pair battling with one another is helped along by a script that often stirs things up with some truly cutting dialogue and moments of true agonising awkwardness and painful scenarios. From Tom being cornered into a toilet cubicle, to a dance scene in a barn, the film's suggestive nature is as excruciating as the treatment Tom finds himself subject to, and really hits the audience hard.
It's the suggestive nature of the film that makes it so successful. Admittedly, at times, it does prove a little too much and not quite what we are looking for in such a drama, but when Dolan gets it right there are examples of great creativity in his emotional conveyance that really deliver the message.
Tom At The Farm will prove an excruciating uncomfortable view for many, with its powers of suggestion proving very unsettling at times. Despite this, director and star Xavier Dolan does counteract with powerful characters and a meaningful premise that once again shows his power of imaginative cinema and cutting dialogue.
LFF 2013 - Northwest
Films about young criminals have almost become part and parcel on British filmmaking for some time now, with the likes of Kidulthood
and beyond all serving up hard-hitting drama on the streets. One film
looking to emanate those from the shores of Denmark is the gritty Northwest, a crime drama that really packs a hefty punch and brings to the foray a superb leading character.
Casper (Gustav Dyekjaer Giese) is a small-time criminal who spends his days breaking into people's homes and stealing valuable goods, only to sell them on to his 'boss' Jamal (Dulfi Al-Jabouri). Unfortunately for Casper, Jamal seems to be undervaluing the goods tht have been stolen and consequently the thief is becoming tired of his current employer's attitude towards him.
Cue Bjørn (Roland Møller), a seemingly big-time player in the criminal steaks, who offers Casper the chance to escape Jamal and work for him. Initially working on stolen goods, Casper soon works his way up the ranks under this new leadership and becomes a driver for prostitutes, earning him plenty of money to support his family. As his reputation begins to build, so does the unwanted attention from Jamal, and his brother Andy (real life sibling Oscar Dyekjaer Giese) also joining the ranks as his partner in crime creates a whole host of problems for Casper.
Those familiar with the territories of crime thrillers may look upon Northwest as yet another paint-by-numbers offering that appears on the surface as no more than another generic film not quite offering anything different. Thankfully, in Michael Noer's Northwest there is plenty to beam about, despite the subject matter being one that has been replicated time and time again.
Set in an area of Copenhagen commonly known as the Northwest, an area littered with criminals and often embroiled in gang feuds and violence, Northwest instantly strikes a chord in being a greatly grounded and honest representation of crime in a downtrodden area. The streets are filled with old and beaten-up cars, youths walk the streets looking for trouble, and gangs embark on the alleyways and garages around properties to plot their next mark of activity. It's all rather sticking to the core of realism and keeps within the lines to drop our characters into a world that we can ultimately remain invested in.
In that very world the character themselves also remain under that air of realism and rarely deter from it, helping to keep Northwest almost reminiscent of a crime documentary seen on television. This, in the main, is down to a superb leading performance from the elder Giese brother, whose presence and all-round characteristics drive forward the story of Casper. Casper is very much a young man whose priorities lie with his family, and when we experience his time with them is possibly when we get the best out of the actor. Conveying that love towards his mother and brother, and even more so when it comes to his young sister, Giese maintains a believability to Casper's insistence that they be rewarded for all his actions. This is very much a man whose criminal life seems the only option if his family is to live a good life and that air of desperation is always present upon his face throughout.
Alongside Giese, his real-life brother also packs a punch with an individual who very much wants to be like his brother, almost emanate him. Their relationship off-screen is clearly the catalyst for their on-screen partnership as the very actions and reactions to each other are pinpoint accurate to those of real life siblings, once again creating that authentic edge. Elsewhere, the rest of the cast do their best to portray individuals very much in the middle of a criminal life and, while they add some zest, are outshone by the two brothers.
Northwest could have been a simple and all too familiar offering into the library of crime-based films, but instead director Michael Noer differentiates and allows his picture to be seen away from the crowd. Gone is the usual path of a criminal we've seen all too often, instead replaced by a thoroughly interesting and strong lead whose journey is as enthralling as it is nail-biting. Both Giese brothers shine in their roles and help to add a nice punch to the events unfolding and the location of the film does wonders to create the atmosphere required for such a story. This is one Danish import worth investing in.
Casper (Gustav Dyekjaer Giese) is a small-time criminal who spends his days breaking into people's homes and stealing valuable goods, only to sell them on to his 'boss' Jamal (Dulfi Al-Jabouri). Unfortunately for Casper, Jamal seems to be undervaluing the goods tht have been stolen and consequently the thief is becoming tired of his current employer's attitude towards him.
Cue Bjørn (Roland Møller), a seemingly big-time player in the criminal steaks, who offers Casper the chance to escape Jamal and work for him. Initially working on stolen goods, Casper soon works his way up the ranks under this new leadership and becomes a driver for prostitutes, earning him plenty of money to support his family. As his reputation begins to build, so does the unwanted attention from Jamal, and his brother Andy (real life sibling Oscar Dyekjaer Giese) also joining the ranks as his partner in crime creates a whole host of problems for Casper.
Those familiar with the territories of crime thrillers may look upon Northwest as yet another paint-by-numbers offering that appears on the surface as no more than another generic film not quite offering anything different. Thankfully, in Michael Noer's Northwest there is plenty to beam about, despite the subject matter being one that has been replicated time and time again.
Set in an area of Copenhagen commonly known as the Northwest, an area littered with criminals and often embroiled in gang feuds and violence, Northwest instantly strikes a chord in being a greatly grounded and honest representation of crime in a downtrodden area. The streets are filled with old and beaten-up cars, youths walk the streets looking for trouble, and gangs embark on the alleyways and garages around properties to plot their next mark of activity. It's all rather sticking to the core of realism and keeps within the lines to drop our characters into a world that we can ultimately remain invested in.
In that very world the character themselves also remain under that air of realism and rarely deter from it, helping to keep Northwest almost reminiscent of a crime documentary seen on television. This, in the main, is down to a superb leading performance from the elder Giese brother, whose presence and all-round characteristics drive forward the story of Casper. Casper is very much a young man whose priorities lie with his family, and when we experience his time with them is possibly when we get the best out of the actor. Conveying that love towards his mother and brother, and even more so when it comes to his young sister, Giese maintains a believability to Casper's insistence that they be rewarded for all his actions. This is very much a man whose criminal life seems the only option if his family is to live a good life and that air of desperation is always present upon his face throughout.
Alongside Giese, his real-life brother also packs a punch with an individual who very much wants to be like his brother, almost emanate him. Their relationship off-screen is clearly the catalyst for their on-screen partnership as the very actions and reactions to each other are pinpoint accurate to those of real life siblings, once again creating that authentic edge. Elsewhere, the rest of the cast do their best to portray individuals very much in the middle of a criminal life and, while they add some zest, are outshone by the two brothers.
Northwest could have been a simple and all too familiar offering into the library of crime-based films, but instead director Michael Noer differentiates and allows his picture to be seen away from the crowd. Gone is the usual path of a criminal we've seen all too often, instead replaced by a thoroughly interesting and strong lead whose journey is as enthralling as it is nail-biting. Both Giese brothers shine in their roles and help to add a nice punch to the events unfolding and the location of the film does wonders to create the atmosphere required for such a story. This is one Danish import worth investing in.
LFF 2013 - Afternoon Delight
Chances are you've seen Kathryn Hahn crop up in many
a comedy, ranging from Bridesmaids to Anchorman - she's always been
that woman in the background. So it brings great joy that she finally
gets a chance to lead the way in her latest film, Afternoon Delight, showcasing her immense talents as an actress.
Hahn's Rachel is a married thirty-something with a young child who seems stuck in a rut. Her marriage is crumbling under the pressure of her husband's - Jeff (Josh Radnor) - insistence on working all the time and a lack of sexual activity in her life. Attempting to bring that 'something' back into their marriage, they both agree to head to a strip club in the hope that it will rekindle that old flame. While in the club, they come across beautiful blonde stripper McKenna (Juno Temple) whom Rachel takes a vested interest in.
A day passes and Rachel is keen to find out more about McKenna, and so heads out to the neighbourhood in which the stripper is located and the two begin to get to know one another more. When McKenna is left with nowhere to live, Rachel, always keen to help others out, offers a bed at hers. What Rachel doesn't realise is that her helpful nature is about to affect her life and everyone's around her, as McKenna becomes acquainted with her friends and family with serious consequences.
Afternoon Delight is a conundrum of a film that never quite identifies itself between being a comedy and/or a serious drama. At the heart of the story is a woman whose life is going through the ringer, her emotions all over the place and the physical side of her relationship really insignificant. While this real-life issue remains key, there are times where humour is attempted as means of escaping the situation at hand, but simply feels completely misplaced.
Nevertheless, the heart and soul of the film is undoubtedly Kathryn Hahn. Too long she has lingered in the background, and when she finally gets to step out from the shadows she really nails it with a powerful performance that truly hits home. While many may be under the impression that Hahn is a comedic performer, she turns the tables here with a striking emotive response, capturing the reality of her character's situation and drawing in the audience.
Providing their own source of acting calibre, co-stars Juno Temple and Josh Radnor are also on fine form. Two acting presences who feel at home on the indie circuit, Radnor and Temple are yet again welcome sights in their respective roles. Radnor's work-obsessed husband sees him move on from the single middle-aged characters we have grown to know him for, and he carries this extremely well, while Temple's promiscuous stripper McKenna is a familiar sight but yet far from a distraction from the positive. Much praise should also be given to Jane Lynch, whose limited screen time as Rachel's shrink proves she is still one of the best standout actresses out there. Witty and extremely clever, her delivery of dialogue and interaction with Hahn results in the most memorable scenes within the film.
It feels a great shame for such successful performances to be hampered by directing that ruins the dynamic of what could have been a very impressive film. You only have to look at one scene, involving a wives party that slowly descends into something that looks like it has been lifted straight out of a 'Real Housewives Of...' episode, to truly see that Afternoon Delight seriously lacks the directing prowess to couple with its A-class cast.
Filled with great performances, yet weighed down by an indecisiveness in its execution, Afternoon Delight often cracks open a can of laughter and combines with human drama, but is essentially all over the place. Not quite the delight it offers in the title.
Hahn's Rachel is a married thirty-something with a young child who seems stuck in a rut. Her marriage is crumbling under the pressure of her husband's - Jeff (Josh Radnor) - insistence on working all the time and a lack of sexual activity in her life. Attempting to bring that 'something' back into their marriage, they both agree to head to a strip club in the hope that it will rekindle that old flame. While in the club, they come across beautiful blonde stripper McKenna (Juno Temple) whom Rachel takes a vested interest in.
A day passes and Rachel is keen to find out more about McKenna, and so heads out to the neighbourhood in which the stripper is located and the two begin to get to know one another more. When McKenna is left with nowhere to live, Rachel, always keen to help others out, offers a bed at hers. What Rachel doesn't realise is that her helpful nature is about to affect her life and everyone's around her, as McKenna becomes acquainted with her friends and family with serious consequences.
Afternoon Delight is a conundrum of a film that never quite identifies itself between being a comedy and/or a serious drama. At the heart of the story is a woman whose life is going through the ringer, her emotions all over the place and the physical side of her relationship really insignificant. While this real-life issue remains key, there are times where humour is attempted as means of escaping the situation at hand, but simply feels completely misplaced.
Nevertheless, the heart and soul of the film is undoubtedly Kathryn Hahn. Too long she has lingered in the background, and when she finally gets to step out from the shadows she really nails it with a powerful performance that truly hits home. While many may be under the impression that Hahn is a comedic performer, she turns the tables here with a striking emotive response, capturing the reality of her character's situation and drawing in the audience.
Providing their own source of acting calibre, co-stars Juno Temple and Josh Radnor are also on fine form. Two acting presences who feel at home on the indie circuit, Radnor and Temple are yet again welcome sights in their respective roles. Radnor's work-obsessed husband sees him move on from the single middle-aged characters we have grown to know him for, and he carries this extremely well, while Temple's promiscuous stripper McKenna is a familiar sight but yet far from a distraction from the positive. Much praise should also be given to Jane Lynch, whose limited screen time as Rachel's shrink proves she is still one of the best standout actresses out there. Witty and extremely clever, her delivery of dialogue and interaction with Hahn results in the most memorable scenes within the film.
It feels a great shame for such successful performances to be hampered by directing that ruins the dynamic of what could have been a very impressive film. You only have to look at one scene, involving a wives party that slowly descends into something that looks like it has been lifted straight out of a 'Real Housewives Of...' episode, to truly see that Afternoon Delight seriously lacks the directing prowess to couple with its A-class cast.
Filled with great performances, yet weighed down by an indecisiveness in its execution, Afternoon Delight often cracks open a can of laughter and combines with human drama, but is essentially all over the place. Not quite the delight it offers in the title.
LFF 2013 - Kill Your Darlings
It almost seems a blessing of sorts that Kill Your Darlings
experienced issues initially with financing. After all, had the
original cast of Jesse Eisenberg, Chris Evans and Ben Whishaw been
banded together, we may have had a completely different film altogether.
Thankfully, things changed along the way, and, spearheaded by Daniel Radcliffe and Dane DeHaan, Kill Your Darlings instead results in an utterly immersive and exceptional debut feature from director John Krokidas.
Based on a true story, the film tracks the early days of famous poet Allen Ginsberg (Radcliffe) as he works his way through freshman year at Colombia in 1944. Plagued by his unstable mother's condition and his father's unwillingness to help her, Allen's life is about to change when he meets the rebellious Lucien Carr (DeHaan), as well as fellow students William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston).
Initially a student more interested in producing his poetry and working continuously on his typewriter, Ginsberg is soon introduced into a world filled with drugs, alcohol and rebellion as the intrigue of Lucien and his friends turns into a whole new outlook on life for Allen. Witnessing the craziness of Lucien's life, Allen partakes in copious drug and alcohol-fuelled days and gradually sees himself being drawn in by the aura of the volatile Lucien.
As he gets more involved with this wild individual, the figure of David Kammerer (Michael C. Hall) makes himself known and adds a whole new dynamic to this blossoming relationship. Lucien cannot rid himself of this man, but there may be one way he possibly could have him out of his life for good...
A sheer joy for so many reasons, Kill Your Darlings is one of those films that is extremely difficult not to like. For a debut director to tackle an era that has so often been imitated in many a film gone by is one thing, but to have big expectations upon him, especially with a superb cast at hand, Krokidas has created a hugely memorable film outing that will certainly have the audience searching up the main protagonists upon exiting the movie.
Why the praise, I hear you say? Well, Krokidas' directing talents are clear for the eye to see in many an instance. Firstly, the use of music in the film is a wonderful device to set the tone and introduce us to the Beat Generation, with toe-tapping tunes and even our characters dancing away to the wonderful music. His use of surroundings is also inspired, whether the interior of the very homes of individuals, the realms of the library, or the party locations, each have their own quirkiness and nail the 1944 feel wonderfully.
Where Krokidas does revel is in his standout scenes, with so many to note and admire. From a scene where the effects of drugs slow down those around Allen and his friends, creating almost an alternate world for them for an instance, to three intermittent scenes all sharing one key similarity, the director cleverly uses his expertise impressively. Such are the nature of the scenes that the actors involved all share a strong connection and that bond is extremely difficult to break throughout the film.
At the core of the film, Dane DeHaan and Daniel Radcliffe both excel in the shells of two great individuals. DeHaan once again proves he is the best young actor around currently, with his unhinged rebel Lucien, while Radcliffe impresses with his American accent and his spawning from timid young man to confident admirer of DeHaan's aura. Their chemistry is at times utterly electric, and the moments in which we witness the two of them gradually acknowledging their growing connection are spellbinding.
As well as DeHaan and Radcliffe, the supporting cast are also on the top of their game. Ben Foster is once again the perfect co-star as the unsettling yet massively interesting William, with Huston's Jack a nice dynamic character thrown in, and the likes of Elizabeth Olsen and David Cross both throwing in tidy less prominent characters into the mix.
A hugely successful first outing for director John Krokidas culminates in Dane DeHaan producing yet another spectacular performance and Daniel Radcliffe showing that he has the acting muscle to remove any previous typecasts with relative ease. Kill Your Darlings is bold, powerful and beautifully presented drama that is simply impossible to ignore. A must-see at all costs.
Based on a true story, the film tracks the early days of famous poet Allen Ginsberg (Radcliffe) as he works his way through freshman year at Colombia in 1944. Plagued by his unstable mother's condition and his father's unwillingness to help her, Allen's life is about to change when he meets the rebellious Lucien Carr (DeHaan), as well as fellow students William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston).
Initially a student more interested in producing his poetry and working continuously on his typewriter, Ginsberg is soon introduced into a world filled with drugs, alcohol and rebellion as the intrigue of Lucien and his friends turns into a whole new outlook on life for Allen. Witnessing the craziness of Lucien's life, Allen partakes in copious drug and alcohol-fuelled days and gradually sees himself being drawn in by the aura of the volatile Lucien.
As he gets more involved with this wild individual, the figure of David Kammerer (Michael C. Hall) makes himself known and adds a whole new dynamic to this blossoming relationship. Lucien cannot rid himself of this man, but there may be one way he possibly could have him out of his life for good...
A sheer joy for so many reasons, Kill Your Darlings is one of those films that is extremely difficult not to like. For a debut director to tackle an era that has so often been imitated in many a film gone by is one thing, but to have big expectations upon him, especially with a superb cast at hand, Krokidas has created a hugely memorable film outing that will certainly have the audience searching up the main protagonists upon exiting the movie.
Why the praise, I hear you say? Well, Krokidas' directing talents are clear for the eye to see in many an instance. Firstly, the use of music in the film is a wonderful device to set the tone and introduce us to the Beat Generation, with toe-tapping tunes and even our characters dancing away to the wonderful music. His use of surroundings is also inspired, whether the interior of the very homes of individuals, the realms of the library, or the party locations, each have their own quirkiness and nail the 1944 feel wonderfully.
Where Krokidas does revel is in his standout scenes, with so many to note and admire. From a scene where the effects of drugs slow down those around Allen and his friends, creating almost an alternate world for them for an instance, to three intermittent scenes all sharing one key similarity, the director cleverly uses his expertise impressively. Such are the nature of the scenes that the actors involved all share a strong connection and that bond is extremely difficult to break throughout the film.
At the core of the film, Dane DeHaan and Daniel Radcliffe both excel in the shells of two great individuals. DeHaan once again proves he is the best young actor around currently, with his unhinged rebel Lucien, while Radcliffe impresses with his American accent and his spawning from timid young man to confident admirer of DeHaan's aura. Their chemistry is at times utterly electric, and the moments in which we witness the two of them gradually acknowledging their growing connection are spellbinding.
As well as DeHaan and Radcliffe, the supporting cast are also on the top of their game. Ben Foster is once again the perfect co-star as the unsettling yet massively interesting William, with Huston's Jack a nice dynamic character thrown in, and the likes of Elizabeth Olsen and David Cross both throwing in tidy less prominent characters into the mix.
A hugely successful first outing for director John Krokidas culminates in Dane DeHaan producing yet another spectacular performance and Daniel Radcliffe showing that he has the acting muscle to remove any previous typecasts with relative ease. Kill Your Darlings is bold, powerful and beautifully presented drama that is simply impossible to ignore. A must-see at all costs.
LFF 2013 - The Congress
After witnessing a rather unsatisfying taste of Robin Wright in Adore, my confidence levels for The Congress
were actually pretty high before heading into see the film. With a
promising trailer that unveiled an intriguing mix of real-life and
animation, coupled with a rather fantastic cast, this was a film that
ticked plenty of boxes, but ultimately it does lose its appeal as the
duration goes on.
Based on the novel The Futurological Congress by Stanislaw Lem, Ari Folman's The Congress sees actress Robin Wright coming towards the end of her career as an actress. No longer wanted for big starring roles and accused of making the wrong choices throughout most of her acting career, Wright is almost forced into a deal with film company Miramount, meaning her physical acting days will be over.
Despite this, the company will be digitising her image and using it for films in many years to come, with her reaping the rewards, despite not actually physically playing the parts herself. 20 years pass and Wright's contract is up, meaning she has to attend a congress that is taking place in a vibrant and magical animated world. Upon arrival, things aren't quite what she expects and her whole life is turned upside down.
The Congress is very much a film that could be split into two in one way or another. With the first half focusing on the real world in which Wright, her family and her agent (Harvey Keitel) live, the second is a journey through the resplendent and stunning animated world which is ever-evolving. On paper, it certainly paints a lovely picture and, if anything, the idea of being immersed into a magical animated world is the most appealing of the two. Unfortunately, The Congress flips the rule book and is instead more favourable when in the real world.
It is in the real world that we can actually fully relate to the characters so important to the story itself. Robin Wright's now vulnerable and struggling actress is at her best when conveying the emotions that come with the changing film environment and her agent in Harvey Keitel does a splendid job in producing a meaningful and convincing agent out for the best for both him and his client. Also Danny Huston's forceful and domineering movie executive is a great cast member, his authoritarian side really bringing some punch to the story unfolding and introducing some strong views of the inside of Hollywood studios.
This aspect is relatable, it's strong and most of all, pinpoints the whole thesis of the story we are watching unfold. In between Robin's acting fate is also a hugely significant sub-plot in her son Aaron (Kodi Smit-McPhee) and his slowly declining health state, adding that extra element of emotion. Then the film delves into animation and loses it touch.
Despite utter beauty in its wonderful creative world, The Congress soon finds itself meandering in a story that loses its way and becomes all too overwhelming. The additional voice casting of Jon Hamm and some brilliant visual representations of famous persons alive and deceased (including a white-teethed Tom Cruise) are indeed the pick of the bunch in this section of the film, but these are a mere distraction from many a moment of confusion.
Beginning as a promising emotional ride with plenty of engaging characters, The Congress descends into a discombobulated animated pallet with a story lost like its main protagonist. One half real-life brilliance, the other a beautiful wreck, this is a mixed bag from director Ari Folman and doesn't quite live up to expectations like it really should.
Based on the novel The Futurological Congress by Stanislaw Lem, Ari Folman's The Congress sees actress Robin Wright coming towards the end of her career as an actress. No longer wanted for big starring roles and accused of making the wrong choices throughout most of her acting career, Wright is almost forced into a deal with film company Miramount, meaning her physical acting days will be over.
Despite this, the company will be digitising her image and using it for films in many years to come, with her reaping the rewards, despite not actually physically playing the parts herself. 20 years pass and Wright's contract is up, meaning she has to attend a congress that is taking place in a vibrant and magical animated world. Upon arrival, things aren't quite what she expects and her whole life is turned upside down.
The Congress is very much a film that could be split into two in one way or another. With the first half focusing on the real world in which Wright, her family and her agent (Harvey Keitel) live, the second is a journey through the resplendent and stunning animated world which is ever-evolving. On paper, it certainly paints a lovely picture and, if anything, the idea of being immersed into a magical animated world is the most appealing of the two. Unfortunately, The Congress flips the rule book and is instead more favourable when in the real world.
It is in the real world that we can actually fully relate to the characters so important to the story itself. Robin Wright's now vulnerable and struggling actress is at her best when conveying the emotions that come with the changing film environment and her agent in Harvey Keitel does a splendid job in producing a meaningful and convincing agent out for the best for both him and his client. Also Danny Huston's forceful and domineering movie executive is a great cast member, his authoritarian side really bringing some punch to the story unfolding and introducing some strong views of the inside of Hollywood studios.
This aspect is relatable, it's strong and most of all, pinpoints the whole thesis of the story we are watching unfold. In between Robin's acting fate is also a hugely significant sub-plot in her son Aaron (Kodi Smit-McPhee) and his slowly declining health state, adding that extra element of emotion. Then the film delves into animation and loses it touch.
Despite utter beauty in its wonderful creative world, The Congress soon finds itself meandering in a story that loses its way and becomes all too overwhelming. The additional voice casting of Jon Hamm and some brilliant visual representations of famous persons alive and deceased (including a white-teethed Tom Cruise) are indeed the pick of the bunch in this section of the film, but these are a mere distraction from many a moment of confusion.
Beginning as a promising emotional ride with plenty of engaging characters, The Congress descends into a discombobulated animated pallet with a story lost like its main protagonist. One half real-life brilliance, the other a beautiful wreck, this is a mixed bag from director Ari Folman and doesn't quite live up to expectations like it really should.
LFF 2013 - Captain Phillips
Nowadays, the most striking of news stories that break are likely to
receive a film treatment, eventually - 9/11 has seen its film portrayals
and war epics have always been a big part of the industry. The latest
real-life story to be portrayed on the big screen is of a captain who
saw his life on the line after Somali pirates took over his ship. Paul Greengrass’ Captain Phillips is a simply ground-breaking and affecting picture to say the very least.
Captain Rich Phillips (Tom Hanks) is once again setting out for another voyage in charge of a cargo ship, heading out around the coast of Somalia. As he discusses with his wife (Catherine Keener), each voyage never gets easier, and this is one particular voyage that he will never forget.
As Phillips and his crew set out to deliver their cargo of food and supplies, the captain remains meticulous in his planning and organisation. Wary of previous pirate threats as they journey towards the Somali waters, he urges his crew to remain focused as they put into motion a drill to ensure everything is under control should an incident occur.
During the drill, a group of pirates look to infiltrate the ship and use hostages to gain much required supplies and money for their own means. Initially failing, the pirates, led by the skinny yet resolute Muse (Barkhad Abdi), board the ship and take Captain Phillips as hostage. With the crew hiding in the bowels of the ship, it is up to Phillips to risk his life and manage the situation before help hopefully arrives.
Paul Greengrass is no stranger to delivering truly authentic drama to the big screen and Captain Phillips is no different. Tackling a stunning real-life story, Greengrass orchestrates his film with a pinpoint breathlessness from the off, first gently easing us in with short character studies of both our main protagonists, both innocent and guilty. Once he beds us in with our specific individuals involved, he then cranks it up a notch as we are fully embedded into a wonderfully tense spectacle, proving his might behind the camera yet again.
Gasps aplenty and nail-biting tension remain the order of the day once the ship is taken over, with Hanks running the show with an exceptional performance of raw emotion, grit and determination. The actor is still one of the best in the business and this shows in his physical and emotion role, in which his every scene is filled with acting prowess and defined quality.
The film is also bolstered in its villains of the piece in the way of Barkhad Abdi and Faysal Ahmed. Abdi’s Muse is certainly one to look out for, his character’s stature rather petite but his evil streak hugely affecting. From the very moment he declares himself captain, Abdi hammers home his portrayal with a menacing and unhinged individual who will stop at nothing to prove his worth.
Backed by a powerful score and some immensely striking cinematography and imagery, Greengrass excels in grabbing the audience by the scruff of the neck and dropping them into the full chaos and fear of the scenario. Possessing superb actors in his arsenal, the director pairs this with a fluid style of filmmaking and plenty of pulse-pounding instances, solidifying Captain Phillips’ status as an Oscar contender.
Imagine all the best elements from last year’s stellar entries Zero Dark Thirty and Argo, throw in an unbelievable Oscar-worthy performance from Tom Hanks, and finish off with a profoundly moving ending, and Captain Phillips strikes a chord, making it one of the best films of the year. Gripping, ground-breaking and heart-wrenching stuff.
Captain Rich Phillips (Tom Hanks) is once again setting out for another voyage in charge of a cargo ship, heading out around the coast of Somalia. As he discusses with his wife (Catherine Keener), each voyage never gets easier, and this is one particular voyage that he will never forget.
As Phillips and his crew set out to deliver their cargo of food and supplies, the captain remains meticulous in his planning and organisation. Wary of previous pirate threats as they journey towards the Somali waters, he urges his crew to remain focused as they put into motion a drill to ensure everything is under control should an incident occur.
During the drill, a group of pirates look to infiltrate the ship and use hostages to gain much required supplies and money for their own means. Initially failing, the pirates, led by the skinny yet resolute Muse (Barkhad Abdi), board the ship and take Captain Phillips as hostage. With the crew hiding in the bowels of the ship, it is up to Phillips to risk his life and manage the situation before help hopefully arrives.
Paul Greengrass is no stranger to delivering truly authentic drama to the big screen and Captain Phillips is no different. Tackling a stunning real-life story, Greengrass orchestrates his film with a pinpoint breathlessness from the off, first gently easing us in with short character studies of both our main protagonists, both innocent and guilty. Once he beds us in with our specific individuals involved, he then cranks it up a notch as we are fully embedded into a wonderfully tense spectacle, proving his might behind the camera yet again.
Gasps aplenty and nail-biting tension remain the order of the day once the ship is taken over, with Hanks running the show with an exceptional performance of raw emotion, grit and determination. The actor is still one of the best in the business and this shows in his physical and emotion role, in which his every scene is filled with acting prowess and defined quality.
The film is also bolstered in its villains of the piece in the way of Barkhad Abdi and Faysal Ahmed. Abdi’s Muse is certainly one to look out for, his character’s stature rather petite but his evil streak hugely affecting. From the very moment he declares himself captain, Abdi hammers home his portrayal with a menacing and unhinged individual who will stop at nothing to prove his worth.
Backed by a powerful score and some immensely striking cinematography and imagery, Greengrass excels in grabbing the audience by the scruff of the neck and dropping them into the full chaos and fear of the scenario. Possessing superb actors in his arsenal, the director pairs this with a fluid style of filmmaking and plenty of pulse-pounding instances, solidifying Captain Phillips’ status as an Oscar contender.
Imagine all the best elements from last year’s stellar entries Zero Dark Thirty and Argo, throw in an unbelievable Oscar-worthy performance from Tom Hanks, and finish off with a profoundly moving ending, and Captain Phillips strikes a chord, making it one of the best films of the year. Gripping, ground-breaking and heart-wrenching stuff.
LFF 2013 - The Bounceback
You won't go far in the comedy genre without realising that the
fundamentals of relationships are key to the proceedings and drive the
narrative towards its resulting laughs and eventual conclusion. One
particular film that burrows deep into relationships at this year's
London Film Festival is The Bounceback, as we tackle the lives of four close friends all experiencing troubles in their own love lives.
Cathy (Ashley Bell) and Stan (Michael Stahl-David) were once a happy couple living together and enjoying every moment with one another. The same could be said for Jeff (Zach Cregger) and Kara (Sara Paxton), but things have changed and now the two couples are no longer in their pairings, instead tip-toeing around with their friends and avoiding their dreaded exes.
That is until Cathy heads to Texas to visit Kara, and Jeff decides to brave a reunion with her via a convenient same-timed visit to his best friend Jeff. With the four all in the same state together and their determination to avoid one another slowly coming to a peak, it is only a matter of time before they will have to address the issues at hand and come to some resolution.
The Bounceback is one of those comedies that is warm, funny and provides a decent 90 minutes entertaining without becoming too strenuous or tedious. The main reason for this is in its foursome running the show from the very off; two very different pairs that work extremely well as a dynamic. On one side, the more reserved and softer individuals in Ashley Bell's Cathy and Michael Stahl-David's Stan, while the other pairing of Zach Cregger's Jeff and Sara Paxton's Kara are brilliantly wild, crazy and unpredictable.
These are four friends who are simply connectable in every single way; their relationship troubles something that many of us will relate to, and the instance of new people coming into their lives also very true to life in the way it is presented. While the couple of Bell and Stahl-David are particularly focused on as the main protagonists, it is in fact our 'side' couple that have the best moments.
While Jeff's obsession and desire to win at the air sex championships may seem a little odd and unsettling, his whole persona and one-liners are at the core of what makes The Bounceback as funny as it is. That and the brilliance of Sara Paxton, whose self-confessed slutty Kara is a great character for the brilliant actress to let her hair down. With various colours in her hair and a willingness to cause mayhem, Kara is everything a rebellious woman is about and her putdowns and actions represent hilarity in the picture.
Director Bryan Poyser has obviously drawn from real-life situations for the film as it feels refreshingly realistic in its approach with not only the characters but also particular scenarios. Whether it be a text exchange between Stan and new girl Haley (Addison Timlin) or a 'bros before hoes’ argument rumbling among friends, these are all moments in the film that instantly click that button in the mind and draw you in to the events unfolding.
Poyser knows his audience and for the most part gives them what they need, but at times it does feel like it needs a little kick of inspiration to make the film something refreshingly original. At times, it does feel like this is the kind of film where you already know the final outcome of the story and also require a few more laughs, but for the most part The Bounceback is a reliable horse to back for satisfaction.
It's not a ground-breaking comedy by any means but The Bounceback is a fun and laugh-worthy ride in the world of relationships. Sara Paxton is the star of the show but credit must go to the whole cast as they comfortably breeze through and give the audience something to smile about.
Cathy (Ashley Bell) and Stan (Michael Stahl-David) were once a happy couple living together and enjoying every moment with one another. The same could be said for Jeff (Zach Cregger) and Kara (Sara Paxton), but things have changed and now the two couples are no longer in their pairings, instead tip-toeing around with their friends and avoiding their dreaded exes.
That is until Cathy heads to Texas to visit Kara, and Jeff decides to brave a reunion with her via a convenient same-timed visit to his best friend Jeff. With the four all in the same state together and their determination to avoid one another slowly coming to a peak, it is only a matter of time before they will have to address the issues at hand and come to some resolution.
The Bounceback is one of those comedies that is warm, funny and provides a decent 90 minutes entertaining without becoming too strenuous or tedious. The main reason for this is in its foursome running the show from the very off; two very different pairs that work extremely well as a dynamic. On one side, the more reserved and softer individuals in Ashley Bell's Cathy and Michael Stahl-David's Stan, while the other pairing of Zach Cregger's Jeff and Sara Paxton's Kara are brilliantly wild, crazy and unpredictable.
These are four friends who are simply connectable in every single way; their relationship troubles something that many of us will relate to, and the instance of new people coming into their lives also very true to life in the way it is presented. While the couple of Bell and Stahl-David are particularly focused on as the main protagonists, it is in fact our 'side' couple that have the best moments.
While Jeff's obsession and desire to win at the air sex championships may seem a little odd and unsettling, his whole persona and one-liners are at the core of what makes The Bounceback as funny as it is. That and the brilliance of Sara Paxton, whose self-confessed slutty Kara is a great character for the brilliant actress to let her hair down. With various colours in her hair and a willingness to cause mayhem, Kara is everything a rebellious woman is about and her putdowns and actions represent hilarity in the picture.
Director Bryan Poyser has obviously drawn from real-life situations for the film as it feels refreshingly realistic in its approach with not only the characters but also particular scenarios. Whether it be a text exchange between Stan and new girl Haley (Addison Timlin) or a 'bros before hoes’ argument rumbling among friends, these are all moments in the film that instantly click that button in the mind and draw you in to the events unfolding.
Poyser knows his audience and for the most part gives them what they need, but at times it does feel like it needs a little kick of inspiration to make the film something refreshingly original. At times, it does feel like this is the kind of film where you already know the final outcome of the story and also require a few more laughs, but for the most part The Bounceback is a reliable horse to back for satisfaction.
It's not a ground-breaking comedy by any means but The Bounceback is a fun and laugh-worthy ride in the world of relationships. Sara Paxton is the star of the show but credit must go to the whole cast as they comfortably breeze through and give the audience something to smile about.
LFF 2013 - The Double
A man whose career has seen him span the comedy realms of television,
before setting out on his own directorial quest with the wonderfully
quirky Submarine, Richard Ayoade cuts an
unforgettable figure. His light-hearted style and striking persona make
him one of the most interesting up-and-coming British directors out
there, and things only get more intriguing with his latest release, The Double.
From the very first scene of Ayoade's second directorial feature we have the perfect set-up for our main character in question. Hard up in life and devilishly short of luck, Simon (Jesse Eisenberg) is sitting in his seat on a subway train that contains just one other person. With the remainder of the seats empty, the other individual orders him to move from his seat stating 'that seat is mine'.
Consequently, Simon is forced to move and relinquish his seat despite no other seats being taken up.
It's a perfect introduction to a character who simply cannot catch a break. Living alone and finding himself the subject of ignorance at work, Simon is a shy and reserved individual who feels like a ghost to those around him. Trying to pluck up the courage to ask out colleague Hannah (Mia Wasikowska), he soon finds that life is about to get a lot tougher as his very own doppelganger James (also Eisenberg, obviously!) arrives on the scene. The problem is; James is confident and outspoken, leaving Simon even more forgotten by those around him.
Cut from the same cloth as Garth Marenghi's Darkplace, The Double is a darkly funny return for Ayoade behind the camera and a far cry from his debut, Submarine. Presented in an alternate world it seems, the director is intent in getting into your mind and sticking in there for some time after, with dimly-let sets and laughs aplenty to keep the ball rolling. Such is Ayoade's style, that as soon as you let out a laugh you instantly feel almost guilty, as it twists and turns once again into a dark void that is certainly harrowing and unsettling at times.
At the heart of the film is a truly commendable performance from the brilliant Jesse Eisenberg. Any actor who can adapt his range to not only play a rather shy and reserved character that leads the way, but also play his polar opposite, is worthy of praise, and Eisenberg certainly nails it. Presenting one man whose downward spiral called life just goes from bad to worse, Eisenberg instantly catches the eye as he bumbles through subway journeys, finds awkwardness in a lift, and struggles to maintain a conversation with the girl he likes. It's all done superbly, and when it comes to him letting go as counterpart James, the results are fantastic.
As well as Eisenberg, Mia Wasikowska flexes her acting muscles yet again as she continues her fine form as one of the most impressive young actresses in the business. Initially a sweet-faced and innocent individual, Wasikowska soon descends into something different as Ayoade's penchant for turning slightly grim and plunging proceedings into the shadows rears its head. She is simply great, as too are the almost obligatory cameo appearances. Paddy Considine's 80s television sci-fi star is tremendous fun as he wields a laser gun and fights off enemies. While Chris O'Dowd's frantic medical advisor brings the craziness to one scene.
Richard Ayoade certainly possesses a wealth of directing talent and brings the majority of it to the plate with The Double. With a commanding blend of comedy and darkness, it may not fit with everyone, but for me personally it ticked all the boxes. Vigilant and impressive turns from both Eisenberg and Wasikowska, as well as a constant high level of directing, coupled with superb sound editing, make The Double one dark treat worth shining a light on.
From the very first scene of Ayoade's second directorial feature we have the perfect set-up for our main character in question. Hard up in life and devilishly short of luck, Simon (Jesse Eisenberg) is sitting in his seat on a subway train that contains just one other person. With the remainder of the seats empty, the other individual orders him to move from his seat stating 'that seat is mine'.
Consequently, Simon is forced to move and relinquish his seat despite no other seats being taken up.
It's a perfect introduction to a character who simply cannot catch a break. Living alone and finding himself the subject of ignorance at work, Simon is a shy and reserved individual who feels like a ghost to those around him. Trying to pluck up the courage to ask out colleague Hannah (Mia Wasikowska), he soon finds that life is about to get a lot tougher as his very own doppelganger James (also Eisenberg, obviously!) arrives on the scene. The problem is; James is confident and outspoken, leaving Simon even more forgotten by those around him.
Cut from the same cloth as Garth Marenghi's Darkplace, The Double is a darkly funny return for Ayoade behind the camera and a far cry from his debut, Submarine. Presented in an alternate world it seems, the director is intent in getting into your mind and sticking in there for some time after, with dimly-let sets and laughs aplenty to keep the ball rolling. Such is Ayoade's style, that as soon as you let out a laugh you instantly feel almost guilty, as it twists and turns once again into a dark void that is certainly harrowing and unsettling at times.
At the heart of the film is a truly commendable performance from the brilliant Jesse Eisenberg. Any actor who can adapt his range to not only play a rather shy and reserved character that leads the way, but also play his polar opposite, is worthy of praise, and Eisenberg certainly nails it. Presenting one man whose downward spiral called life just goes from bad to worse, Eisenberg instantly catches the eye as he bumbles through subway journeys, finds awkwardness in a lift, and struggles to maintain a conversation with the girl he likes. It's all done superbly, and when it comes to him letting go as counterpart James, the results are fantastic.
As well as Eisenberg, Mia Wasikowska flexes her acting muscles yet again as she continues her fine form as one of the most impressive young actresses in the business. Initially a sweet-faced and innocent individual, Wasikowska soon descends into something different as Ayoade's penchant for turning slightly grim and plunging proceedings into the shadows rears its head. She is simply great, as too are the almost obligatory cameo appearances. Paddy Considine's 80s television sci-fi star is tremendous fun as he wields a laser gun and fights off enemies. While Chris O'Dowd's frantic medical advisor brings the craziness to one scene.
Richard Ayoade certainly possesses a wealth of directing talent and brings the majority of it to the plate with The Double. With a commanding blend of comedy and darkness, it may not fit with everyone, but for me personally it ticked all the boxes. Vigilant and impressive turns from both Eisenberg and Wasikowska, as well as a constant high level of directing, coupled with superb sound editing, make The Double one dark treat worth shining a light on.
LFF 2013 - We Are The Best!
The punk age of music was all about rebellion, standing out from the
crowd and simply breaking away from the norm. With this firmly in mind,
Swedish director Lukas Moodysson brings us his latest offering, We Are The Best!,
combining punk with a wonderful story of three young girls living life
to the full and embracing their growing friendship as they create their
own band.
Set in the 1980s, We Are The Best! follows Bobo (Mira Barkhammar) and Klara (Mira Grosin), who are the best of friends, and seen as outcasts at their school. The main reason for this is their love for punk music; a genre that many see as aged and useless. Sporting their own punk-style hair and clothes, Bobo and Klara are on the cusp of being teenagers, and are enjoying the freedom and revitalisation that the music brings to them, resulting in their aspirations to be a band.
Eventually joined by the religious Hedvig (Liv LeMoyne), who is also cast out at school as one of the 'loser' kids, the young girls begin to spark up an unbreakable bond and friendship as they escape down a path of punk music, boys and discovery. Determined to showcase their song in the works, 'Hate The Sport', the girls soon find out what it means to be a tight-knit trio and dare to defy all those around them who doubt them.
The perfect film to give you that warm feeling inside, Moodysson's latest offering is as lively and endearing as the focus music featured in his movie. Pumping with punk songs left, right and centre, We Are The Best! is elevated with its lively soundtrack and strengthened further by a lovely story and a three-pronged attack on the core emotions through its wonderful lead actresses.
It's a great feat to get three young stars, of such young ages (12 and 13, to be precise) to command the screen and carry a film, but that's just what Barkhammar, Grosin and LeMoyne do, reminding the audience of their own childhood and how fun it was to hang with friends and experience the wonders of youth. All representing different types of characters, loud, reserved and shy, the girls bring a certain memorable edge to the film and consequently maintain a connection with the audience throughout. It's exceptional to see and is no doubt hugely down to the inspired decision from the director to have the girls live together during production of the film.
In having Bobo and Klara as untalented musicians and embracing Hedvig as the 'talented one', we also get a nice dynamic in the growing relationship, allowing for many moments of humour between the girls, almost improvised in their nature. These are among the peaks of the film and once again leave us the viewer smiling from ear to ear.
That's exactly what We Are The Best! is all about; connecting with its audience and leaving them with a warm heart and a huge smile on their face, and Moodysson's film does exactly that. It's key characters are all ones you want to back from start to end, the issues of youth covered (first love, poor decisions etc) are all very familiar and the backdrop of the punk scene all combine to create a wonderful concoction of a film defying the generic coming-of-age cliché.
We Are The Best! is a lovely surprise of a film that stands on its own two feet, providing a beautiful chemistry between its lead trio and leaves you with a grin like a cheshire cat. It's bold, humourous and packs plenty of charisma, very much like its focus music genre. This may be the best thing to come out of Sweden since IKEA...
Set in the 1980s, We Are The Best! follows Bobo (Mira Barkhammar) and Klara (Mira Grosin), who are the best of friends, and seen as outcasts at their school. The main reason for this is their love for punk music; a genre that many see as aged and useless. Sporting their own punk-style hair and clothes, Bobo and Klara are on the cusp of being teenagers, and are enjoying the freedom and revitalisation that the music brings to them, resulting in their aspirations to be a band.
Eventually joined by the religious Hedvig (Liv LeMoyne), who is also cast out at school as one of the 'loser' kids, the young girls begin to spark up an unbreakable bond and friendship as they escape down a path of punk music, boys and discovery. Determined to showcase their song in the works, 'Hate The Sport', the girls soon find out what it means to be a tight-knit trio and dare to defy all those around them who doubt them.
The perfect film to give you that warm feeling inside, Moodysson's latest offering is as lively and endearing as the focus music featured in his movie. Pumping with punk songs left, right and centre, We Are The Best! is elevated with its lively soundtrack and strengthened further by a lovely story and a three-pronged attack on the core emotions through its wonderful lead actresses.
It's a great feat to get three young stars, of such young ages (12 and 13, to be precise) to command the screen and carry a film, but that's just what Barkhammar, Grosin and LeMoyne do, reminding the audience of their own childhood and how fun it was to hang with friends and experience the wonders of youth. All representing different types of characters, loud, reserved and shy, the girls bring a certain memorable edge to the film and consequently maintain a connection with the audience throughout. It's exceptional to see and is no doubt hugely down to the inspired decision from the director to have the girls live together during production of the film.
In having Bobo and Klara as untalented musicians and embracing Hedvig as the 'talented one', we also get a nice dynamic in the growing relationship, allowing for many moments of humour between the girls, almost improvised in their nature. These are among the peaks of the film and once again leave us the viewer smiling from ear to ear.
That's exactly what We Are The Best! is all about; connecting with its audience and leaving them with a warm heart and a huge smile on their face, and Moodysson's film does exactly that. It's key characters are all ones you want to back from start to end, the issues of youth covered (first love, poor decisions etc) are all very familiar and the backdrop of the punk scene all combine to create a wonderful concoction of a film defying the generic coming-of-age cliché.
We Are The Best! is a lovely surprise of a film that stands on its own two feet, providing a beautiful chemistry between its lead trio and leaves you with a grin like a cheshire cat. It's bold, humourous and packs plenty of charisma, very much like its focus music genre. This may be the best thing to come out of Sweden since IKEA...
LFF 2013 - Like Father, Like Son
Films that tackle real-life issues are often those that seem to
connect to the audience much easier than, per say, a science fiction
epic or an action-adventure. This often is the case due to the strength
and relation with the featured characters that the audience find, and
none more-so than with Hirokazu Koreeda's latest film, the powerful and emotionally driven Like Father, Like Son.
Work-driven architect Ryota (Masharu Fukushima) lives with his wife Midori (Machika Ono) and their six-year-old son Keita in a posh and pristine apartment and live a seemingly structural life. Ryota dedicates his life to work as the breadwinner of the family, while Midori works in a shop and tends to their child and maintains the homestead. Ryota has strong beliefs that his son be independent, even at his young age, ensuring he plays the piano each day and keeps that same structure applied to the young boy.
When they are summoned to the hospital, a revelation is announced as the parents discover that their child was actually swapped at birth with another, meaning Keita is not their child. Instead, a child named Ryusei is their own blood; his family at current being a mother, father, a brother and a sister. The polar opposite of Ryota, Ryusei's father is a happy-go-lucky man who invests his time with his children, often playing in ball pens with them, sharing baths and generally enjoying their company whenever he can.
As it becomes apparent that the children can be swapped back, an emotional situation boils up and the families must decide what action to take while the children are still young.
Japanese films have a special bond with the subject of family, and Like Father, Like Son is no different. Koreeda, who has gone on record to say just how personal this film is to him, presents a feature that sparks an instant connection with the audience in the way it is presented. Exploring what it means to be a parent and just how different some parents' approaches to their children vary, it is a fantastic study of humanity and our emotions.
What is most impressive is how the director creates a dynamic between the two involved families thrust into this unique and shocking situation. On one side the unbelievably exceptional Masahura Fukushima, whose parenting skills seem to be lacking, while the other father in the equation representing what a father figure should be about. While the men differ in opinions at to what should be done to solve their issue, the women of the story seem to be those who agree and have to be the problem solvers.
The gulf in characterisation is what provides the most interest in the film without a doubt, and this drives the emotional connection that is present throughout. From Ryota, with his hotel-like apartment and love for work, we instantly see he is the most troubled father, while our second father is the one whom instantly we feel a love and warmth towards. As the story drives on, we get a sense of how each is taking the news and, of course, the difficulty the children themselves are having with this awkward discovery.
The child performers themselves are also to be highly praised. They are the ones who duel with the dramatic side of things, often throwing in the more light-hearted moments of the film, but not without adding their own slice of heartiness. Such is the strength of the cast, that Like Father, Like Son breaks the boundaries of age and gives you a truly honest and heartfelt scenario that all can reach out to.
A stunning and impressive drama from director Hirokazu Koreeda, Like Father, Like Son is a breathtaking family-based Japanese offering with plenty of heart and grand performances, particularly from Masahura Fukushima. It weaves a web of intrigue for the audience and never breaks that connection, culminating in one of the best foreign entries of the year and one to savour long after the credits appear.
Work-driven architect Ryota (Masharu Fukushima) lives with his wife Midori (Machika Ono) and their six-year-old son Keita in a posh and pristine apartment and live a seemingly structural life. Ryota dedicates his life to work as the breadwinner of the family, while Midori works in a shop and tends to their child and maintains the homestead. Ryota has strong beliefs that his son be independent, even at his young age, ensuring he plays the piano each day and keeps that same structure applied to the young boy.
When they are summoned to the hospital, a revelation is announced as the parents discover that their child was actually swapped at birth with another, meaning Keita is not their child. Instead, a child named Ryusei is their own blood; his family at current being a mother, father, a brother and a sister. The polar opposite of Ryota, Ryusei's father is a happy-go-lucky man who invests his time with his children, often playing in ball pens with them, sharing baths and generally enjoying their company whenever he can.
As it becomes apparent that the children can be swapped back, an emotional situation boils up and the families must decide what action to take while the children are still young.
Japanese films have a special bond with the subject of family, and Like Father, Like Son is no different. Koreeda, who has gone on record to say just how personal this film is to him, presents a feature that sparks an instant connection with the audience in the way it is presented. Exploring what it means to be a parent and just how different some parents' approaches to their children vary, it is a fantastic study of humanity and our emotions.
What is most impressive is how the director creates a dynamic between the two involved families thrust into this unique and shocking situation. On one side the unbelievably exceptional Masahura Fukushima, whose parenting skills seem to be lacking, while the other father in the equation representing what a father figure should be about. While the men differ in opinions at to what should be done to solve their issue, the women of the story seem to be those who agree and have to be the problem solvers.
The gulf in characterisation is what provides the most interest in the film without a doubt, and this drives the emotional connection that is present throughout. From Ryota, with his hotel-like apartment and love for work, we instantly see he is the most troubled father, while our second father is the one whom instantly we feel a love and warmth towards. As the story drives on, we get a sense of how each is taking the news and, of course, the difficulty the children themselves are having with this awkward discovery.
The child performers themselves are also to be highly praised. They are the ones who duel with the dramatic side of things, often throwing in the more light-hearted moments of the film, but not without adding their own slice of heartiness. Such is the strength of the cast, that Like Father, Like Son breaks the boundaries of age and gives you a truly honest and heartfelt scenario that all can reach out to.
A stunning and impressive drama from director Hirokazu Koreeda, Like Father, Like Son is a breathtaking family-based Japanese offering with plenty of heart and grand performances, particularly from Masahura Fukushima. It weaves a web of intrigue for the audience and never breaks that connection, culminating in one of the best foreign entries of the year and one to savour long after the credits appear.
Subscribe to:
Posts (Atom)