Last year Ben Wheatley brought to screen a film that
literally saw audiences perplexed and stunned as they walked out of
cinemas following the sights of Kill List. To say it solidified
its place in the mind long after viewing would be an understatement as
it truly shocked and maintained a sharp eeriness throughout. Now it
seems Wheatley has head for a more light-hearted approach to horror as
his latest horror-comedy Sightseers takes a turn for the great British countryside.
Despite her quibbling mother's insistence on men being nothing but a disappointment and her fears of being abandoned, Tina (Alice Lowe) is all set for a holiday of adventure with her boyfriend Chris (Steve Oram).
Steve, determined to show Tina his way of life, has a caravan trip all
set out that sees them hitting the countryside and visiting such sights
as a pencil museum, an aqueduct and a tram museum.
As the couple
set out, it appears that their love is growing stronger as the miles
clock up, but when a man they encounter is seen littering Chris acts
upon it and murders him. The trip furthering into the countryside, Chris
soon finds that his killer instinct is growing with full force and a
series of other tourists find themselves a victim of his, and eventually
Tina's, wrath.
A stark change from Kill List, Wheatley's Sightseers
is grim and funny in equal proportions. Replacing the hard-faced leads
of Neil Maskell and Michael Smiley come two individuals who are placed
completely on the other end of the spectrum. Oram and Lowe's Chris and
Tina are an utter delight in their leading roles and represent a rather
unconventional kind of love.
Lovers turned serial killers, our two
protagonists instantly click as the laughs roll in and the arguments
begin to flow in what can only be described as the most hilariously odd
film of the year. Oram controlling the events as the loving yet
seriously hampered Chris is a sight to behold and Lowe is a
tour-de-force as the vulnerable and rather simple dog-lover Tina is
dragged into a life she never quite expected to be part of.
The
leads are superlative in their execution, both having written the
story, deliver each and every line with a sense of humour that offers
great exuberance and a chemistry that is second to none. Aside from the
main pairing, Sightseers also excels in providing support
characters that each play their own important part; an insistently
nagging mother at the head of proceedings along with snobby and
frustrating tourists all adding to the rather twisted joys of the film.
In
addition to their utterly breathless performances, Oram and Lowe must
be commended for their fantastically poised screenplay. With experience
in such psychedelic projects as Garth Merenghi's Darkplace and It's All Gone Pete Tong,
it comes as no surprise that the pairing have come up with such a
diverse and brilliantly unconventional black comedy that taps into both
love and murder in equal measure.
In Ben Wheatley, Britain has a keenly pursued director in bringing to life the weird and the wonderful, and in Sightseers
he once again achieves a status of a man who can bring to life the most
unique and engaging tales of human culture. Showcasing a continued lust
for unrestrained violence, as well as a fondness for superb characters
and dynamic relationships, Wheatley moves on from disconcerting horror
to all-out black comedy thrills. Aided by some exceptional
cinematography really capturing the beauty of the countryside amongst
the darkness of his character's actions, the director creates one of the
best black comedies to emanate from English soils in some time.
An ode to love stories, albeit with an unconventional twist, Sightseers
sets love and murder on a collision course in what is one of the year's
funniest and imaginative tales to have been told. Wheatley's penchant
for the occult rarely acknowledged this time around, although not fully
non-existent, in favour of a love story, Sightseers is an
incredible follow-up to last year's unforgettable horror. Beautifully
shot in the wonderful countryside, the film cleverly weaves a tale of
love, horror and forgiveness whilst maintaining a humourous edge.
Oram
and Lowe are a frightful delight as the year's serial killing Bonnie
and Clyde, both evolving from seemingly harmless lovers to bloodthirsty
tourists on a journey of eroticism and sightseeing. Aided by a sharp and
witty script from their own twisted minds, the pair remain a driving
force throughout and are backed by some memorable co-stars almost
inevitably set to face their wrath.
Sightseers is a
continuation of Ben Wheatley's expertise in film-making and is a welcome
change in direction for a man who is rising to further stardom with
each film he makes. A love story with a dark edge, Sightseers
is an achievement of big proportions and proves that Britain still
possesses clout in producing black comedy that both produces multiple
winces and shed-loads of belly laughs.
Middle-aged musings on movies new and old
Sunday, 18 October 2015
LFF 2012 - Robot and Frank
In the past we've bared witness to many a robot in films, ranging from C-3PO and R2-D2 in Star Wars, to Moon's GERTY, and even as far as Alien's humanoid Ash. They've all been engaging characters in their own unique ways, and joining the ranks comes Peter Sarsgaard's Robot in the charming Robot And Frank.
Robot And Frank focuses on Frank (Frank Langella), an ageing former jewel thief who lives on his own and is slowly beginning to feel the full force of Alzheimer's creeping into his life. Separated from his wife 30 years ago, Frank has two grown children, Hunter (James Marsden) and Madison (Liv Tyler), both of whom are concerned about the deteriorating state of their father. As a result of their worries, Hunter buys his father a present in the form of a robot servant (voiced by Peter Sarsgaard) that can aid him with the maintenance of his health as well as everyday chores.
Insistent that he is fine, Frank is initially reluctant to follow the advice of the robot but in time he learns to live with it as a part of his life and the two begin to forge an unlikely friendship. After another regular visit to the library to see Jennifer (Susan Sarandon), Frank comes to find out that the library itself is set for a big change, one that he is not happy with, and comes to the conclusion that something must be done. Realising that his robot is a quick learner in the tricks of a thief, Frank and his trusty new friend begin to hatch a plan that will see a big payday and possibly win the heart of Jennifer.
As pairings go, Robot and Frank brings to screen yet another memorable double act that are sure to captivate audiences and bring both laughter and a sense of emotional involvement. In presenting this unlikely source of friendship between man and robot, director Jake Schreier cleverly weaves his film into a progressive relationship that grows with the audiences' fondness for both characters.
In Frank we have an elderly man clearly falling further into his ill state but with that cutting edge still in being a jewellery thief, and through his robot is an individual who, despite being programmed, feels as human as our main lead in the sense that he is the one looking out for Frank when those closest to him do not have the time.
It's that factor which makes Robot And Frank such a loveable film; the emotional bond grows ever stronger with each passing moment and with such strong performances comes a whole sense of believability and joy. Frank Langella still shows he has the credentials to portray sheer emotive genius and in Peter Sarsgaard lending his voice as Robot, the film has a somewhat humorous and caring character sometimes more human than those who actually are. Aside from the exceptional pairing, Liv Tyler and James Marsden both give good accounts of themselves as siblings who are clearly suffering too from their father's condition, as too does Susan Sarandon.
Backed by a nicely understated score, Robot And Frank is as funny as it is emotional with Langella and Sarsgaard constantly on the mark as the exchanges from the two are smoothly presented in blissful fashion. No sooner are we laughing rapidly at Robot's 'don't molest me' warning or his protocol of keeping Frank healthy, than we are being run through the emotions as the pair face being pulled apart.
A balance as such helps to keep somewhat of a poignant mood to the film and Christopher D. Ford's superb screenplay is backed with first rate pacing, allowing for the audience to maintain relations with the key players. This is a screenplay that not only warms the heart but also keeps events grounded in representing the true nature of dementia. In processing the slightest of characteristics in Frank's everyday life, the film gives a staggeringly accurate account of the downward slope sufferers head toward and is under no illusions when it comes to real life circumstance.
Charming and charismatic Robot And Frank is a joy to behold. Filled to the brim with heart and gripping performances, it really does show that the most unlikely of double acts are indeed the ones to pull at the emotional heart strings.
Robot And Frank focuses on Frank (Frank Langella), an ageing former jewel thief who lives on his own and is slowly beginning to feel the full force of Alzheimer's creeping into his life. Separated from his wife 30 years ago, Frank has two grown children, Hunter (James Marsden) and Madison (Liv Tyler), both of whom are concerned about the deteriorating state of their father. As a result of their worries, Hunter buys his father a present in the form of a robot servant (voiced by Peter Sarsgaard) that can aid him with the maintenance of his health as well as everyday chores.
Insistent that he is fine, Frank is initially reluctant to follow the advice of the robot but in time he learns to live with it as a part of his life and the two begin to forge an unlikely friendship. After another regular visit to the library to see Jennifer (Susan Sarandon), Frank comes to find out that the library itself is set for a big change, one that he is not happy with, and comes to the conclusion that something must be done. Realising that his robot is a quick learner in the tricks of a thief, Frank and his trusty new friend begin to hatch a plan that will see a big payday and possibly win the heart of Jennifer.
As pairings go, Robot and Frank brings to screen yet another memorable double act that are sure to captivate audiences and bring both laughter and a sense of emotional involvement. In presenting this unlikely source of friendship between man and robot, director Jake Schreier cleverly weaves his film into a progressive relationship that grows with the audiences' fondness for both characters.
In Frank we have an elderly man clearly falling further into his ill state but with that cutting edge still in being a jewellery thief, and through his robot is an individual who, despite being programmed, feels as human as our main lead in the sense that he is the one looking out for Frank when those closest to him do not have the time.
It's that factor which makes Robot And Frank such a loveable film; the emotional bond grows ever stronger with each passing moment and with such strong performances comes a whole sense of believability and joy. Frank Langella still shows he has the credentials to portray sheer emotive genius and in Peter Sarsgaard lending his voice as Robot, the film has a somewhat humorous and caring character sometimes more human than those who actually are. Aside from the exceptional pairing, Liv Tyler and James Marsden both give good accounts of themselves as siblings who are clearly suffering too from their father's condition, as too does Susan Sarandon.
Backed by a nicely understated score, Robot And Frank is as funny as it is emotional with Langella and Sarsgaard constantly on the mark as the exchanges from the two are smoothly presented in blissful fashion. No sooner are we laughing rapidly at Robot's 'don't molest me' warning or his protocol of keeping Frank healthy, than we are being run through the emotions as the pair face being pulled apart.
A balance as such helps to keep somewhat of a poignant mood to the film and Christopher D. Ford's superb screenplay is backed with first rate pacing, allowing for the audience to maintain relations with the key players. This is a screenplay that not only warms the heart but also keeps events grounded in representing the true nature of dementia. In processing the slightest of characteristics in Frank's everyday life, the film gives a staggeringly accurate account of the downward slope sufferers head toward and is under no illusions when it comes to real life circumstance.
Charming and charismatic Robot And Frank is a joy to behold. Filled to the brim with heart and gripping performances, it really does show that the most unlikely of double acts are indeed the ones to pull at the emotional heart strings.
LFF 2012 - Grassroots
Based on a true story, Grassroots depicts the remarkable path of a man who fought to defy all the odds and change the city he lives in and so dearly loves.
Seattle, 2001. Journalist Phil Campbell (Jason Biggs) has been fired from his job and his current living conditions remain far from ideal. Living with his girlfriend Emily (Lauren Ambrose) should be a step forward in his life but instead they share their living quarters with other people like students in order to save money, something Emily is getting slowly frustrated with. Needless to say, the loss of his job hasn't helped matters.
Enter his buddy Grant (Joel David Moore), an unemployed music critic with a vision that may well change both of their lives. An outspoken and passionate individual, Grant, who bizarrely enjoys dressing up as a polar bear, is insistent that this is the year for him to step up and run for council. Facing current incumbent Richard McIver (Cedric the Entertainer), he recruits Phil as his campaign manager and outlines his passion.
Seeking an end to the abundant traffic chaos and endless automobile links tarnishing the city he cares about, Grant's idea of a regenerated and expansive monorail system soon begins to win over the people, despite his unrestrained manner. As his campaign appears to be on the right track, disaster hits as the staggering events of 9/11 take effect on the people of America. Initially devastated, he soon comes to realise spirit and belief amongst the people is essential and he sets out to inspire and win the election.
Any film with the names Jason Biggs and Cedric the Entertainer attached are bound to send echoes of skepticism through to viewers, but in truth Grassroots manages to hold its own with the majority of the cast excelling. Based on true events, the film is quick to get the comedic swearing and frustrated tirades from Moore's Grant out of its system and slowly matures into a serious and passionate film surrounding politics and community.
In both Moore and Biggs, actors notable for their comedies, come very different performances than we are accustomed to. Standout from the rest of the crowd, Moore portrays a passionate and unflinching man with great poise and holds back very little, something that, as an audience, gives us more reason to back the character. Grant's speeches may be often filled with swearing and his passion overstated, but in Moore's conviction comes a performance that at times drives the movie forward.
Co-stars Biggs and Cedric the Entertainer also provide somewhat of a shock value in playing it more-or-less straight as events take a turn for the serious side. Both maintaining a real life edge to their characters, the two comedy stars shine when sharing scenes and are equally as effective when tasked with delivering at key moments singularly. Of all the acts involved, it is Cobey Smoulders who appears the most redundant. Featured rarely in the film, Smoulders takes up little more than five to ten minutes in a role that could have easily been filled with a unnamed actress and gone unnoticed, something that is rather questionable when viewing.
In essence, Grassroots is a film focusing on community. One man's goal to improve upon his native city is enough to bring together people and through director Stephen Gyllenhaal's expertly shot feature we are given not only a sense of how important the location is to the characters but also a first-hand reminder of the surroundings in which the events are unfolding. Not only is community represented through the city of Seattle but also through the tragedy of 9/11.
Boldly tackling the events of 9/11 as part of the narrative, Gyllenhaal gives the film more meaning and heart in showing how such an event simply brings people closer together. Cleverly removing unnecessary humour in favour of a more straight-edged approach, the director presents a truly remarkable tale of real life people and gives the audience a person we want to succeed.
By no means a perfect film, Grassroots does bring to screen a likable pairing in Jason Biggs and Joel David Moore, with the latter proving that he can pack a punch in producing pure emotion into his role. Funny when it needs to be and really hard hitting emotionally, Stephen Gyllenhaal's film sums up the theme of community succinctly and gives us yet another fascinating true story brought to life.
Seattle, 2001. Journalist Phil Campbell (Jason Biggs) has been fired from his job and his current living conditions remain far from ideal. Living with his girlfriend Emily (Lauren Ambrose) should be a step forward in his life but instead they share their living quarters with other people like students in order to save money, something Emily is getting slowly frustrated with. Needless to say, the loss of his job hasn't helped matters.
Enter his buddy Grant (Joel David Moore), an unemployed music critic with a vision that may well change both of their lives. An outspoken and passionate individual, Grant, who bizarrely enjoys dressing up as a polar bear, is insistent that this is the year for him to step up and run for council. Facing current incumbent Richard McIver (Cedric the Entertainer), he recruits Phil as his campaign manager and outlines his passion.
Seeking an end to the abundant traffic chaos and endless automobile links tarnishing the city he cares about, Grant's idea of a regenerated and expansive monorail system soon begins to win over the people, despite his unrestrained manner. As his campaign appears to be on the right track, disaster hits as the staggering events of 9/11 take effect on the people of America. Initially devastated, he soon comes to realise spirit and belief amongst the people is essential and he sets out to inspire and win the election.
Any film with the names Jason Biggs and Cedric the Entertainer attached are bound to send echoes of skepticism through to viewers, but in truth Grassroots manages to hold its own with the majority of the cast excelling. Based on true events, the film is quick to get the comedic swearing and frustrated tirades from Moore's Grant out of its system and slowly matures into a serious and passionate film surrounding politics and community.
In both Moore and Biggs, actors notable for their comedies, come very different performances than we are accustomed to. Standout from the rest of the crowd, Moore portrays a passionate and unflinching man with great poise and holds back very little, something that, as an audience, gives us more reason to back the character. Grant's speeches may be often filled with swearing and his passion overstated, but in Moore's conviction comes a performance that at times drives the movie forward.
Co-stars Biggs and Cedric the Entertainer also provide somewhat of a shock value in playing it more-or-less straight as events take a turn for the serious side. Both maintaining a real life edge to their characters, the two comedy stars shine when sharing scenes and are equally as effective when tasked with delivering at key moments singularly. Of all the acts involved, it is Cobey Smoulders who appears the most redundant. Featured rarely in the film, Smoulders takes up little more than five to ten minutes in a role that could have easily been filled with a unnamed actress and gone unnoticed, something that is rather questionable when viewing.
In essence, Grassroots is a film focusing on community. One man's goal to improve upon his native city is enough to bring together people and through director Stephen Gyllenhaal's expertly shot feature we are given not only a sense of how important the location is to the characters but also a first-hand reminder of the surroundings in which the events are unfolding. Not only is community represented through the city of Seattle but also through the tragedy of 9/11.
Boldly tackling the events of 9/11 as part of the narrative, Gyllenhaal gives the film more meaning and heart in showing how such an event simply brings people closer together. Cleverly removing unnecessary humour in favour of a more straight-edged approach, the director presents a truly remarkable tale of real life people and gives the audience a person we want to succeed.
By no means a perfect film, Grassroots does bring to screen a likable pairing in Jason Biggs and Joel David Moore, with the latter proving that he can pack a punch in producing pure emotion into his role. Funny when it needs to be and really hard hitting emotionally, Stephen Gyllenhaal's film sums up the theme of community succinctly and gives us yet another fascinating true story brought to life.
LFF 2012 - Beware Of Mr Baker
It's almost ironic that Beware Of Mr Baker is introduced by Johnny Rotten,
one of rock's most infamous and unwelcoming characters, only for us to
be thrust into the life of the biggest monster in the history of rock,
and most specifically, drumming. Director Jay Bulger gains access to Ginger Baker
after initially posing as a Rolling Stone magazine writer, only for his
initial article on the ragged-edged character to actually be published
in the magazine.
Furthering his contact with Baker, Bulger then takes the decision to delve through the life story of one of music's most colourful and controversial characters and, despite some reluctance, the former star agrees. What begins is a journey through an ultimately rock-and-roll lifestyle as we encounter the highs and lows of possibly the world's best ever drummer and hear his thoughts on the life he led as well as the opinions of some of music's most influential figures.
Beginning with his roots in his youth where jazz took precedence, Baker explains how he suddenly became immersed into drumming following his insistence at school to play tunes on his desk only to be egged on by his classmates. Little did they know that it would be the start of a career that saw him rise to mega stardom and see him collaborating with the legends of music in today's world.
Tracking its way through archived footage of the genius that was Baker when handed with his drum sticks and sat behind the kit, Beware Of Mr Baker goes from his days as part of Cream, with Eric Clapton and long-term opposer Jack Bruce, to his days in Blind Faith. We then follow his path as he tracks from country to country eventually ending up in present day where he currently resides in South Africa.
Proving to be an utterly satisfying and astoundingly interesting documentary, Beware Of Mr Baker is a superb look into a life of a man who truly embraced the lifestyle of a musician in the era of sex, drugs and rock and roll, and took it to the next level. Director Jay Bulger proves to be a brave man as he spends much time with the man, who nowadays lives without contact with his former cohorts, and remains a somewhat bitterly aging man affected hugely by the level of drugs he took whilst in his heyday.
Bulger's editing is pin-perfect, with clippings of Baker's genius at work really representing a man at the top of the music game, whilst mixing with intriguing interviews with music's greatest figures and those closest to Baker. His use of interestingly artistic animations also provide a great link between events unfolding and often help to accentuate the true character of the man.
The star power and talent of Baker is never understated, nor too is his true personality. Often providing the most humour-worthy of moments, Baker's tirades of verbal abuse toward the filmmaker keep the rock-and-roll antics alive and our man behind the film even falls victim to a walking aid assault as we witness the fight still inside a man who lived life to the full.
Beware Of Mr Baker won at SXSW for Best Documentary at the festival and it is easy to see why. Expertly edited providing a neat flow in chronological events, it is a truly remarkable look into the life of a man who can only be referred to as a living legend. A monster of rock in every sense of the word, Ginger Baker is a man who has clearly been consumed by fame and is now living having made the most of his situation and finding himself on the bitter end of it all.
This is perfectly represented in the life story of the man, and in Jay Bulger we have a director who is clearly passionate about his subject and is keen on educating viewers on the life and times of the exceptional drummer. Hilarious, intriguing and ultimately satisfying, Beware Of Mr Baker offers a stunning look at how fame in the music business isn't always a smooth path.
Furthering his contact with Baker, Bulger then takes the decision to delve through the life story of one of music's most colourful and controversial characters and, despite some reluctance, the former star agrees. What begins is a journey through an ultimately rock-and-roll lifestyle as we encounter the highs and lows of possibly the world's best ever drummer and hear his thoughts on the life he led as well as the opinions of some of music's most influential figures.
Beginning with his roots in his youth where jazz took precedence, Baker explains how he suddenly became immersed into drumming following his insistence at school to play tunes on his desk only to be egged on by his classmates. Little did they know that it would be the start of a career that saw him rise to mega stardom and see him collaborating with the legends of music in today's world.
Tracking its way through archived footage of the genius that was Baker when handed with his drum sticks and sat behind the kit, Beware Of Mr Baker goes from his days as part of Cream, with Eric Clapton and long-term opposer Jack Bruce, to his days in Blind Faith. We then follow his path as he tracks from country to country eventually ending up in present day where he currently resides in South Africa.
Proving to be an utterly satisfying and astoundingly interesting documentary, Beware Of Mr Baker is a superb look into a life of a man who truly embraced the lifestyle of a musician in the era of sex, drugs and rock and roll, and took it to the next level. Director Jay Bulger proves to be a brave man as he spends much time with the man, who nowadays lives without contact with his former cohorts, and remains a somewhat bitterly aging man affected hugely by the level of drugs he took whilst in his heyday.
Bulger's editing is pin-perfect, with clippings of Baker's genius at work really representing a man at the top of the music game, whilst mixing with intriguing interviews with music's greatest figures and those closest to Baker. His use of interestingly artistic animations also provide a great link between events unfolding and often help to accentuate the true character of the man.
The star power and talent of Baker is never understated, nor too is his true personality. Often providing the most humour-worthy of moments, Baker's tirades of verbal abuse toward the filmmaker keep the rock-and-roll antics alive and our man behind the film even falls victim to a walking aid assault as we witness the fight still inside a man who lived life to the full.
Beware Of Mr Baker won at SXSW for Best Documentary at the festival and it is easy to see why. Expertly edited providing a neat flow in chronological events, it is a truly remarkable look into the life of a man who can only be referred to as a living legend. A monster of rock in every sense of the word, Ginger Baker is a man who has clearly been consumed by fame and is now living having made the most of his situation and finding himself on the bitter end of it all.
This is perfectly represented in the life story of the man, and in Jay Bulger we have a director who is clearly passionate about his subject and is keen on educating viewers on the life and times of the exceptional drummer. Hilarious, intriguing and ultimately satisfying, Beware Of Mr Baker offers a stunning look at how fame in the music business isn't always a smooth path.
LFF 2012 - The Samurai That Night
The word 'samurai' may be the most notable word in the title of this
particular Japanese film but an appearance from one is about as likely
as not seeing the signature dish of noodles featured at some point
throughout the duration. Instead, The Samurai That Night provides a dark, depressing and dreary tale in which we follow Kenichi Nakamura (Masato Sakai) as the repercussions of his wife's death affect him both physically and physically.
Five years after she was run over and left for dead by Kijima (Takayuki Yamada), Ken remains jaunted in life, seeking solace only through the last voicemail message he received from his loved one and a seemingly endless supply of cigarettes. His iron works business merely a chance to exit his slumber, Ken rebuffs the attempts of his brother-in-law Aoki (Hirofumi Arai) to pair him with a new partner as he continues to plummet emotionally.
Despite Kijima paying for his crime with a stint in prison, Ken is intent on redemption and sends a daily letter warning of both his impending sucide and the death of Kijima himself. As the days tick down, the emotional states of all involved are tested to the limit when it becomes clear that Ken is ready to avenge the death of his wife.
The Samurai At Night is by no means an easy watch to say the least. Despite its occasional moments of subtle humour, the film remains an ultimately downbeat and depressing encounter. Its focus character is a broken man who is minimal on dialogue and plentiful in emotional angst, proving a very hard character for the audience to invest much support in and the support roles are far from effective.
Whilst Masato Sakai's Ken conveys the continuous sorrow and difficulty of losing a loved one reasonably well, his act grows tiresome and repetitive as the film trudges along, and in the remainder of the cast come an array of characters who almost seem to have been thrown into the events without full development. The only redeeming factor of the cast comes through Takayuki Yamada; his villain of the piece is one you will grit your teeth at and wish for his timely demise. Neither over-the-top nor understated in his performance, Yamada proves an utterly spiteful and sadistic villain worthy of audience opposition.
Acting aside, the film never quite fulfills its promise of a tense and thrilling lead-up to its finale and instead continues to underwhelm with each scene produced upon the screen. As the days slowly pass to which we expect a showdown between our main character and the man he wants to gain revenge on, the events in between are discombobulated, the characters a messy conundrum and progression seemingly at a stand-still.
With no truly engaging characters, Kijima aside, Samurai suffers greatly, and in failing to produce a worthy main lead to root for, never drives forward into anything more than a dull and drab film with little to savour for those watching. The imagery depressing and a real lack of ambition in the filming of the piece, director Masaaki Akahori's potential revenge flick results in something rather removed from its initial subject matter and proves a flat affair.
Huge pauses in dialogue that are seemingly gaping mistakes, unintentional humour at perplexing moments and a distinct lack of heart, The Samurai That Night outstays its welcome with a unnecessary duration and clunky filmmaking throughout. Those looking for an upbeat film need not apply and even viewers seeking a rather heartfelt tale of loss and tragedy are best steering well clear of what is almost a monstrosity of a film.
Five years after she was run over and left for dead by Kijima (Takayuki Yamada), Ken remains jaunted in life, seeking solace only through the last voicemail message he received from his loved one and a seemingly endless supply of cigarettes. His iron works business merely a chance to exit his slumber, Ken rebuffs the attempts of his brother-in-law Aoki (Hirofumi Arai) to pair him with a new partner as he continues to plummet emotionally.
Despite Kijima paying for his crime with a stint in prison, Ken is intent on redemption and sends a daily letter warning of both his impending sucide and the death of Kijima himself. As the days tick down, the emotional states of all involved are tested to the limit when it becomes clear that Ken is ready to avenge the death of his wife.
The Samurai At Night is by no means an easy watch to say the least. Despite its occasional moments of subtle humour, the film remains an ultimately downbeat and depressing encounter. Its focus character is a broken man who is minimal on dialogue and plentiful in emotional angst, proving a very hard character for the audience to invest much support in and the support roles are far from effective.
Whilst Masato Sakai's Ken conveys the continuous sorrow and difficulty of losing a loved one reasonably well, his act grows tiresome and repetitive as the film trudges along, and in the remainder of the cast come an array of characters who almost seem to have been thrown into the events without full development. The only redeeming factor of the cast comes through Takayuki Yamada; his villain of the piece is one you will grit your teeth at and wish for his timely demise. Neither over-the-top nor understated in his performance, Yamada proves an utterly spiteful and sadistic villain worthy of audience opposition.
Acting aside, the film never quite fulfills its promise of a tense and thrilling lead-up to its finale and instead continues to underwhelm with each scene produced upon the screen. As the days slowly pass to which we expect a showdown between our main character and the man he wants to gain revenge on, the events in between are discombobulated, the characters a messy conundrum and progression seemingly at a stand-still.
With no truly engaging characters, Kijima aside, Samurai suffers greatly, and in failing to produce a worthy main lead to root for, never drives forward into anything more than a dull and drab film with little to savour for those watching. The imagery depressing and a real lack of ambition in the filming of the piece, director Masaaki Akahori's potential revenge flick results in something rather removed from its initial subject matter and proves a flat affair.
Huge pauses in dialogue that are seemingly gaping mistakes, unintentional humour at perplexing moments and a distinct lack of heart, The Samurai That Night outstays its welcome with a unnecessary duration and clunky filmmaking throughout. Those looking for an upbeat film need not apply and even viewers seeking a rather heartfelt tale of loss and tragedy are best steering well clear of what is almost a monstrosity of a film.
The Mortal Instruments: City Of Bones Review
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| Source: Sony |
City Of Bones sees young Clary (Lily Collins) being thrust into a whole new world as she slowly begins to experience visions and constantly comes across specific symbols that cause her to question who she really is. When she meets the lethal and mysterious Jace (Jamie Campbell Bower), Clary is welcomed into a whole new world within New York called Downworld; a place where others like her roam and where dangers lurk around every corner.
As Clary delves deeper into this world, along with the aid of best friend Simon (Robert Sheehan), she uncovers that her unique abilities are just the tip of the iceberg, with so much more going on around her that she was completely unaware of.
Adapted from Cassandra Clare's novel, City of Bones is a typical concoction of YA fiction, with its love triangle, secrets aplenty and a willingness to conjure up threat for the main characters on a regular basis. It's a paint-by-numbers variety of film that feels rather familiar but still oozes confidence and delivers some intrigue heading forward.
At the heart is young Lily Collins and fortunately she proves that the leading lady fits her like the proverbial glove. Initially a vulnerable young woman confused by what is going on around her, Collins' Clary blossoms into a feisty, strong-willed individual and one whose characteristics serve up a magnitude of reasons why you should fully back her.
Alongside Collins, the main men in Jamie Campbell Bower and Robert Sheehan both make their mark, with Campbell Bower's dark, moody Jace by far the standout from the characters introduced so far. While Clary turns from innocence to full-blown guile and determination, Jace's evolution sees his infatuation with her unleash his softer side, the killer in him somewhat tamed at times. Sheehan, as ever present in television show Misfits, is a joy to watch and it's great to see him leap up to the big stage.
With a collection of positive characters, director Harold Zwart wastes no time in upping the scale as his vision of Clare's world presents itself in all its glory, impressing upon its presentation and looking far from a low budget page-to-screen offering. From the sprawling buildings filling the New York air, to the rich historical interiors, filled with awe, Zwart creates a truly remarkable picture of what many will have imagined from the page.
Delighting us with an array of thrilling action sequences, as well as keeping the film grounded in drama, Zwart cleverly weaves the often twisting storyline into a two-hour adventure that rarely lets up. The twists within the film are nicely whipped up and the scope for further films certainly fills one with optimism, but often there is an air of predictability about the whole film. A feeling of 'been there, done that' does tend to creep in at times, and, while delivered well, the main twist within the film is both perplexing and unsettling, almost denting our connection with two of the main characters.
That being said, The Mortal Instruments: City Of Bones is a good introduction to what could prove to be a blossoming YA franchise. Filled with intrigue and bolstered by a wealth of drama, action and solid characters, it is a film that maintains a reserved stance, teasing what is to come further down the line; something that keeps the interest levels at a peak and audiences wanting more.
Friday, 16 October 2015
Medway meets Hollywood: The big guns that filmed in our towns
Let's face it, Medway is hardly the most exciting place to live in, but on the odd occasion there is something of note to report. In years gone past, the Medway towns has played host to some of the big guns of Hollywood, with a number of blockbuster movies filming in the area. Don't believe me? See for yourself...
Les Miserables
Russell Crowe was in town as Chatham Dockyard played host to musical epic Les Miserables, as his horse riding skills and singing talents were put to use during filming in Chatham. Shooting took place over 11 days and made good use of the Dockyard's Tarred Yarn Store.
The World Is Not Enough
So James Bond has a brand new boat from Q and has to take it for a rather intense opening sequence around the Millennium Dome before those infamous opening credits; only what looks like parts of London are actually the Dockyard. Those scenes where Bond exits the water and has a little adventure on the roads and backstreets, that's Chatham people!
Pirates of the Caribbean: On Stranger Tides
Moving away from the a Dockyard for our next one; the fourth instalment in the Pirates series hit Sevenoaks as Knole House was transformed as we saw Johnny Depp's Captain Jack Sparrow once again escape as he almost fell foul of the gallows.
Sherlock Holmes: Game of Shadows
Okay, so we've only got two key filming locations in Medway but when both of them are used in a film that features the powerhouse that is Robert Downey Jr. then it's hard not to be impressed. Game of Shadows did just that as the Dockyard doubled as London docks and Moriarty's house was actually Knole House.
Surrounding areas have also fared well, with the likes of Harry Potter, the Johnny English films and many others being filmed close by. We've also had the hosting of The Mummy and The Golden Compass at the Dockyard to add to the list for good measure.
With more superhero movies hitting the UK for filming, surely it's gotta be our time soon, right? Right?....
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