Of all the featured documentaries laden across this year's schedule for the BFI London Film Festival, The Summit
was one that instantly stood out from the crowd. The sheer thought of a
film that tracks mountaineering and the individuals involved in such a
dangerous and life-threatening past-time, appeared an interesting
spectacle.
K2, also known as the Savage Mountain, is the focal
point of what is an ultimately fascinating documentary surrounding a
group of climbers who embarked on a mission in 2008 to conquer the
mountain with the second-highest fatality rate in the world and return
to their families unscathed.
Four years ago saw the most dangerous
and dramatic event in all of mountaineering as 24 climbers from a
variety of nations took the challenge to conquer K2 and reach the
highest peak. Some having already failed previously, others striving for
glory having never experienced the terrors of such an intimidating
natural behemoth.
Central to The Summit comes a story of
profound sadness and sacrifice as we witness the tragic demise of
Irishman Ger McDonnell, just one of those eleven climbers who lost their
lives over that fateful period in August. An approachable person and a
favourite among the teams climbing, McDonnell lost his life after
breaking the code in which all climbers agree to leave behind those who
have fallen or are trapped. Instead of heading to safety himself,
McDonnell aimed for courage as he set out to save those in trouble, only
to fail at the hands of the deadly natural elements.
Charting McDonnell's path, as well as the men who accompanied him on the mission, The Summit documents a truly riveting and unmissable spectacle that will have you on the edge of your seat until its conclusion.
Morality, brotherhood and ultimately loss are the key elements that drive Nick Ryan's The Summit
to the pinnacle of documentary making. His beautiful blend of
interviews, reconstructed footage and breathtaking imagery provide what
is not only one of the year's most well-balanced documentaries but one
that tugs at the heart strings and offers a real representation of human
nature in tough circumstances.
In the reconstruction element of the film, The Summit thrives through the cinematography of Robbie Ryan
where we are witness to the spectacular views of the K2 landscapes; a
beauty that soon turns to a beast of disastrous consequences.
Introducing to us a plethora of varied shots covering the stunning
snow-covered mountains, Ryan is quick to acknowledge such unmatched
wonders and uses them to create a sense of wonderment before all flips
on its head.
Beauty turned sour soon results in some rather
harrowing reconstructive footage as we track the climbers from their
initial planning of the expedition to reaching the pinnacle of K2,
before disaster strikes as the descent proves that the Death Zone really
has the name for a good reason. Merging superbly with the acting
element of the film, the actual footage from the climbers and the
several interviews with survivors and family members also play a key
part in creating a film that truly immerses its audience.
Witnessing
family members heartbroken when recounting the fateful days in which
their loved ones perished or their lives hung in the balance really hits
home and The Summit neatly and respectfully deals with each
individual in a decent manner. Amongst the interviews, footage and
real-life drama, one element of the film also looks to its audience to
solve some conundrums raised.
In bringing forward the media's viewpoint of the tragic losses in 2008, The Summit
cleverly grabs its audience not only emotively but also in raising
certain questions regarding the huge event it has covered. In featuring
the media's view that the climbers were in fact inexperienced and
therefore heading to almost certain death, Nick Ryan's film also proves
to become a thinking man's documentary as well as one to document a
truly tragic event.
Poignant at times and forever gripping, The Summit
is a remarkable documentary surrounding what was an exceptionally
tragic event. The interviews will tug at the heart strings and the
cinematography present the wow factor, but it is the human side of the
film that wins most plaudits. Essentially a film of memories, The Summit
features some incredibly engaging and intriguing real-life characters
and whether you are a mountaineering enthusiast or not, is sure to have
you on the edge of your seat throughout.
Middle-aged musings on movies new and old
Sunday, 18 October 2015
LFF 2012 - Everyday
Michael Winterbottom's latest offering from behind
the camera is somewhat of a rather diverse entry into the London Film
Festival catalogue this year. Everday,
up against some extremely tough opposition for the Official Competition
Best Film award, is a film from Film4 that will be broadcast on Channel
4 in the UK whilst distributed in other countries in cinemas.
Unfortunately, it seems, the UK are getting the fair end of the deal
with what is is a dismal affair.
Karen (Shirley Henderson) is a mother of four struggling to cope with the strain of looking after her children and holding up two jobs whilst her husband Ian (John Simm) remains in prison waiting for the day he can return to his family. We follow Karen as she goes through the daily routine of taking the children to school, picking them up, going to work and ensuring the family home is as ideal as possible.
Whilst Karen continues to put on a brave face and suffers the strains of single motherhood, Ian clings on to the days counting down until he is free for prison and he can enjoy more than single day trips out of incarceration and visits. As the days roll on, Karen continues an affair with a local she knows from the pub and carries herself through an emotional draining life that sees her with little support and an unclear outlook on the future.
The premise of Michael Winterbottom's Everyday has all the necessary ingredients to create a powerful and rich drama that is both affecting and emotionally charged. A mother single-handedly taking on the task of raising four children whilst their father is in prison could have raised so much but instead the film heads no further than the likes of low-key television dramas that all appear clones of one another.
In John Simm and Winterbottom regular Shirley Henderson, Everyday possesses two ultimately strong actors who have bagfuls of ability in order to drive a narrative forward and represent struggle, but even two such names cannot salvage this mess of a film. If ever a key word could be applied to Everyday it would forever in the day be 'repetitive'.
We can all agree that a film surrounding family life should include the elements of school, mealtimes, and in this case, prison visitations, but Winterbottom insists on continuing the same formula and events throughout the duration of the film. In doing so, the director creates a 90-minute film which actually feels like it is in fact much, much longer.
If déja-vu in the story element of the film wasn't enough, then look no further than the film's dismal score. Driven by a number of strings droning together to create a supposedly quaint and emotive score, the music within the film is yet again used over and over again causing the viewer to question how the editing process missed such gaping issues.
Such astrosities are unforgivable in film but in Winterbottom's Everyday one cannot fathom how these noticeable flaws could have been missed, especially as the project took five years to fully complete. Five years of filming meant that the director was able to show a gradual aging of the children of the piece, a nice touch to be sure, but in concentrating on this element, missed some rather serious issues along the way.
An abomination of filmmaking that barely deserves its place on the small screen, let alone cinema screens, Everyday lacks cohesion, emotional attachment and a solid script. Repetitive in both its dialogue and musically, Michael Winterbottom falls well short of powerful drama and instead lets down his two often superb leads and even the promising young children of the piece. Dull, disappointing and ridiculously dismal, Everyday proves that five years preparation of a film still isn't enough to make a good film.
Karen (Shirley Henderson) is a mother of four struggling to cope with the strain of looking after her children and holding up two jobs whilst her husband Ian (John Simm) remains in prison waiting for the day he can return to his family. We follow Karen as she goes through the daily routine of taking the children to school, picking them up, going to work and ensuring the family home is as ideal as possible.
Whilst Karen continues to put on a brave face and suffers the strains of single motherhood, Ian clings on to the days counting down until he is free for prison and he can enjoy more than single day trips out of incarceration and visits. As the days roll on, Karen continues an affair with a local she knows from the pub and carries herself through an emotional draining life that sees her with little support and an unclear outlook on the future.
The premise of Michael Winterbottom's Everyday has all the necessary ingredients to create a powerful and rich drama that is both affecting and emotionally charged. A mother single-handedly taking on the task of raising four children whilst their father is in prison could have raised so much but instead the film heads no further than the likes of low-key television dramas that all appear clones of one another.
In John Simm and Winterbottom regular Shirley Henderson, Everyday possesses two ultimately strong actors who have bagfuls of ability in order to drive a narrative forward and represent struggle, but even two such names cannot salvage this mess of a film. If ever a key word could be applied to Everyday it would forever in the day be 'repetitive'.
We can all agree that a film surrounding family life should include the elements of school, mealtimes, and in this case, prison visitations, but Winterbottom insists on continuing the same formula and events throughout the duration of the film. In doing so, the director creates a 90-minute film which actually feels like it is in fact much, much longer.
If déja-vu in the story element of the film wasn't enough, then look no further than the film's dismal score. Driven by a number of strings droning together to create a supposedly quaint and emotive score, the music within the film is yet again used over and over again causing the viewer to question how the editing process missed such gaping issues.
Such astrosities are unforgivable in film but in Winterbottom's Everyday one cannot fathom how these noticeable flaws could have been missed, especially as the project took five years to fully complete. Five years of filming meant that the director was able to show a gradual aging of the children of the piece, a nice touch to be sure, but in concentrating on this element, missed some rather serious issues along the way.
An abomination of filmmaking that barely deserves its place on the small screen, let alone cinema screens, Everyday lacks cohesion, emotional attachment and a solid script. Repetitive in both its dialogue and musically, Michael Winterbottom falls well short of powerful drama and instead lets down his two often superb leads and even the promising young children of the piece. Dull, disappointing and ridiculously dismal, Everyday proves that five years preparation of a film still isn't enough to make a good film.
LFF 2012 - Wasteland
It's astonishing to this day the level of talent that is emanating
from the British film industry. Whether it be actors and actresses
showing their talents in front of the camera or
directors showcasing their own unique set of skills, Britain never fails
in regularly producing the goods. One film that possesses such
offerings is Wasteland, the feature-length directorial debut of Rowan Athale.
Ultimately a heist film at its core, Wasteland is a story emanating from London that contextually links with both the thriller and drama genres, resulting in a rather intriguing affair. Opening with D.I. West (Timothy Spall) beginning to question a rather bruised and battered Harvey (Luke Treadaway), the film immediately descends into a tale of friendship, loyalty and danger.
Released from prison just six weeks previous, the relaxed Harvey is convinced into divulging the details of the events which led up to his present bloodied disfigurement, and so begins a story of the heist he and his three best friends took on. Sentenced for drugs possession with intent to supply, Harvey continues to plead his innocence and believes the man responsible for his incarceration is the intimidating drug dealer Steven Roper (Neil Maskell).
Plotting revenge on Roper, Harvey recruits the help of his three best friends Dempsey (Iwan Rheon), Charlie (Gerard Kearns) and Dodd (Matthew Lewis) as they embark on a dangerous heist that sees them on the brink of danger and vulnerable to the threat that is Roper and his followers. As Harvey explains the events further to D.I. West, it appears that the heist may not be as simple as it first seems.
Wasteland is an ambitious and exciting film to say the least. Backed by a superb cast and a director who is keen to keep the pace going at a exciting level, it proves one of the freshest British films of the year. Admittedly, Wasteland fails to provide pure originality into the heist ethos, but it does bring to us a likable bunch of characters, a worthy set-up and a delivery in the final third that is fluid and exceptionally polished.
Some of Britain's finest young talents are part of the reason why Wasteland comes out with more positives than negatives, and in the main quartet of Luke Treadaway, Misfits' Iwan Rheon, Shameless' Gerard Kearns and Harry Potter star Matthew Lewis, are a dream team of actors who instill confidence and believability into the audience. Treadaway's confident yet cautious lead is a joy to behold, backed by a strong and outspoken performance by Iwan Rheon, and the constant bickering between Kearns and Lewis' characters provides the light relief in the group.
Not only are our main foursome something special, the likes of Timothy Spall and Neil Maskell, both in superlative form, and the beautiful Vanessa Kirby, are all worthy co-stars adding that something extra to the events that unfold. Conjuring up a story that is both interesting and a wonderful blend of sub-genres, director Athale manages to conjure up a well-laid plan of a film and deliver the goods when required.
At times filled with tension, and for the majority focusing on relationships and the bond between our characters, Wasteland interlinks genres with relative ease and allows for connection with its key individuals for the most part. Sharing distinct similarities with the likes of famed films Ocean's Eleven and The Usual Suspects, Wasteland does suffer from an air of familiarity in particular scenes and this may be its ultimate downfall.
Despite this, the film does maintain its very own British edge of grittiness and in its performances lies its greatest weapon. Fantastic turnouts from all involved mean that Wasteland is a supremely well-acted film with its own unique blend of a number of sub-genres, but it is slightly let down by an air of similarity that seems to be accustomed with heist movies.
Ultimately a heist film at its core, Wasteland is a story emanating from London that contextually links with both the thriller and drama genres, resulting in a rather intriguing affair. Opening with D.I. West (Timothy Spall) beginning to question a rather bruised and battered Harvey (Luke Treadaway), the film immediately descends into a tale of friendship, loyalty and danger.
Released from prison just six weeks previous, the relaxed Harvey is convinced into divulging the details of the events which led up to his present bloodied disfigurement, and so begins a story of the heist he and his three best friends took on. Sentenced for drugs possession with intent to supply, Harvey continues to plead his innocence and believes the man responsible for his incarceration is the intimidating drug dealer Steven Roper (Neil Maskell).
Plotting revenge on Roper, Harvey recruits the help of his three best friends Dempsey (Iwan Rheon), Charlie (Gerard Kearns) and Dodd (Matthew Lewis) as they embark on a dangerous heist that sees them on the brink of danger and vulnerable to the threat that is Roper and his followers. As Harvey explains the events further to D.I. West, it appears that the heist may not be as simple as it first seems.
Wasteland is an ambitious and exciting film to say the least. Backed by a superb cast and a director who is keen to keep the pace going at a exciting level, it proves one of the freshest British films of the year. Admittedly, Wasteland fails to provide pure originality into the heist ethos, but it does bring to us a likable bunch of characters, a worthy set-up and a delivery in the final third that is fluid and exceptionally polished.
Some of Britain's finest young talents are part of the reason why Wasteland comes out with more positives than negatives, and in the main quartet of Luke Treadaway, Misfits' Iwan Rheon, Shameless' Gerard Kearns and Harry Potter star Matthew Lewis, are a dream team of actors who instill confidence and believability into the audience. Treadaway's confident yet cautious lead is a joy to behold, backed by a strong and outspoken performance by Iwan Rheon, and the constant bickering between Kearns and Lewis' characters provides the light relief in the group.
Not only are our main foursome something special, the likes of Timothy Spall and Neil Maskell, both in superlative form, and the beautiful Vanessa Kirby, are all worthy co-stars adding that something extra to the events that unfold. Conjuring up a story that is both interesting and a wonderful blend of sub-genres, director Athale manages to conjure up a well-laid plan of a film and deliver the goods when required.
At times filled with tension, and for the majority focusing on relationships and the bond between our characters, Wasteland interlinks genres with relative ease and allows for connection with its key individuals for the most part. Sharing distinct similarities with the likes of famed films Ocean's Eleven and The Usual Suspects, Wasteland does suffer from an air of familiarity in particular scenes and this may be its ultimate downfall.
Despite this, the film does maintain its very own British edge of grittiness and in its performances lies its greatest weapon. Fantastic turnouts from all involved mean that Wasteland is a supremely well-acted film with its own unique blend of a number of sub-genres, but it is slightly let down by an air of similarity that seems to be accustomed with heist movies.
LFF 2012 - Sightseers
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.
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.
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.
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