Holy Motors

Holy Motors must be the strangest, maddest and most bizarre film I’ve seen since at least Love Exposure and possibly ever. In a statement about the nature of both acting and the digitalisation of the world, Leos Carax’s film stars Denis Lavant as a man who travels through Paris in a white limousine that is driven by Edith Scob. Along the way he stops for various ‘appointments’ for which he adopts an entirely different character complete with makeup, mannerisms and speech. Throughout the course of the day he becomes a beggar woman, motion capture artist, assassin, disappointed father plus many more.

The film’s message or statement is open for interpretation and after telling my girlfriend what I though I asked her the same, to which she replied “I thought it was about weird stuff”. The film is enjoyable however you view it and whether or not you read into any hidden messages or not. The themes that I personally believe the film is tackling may be totally different to the person next to me but it doesn’t matter. Holy Motors is a thrilling, darkly comic and bonkers film that is worth tracking down.

Easy Street

Charlie Chaplin as his Tramp character is asleep outside a Mission, close to the danger filled and lawless Easy Street. After being partially reformed by the Mission where he meets a beautiful young woman (Edna Purviance), the Tramp decides to join the Police and is immediately sent out on the beat to Easy Street, a road from where Police return battered and bruised. Through luck and wit the new Policeman tries to reform the street and return it to the local residents.

Comedy wise this is probably the most disappointing of Chaplin’s Mutual Films that I’ve seen so far. In the entire film I only laughed out loud once and generally there were very few funny moments anywhere. What the film does contain though is another tender story about overcoming the odds, hard work, temperance and love which is something that Chaplin was becoming the master of at this stage of his career.

Memento

Leonard Shelby (Guy Pearce) is a man who suffers from anterograde amnesia from a knock to the head on the same night that his wife was killed. The affliction means that although he can remember things from before that night, he is unable to store any new information for more than just a couple of minutes. His lack of short term memory causes huge problems for Leonard, especially as he is in the middle of a man hunt to track down his wife’s killer. In his pursuit Leonard is aided or hindered (he’s not quite sure) by a man named Teddy (Joe Pantoliano) and a woman called Natalie (Carri-Anne Moss). All Leonard has to rely on are photos with notes written by himself and tattoos drawn all over his body which point to clues and reminders.

I shouldn’t be surprised that Memento is completely mad, difficult to follow and ingenious all at once as Director Christopher Nolan has since followed it up with the likes of Inception as well as his multi-billion dollar Dark Knight franchise. As twisted and confusing as Inception was though it has nothing on Memento which is presented in two separate but ultimately converging narratives. The first is filmed in black and white and is presented in a traditional linear way with scene following scene until the finale. The second and certainly more unique narrative strand is in colour and opens with the film’s finale before working its way back to the opening. The result is an incredibly complex and often frustrating plot which can leave you with more questions than answers.

Forgetting Sarah Marshall

Produced by go to comedy guy Judd Apatow and written by lead actor Jason Segel, Forgetting Sarah Marshall is a comedy that I was never in much of a rush to see. I vaguely remember it being around in 2008 but it didn’t entice me to the cinema. I’ve since become more familiar with Segel’s films and when someone at work offered to lend me the DVD I thought why not? I’m glad I did borrow it as it’s a remarkable romantic comedy that completely surprised me with its extremely funny script, well drawn characters and endearing storyline.  

Peter Bretter (Jason Segel) is a fairly successful TV Composer who is in a five year relationship with the actress Sarah Marshall (Kristen Bell). One day and almost out of the blue Sarah tells Peter that she is ending their relationship and leaves him. Depressed and heartbroken Peter decides to go away for a few days and heads to Hawaii where, yup, you’ve guessed it, Sarah is also staying with her new rock star boyfriend Aldous Snow (Russell Brand). Feeling even more depressed than he was back in L.A, Peter attempts to at least try and forget Sarah and is helped by the hotel staff which includes the attractive concierge Rachel (Mila Kunis).

The Big Lebowski

After a case of mistaken identity Jeff ‘The Dude’ Lebowski (Jeff Bridges), an unemployed Los Angeles based slacker seeks out his millionaire namesake in order to complain about the mistreatment he received by mistake. The meeting is followed the next day by a call from the millionaire saying that his young, trophy wife has been kidnapped and he wants The Dude to be the bagman; delivering the money to the kidnappers. This sets off a chain of events which leaves The Dude bewildered and confused and all on the eve of his bowling league semi-finals.

The Big Lebowski is one of the hundreds of films which I’ve wanted to see for a long time and I’m happy I’ve finally sat down to watch it. I’m a fan of the Coen brothers’ work having really enjoyed seven of the eight of their films I’ve seen previously. This is most definitely joining those other seven and avoids being plonked in the bargain bin next to The Ladykillers. It’s packed full of great Coen dialogue and fantastical situations, all bought together with a great cast who are all on sparkling form.

The Lion King

A few months ago I took part in a blogathon/questionnaire type thing in which one of the questions was ‘Which ten classic movies haven’t you seen?’ Among my answers were the likes of Citizen Cane, Casablanca and North by Northwest (which I’ve since seen) but by far the biggest response to this question came from people who couldn’t believe that I hadn’t seen The Lion King. So when a friend at work (who was equally shocked) offered to lend me a shiny Blu-Ray copy I had to take it and give it a go.

Mixing a coming of age story, Hamlet, Bambi, parts of Genesis (the ridiculous stories, not band) and anthropomorphic animals, The Lion King is about a young Lion called Simba who was set to ascend the throne after the death of his father but was halted by his evil Uncle Scar. Wandering for years in the wilderness he learns about the world with the help of a Warthog named Pumbaa and a Meerkat called Timon before rising to the challenge of deposing his wicked Uncle.

The Lost World: Jurassic Park

As soon as I hear the opening notes of John Williams’ iconic Jurassic Park score I can’t help but smile and be transported back to the mid 1990s and to a time when Jurassic Park was pretty much all the boys my age would talk and think about. I experienced the Jurassic Park smile recently when I re-watched the sequel to the 1993 film for what must be at least the eighth time. The smile stuck with me for the opening hour and a half as I reminisced about when I’d first seen the film and remembered what was coming next. Some of the things that made this sequel good are still evident but unfortunately so are the aspects that made it bad.

Four years on from the Jurassic Park Incident as it is now know, John Hammond (Richard Attenborough) is assembling a team to explore, catalogue and protect the Dinosaur inhabitants of a second island, close to the original known as Site B. For this mission he recruits a reluctant Dr. Ian Malcolm (Jeff Goldblum), a man who has been publicly and academically chastised for talking about the Jurassic Park Incident. Malcolm is understandably hesitant about mixing with Dinosaurs again until he learns that his girlfriend Sarah Harding (Julianne Moore) is already on the island. So, he travels to the island along with equipment specialist Eddie (Richard Schiff), photographer Nick (Vince Vaughn) and a stowaway to rescue Sarah but not only come up against Dinosaurs but the InGen Corporation who want to further exploit the animals for profit.  

Looper

I was lucky enough to get to a preview screening of Looper a full five days before its UK and USA release and boy was it worth getting in early. Looper is a smart and twisting Science Fiction thriller which plays with the ideas and rules of time travel to create a tense film which leads you down unexpected alleys, confounding your ideas and expectations.

It’s 2042 and in thirty years time travel will be invented. Although immediately outlawed the machines are used by the mob to send people back in time for execution thus destroying all evidence of murder. The people who carry out the killing are called Loopers. One of these Loopers is Joe (Joseph Gordon-Levitt) who conducts his job with the utmost professionalism despite a few personal issues. One day though to his shock, he looks up at the tarpaulin ready for the arrival of his next victim when the man who appears in front of him is the older version of himself (Bruce Willis).

Killing Them Softly

In a rare switch around audiences in the UK, including myself are able to see a new release a full two months ahead of our cousins across the water. The release in the States has been put back for a couple of reasons including to increase its chance of awards success early next year. If this film is even in contention for major awards then I’ll eat my shoe (providing ‘my shoe’ is actually a veggie burger or similar). The film is nowhere near good enough to be in contention for awards and I have a hard time calling it good.

Two men, Frankie and Russell (Scoot McNairy – Monsters and Ben Mendelsohn – Animal Kingdom) rip off a card game run by small time gangster Markie (Ray Liotta) having been tipped off by Johnny (Vincent Curatola – The Sopranos). The heat is soon on them though and Frankie, Russell, Johnny and Markie come under the suspicion local hit man Jackie (Brad Pitt) who also brings down aging hit man Mickey (James Gandolfini) to help out.

Brick

I usually write a review almost immediately after seeing a film and due to time constraints generally write just one draft. Thankfully I’ve waited until the following morning to write something about Brick as the extra few hours has allowed me to work it around in my head and appreciate some of the finer details of the film which last night I just thought were confusing and dull.

High School student Brendan (Joseph Gordon-Levitt) is a bit of a loner these days after breaking up with his girlfriend Emily (Emilie de Ravin) and reporting his friend to the School’s Vice Principle. Brendan receives an unexpected and garbled phone call from Emily who talks about items such as a brick and a pin and something about Frisco before abruptly hanging up. Concerned for her safety Brendan goes about tracking her down but finds he is too late to help so then sets out to discover what the pin is, who or what is Frisco and what it all has to do with Emily and a brick.

A Lonely Place to Die

A group of five friends are on holiday, hiking and climbing around the remote mountains of Northern Scotland when they chance upon a strange noise. Tracking it down they discover a pipe sticking out of the ground and what appears to be a girl trapped in a box underground. After setting her free they begin their trek to the nearest town to report a kidnapping but are chased every step of the way by the shady men who put the girl in the hole in the first place.

I have a vague recollection of the film’s title and my girlfriend assures me that we wanted to see it so she borrowed it from a friend. I wish she hadn’t bothered. The plot is ok but doesn’t go deep enough and the acting and dialogue seem like they were done by people who understood the concept but had never actually seen it practiced.

Close Encounters of the Third Kind

Steven Spielberg’s 1977 Science Fiction drama remains today one of the most highly decorated and successful Sci-Fi films of all time, garnering eight Oscar nominations and two wins for cinematography and sound editing. The film was also nominated for nine BAFTAS and four Golden Globes. I’d been looking forward to seeing it for a long time and when I noticed it was on offer on Blu-Ray at HMV I jumped at the chance to buy it. As is often the case when you hear so much positivity about a film before you see it, Close Encounters didn’t live up to my expectations but is still a very good film with obvious influences on the last thirty-five years of Science Fiction.

While investigating a large scale power cut, electrician Roy Neary (Richard Dreyfuss) has a close encounter with what appears to be a UFO. As he follows the flashing lights in the sky he comes across others who have spotted the phenomenon including single mother Jillian (Melinda Dillon) and her young son Barry. Their claims are met with scepticism but neither can get the image of a mountain out of their head and when they discover what the image is, feel uncontrollably drawn towards it. Meanwhile Scientists are working on linguistic and musical possibilities in case aliens ever make themselves known to humanity.  

Fantastic Mr. Fox

When I first saw Fantastic Mr. Fox at the cinema in 2009 I fell asleep. I think this is the only time I’ve ever slept through a film and although there were mitigating circumstances I still feel bad as Wes Anderson is one of my favourite Directors. I’ve loved all of his pre Mr. Fox films and Moonrise Kingdom is one of my favourite films of 2012 so far. One of the reasons I fell asleep three years ago was because I was bored by the film but due to my love of Anderson’s work I felt the need to go back and reassess it. Unfortunately my first viewing experience was very similar to my second; the film bored me and I consider it Anderson’s worst film by quite some distance.

Based on Roald Dahl’s book of the same name the plot centres upon a fox (George Clooney) who despite promising his wife (Meryl Streep) that he would stop killing farmer’s chickens for a living, can’t resist one final spree in which he goes for three local farms, run by the meanest farmers around.

My Name is Khan

My Name is Khan is a film that comes tantalisingly close to perfection but misses out due to a mixture of a disappointing third act over simplified view of the world. Nevertheless it is an excellent film, telling the story of a pre and post-9/11 world through the eyes of Indian’s living in America.

Rizwan Khan (Shahrukh Khan) is a mildly autistic Muslim man who moves to America after the death of his mother in India. There, he meets and falls in love with a Hindu woman Mandira (Kajol) who works as a successful hairdresser in San Francisco. The film is split into three very distinct acts with the first being an often light hearted, cute and funny look at romance, tolerance and love. Khan says that the western world views history in two epochs; BC and AD but he would add a third, 9/11. Following 9/11 the lives of the Indian characters, whether Sikh, Hindu or Muslim change for the worse as racial profiling, racist attacks and xenophobia takes hold thanks to the anti-Muslim hysteria of the post-9/11 world. There is an appalling tragedy around the halfway mark which sets up the third act in which Khan travels America to meet the President and tell him “My name is Khan and I am not a terrorist”.

Amores Perros

The first film in Director Alejandro González Iñárritu’s ‘death’ trilogy (followed by 21 Grams and Babel) is a sombre and at times difficult to watch drama set in Mexico City around the themes of class, loyalty and cruelty. The film is constructed via three interlocking stories which come together by means of a car crash. The film is non-linear and dips from one story to the next, slowly building up a picture as to how and where each character fits into the wider story.

Octavio (Gael Garcia Bernal) uses his brother’s dog to make money in organised dog fights and is in love with his brother’s pregnant wife Susana (Vanessa Bauche). One day he and a friend are being chased by crooks when he crashes his car into another, being driven by the model and actress Valeria (Goya Toledo) who is in the midst of an affair with Daniel (Alvaro Guerrero), a married magazine publisher. At the scene of the crash is a down and out, vagrant man ‘El Chivo’ (Emilio Echevarria) who pushes a scrap metal cart around but hides a deeply hidden and cheerless past. The three strands only come together for the car crash scene, colliding like three marbles before being spun into differing trajectories. The film had me gripped from start to finish but left me wanting more from at least two of the three strands.

God Bless America

Once every few years a film will come along that feels as though it was made just for you. If you’ve seen God Bless America then I hope that you enjoyed it but I must tell you now, this film was made exclusively for me. Seriously, writer/director Bobcat Goldthwait must have snuck into my room one night with some sort of brain scanner and lifted the idea from this movie from my head. I’ve had numerous conversations with my girlfriend about the wonders of living in a world where you could just choose people who annoy or anger you to stop existing. I wouldn’t like to ever kill someone but it would be lovely if there was some switch that when flicked could just transport all of the mean, cruel, talentless, waster dickheads to some far away island where they could live out their lives without being of bother to the people whose lives they make a misery.

God Bless America takes some of my darkest thoughts, blows them up and adds some violence and a coherent story to make a fantastic satire of modern Western Civilisation. Frank Murdoch (Joel Murray) is a middle aged man who is annoyed by his neighbours and sickened by the putridness of society. After losing his job and being diagnosed with a brain tumour he decides enough is enough and travels to Virginia where he kills an obnoxious teenage girl who was the ‘star’ of a particularly blood pressure raising episode of My Super Sweet 16. A classmate of the girl called Roxy (Tara Lynne Barr) sees the murder and persuades Frank to take her on a killing spree, shooting those who spread hatred and fear and people who are repellent, abhorrent or disrespectful.  

Hannah and Her Sisters

In typical Woody Allen fashion, Hannah and Her Sisters is a comedy-drama that intertwines several stories from a large cast. The plot centres around three sisters and their often interconnecting relationships. Hannah (Mia Farrow) is a successful Actress and married to financial advisor Elliot (Michael Caine) who in turn is infatuated with Hannah’s sister, Lee (Barbara Hershey). Lee is in a relationship with a reclusive artist named Frederick (Max von Sydow) but begins to realise that she too has feelings for Elliot. The third sister Holly (Dianne Wiest) is an unsuccessful Actress who is recovering from a cocaine addiction. The final piece of the jigsaw is a hypochondriac TV Producer and Hannah’s ex-husband Mickey (Woody Allen) whose philosophy on life changes as the plot progresses due to the sudden realisation that he will one day die.

The film is set over a two year period but also contains flashbacks to times before the narrative began to contextualise certain relationships. Voice over from several of the actors provide the audience with access to the characters inner thoughts as the merry go round of associations and affairs slowly unfolds. The film is witty and sometimes interesting but for a fairly short film, it felt long and sometimes tedious.

Premium Rush

New York City bicycle courier Wilee (Joseph Gordon-Levitt) is at the end of a tough day dodging traffic and delivering packages across the length and breadth of Manhattan when he gets one last call. Wilee has to pick up an envelope from a college campus Uptown and deliver it to Chinatown by 7pm but is soon approached by a debt ridden, crocked cop (Michael Shannon) who tries to take the package off his hands. Sensing something isn’t right; Wilee takes off at high speed which brings about a two hour chase across the Borough and ends up involving Wilee’s ex girlfriend Vanessa (Dania Ramirez), love rival Manny (Wole Parks) and luckless bike cop (Christopher Place).

For a film about a bike messenger trying to deliver an envelope, Premium Rush is a lot of fun. The action is fast paced and well shot and the acting good and sometimes great. The plot is a little uninvolving but plays second fiddle to the high speed bike action.

ParaNorman

Norman (Kodi Smit-McPhee – The Road) is an eleven year old boy living in a small Massachusetts town famous for hanging a Witch three hundred years ago. Norman is unpopular at home and ridiculed at school because he believes that he can talk to ghosts. After being approached by a creepy old man about averting the ‘curse of the Witch’, Norman accidentally raises a horde of zombies from their graves before enlisting their help along with that of his sister Courtney (Anna Kendrick), friend Neil (Tucker Albrizzi), Jock Mitch (Casey Affleck) and school bully Alvin (Christopher Mintz-Plasse)in sending the Witch back to her grave.

The first of three hotly anticipated horror/comedy/stop motion kids films we’ll see in the coming weeks and coming three years after Laika’s success with Coraline, ParaNorman begins with a flourish which sets it up to be an interesting and funny family film. Unfortunately it runs out of steam after about fifty minutes when the jokes dry up and the predictable plot takes over from what had been a fun, film which takes a surprisingly candid look at death.

Dredd

In Mega-City One, a dystopian metropolis of 800 million people which stretches from Boston to Washington DC, justice is dealt out by the Judges of the Justice Department. These lone law enforcement agents act as Judge, Jury and Executioner in a violent and crime ridden world. One of these Judges is Dredd (Karl Urban) who takes out a rookie (Olivia Thirlby) for a final evaluation before a decision is made about making her a full time Judge. The rookie Anderson has so far been unremarkable in training but is the most powerful psychic anyone at the Department has seen. On their first assignment together the two Judges end up in a two hundred story apartment block the size of a small city which is locked down by ex-prostitute turned drug baron Ma-Ma (Lena Headley).

I’ve never read a Dredd comic and was fortunate enough never to see the 1995 Danny Cannon/Sylvester Stallone adaptation so went in completely cold to the story and characters. I understood that there was some sort of big deal about not taking Dredd’s helmet off but that was about it. I also understand that it’s one of the UK’s biggest and best known comics so it’s with great pleasure to report that in a summer of incredible comic book adaptations that Dredd is able to mix it up with the American behemoths and come out the other side as a really solid action movie which mixes the best of the 1980s with a modern twist.

Love Exposure

One of the longest, strangest and best films I’ve ever seen, Love Exposure is a four hour long Japanese epic written and directed by acclaimed director Shion Sono which tackles themes such as love, lust, religion, the family unit, loss and…um… up skirt photography.

Rather than a plot summery, here is a brief outline of the five main characters. Hopefully it will put across the magnificent uniqueness of this fantastic film.

Yu Honda (Takahiro Nishijima) is a seventeen year old Priest’s son. Following sorrow in his father’s life, the Priest only allows Yu to see him during confession. Yu ends up desperately searching for Sins to commit so that he can tell his father and drifts into the world of up skirt photography which he becomes a master of due to his martial arts skills. After loosing a bet regarding who has the best photo, his friends dare him to dress up as a woman and find a girl to kiss. He comes across a young woman called Yoko who he instantly knows is his ‘Mary’. The only problem is that when they meet, he is in drag as ‘Miss Scorpion’…

Yoko (Hikari Mitsushima) is the same age as Yu and lives with her father’s ex lover Kaori. Her father abused her as a child and as a result she hates all men. One day she is confronted and attacked by a group of men but saved when a strange woman called Miss Scorpion comes to her rescue. She falls instantly in love but at the same time is forced to move in with Kaori’s new lover and his son, Yu who she hates with a passion.
Kaori (Makiko Watanabe) is an early middle aged woman who has spent her life going from one man to another. Along the way she has picked up the daughter of one of these men, Yoko. The two of them bonded as friends and now wherever Kaori goes, Yoko follows. Depressed one day, Kaori finds herself in a Church where she forces herself on the Priest.
Tetsu Honda (Atsuro Watabe) is a Priest, widower and father to Yu. Conflicted between his faith and love of a new woman he starts putting pressure on his son to Sin before eventually disowning him altogether when it becomes clear that his Sins have got out of hand. Along with Kaori and Yoko, he is indoctrinated into a cult called the Zero Church by…
Aya Koike (Sakura Ando) is a member of the Zero Church Cult who indoctrinate families into their circle. Like Yoko she too was abused by her father but instead of escaping, chopped off his penis when he was asleep. Aya turns her attention to Yu and his family when she sees an opportunity to indoctrinate them.

Le Havre

An ageing shoeshine, Marcel Marx (Andre Wilms) takes in a young African boy, Idrissa (Blondin Miguel) after he escapes from a ship’s cargo container in the French port of Le Havre. Despite Marcel’s lack of money and sadness that his wife Arletty (Kati Outinen) is gravely ill in hospital, he does all he can to reunite the young migrant with his mother who has settled in London.

Le Havre had an olden feel to it which permeated the whole film. The location, costume, cars, and ambience gave the impression that it was set in the late 1960s or early 1970s. You get the idea that the world has moved on and forgotten people like Marcel who sits outside the station waiting to shine shoes, looking down at people’s feet to see mostly trainers and looking up at faces to see mostly aversion in people’s eyes. You also get the sense that like many port cities, Le Havre is also a city that has been left behind. Marcel’s neighbourhood in particular has an almost Dickensian air about it with a small bakery, grocery shop and narrow streets lined by small, dilapidated houses. The arrival of a young African boy in to the mix spices up the area and adds a sense of rejuvenation, bringing the community together.

The Rink

A waiter (Charlie Chaplin) gets into trademark mischief at work and then goes to a skating rink on his lunch break. There he meets a pretty girl (Edna Purviance) and the two of them hit it off. The waiter has a confrontation though with a customer (Eric Campbell) who recognises him from the restaurant and the two start bickering and fighting while skating. Having left the rink, the girl invites the waiter to her skating party that night but instead of revealing his real job he tells her that he is Sir Cecil Seltzer. Later, at the party, people who had met during the day once again meet up as various strands of the story come together, resulting in a fast paced chase ending.

I was a little bored by the first half of this film which was set mainly in a restaurant, but my enjoyment grew as the action turned to the rink. There Chaplin was able to showcase his remarkable skating skills and ability to bully his co star Eric Campbell in an ever changing variety of ways. The second half more than makes up for the lacklustre opening and left me with a smile on my face if not a laughter induced stomach ache.

Lawless

Lawless is a prohibition era gangster biopic about three brothers from Virginia. Jack Bondurant (Shia LaBeouf) is the youngest of the brothers and lacks the courage, strength or attitude to violence that his older brothers Forrest (Tom Hardy) and Howard (Jason Clark) possess. Forrest especially is a sort of Clint Eastwood figure; strong, silent and deadly. All three are involved in the moonshine business but their trade comes under threat when a new Special Deputy (Guy Pearce) arrives from Chicago to put a halt to their operations.

The film shares traits with Director John Hillcoat’s previous film The Proposition. Both focus on brothers outside the law in semi-desolate locations who must battle across a thin line between right and wrong against corrupt officials. The visually stunning but run down locations and decaying beauty also help bring to mind Hillcoat’s The Road. This film though is more of a coming of age story as young Jack Bondurant fights for respect from his brothers and the gangster who inhabit his world. It is also a tale that blurs the lines between good and evil, right and wrong with the Bondurant boys becoming anti heroes who the audience will be routing for from start to finish.

Anna Karenina

Director Joe Wright’s adaptation of Leo Tolstoy’s 1877 novel Anna Karenina is one of the most visually stunning and artistically bold films I’ve seen in quite some time. Wright places most of his plot within the confines of a dilapidated theatre and has his actors make use of the stage, stalls and behind the scenes areas when forming the sets of late Tsarist Saint Petersburg. Actors will walk from one part of the theatre to another with sets and costumes changing around them, all with the hustle and bustle of both a real theatre and lively city. It’s a stylistic decision which was probably met with scepticism by studio bosses and the like but works incredibly well to bring to life the characters which themselves are so wonderfully written by Tolstoy.

Anna Karenina (Keira Knightly) is married with a son to senior statesman and a man who is greatly admired and respected in society, Count Alexei Karenin (Jude Law). Their marriage is typical of the society in which they live in that it was not for love and he is much older than she is. On a trip to visit her brother Prince Stepan (Matthew Macfadyen) in Moscow she attracts the attention of a young, rich and handsome cavalry officer called Count Vronsky (Aaron Taylor-Johnson). After an infatuation the two fall madly in love but in a closely nit society in which infidelity is ‘against the rules’, Anna must decide which is more important? Her standing, child and image or true love.

Behind the Screen

Behind the Screen stars Charlie Chaplin as a stagehand on a movie set. Chaplin is overworked and underappreciated and his boss (Eric Campbell) spends most of the time asleep, leaving Chaplin to do the heavy lifting. Meanwhile a young woman (Edna Purviance) is trying to get her big break as an actress but is turned down so dresses up as a male stagehand in order to have at least some involvement in the movies. At the same time the fellow stagehands go on strike for being woken up by a studio boss and plot their revenge…

This isn’t one of the funniest Mutual shorts but it certainly has one of the better plots up to this point. It’s multilayered and features side plot as well as the main narrative. It is also an opportunity to see behind the scenes of an early movie set in much the same way as His New Job, Chaplin’s first film for Essanay a year earlier. What the film is most famous for now though is its forthright joke about homosexuality, a subject which was barely mentioned in cinema for another fifty years.

The Royal Tenenbaums

I first saw this film when I was about sixteen on one of my frequent trips to the cinema with friends. When one of them told me about it I thought it sounded awful. I was used to seeing action and comedy films on a Friday night and didn’t want to sit through a film about some family and an old man dying. In the end the film completely shocked me and helped to introduce me to the joys of cinema, seeing passed the Friday night popcorn movies to which I was accustomed. It was also the first of many Wes Anderson films that I fell in love with. I often site Martin Scorsese’s Taxi Driver as being the film which opened my eyes to cinema but thinking about it now, this film did the same thing, albeit to a lesser extent, two years earlier.

Royal Tenenbaum (Gene Hackman) is thrown out of his house by his wife (Anjelica Houston) before their three genius children (Ben Stiller, Luke Wilson, Gwyneth Paltrow) reach their teens. This has a far reaching impact on all of their lives and none of the three grow up to fully reach their potential. Playwrite Margot (Paltrow) stops writing, Tennis champion Richie (Wilson) retires ages twenty-six after a breakdown and business guru Chas (Stiller) becomes overly protective of his own children following the untimely death of his wife. After years of being out of the picture, Royal decides he wants to become reacquainted with his quirky children but ends up going about it in all the wrong ways.

The Pawnshop

Charlie Chaplin’s sixth film for Mutual is one with very high highs and disappointingly low lows. It features a scenario and story which doesn’t really go anywhere but also features several moments of slapstick that are amongst his best to date.

Chaplin stars as a pawnshop assistant and gets in a long running fight with fellow employee John Rand. Typically inept at his job, Chaplin is eventually fired only to be taken back on straight away after his boss Henry Bergman has a change of heart. Meanwhile Chaplin’s attentions are drawn to Bergman’s daughter Edna Purviance who is busy baking in the back of the shop. Trouble appears late on as a thief, Eric Campbell enters the shop intent on taking it for everything it’s got.

The Hurricane

In 1966 professional boxer Ruben ‘Hurricane’ Carter was arrested for triple homicide and subsequently found guilty and sentenced to three life sentences for the crime. Despite always maintaining his innocence a second trial also came to the same guilty conclusion. Biopic The Hurricane tells the story of Carter’s fight to clear his name with the help of some unlikely accomplices in the form of three Canadians and the teenager from Brooklyn who they’d taken in. Denzel Washington stars as Hurricane Carter in one of the performances of his career in a film which portrays the hatred, racism and injustice that the human race is unfortunately capable of dishing out to one of its own.

The film uses a non linear timeline to flash back and forward from Carter’s early years, through his boxing career, incarceration and the eventual meeting between himself and Lesra Martin (Vicellous Reon Shannon), Lisa Peters (Deborah Kara Unger), Sam Chaiton (Liev Schreiber) and Terry Swinton (John Hannah) who all fought tirelessly to prove his innocence. The bulk of the film concentrates on the period from Carter’s arrest in 1966 to the mid 1980s though. Although it is far from a perfect film and inaccuracies have been levelled towards it, the incredible story and Washington’s performance make this a film which I’d recommend to anyone.

The Count

Charlie Chaplin’s fifth film for Mutual is a somewhat simpler film than its immediate predecessors The Vagabond and One A.M. and is more reminiscent of his Essanay work, albeit it more sophisticated and slightly funnier. Chaplin plays an inept Tailor’s assistant who gets fired for burning a Count’s trousers. His boss (Eric Campbell) finds an invitation to a party at the house of Miss Moneybags (Edna Purviance) and decides to impersonate the rich Count in order to marry the attractive, rich girl. Chaplin is also at the party having snuck in through the back door and beats Campbell to the impersonation. All hell breaks lose though when the real Count arrives, along with the Police to chase out the imposters.

The Count features lots of funny moments but lacks the knockout blow of the likes of One A.M. or The Bank. It’s testament to the quality of Chaplin’s Mutual films that I felt disappointed by The Count even though it is far superior to a lot of his Essanay films.

North by Northwest

Alfred Hitchcock’s tale of mistaken identity and Cold War spying has gone down as one of the most highly regarded films in history. It was nominated for three Academy Awards, is ranked at 55 in the AFI’s 100 Years 100 Movies ranking and holds an 8.6/10 on IMDb. Carey Grant plays Roger Thornhill, an Ad Man who is abducted by James Mason’s ‘Townsend’ character under the suspicion that he is the spy George Kaplan. Thornhill is chased across America from New York to South Dakota via Chicago by the Police and Townsend, meeting the seductive Eve Kendall (Eva Marie Saint) along the way. In this next sentence I’m going to say something that will probably draw a lot of negative comments along the lines of “You don’t know what you’re talking about” or “You mustn’t have been watching it right” but not only do I not think North by Northwest is a great film but I personally believe it is the worst Alfred Hitchcock film I’ve seen so far. The film undoubtedly features some great stand out moments but as far as suspense and thrills go, this one left me cold.

Lars and the Real Girl

Lars Lindstrom (Ryan Gosling) is a shy and retiring man living in the garage of his brother and sister-in-law’s house. He frequently tries to avoid contact with his friends, co-workers and family and when he does have to interact with others, conversation is stilted before Lars is able to escape. Despite the obvious interest of colleague Margo (Kelli Garner) Lars has no girlfriend so his brother Gus (Paul Schneider) and Sister-in-law Karin (Emily Mortimer) are shocked when one day Lars appears at their front door with the news that he has a house guest; a wheelchair bound, half Brazilian, half Danish missionary whom he met on the internet. Gus and Karin are initially overjoyed that Lars has met something but are soon startled to discover that ‘Bianca’ is in fact a Real Doll sex doll whom Lars is convinced is a real person. Worried about his mental health his family and friends all rally around Lars and attempt to welcome Bianca into the community while trying to get Lars the help that he so obviously needs.

The term rollercoaster ride of emotions is a little bit tacky and overused but it applies here. Every few seconds while watching this film I went from laugh out loud laughter to shock to sadness and back again. The film manages to be incredibly uplifting, sad and funny, often at the same time and features some great acting and an astonishing and original script.

The Thing

A Norwegian helicopter is seen chasing a dog through the Antarctic until it reaches a US Research Station. A man emerges and tries killing the dog but is himself shot by one of the researchers. Eager to understand what drove the man to such lengths, helicopter pilot MacReady (Kurt Russell) and Dr. Copper (Richard Dysart) head off to find out what is going on in the Norwegian station. When they arrive they find death and destruction but discover that the Norwegians had discovered a craft and frozen body deep inside the ice. The US team take the body back to their base for an autopsy but soon discover it isn’t a dead body but a thawed out creature that is capable of killing and metamorphosing into anyone with which it has contact. Not knowing who amongst them is still human the team enters into a climate of fear and mistrust and battle to stop The Thing from reaching civilization.  

This film was recommended to me by a friend a few months ago at the same time as I watched The Fly. I liked that film but The Thing is on a whole different level. I enjoyed it from start to finish and although never scared, thought it was a brilliant thriller with wonderful creature design.