Inside Llewyn Davis

As with any new Coen brothers film, I eagerly anticipated the release of Inside Llewyn Davis and the good things I’d heard from America before its UK release only added to my excitement. The fact that it’s taken close to a week to write something about the film though, might tell you something about my reaction to the movie. Unfortunately I left the cinema feeling disappointed. I’d go so far as to say that I didn’t really like or even enjoy the film and the last week or so has found me struggling to find a spin on it so that I could reward it with a favourable review. Alas I’m out of time so here’s what I think.

To put it bluntly, the film did little for me. I wasn’t entertained and was rarely amused. I didn’t get much from the story and disliked the central character. It left me feeling cold and uninterested and I never got on board with Llewyn, willing him on to succeed. Instead I just thought he was a bit of a dick. His misfortunes were often his own and his undoubted talent was clouded by his personality. Although the Coens’ attempt to present other characters even less favourably, I still wanted nothing to do with him and was only happy when he was singing.

The Great Gatsby

Sited by many as one of the greatest novels of the twentieth century, F. Scott Fitzgerald’s The Great Gatsby is a book that I have never read. As a result this review will be based purely on the Baz Lehrmann film and not informed in any way, shape or form by the source text. Lehrmann is a director who I generally have little time for. His in your face, ultra heightened fantasy style is not normally to my liking but a film set amongst the excess of post war, roaring 20s is the sort of project which may perfectly suit his visual eye. With The Great Gatsby, Lehrmann creates a film which is full of cinematic choices which are both at the same time wrong and fitting and while I don’t necessarily agree with all (or in fact most of his choices), he has created a film which sets itself apart from the competition and is both bold and exciting.

Nick Carraway (Tobey Maguire) is a graduate of Yale University who moves to New York’s Long Island, home of the rich and famous, with the hopes of making his fortune in the blossoming stock market on Wall Street, twenty miles to the west. Carraway’s neighbour is an enigmatic figure called Gatsby (Leonardo DiCaprio), a man who few know or have even met, yet a man whose name and lavish parties are known by everyone from Senators to starlets to smugglers. Gatsby befriends his neighbour but remains somewhat aloof until one day when the rich inscrutable Gatsby requests help in setting up a meeting between himself and Carraway’s beautiful but married cousin Daisy (Carey Mulligan), a woman not unknown to Gatsby.

Drive

"... I don't sit in while you're running it down. I don't carry a gun. I drive"

A Hollywood stunt driver / part time wheelman for L.A’s criminals (Ryan Gosling) gets embroiled in a crime that puts him on a collision course with the Mob after taking a job in order to protect perhaps the only two people in the world that he has any feelings for. The cool and unflappable Driver seeks out those who have wronged him and attempts to save his own and his love interest’s lives.

This was easily one of the top 10 best films of 2011 and possibly inside my top ten of the last several years. The film and its central character are effortlessly cool and both have become both instant classics and cult favourites. Although the film’s time period is never specified it seems to have a foot both in the present and in the 1980s. The style, design and music reminded me of the video game Grand Theft Auto: Vice City as it has that kind of 80s Miami almost art deco style-stucco style. The colour palette is beautiful and dominated by the colour gold, perhaps in a nod to its L.A setting and also the Driver’s nostalgic view of L.A with its strong silent movie stars and dames in need of rescue. The whole film has a very Noir feel to it. The gold is most noticeable in Gosling’s wardrobe as he sports golden shoes and a fantastic gold scorpion jacket. More subtlety though the sun kissed L.A streets also glisten gold.

Shame

I found Shame to be a bleak, intriguing and tense film which stuck with me for a long time after watching it. It follows Michael Fassbender as Brandon Sullivan, a successful thirty-something in New York who has an addiction – to sex. Brandon is forced to juggle his addiction with his job and this is made even more difficult with the arrival of his emotionally damaged sister Silly, played by Carey Mulligan.

One of the first things that me struck about the film was how beautiful both New York and the internal sets looke. Steve McQueen is obviously a man with a great eye for beauty in simplicity, a trend that has continued from his earlier career as an artist. Another thing that struck me was Michael Fassbender’s penis. My girlfriend’s three word review of the film “it’s so big!” sums it up well. The film doesn’t shy away from sex or nudity which is refreshing in a world where 18 Certificate films are becoming much rarer. Many film makers see the 18 as something to avoid for financial reasons but Searchlight, the films distributor has called it a “badge of honour”.

Although the film focuses on sex addiction, it could be about any type of addiction. You are increasingly drawn in to Fassbender’s quest to scratch his itch as his life spirals deeper into depravity. You realise that he will do almost anything to get his fix and the parallels with other addictions are evident.

While sex addiction is at the forefront of this film I believe that its motif is the relationship between Fassbender and Mulligan. You are left wanting to know more about what lead them to become the people they are. They don’t seem like brother and sister and find it hard to act as though they are. This mystery is at the heart of the film.

Shame is a powerful and uncompromising film that delves deep into the subject of addiction and its impacts on us.       

9/10