My Super-Ex Girlfriend

Starring Uma Thurman as an emotionally unstable Superheroine, 2006’s My Super-Ex Girlfriend was a pleasant surprise for me. Being let down so often by dull, unfunny romantic comedies, I found it to be a refreshing take on a tired formula.

The likable and affable Luke Wilson stars as the likable and affable Matt Saunders who meets a shy and seemingly uninterested Jenny Johnson, played by Uma Thurman on the Subway. When a man steals Johnson’s handbag, Matt pursues the thief and retrieves the bag. This act of heroism earns Matt a date. Several dates later, by which time Johnson has become increasingly neurotic and unbalanced, she lets Matt into her huge secret, that she is in fact G-Girl, a crime fighting Super Hero. When Johnson/G-Girl’s increasingly aggressive and jealous behaviour gets too much for Matt he decides to break off the relationship, a decision he could come to regret.

The film, while not incredibly funny is very enjoyable. I was watching with a smile on my face. Uma Thurman looks like she is really enjoying playing both characters and Luke Wilson is fine, though he is just playing Luke Wilson. A lot of the humour comes from Thurman’s wonderful portrayal of an emotionally unstable woman who becomes increasingly mentally unbalanced throughout the film. She is a joy to watch. Thurman and Wilson are joined by a strong cast which includes Anna Faris as Wilson’s co-worker and the fantastic Rainn Wilson (of The Office fame) as Matt’s best friend. Also joining the cast is English comedian Eddie Izzard who does a fairly convincing American accent but is not as convincing as a super villain.

Being both a Rom-Com and Superhero movie, there was only one place that the film could best set and that is in New York. The city looks fabulous but the CGI is sometimes shiny and unconvincing. A GCI shark looked about as real as a reality TV star’s face. I found it quite funny that G-Girl’s disguise is just a wig and glasses, but Superman gets by unnoticed with less.

While My Super Ex-Girlfriend is in no way a classic or even close to being great, it is a nice take on the romantic comedy genre with some funny moments and an excellent performance from Uma Thurman.

7/10

The Artist

Up until today I have only even see three films more than once at the cinema; Titanic (don’t judge me, it was very difficult for an eleven year old to see boobs in a pre internet age), Slumdog millionaire and Senna. The Artist is the forth.

The Artist invites us back to a time where cinema was something that one wore their best suit for and applauded at the mere mention of a stars name; a world before jumbo popcorn and cheesy nachos where cinema and its projection were an art form. The film draws you into the world of George Valentin, a silent movie star at the height of his powers. We join Valentin, who is played superbly by Jean Dujardin, as he is back stage awaiting the response to his latest picture. It is a huge success and he enjoys the crowd’s adulation after the curtain has closed. Outside, while speaking to the press, Valentin has an accidental encounter with a beautiful young woman called Peppy Miller, played by Bérénice Bejo. The film charts the rise of Miller’s career as an actress in the talkies in contrast to the free-fall of Valentin as he is stuck in a world with talking movies which he doesn’t want any part of.

I absolutely adored it when I first saw it about a month ago and found it even more enjoyable the second time around. I was able to spot the nuances that help to make the film one of my all time favourites. I could hear subtle changes in the music when a look was given and even a ‘plink’ when one character blinked. I was able to appreciate the beautiful framing of every shot and the attention to detail in each scene. I could see how a chair was placed in just such a way that it split the frame in half, showing us two characters separate emotions that, though sat very close, were worlds apart.

The use of shadow in 1922s Nosferatu

Although I’m no expert on silent cinema, I believe I have seen more silent movies that most young people, count Charlie Chaplin as my favourite film maker and Keaton’s Electric House and Hawks’ Scarface amongst my favourite films. I felt that the film totally lived up to what was great about the best silent movies. The score, so integral in a film without dialogue was perfect. It captured the mood of each scene, let us into the minds of the characters and also updated with the films progression from 1927 to 1932. The use of mirrors and shadows was reminiscent of German expressionism and Film Noir and fitted perfectly with the tone of the movie.  The script was also brilliant. While it wasn’t spoken, what you could lip read; tell in body language and read on title cards was delightful and wonderfully written. I also noticed on my second viewing the subtle uses of words like ‘talk’ and ‘silent’ in important scenes, often having nothing to do with the lead characters refusal to speak on film.

The acting of both leads was sublime. It is no wonder that both have been nominated for Oscars. Dujardin looks every inch the silent movie star. He has the face, smile and demeanour down to a tee. He has the look of Douglas Fairbanks and the confidence and swagger of Maurice Chevalier. He is absolutely wonderful in the film and I expect him to be named Best Actor later this month. Bejo is just stunning. Her beauty and grace have not been matched on screen in many years and she looks as though she has walked straight into the film from 1929. I have a huge crush, though more on her feisty yet sweet and caring character than the actress herself.

The Artist has been nominated for Best Sound as the BAFTAS, along with 11 other nominations. It may seem odd for a silent movie to be nominated for sound but I believe it should win in this category. What little ‘sound’ there is is perfectly timed and placed. A scene featuring a glass deserves the award just on its own.

It would have been easy to make a modern day silent movie by just filming in black and white and adding old swing style music to it but The Artist cuts no corners in its quest for authenticity. It is a delightful, masterpiece that will leave you tap dancing all the way home.

10/10

If you liked The Artist then try OSS 117: Cairo Nest of Spies from director Hazanavicius and starring Jean Dujardin and Berenice Bejo.

The Descendants

George Clooney stars as the father of two children who has to cope when his wife goes into a coma after a water sports accident. He has the added burden of an important decision regarding his ancestor’s estate and discovers that his wife was engaged in an affair before her accident.

Filmed and set in Hawaii, the film looks beautiful. That sounds like an easy task considering where it is set, but a lot of the film is set in the built up areas of the archipelago which are rarely seen in films. Not everything is pristine which is nice to see. There are leaves on the driveway and cracks in the walls. When we do see the natural beauty of Hawaii, it is with good reason and not over done. This isn’t a film about Hawaii’s beauty but about a families struggle while living in it.

Family trouble

The story is interesting but unfortunately as so often is the case, too much of it was given away in the trailer. There were very few surprises and generally you already knew where it was heading. The dialogue is witty though which helps with the lack of suspense.  

George Clooney is very good and probably deserves the nominations and awards he has received for his performance. The rest of the cast are also admirable. Clooney’s daughters, played by Shailene Woodley and Amara Miller are both excellent as a rebellious teen and inappropriate ten year old respectively. Woodley’s boyfriend, played by Nick Krause, while remaining annoying throughout, becomes more likable as the film progresses.

I find it difficult to talk about what I liked about the film. The ending was excellent and quite sad but I found myself bored at times and it is far from perfect.

7/10

Hall Pass

Below are a picture of Nicky Whelan and a two minute clip of Stephen Merchant. Look at these and save yourself the 109 minutes it would take to watch Hall Pass.

The film stars Owen Wilson and Jason Sudeikis as married best friends who are entering middle age. Though happily married, they both fondly remember their time as single men where they were free to do whatever they wanted to whoever they wanted. After a series of forgettable mishaps and arguments, both of their wives, played by Jenna Fischer and Christina Applegate, agree to give them a ‘Hall Pass’ or week off from marriage. The next ninety minutes of your life are spent watching what they get up to.

I decided to watch this film because I’d seen Stephen Merchant in the trailer and thought he seemed funny in the film. I’m a fan of both his solo work and his writing with Ricky Gervais so thought I’d give it a go. Unfortunately, he is only on screen for about four minutes. While he is the funniest thing in these few fleeting moments, it is not nearly enough and the rest of the film is very thin on the ground with laughter. I found myself smile a couple of times and chuckle once.

The idea of a Hall Pass is interesting and occasionally the film skirts around the philosophy of relationships. I wish there had been more of this as these were often the best moments of the film. The rest of the film is spent watching a couple of forty-somethings eat food, lie on hotel beds and occasionally try to meet women. Their disastrous attempts are meant to be funny but just aren’t and when things do start to change for the better for Owen Wilson’s character, he is pursued by a beautiful college student (Alexandra Daddario) and gorgeous barista (Nicky Whelan) which just seemed a little unlikely given his failed attempts to attract a woman throughout the rest of the film. What Fischer and Applegate get up to is more interesting and I think the film would have benefitted from spending more time with them.   

One Film
No Laughs

Towards the end, the film comes to the incredible conclusion that actually both men and women like sex (who knew?) and that although relationships can be difficult at times, they need to be worked at and everyone lives happily ever after… Snore.

The acting is not terrible but there is nothing for the actors to do. Everyone seems to have one eye on their bank balance, plodding through until they can move on to something else.

3/10

Carnage

Imagine a middle class version of Jerry Springer or Jeremy Kyle. Swap the Blue WKD for eighteen year old, single malt Scotch, the tracksuits for sharp suits and sharper tongues. Takeaway the child with six possible fathers and introduce an argument regarding a child’s fight and you have Carnage, the brilliant new film from Roman Polanski.

Set in Brooklyn though filmed in Paris due to Polanski’s ongoing legal problems, Carnage is set around two middle class couples meeting to discuss an altercation between their eleven year old sons. Almost the entire film takes place in the Brooklyn apartment of Michael and Penelope Longstreet who are played by Jodie Foster and John C. Reilly. They are joined by Alan and Nancy Cowen, played by Christoph Waltz and Kate Winslet, whose son is seen attacking the Longstreet’s boy in the films opening scene.

What starts off as a civil conversation, albeit with subtle antagonistic undertones soon unravels into a hostile; vomit strewn mess with arguments covering everything from hamsters to Darfur by way of toilet flush mechanisms. The angst of middle class political correctness is felt as both sides desperately try to remain calm and polite while losing control of their tongues more and more with every sentence. One of the best things about the script is how the arguing and bickering isn’t contained between the two couples. Every now and then it will switch so that perhaps it is three against one or drawn on gender lines. This enriches the film and stops it from stagnating. It is often when one person in particular is turned upon by two or three of the others that they shine, John C. Reilly for instance although excellent throughout, is at his best when backed into a corner by Winslet and Foster.

The acting on the whole is outstanding and the ensemble cast works very well together. Each actor is given at least a couple of moments when they can come to the fore and show what they’ve got but the other three are always ready and waiting in the middle distance for their turn. If I had to choose I’d say that Kate Winslet gives the best performance overall but both Reilly and Foster have scenes where they are sublime. Waltz, plays the role of an arrogant, slightly slimy lawyer who never fails to say what he thinks and while I don’t believe this is a stretch for him, he plays it rather well, especially considering he is not performing in his first language. Inglorious Basterds was no fluke.

What adds to the wonderful script and acting is the setting. While the apartment helps to intensify the tension and feeling that all are trapped, it never feels overly claustrophobic. On a few occasions, the Cowen’s are on the verge of leaving and get as far as the elevator. You can feel yourself urging them to get in and run but something always stops them. This is both adds to the tension and is comical.

The comedy is where the film really had me. The dialogue is cutting and sharp-witted and there is a laugh almost every couple of minutes. In fact, I laughed more during this film than in any since I saw Black Dynamite maybe two years ago. The looks between each couple are also perfectly timed. The whole thing feels very natural which makes it even funnier. Nothing seems forced. The more farcical moments are timely and spread thin.

If I did have one complaint about the film it would be in its marketing. The trailer features a scene in which a mobile phone is ‘disposed of’. The phone plays an integral part in altering the casts emotions during the film and each time Waltz answered it I was waiting for what I’d seen in the trailer. This distracted me somewhat as I was thinking to myself “this must be it…” each time I saw it emerge from his inside jacket pocket. While this isn’t a major problem, it annoys me when films give away too much in a trailer. Christoph Waltz’s and John C. Reilly’s reaction to what we see makes up for having seen it so many times however, is one of the funniest parts of the film and also where it turns into Carnage.    

9/10    

Chronicle

I saw Chronicle the day before its official release at an advanced screening so hadn’t heard any reviews beforehand. As a result I didn’t know what to expect. When I was joined in the cinema by 15 or so loud teenagers, playing on their phones and laughing at popcorn, my expectations suddenly lowered, however I enjoyed Chronicle very much indeed.

The film, written by 26 year old Max Landis, son of John Landis, is about three American High School students who discover a hole in the ground in the woods near their home. Inside the hole they find a glowing ‘thing’ which somehow gives them super powers including telekinesis and flight. The story then follows the boys as they discover the extent of their powers and how they can and should use them.

The boys discuss the use of their powers

The three main characters are all played well and have defined and interesting characteristics. One is a geeky, awkward kid who has lots of problems at home. He is played by Dane DeHaan who convincingly transforms from a socially awkward teen into a powerful but unbalanced man. His arc is what the film is built around. He is joined by Alex Russell, playing DeHaan’s cousin, a smart, semi-outsider with a puncheon for spouting philosophy. The third member of the group is the High School jock and popular kid, played by Michael B. Jordan, seen in early series of The Wire. Together the three of them seem to be having fun with the characters and are all believable in their roles.

The film uses the now fairly common found footage technique that has been so popular is The Blair Witch Project and more recently Cloverfield and the Paranormal Activity movies. Chronicle introduces a twist on the technique though by using multiple cameras. While a lot of the film comes from the boys own video camera, we also see CCTV footage and film from other minor characters. While I thought this worked well for the most part and was an interesting, fresh approach, I felt that one character in particular was only in the movie because she used a video camera for her blog. Towards the end of the film, one of the main characters also steals lots of cameras and phones so that we are able to see a particular set piece from many different angles. I felt this was lazy and obviously only in the film for this reason. It also broke somewhat from the rules the film had set itself.

Not everyone can handle super powers

Some of the best scenes in the film come when the boys venture above the clouds. The GCI is superb and the scene looks beautiful. Other effects looked very natural and realistic which made a change from the often shiny, computer game like effects seen in similar films. Another of the films strengths is its ability to switch genres quickly and unsuspectingly. What stars off as a fun, sometimes funny look at some kids playing with new found abilities quickly shifts to a very dark place. The final third of the film turns a mirror on society, suggesting a parallel between the story and what we have seen at Columbine and similar events that have involved children with personal and social problems.

This is a film which one should watch without preconceived ideas and I look forward to seeing what debut director Josh Trank comes back to us with next.

7/10

71: Into the Fire

Boy Soldiers

71: Into the Fire is based on the battle of P'ohang-dong in August 1950 where 71 barely trained students of the South Korean army, armed with nothing more than a few rifles, held off a vastly superior North Korean force for over eleven hours. The film tells the story of those young students and how they managed to hold back the North Korean army for so long.

I am a big fan of Korean cinema but none of the actors were known to me before watching. The standard of acting from the mostly young cast is excellent however. Actor/rapper Choi Seung-hyun leads the students as their inexperienced and frightened Captain. We see Choi transform during the film from a frightened ammo carrier in the films opening scene, into a confident and calculating leader at the films climax. He is supported by a cast of great individual characters who due to the numbers involved see little screen time. One standout is Kwon Sang-woo, playing Choi’s rival. He reminded me of Battle Royale’s Taro Yamamoto with his bravery and nonsense attitude.

The battle scenes in 71: Into the Fire rival any in Saving Private Ryan or Letters from Iwo Jima. One feels right at the centre of the action as the bullets goes whizzing by and explosions tear through soldiers and buildings alike. The film was made for a fraction of the cost of recent Hollywood War Films but feels just as well made and in my opinion you have more value for money here than in the likes of Ryan and Iwo Jima. 71: also has a strong emotional edge to it. You feel for the soldiers and desperately want them to pull through despite the odds being stacked against them. Choi’s narration of the letters he is unable to send to his mother adds to the emotion and sadness of the film.

While I still believe the best recent film about the Korean War is 2004’s Brotherhood, 71: Into the Fire is a fantastic film that is well worth the time to watch.

7/10

Unknown

Unknown is a smart and interesting psychological thriller set in modern day Berlin. It stars Liam Neeson as Dr. Martin Harris, who along with his wife arrives in Berlin for a Biotechnology summit. Things start to go wrong for Dr. Harris though when the taxi he is riding in plunges off a bridge and into a river. When he wakes up in hospital four days later he has trouble remembering what happened and worse still, his wife doesn’t recognise him and is with another Dr. Martin Harris.

The film follows Neeson on his quest to uncover the facts behind his memory loss and stolen identity. While Neeson does nothing out of the ordinary, he is suited to the role. (To see Neeson in his best role for a long time click here). Along the way Neeson is both helped and hindered by a fantastic, mostly European cast, including Diane Kruger, seen in Inglorious Basterds who is fantastic as the driver of Neeson’s ill fated taxi. Bruno Ganz, famous for playing Hitler in Downfall as well as countless YouTube parodies excels as an ex Stasi agent who helps Neeson uncover the truth. Sebastian Koch who was fantastic in Black Book and also appeared in the masterful The Lives of Others plays a Professor at the summit and he is joined by Karl Markovics from The Counterfeiters who here plays a well meaning doctor. Along with these fine European actors, Frank Langella joins the cast and the only weak link in the whole cast is January Jones of Mad Men fame who as far as I can tell must surely still be getting roles due to her looks as she is as wooden as ever here.

Another star of the film is Berlin itself which looks beautiful. Set in November, the film shows both Berlin’s famous sights as well as the grittier side which I personally love. The concrete buildings of East Berlin help to add to the coldness of the film and a car chase through snowy streets is a highlight.

The twist is not totally obvious and is left for the third act. When it does unfold it is welcomed and the whole plot falls into place. While the film is in no way perfect it is a decent thriller with enough action to go along with its fine acting. It is a far better film in my opinion than Neeson’s recent thriller Taken.

7/10

Unforgiven

Clint Eastwood directs, produces and stars in this 1992 Western which won four Oscars including Best Picture and Best Director. While I personally don’t think it is a great film it is certainly a good film. Eastwood plays William Munny, an ex gunslinger who has put his past behind him to raise his two young children singlehandedly after the death of his wife. Meanwhile in a small town in Wyoming, a young prostitute is attacked by a drunken customer. Her fellow prostitutes raise $1,000 as a reward for the person who can kill her attacker. Eastwood is approached by the ‘Schofield Kid’, played by Jaimz Woolvett, who asks Munny to join him on one last ride out. Munny also persuades his old partner Ned Logan, played by Morgan Freeman, to accompany him.

When I think Cowboy, I think Clint Eastwood

The strength of the film lies in Eastwood’s directing and in the superb acting. Eastwood creates a tense and claustrophobic atmosphere despite the film being set in mostly large open spaces. Eastwood plays Munny with great precision. His looks could kill and his rough voice and tired appearance create a feeling that he is too old for killing but he is capable of turning these perceptions on their head in a matter of seconds with his ability to quick-draw and shoot down anyone who stands in his way. Gene Hackman is also excellent as the Sherriff whose job it is to run Munny and his gang out of town. He is arrogant and sure of himself despite flaws which become apparent as the film unfolds. Frances Fisher is strong as the Madame prostitute behind the $1,000 bounty whereas Morgan Freeman just appears to be along for the ride.

Beautiful title shot

Where I feel the film is let down is its length. At 131 minutes long, it feels much longer. I also felt that the character of ‘English Bob’ played by the late Richard Harris was unnecessary and detracted from the main story of the film.

While Unforgiven is now considered to be a classic of the Western genre and although I liked it, I didn’t like it as much as most other people seem to. 

6/10 

The Extraordinary Adventures of Adele Blanc-Sec

Luc Besson’s The Extraordinary Adventures of Adele Blanc-Sec is a loose interpretation of Jacques Tardi’s historical comic book of the same name. Staring Louise Bourgoin in the role of adventurer and writer Adele Blanc-Sec, the plot follows Blanc-Sec to Egypt in 1912 where she attempts to bring back to Paris the mummy of Ramesses II’s personal doctor so that he can be bought back to life by her friend, Professor Espérandieu in order to save her sisters life. The reason for Blanc-Sec’s sisters injuries are that during a tennis match, she fell onto a hat pin which went right through her head. If all this isn’t strange enough, while Blanc-Sec is in Egypt, Professor Espérandieu resurrects a 130 million year old Pterodactyl that is hatched from an egg in a Paris Museum.

As you can probably guess from the plot, this film is absolutely bonkers. While every effort is made to maintain the historical accuracy for most of the film, the addition of flying Dinosaurs and 5,000 year old Egyptian nuclear physicists can only be described as silly, but in a good way. The film has the look of an early silent movie with makeup and prosthetics that look very similar to what was used in the 1910s. Actors have deep eye shadow and lines drawn on their faces to indicate wrinkles and the costume is accurate of the period. This early twentieth century look is complemented well by the up to date computer graphics of the Pterodactyl and Egyptian mummies. While these effects are not incredibly realistic, they are pleasing to look at.

Beautiful period makeup

The script is fast paced and snappy with most of the best lines going to Bourgoin as Blanc-sec. The best line of the whole film is left to the mummy of Ramesses II however as he looks at the Louvre and suggests someone should build a pyramid in its courtyard. Bourgoin is also the standout as far as the acting is concerned. She is irresistible on screen, playing a kind of female Indiana Jones but with even more attitude. She completely controls every scene she is in and I was surprised to learn that this was one of her first roles. She appears very comfortable on screen. She manages to remain very beautiful and ladylike while fighting all who get in her way.

Bourgoin is stunning as Adele Blanc-Sec

The fast cutting and snappy dialogue help the film to push along through some of its less exciting scenes, giving the film a frenetic feel. It is also funny in places though I felt that it lost some of its humour in translation. As the film is so fast paced at times, subtitles flash on and off the screen in an instant, sometimes leaving no time to take in and enjoy what is being said.

Overall I enjoyed this odd, French blockbuster. It was one of the strangest films I’ve seen in a while. The makeup and costumes were satisfying to look at and Louise Bourgoin is surely a star in the making.

8/10