Before the Devil Knows You're Dead

"Andy... that's Mom and Dad's store"

Two brothers (Phillip Seymour Hoffman & Ethan Hawke) in very different situations but both desperately in need of money decide to rob their parents Jewellery store. As you’d expect the heist goes wrong and leaves one family member dead while the others try to come to terms with the consequences.

I don’t want to give anymore away than that as spoilers are like a minefield with this film. It is presented in a non linier way with scenes chopping back and forth through the narrative, often from different perspectives. It’s never difficult to follow though. While the back and forth storytelling was interesting I didn’t feel that the different points of view made a difference. I had never heard of this movie and was recommended it by our building’s concierge. As a result I didn’t know what to expect but I was pleasantly surprised when the excellent cast popped up on screen. Each time a new character came on screen I was thinking “ooh its Hoffman, ooh it’s Hawke. Ooh Albert Finney’s in this. And Rosemary Harris. Ahh, Marisa Tomei (with her contractual topless scenes). Cool, Amy Ryan. Ah, nice one it’s Michael Shannon”. The cast is excellent. The film however isn’t.

The Bank

A janitor in a bank (Charlie Chaplin) has a crush on a secretary (Edna Purviance) who is in love with cashier (Carl Stockdale). Chaplin mistakes a present sent from Purviance to Stockdale as being for him and when his advances towards Purviance are laughed away he becomes depressed. Despite being a terrible janitor, Chaplin becomes the hero (or does he?) when he foils a bank robbery.

This film took me a little bit by surprise. I was expecting a slapstick affair with Chaplin getting into the sort of trouble that Buster Keaton did in his film The Haunted House but this is a much more rounded piece than pretty much anything Chaplin had done before. Chaplin spends more time off screen than in any of his previous Essanay films and instead of being in front of the camera, fooling around, allows his characters and story to propel the film along. That isn’t to say that Chaplin is a side character or not funny. He is still the central character and produces some great comedic turns.

The Versatile Blogger Award

Gary at Head in a Vice recently, and very kindly chose me for The Versatile Blogger Award. I don't really know much about this but was flattered to be considered nonetheless. There are various rules that come with this award, some of which are fun, others less so. Here they are. 

1. In a post on your blog, nominate 10 fellow bloggers for The Versatile Blogger Award; and link to them.

2. In the same post, add the Versatile Blogger Award.

3. In the same post, thank the blogger who nominated you in a post with a link back to their blog.

4. In the same post, share 10 completely random pieces of information about yourself.

5. In the same post, include this set of rules.

6. Inform each nominated blogger of their nomination by posting a comment on each of their blogs.

Here are some blogs which I've enjoyed over the last six months or so that I've been blogging.

The Goat

Buster Keaton is walking past a jail when he grabs the bars and peers inside. On the other side of the bars is notorious murderer “Dead Shot Dan” who is being photographed. Seeing that Keaton is behind him, Dan ducks out of shot and once he escapes, a photo of Keaton, seemly behind bars is published. As a result of this Keaton is forced to go on the run from various police officers including a persistent Police Chief who just won’t give up.

I watch a lot of Silent Comedy but if I had to ask someone to watch just one short silent picture it may well be this one. The Goat is packed full of wonderful jokes, ingenious set ups and incredible stunt work. I laughed more at twenty seven minutes of this film than I have during probably every comedy I’ve seen so far this year combined.

Don't be Afraid of the Dark

"La Di Da Di, We likes to party, we don't cause no trouble, we don't bother nobody"

Sometime in the past, the owner of a large Rhode Island mansion summons his housekeeper to the basement where he kills her and removes her teeth with a hammer and chisel. The man offers the teeth to some unseen creatures inside a fireplace and asks for the return of his son. He doesn’t get his wish. Fast forward to the present day and a man (Guy Pearce) and woman (Katie Holmes) move into the mansion along with Pearce’s estranged and reclusive daughter (Bailee Madison). Sally, depressed at being separated from her mother discovers the now hidden basement (which was somehow missed by surveyors, estate agents and owners but discovered by an eight year old) and awakens whatever lies inside the old fireplace. Once the creatures are out they want one thing; to take someone back down with them.

Considering this is a horror film it's less scary than when Nemo’s dad loses his son. The slow and tedious opening lasts for half an hour, during which time there is no atmosphere and little tension. One of the reasons that The Woman in Black was so successful is that it created atmosphere and suspense. Here there is none. We just get panning shots of what feels like quite a nice and not at all creepy house.

Red Riding Hood

"There's a big, bad wolf and someone has to stop it"

Following an unconvincing swoop through a CGI Medieval landscape we somehow arrive in what appears to be an American Medieval village that is being ravaged by a werewolf. Our heroine, Valerie (Amanda Seyfried) is a young woman who lives in the village. She is in love with woodcutter Peter (Shiloh Fernandez) but has been betrothed to the son of a wealthy blacksmith called Henry (Max Irons). Shortly after the wolf returns from a long absence and begins to kill, a (possibly) Dutch witch hunter called Father Solomon (Gary Oldman) rides into town inside a giant metallic elephant with a retinue of some African fellas and a Japanese chap. Solomon tries to hunt the wolf down while Valerie, given a red hood by her grandma, and her two love interests track the wolf as well.

This film is just an excuse for yet another tween Twilightified love triangle story. This effort has added fairytale elements, silly dancing and awful music. The plot is preposterous and the dialogue feels like it’s been lifted from half heard conversations at a Californian mall. This is by far the worst film I’ve seen in months, possibly all year.

Breakfast on Pluto

"Well, fuck me pink with a hairy arse!"

A boy is born in conservative 1940s Ireland to a Priest (Liam Neeson) and an unknown woman who flees to London after the birth. Bought up by a strict Catholic foster mother he shows signs of difference at an early age when he is caught in a dress and heels. By the 1970s the teenage Patrick ‘Kitten’ Braden (Cillian Murphy) is a proud and open cross dresser, still living in the small, conservative Irish town. As he gets older he wonders about his mother and discovers that she fled to England. He decides to try to find her and along the way joins a glam rock band, has brushes with the IRA, turns to prostitution and comes close to death on a number of occasions.

The entire film is set against the backdrop of the ‘troubles’ in Ireland during the 1970s. Kitten comes face to face with both sides of the war on a number of occasions and the conflict forms a major stand throughout the story. Another stand is her struggle to fit in with a world that tends to reject her choice of lifestyle and her difficulty with everyone taking life so seriously. The film is cut up into thirty or so chapters. Each is numbered and titled but the plot flows smoothly throughout. This mostly worked well to set up a scene but did become a little tiresome after a while.

The Five Year Engagement

"You ate the old doughnut"

Tom (Jason Segel) is a sous chef at a top end San Francisco restaurant but is forced to move to the mid west when his fiancée Violet (Emily Blunt) gets a post graduate position at the University of Michigan. This occurs shortly after the couple’s engagement and they decide to put their wedding on hold for a couple of years until they return to the West Coast. Their relationship is strained though when Tom fails to fit in or find a satisfying job while Violet’s career takes off and leaves Tom alone to ponder the career he left in San Francisco.

As soon as the film opens you are able to chart its plot pretty much to a tee but the journey to the finale is both funny and intelligent. The film is helped in no small way by two delightful characters played by two very watchable actors, Blunt and Segel. They appear to have great chemistry and Blunt in particular comes out of her shell and puts her comedic chops to great use.

Friends with Kids

Six New York thirty-somethings see their lives change over the course of several years as children come into their lives. Alex and Leslie (Chris O’Dowd and Maya Rudolph) are a married couple with two children, struggling to keep their heads above water. Ben and Missy (Jon Hamm and Kristen Wiig) are a sexually charged couple who find things difficult once a baby arrives while Jason and Julie (Adam Scott and Jennifer Westfeldt) are best friends who know each other inside out. Fearing that they are getting old and seeing how difficult managing a marriage and child can be, they decide to have a child as friends with no emotional attachment. Both are free to carry on with their separate love lives after the child’s birth and agree to joint custody of the baby.

There have been comparisons to last years smash hit Bridesmaids but that is purely down to casting. This is a completely different film. While Wiig, O’Dowd, Rudolph and Hamm all starred in Wiig’s massively successful comedy, Friends with Kids reminded me more of a Woody Allen film, only without the wit or humour.

A Woman

Charlie Chaplin’s ninth Essanay film is perhaps one of his most controversial. A Gentleman (Chaplin) is out walking through a park when he comes across a family (Charles Inslee, Marta Golden & Edna Purviance). The father, Inslee has his attention drawn towards a flirt (Margie Reiger). Reiger blindfolds Inslee after suggesting a game of hide and seek. Chaplin meanwhile discovers the blinded man and leads him towards a lake where he pushes him in. Later Chaplin comes across Golden and Purviance who fall for the cheeky chappy and invite him home. When Inslee arrives home soaking wet to find his attacker in the house Chaplin resorts to disguising himself in an unorthodox manner.

This film is most famous for Chaplin’s cross-dressing, something that must have been quite brave and scandalous 97 years ago. For a twenty-first century audience it isn’t particularly shocking or even funny so you have to imagine a late Edwardian audience’s reaction in order to understand its significance.