Himizu

A few years ago I saw a film called Love Exposure by Japanese Director Sion Sono. I’ve seen that film three times now and even though it is over four hours long it has become one of my all time favourites. I’d been on the look out for other films from the Director and came across Himizu, a film set in the aftermath of the 2011 earthquake that caused the Tsunami and Fukushima nuclear disaster.

A fourteen year old boy runs a boat renting business. He is surrounded by an unusual bunch of adult friends who live vagrant lives near his house having been made homeless by the earthquake. With an absent mother and mostly absent and violent father, the boy has constant thoughts of suicide. A girl from his school becomes infatuated with him and attempts to bring his life into focus but struggles against the boy’s violence and depression.

Lore

Lore (pronounced Laura) is an Australian-German co production set in the Spring of 1945. As World War Two comes to an end, a young woman finds her world turned upside down as everything she believed to be true, turns out to be false. Lore (Saskia Rosendahl) is the teenage daughter of hard-line Nazis whose parents leave to go into hiding as the Allies tighten their net around Germany. Lore is left to look after herself and four younger siblings in a Germany in which their Aryan superiority is now a handicap. As the children set out for the weeks long walk towards their Grandmother’s house in Hamburg they are followed by a young man called Thomas (Kai Malina) who occasionally helps them but turns out to be a Jew, recently freed from a camp.

I’d never heard of this film until two nights ago when I was watching last week’s Film 2013 and it got a glowing review. Knowing my girlfriend and I were heading into the city centre the next day we decided to see it at our local art house cinema on the recommendation of the TV critics. I’m glad that we did. I found Lore to be a compelling coming of age drama and a fresh story set in a micro world around a much farmed era of film making.

A Royal Affair

In Eighteenth Century Denmark a new Queen (Alicia Vikander) arrives from her native England to meet her new King, Christian VII (Mikkel Følsgaard) for the first time. The King instantly fails to live up to his reputation and the Queen is shunned by him and infuriated by his temperament and apparent madness. What’s worse is that Denmark’s outdated censorship bans many of her favourite Enlightenment era books which are returned to England. In a small Danish colony in Germany, two ex Court favourites persuade a local Doctor to apply to be the King’s physician in the hope that they will once again gain favour with the Court. The Doctor (Mads Mikkelsen) is an instant hit with the King but with few others. The Queen slowly learns of their like-mindedness and they begin a slow seizure of power from the lame duck Monarch as well as embarking on a risky sexual affair.

It always annoys me when I miss a critically successful overseas film at the cinema but I simply couldn’t find anywhere showing A Royal Affair on its theatrical release. The film has since been Oscar Nominated and just the other day won a couple of converted Kermode Awards so I was thrilled when my online DVD rental service sent me the film. A Royal Affair is pretty much all I was expecting of it. It’s a lavish and pretty costume drama with a political heart and save for a run time I would happily shorten, I really enjoyed it.

Mama

I knew nothing of this film before entering the cinema except that it starred Jessica Chastain (Yes!) and was directed by Guillermo del Toro (Yes!). One of those facts of course turned out to be false. As is often the case with modern horror this film was not directed by but rather ‘presented by’ del Toro who was in fact the executive producer. Mama is a fairly conventional modern horror film which I admit I’m going to find difficult to review. If you want a review of the film as seen from behind my girlfriend’s shoulder or a review of the sound you can hear when your eyes are closed then you’ve come to the right place. I am a total horror wuss and as usual for a film featuring ghosts, it scared the shit out of me.

Following the 2008 financial crash a businessman murders his partners and wife before abducting his two young children. He crashes his car in a forest and ends up in a creepy cabin from where he is mysteriously taken. Five years later his twin brother (Nikolaj Coster-Waldau) is still searching for the girls when two men happen upon them in the same cabin they entered five years earlier. The girls now eight and six are half wild, move about on all fours and have an imaginary friend called Mama. They go to live with their uncle and his girlfriend (Jessica Chastain) where things start to go freaky weird.

United 93

I saw United 93 about three years ago and was well and truly shaken by it. I hadn’t seen such an emotional and harrowing film since Schindler’s List and wasn’t prepared for just how realistic and terrifying it was. I think I was expecting a sort of Independence Day-esque USA! USA! Saves the day! type film but what I got was a beautifully made, onslaught on my emotions. I watched it again last night to introduce it to my girlfriend. The film had the exact same impact on her and bought a tear to her eye. I found it just as traumatic the second time around and the fact that we are flying to Newark with United in a couple of weeks probably didn’t help our emotional state. The film left us both feeling drained and depressed.

United 93 tells the real story of the forth ill fated aircraft on 9/11. Almost brushed aside or forgotten about on that day and in the years afterwards, the plane was hijacked by four terrorists and heading for Washington (the film suggests The Capitol) when news of the attacks on the World Trade Centre and Pentagon reached the passengers. Realising that this was a suicide mission, some of the passengers got together to try and force their way into the cockpit and a single engine pilot volunteered to attempt to land the place safely. History tells us this was unsuccessful.

The Birds

The Birds arrived towards the end of one of the most fruitful periods of Alfred Hitchcock’s career, at a time when he was still riding the waves of Vertigo, North by Northwest and Psycho. The movie, like Psycho is a horror film and to me is a clear influence on much that followed it. Young socialite Melanie Daniels (Tippi Hedren) meets the suave lawyer Mitch Brenner (Rod Taylor) in a pet shop in San Francisco. She becomes a little infatuated with him after a brief game of cat and mouse and decides to track him down. She finds him in the small hamlet of Bodega Bay and leaves a present of two love birds on his door step. Melanie and Mitch strike up a coy friendship much to the disliking of Mitch’s protective mother Lydia (Jessica Tandy). While Melanie is in Bodega Bay birds begin to attack people, occasionally at first but soon they have the town under siege and there is no explanation as to why.

The Birds was probably the first Hitchcock film I ever saw but I remembered little of it besides the stand out set piece scenes. It is also one of Hitch’s most parodied films (this is brilliant) and I recently saw TV movie The Girl which was based on the relationship between the film’s Director and lead actress. Now I’ve seen it again I can see that the movie has a lot going for it but I preferred Hitchcock’s earlier, tenser thrillers.

Run Out Groove - A Short Story

As Kina opened the bathroom door, steam flooded into the living room, rising sharply as it met the cooler air. Despite the large bathroom window being opened there was still more than enough steam from her long, indulgent shower to reach the high ceiling of her small apartment’s central room. As she walked over to her record player her light, satin gown hung loosely around her quickly drying body and a drop of cool water ran from her hair down the back of her neck.

Lifting the lid of her record player she gently placed the needle close to the edge of the 7”, letting go when she heard the satisfying scratch of needle on vinyl. Following a short, quiet, gratifying hiss, the first few bars of Parliament’s Agony of Defeet sprung to life and George Clinton’s smooth voice rang out. Kina slowly began to shake her hips as she walked the few feet towards her TV. She turned it on but kept the volume on mute. Kina enjoyed the company of a flickering TV late at night and it left light, fuzzy shadows all over the apartment. Briefly looking at the screen she half recognized an old John Wayne Western but wasn’t sure of its name. Turning to the drinks cabinet behind her sofa she continued her slow groove across the room. She stopped half way and turned as she heard a dull thud coming from the bathroom. Angry at herself for not hanging up her towel properly again she continued to her cabinet, poured herself a small scotch and used a set of polished silver tongs to pick out a warm slice of lemon which had seen better days. Heading to the kitchen in search of ice, Kina once more strut a funky walk across the room in front of the closed drapes and towards the open kitchen.

Robocop

The first of Dutch Director Paul Verhoeven’s three English language cult sci-fi films, Robocop is a movie that owes a great debt to the comic book character Judge Dredd and was inspired by Blade Runner. In the near future Detroit is a city on the verge of collapse. There are no jobs and criminal gangs run the streets. The mega-corporation OCP runs the battered up police force and hopes to create a new super-city in the ruins of Detroit. To clean up the streets they design an automated robot cop but when tests go badly they return to the drawing board. Veteran cop Alex Murphy (Peter Weller) is out on patrol with his new partner Officer Ann Lewis (Nancy Allen) when he encounters a criminal gang. The cops chase the gang to an abandoned mill where Murphy is brutally killed. OCP use what is left of Murphy’s body to create a new version of their robotic policeman – Robocop.

I saw Robocop when I was in my early teens at remember thinking it was pretty violent and cool. Now aged twenty-six and twenty-five years after the movie’s initial release, I found the film had aged very badly and wasn’t anywhere near as fun as I remembered. The violence though, remains.

This is 40

This is 40 is being described as the sort of sequel to 2007’s Knocked Up in that the central characters first appeared in that movie. Besides that there is little to connect the stories of the two films although the early mid life crisis that Debbie (Leslie Mann) and Pete (Paul Rudd) found themselves entering five years ago are now fully formed. Debbie and Paul are a married couple on the cusp of their fortieth birthdays. Their two children (played by Mann’s and Writer/Director Judd Apatow’s real children Maude and Iris) are finding it difficult to get along and both parents are in turn having problems with their own fathers. In the background is a financial noose which threatens to envelop their necks at any time.

I believe that This is 40 contains some of Judd Apatow’s best writing to date. This might not sound like much of a compliment considering his writing credits have included You Don’t Mess with the Zohan and Funny People but in amongst the poorer stuff, Apatow has written some very good comedy. This is 40 is not only very funny but also sweet and contains a lot of realistic relationship talk, arguments and situations.

Kill Bill Volume 2

Kill Bill Volume 2 is the second part of Quentin Tarantino’s female led revenge thriller and was released six months after its predecessor KillBill Volume 1. The film follows the continuing vengeful rampage of The Bride (Uma Thurman) who we discover in this film is actually named Beatrix Kiddo. Her name remained secret in the first movie. Having dispatched of two of her former assailants in the first film, Kiddo here hunts down the remaining three; trailer residing, titty bar bouncer Bud (Michael Madsen), one eyed jealous blonde Elle Driver (Daryl Hannah) and the eponymous Bill (David Carradine).

The film opens with a Hitchcockian style pre title sequence in which The Bride is driving to her final destination while giving a brief outline of the plot so far. This sequence is shot in black and white and uses rear projection to give it the look of a Hitchcock thriller. Even the title font and score are Hitchcockian. The remainder of the film is much more conventional and more settled than the first Kill Bill movie as Tarantino keeps his genre mashing directorial tricks mostly in his pocket. There are occasional switches to black and white and one chapter resembles a Hong Kong Kung Fu movie but for the most part the film is more unadventurous than the first movie. There is much less violence too with only two onscreen deaths in the entire movie.