Nine

Nine is a 2009 movie adaptation of a Broadway musical of the same name which was in turn inspired by Federico Fellini’s semi-autobiographical film, 8½. Guido Contini (Daniel Day-Lewis) is a gifted film maker on the cusp of his fiftieth birthday. Struggling for ideas on the back of a series of flops, he flees to a remote health spa and turns to the women in his life for inspiration. The movie is notable for containing several fleeting performances from some of the most beautiful and talented women in Hollywood as well as Kate Hudson. Although poorly received by critics and a certified box office failure, the movie garnered four Academy Award nominations and in my opinion contains some superb cinematography as well as a couple of great performances.

The main problem with the movie for me is that it isn’t 8½. There are a few scenes, especially those featuring Day-Lewis and Penelope Cruz, which look like shot for shot recreations of Fellini’s masterpiece and these bought back happy memories of watching that movie. During a lot of the other scenes I just wished that I was watching Fellini’s film. The problem with making a movie based on such a well respected source is that you’ve got to make it pretty special to make people want to watch yours instead of the film you’re basing your work on. In the case of Nine, it just made me remember how good 8½ is.

Internal Affairs

Driven by a twisting, well fleshed out script and some very well honed performances, 1990’s Internal Affairs is a police crime-thriller about the investigations into corruption in a Los Angeles police precinct. Ambitious and well liked cop Raymond Avila (Andy Garcia) joins the department’s Internal Affairs Division where his first assignment is to investigate a former colleague (William Baldwin) who is linked to a possible evidence plant. His initial investigations hint at something more sinister going on in the department and his attention is soon diverted towards respected cop and attentive family man Dennis Peck (Richard Gere).

This movie was recently recommended to me and I can understand its appeal. The script is tight and well written and I was kept on tender hooks by the various twists and reveals. The story goes down avenues you don’t expect from the setup and the characters are wonderfully created and performed. Richard Gere’s Dennis Peck in particular turns into something I haven’t seen the actor become before. I’ve always had a bit of a problem with Gere as I’ve often found him to be too clean cut and weedy. Here he is anything but, playing a vicious, womanising, near psychopath who builds and builds in a creepy and quite way as the film progresses. Andy Garcia’s Raymond Avila is tormented by his prey and the interactions and bust ups between the two are some of the highlights of the film.

The Gold Rush

Imagine being a big fan of The Beatles who doesn’t like Hey Jude or a car enthusiast that isn’t keen on Ferraris. That’s the situation I find myself in when it comes to The Gold Rush. I’ve never met as big a Charlie Chaplin fan as myself and doubt I ever will. His 1925 film saw the beginning of his golden period, a period which lasted fifteen years before his deportation from the US and witnessed the production of some of his most successful films. Chaplin remarked in his own splendid autobiography that he wanted The Gold Rush to be the film that he was remembered for and to an extent it is. Why is it then that I don’t love his Ferrari, his Hey Jude, his Gold Rush? The Gold Rush was amongst the first Chaplin films I saw and I had high hopes for it. When I was initially discovering Chaplin’s work it was obvious that this was one of his most famous and as a result, surely one of his best. Many people would argue that it is. I was instantly disappointed though with a film that I felt was short of laughter and featuring a plot which I cared little for. The story certainly beats some of his earlier shorts and it’s better written and deeper than say his follow-up The Circus but it doesn’t really do anything for me. It feels like the plot of a short that has been stretched to breaking point and isn’t as sweet, dramatic or sophisticated as the likes of The Kid or City Lights.

Taxi Driver

When I started writing about cinema almost eighteen months ago, there was one film above all others which I was nervous to write about. A year and a half, over five hundred reviews and approximately 470,000 words later, the same film was still looming large over me. That film was Martin Scorsese’s Taxi Driver, my favourite of all time. The unease came from two perspectives. On the one hand I didn’t feel as though my writing, limited in experience and knowledge as I am, could do it justice while I was also conscious about penning a review which ran for thousands of words and which no one would have the interest or time to read. It wasn’t until earlier this week when a friend said with some surprise that he couldn’t find Taxi Driver on my A-Z that I thought that time to review it had come. So with the added expectation of an audience waiting, I sat down to watch my favourite film once again.

Within ten seconds of the film starting, a bright, broad smile shone across my face. The entire film came back to me within the first few frames and I began to think ahead to the magnificent scenes which were to follow over the coming hour and fifty minutes. My excitement grew as the quickening snare and saxophone of Bernard Hermann’s score rose to meet the opening shot of a New York taxi appearing from behind a column of steam. The movie creates an off-kilter sensation within these first few seconds and it’s a feeling which continues to ride throughout the movie. The opening titles are a deep shade of blood red and forebode the bloodshed to come. The closeness of the taxi as it brushes past the static camera also creates a sense of excitement and danger and the jumping; out of focus lights as seen from inside the taxi make the viewer try in vain to pinpoint something recognisable. The eye darts across the screen in search of an image to grasp but is left wanting. Wanting that is until Travis Bickle (Robert De Niro) walks out of the steam and into a taxi office.

A Room for Romeo Brass

A Room for Romeo Brass is a film which reminded me of several things. The strong accents adopted by the characters reminded me of my time in the East Midlands while at University and Shane Meadows’ gritty, personal, social realist style felt like a re-imagined Ken Loach. The film tells the story of two young boys who meet an older man and start hanging around him while he attempts to get one of the boy’s sisters to go out with him. It’s a simple premise but makes for an absorbing plot thanks to a well written and natural script alongside some fine performances.

The film sees the big screen debut of Paddy Considine, an actor who has since worked with Shane Meadows on several occasions and has cemented himself as one of Britain’s most exciting acting talents. Not only has Considine had mainstream success in The Bourne franchise but also directed the multi award winning Tyrannosaur in 2011. Acting alongside the talented Considine is another frequent Meadows collaborator, Andrew Shim, who plays the title role of Romeo. The movie is driven by Considine though, through the early stages of exploratory and slightly comedic development, towards the latter stages in which the character and film become much darker, Considine is a magnetic and welcome presence on the screen.

Six of the Best... Films Without Oscars

For better or for worse, the Academy Awards are at the pinnacle of film recognition in the English speaking world. Since 1927, awards have been handed out to hundreds of movies, many deserving, some less so. If you look down the list of winners you’ll find some of the best films of all time. Citizen Kane, The Godfather and Casablanca all won Oscars, though with just seven between them, perhaps not as many as you’d have expected. Each year there are films which are overlooked by the Academy and this week I’m going to be looking at Six of the Best… Films without Oscars, the films which didn’t receive a single one. In other words, this is a list of films which have one fewer Oscar than How the Grinch Stole Christmas and Pearl Harbor. So here they are; six films without Academy Awards.

Byzantium

Neil Jordan’s return to the vampire thriller feels a bit like a yo-yo. It ranges from excellent while held in the hand to incredibly dull while close to the ground but spends a lot of time somewhere in between. To take the analogy a step further, it also contains anticipation but like a yo-yo, you know where the anticipation is going to lead. The film portrays two female vampires who land in a small, run down sea-side town, two centuries after their making. Mother Clara (Gemma Arterton) works mainly as a prostitute to make ends meet while her gloomy daughter Eleanor (Saoirse Ronan) struggles to connect with her mother and is lost and lonely amongst their modern surroundings.

Byzantium is pitched somewhere between gothic thriller and family drama and doesn’t quite succeed at either. At its best it’s a poignant coming of age drama but it’s sometimes painfully slow and meanders between the modern day and early nineteen century when it might have worked better to stay in one or the other. The film is host to a wonderful performance from Saoirse Ronan which helps to elevate it above purely mundane and towards something of interest.

The Iceman

Between 1948 and 1986, New Jersey Mafia hitman Richard Kuklinski is said to have killed somewhere between one hundred and two hundred and fifty men. Having committed his first murder when in his middle teens, Kuklinski eventually gravitated towards the world of organised crime and for several decades worked as a contract killer for the DeCavalcante crime family based in Newark, New Jersey. He did all of this while posing to his family as a successful currency broker. The Iceman is Israeli director Ariel Vromen’s biopic thriller of the ice cold killer, based on interviews with the man himself. It stars an in form (when is he not?) Michael Shannon in the lead role.

The Iceman is a film that I’ve been hotly anticipating for some time. I have an interest in the history of the Cosa Nostra and find that it often forms the basis of excellent movies. Although this is an above average film and features several great moments, it won’t go down with the likes of The Godfather, GoodFellas or even Donnie Brasco in the annals of the great mafia movies. I expect there will be many comparisons drawn to Martin Scorsese’s masterpiece of the genre in particular but unfortunately, despite a fantastic basis for a story, the film is like a skimming stone. It skips along the surface without delving into the murky deep beneath the surface.

Red State

Red State, more thriller than horror, is a film inspired by those nonsense sprouting, humanity hating people of the Westboro Baptist Church as well the as current terrorism policy. Three teenage boys peruse the internet looking for local women to have sex with but discover that their chosen woman isn’t all that she said she was online. The boys find themselves locked inside a church with hate preacher Abin Cooper (Michael Parks) talking about the end of days. He puts humanity’s demise down to homosexuality and has the bought the boys to his church to help free the world of sexual deviancy. Unfortunately for Cooper, a routine police patrol drives past his compound and discovers a car wanted in connection with a road traffic accident. When the police officer hears shots from inside the church he calls for backup and soon an ATF team lead by Joseph Keenan (John Goodman) is on the scene.

I’m generally in favour of any movie which highlights the evil of organised religion. Whether through subtle satire or full blown exploratory investigation, if religion is getting a kicking then I’m on board. What Red State does though is make both sides the bad guys. The despicable, murdering in the name of Jesus loons obviously get a hard time from the film makers but so do the Government Agents bought in to take them down.

The Invisible Man

“He’s invisible, and mad!” Those four short words from the classic Universal horror The Invisible Man sum up the film more than any plot synopsis ever could. Directed by James Whale in between 1931’s Frankenstein and 1935’s Brideof Frankenstein, the movie is often overshadowed by its monstrous companions but The Invisible Man should not be overlooked. The movie features some astounding and groundbreaking special effects which seem years ahead of their time. These are combined with H.G. Wells’ classic story to form a memorable if not at times slightly formulaic horror movie.

Production on The Invisible Man was fraught with difficulty and set backs and the story went through several incarnations before it was decided to follow Wells’ own novel closely. Alternative versions featured invisible rats or even foregoing Wells’ novel altogether but it was finally decided to use the source text much more closely than originally intended. Casting for the central role was also difficult with a number of actors including Whale favourites Boris Karloff and Colin Clive coming and going before an unknown English stage actor was given the part on the merit of a rather disastrous screen test. Claude Rains had just one Hollywood screen test, years before the film was made and it didn’t go particularly well. It was said that his acting was stiff but forced and the test lead nowhere. When James Whale was looking for an actor whose voice would be doing the acting though, Rains’ test screamed out to him and he was offered the part.