Get a Horse!

Get a Horse! Is a dazzling and enchanting Disney animated short that was featured prior to the feature length film Frozen in cinemas. Wonderfully mixing antique and modern animation it’s a feast for the eyes and a reminder of how good Disney once was and what it’s capable of today. Directed by Lauren MacMullen, the first woman to solo direct a Disney film, it takes inspiration from Buster Keaton’s Sherlock Jr with its stepping through the screen antics.

The plot follows the typical type of early Mickey Mouse short. Using hand drawn, black and white animation, Mickey is enjoying a musical wagon ride with Minnie Mouse when they are pounced upon by the wicked Peg-Leg Pete in his automobile. Spying Minnie, Pete attempts to steal her from our hero and drive off into the sunset with her as his prize. Following a brief fight, Mickey and his steed Horace are literally pushed through the cinema screen and become bold, brightly coloured modern versions of themselves. Hilarity then ensues as the fight goes back and forth between monochrome and colour, old and new.

I thought this film was incredibly witty and inventive. Initially I assumed the short was a re-release of an old classic and had no idea that the characters were about to be launched into the 21^st Century. The traditional black and white animation is exquisite and the soundtrack is excellent to match. I’m not as much a fan of the newer style but that might just be my old codger-ness coming through. Throughout its seven minute runtime, the film was drawing laughs from young and old in the cinema and was hopefully introducing the younger members of the audience to the wonderful older style of animation. The score is bouncy and full of brass and made my feet bop along from start to finish while it also makes use of archive audio to capture the real voices of Walt Disney, Marcellite Garner and Billy Bletcher, all long deceased. This really is a wonderful Disney short, the best I’ve seen in ages. 

9/10 

You may also like

Sherlock Jr 1924

Frozen 2013

Tangled 2010 

The Look of Love

The Look of Love is a 2013 biopic of Paul Raymond, a self made man dubbed ‘The King of Soho’ thanks to his enormous property empire which included numerous clubs, bars, strip clubs and theatres. Branching out later to pornographic magazines he became Britain’s wealthiest man in 1992 with an estimated worth of £650 million. The film takes us back to his beginnings as a small time entertainer who hit upon the idea of a private gentlemen’s club in which naked women would appear in live shows, something that was previously banned in the UK. From here the movie charts his rise, reaching the dizzy heights of drug addled fame before crashing down to personal disaster.

Behind the camera is Michael Winterbottom, a man capable of producing excellent work (24 Hour Party People, Trishna, The Trip) while his frequent collaborator Steve Coogan takes on the role of Raymond. The film features some delicious period detail and more naked women than you could shake a stick at so why did I find it all so dull?

Despite the lavish interior sets and attention to detail in costume and hair (both collar and cuffs), the film never grabbed me. I was extremely bored throughout and never really cared about any of the characters. Paul Raymond is a smooth talking self publicist who spends the film going from one gorgeous woman to another while his daughter Debbie (Imogen Poots) is portrayed as a spoiled, talentless daddy’s girl. Neither are particularly fun to be around and despite Coogan injecting a bit of humour into Raymond, I never missed them when they weren’t on screen. Raymond’s life was either not interesting or the film made it feel so. Considering he was a philandering, multi millionaire who owned Soho, I fear it’s the latter.  

The Blues: Feel Like Going Home

Feel Like Going Home is one of seven documentaries produced by Martin Scorsese on the subject of blues music. This particular episode was also directed by the auteur and focuses primarily on the roots of the genre. Narrated in part by Scorsese himself, it follows musician Corey Harris as he interviews fellow musicians and goes in search of the blues birthplace, travelling through the Mississippi Delta and eventually to West Africa from where the music was first snatched away in chains aboard slave ships.

Neither a hard hitting exposé nor critically acclaimed undercover investigation, Scorsese’s film is a sort of coffee table documentary, delighting its audience with some great stories and incredible music. It fails to go deep or uncover anything new but might help to bring the blues to a whole new audience.

The first thing that struck me about this film was its look. Scorsese has a reputation as one of the greatest film makers of his or any age and we are used to his highly polished latter work as well as his grittier, earthier beginnings but this film is unlike anything I’ve seen from Scorsese before. It feels cheap and basic, like one man and a camera, and not a great camera at that. A lot of the footage is grainy and dark and it doesn’t appear to be particularly well made in several places. Even the editing is a little slapdash. Although I tried to put this to one side, I could never quite get over it. I understand that the budget must have been low but I’d expected something a little flashier or at least more polished from Martin Scorsese.

The French Connection

A winner of five Academy Awards including Best Picture, The French Connection is a taught and edgy police thriller starring Gene Hackman in the role that won him the first of his two Oscars. The film is inspired by the book of the same name and blends fact and fiction to bring a major drug smuggling operation to the big screen. Detectives Jimmy ‘Popeye’ Doyle (Hackman) and Buddy ‘Cloudy’ Russo (Roy Scheider) uncover a plot to smuggle a large quantity of heroin from France to the East Coast of the USA and tail leads, battle assassins and fight their bosses in an attempt to bring the traffickers down.

Early scenes criss-cross the Atlantic between New York City and Marseilles where the protagonists are either setting up to smuggle drugs or carrying out street busts. A few of the opening scenes gave me eye strain due to the slightly juddery hand held style of camera work used by Director William Friedkin. Once I was over the initial disorientation that the camera work gave me though, I was able to appreciate the almost documentary style of realism that Friedkin captures. He gets right to the heart of the action with cameras placed in close quarters to the actors when necessary but also stands back at times, delivering long tracking or panning shots as the characters play a game of cat and mouse through the streets of New York.

2014 BAFTA Awards Thoughts and Predictions

Early this morning, this year's BAFTA nominees were announced. Now widely considered as one of the major award ceremonies (along with The Golden Globes) in the run up to the Oscars, the BAFTA awards have long been a well respected and coveted prize on both sides of the Atlantic. Below is a full list of the 2014 BAFTA Award nominees, the winners of which will be announced at the 67th BAFTA Award ceremony on February 16th at the Royal Opera House. Alongside the list of nominees you'll find my prediction and personal choice of which film or person I'd like to see win.

BAFTA gave us no real surprises with its announcement this morning with the most nominations going to Gravity (11), 12 Years a Slave (10) and American Hustle (10). Saving Mr. Banks performed strongly with (9) nominations, continuing its showing as a dark horse during this year's awards season. Behind the Candelabra received (5) nominations, this despite it not being released theatrically in the States. It's Mandela (1) nomination that will perhaps be dubbed this year's snub but there are no nominations for Spike Jonze's Her and Dallas Buyer's Club, the latter especially I expect to perform better in America. 

12 Years a Slave

Considering the ferocity of Steve McQueen’s small but impressive oeuvre and the subject matter of his latest film, I never expected to be in for an easy ride with 12 Years a Slave but nothing, not the trailer, the word of mouth nor my own imagination could prepare me for both its excellence and the horrors to be found within it. The director’s third feature is based on the memoir of one Solomon Northup (Chiwetel Ejiofor), a free black man from up-state New York who was kidnapped and sold into slavery in 1841. The film charts the following decade and the unimaginable ordeal that is daily life for a slave.

It’s rare these days that I can report to have sat through a film screening in a packed cinema without seeing at least one or two phones light up in front of me. Talking and popcorn rustling are two other offenders which take one out of a film and back to the annoying reality of the fact that there are other humans around you. Throughout the two and a quarter hours of 12 Years a Slave however I didn’t hear a peep from the audience besides a few sniffles and yelps. The film gripped one and all from its opening frames and touched myself at least (but I suspect most) with a profound sense of heartache, perplexity and dare I say it, guilt.

Following a brief few scenes which outline Solomon’s life as an accomplished and well respected musician, living in middle class surroundings, side by side with blacks and whites, the film takes the turn you know to expect. Cinematographer Sean Bobbitt presses his camera uncomfortably close to the actors during these scenes in a trend that continues during Solomon’s kidnapping. The screen becomes claustrophobic and seems to envelop the audience as though we too are being taken against our will. I struggled for breath and my palms were clammy, as they remained so long passed the credits began to roll. The camera is unflinching, not allowing the audience to avert their gaze from both the kidnapping and the horrors that are to follow.

Un Chein Andalou

Un Chien Andalou is a short, silent surrealist film from 1929. It was the debut film of Luis Buñuel and was written by Buñuel and fellow surrealist Salvador Dalí. The film features no discernable narrative in the traditional sense but rather dream logic, seemingly popping from one scene to another, often with tenuous links. Lasting only around sixteen minutes, it nonetheless crams in many eye catching (and eye slitting) images, some of which have passed into the collective consciousness. Describing the plot is near impossible as it weaves in and out of normality and plausibility with no regard for sense or building upon what comes before. Perhaps best described as a series of vignettes or windows into the minds of the men behind the film, it’s sometimes a frustrating watch but is notable for its striking imagery and skilled production.

The Act of Killing

The Act of Killing is a remarkable and stomach churning documentary that allows several mass murders to tell the story of their crimes in their own words and through dramatic re-enactments. Following a US backed military coup that resulted in a decades long, right wing dictatorship, somewhere in the region of 500,000 to 2.5 million Indonesians and ethnic Chinese were killed at the hands of Government backed ‘gangsters’ and paramilitaries. Today, nearly half a century later there has been no apology for these heinous crimes and many of the murders are revered as heroes. This film focuses on several of the now ageing killers.

The film is unlike any documentary I’ve seen before. It avoids the bias that inevitably accompanies a documentary feature by allowing the perpetrators to give their own account, in their own words. The director and occasional questioner Joshua Oppenheimer avoids leading questions, instead asking the occasional question that’s on all our minds and allowing those interviewed to answer and elaborate if they feel necessary. Luckily for us the viewer, they often do. Another thing that makes this film stand out is that its ‘stars’ are given carte blanch to re-enact their evil deeds with a full camera crew, make-up, professional lighting and even prosthetics. It makes for chilling viewing.

American Hustle

Already attracting awards buzz and with seven Golden Globe nominations to its name, David O. Russell’s American Hustle is one of the early showers from this year’s awards season. Set in the late 1970s and making use of an ensemble cast plucked from his most recent productions, the film is set in the world of an experienced and successful con artist called Irving Rosenfeld (Christian Bale). Irving and his partner Sydney (Amy Adams) are caught by cocksure and ambitious FBI Agent Richard DiMasso (Bradley Cooper) who offers immunity in exchange for help in capturing more prized targets.

The plot isn’t a strong area of American Hustle which is why I’m surprised its screenplay has received many of the film’s plaudits. Although it spirals seemingly uncontrollably into deeper recesses of confusion, subterfuge and double cross, it features a sagging belly larger than that sported by Bale and drags on for too long before reaching its always expected conclusion. The movie’s strengths lie elsewhere, primarily in the design and acting, two areas for which the film deserves all the plaudits its being given.

The Secret Life of Walter Mitty

Walter Mitty (Ben Stiller) is an average Joe New Yorker, working for Time Magazine. His life is dull, bland and listless. He lacks the adventure and excitement that he secretly craves and frequently day dreams, putting himself in exhilarating and romantically fulfilling positions. As news is announced that Time Magazine is to close, Walter is sent a roll of film from hunky adventure photographer Sean O’Connell (Sean Penn) who asks Walter to make sure that a particular photograph of his is considered for the final cover. The problem is that Sean’s photo never arrived and inspired by a secret love for a new co-worker, Walter breaks free of the shackles of everyday tedium and sets out to track down the illusive photographer not letting oceans, mountains or implausibility stop him.

It’s no coincidence that The Secret Life of Walter Mitty was released here in the UK on Boxing Day, being as it is the perfect film to uplift its target audience from their overly full, post Christmas slump. Like a bland Christmas turkey, it’s the sort of film that comes around once a year at the festive period and even though it isn’t as exciting as venison or lobster, you eat it because it’s the time of year that you’re meant to. There isn’t lots of nourishment and if you’re honest, it’s quite dry but you let it slide because there’s also cranberry sauce on your plate. But wait a minute, there is no cranberry sauce, there’s Ben Stiller and he’s shoving another fork full of turkey down your throat. Eat the turkey. Eat it.