Dallas Buyers Club

About four or five years ago, I couldn’t imagine being excited about a Matthew McConaughey film but then came his McConaissance and on the back of tremendous performances in the likes of Killer Joe, Mud and The Wolf of Wall Street, he’s quickly becoming one of my favourite actors of recent times. I still can’t believe it. His latest provides us with perhaps his finest performance to date and accompanies a terrific film which instantly becomes one of my favourites of the young year.

Based on a true story, McConaughey plays Ron Woodroof, a Texan rodeo cowboy come electrician who enjoys women, beer, drugs, women and women. Having been obviously sick for a while, he is taken to hospital and when wakes, is given the shocking news that he has HIV. This being mid 1980s Texas, Woodroof is, shall we say, taken aback by the news but more worried about accusations that he’s homosexual or ‘faggot’ as he rather ineloquently puts it. After denial and some research plus a stint in a hospital south of the border, Ron discovers that he can help himself and fellow HIV patients by smuggling unapproved medicine into the USA, a decision that puts him on a collision course with the FDA and the American Justice Department.

It Happened One Night

It Happened One Night is a Pre Code romantic comedy/road movie directed by Frank Capra. At the 7^th Academy Awards in February 1935, the film won an unprecedented haul of awards, becoming the first film to win ‘the big five’ of Best Picture, Director, Actor, Actress and Screenplay. The feat went unmatched for over forty years and has only ever been matched twice. Although slow to catch on with critics and the public alike, word of mouth turned it into an unstoppable box office hit becoming Columbia’s highest grossing movie up to that point. Eighty years on from its release, the film remains an irresistible picture, combining drama and romance with a sizable dollop of Pre Code sentiment and behaviour.

Based on the short story Night Bus, the plot concerns a young heiress called Ellen Andrews (Claudette Colbert) who runs away from her comfortable lifestyle after her father attempts to have her marriage to a newly met aviator annulled. Aboard a bus to New York City she meets a down and out reporter called Peter Warne (Clark Gable). Warne is cocky and carefree and soon discovers there’s a story in the runaway girl. He agrees to help fund her journey to New York in return for cooperation on his story and the two begin a series of adventures on their way to the city.

The Touble with Harry

It’s not often that I finish an Alfred Hitchcock picture unable to take something away from it but I feel like I wasted my time with The Trouble with Harry. A departure from the type of mystery that made his name, this is a black comedy with thriller elements. Set during a crisp autumn in Vermont, a retired sea captain discovers the recently deceased body of a man while out hunting on a hill. Believing to be responsible for his death, the captain attempts to hide the body but various passers by happen upon it and react in unusual ways. It turns out that several people believe themselves responsible and the small community at the bottom of the hill attempt to discover exactly what happened to the man and what to do next.

The use of the body, which turns out to be that of the titular character, is a clever Macguffin which is used to unite two couples in what turns out to be a romantic black comedy. Ordinarily when a Hitchcock movie opens on a corpse, you’d be expecting a whodunit but here that isn’t important to the director. For me, that’s one of the problems. I wanted more excitement and intrigue from the film. Although billed as a comedy, I didn’t laugh once and was barely amused. The film just washed over me with a plot that didn’t grab me in the slightest. More disappointing than the plot is the cast who are as wooden as the corpse they attempt to cover up.

The Seven Year Itch

Having recently realised that I’ve loved almost every Billy Wilder film I’ve seen, I’ve been seeking out more of his work. It suddenly dawned on me earlier today that I owned one of his films which I hadn’t seen for a few years but remembered fondly. That film was The Seven Year Itch. I first saw the romantic comedy about five years ago and it had been on my shelf ever since. Unfortunately for my memory and for my love of the film’s director, I’d remembered it as a better film than I actually think it is.

The Seven Year Itch is based on the Broadway play of the same name and stars Tom Ewell as Richard Sherman, a slightly awkward man on the cusp of middle age. An abject worrier and daydreamer with an overactive imagination, Sherman sends his wife and young son off to Maine for the summer in order to escape the New York heat. When returning from work that night he meets a beautiful young woman (Marilyn Monroe) in the hallway of his building and begins to have thoughts that belie his faithful and honest nature.

Wreck-It Ralph

Walt Disney Animation Studios 52^nd feature and my personal favourite for nearly twenty years, Wreck-It Ralph is a love letter to the video game. Expertly combining cutting edge animation with 8-bit, 2D and classic arcade styles, the film is chock full of references and in jokes to the thirty or so years of the video games industry which it celebrates. The film tells the story of an arcade game villain who wants to be liked and leaves his own game, travelling to others in the hope of winning a medal. It’s this medal that he hopes will aid his inclusion with the good guys of his own game, Fix-It Felix, Jr. While outside this game, he enters the candy themed cart game Sugar Rush in which he meets a glitch who has struggles of her own.

Wreck-It Ralph is a sweet and funny film that rewards concentration and multiple watches but doesn’t alienate the casual viewer or gamer. As well as being targeted at those with specific game knowledge, it also features a surprisingly emotional plot and some likeable and well drawn characters. It cleverly appeals to both boys and girls with its combination of gender centric games and characters while mums and dads will get a lot of the references to gaming history that will go over the heads of younger audience members.

Paperman

Paperman is a 2012 animated short and the first Disney animated short film to win an Oscar since 1969. Released alongside the feature length Wreck-It Ralph, it’s a seven minute movie about a chance encounter and longing for love. Set in 1940s New York City, George is waiting for his elevated train to work when a gust of wind throws one of his papers into the face of a pretty girl waiting on the same platform. Her lips leave a lipstick imprint on the paper and the duo laugh coyly at the incident before she gets onto her train. Later the same day, George is thinking about the incident while looking out of his office window when he spots the woman in a room on the other side of the street. In an attempt to draw her attention, he makes paper aeroplanes, launching them towards her open window.

Paperman is beautifully drawn with clean black and white lines and wonderful period detail. It’s reminiscent of the Hollywood Golden Age and features lovely period design. The animation is elegant and very much in keeping with classic Disney. Both central characters appear to have been taken from the stock character cupboard at Disney with Meg taking the form of a Disney Princess in mid century attire and George as the affable and harmless Prince in a suit. Although the animation is very ‘Disney’, it also smacks of realism. The expressions and movement speaks of the animation we all know and love but the background, tone and environment are much more realistic looking than in the cartoons of Disney’s heyday. The use of light is also evocative and adds to the sense of romance that the short exudes throughout. It also helps to capture that Golden Age vibe.

The plot is simple and sweet and something everyone can relate to. It’s based on the idea of a brief connection or spark between two people, something that those of us in large cities must feel often. I think that most people would have spotted a look or glance or caught eyes with a stranger and wondered what they might be like or how you’d get on. This takes that idea and runs with it. Like a lot of recent animated shorts, it’s incredibly simple but brilliantly effective. My only complaint is with the anthropomorphism of the paper in the final moments. It works well but I enjoyed the realism of the earlier stages. Overall though, this is yet another example of the kind of talent and creativity that Disney Animation Studios has to offer and like so many recent shorts, I enjoyed it more than its feature companion.   

9/10 

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Kid Auto Races at Venice

Five days ago I got a little giddy with excitement over the one hundredth anniversary of Charlie Chaplin’s debut screen appearance. Today, February 7^th 2014 marks another centenary; the anniversary of the first screen appearance of Chaplin’s defining character, the little fellow, his tramp. Released on this day a century ago, Kid Auto Races at Venice was Chaplin’s second film to be released but wasn’t the first film for which he had donned his famous costume. Shot a few days earlier but released two days later, Mabel’s Strange Predicament is technically the tramp’s first film. In that film though, the tramp is very much an also ran, part of a small cast of characters who cause a ruckus in a hotel. Here Chaplin stands alone, as he did through much of his film career.

Just eleven minutes long, though the version I own is seven, filming took place during a soap box derby race in Venice Beach, California. Chaplin plays a bystander, nestled in amongst the sizable crowd who stand respectfully at the side of the track. When the tramp notices a camera filming the event he becomes infatuated with it, making numerous attempts to get in front of it and generally cause a bit of trouble. This isn’t appreciated by the director who bats the tramp away. Here in his debut film, the tramp is very much that. He’s a mischievous vagrant with no better place to be. His cruel streak isn’t really evident but neither is the kindness of his later feature films. He’s a character whose personality is very much still being formed. He’s not bad and not really mean, he’s just annoying. The tramp remained an annoyance for many of his early appearances, taking some time to develop into the more sincere and sympathetic character he would later become.

Inside Llewyn Davis

As with any new Coen brothers film, I eagerly anticipated the release of Inside Llewyn Davis and the good things I’d heard from America before its UK release only added to my excitement. The fact that it’s taken close to a week to write something about the film though, might tell you something about my reaction to the movie. Unfortunately I left the cinema feeling disappointed. I’d go so far as to say that I didn’t really like or even enjoy the film and the last week or so has found me struggling to find a spin on it so that I could reward it with a favourable review. Alas I’m out of time so here’s what I think.

To put it bluntly, the film did little for me. I wasn’t entertained and was rarely amused. I didn’t get much from the story and disliked the central character. It left me feeling cold and uninterested and I never got on board with Llewyn, willing him on to succeed. Instead I just thought he was a bit of a dick. His misfortunes were often his own and his undoubted talent was clouded by his personality. Although the Coens’ attempt to present other characters even less favourably, I still wanted nothing to do with him and was only happy when he was singing.

Ranking the Directors

A few days ago I re-watched Quentin Tarantino's Django Unchained and began thinking about how highly I've rated the vast majority of his films. I wondered exactly what ratings I'd given his movies so went through my reviews and calculated the average, thus combining two things I love; movies and statistics (I'm fun, I know). I then replicated this with Charlie Chaplin, the man who I consider to be my favourite film maker. Seeing as I'd already done these two, I thought I might as well go through my entire blog and work out the mean average mark I'd given directors. To be fair, I've created two categories, one for directors for whom I've reviewed more than three films and one group for those directors for whom I've reviewed exactly three films. Anything less than that has been ignored. The results surprised me as many of the directors who I consider my favourites, rank lower than those who I'd consider less important to me. Below are the two lists.

Park Chan-wook. 9.3 from five films. Park ranks as my favourite director in terms of average and is also amongst my favourites generally. His Oldboy is one of my favourite films of all time and his first American movie, Stoker, also impressed me last year, making my Top 10 of 2013 list.

Billy Wilder. 8.0 from four films. Twelve months ago I'd never seen a Billy Wilder film but now I count some of his films amongst my favourites. I was blown away by Sunset Boulevard and The Apartment and his average would have been much higher if I'd enjoyed Sabrina more. I can't wait to see more of his movies.

Quentin Tarantino 7.8 from ten films. There is only one Tarantino film which I haven't loved and if it wasn't for Death Proof, his average would probably be over 8. Reservoir Dogs and Pulp Fiction are 10/10 films for me.

Werner Herzog 7.6 from eight films. Had I split Herzog's documentaries and features, the result here would have been quite different. I much prefer the likes of Encounters at the End of the World to Aguirre.

Alfred Hitchcock 7.5 from thirteen films. I was a late convert to Hitchcock and with only thirteen films reviewed, I still have some way to go. I'm a bit surprised that my average is just 7.5 as I've rated Rope, Shadow of a Doubt and Psycho extremely highly. His average is let down by the likes of North by Northwest and The Man Who Knew Too Much.

Martin Scorsese 7.4 from seven films. I'd class Scorsese as my favourite film director of all time so to be at just 7.4 is a little misleading. This is because I'm currently reviewing his films in order (the recent Wolf of Wall Street aside). Once the likes of Goodfellas and Raging Bull have been reviewed, his average will shoot right up.

Peter Jackson 7.3 from four films. I think The Lord of the Rings trilogy was brilliant but wasn't so keen on the first Hobbit and although the second was better, I'm yet to review it.

Steven Spielberg 7.2 from ten films. Generally speaking, the more recent the Spielberg film, the lower I'll have rated it. This wasn't the case with Lincoln but Tintin is no Schindler's List.

Ridley Scott 7.0 from five films. Alien is an outstanding movie but I'm not huge Blade Runner fan.

David Cronenberg 6.9 from eight films. I have a love/hate relationship with David Cronenberg. The Fly I love. Crash I hate. A Dangerous Method I love. A History of Violence I, well don't hate but don't love either.

Kim Ji-woon 6.8 from four films. Korea's Kim has made some incredible movies, perhaps none more so than I Saw the Devil. His American début, The Last Stand was a big let down but was at least directed with aplomb.

Charlie Chaplin 6.7 from forty-five films. I've reviewed more Chaplin films than most of the other names on this list combined but I find him languishing with just a 6.7 average. Although I love the guy more than any other man should love a man, some of his early films are poor, even to a huge Chaplin fan. The Kid, The Circus and City Lights are three of my favourite films however.

Sam Raimi 6.5 from six films. I loved Evil Dead when I saw it for the first time last year but I'm no huge fan of the Spider-Man trilogy and didn't enjoy Oz the Great and Powerful.

Steven Soderbergh 6.0 from four films. I thought that Side Effects was a good film but I'm not usually excited by a new Soderbergh movie.

Lars von Trier 5.5 from four films. Von Trier is a fascinating director whose films infuriate me. The 8/10 I gave Antichrist shows how poorly I've marked his other movies.

I've only reviewed three of the following directors movies.

Steve McQueen - 9.0
Michel Hazanavicius - 8.7
John Lasseter - 8.7
Christopher Nolan - 8.7
Sidney Lumet - 8.3
Wim Wenders - 8.3
The Coen Brothers - 8.0
Paul Thomas Anderson - 7.7
Shane Meadows - 7.0
Tim Burton - 6.7
Guillermo del Toro - 6.3
Paul Verhoeven - 6.3
Ivan Reitman - 6.0
James Whale - 6.0
Judd Apatow - 5.7
Tony Scott - 4.7

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Making a Living

February 2^nd 1914, exactly one hundred years ago today saw the launch of one of the most successful Hollywood careers in history. On this day a century ago, a twenty-four year old Englishman called Charles Spencer Chaplin made his screen debut in a one reel Keystone comedy called Making a Living. Eighteen months later he would arguably become the most famous entertainer on the planet and by his late twenties he was the richest. Being a man for whom Chaplin has a special place in my heart, not to mention a permanent inked place on my arm, today is something special for me and to celebrate I decided to watch his first film exactly a century after its initial release.

Although I’ve reviewed over forty of Chaplin’s films in the past two years on this blog, Making a Living was one that I had never seen. In a way I’m glad that today was the first time I’d seen the short film as there’s something interesting about seeing it for the very first time exactly a hundred years after it was first exhibited. Chaplin plays a charming swindler called Edgar English having not adopted his iconic Tramp costume and persona until his second film, Kid Auto Races at Venice. During the thirteen minute runtime, English has frequent run-ins with Henry Lehrman’s reporter and eventually falls foul of the Keystone Kops, leading to a chaotic and slightly confusing conclusion.