Young @ Heart (2007)

Very few and far between are those movies that genuinely affect on an emotional level. Film's ability to merge both sound and vision and to tune those specific, sentimental neurons is one championing factor not available to many other mediums. The Wachowski's have made the hairs on the back of my neck stand up and Kubrick has scared the living daylights out of me. Haneke has made me wince and Vinterberg has made me cringe. Moore has made me want to kill someone and Buñuel has made me want to kill everyone.

Until now though, the only film to make me weep like a baby was Winterbottom's truly powerful and vastly underrated A Mighty Heart (2007). British film-maker Stephen Walker has added another to this list. With Young @ Heart he gives us a very potent and heartrending documentary following a chorus band with an average age of 81. It's the final 7-week rehearsal period before their next live annual performance and songs by Sonic Youth, Talking Heads, The Troggs and James Brown still require a lot of work.

Founded in 1982 by manager Bob Cilman (52), his meticulous ability to apply pressure on his divos and divas is equal only to the selection of songs that are both amusing and poignant. As the gig approaches general health concerns arise and there are even deaths to contend with. So much so that the films crescendo to the final concert brings different meanings to songs heard throughout the film, most significantly Coldplay’s Fix You.

It is perhaps further amazing that all this is accomplished despite the look and feel of a BBC2 documentary on par with Louis Theroux. Walker is just as annoying yet thankfully has fewer on-screen moments as the film progresses. What a shame then that more of that off-screen time wasn’t spent keeping Cilman in check. His tendency to break the fourth wall seems out of place, almost like a video diary more akin to Big Brother rather than a documentary.

As opposed to crowning concert-movies like Stop Making Sense (1984), Heart of Gold (2006) or Gimme Shelter (1970), Young @ Heart offers an opportunity to enter a world of unknown stars. An exhausting, emotional, roller-coaster of a film, complete with 25 retirees at the helm, truly amazing.

Unrelated (2007)

Danny Boyle's reminder earlier this month at the LFF’s Closing Gala on the importance of film festivals has never been so appropriate. His basic gist was that festivals allow the films to speak for themselves. After screenings the distributors can successfully gauge the buzz surrounding a particular film. Boyle speaks from not so distant experience. His latest film Slumdog Millionaire wasn't picked up for distribution until its premiere and subsequent screening at both the Telluride and Toronto Film Festivals. It seems absurd that a film-maker of this caliber with such a faultless commercial and critical back-catalogue should struggle to find distribution deals.

Robert Beeson and Pam Engel (founders of UK/USA DVD distributor Artificial Eye) have recently set-up new UK film distribution company New Wave Film. Their first release is Unrelated, a new wave film indeed, especially for British cinema. Our very own, Joanna Hogg, making her feature length directorial debut, and what a start it is. A delicious slice of dysfunctional family life bursting with qualities normally attributed to that foreign film genre. This is indeed, something very extraordinary.

Comparisons can be drawn with my favourite Dogme film Festen (1998). Less cringing perhaps (what isn't?), but the realism is wholeheartedly intact.

Anna (Kathryn Worth) ventures to Italy to meet up with Verena (Mary Roscoe), a friend from her early school days. Upon arriving alone she is questioned by Verena, her clique of upper/middle class friends and their families about the whereabouts of her husband Alex. Conversations proceed to flow as liberally as the wine yet Anna, in a plot driven desire to re-connect with her youth finds more solace hanging-out with the "youngs" rather than as socially accepted or expected, with the "olds".

Her strongest bond is with twenty-something leader-of-the-pack Oakley (wonderfully embodied by already established on-stage and rising on-screen talent Tom Hiddleston). Whilst the theft of his father's prized bottle of wine is willfully accepted, the writing-off of the neighbour's car is the final straw. Unfortunately for Ann, as the insider of both groups with all the knowledge, her values and principles are torn between newfound friends and old lost friend.

All this narrative ruckus is leisurely overshadowed by the emergence of truth surrounding Anna's relationship troubles with husband Alex, a character that is quite often at the film's focus but whom never actually makes an on-screen appearance.

A film of the year.

Man on Wire (2008)

At this moment when documentaries have never been so popular James Marsh has directed one to blow the rest away. It’s an outstanding documentary of head-shaking proportions. Literally, if at any point in this film you can avert your eyes from the screen, all you will see is the backs of heads swiveling from one side to the other in disbelief.

It documents Frenchmen Philippe Petit’s 1974 high-wire walk between the Twin Towers of the World Trade Centre. Part original footage, part reconstruction, Marsh has woven together a film of the year. "The artistic crime of the century” and described by Marsh as “a heist movie” he seems to have taken inspiration from both Morris and Mann. An unlikely combination, but one that has worked tremendously well. The speed and pace, the flashbacks, the development of the central character arc, everything is pitch perfect.

Michael Nyman is used for the bulk of the soundtrack and he doesn’t disappoint. It could be his best score since my personal favourite Gattaca. Add to this the mystique of the most surreal photographs ever seen (Petit’s crew had enough to carry to the top without a video camera adding extra weight) and you come close to understanding the poetic nature of the film.

One photo in particular stands out from the rest. Taken from ground zero looking up at one tower, in the top-left corner flying high above is an aeroplane. This of course evokes the palpable question of 9/11. Something that is always present throughout but is never alluded to further than this, a slight reminder.

It's showing at the Prince Charles Cinema this week, brought back some two months after it’s UK premiere.

Heavy Metal in Baghdad (2007)

Directors Eddy Moretti and Suroosh Alvi have produced an extraordinary film, unparalleled in its attempt and success to capture a more humanistic vision of the events surrounding the Iraq War to date.

From early 2003 to late 2006, Moretti and Alvi document the struggles of Iraq's only heavy metal band, Acrassicauda (Latin for Black Scorpion) and the ever-disintegrating environment surrounding them. From Saddam Hussein’s reign, his fall and the subsequent rise of insurgents, it’s a rollercoaster ride that is as thrilling as it is unbelievable.

Featuring a subtle commentary on the effects of globalization, we see western influences in the shape of Metallica, Slayer and Slipknot and the impact they have on Iraq’s burgeoning youth culture, so beautifully echoed in the form of Acrassicauda. These symbols of free expression are idolized by the band members, and also, they claim, the source of their English. This may explain the constant and tiresome use of expletives and the word “dude”.

Handheld camera use is prevalent throughout, an apt choice that adds aesthetically and reflects the on-stage guerilla style music at the heart of the movie. The film’s most poignant moment is near its conclusion when a “rough-cut” of select moments, some shot over three years before, are replayed to the band’s members. It’s an incredibly powerful scene, one that generates on-screen emotions that underline the mind-boggling reality of the situation.

In Bruges (2008)

Martin McDonagh returns after the incredible success of his oscar-winning short Six Shooter (2004). If you haven't already, check it out as soon as possible via rental, download or the occasional showing on Film Four. Born in Camberwell, McDonagh seems the likely choice to continue where Guy Ritchie sadly left us. Not just the guns and gags but also the adept multi-stranded narrative structure used so proficiently in Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000) yet used so carelessly in Revolver (2005) and RocknRolla (2008) (let's not mention the one with his wife).

When their last job goes horribly wrong hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are sent to Bruges for an unscheduled extended break. Why Bruges? Well, because London boss Harry (Ralph Fiennes) said so, that’s why. The idyllic setting is a childhood memory of his and he’s hoping some of its charm will wear off on the young corruptible Ray. Bruges does look stunning and distinctly surreal in a Lynchian kind-of-way. Eigil Bryld’s cinematography and the Coen's regular composer Carter Burwell meld perfectly to fulfill Harry’s description of a fairy-tale city.

McDonagh’s grasp on efficient story telling is faultless, an essential trait for feature length but arguably more so for short films. Ken’s pocketful of coins, the overweight American and a school uniform are integral plot points, there is no space for MacGuffins here. Significantly all of these are played out visually and for this reason, the exposition is effortless.

This could be the beginning of a canon for McDonagh, as the sole writer this film continues very much in the same tone as Six-Shooter. The same brand of humour is intact too and it is seriously funny. Whether McDonagh targets dwarves or Dutch prostitutes, all are dealt with equally and delivered to perfection by both cast (albeit mostly Farrell) and editor (Jon Gregory). It is a very welcome non-PC breath of fresh air.

A must see film of the year.

Babylon A.D. (2008)

Pitch Black (2000) was awesome, it came out of nowhere, a top action film that was extraordinarily original and the inspiration for a whole new wave of video games (Gears of War (2006) anybody). It held its own against top action flicks of the same year including Gladiator (2000) and X-Men (2000). If it had been backed up with a more substantial advertising budget or tweaked it's content for a more marketable certificate rating it would have easily reached higher in the box office ratings (67th for that year).

Most significantly it introduced a new kind of action hero. Sure he was buffed to the max as per usual and had a voice deeper than the guy who dubs Bruce Willis in Spanish but it was the shrouded mystery that carried his success both on and off screen. Since then he has been in a car movie franchise (incidentally the new one comes out next year), A Man Apart (2003) and a bunch of sequels to the aforementioned Pitch Black. By now of course the mystery has dissipated. As a general rule, with every new role come more lines of dialogue. It's not an ideal correlation for Mr. Diesel as his acting abilities are slowly becoming more and more tested. His latest performance is no exception.

Following hot on the heels of so-bad-it's-good Transporter (2002), Mercenary must deliver organism carrying Aurora (Mélanie Thierry) to Manhattan, all the way from Russia. Impossible you say? Never! Not with film editor Benjamin Weill on the case. We zip and cut our way over nation wide landscapes using cars, helicopters and skidoos to name but a few. Of course it's not the editors fault, he just meshes it all together. Who's to blame then? Well not director Mathieu Kassovitz either. He's been working on this project for 5 years and has already disowned it after 5 minutes. His Hollywood career is certainly over (can we have more hate now please?) but after this experience would he want to return?

It is a (90 minute) mess of a film but if you walk in there understanding this then you may just walk out enjoying it. I did.

Babettes Gæstebud (Babette's Feast) (1987)

Recommended to me by a food critic following the release of Ratatouille (2007), he argued that the reason it was a success was because of the appetising appearance of the food involved. If it doesn’t look good, then the whole basis of the film collapses.

Babette’s Feast falls into that same category. It’s one of those gems that you’ve possibly never heard of but fall in love with instantly. Kind of like stumbling across Glengarry Glen Ross (1992), Hud (1963) or Vernon, Florida (1982) late at night on TCM.

Featuring a multi-stranded narrative, the basic crux involves Babette (Stéphane Audran), a poor French refugee, arriving in a stranded Danish hamlet in the 19th century. She is employed and paid with food and board for her services as a maid/house keeper/cook to sisters Martina (Birgitte Federspiel) and Philippa (Bodil Kjer). Continuing to play the lottery ever since leaving France she wins and pleas with her employers to let her organise the upcoming feast, “a real French dinner” she exalts. The feast is in celebration of what would have been their father’s 100th birthday were he still alive. As the town’s pastor, we learn that he was the only force powerful enough to unite the people and who has been sorely missed ever since. Can her feast restore that community spirit?

It’s a beautifully told story featuring very sparse use of narration, dialogue in general and most significant, soundtrack. All this directs further attention to the visual details, most rewarded by the appearance of the food. When the goods/ingredients arrive all the way from France Philippa exclaims “surely that’s not wine”, Babette replies quite matter-of-factly “Clos de Vougeot 1845, from Chez Philippe, Rue Motorgueil”. Her face is priceless and so will yours be with the next shot, a live giant turtle just waiting to be cooked (you know, for the soup!).

If the preparation of the dinner doesn’t make you laugh then the feast itself will at least make your mouth water. Have I tickled your tastebuds? If so, I implore you not watch this on an empty stomach, you may fall victim to Windigo.

The Duchess (2008)

What can you say? Director Saul Dibb ain't no Ang Lee and this ain't no Sense & Sensibility (1995). Unlike the latter however, this isn't based on fiction, rather a best-selling biography by Amanda Foreman. It certainly explains its flatness, whilst not quite justifying it.

Newly wedded Duke (Ralph Fiennes) and Duchess (Keira Knightley) of Devonshire struggle to bear a male heir. He fools around (developing the now infamous love triangle) and in the end so does she. We are led to believe that whilst his infidelity is solely to increase the chances of a son, hers is in the name of love. Throw in the beloved dogs and you've got the whole family.

Performances are fine, surprisingly not too shouty. Still, "I want an Oscar" can be heard in most scenes throughout. She would get my vote if it quenched her thirst for period dramas. At least, however, we can be thankful it's not a film about Jimmy's mother. Think about that for a second.

As commented by Xan Brooks in Jason Solomon's Guardian weekly podcast (06:38) this is yet another fine period piece to be slotted in up in the ranks of Scorsese's The Age of Innocence (1993). Everybody expected him to pull off a miracle piece, to do something new for the genre. Instead he offered a very solid piece of filmmaking featuring extravagant sets and beautiful costume designs. Of course I'm ad-libbing, I would say that Scorsese's film is much better but this still falls under the same category of solid filmmaking. It's paint by numbers, but the paint is very certainly metallic.

King Kong (1933)

The first in the ongoing Prince Charles' double bill features and number 196 in IMDB's top 250, King Kong is a cornerstone in film history. Smashing boundaries (no pun intended) and pushing envelopes in several areas, most notably being one of the first films about the film making process itself.

Of course we all know the story by now. Whether you've seen this (the original version), the laughable 1974 version or even the 87 minutes longer 2005 version, you should have a good idea of what to expect. "It was beauty that killed the beast" proclaims movie mogul Carl Denham (Robert Armstrong). Erm, well yes that, the consumerist nature of an obsessive filmmaker and of course those three nasty little biplanes.

A wonderful example of early cinema misogyny where patriarchal social structures are rife. A film focused upon prizes and possessions, juxtapositions between all the male characters in the film (including the gorilla itself) make this a delight to watch. Here the term is applied in the more genteel and commonly used sense of the word, rather than the true sense which could easily be applied to a film made seven decades later called You Don't Mess with the Zohan (2008).

Fay Wray's iconic "scream queen" scene hasn't dated at all. "Look up, look up" director Denham shouts, "Cover your eyes and scream as loud as you can". It adeptly highlights the reality of the filmmaking process and heightens expectations of what is to come.

The next double bill is on the 22 September; Jurassic Park (1993) and Jaws (1975)

The Strangers (2008)

I've heard nothing but bad things about The Strangers but I was very very pleasantly surprised. For a horror film it did exactly what it was supposed to do, and with the recent surge of torture porn films preoccupied with showing the horror instead of, well, inspiring it, this is a breath of fresh air.

Kristen McKay (Liv Tyler) and presumedly soon to be ex-boyfriend James Hoyt (Scott Speedman) return as scheduled to his parents isolated holiday home after his post-wedding-party-proposal goes horribly wrong. Things get considerably worse when they find themselves at the mercy of three mask wearing assailants. For the next twelve hours they (and quite possibly you) will scream, hollow or at least jump as these sadists quite literally do our protagonist's heads in, both mentally and inevitably physically.

It's a taut thriller that once again, following the J.J. Abrams school methodology of "ask now, don't answer later", gets away with it in brilliant fashion. This recent resurgence began with Lost (2004), climaxed with the audacious Cloverfield (2008) and ends up once again here, steadicam intact. Of course this has been the main issue for many critics but once again, to reiterate, if you can't answer the questions then it is far better to leave them unanswered then to blag it.

Post Zodiac (2007) Hurdy Gurdy Man style music plays diegetically in the background at crucial points in the film adding an extra pinch of scary spice. Sure our protagonists make some bad choices but they arn't half as bad as the dodgy exposition or contrived revelations usually attributed to this genre.

At 85 minutes it is still a little too long, certainly a few shots could've been tighter, maybe even a scene cut could've have helped but it is still well worth a viewing.

The Strangers is on general release now.

Bes Vakit (Times and Winds) (2006)

Reha Erdem's fourth feature invites us once again to a slice of life in Turkey, his homeland.

Playing a distinguished part in the 50th annual London Film Festival (the 52nd begins in little over a month) it may be true it has taken a while to get general release here in the UK, but it's been well worth the wait. It’s one of those films where you wonder how film critics actually manage to sum them up after only one viewing. Jason Solomons for one said only this week how he would like to see it again. For me personally, it wasn’t a choice, I had to.

As its title suggests, the passing of time is a central theme. Focusing mainly but not solely upon the maturing period of three prepubescent protagonists, the narrative is incredibly intricate. A prominent plot line illustrates a child’s shifting sentiments from yearning a father’s affection to scheming his eternal demise. Split into five sections (based on the Iman's calls to prayer) these three characters interact with themselves and their surroundings effortlessly.

Yet whilst the narrative is incredibly strong it is in other areas that this film excels. The (supposedly untrained) child actors leave our very own prodigal son Mr. Turgoose behind, making this, along with equally talented cinematographer Florent Henry, a stunning example of why modern Turkish cinema is fast becoming a prominent force in Eurasian cinema.

Times and Winds is currently showing at the Curzon Mayfair and Renoir Cinema.

Step Brothers (2008)

And so the American onslaught of failed men continues, this time though, double trouble. Where to start? I guess I shouldn't have been expecting too much, I haven't seen much publicity or anything. This one has crawled out of the Hollywood production grinder like a dog with two legs.

Nancy Huff (Mary Steenburgen) and Dr. Robert Doback (Richard Jenkins) get hitched and only decide to introduce their 40 year old sons Dale (John C. Reilly) and Brennen (Will Ferrell) to each other after the fact. I'm a huge fan of Reilly, he's done some cracking stuff in the past, what a shame it is then that there seems to be much more of an attraction to comedy duo projects like this than ensemble bit parts like those of Bogey Nights (1997) and other P.T. Anderson masterpiece Magnolia (1999). Could it be the money, I wonder?

Seriously though, step it up, Walk Hard: The Dewey Cox Story (2007), Talladega Nights: The Ballad of Ricky Bobby (2006), and with Cirque du Freak in the post, what happened to characters like Phil Last, Sgt. Storm and Buck Bretherton. Ok that last one was a joke.

Step Brothers is another in the long line of Old School (2003) killers but once again it doesn't come anywhere close unfortunately. Forgetting Sarah Marshall (2008) was way off too but at least that was in the same genre...comedy. Whether it's dull dialogue or visual gags using Star Wars masks (not to mention the abundance of corporate sponsored Sunday t-shirts on display) it all pretty much falls flat. I did laugh at the bunk bed bit but that's about it. Maybe because there's actually a build up, instead of just saying swear words in crescendo based sentences.

On a more positive note seeing Clara Clayton back on the big screen since getting hitched to Doc. Brown saved it from being a total waste of time.

O.C. and Stiggs (1985)

Part of the Bob Altman box set I bought a couple of weeks ago, I'm pretty sure this far-out flick would never have surfaced on my radar if it weren't. Failing students O.C. and Stiggs relay the occurences of their summer holidays through flashback whilst talking to a fictional president of a fictional African nation on the neighbour's telephone. This is part of the ongoing revenge against middle-class surburbanites the Schwab's.

It's a mad flick, one that is not a total waste of time, just don't expect too much. It's an incredible film for that reason. After the critical and somewhat commercial success of MASH (1970), McCabe and Mrs Miller (1971), The Long Goodbye (1973) et al. this just seems totally out of place in his canon. Derived from the characters first introduced in the American humour magazine National Lampoon it is entirely based upon the October '82 issue entitled "The Utterly Monstrous, Mind-Roasting Summer of O. C. and Stiggs".

Nevertheless similarities do exist, mostly the use of fast dialogue ("Is it the sound of your voice or have we met before Mrs. Déjà Vu") and of course the unmistakable Altmanesque cinematography. That's about it though unfortunately, after that it's all down hill, the obligation to uphold mid 80s teen American cinema values proves too strong. Most notably the central character's attempts to save the day for those less fortunate displaying the all too common obsession with capitalism, something the film is very much aware of. That, and an obsession with lobsters.

If you're interested in ticking those boxes and have a spare couple of hours then check it out. A very interesting film for all the wrong reasons. If you're not interested in watching it then at least check out the introduction below, the strangest and most distinct introduction to an MGM production ever.

Death Defying Acts (2007)

It's only 90 minutes long but half way through I'm already asking when it is going to end. Never a good sign. It's not bad though by any standards, all the performances are ok (even though the accents are a bit weird), it's just that it doesn't seem to go anywhere.

Only at the end of the film (the last 7 minutes to be precise, lots of snogging) is it clear that we're actually watching a love story. Before this revelation it could've been anything...well maybe not a comedy. Misdirection, it seems, is as central to the aesthetics of the film as the narrative. Alas, everyone knows the king pin of misdirection in recent times is The Prestige (2006), and Gillian Armstrong's effort falls a long way short of being worthy of a comparison.

Fancy seeing some death defying acts, I'd suggest you check out Man on Wire (2007).

Shoot on Sight (2007)

Following on from the events of 7/7 and filling in the blanks leading up to the shooting of Jean Charles de Menezes, Jag Mundhra’s slant on Britain’s post 7/7 world leaves the tracks pretty much there and goes on to become what can only be compared to an over-extended episode of Eastenders, or Coronation Street for that matter given the location.

Brian Cox and lead protagonist Naseeruddin Shah are the only elements keeping this film afloat although even their portrayals are tested at times.

The problems are not limited to production values or the small incestuous family based plotlines rampant throughout (the main bad guy is the protagonist’s grandson) but the thought that this project could have got green lit due to its tenuous claims to be based on or inspired by true events is deplorable. Surely the only depiction those events should inspire are documentaries or at least dramatizations with realism intact.

Quiet City (2007)

Part of Film4's current and ongoing Generation Next season, Quiet City continues the so-called Mumblecore genre. A movement in film that has only recently been acknowlegded although early influences include the innovative Kids (1995).

Unlike controversial Larry Clark though Aaron Katz will not be celebrated/ridiculed as prominently for his portrayal of urban youth, here the protagonists are young adults rather than kids. The subject matter of the conversations are of course similar and quite often just as cringing. Topics include and focus upon maturity, sex and relationships but it is the approach that is unique, often flirting with that line of over-the-top self-analysis but never actually crossing it as in Short Bus (2006).

Katz directs this, his third feature, his second, Dance Party, USA (2006) also features in the Generation Next season. Jamie (Erin Fisher) travels to Brooklyn to visit her friend Samantha. When she gets stood up she asks future-bff-to-be Charlie (Cris Lankenau) for directions. The couple hit it off and their journey of discovery begins. We see them hang-out, visit friends and go to an art gallery.

Of course nothing really happens and when it does it is without purpose. When visiting his old buddy Adam (Joe Swanberg) with the intention of reclaiming a long forgotten hat we see in the next scene that Charlie has once again left it behind. Katz' efforts here are at least more memorable.

Other notable films from the season include Mutual Appreciation (2005) and The Puffy Chair (2005).

Mamma Mia (2008)

I was afraid, I was petrified, I was justified.

In Search of a Midnight Kiss (2007)

Don't be late, that's all I'll say. It starts with a bang, and it's very very funny. It's not that it all goes downhill from there, not that at all. If anything it gets better, the switch from comedy to romance slowly takes effect over the course of a very tight 90 minutes. It could be the funniest introduction to a film this decade. Kind of like when you watch six Seinfeld (1990) episodes in a row or when you get to the sixth scene in a Jackass (2002/2006) movie and you have to stop laughing because it hurts.

There are influences here of course, the aforementioned Seinfeld, Clerks (1994), When Harry Met Sally (1989) to name but a few. A whimsical tale about people not wanting to be on their own on that special one night of the year, New Year's Eve. There's a wonderful contemporary feel to it. Pop culture references are littered throughout making this a classic love story set in modern L.A. I've been there, downtown. It's pretty grim, but it almost feels all warm and fuzzy here, special notice goes to the scene in the disused theatre.

A must for all who live or have experienced life in a metropolis. A hilarious vision on how modern relationships work, covering everything from the internet ad, the first date, the deception of marriage but most important, the destruction of ill-fated L.A. romance. See it as soon as you can, though preferably not on a first date.

Bienvenue Chez les Ch'tis (Welcome to the Sticks) (2008)

Welcome to a contemporary offering of French National cinema. Bresson would be turning in his grave. France's highest grossing film of all time for the opening week is a film where the boom is visable in 75% of the shots. A film whose comedic premise relies entirely on the notion that all people in the north of France are simple, and kinda talk funny.

The English subtitles try to reflect this funny pronunciation but it is a lost cause really. That it has a huge appeal in France is perplexing enough, that it made it to my local multiplex in the UK staggering.

In The Truman Show (1998) and more recently Goodbye Lenin (2003) fake environments are used to illustrate the goodness of humanity. There is a hierarchy of knowledge that we as an audience are privilegded to. This setup is used once again here to disastrous effects when Philippe (Kad Merad) must portray his awful experiences up north in Bergues when in reality he's having a whale of a time.

Gerry (2002)

Where did this one come from? Never heard of it? Neither had I before it came on Film Four. Gus Vant Sant and Matt Damon return after a 5 year hiatus from working with each other on Good Will Hunting (1997). This time, however, Matt's best friend is Ben's younger brother, Casey. All is well, they're going on a hiking trip in Death Valley. I know, wha wha what!?! Up there with the worst ideas for a vacation ever. Wait...there's more...get this...100 mins, 100 Shots, 60 seconds a shot (on average).

What does that all mean? Well, a very slow film about two guys getting lost in Death Valley. It's experimental to say the least. There are some beautiful shots to keep you interested even if the character development doesn't. Any invitation to learn more about the central characters is irritatingly cut short. All the way through we are offered little anecdotes involving past incidents, all of which appear to be private jokes that the audience are not privileged to.

The film is best summarised by it's title? Why? Because I have no idea what it means.

Flashbacks of a Fool (2008)

More like flashback. I don't see the need for it to be plural. There's only one and boy does it go on a bit.

Split into three sections, the film tells (non-chronologically) the tale of Joe's (Daniel Craig) life from prepubescent life to adulthood. The first part and easily the most enjoyable takes place in his adult life in LA. He's spiraling out of control, losing the plot as well as the roles needed to continue his high-class life style. So far so very very good.

The second part is told in one BIG flashback set in South England as a child. The main crux of the film, here we see childhood relationships develop between best friend Boots and girlfriend Ruth. If it doesn't grab you here then the rest of the film is going to be long. And it should grab you; the film looks and feels great. Director Baillie Walsh's 80's Britain is awash with nostalgic iconography. The soundtrack is fantastic, not to mention one of the greatest cinematic scenes of 00's cinema so far; the duet between child prodigy's Harry Eden and Felicity Jones covering Bryan Ferry's If There is Something, it's a truly magical scene.

The third part shows the protagonist's return as an adult to South England for Boots' funeral. Of course the location between these two final acts doesn't change, only the period. Shame that, it's one of the contributing factors to the stale ongoing sprawl that makes this film feel just a little too long. Same old argument but hey, if you feel it you gotta say it.

One positive thing that can be said though is its unpredictability; there are no clues as to where this film is going. One scene in particular involving a washed up live WW2 bomb. Nuff said.

Rozmowy Noca (Midnight Talks) (2008)

Or "Midnihgt Talks" as the certificate at the beginning of the movie would have us believe. Maybe that's why I can't find it on imdb, maybe if I used the typo version. Anyway, we've highlighted the production values, let's move on.

Matylda wants a kid without the agro of a relationship. Barttek wants a girlfriend, any girlfriend as his mother states. He's a cook, she's a devout McDonalds customer. She's practical, he's emotional. How will they possibly gel? Ooohhh the contradictions, name the classic rom-com cliches, they'll be here. In order to facilitate her maternal desires she places an ad in a local newspaper, hilarity ensues...kinda.

Advertised as Poland's When Harry Met Sally (1989) (his pseudnym early in the film is Harry) this one's got a long way to go yet. Maciej Zak is trying hard though, especially with it's chosen soundtrack.

It's nice enough and there are a few laughs here and there, and whilst certainly cheerier than any of Wajda's offerings I know which I'd rush out to see.

Next week The Prince Charles completes its Monday night Polish season with The Wedding (2004) (28th, 21:00). I'll be there.

Shine a Light (2008)

Of course I couldn’t speak on Mr Jagger’s behalf but personally, by the end, I was knackered. Not tired, just awfully awfully sweaty. Maybe it was due to the sheer size of the IMAX screen. If ever the expression “they don’t make ‘em like that anymore” was to be applied to a person, it’s him.

This film is awesome. I loved No Direction Home (2005), here Scorsese goes one step further, this time using actual footage shot by his team of 20 top class cinematographers capturing every nuance of the gig. Literally everything is caught, nothing is missed.

Of course if you don’t like the Stones then this isn’t going to do anything for you. But if you do, then strap in tight, it’s a hell of a ride. The pace is relentless, stopping only between every second or third song for small (highly amusing) anecdotes from the archives. When we return to the stage the band kicks off again, somehow stepping it up a notch every time.

If you get the chance, I’d recommend the Imax experience for this one.

No End in Sight (2007)

A straightforward documentary chronicling the events and decisions made in the lead up to the war in Iraq. I say straight forward because that’s what it is. It’s hard to keep track of which was is which given the tackling the subject. They aren’t known by their titles, but by their style or cast. There are the documentaries like this one and Taxi to the Dark Side (2007), reconstructed reality TV types like Battle for Haditha (2007) or the regular fictional narratives like In the Valley of Elah (2007) and Grace is Gone (2007).

Charles Ferguson wrote, directed and produced. Whilst its production values are high it still has that 9/11 conspiracy theory Loose Change (2007) feel to it, i.e. a film made entirely on one blokes laptop.

It's about as blunt as Alan Rickman’s spoon and its whole host of guests, celebrities or, dare we say, characters can be booed or cheered as if appearing in Punch and Judy every time they come into shot. It’s very apparent who the bad guys are and helps to explain why some declined to appear. And this is exactly the problem, the film doesn't seem to offer anything we don't know already, yes, we (as an allied force) fucked up. If you're interested in learning how, watch this.

Greed (1924)

As the credits state at the very outset of the movie, this was "personally directed" by Erich von Stroheim, his fifth of only a dozen films.

Originally 8 hours in length the studio pulled it and forced Stroheim to cut it down to a mere 2 hours, not something to take lightly. Cue cards alone take up a huge part of the movie length as a way of conveying dialogue in this, a silent cinema classic. Even at this length though the movie is incredibly challenging. But this is fine storytelling from a genius way ahead of the game. 

Stick with it because the ending is spectacular, one which will change your perspective on Bigelow's Point Break forever.

The Crazies (1973)

Currently being remade like everything else that George A. Romero has touched, this classic deserves it as much as the next. A tightly made though is must be said over-edited horror film. It tells the story of a man-made vaccine gone horribly wrong. "Trixie wasn't developed as a form of defence, Trixie was developed as a biological weapon". A much more plausible basis for bad things to happen than its radiation-spewing-fallen-satalite predecessor, Night of the Living Dead (1968).

Three films and five years later Romero returns to what he does best, pure horror. Something up and coming filmmakers like Jaume Balagueró and Paco Plaza owe a lot to with their wonderful twist on Blair Witch Project (1999), [rec] (2007). Watch that and think about the moments when unsuspecting victims approach already converted bad guys, you saw it here first.

Other notable mentions include the consistent and wonderful drum rolls which take place whenever the army are on screen. A clever narrative device used to build tension and pace. I particularly liked the car chase sequences, again mashed with an intriguing soundtrack, this time the ever wonderful banjo. I wonder if it was this cringing before Ned Beatty went rowing with his friends.

Happy Gilmore (1996)

"Shooter McGavins" I forgot how much I love this movie. Of all the films in the Adam Sandler canon this one is my favourite. It set the standard (and trend) in 1996 for the rest to follow. But wait, what's this…a canon?? Well yeah, sure, why not?

Let's face it, of the films he has either produced or written (The Longest Yard (2005), Little Nicky (2000), Big Daddy (1999), The Waterboy (1998), Happy Gilmore (1996), Billy Madison (1995)) this one is the best. Big Daddy comes a very close 2nd as the most polished (the use of editing and soundtrack - Garbage's "When I Grow Up" anybody?) but morals end up getting in the way of laugh-out-loud moments e.g. Kevin Nealon's character Gary Potter tries to settle Gilmore's first TV appearance nerves…"The ball wants to go home, it's packed its bags, bought the ticket, now just get it on the plane").

Of course some of his films don't work. Not only do they fail to raise a laugh but some even make you cringe as his chauvinistic dialogue and visual gags fail to impress. Do we need to see Julie Bowen wearing next to nothing carrying massive jugs of beer even once, never mind thrice? Thankfully though is doesn't get any worse. But this is something Sandler has developed throughout his body of work and now something his token minority characters, whether Asian, Hispanic, Gay or midget, give nod to. At one point the commentator says "quite a large and economically diverse crowd here at the Michelob Invitational". Sandler's Capra-esque characters are nothing new, these much loved all-American working-class men who put their fellow human kind ahead of themselves are always pleasant and easy to watch.

If you haven't seen it yet then stick it on your list, possibly the finest golf movie made, after Tin Cup (1996) of course.

This is England (2006)

Awesome, powerful, moving stuff. Great acting from all members of the cast, there are no underachievers here. After watching all of Meadow's movies in recent times I can easily say this one really is the grandest. Its great to see how directors develop with experience, and, in the case of Meadow's, a bigger budget. He perfectly encapsulates the look and feel of eighties Britain. I loved the grain and grit of his early movies - most notably 24/7 - but the final polished movie here with slicker and smoother visual and sound editing is unparalelled in his earlier work. The haunting final sequence, both symbolic in its message and vision well deserves its comparison to Truffaut's 400 Blows (1959)

Ziegfeld Follies (1946)

The Guardian recently came out with the top 1000 films you should see. I know, I know, I know…we’ve all seen these lists, the stuff you should but never will do before you die.

Well I like this one, not only will you be able to find out more info on each of the 1000 titles but it’ll also highlight a lot of films you’ve never seen, or heard of. I’ve seen about 400 and haven’t heard of most of the rest.

One guy who stands out in the list though is Vincente Minnelli. Obviously a milestone in post-war Hollywood cinema with classics including Meet me in St Louis (1944), An American in Paris (1951) and of course 9 Oscar winning masterpiece Gigi (1958), I was quite embarrassed to admit I hadn’t seen any of them. Until now.

Last night I watched his 1946 musical Ziegfeld Follies. It tries to encapsulate a cinematic version of the Ziegfeld Follies Broadway shows which ran from 1907 to 1931. According to IMDB the film was directed by 6 different guys, each taking one or two of the specific numbers. This is pretty apparent and there doesn’t really seem to be any form of running narrative. Nevertheless it’s not often you get the chance to see most of the MGM talents in one film, highlights include Fred Astaire, Lucille Ball, Lucille Bremer, Judy Garland, Kathryn Grayson, Lena Horne, Gene Kelly, James Melton, Victor Moore, William Powell, Red Skelton, and Esther Williams.

It’s pretty good if you like Hollywood musicals but I’m going to hold out for the classic three though.

Thumbsucker (2005)

This is Mike Mills' first feature, a film which he has stated was "unmarketable". Quite surprising really, given his history directing TV adverts for Nike, Levis and Volkswagen, not to mention the fact that this film is a cracker.

Based on the novel of the same name by Walter Kirn it tells the story of Justin (Lou Taylor Pucci) Cobb, who, at the age of 17 is still sucking his thumb. When scene-stealing orthodontist (Keanu Reeves) helps him stop through hypnotism his life and those around him are severely affected.

If you like Me and You and Everybody We Know (2005), Junebug (2005), The Squid and the Whale (2005), Half Nelson (2006) etc then you're going to like this. It contains many of the classic teen-angst clichés but the film remains a treat. It's 96 minute running time just flies by as we're introduced to the wonderful cast and characters inhibiting his world. Closest of which include his Full Metal Jacket (1987) pyscho father (Vincent D'Onofrio), his wonderfully understated (co-executive producer) mother Tilda Swinton and Mills second time collaborator Kids (1995) graduate Kelli Garner as the love interest.

Special attention should be paid to the excellent soundtrack which could have been even better. Due to his untimely death in late 2003 it features only three of the many Elliot Smith songs originally planned to be included. The highlight being the montage sequence set to the morose ballad of "Trouble".

Cruising (1980)

I've been wanting to see this film for about a year. I first heard about it and haven't ceased to hear about it since I started listening to Mark Kermode's film Podcast. His enthusiasm for anything Friedkin does is unparalleled but it's Cruising, along with the obvious, The Exorcist (1973), that really tops the lot.

I really enjoyed it, as far as a straight forward serial killer movie this one is pretty much up there. The angle? Beat cop Al Pacino is sent undercover to infiltrate the "urban world of gay S&M bars in order to track down the killer". Pacino shows a surprising amount of enthusiasm for the role and the films narrative henceforth begins. Direct correlations can be drawn with the wonderful British I.D. in which undercover police officer John (Reece Dinsdale) must infiltrate the violent world of football hooliganism. Both characters experience a huge amount of change as they try to adapt to their new roles whilst still trying to hold onto what is expected of them. In Pacino's case it is his girlfriend Nancy (the wonderful Karen Allen, most famous for her role in The Raiders of the Lost Arc (1981)) who struggles to keep the relationship together. Pacino promises to tell Nancy everything but only once the investigation is over. During this time he must confront and deal with various precarious situations whereby both his general and sexual identity is on the line.

Aesthetically the film looks great. It features that awesome 80's feel that we have become accustomed to through films like The Terminator (1984). Pacino is brilliant as Burns, a cop tortured between two realities.

Du Levande (You, The Living) (2007)

Where did this one come from. I'd never heard of it's director, Swede Roy Andersson before. According to Wikipedia he's been described in the Village Voice as a "slapstick Ingmar Bergman".

I love coming out of the cinema and talking to people about the movie, especially people I don't know (nine times out of twenty I go to see films on my own, it's just easier). Just starting up a conversation, it's probably the one occasion when people may be more inclined to converse. Yesterday, for example, after watching Horton Hears a Who (2008), I asked what I will assume to be the parent if her child enjoyed the film. This was only because on the way in I heard her explaining the cinematic experience to him (which in itself was quite the treat). It was his first film! As it turned out he did enjoy it and I hope he has many more experiences like it. I told her to keep the cinema stub. I wish I had my first.

Today though I got chatting to a women who started talking about Andersson's first movie that she saw some 6 years ago, Songs from the Second Floor (2000). Well, I knew nothing of that then and I know very little more after watching this, his fourth feature. I'll stick the other three on the rent list.

The most out-there/original comedy I have seen since Eternal Sunshine of the Spotless Mind (2004). Let's be clear about this though, there are no more comparisons to be made here. Whilst Gondry's vision is very bright and fluid and fast paced, Andersson is quite happy to let the audience take its time and enjoy every single bleached shot for as long as we want. There is no hurry in this movie. I won't draw upon any specific scenes as this would undoubtedly spoil and detract from the experience as a whole. There are some shots/scenes though where absolute confidence has shone through. A lesser director would not have been able to stay committed to a specific scene in fear of losing the audience's attention. It's no wonder it was Sweden's Official Submission to the Best Foreign Language Film Category of the 80th Annual Academy Awards.

The incredible last image invokes serious comparisons to Dr. Strangelove. Kubrick's thoughts on cold war mentality was that it was so absurd he didn't know how he could proceed to make a film without making it a comedy. Here, life portrayed is once again so dismal that you can't help but laugh at it. I have never seen such a depressed bunch of individuals since...well the tube this morning but you know what I mean.

On walking in to the theatre I saw the poster referencing a quote from some critic about it being a mix of something and Monty Python. The film is basically sketch based and whilst there are similar traits in all they rarely follow any kind of narrative. Does this matter? Not really. The Band's Visit (2007) made me snigger a lot of the time but the opening 30 minutes of this film are filled with more laugh-out loud moments then reading Bryson's A Walk in the Woods, do you remember the skunk?

The humour does die off a bit and we are really allowed to get to know a few of the characters to some depth before the film finishes with yet another bout of comedy. It's an absolute gem, a film that I want everybody I know to see so that I can continue the conversation I started with the women outside the cinema. It probably isn't going to happen, it's only on limited release in London, nevermind north of the M25. If you can though check it out for sure at Brixton throughout next week.

Italianetz (The Italian) (2005)

I'll warn you now Andrei Kravchuk's 2005 movie The Italian is not an
easy watch.

It tells the story of Vanya, an orphan soon to be illegally adopted
by an Italian couple. After the initial meeting goes well Vanya has
just two weeks to find his own mother whilst the paperwork is being
put into place.

And so the narrative begins, although a little late. And it doesn't
seem to want to catch up either. It plods along at an incredibly slow
pace and doesn't really reward the viewer any pleasure whatsoever. By
the end of the movie I didn't feel anything for the central character
and whilst it is an uplifting ending I just felt abused. Sure there
are some beautiful shots, at one point early in the movie when their
car runs out of petrol the Italian father proclaims "look…the real
Russia". We see a POV shot of the wide expanse of desolate frosty
Russian desert, interrupted immediately by a troop of orphans coming
to help. The moment is made ever more powerful through the strange
but chilling strings soundtrack, something that goes drastically
downhill as the film progresses.

Its performances are fine although the information-laden giveaway
lines are a little to the acquired taste. At the beginning of the
movie the scriptwriter has the unfortunate pleasure of having his
credit placed immediately after the Italians confide in each other
"ohhh it's colder here than in Italy, isn't it?"

This Dickensian set-up isn't limited to the down beat inner city/slum
settings either. The central bad guys are overseers Madam and
henchman Nikolai. Neither of which are particularly nasty or scary.
They incompetently plod along in unison with everything else.

Marred by predictability and lack of speed this film offers very
little except wonderful cinematography and settings, which in itself
is enough to go and see it, just don't expect to be moved.

Horton Hears a Who! (2008)

I went to Brixton today to see this one. I love the Ritzy, it's my favourite cinema in London. I went there to see Control (2007) there and the monochrome finish looked absolutely spectacular. The sound quality is flawless and the seats are incredibly comfortable. This, along with a distinct lack of popcorn munchers, makes it top of my list..

Horton is great fun, I really enjoyed it, and didn't expect to. Carrey and Carrell are fine doing their silly voices and the animation is as expected. It's the story though that makes it and its abundance of metaphors. Very clever stuff and perfect for introducing those little minds to the world of philosophy.

The Beach (2000)

I love this movie, it's not perfect, like it's central subject
matter, but it pretty good. Like every other Boyle movie, its a
grower. Shallow Grave, Trainspotting, Life Less, this, 28 days later
and Sunshine, they're all growers. Whether you like, love or lothe
them the first time, they always get better. Why, because Boyle's movies are multi layered and every time you watch them you will pick up on something new.

The Beach is no exemption. I recently chatted to one of our core clientele about Mr Boyle, he claims to know him personally. Not the biggest fan to put it slightly but having said that I think he may have had an axe. He was very hung up on the environmental impact that this film had on "the beach". Well, if that is the case, then doh! But hey, who knows. Honestly, who knows. All I heard about it was what was reported in the newspapers when the film was released, so yeah, who knows.

Nude - Radiohead

They really are pushing the envelope.

Grosse Pointe Blank 2??

Filmdrunk just posted this as the sequel to Grosse Pointe Blank. As one in my top 20 films I'm relieved to say it's not GPB 2, but yes, I agree, it is very similar. Still, don't count you chickens and all that. See what you think.

The Passion of Christ (2004)

Wow, I can't believe this film. Afterall the hype. I don't think I've
been that bored since Dances with Wolves (I was 11 at the time, I
quite like it now). But this...

Interestingly though it is amazing that a film gramatically structured
like this can make so much money. I mean its basically a journey film.
A Hell of a journey with no twists or turns, just pure linear torture over and over.