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.