Shame (Steve McQueen, 2011)

Like his 2008 debut feature Hunger, Steve McQueen’s Shame is a film that is alternately intimate and distant; revealing but also reliant on what is hidden. Much of the acting choices made by stars Michael Fassbender and Carey Mulligan, combined with the elusive screenplay of McQueen and Abi Morgan, allude to various possibilities regarding factors in the past of the characters that have perhaps influenced their damaged states in the present, but the film avoids outright confirmation so as to not make things concrete. Moments of potential sexual abuse or incest in the protagonists’ pasts are certainly possibilities made open for valid interpretation in the film, but to clearly state that single acts like abuse are the defining factor in the development of Fassbender’s Brandon’s sexually rooted compulsions and addictions – and Mulligan’s flaky, self-sabotaging Sissy – is to do a disservice to the complexities of human development.

In the case of Brandon, his damaging compulsions do not inhibit him from successfully progressing in the world. Practically the contemporary embodiment of a ‘yuppie’, his success in adjustment and control over his material life actually allows for his addictions to manifest in more elaborate ways, displaying what is arguably a more unique depiction in the canon of addiction-based films. His life is rooted in routine and regime, his bodily urges receiving habitual explorations in a way that keep them at a relatively safe distance from the more public aspects of his life. His emotions completely internalised, and a desire for meaningful connections virtually null, a convergence of events shattering to his world suddenly cause an interruption to his state of routine that allow his impulses to begin seeping into his life in a more prominent fashion: the confiscation of his porn filled work computer due to detection of a virus, and the unwelcome, surprising arrival of sister Sissy as houseguest for an unforeseeable amount of time.

Adventureland (Greg Mottola, 2009)

Adventureland is an especially good entry into the period coming-of-age film canon, its sharp eye for era detail, in the vein of Richard Linklater’s Dazed and Confused, never leading to over romanticising of its 1980s setting. Initially seeming to be full of stock characters and scenarios for this sub-genre, the film impresses in its leisurely, assured exploration of its characters, both major and minor, affording depth that elevates any stereotypical elements they may possess.

Its simple narrative concerns Jesse Eisenberg’s James’ post-college, pre-graduate school plans floundering as a result of his father’s sudden employment woes, resulting in James having to take a summer job in a provincial amusement park. Initially loathing his fate, he slowly becomes accustomed to his new surroundings, befriending the likes of Martin Starr’s Joel and Kristen Stewart’s alternately fragile and strong Em, and developing romantic feelings towards the latter. The dilapidated park itself seems to mirror the lethargic groove its young characters find themselves in, though there are those, like Ryan Reynolds’ park repairman and Margarita Levieva’s alluring Lisa P., who seem to find a curious home of sorts amongst everything. This is one thing the film does especially well, capturing the feel of a particular low-wage work environment; the tedious necessities are enlivened by the rounded, colourful people you come to interact with…

Full review at Reel Time

Oslo, August 31st (Joachim Trier, 2011)

Oslo, August 31st is the second feature length effort from director Joachim Trier, after 2006’s Reprise, and the second cinematic adaptation of the novel Le feu follet by author Pierre Drieu La Rochelle. Known in most English language territories as The Fire Within, Louise Malle’s 1963 version is set in Paris, and follows a recovering alcoholic journeying from a rehabilitation clinic to the city one last time in order to visit friends and hopefully find a reason to keep on living. Trier’s Norwegian film transplants the action to that country’s capital, but also replaces the alcoholism angle with one concerned with drug addiction.

Opening with protagonist Anders, played by Anders Danielsen Lie, abandoning a one-night stand scene and attempting suicide in a nearby lake, the film immediately initiates a sense of melancholy and anxiety that permeates the rest of the feature. Though this is not to say that this film, despite it obviously being about a self-destructive and suicidal man, is entirely bereft of warmer emotions, as Anders interacts with affection and humour with some figures from his past during his twenty four odyssey. The screenplay does have some wit and culturally knowing elements to it, and there is an especially well-written interview scene that feels remarkably true and painfully gruelling; Anders tries to re-enter the writing world in which he had talent and some success, but the large gap on his resume reflective of his time both as a staunch substance abuser and a resident of rehab is an unfortunate obstacle to conquer…

Full review at Reel Time

The Girl with the Dragon Tattoo (David Fincher, 2011)

David Fincher’s return to the murder mystery genre proves especially notable in the context of his cinematic output to date, providing a blend of various aesthetic and thematic concerns of some of his previous films. The detailed, analytical investigative aspects of Zodiac encounter the outsider character study elements of The Social Network, as well as that film’s rapid-fire depiction of digital technology and what pursuits involved with it can expose about people; there’s also a reprisal of the explicit serial killer and abuse content of his breakthrough film Se7en. Much of this is made quite overt in the film’s opening credits sequence, which bring to mind the dark but mischievous opening of his 1995 film. Set to a blistering cover of Led Zeppelin’s “Immigrant Song” by Trent Reznor and Atticus Ross, with vocals from Yeah Yeah Yeahs frontwoman Karen O, among its oily blackened images is the sight of tentacle-like USB cables ensnaring figures both male and female, penetrating and destroying them. The murder investigated in the film’s narrative occurs around the time of those unsolved killings in Zodiac, but the contemporary tools of the digital era of the film’s main setting in the 2000s mean that issues of the past can still be dug up and resolved, allowing actions to finally have devastating consequences. If The Social Network had some commentary about digital technology’s means of destroying people’s connections, The Girl with the Dragon Tattoo’s opening titles and thematic exploration go further to suggest that the digital can destroy people as a whole.

Public Enemies (Michael Mann, 2009)

Originally written for a long abandoned former blog back in July 2009
(I must admit that I do have a relatively strong inclination to revisit this film to see if I would now like it, considering changes in my taste over the last few years.)

Michael Mann’s intention with his use of the same digital approach incorporated in his previous outing, Miami Vice, for this film was, from my understanding, to make it feel like the audience is in the 1930s, rather than simply observing it; to potentially involve them with the characters on a more “close-up” level. There are definitely some notable highs with the film’s technical elements, including a tremendous sounding and thrilling shootout between John Dillinger (Johnny Depp), Baby Face Nelson (Stephen Graham), their gang and a FBI squad led by Melvin Purvis (Christian Bale). The low points are some unfortunately grainy indoor shots and quite a few instances of dropping sound levels, mostly in the first half. Overall though, Mann’s particular digital approach is a fairly unique and interesting approach. The film’s main problem is that the supposed intention for the digital approach, as previously cited, is never achieved. This is actually not the fault of the technology, but of much of what the rest the film has to offer.

Last Night (Don McKellar, 1998)

Originally written for a long abandoned former blog back in July 2008

Many a film has dealt with the concept of the end of the world. On the whole,these generally concern mankind banding together in the face of such destruction, or at least a group of individuals attempting to prevent Armageddon, as seen in such films as Sunshine, Deep Impact, and, of course, Michael Bay’s aptly titled Armageddon. The premise of Last Night, in my mind, is so brilliant because of how it subverts the expectations of an apocalyptic film. There is none of the mawkish sentimentality often present in such works and, though there are some grim events and character decisions, we are not presented with the traditional chaotic apocalypse. Taking place in the last six hours before the end of the world, the group of characters we follow, who are fully aware of what is coming and have been so for quite a while, go about making plans and trying to fulfill certain wishes and exit existence in the way they most desire.

The Best of Youth (Marco Tullio Giordana, 2003)

Raiding my writing archives once more. This review was originally written in July 2009 for a long abandoned former blog of mine.

With its six hour running time and focus on nearly 40 years in the lives of its protagonists, the Italian saga of family, friendship, love, and life in general that is The Best of Youth has something of a reputation as a contemporary cinematic behemoth, alongside Béla Tarr’s even longer Sátántangó; films where the epic running time tends to take precedence in the mind of a potential viewer over the content, making them perhaps seem like little more than challenges for the supposed “hardcore” film watcher, and possible chores to sit through. I cannot speak for Tarr’s film, having not seen it, but such a description is thankfully an inappropriate one for Giordana’s film.

The feel and unhurried scope of the film brings to mind a great novel, rather than a typical cinematic outing. Instead of rushing through the events of the nearly 40 year period, the film’s proceedings are paced impeccably, allowing room for extensive, brilliantly realised characterisation alongside the factual and fictional occurrences that shape the lives of the Carati brothers, Matteo (Alessio Boni) and Nicola (Luigi Lo Cascio), as well as those closest to them. All the performances have a distinct air of authenticity about them, which, in addition to the screenplay, helps to prevent any sort of overly melodramatic tone from making an appearance in the depiction of the numerous feuds, romances and personal revelations that occur. The important social and political points in the story are also not hammered home in a blunt fashion by the writing, and their role in the shaping of the characters is successfully put across. What we are provided with is a completely natural weaving through the course of two lives.

Ten Most Anticipated Films of 2012

The following list and the blurbs for each entry were compiled for Reel Time‘s cumulative top 10 most anticipated films of 2012. A few of my write-ups were published in cases where some of my selections made the group list, but I thought I’d publish my entire contribution here for those interested.

The Artist (Michel Hazanavicius, 2011)

Contrary to an assertion prominent in its now mammoth publicity machine, The Artist is not a silent film. There are actually some notable examples of diegetic sound within it, and aside from being in black and white, though originally filmed in colour, the film is not shot like a 1920s picture. Unlike the likes of Canadian filmmaker Guy Maddin’s 2006 film Brand Upon the Brain, there isn’t an attempt to directly replicate silent cinema so as to seem almost indistinguishable from that era’s films. What The Artist actually presents is a tale of a silent film star during the emergence and growth of early sound cinema, using the most prominent characteristic of that brand of film-making, the silence, to depict the world view and state of mind of its main character…

Full review at Reel Time

Tentative Top Ten of 2011

The following list and the blurbs for each entry were compiled at the end of December for Reel Time‘s cumulative top 20 films of 2011. A few of my write-ups were published in cases where some of my selections made the group list, but I thought I’d publish my entire contribution here for those interested. The list has already changed somewhat, thanks to seeing at least one new potential contender for the top 10. 2011 was a very good year for film.

Being Reel Time’s only UK based contributor I am not going by US release dates, but I am also not going strictly by UK release dates as this would mean that some of last year’s awards contenders, such as Blue Valentine and Tangled, would have likely made the cut for me here. Instead, I am operating by a film’s debut release in English language territories outside of festivals, allowing me to include a few films currently only released in the UK but also the likes of Le quattro volte, which had originally premiered at Cannes 2010. Possible contenders for consideration that I did not get to see in time include Shame, Martha Marcy May Marlene, Weekend, A Separation, The Girl with the Dragon Tattoo (now viewed as of January 2nd), The Artist, and many of the other awards season favourites that will see their UK releases occurring in the opening two months of 2012.