The Intouchables is a daring French comedy from directors Olivier Nakache and Eric Toledano which adapts the true story of a wealthy quadriplegic Parisian (Francois Cluzet) who gives an ex-con (Omar Sy) a trial as his full time carer.
French comedy does not always translate well - despite exceptions like the hugely popular Amelie or Le Diner de Cons (which was re-wrote as the less funny Dinner For Schmucks) - and the fact that The Intouchables was described by the French press as a 'buddy comedy' did not help. To many this surely brings to mind lame cop flicks featuring the likes of Jackie Chan. However, the film's phenomenal success in France (it's box office takings are well over even The Artist's) could not be ignored, while the subject matter is extremely bold.
Having seen the film (even at the bizarre time of 11 am Sunday morning at a Picturehouse members-only showing) I can confirm that any hype surrounding this film is entirely warranted. The performances from the two leads are both terrifically funny and unerringly moving. Cluzet (who is an old hat on the French indie circuit) brings unfaltering pride and wit to the character of Philippe with a vulnerability that shows us a very real victim. Omar Sy's performances is contagiously funny, with a very ordinary (and may I see English) sense of human that will have you grinning whenever he opens his mouth. The two together are indeed a fantastic double act, but on a much more human level than the label of 'buddy comedy' would suggest.
The story is incredibly satisfying, and avoids any clichés that could very well have been implemented - suggesting that the real Philippe and 'Driss' were at least somewhat involved in the script. All in all, The Intouchables is arguably the best comedy of the year while also one of the most touching films you'll see in a while. If you want to laugh for a good two hours and come away with more than just 'Alan from The Hangover' quotes then this is for you.
Etep
Sunday, 16 September 2012
Thursday, 21 June 2012
COMING SOON: what we're excited about
TEASER TRAILER: The return of Monsters Inc!
11 years after the original set the standards for CG-animated monster comedies and added another impressive string to the Disney-Pixar bow, the first trailers for the second installment has hit. We've known for a while that Monsters University will be a prequel, and this teaser trailer which showing the younger looking versions of Mike and Sully is particularly exciting. Also, according to IMDB, Ken Jeong will feature in the voice cast which can only mean good things.
Monsters University will hit British cinemas on 12th July 2013.
Monday, 18 June 2012
Prometheus: the plot thickens
Prometheus certainly proved itself more than simply an Alien prequel; while the original was all about enclosure, it is full of expansion and exploration.
The biggest difference between the two? Well, Alien did what it said on the tin ('In space no one can hear you scream'), and in contrast we still don't have a clue about the main questions conceived in Prometheus. Recently, however, Ridley Scott has done his best to enlighten us. Firstly, deleted images were released showing the Engineer in the first scene accompanied by others. These extra Engineers were of differing ages, implying that they are mortal and age just like us. Yet compared to Scott's latest explanations, these images are no more interesting than a flobberworm. In an interview with movies.com Scott actually answered one of the biggest questions in the film, namely why our creators wanted to destroy us? While many theorists claimed it was a commentary on humankind and our destructive nature, few thought the answer would be religious...but oh how wrong they were.
The biggest difference between the two? Well, Alien did what it said on the tin ('In space no one can hear you scream'), and in contrast we still don't have a clue about the main questions conceived in Prometheus. Recently, however, Ridley Scott has done his best to enlighten us. Firstly, deleted images were released showing the Engineer in the first scene accompanied by others. These extra Engineers were of differing ages, implying that they are mortal and age just like us. Yet compared to Scott's latest explanations, these images are no more interesting than a flobberworm. In an interview with movies.com Scott actually answered one of the biggest questions in the film, namely why our creators wanted to destroy us? While many theorists claimed it was a commentary on humankind and our destructive nature, few thought the answer would be religious...but oh how wrong they were.
As bizarre as this may sound, according to Scott the reason our creators wanted to wipe us out is because we crucified Jesus. Jesus was an emissary of the Engineers sent down to give us a second chance. When the Romans killed him the Engineers had enough and would have sent down all sorts of biological warfare, had it not turned on them. In Scott's words, the Engineers' thoughts were such: "Let’s send down one more of our emissaries to see if he can stop it.' Guess what? They crucified him." According, one bit of dialogue explicitly pointed this out (although I certainly didn't pick up on it).
What sort of effect, then, will this have on the sequel (which Scott has already confirmed)? It certainly makes the prospect of Noomi Rapace, accompanied by Michael Fassbender's disembodied head, heading off in search of the Engineers' original home planet an interesting one. Furthermore, it leads to questions as to how much they interfered with life on Earth - perhaps then we'll find out where the cave paintings came from.
What sort of effect, then, will this have on the sequel (which Scott has already confirmed)? It certainly makes the prospect of Noomi Rapace, accompanied by Michael Fassbender's disembodied head, heading off in search of the Engineers' original home planet an interesting one. Furthermore, it leads to questions as to how much they interfered with life on Earth - perhaps then we'll find out where the cave paintings came from.
It still remains to be seen whether 'Space Jesus' will actually be incorporated into future films, but even so it surely stands as one of the most bizarre explanations in sci-fi - even amongst the likes of co-writer Damon Lindelof (i.e. Lost)
Tuesday, 5 June 2012
COMING SOON: what we're excited about
On June 20th, Abraham Lincoln: Vampire Hunter, is released to the U.K. This adaptation of the best-selling book follows Abraham Lincoln as he tries to prevent vampires taking over America. Produced by Timur Bekmambetov (Wanted, 2008) and Tim Burton* (Corpse Bride, 2005), this faux-historical tale looks to be a somewhat mad-cap yet entertaining insight into the 'secret life' of the sixteenth President of America.
* CONSPIRACY THEORY: could Bekmambetov be Burton's russian alter ego?
Monday, 4 June 2012
LISTED: Film posters that best represent her majesty's realm
Why it's fit for Her Majesty's service:
SIR Michael Caine represents everything that's great about British cinema; he can do funny and loveable (as he shows in the Batman films), he can do hard-hitting and gritty (just look at Harry Brown) and he can do downright cool as he proved in this classic heist caper. Aside from all that, it stars a Knight of the Realm!
Why one is not amused:
It's called the Italian Job AND there's and Italian flag on the poster! Sorry Sir Michael but its off to the Tower of London for you to await your conviction.
Why it's fit for Her Majesty's service:
This film captures a century-defining era in British history and the rise and fall of the first female Prime Minister. Meryl Streep brought back to life Margaret Thatcher and showed us the person behind the iron mask.
Why one is not amused:
There's only one woman who best represents Great Britain, and she's not an Iron Lady (although she's regularly seen in silver and copper)! Furthermore, Meryl Streep, an American citizen, cannot possibly be held responsible for doing so.
Why it's fit for Her Majesty's service:
Yeah baby! In 1997 Mike Myers brought to life Austin Powers the International Man of Mystery and really we could have chosen any of the films. However, The Spy Who Shagged Me best represents it's take on the classic James Bond era of British film making. Although the films moved away from this with the later Goldmember, Myers hilariously sent-up the swinging 60s and a myriad of British institutions.
Why one is not amused:
With his background of Saturday Night Live television is the US, Myers is clearly influenced by American comedy and an American view of Britain. Perhaps, too much of a spoof to best represent the British Isles.
Why it's fit for Her Majesty's service:
Kenneth Branagh is a remnant of a great age of British theatre, a stalwart of Shakespearean acting, the closest man alive to the greats like Laurence Olivier and a British institution. His performance alone in the gloriously British Henry V - which celebrates our heroic victory over the French at Agincourt - is enough to secure it our second spot. And who can forget this speech full of the most epic lines in the history of film? "We would not die in that man's company that fears his fellowship to die with us!"
One is amused! But the next entry must surely take the top spot...
Why it's fit for Her Majesty's service:
It's a film about the Queen! In the wake or Diana's death, HRH Elizabeth II must decide how to publicly react and whether to follow the advice of the Prime Minister Tony Blair. Regardless of the dramatic storyline, that is close to the hearts of the British nation, the performances alone and the insight into life behind the palace doors are enough to secure this film the top spot in posters that best represent the United Kingdom.
Why one is not amused:
'One little thing...Helen Mirren looks far too old to portray me!'
Wasted, Kate Tempest (Writer)
Commissioned for last
year’s Latitude Festival, Wasted is
the first play written by 20-year-old beat-poet Kate Tempest. It follows the
lives of three post-adolescents as they stumble their way through a
drug-fuelled night out, assessing their lives and dealing with the difficulties
that come with growing up and being faced with the real world.
For those of you who
don’t know what beat-poetry is, I suggest you look up Kate Tempest’s
performances on YouTube. The style of speech in these poems is fluid verses of
rhyme that are delivered as a spontaneous stream of consciousness. Tempest has
written hundreds of poems on various commissions, released two spoken-word
records and has just published an anthology of her work. However, Wasted is her first play and I was keen
to see the transition from poetry to prose.
The play opens with
the three friends – Ted, Danny and Charlotte – addressing the audience
directly. They each have a microphone, which makes their voices resonate over
the loud club music that preceded their entrance onto the stage. They speak in
turn, sometimes overlapping, sometimes finishing each other’s sentences, but
all the time speaking in the familiar rhythmic poetry that is so archetypal of
Tempest’s work.
As the play pans out
we learn more about the lives of the three. Ted works in an office but isn’t
really happy, Charlotte is a teacher who feels like she’s wasting her life
teaching kids who don’t want to be taught, and Danny is in a band you’ve never
heard of that isn’t going anywhere. All three are drawn together by the death
of friend Tony. The scenes are split into three types, individual
monologues, scenes that play out the events of the night as they happened and
the afore-mentioned three-way addresses. While the monologues are the
strongest points – particularly Charlotte’s heartfelt speech where I felt
Tempest’s true style came through – the latter three-ways are where the play
falls flattest. The idea is promising: splitting a monologue between three
people who pick up on each other’s cues with such fluidity that it sounds like
one speech. However, some cues were dropped and it was done at such a speed
that it came across as if the performers weren’t completely comfortable on
stage.
The set itself is impressive. Unassuming black walls, floor and ceiling mean that the
transitions from park, to café, to nightclub are seamless with no messy
set-changes during their infrequent blackouts. The main focus is the enormous
screen at the back of the stage, framed by ultra-violet lights and speakers.
Onto the screen are projected the various backdrops, instantly transforming
the stage for its intended purpose to great effect. I always find the use of media
interesting in performance. It’s a thin line to tread between cinema and
theatre and shows can often be found guilty of having overly distracting
cinematography, drawing your gaze like moths to the light and making it hard to
follow what is happening on-stage. Wasted
avoids such a trap by using the screen merely as a moving backdrop during
dialogue and saving the most absorbing camera-work for when it was the sole
focus of the stage. The lighting too, is colourful and engaging and is as
perfectly adapted for the hectic and vibrant nightclub scenes as it is for the
stale artificial light of the café the morning-after.
The main criticism I gathered
from my fellow audience members was that they found the play to be somewhat
patronising. The repeated message of ‘you can live your dreams’ and ‘be
anything you want to be’ was rather thrusted in the audience’s faces throughout
the play. I think this was perhaps something that can be pinned down to problems
an inexperienced playwright is always going to encounter. Common themes throughout
much of Tempest’s work are the lack of ambition in the youth of society and how
to inspire those neglected and with low aspirations. Naturally, this was the
focus of Wasted, however I think Tempest
could have afforded to allow her audience with a little more intelligence. The
message came across most beautifully when it was subtly implied, through the characters
internal monologues and the realism of their interactions. The direct addresses
of the audience were therefore unnecessarily explicit and came across a little
preachy.
Having said that, I
still think that Tempest shows great promise as a playwright. Her style of
writing is unique and I think the transition from beat poetry to theatre is a
medium that could be developed further. The interactions between characters
were very fluid and immediate which is a real testament to Tempest’s writing. Often,
with writing that tries to reflect how young people to speak, it comes across
as jarring and insincere. Tempest dealt with that problem with remarkable
dexterity, accompanied by the talent of those performing, and delivered scenes
that were both entertaining and relatable.
Overall, Wasted, though not without its faults, is a good piece of theatre. The performances
were strong and the set and soundscapes were inspired. I hope to see more of
Tempest’s work take to the stage.
Saturday, 21 April 2012
Tim Burton, Johnny Depp and Helena Bonham Carter: a winning formula or a comfort zone?
Tim Burton's latest film Dark Shadows is a Gothic fantasy-comedy starring (you guessed it) Johnny Depp and Helena Bonham Carter. Having already seen the likes of Charlie and the Chocolate Factory, Corpse Bride, Sweeney Todd and Alice in Wonderland - all of which starred Depp and Bonham Carter - presented in Burton's characteristic Gothic style in the last decade this is a more than familiar match up. Many would argue that this is of no surprise - after all, if it ain't broke why fix it? For example, 2010's Alice in Wonderland was the second highest grossing film of that year and the ninth highest grossing film of all time.
Johnny Depp and Helena Bonham Carter in Alice in Wonderland
My question is, however, whether it really is a sensible move for Burton to keep on doing what he does best or if it just because he is reluctant to find his way out of that bat-infested, cob-web riddled belfry that I imagine is his comfort zone. My evidence for such a view, while perhaps controversial, lies in a his bold but critically-panned 2001 remake of The Planet of the Apes. First and foremost, any attempt at a remake of the genre defining original Planet of the Apes was never going to be easy. The original set the standards for science fiction and blew the minds of just about anybody who saw it (if you've never seen it I am confident the last ten minutes will leave you reeling). So, Burton, a director at the top of his game with a repertoire including the cult hit The Nightmare Before Christmas and a successful reboot of the Batman franchise, attempted something daring and, if successful, potentially career-defining. However, The Planet of the Apes, while relatively successful at the box office, was critically shunned and forever ridiculed for Burton's bewildering re-writing of that mind-blowing ending.
Burton, Bonham Carter and Depp
If we look at the films that followed (aside from the unique Big Fish which was critically successful although less adventurous than Apes) we see the real emergence of that Gothic-Depp-Bonham Carter formula. It seems possible to me that Burton felt he had tried his hand at work outside of that warm, cosy belfry but had found it harder than he imagined and so returned to the Gothic fantasies with which he made his name. Fair enough, we might say - if you can continue to adapt stories that are crying out for a Gothic twist and be successful in doing so, then why not? Yet, while The Nightmare Before Christmas was undeniably brilliant and Sweeney Todd was a breath of fresh air in popular cinema - it seems to me that there is something stale about this formula. Charlie and the Chocolate Factory, for example, is entertaining but far from ground-breaking. Furthermore, it came as a great surprise to me that Alice and Wonderland was that popular - while the world of Wonderland and its inhabitants seem perfect Burton material, I found it a little lacklustre; lacking that edge that would make it great.
In my opinion, while Burton has a great mind for the weird and wacky - and Depp and Bonham Cater are great at portraying just that - there's got to be somewhere better to apply it than those 'Gothic fantasy-comedies' and remakes of 60's soap opera rip-offs of The Adams Family.
Etep
Images courtest of www.adamsmith.wordpress.com and www.fanpop.com
My question is, however, whether it really is a sensible move for Burton to keep on doing what he does best or if it just because he is reluctant to find his way out of that bat-infested, cob-web riddled belfry that I imagine is his comfort zone. My evidence for such a view, while perhaps controversial, lies in a his bold but critically-panned 2001 remake of The Planet of the Apes. First and foremost, any attempt at a remake of the genre defining original Planet of the Apes was never going to be easy. The original set the standards for science fiction and blew the minds of just about anybody who saw it (if you've never seen it I am confident the last ten minutes will leave you reeling). So, Burton, a director at the top of his game with a repertoire including the cult hit The Nightmare Before Christmas and a successful reboot of the Batman franchise, attempted something daring and, if successful, potentially career-defining. However, The Planet of the Apes, while relatively successful at the box office, was critically shunned and forever ridiculed for Burton's bewildering re-writing of that mind-blowing ending.
If we look at the films that followed (aside from the unique Big Fish which was critically successful although less adventurous than Apes) we see the real emergence of that Gothic-Depp-Bonham Carter formula. It seems possible to me that Burton felt he had tried his hand at work outside of that warm, cosy belfry but had found it harder than he imagined and so returned to the Gothic fantasies with which he made his name. Fair enough, we might say - if you can continue to adapt stories that are crying out for a Gothic twist and be successful in doing so, then why not? Yet, while The Nightmare Before Christmas was undeniably brilliant and Sweeney Todd was a breath of fresh air in popular cinema - it seems to me that there is something stale about this formula. Charlie and the Chocolate Factory, for example, is entertaining but far from ground-breaking. Furthermore, it came as a great surprise to me that Alice and Wonderland was that popular - while the world of Wonderland and its inhabitants seem perfect Burton material, I found it a little lacklustre; lacking that edge that would make it great.
In my opinion, while Burton has a great mind for the weird and wacky - and Depp and Bonham Cater are great at portraying just that - there's got to be somewhere better to apply it than those 'Gothic fantasy-comedies' and remakes of 60's soap opera rip-offs of The Adams Family.
Etep
Images courtest of www.adamsmith.wordpress.com and www.fanpop.com
Saturday, 25 February 2012
The Muppets, James Bobin (Dir.)
The Muppets are great. They manage to be genuinely funny without straying from the family friendly appeal they have always purveyed. They don't rely on pop culture references or crude gags, because the brilliantly imagined characters are funny in themselves. They also manage to produce consistently heartfelt (excuse the pun) performances without being cheesy. The Muppets' return to the big screen epitomizes all of this, and will be a joy for old and new audiences alike.
One need only look at the people on and off the screen involved in this film to see that this is a most welcome comeback. Jason Segel (who's been in just about everything, most notably How I Met Your Mother which is just about the most popular television show in the world) is at the forefront, having penned the screenplay and taken the lead role. Bret McKenzie (of Flight of the Conchords fame) is behind the film's brilliant musical numbers, which possess the emotional punch reminiscent of Kermit's 'Rainbow Connection' as well as the witty quips Conchords fans will be familiar with. The cameos throughout may not be of the George Clooney or Matt Damon-esque heights rumours suggested, but if you're a fan of American comedy I can guarantee you'll recognize more than a few faces.
The story line is a familiar one; the Muppet Theatre will be closed down unless one more show can raise the sufficient funds. The familiarity of the plot is of no concern though, because it is pulled off with so much vivacity, warmness and a healthy dosage of self-awareness. Admittedly, this is not so much a film by The Muppets as a film about them. For the most part, the story concerns the protagonists Mary (Amy Adam), Gary (Segel) and Gary's brother Walter (why is he a Muppet? -Who cares?!) Some time is given to the rekindling of Kermit and Piggy's romance, but really it is a celebration of The Muppets and particularly The Muppet Show. This is a far cry from The Muppets' Christmas Carol or Treasure Island; it's these well-known characters doing what they do best - going insane on stage.
Ultimately, The Muppets is a return to form for a type of comedy that is not often seen these days. In a market dominated by Pixar-style CGI and 'family adventure' films starring ex-wrestlers, its encouraging to see that such an innocent form of fun and humour is still relevant. So, where do The Muppets go from here? It's unlikely that they'll be put away for a few from years, riding on such popularity. Could The Muppet Show return to television? Is it time to play the music? Is it time to light the lights? The Muppets have clearly proven themselves appealing to today's audience, so who knows? One can only hope.
Etep
Image courtesy of www.collider.com
One need only look at the people on and off the screen involved in this film to see that this is a most welcome comeback. Jason Segel (who's been in just about everything, most notably How I Met Your Mother which is just about the most popular television show in the world) is at the forefront, having penned the screenplay and taken the lead role. Bret McKenzie (of Flight of the Conchords fame) is behind the film's brilliant musical numbers, which possess the emotional punch reminiscent of Kermit's 'Rainbow Connection' as well as the witty quips Conchords fans will be familiar with. The cameos throughout may not be of the George Clooney or Matt Damon-esque heights rumours suggested, but if you're a fan of American comedy I can guarantee you'll recognize more than a few faces.
The story line is a familiar one; the Muppet Theatre will be closed down unless one more show can raise the sufficient funds. The familiarity of the plot is of no concern though, because it is pulled off with so much vivacity, warmness and a healthy dosage of self-awareness. Admittedly, this is not so much a film by The Muppets as a film about them. For the most part, the story concerns the protagonists Mary (Amy Adam), Gary (Segel) and Gary's brother Walter (why is he a Muppet? -Who cares?!) Some time is given to the rekindling of Kermit and Piggy's romance, but really it is a celebration of The Muppets and particularly The Muppet Show. This is a far cry from The Muppets' Christmas Carol or Treasure Island; it's these well-known characters doing what they do best - going insane on stage.
Ultimately, The Muppets is a return to form for a type of comedy that is not often seen these days. In a market dominated by Pixar-style CGI and 'family adventure' films starring ex-wrestlers, its encouraging to see that such an innocent form of fun and humour is still relevant. So, where do The Muppets go from here? It's unlikely that they'll be put away for a few from years, riding on such popularity. Could The Muppet Show return to television? Is it time to play the music? Is it time to light the lights? The Muppets have clearly proven themselves appealing to today's audience, so who knows? One can only hope.
Etep
Image courtesy of www.collider.com
Back off haters, I'm a geek
Without knowing it, I've become a huge geek. Not the 'gaming' sort, oh no, the literary kind. The full blown science fiction, comic books kind. And I'm a girl! (Although I'd hate to promote a stereotype.) I only fully realised what I'd become the other day, when I was shopping with my Mum and headed straight into the science fiction section. She visibly recoiled and spent the time fervently looking to see if there was anyone she knew about. I was suddenly embarrassed, and I didn't really know why. What is this stigma to reading science fiction? And don't tell me there's not, there is. I know because I used to be that person who upheld it.
So how did I become obsessed? It was like any addiction, started soft. A couple of marvel films, bit of H.G Wells. I quickly moved on to Lord of the Rings (still acceptable), Star Wars, Neil Gaimon, G.R.R. Martin*. Soon I found myself borrowing from my Uncle's vast collection of sci-fi, and not even to be polite. But after the 'incident', the problem of stigma had really got me thinking: why is it bad to read science fiction and comics as an adult?
In some ways its not. Its like being part of an elite club. When I buy my books from a shop, every so often the shop assistant will look at the book, give a nod of approval, and look at me with a bit more respect. And with all the knowledge you learn, it's like being a genius. Screw our world, I can tell you all about the geography of Middle Earth or Westoros and no one would know what I was talking about! In these respects, it's pretty cool. And yet, I still was embarrassed. Why? Is it the sex? Because there does tend to be a lot of sex; anyone who's read Alan Moore can attest to that (I know that that's probably tame for sci-fi, but I do try to keep away from the saucier books, I am but a faint-hearted lady). There's no denying, the books are very male oriented.
Personally, I think it comes down to the fact that as an adult, we're meant to be all about 'reality'. We're grown-ups now, we can't believe in magic, or get lost in other worlds. As a child its sweet, as an adult, its sad. It's the condescending idea that reading about fairies and imps means you can't have a foothold in reality. And even if I didn't - so what? If 'reality' consists of pain, suffering and 'Made in Chelsea', then surely it is my right as a human to lose myself in my fantasy worlds; retreat into medieval quests, prophecies and dragons. What are novels but places to lose yourself in? And no offence to realist writers (who I do love, for different reasons), but why would I want to lose myself in a book about reality? I already live in reality! And for the record, I am firmly grounded in the 'real world'. I can't go half an hour without checking the news, and I know everything about 'Made in Chelsea', and other 'real life' things. Where others take drugs, or drink, or whatever they do to get away from real life, I retreat into fantasy worlds. And really, I can't see anything wrong with that. So the next time you're in Waterstones, dear fans, watch out for a girl standing proudly in the science fiction section, potentially wearing a cape (or is that too far?)
*On that note, read my review!
Evans
So how did I become obsessed? It was like any addiction, started soft. A couple of marvel films, bit of H.G Wells. I quickly moved on to Lord of the Rings (still acceptable), Star Wars, Neil Gaimon, G.R.R. Martin*. Soon I found myself borrowing from my Uncle's vast collection of sci-fi, and not even to be polite. But after the 'incident', the problem of stigma had really got me thinking: why is it bad to read science fiction and comics as an adult?
In some ways its not. Its like being part of an elite club. When I buy my books from a shop, every so often the shop assistant will look at the book, give a nod of approval, and look at me with a bit more respect. And with all the knowledge you learn, it's like being a genius. Screw our world, I can tell you all about the geography of Middle Earth or Westoros and no one would know what I was talking about! In these respects, it's pretty cool. And yet, I still was embarrassed. Why? Is it the sex? Because there does tend to be a lot of sex; anyone who's read Alan Moore can attest to that (I know that that's probably tame for sci-fi, but I do try to keep away from the saucier books, I am but a faint-hearted lady). There's no denying, the books are very male oriented.
Personally, I think it comes down to the fact that as an adult, we're meant to be all about 'reality'. We're grown-ups now, we can't believe in magic, or get lost in other worlds. As a child its sweet, as an adult, its sad. It's the condescending idea that reading about fairies and imps means you can't have a foothold in reality. And even if I didn't - so what? If 'reality' consists of pain, suffering and 'Made in Chelsea', then surely it is my right as a human to lose myself in my fantasy worlds; retreat into medieval quests, prophecies and dragons. What are novels but places to lose yourself in? And no offence to realist writers (who I do love, for different reasons), but why would I want to lose myself in a book about reality? I already live in reality! And for the record, I am firmly grounded in the 'real world'. I can't go half an hour without checking the news, and I know everything about 'Made in Chelsea', and other 'real life' things. Where others take drugs, or drink, or whatever they do to get away from real life, I retreat into fantasy worlds. And really, I can't see anything wrong with that. So the next time you're in Waterstones, dear fans, watch out for a girl standing proudly in the science fiction section, potentially wearing a cape (or is that too far?)
*On that note, read my review!
Evans
Monday, 20 February 2012
The David Hockney exhibition, ‘A Bigger Picture’ at the Royal Academy from the 21st January to the 9th April 2012.
When I think of Hockney’s paintings I imagine the crisp lines of LA architecture, the block colours of swimming pools and the light flooded montages of the Californian desert. The new exhibition at the Royal Academy celebrates Hockney’s return to the landscape of his childhood, the not so sunny and glamorous East Riding of Yorkshire. His seaside home of Bridlington is a far cry from the paintings of the Grand Canyon and Mulholland drive with the weathered beach huts and gaudy arcades replacing the epic scenery and minimalist mansions. The exhibition sweeps from his American landscapes through his large Yorkshire paintings and finally to his ipad images. It gives you a sense of an artist developing in skill and maturing in interests whilst returning to his roots.
His Yorkshire landscapes show an extraordinary eye for detail and a pensive quality, focusing on light moving through the landscape at different times of day and year. By painting the same scene in each season, Hockney illuminates the brilliant changing colours and forms of the land and trees. However, Hockney’s landscapes have not recoiled into the safety of the chocolate box image with pastel colours and feathery skies. The jarring colours and stylistic forms of the furrowed fields and bulbous bushes create a wonderfully original depiction of the countryside. Hockney also toys with the viewer’s sense of perspective, directing the eye through the painting and cutting his large pictures into a grid of small canvases to suggest how we view a scene in fragments.
One thing I am always interested in when I go to exhibitions is to look for those people discreetly sketching, in the corner, quick caricatures and rough likenesses of paintings. Prying over the shoulder of one particular man I couldn’t help but notice that he was meticulously sketching out the details of a Hockney painting onto his ipad. Looking around the room it struck me that all the Hockney paintings in there had in fact be drawn on the ipad. Although many may be dubious about this medium as new vehicle for art, the pictures were undoubtedly beautiful, detailed and effective. In fact, it was only when seen at close proximity that you could detect the flat colours and pixelated forms. Forget any primary school foray on Paint, these images were mini
masterpieces, exquisite little excerpts of the Great British countryside for the Apple generation.
The exhibition is a wonderful display of British art at its best. Don’t be fooled into thinking that the British painting tradition died with the rise of Tracey Emin and other YBA’s, it is still alive, evolving and highly relevant to contemporary life. If you can cope with the jostling crowds and the heaving gift shop it really is a wonderful way to brighten up these winter months.
Ernest
Images courtesy of Royal Academy Online
His Yorkshire landscapes show an extraordinary eye for detail and a pensive quality, focusing on light moving through the landscape at different times of day and year. By painting the same scene in each season, Hockney illuminates the brilliant changing colours and forms of the land and trees. However, Hockney’s landscapes have not recoiled into the safety of the chocolate box image with pastel colours and feathery skies. The jarring colours and stylistic forms of the furrowed fields and bulbous bushes create a wonderfully original depiction of the countryside. Hockney also toys with the viewer’s sense of perspective, directing the eye through the painting and cutting his large pictures into a grid of small canvases to suggest how we view a scene in fragments.
One thing I am always interested in when I go to exhibitions is to look for those people discreetly sketching, in the corner, quick caricatures and rough likenesses of paintings. Prying over the shoulder of one particular man I couldn’t help but notice that he was meticulously sketching out the details of a Hockney painting onto his ipad. Looking around the room it struck me that all the Hockney paintings in there had in fact be drawn on the ipad. Although many may be dubious about this medium as new vehicle for art, the pictures were undoubtedly beautiful, detailed and effective. In fact, it was only when seen at close proximity that you could detect the flat colours and pixelated forms. Forget any primary school foray on Paint, these images were mini
masterpieces, exquisite little excerpts of the Great British countryside for the Apple generation.
The exhibition is a wonderful display of British art at its best. Don’t be fooled into thinking that the British painting tradition died with the rise of Tracey Emin and other YBA’s, it is still alive, evolving and highly relevant to contemporary life. If you can cope with the jostling crowds and the heaving gift shop it really is a wonderful way to brighten up these winter months.
Ernest
Images courtesy of Royal Academy Online
Wednesday, 15 February 2012
Chronicle, Josh Trank (Dir.)
Amidst the hype surrounding, most noteably, the new Marvel releases The Avengers and The Amazing Spiderman (particularly following the world's exposure to their latest trailers via the Superbowl) it is refreshing to see an original entry into the superhero - or at least 'super-powers' - genre. Where both Marvel releases have a platform of preceding films, big name casts and iconic characters recognized the world over, Chronicle relies on a concept alone - and there's no doubt its an intriguing one.
The film follows, primarily, Andrew (Dane DeHaan) a shy and troubled teenager as well as his cousin Matt (Alex Russel) and coolest-guy-in-school Steve (Michael B. Jordan, who has covered significantly more screen time than his co-stars having starred in The Wire - and is of no relation to the Space Jam star). The three students stumble upon a crater in the woods, having strayed away from some sort of rave, in which they find a presumably extra-terrestrial entity which bestows upon them telekinetic powers. So far, it sounds very much like any superhero origins story. However, it is how the three of them react to their new-found abilities that makes this film stand out. The following scenes depict Andrew, Matt and Steve getting up to relatively harmless mischief as they learn to use their powers - not to mention a truly inspired scene involving the interruption of a game of football 30,00 feet in the air by a passenger jet. By this point it's already clear that this film is trying to do something different - unlike, for example Kickass which tackles relatively similar themes. In the early scenes of Chronicle it feels like a very real attempt to depict how real people would react to acquiring such abilities.
At this point, Trank could have introduced some sort of superhero plot line which would have been a more obvious but no doubt safer approach, and nonetheless had an interesting film on his hands. The success of this film, however, is that he doesn't. The film begins to take a darker turn, as Andrew embraces not only his powers but what he soon sees as his superiority over the people around him. This sets up a CGI-fueled finale that is an appropriate display of the great responsibility that comes with great power (perhaps it's not so different to the Marvel stories after all...)
There is little explanation given for how these telekinetic powers come about or what the mysterious object that produces them is, but this is of no real concern and is clearly not the point of the film. The handheld camera-style format, often pointlessly or ineffectively used in science-fiction, is put to good use and the three leads give mostly convincing performances (that suffer slightly from some needlessly hyperbolic back-stories) that will surely provide them with a platform for future roles. The finale comes about rather suddenly and could have benefited from a more gradual build up, as it is in fact the more low key scenes that are the most absorbing. Nonetheless, thanks to its unique approach, Chronicle is an undeniable, if not unanticipated, success and a welcome addition to its genre - a well that you would be forgiven for considering dry.
Etep
Image courtesy of: www.moviespad.com
The film follows, primarily, Andrew (Dane DeHaan) a shy and troubled teenager as well as his cousin Matt (Alex Russel) and coolest-guy-in-school Steve (Michael B. Jordan, who has covered significantly more screen time than his co-stars having starred in The Wire - and is of no relation to the Space Jam star). The three students stumble upon a crater in the woods, having strayed away from some sort of rave, in which they find a presumably extra-terrestrial entity which bestows upon them telekinetic powers. So far, it sounds very much like any superhero origins story. However, it is how the three of them react to their new-found abilities that makes this film stand out. The following scenes depict Andrew, Matt and Steve getting up to relatively harmless mischief as they learn to use their powers - not to mention a truly inspired scene involving the interruption of a game of football 30,00 feet in the air by a passenger jet. By this point it's already clear that this film is trying to do something different - unlike, for example Kickass which tackles relatively similar themes. In the early scenes of Chronicle it feels like a very real attempt to depict how real people would react to acquiring such abilities.
At this point, Trank could have introduced some sort of superhero plot line which would have been a more obvious but no doubt safer approach, and nonetheless had an interesting film on his hands. The success of this film, however, is that he doesn't. The film begins to take a darker turn, as Andrew embraces not only his powers but what he soon sees as his superiority over the people around him. This sets up a CGI-fueled finale that is an appropriate display of the great responsibility that comes with great power (perhaps it's not so different to the Marvel stories after all...)
There is little explanation given for how these telekinetic powers come about or what the mysterious object that produces them is, but this is of no real concern and is clearly not the point of the film. The handheld camera-style format, often pointlessly or ineffectively used in science-fiction, is put to good use and the three leads give mostly convincing performances (that suffer slightly from some needlessly hyperbolic back-stories) that will surely provide them with a platform for future roles. The finale comes about rather suddenly and could have benefited from a more gradual build up, as it is in fact the more low key scenes that are the most absorbing. Nonetheless, thanks to its unique approach, Chronicle is an undeniable, if not unanticipated, success and a welcome addition to its genre - a well that you would be forgiven for considering dry.
Etep
Image courtesy of: www.moviespad.com
A Dangerous Method, David Cronenberg (Dir.)
A Dangerous Method is David Cronenberg’s first effort at the historical biopic, and it’s certainly a step away from the type of films for which he is predominantly known (The Fly or Shivers for example) – he is after all the 'Baron of Blood'. Nonetheless, having worked along a less obscure line with his more recent releases (eXistenZ, Eastern Promises) and with a cast and crew he is familiar with, Cronenberg has a solid platform on which to furry into the realm of period drama.
Viggo Mortensen, who plays the iconic Sigmund Freud and was Cronenberg’s lead in Eastern Promises, is not an obvious choice for the role – in fact he admits his first thoughts when offered the role concerned his lack of a beard – yet he pulls it off quite successfully. In contrast with the stern figure we see in most photographs of Freud, Mortensen portrays a man who despite his intellectual prowess is modest, generous and surprisingly witty. In Carl Jung (played by the omni-present Michael Fassbender), on the other hand, we see a man who takes a more restrained approach to his work. Fassbender’s performance, like Mortensen’s, is a convincing one; particularly so as we watch him become convinced by the arguments of Freud’s former patient Otto Gross (played by another former collaborator with Cronenberg, Vincent Cassel) against the restraint of one’s sexual desires. This leads to his inevitable affair with Sabina Spielreim (Kiera Knightley), a former patient whose interaction with both Freud and Jung leads to their eventual conflict. Knightley’s performance is certainly the most interesting one, and her role the most challenging without a doubt. Early scenes depicting her reaction to treatment can be rather uncomfortable to watch but there’s no denying that she’s gone out on a limb to convince us of her character’s condition. She may often be criticised for bringing nothing more to her performances than her natural beauty (and pouts), but Knightley’s performance here will surely persuade at least some critics that she can indeed act.
The performances on display from the three leads in particular are no doubt impressive; however whereas the acting succeeds the plot development struggles. Although the issues at hand are undeniably interesting, and will leave audiences with plenty to talk about, those looking for a moving or shocking story will find themselves disappointed. The affair between Jung and Spielreim is predictable, and while there is conflict between the two great psychoanalysts it is carried out rather politely. Much of the plot is developed via a correspondence of letters and, while this is true to the reality of Jung and Freud’s relationship, it does not leave much room for emotiveness or sentimentality.
For the most part A Dangerous Method is a great film; the locations are both stunning and accurate, the issues covered are engaging and the relatively small cast is an impressive one - with Fassbender and Knightley demonstrating why they are some of the most on-demand British talent at present. However, it is the story that lets it down. Quite simply, not a lot happens – at least, not a lot that you wouldn’t expect. In my humble analysis, the film suffers as a result of what Freud would no doubt diagnose as repression; it lacks that extra bite that would allow it to be truly engrossing.
Etep
Images courtesy of: cinemaviewfinder.com, blogs.indiewire.com
Viggo Mortensen, who plays the iconic Sigmund Freud and was Cronenberg’s lead in Eastern Promises, is not an obvious choice for the role – in fact he admits his first thoughts when offered the role concerned his lack of a beard – yet he pulls it off quite successfully. In contrast with the stern figure we see in most photographs of Freud, Mortensen portrays a man who despite his intellectual prowess is modest, generous and surprisingly witty. In Carl Jung (played by the omni-present Michael Fassbender), on the other hand, we see a man who takes a more restrained approach to his work. Fassbender’s performance, like Mortensen’s, is a convincing one; particularly so as we watch him become convinced by the arguments of Freud’s former patient Otto Gross (played by another former collaborator with Cronenberg, Vincent Cassel) against the restraint of one’s sexual desires. This leads to his inevitable affair with Sabina Spielreim (Kiera Knightley), a former patient whose interaction with both Freud and Jung leads to their eventual conflict. Knightley’s performance is certainly the most interesting one, and her role the most challenging without a doubt. Early scenes depicting her reaction to treatment can be rather uncomfortable to watch but there’s no denying that she’s gone out on a limb to convince us of her character’s condition. She may often be criticised for bringing nothing more to her performances than her natural beauty (and pouts), but Knightley’s performance here will surely persuade at least some critics that she can indeed act.
The performances on display from the three leads in particular are no doubt impressive; however whereas the acting succeeds the plot development struggles. Although the issues at hand are undeniably interesting, and will leave audiences with plenty to talk about, those looking for a moving or shocking story will find themselves disappointed. The affair between Jung and Spielreim is predictable, and while there is conflict between the two great psychoanalysts it is carried out rather politely. Much of the plot is developed via a correspondence of letters and, while this is true to the reality of Jung and Freud’s relationship, it does not leave much room for emotiveness or sentimentality.
For the most part A Dangerous Method is a great film; the locations are both stunning and accurate, the issues covered are engaging and the relatively small cast is an impressive one - with Fassbender and Knightley demonstrating why they are some of the most on-demand British talent at present. However, it is the story that lets it down. Quite simply, not a lot happens – at least, not a lot that you wouldn’t expect. In my humble analysis, the film suffers as a result of what Freud would no doubt diagnose as repression; it lacks that extra bite that would allow it to be truly engrossing.
Etep
Images courtesy of: cinemaviewfinder.com, blogs.indiewire.com
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