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Reviews
One Point O (2004)
Brave New Attempt
I always find these forays into low budget film-making initially fascinating. They always draw me into the story and then lead me a merry dance. With One Point 0 however I'm convincing myself this is Angel Heart, and what Phiam is seeing is only the inverted version of reality. Stylised shots of spiralling staircases, dark and shadowy corridors and a bleak and depressing dystopia all enforce the parody. And as much as Harry Angel must move from person to person to piece the puzzle of the case, so must Phiam move from room to room to piece together the mystery of the packages.
The problem is, the moving around seeking answers from the unknown has already been done much more skilfully, such as Aaronovich's Pi or Natali's Cube. In many instances the poorer relations soon begin to lose the plot as the directors struggle to stretch out the feature- lengthiness; such as a pointless sexual encounter. Where Channel 4 succeeded in presenting new directors or intriguing screenplay is they allowed the director immense freedom, admittedly on very little budget, but the film ran to its natural length, without obstacles complicating the film's horizon. There is far too much in this film that is unnecessary and much that is unexplained. But I suppose the directors were more concerned about producing a feature film rather than a lasting impression.
Unthinkable (2010)
Liberty! See what crimes are done in your name!
One question you should ask while watching this film: if the parameters of hate had been explicitly defined then why couldn't the film force the issue home with a Middle Eastern actor? The use of a dark-skinned man, even an African American, would sear through the conscience like paper between the fingers. Images of Abu Ghraib, the absence of constitutional rights, even the lack of images from Guatanamo, would all congeal in the mind and detract from the shallowest form of "entertainment".
If we are forced to watch the systematic torture of an innocent person, until proved guilty, then to expect the film makers take such a topic seriously is really not asking too much. There is some appalling acting, quite ridiculous plot lines and holes, and a complete disregard for the issue being entertained, and ironically it became more shocking to sit through this embarrassment than to merely throw it in the bin.
Unthinkable is a film about liberty, but you would be forgiven for thinking the opposite. Only one person has any degree of liberty and it is neither Moss or Jackson. Early on we see Jackson is not a free man, and only when called upon is he allowed the freedom to operate without question, and so "commit crimes in your name". Moss has even less liberty to distribute among her FBI staff, who anally question every action they make, and then seek reassurance in this lonely matriarchal figure; someone all too willing to offer guidance on the subtleties of the Muslim faith, prior to sending some staff out to haul some Muslims in. Therefore there is an unequal division of liberty, and when the defenders of liberty challenge the abusers, the parameters narrow, and a system supposedly protected seems extremely vulnerable. Always within the film there is a subtle desire to get rid of it, to either deny it exists and pass it on to somebody else, or to just explode the myth when it is realised liberty must be kept from some, so it can be maintained for others. If this supposed perfect system could operate in absolute conditions, then liberty would be free to commit acts of brutality, or to disengage any moral and ethical belief when seeking truth from disbelievers. So who is being driven? We would imagine Mr. Young, for he is indeed the one in chains. When Sheen is finally permitted to speak we realise his demand for liberty is not for himself, a concept wholly repugnant to those whose job it is to sustain it it for others. Unfortunately for Michael Sheen he is soon forced to accept that his narrowing definition of liberty in no way compares to Jackson's broadening of it.
Indeed this film did give cause to think on the matter, although mainly due to the similarities between Unthinkable and the far superior Laurence Malkin film, Five Fingers.
Eichmann (2007)
Less Drama
I have to agree with everything lexo said about this drama; and I say drama because I was never wholly convinced I was witnessing history.
When I bought this title I was expecting a detailed examination of "the architect of Hitler's plan"; no matter the bias. All I received in return was a turgid family drama set against a few pointless conversations between the police captain Less and Eichmann. Once sensationalised by dubious episodes in the man's Nazi career all that remained were constant accusations and denials by Less and Eichmann. Admittedly this man may not have been exciting or even entertaining within the Nazi regime, but one thing he most certainly was, was life-changing.
There is an interested audience for films that seek to examine the minds of the "architects of Hitler's plan", as Oliver Hirschbiegel's "Downfall" has shown. Studying German history I was more concerned with the Socialists than the National Socialists, but the Nazi motivation and objectives are still a fascinating aspect of 20th Century History. "Eichmann" however does nothing to advance the understanding of the Nazis, nor the Eichmann that oiled the wheels of the Holocaust, and seems more like Jewish apologia for interrogating Eichmann by a man who suffered personal tragedy in the Holocaust, convicted him on mere supposition and rumour, and murdered him because of intense social and political pressure.
Dead Man's Shoes (2004)
Handmade Revenge
The problem with British film is that it is usually woefully underfunded and poorly edited, so unless you have strong acting coupled with a strong storyline the film will always be destined to fail. Dead Man's Shoes fails on many levels but one.
By the time Richard has exacted revenge across a few small towns of the Midlands, I often felt a great desire never to visit the place ever again. There are long drawn out sweeps of bland and meaningless countryside coupled with long sweeps of bland and meaningless council estates usually ending inside an insalubrious and deviant interior. There are also numerous and highly annoying short spatial sequences that develop the plot regarding Richard's brother (Kebbell), and with the denouement we are more than aware of the brutality enacted on Anthony, but, ironically, never actually empathise with how brutal or damaging those acts were.
Although there are some comic elements they will only be appreciated by people who know about the drug culture or sexual deviancy; naturally you are not being asked to identify with these council-estate characters. Perhaps the biggest problem lies with Considine's portrayal of the vengeful Richard. Although he exacts revenge with gusto and aplomb, there is never really any element of menace or intimidation we are used to with films such as Death Wish or Shoot Em Up, and he plods across that tedious landscape as though he were Vladimir from Waiting for Godot.
That being said the film does have moments where such beautiful poignancy and sentimentality shine through, occluding the ample negative elements. The acting between Richard and Anthony are often magical, and become more and more endearing until the viewer is rewarded with a painful epiphany. It would have been an ideal moment to end the film, but Richard has to slaughter a few more lower-class drug addicts first.
Phoenix Nights (2001)
Mary, Joseph and the Baby Jesus
It seems strange why Peter Kay, Dave Spikey and Neil Fitzmaurice had to rewrite their previous vehicle "That Peter Kay Thing" when the elements of Phoenix Nights already lay within that underrated little gem; perhaps an issue over writing credits. The result is perhaps one of Channel 4's all-time great comedy's that surely rank alongside Father Ted and Spaced. From beginning to end Phoenix Night's combines side-splitting and subtle humour that will leave you laughing long after the dvds sell-by date, and a highly emotive storyline that will draw you in right up to the Goodnight Vienna credit.
Phoenix Night's is an ageing working-man's club operated by the cantankerous Brian Potter (Kay) and his compère (Spikey), who both seek to organise wackier events to draw in the locals. Despite their hard-fought efforts you can rely upon their crack-brained schemes to end in chaotic hilarity; such as organising a gun-slinging contest between Lancashire and Yorkshire, or booking a highly inappropriate pyhsic.
Another strength of the series is the use of Kay's comedic friends and the local residents of Bolton, transforming what could have been a run-of-mill situation comedy into an entirely believable working- class environment that could have been plucked from any working- town in England. As such the characterisation and interaction between the actors and the locals will leave you identifying with the characters and coming to love or hate them as much you would with any local club in your community..
Kay stated he is so proud of what they accomplished with Phoenix Nights, and it is impossible to disagree: Phoenix Nights is flawless.
No Country for Old Men (2007)
No Room for Platitudes
This film really gripped me, but not in any spectacular way, more for the un/ethical values that often creep through the film at quite inopportune times. Despite the violence -although credibly a restrained use of foul-language- the film cannot really be said to be brutal, and instead examines the sinful natures of two men, who both mete out the seven equally, and never really balance the moral with the ethical value of life over the pursuit of death; instead they pursue their own agendas without regard to society or the law. By the close of the film it could equally be argued the law is culpable in sharing the pie of sin.
Another intriguing element is that none of the main protagonists actually meet face-to-face, despite the cat and mouse battle between Bardem and Brolin. This may reflect the changing state of crime in the US, at least on film. In classic cowboy film the two protagonists would ultimately end face to face, or be overwhelmed by the forces of good and admonished from our conscience. But in NCFOM the law in the shape of Tommy Lee Jones is reduced to an ineffective theologian mulling over the changing nature of society in the face of law, and as such most of the revealing discourse comes through Jones.
There are subtle elements to the film that carry the tale beyond the end, and often cause you to view the film to reason the logic for such simple elements such as when both characters desperately seek to purchase a shirt to evade a critical moment. All of which proves Joel and Ethan Cohen are becoming incredible talents in Hollywood, and their determination to do something new with script often translates into intriguing and dramatic film.
Head Case (2007)
A Touch of Twisted Class
Head Case is a dark and chilling film, but if you solely take it in the context of a gratuitous horror film, then you are clearly going to overlook the main impetus Spadaccini is striving for. Although the acts of murder and vile mutilation are a major and indeed gruesome part of the plot, there is a more wholesome and intriguing aspect to the film which often neutralises its more shocking elements.
The discourse between Wayne and Andrea is perhaps the strongest element of Head Case, and as much as it can be witty and incisive it can equally be cold and chilling. There are some wonderfully humorous exchanges between husband and wife and initially infers Andrea holds equal footing with her husband. But the more we observe their day-to-day activities we soon realise Andrea is nothing more than an interested spectator, and without the camera we could imagine her to be nothing more than a disinterested housewife. Spadaccini does capture this emotional dichotomy of the couple beautifully, such as when Wayne and Andrea are having a minor domestic argument in the bedroom, and Wayne considers the only way to soothe his wife's rising anger is to take her on a drive to find another hapless victim that will sooth his own.
But when deconstructing their behaviour it seems fairly obvious this is not a gruesome tale of two serial killers, but a tragic tale of a married couple seeking to invigorate their sterile marriage. Both characters display an overt sense of emotional detachment that comes forcefully through when dealing with their victims. While Wayne dissects one such victim and discovers her to be pregnant, Andrea cannot find any maternal sympathy other than briefly pass the camera over the bloody carcass of the foetus. Ironically, this is the brutal turning point of the film when Monica enters the room to make the horrific discovery, and Wayne enacts punishment in the only way he knows best. From this moment it is clear who holds the real power in the relationship, because despite Andrea's pathetic pleas of "That's enough," Wayne can only see one way of preventing his dark secret from seeping out. I am sure Spadaccini will take criticism for this shocking moment, but does enforce who is in real control of the film, regardless of the critical character of Andrea: "Look at the mess you've made!"
But these dichotomies often keep you interested in the film, much as the dichotomy of Crime & Punishment keeps you interested in the motivation of Raskalnikov, and whether he will seek redemption and salvation in a greater good. But if marriage and family have not saved Wayne, then it is doubtful his moments of familial good will outweigh his greater moments of sadistic evil. For a man who can lovingly take his son on a driving lesson but sadistically ignore the crying pleas of a soon-to-be butchered mother forcefully realises how far beyond redemption Wayne has gone, and the spiral of madness he is influential for leaves little possibility of a reconciliation by the close of the film. Indeed, when Wayne seeks to initiate Andrea into his sadistic world we know there is no hope for this couple, and the sooner this nightmare is destroyed the better it will be for all concerned. Naturally, Spadaccini has the last word on this matter.
For an independent film Spadaccini has worked hard with many genres and movie styles; considering the constraints he must have been working under. He has done very well to provide a unique experience for the discerning horror fan, and I can appreciate why this film will not be to everyone's taste. But based on the characterisation, the humour and the plot, I do think Head Case has the capacity to become a cult favourite for many others. Following on with other comments, we are seeing here the development of a very talented writer and director, who seems to be able to inject something fresh and compelling into a very tired and overdone genre.