Change Your Image
just_hamish
Reviews
The Prestige (2006)
Nolan deceives and delights once again.
Christoper Nolan is a daring, confident and wholly respected director whose cult classic "Memento" single handedly established his place in film history. Batman Begins multiplied his fan base, and fired him deep into mainstream recognition with its back to basics, brooding style. Nolan gave Batman the rebirth everyone desired and with it came one of the most widely praised comic book movies of all time. Before cracking on with The Dark Knight, Nolan returned to a project in the making for some time, co-written with his brother Jonathan. Entitled The Prestige the story follows the intense, dangerous rivalry between two turn of the century magicians, adapted from the book by Christopher Priest. After a return to conventional structure with Batman, The Prestige proves a welcome return to the "What?, Where?, Why?" syndrome Memento fans embraced. While the timeframe is fractured, the viewer is not plagued with quite the same sense of disorientation; The Prestige is an accessible conundrum of clues and red herrings working together towards the inevitable final grand reveal.
On the whole the film is a confident, superbly acted period drama with a unique style that ensures it never quite feels like one. The script is meticulously constructed to mirror the three so called acts of the magic trick, Michael Caine's narration is as warm and welcome as ever. The film does a wonderful job in the first half of conveying the joy (and danger) of the art of the magic trick, effortlessly drawing up a world of misdirection and intrigue as the two protagonists begin to build up a dangerously bitter rivalry, it soon becomes apparent that obsession is the key here. As Bale's Borden is coldly enveloped by his professional career, Jackman's Angier turns increasingly desperate to uncover the others secrets, we realise that this is a deadly, unforgiving pursuit that is quickly spiraling out of control. For the majority of the film we see little of the "magic" that wows the theatre audience to whom the act is presented , everything is carefully constructed so our view of each trick is based on the mechanical means by which it is achieved. While you might expect the film to work on the principal of showing you the trick then stunning you with the explanation, this is not the case. Everything is on an emotional level, inside Borden and Angier's lives and minds; this is ultimately a psychological drama.
The words "Are you looking closely" open the film, good advice for a narrative so tightly convoluted; it is this that will divide audiences. Some will click into the right frame of mind and see the twists coming a mile off and may or may not be disappointed by them. Others will soon forget the warning and settle in for the ride, open to Nolan's misguidance. Either way the final revelations are not quite as ingenious as you might expect, they are certainly not completely unpredictable. Of course the important thing is, are they satisfying? It is a debatable issue, after the initial irritation upon recollection of the multitude of seemingly obvious clues littering the running time your mind may be divided upon how well you take the finale. One revelation even flips the whole genre of the piece on its head, sure to horrify some viewers and please others. This is an ambitious film unafraid of dividing audiences through some unconventional choices.
One thing is clear, it is the themes and characters that will stay with you the longest, the multi-layered trickery Nolan reveals may be diverting but is certainly not the pictures crowing glory. As Angier drops down the hatch, for his drunken, vastly entertaining "double" to rise the other side of the stage, the camera stays down below with the anguished Angier, desperate to crack the puzzle as the roar of applause is heard just out of his reach. It is a scene that perfectly encapsulates the dilemma he faces, driving him to ever more extreme methods in his obsessive quest to outdo Borden. Visually the film is nigh on flawless, not too ambitious but very distinct. The scenes where Angier visits the pioneering scientist Tesla (a distinctly odd, somewhat amusing performance from David Bowie) on his snowy mountain top are beautifully shot.
In the end the two lead characters are so swallowed up in their own ambitions that it is difficult to identify or sympathise with either of them. This is perhaps the films biggest flaw, it is a little too weird, a little too cold. The unique atmosphere certainly secures its place in your memory for weeks to come, the mechanical approach fascinating, but ultimately a little unengaging. The true test will come upon multiple viewings. Will knowing the surprises detract from the mystery? Or will the fascinating psychoanalysis shine through to ensure the film holds up? Only in time can we conclude whether this ascends beyond intrigue towards classic Nolan.
8/10
This Is England (2006)
This is England - The very best British cinema has to offer.
Fellow Midlander Shane Meadows has produced not only his finest work to date but one of the very best films to come out of Britain that I have ever had the pleasure of viewing. Just as the effectively chilling, bloody (yet arguably flawed) "Dead Man's Shoes" showcased a passionate return to low budget, focused film making, "This Is England" sees him perfect his technique. It is a seemingly effortless achievement that matches a warm, humorous portrayal of a young lad growing up with his experience of the cold brutality that came with the 80s skinhead culture. The way in which Shane blends these two aspects together without compromising on either is most impressive.
Delivering a surprising, enchanting performance in the lead role as Shaun, Thomas Turgoose portrays a youngster of incredible warmth and charisma. He is befriended by a relatively harmless gang skirting with the skinhead culture rife at the time. His strength of character in the face of the adversity life throws his way is truly unforgettable, a credit to both Shane as the writer and Thomas as the performer. As Shaun discovers the joy of "belonging" in the gang, the viewer takes a similar journey. Through sublime use of another excellent soundtrack (an ear for music in relation to visuals is one of Shane's most loved and respected trademarks) the joy of youth and life literally springs from the screen.
What is particularly successful is Shane's restraint where it comes to grounding the film in reality. It would have been all too easy to escalate these events above and beyond the core group of characters, creating a power struggle on a much bigger, thrill friendly scale. Instead the film remains focused and convincing, not once do you doubt the likelihood of events. The canvas may be smaller but emotionally "This Is England" resonates more powerfully than ever before, taking the harsh, greys of a story like "Dead Man's Shoes" and enlightening it with a central character full of warmth and honesty. In the end this serves to engage the viewer on a much greater level.
It is in comedy that "This Is England" truly surprises, not the usual splash of dark humour but humour of much broader appeal. Thomas' performance brings the sharp dialogue to life with a wonderful physical range, the first half the film is crammed with delightful comic moments that really draw you in to the character, making future events all the more affecting. Much is made of Shaun's romance with a much older girl, the scenes are tear-jerking in their tender, wonderfully observed realism. There is much in the film that will trigger moments of recognition in the viewer, especially (but not exclusively) those who were young in the 80s.
As big time skinhead Combo (the other stand out performance of the piece from Scouser Stephen Graham) comes out of jail the film takes a U-Turn, presenting a troubling, unrestrained view on racism through extreme nationalism, getting deep under the skin to question the source and nature of such hatred. It is in this that we realise this is a study of human nature as Shaun is presented with more extreme acts that drive him to question the moral behind such irrational prejudices.
Book ending the film is real news footage of the political climate surrounding the events depicted, prominent among which is Maggie Thatcher's invasion of the Falklands (a conflict that's consequences prove key to the central narrative) When asked "Will we ever talk to the Argentines again?" on a radio interview Thatcher purrs "No
I don't think so" The parallels are fitting and thoroughly engaging. Inspired, shaped and formed by Shane's own childhood, "This Is England" is ultimately an honest, confident piece of film making right from the heart. The film is a wonderful example of what British cinema has to offer the world. The film may be grounded in period authenticity, but the narrative is ultimately applicable to all of us, having experienced the inescapable process of growing up. Shaun's quality shines through, his experienced may be unique but the messages conveyed are most certainly universal.
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Wildly overpraised
It seems to have become somewhat of a trait for Sacha Baron Cohen's creations to fall in their quest for big screen stardom. Ali G's limp "Indahouse" followed the characters phenomenal TV success, ultimately failing as Cohen removed what is his greatest asset, the reactions of members of the public to his overblown stereotype. Having taken a bit of a lull from the limelight, Cohen returned with news of an upcoming big screen outing for his lesser known, but arguably even funnier creation "Borat" the Kazakhstani news reporter. The swarm of media attention certainly built up a huge audience for the movie (and secured it as a financial success), but ultimately only enhanced it's failings by revealing what turned out to be among the funniest sketches again, and again, and again.
Yet it all seemed so promising, far from a carbon copy of his previous venture with his other character. The trailers suggested a film crammed with hilarious candid camera gags as the hapless Kazakh fired his extreme views and racist jibes at members of the public, exposing the shocking cultural prejudice that exists in today's American society while simultaneously delivering gut crunching laughs. Finally Cohen playing to his strengths, surely the film is one big joyous extension of the razor sharp TV sketches? Unfortunately not, while efforts have been made to maintain the public reactions (which are at times as funny as ever) the attempted "plot" is still present in full force. Not only do these scripted sequences fail as a whole, they also undermine the great public sketches that form the meat of the comedy. By inserting them into the story, with Borat's overweight producer never far behind, how "real" the reactions are come into question. This is something that doesn't (and certainly shouldn't) occur to you in his TV work. Instead of monologue followed by sketch followed by monologue, we have a thoroughly unconvincing story that lessens the weight of the character.
As a larger than life stereotype in the public domain, he is ceaselessly amusing. In the film it is almost as if Cohen is trying to emulate himself sometimes, subtlety lost in favour of cheap, obvious laughs that aren't particularly clever. Plain and simple, Cohen has overdone the character, simplifying him and losing something along the way. Even in publicity interviews it seems he is trying too hard (Wow-wah-wee-wah, High Five) Our awareness of his clever "acting" is dulled, giving way to a scripted character that just isn't all that funny, at times even bordering on the offensive. Yes, most of us are aware that the comedy is without seriousness, yet you begin to wonder whether some people are laughing for all the wrong reasons. It is this that proves a little sad. Controversial as his methods are, Cohen is still trying to drive home a point about prejudice and cultural understanding. There are moments in this movie world where Cohen's signature becomes a little lost, some particularly cheap gags giving you the feeling that the racism is the joke and their necessity is called into question.
How successfully Cohen's ulterior motive translates to modern audiences is debatable. Has the success not really been built on the hilarity of "that Kazakh guy who hates Jews and women"? However it is not all bad, certain scenes showcase Cohen at his very best, with clever, biting satire, a reminder of why we really love Borat. Even some of the scripted scenes come off rather well, slapstick maybe, but successful none the less (the naked fighting scene is so wonderfully outrageous and distasteful that it forms perhaps the best scene in the entire film, the one moment where the scripted Borat meets the public reaction spectacle entirely successfully). Cohen is a talented comic, though it is clear that his true domain is in television. An improvement on "Indahouse" most certainly, but in the end here lies a merely average comedy film in the place of a potentially outstanding one.
Clerks II (2006)
Flat out hilarious return to form.
Kevin Smith's unrivalled adoring fan base can be accredited more to his original and fascinating sense of humour than to a string of successful, well made movies. After his "over the counter" culture debut, his potential appeared limitless. Here was a guy who had made it big against all odds, a story documented in the brilliant "The Snowball Effect" on the Clerks X disc, he represented working class America , and for that he was and always will be loved. Unfortunately the potential never quite fully realised itself, spending his career striving to bring his View Askew Universe to all new heights, but ultimately never really matching the inventive brilliance of his first foray into the film world.
From an objective point of view, free of the reigns of his immovable fans, it is clear that Kevin Smith should and could do better. So here we are in 2006 and we have the release of a follow up to the immortal classic, a journey back to his roots. Despite cameos and the further adventures of his brainchildren Jay and Silent Bob, Smith has never before chosen to produce a follow up to a previous work, choosing instead to dip in and out of his creations freely. Clerks II represents an attempt to forward his characters to perhaps, after all these years, find meaning in their lives. It is in all aspects a wonderful success.
What sets Clerks II apart from his previous venture, what makes it a film worth making, is the wonderful bitter sense of the passage of time, of lives wasted and potential unfulfilled. It is this that makes the sequel and even more poignant piece of work in that it bears more than a small similarity to Smith's own career. Of course it is an extreme comparison, but the potential unfulfilled aspect to the film is certainly applicable and I find it hard to believe that Smith wrote this completely free of autobiographical motive.
Clerks II is the most important film of Smith's career, while not as sharp and original as its predecessor, in terms of emotional punch no previous work of his can touch it. In terms of comedy nothing comes to close to Anderson 's Randal and, all these years on, he is still the funniest character to grace Smith's casts. Anyone who is not in fits of laughter after the film by film Rings impression and the fantastic reaction to newcomer Elias' sexual misunderstandings will never, ever understand Smith's humour. Unlike his first performance which while still incredibly good was restricted by the low budget production, here Anderson unleashes his full potential. To think his inclusion in the original cast was an unforeseen stroke of luck is unbelievable.
Dante is the same old character as is the situation, ready to leave for a new life in Florida with his fiancée he is once again torn between two women, his insistence on making choices he feels he should be making instead of following his real feelings still plagues him. Yet what at first sounds like a rehash is soon revealed to be a clever, almost subtle technique to drive Smith's point home, Randal displays a self awareness of the repeat scenario in one of his rants. While in the original the themes were effective and the resolution satisfying they were still pretty functional as oppose to truly involving. This time the stakes are higher, and the potential consequences of these choices are far more terrifying, bringing emotion to the forefront.
Many comedy films attempt to draw an audience in, to feel for the characters, but come across as pale functional necessities. What Smith has achieved here is rare, the blend of emotion and extremely crude comedy finally perfected, both realistic and valuable. Even Jay is afforded a sense of regret "You know, sometimes I wish I did a little more with my life instead of hanging out in front of places selling weed and s***." All the characters are still up to the same old no good, only this time there are signs of maturity, the men behind the comedic masks truly surface.
The moment you realise that you truly give a damn about Randal is a surprisingly moving thing. For me it was during the Go-Kart scene. Watching him and Dante cruising round the track with a sense of child like glee drove home the simplicity of their lives and yet convinces you that it is a life worth living. Randal is a totally genuine guy, totally funny, childish and eminently likable, his whole character summed up in one sweeping moment that is perhaps the films crowing moment.
Has Kevin Smith gone soft? Of course not, Jay still rubs his naked ass up against the window, Randal's fetish for hermaphroditic porn is extended to bestiality, the reclaiming of racial slurs becomes topic of the day, geeks are throwing up in the name of Lord Of The Rings and the burgers (obtained for free from a pickle-f*****) taste of p*** and flies. Clerks is back and it's bigger, louder and ruder than ever. Stepping up the drama without compromising the hilarious vulgarity could well ensure Clerks II ascends beyond the original in time, with more to offer than anyone could have predicted.
Children of Men (2006)
Without doubt, Cuaron's masterpiece.
Children Of Men represents a wonderful triumph in Cuaron's career, a milestone movie that secures his already well established place as one of the most talented directors currently in work. Based on PD James' novel, Children Of Men depicts a none too distant future (2021 is the given year) falling apart at the seams after a mystery infertility pandemic has eliminated any hope of mankind's future. It is a concept that is both simple and surprisingly effective, a vision that would startle the majority of people, the idea that such a simple unknown event would bring our arrogant, self important species endless development to a grinding halt within 80 or so years. It is this inevitable sense of hopelessness that leads to a horrifying interpretation of a species on the brink of extinction.
The time of release could not be any more potent, Cuaron takes every opportunity to draw parallels with the current political and social climate, the grounding in a none too distant future ensures a frightening sense of familiarity making the events depicted all the more shocking and effective. Pretty much everything we see before our eyes is taken from somewhere from recent history or current events (segregation, refugees, concentration camps, terrorism), put all this into our familiar, peaceful England and it drives home a potent point. The global situation is pretty dire around the world and yet in a way we live in a bubble, insulated from the majority of horrors. Here is a story taking place in an England with that bubble burst, and it is certainly, worryingly very plausible.
Opening with what is perhaps the greatest depiction of a downtown suicide bomb yet put onto film Children Of Men pulls no punches from the very first frame. It is the first of many flawless scenes of violence, comparable to those of Saving Private Ryan in their sheer intensity and the incredible impact of the sound design. The majority of the picture is filmed in an up close and personal manner, spinning around Clive Owen's Theo, giving the viewer an unprecedented feeling of being there, in the moment. This extends from the huge action set pieces right down to the smaller set pieces (such as the incredible, inventive car get away scene. filmed in on a farm in a beautiful early morning glow) Events happen just off camera as the bold tracking shots offer glances of a fully realised environment, a level of detail that achieves the difficult task of convincing the viewer that as soon as the camera is turned away the world depicted continues.
Emotionally the film at first appears a little dry, as Theo bounces from one event to the next, but a subtle, gripping change occurs somewhere in the first third of the film drawing you in to it's vice like grip through a mixture of great writing and technical wizardry (particularly the striking shock value), as Theo crouches down in the woods, sobbing uncontrollably you realise that Cuaron has crossed the line, delivering a film that is absolutely blinding in it's impact and portrayal of a world crunching down around them. Oddly enough there is a reoccurring predictability to some of the events, yet the shock remains undiluted. This is an incredible achievement that is extremely hard to explain but can be accredited to the sheer skill put to use in portraying the events. Knowing something is coming does nothing to lessen the impact. At the same time many scenes satisfyingly avoid convention providing a truly varied experience that is both surprising and familiar. Clive Owen is wonderful in the lead role, dealing with the splattering of black comedy (another aspect that creates an entirely unique atmosphere) with ease. Michael Caine is equally brilliant as a weed smoking, Zen loving hippy, his sub plot as heartbreaking as anything in the film.
The violence is absolutely shocking, it seems to be unexpected in a film of this nature, a fact that certainly plays in the Cuaron's favour. It is raw, disturbing, even choking at times delivered in moderation (certainly not excess) so as to maximise impact. Characters slip out of the narrative with little more than a backward glance, adding to the realistic feel, tying up loose plot ends is certainly not on Cuaron's agenda here. CGI is employed with utmost brilliance; you will most likely not even notice it is there, pointing to a future where CGI can have its uses. We may be put off by overuse of average CGI in current films, but when you are unaware of its use the problem diminishes. Saying a film had good CGI is all very well, but having it pass by unnoticed is a far greater credit.
Perhaps the only fault is a lack of truly stretching the potential of the material in terms of political or social comment. Ultimately the messages conveyed through the material are simple and well worn, yes it fits in all the references but never really serves up anything new to say about them. However as a dystopian vision of the very near future Cuaron's film is a stunning, wholly immersive piece of work with an ending that is bleak, achingly sad and ambiguous. Children Of Men is sure to stand the test of time and become a modern classic.