Thursday 27 February 2014

Her

In the not-too-distant future, Theodore Twombley is an endearingly awkward office worker, still suffering the effects of his marriage breakup. An early adopter of a new operating system for his devices, he soon falls in love with Her - his personal Artificial Intelligence, which has named itself Samantha.

The concept may seem at first glance to walk a fine line between intriguing and off-putting - but it is brilliantly well executed in this examination of relationships, loyalty, and love between friends, confidants and lovers. From Spike Jonze's offbeat but somehow perfectly real script, to the careful, beautiful production design, Her is original to the nth degree.

By turns joyously funny, gauzily romantic and achingly lonely, the stellar performances and barely-there camera take us directly into the the heart of the story, in a world complete down to the last detail.

A meditation on communication and humanity in an advanced technological world, Her is a strange mixture of isolation and melancholic humour, yet it not only works, but somehow leaves you filled with hope for the future. A modern masterpiece.

Also featuring a future-Earth, themes of isolation and re-growth, and an unexpected but wonderful AI romance, is WALL-E, the tale of a broken Earth's deserted robot caretaker meeting an inter-galactic probe. If you haven't seen this breathtakingly beautiful, Oscar-winning animation, hie you to your nearest on-/offline video store!

Wednesday 26 February 2014

Meek's Cutoff (2010)

Directed by Kelly Reichardt 

Written by Jonathan Raymond

Stephen Meek is guiding three couples across wild, untamed and unmapped Oregon in 1845, the earliest days of westward expansion.  When we meet them, the disillusioned settlers are wondering whether Meek is lost, or if he lied to them in claiming his alternative route, Meek's Cutoff, would be more direct and safer from Indian attack than the valleys of the Oregon Trail.

Deliberately joining the wagons in the midst of their journey and leaving before they arrive at any destination, this isn't some Hollywood story of triumphant pioneers overcoming hardship.  Instead, Meek's Cutoff is a slow examination of trust and betrayal in people on the edge of reason, trapped in an inhospitable, alien landscape, filled with fear and doubtful as to whether they'll survive.

I imagine this was a film to have seen in the cinema, where the big screen and enforced stillness would have aided the subtle, low contrast, lingering shots and creeping feeling of isolation - despite the chosen 4:3 aspect ratio no longer being considered truly cinematic by most audiences.  Unfortunately in this case, translation to a smaller screen meant a loss of detail and immediacy, and for me, a tendency to fall out of the film too easily.

In a way, Meek's Cutoff is a brilliant behind the scenes B-roll of pioneer journeys - a realistic portrayal of the privations undergone on the incomprehensibly arduous wagon trains, but as a contemplative look at complex human emotions and loyalties, I felt a little under-directed, a little lost.  It's entirely possible that was the point.

Also based on a true story, Into the Wild examines a completely different pioneer spirit: an American college graduate in the early 1990s who removed himself from society and disappeared into the wilds of Alaska. His attempt to throw off modern societal constructs and live his own way are thought-provoking, the film (reviewed on this blog here,) is beautifully made, and still haunts me.

Tuesday 25 February 2014

12 Years a Slave

What can one say about 12 Years A Slave, that the title and reviews have not already said? This is a disturbing representation of twelve years in the life of Solomon Northup, a free African American ripped from his comfortable life by slavers, and sold into bondage in the deep south.

Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.

The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.

Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.

Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.

Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.

I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.

Monday 17 February 2014

Dallas Buyers' Club

It's 1985, and Ron Woodroof is a wiry, rodeo-lovin' electrician living the good life, up to his eyeballs in girls, gambling, drugs and alcohol - until the accidental discovery he's HIV positive.  Struggling against medical ignorance, prejudice and the legal system, Ron forms the Dallas Buyers Club while searching for medication to help his condition.

The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz.  However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.

Dallas Buyer's Club is a small story set against an important historical moment.  It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive.  Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.

Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism.  Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.

Enjoy true, one-man-against the world stories?  Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States.  Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.

Friday 14 February 2014

Parade's End

Set in early twentieth century England, during possibly the greatest period of change in modern times, Parade's End follows young gentleman Christopher Tietjens, struggling to uphold his exacting moral standards against a developing love triangle and a rapidly industrialising world.

The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's EndThe beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.

The central love story hangs on three very different types, each brought to life in a nuanced performance.  Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect.  Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic.  Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.

The small scale of their story is set against the sweeping change which characterised the period.  A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.

As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.

Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office?  For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.

Wednesday 12 February 2014

Are We Officially Dating?

Meant to be a comedy, Are We Officially Dating? follows three New York guys who've made a pact to stay single after one of them suffers a break up.  Cue crazy testosterone-fueled adventures!  Except, not.  It turns out their idea of staying single is achieved not by spending time with their mates, but by spreading themselves through a "roster" of girls with no expectations, providing sex-on-tap without complications like, you know, talking.

The film has been released in Australia and New Zealand with the more optimistic working title from the screenplay, rather than the prophetic US That Awkward Moment: that moment being almost the whole film, but also referring to the point at which one partner starts to think sleeping together equals relationship, and must therefore be dumped.

Of course, the heart-warming message of the film is that each of the guys finds someone he enjoys spending time with, and starts to grow up - but because he's loyal to his friends and the safety net of their pact, is "forced" into all sorts of denials and problems which screw up the budding relationship.  Through this terrible turmoil, (spoiler alert!) the guys realise female companionship isn't so bad, and luckily, because they've had the great taste to pick such cool chicks, all they have to do is suffer a little physical discomfort while making apologetic gestures - and no matter what he's put her through, the girl will take him back!

It tries hard to make you think it's funny, and never raises more than a snigger, but the saddest thing about Are We Officially Dating? is the filmmakers obviously believe they've created strong, feisty women for their three bros.  It shouldn't have to be pointed out to them that a few quippy lines and some kooky behaviour added to a sex toy doesn't actually make it a woman.  None of the girls here have any agency or even friends of their own: they're islands in a world of men, their choices limited to resisting a guy for a while, waiting for him to call, or leaving him for another man.

Are We Officially Dating? is a misfire - too soppy for guys, but too deeply misogynistic for anyone but a (hopefully very young) guy to find funny.  Officially, don't see it.

If you're looking for a silly, formulaic date movie good for girls and guys, don't watch the above.  Friends with Benefits starring Mila Kunis and Justin Timberlake has its weak points, but is a movie about fear of commitment that's actually both funny and romantic.

Wednesday 5 February 2014

Frozen

Not only visually stunning, Disney's latest animated spectacular Frozen is already being lauded as a modern classic. It's a thoroughly enjoyable tale, which manages the tricky combination of being true to its genre while simultaneously subverting audience expectations.

Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.

At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!

Keen to see another Disney movie with a modern twist?  Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.