Sunday, 20 February 2011

True Grit

‘True Grit’ has been remade by the Coen Brothers, which becomes the second remake I've seen this year and it’s only February. I hate remakes almost as much as I hate sequels. The Coens have attempted to justify their new film by saying they wanted to 'go back to the source material' of Charlie Portis' novel and do a more faithful adaptation rather than a remake of the 1969 film starring John Wayne. Which I think was a pretty good film first time around... wasn't it? It’s just a hazy memory and I haven’t read the book either.

The Great Lebowski himself, Jeff Bridges, plays Rooster Cogburn and Matt Damon is Texas Ranger ‘La Beef’ or LaBoeuf even. The undoubted star though is young Hailee Steinfeld, who is outstanding as a headstrong teenager, 14-year-old Mattie Ross. A stubborn girl who will stop at nothing to revenge her father's death. Not difficult casting though, just get a stubborn teenager to play a stubborn teenager, there's plenty around.



As she continually proves throughout the film she is well capable of taking care of herself, except perhaps when guns are involved. In her pursuit of the man who murdered her father, Tom Chaney (Josh Brolin), she seeks out Cogburn. Cogburn is a Federal Marshall with a reputation for not bringing in his prisoners alive, which endears him to Mattie. Unfortunately he is as equally effective at getting drunk as he is at killing.



I have a problem with one aspect of Rooster. At times you need subtitles to understand what he’s saying because his rambling is totally incoherent at times. The Coen's are big on accents, so I've no doubt they got the accent they wanted but when you add in that he’s a drunk as well... subtitles please. That's not something I usually say, I’m not into subtitles.



Beefy too is looking for Chaney but for another crime he committed, so he and Cogburn team up and set off in pursuit but refuse to take a ‘girl’ into Indian territory. Mattie is having none of that and she chases them down. They reluctantly accept her and set off across terrain where it always seems to be snowing, just like Sheffield.



Cogburn’s general behaviour and particularly his drinking soon cause Mattie to lose faith in him. She is right to be disillusioned as the trail to finding Chaney goes cold and only by chance do they eventually find him.

The film is actually a bit simple for the Coens. You keep looking for the hidden meanings but there aren't any. It’s just a straightforward, decent film and it’s much funnier than I expected. Rooster even turns out to be a bit of a hero in the end.

Good film but... I'm still not sure why they made it.

Sunday, 13 February 2011

Brighton Rock

I hate remakes of anything and a remake of a film that is highly regarded as a classic of its time, such as ‘Brighton Rock’, should really be avoided at all costs. I haven’t, shamefully, read Graham Greene's book, nor had I, until last week, seen the original 1947 film and perhaps that is why I rather liked this remake.

The book and the film were set in the 1930’s but this remake by Rowan Joffe has shifted the action to 1964 and makes a few slight plot changes. This was bound to upset the purists, just like modernized versions of Shakespeare do but I kind of like those too. Personally I think if you're going to do a remake, at least do something a bit different with it. Straight copies are pointless.

So out goes the mob era and in comes a backdrop out of Quadrophenia. e.g. mods on mopeds on Brighton promenade, only it’s not. We had to go see this film because 1960’s Brighton has been recreated in Eastbourne and we were there when they filmed it. The dogs, well one particular dog, barked all the way through the filming, so there we sit in the cinema straining our ears trying to see if they’ve edited him out or not.



In this version, we get more of an intro and a bit more background to the characters. Not that this makes any different to the likeability of teenage sociopath and wannabe gangster, Pinkie Brown. Richard Attenborough was brilliantly sinister as Pinkie in the original, here Sam Riley (you know Ian Curtis) takes on the scowl but somehow he doesn’t seem as menacing as Attenborough. He's more moody teenager with an attitude problem than a gangster. The effect is much the same though. We feel zero sympathy for his character. Not that we feel any either for Rose (Andrea Riseborough), the nice Catholic waitress who falls for this moody Catholic thug.

Pinkie has murdered ‘Fred’ Hale, a man from a rival gang, and is prepared to cover his tracks by any means necessary. Rose is a potential witness to his crime, so in a bid to shut her up he pushes her into a sham relationship with him. Romancing her is not hard, the poor deluded girl immediately falls for him, hook, line and sinker even though he ignores her most of the time. What does she see him? Though suppose that’s a question we often ask ourselves of people today.



An explanation of sorts is offered when they visit the tower block where Rose lives. A tower block that looks very rundown, particularly considering tower blocks were a bright new idea in the 60’s. Rose lives with her father, a man who is as controlling as Pinkie is. So at least she’ll feel at home with him. Pinkie barters with her father for her hand in marriage, which will prevent her being forced to testify against him until he can find the moment to dispense with her permanently. In the end her father effectively sells her for £150.



Amidst all these crazy Catholics comes the level headed Ida Arnold (Helen Mirren) who is determined to unearth the truth and rescue Rose from the nutter she has betroved herself to.



It was a difficult film to remake but having bothered, I think they made a pretty good fist of it. Very enjoyable. Riley is good enough as Pinkie, as is Riseborough as Rose, well pathetic enough at least. It all ends in tragedy of course and I do love an unhappy ending. The classic scene remains, as in the original, when Rose cajoles him into making a record of his voice in a recording booth on the pier. On record he makes it pitifully clear that he despises her and her failure to ever find out what he said on that record makes a touching finale...

Saturday, 29 January 2011

The Social Network

When we first heard about it, we had no real urge to go and see the story of the founding of Facebook. That was until everybody kept saying how good it was. So now here we are, The Social Network.

It seems it all happened in 2003. In the same year that someone cut their arm off with a blunt pen knife in Utah, across in Massachusetts someone else was stumbling across a half decent idea.

The film opens with a socially inept Harvard University student called Mark Zuckerberg (Jesse Eisenberg) in conversation, if you can call it that, with his then girlfriend Erica (Rooney Mara). He is so immensely annoying that you soon wonder what possessed her to become his girlfriend in the first place. Your second thought is why is she still his girlfriend and then, why hasn’t she hit him yet because you, the audience, certainly want to.



Suddenly she comes to her senses and dumps him. In some style as well. ‘You're going to go through life thinking that girls don't like you because you're a nerd. And I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole.’ Don't mess with Rooney Mara; she's to be the new Lisbeth Salander you know.

So Zuckerberg is an asshole and he reacts as most teenage assholes would. He goes home and dreams up the least likely way of making himself more appealing to the opposite sex. In one night, whilst drunk, he hacks into the databases of various student halls, downloads pictures of all the female students and creates a website called ‘FaceMash’ that enables male students to rate the 'hotness' of their fellow female undergraduates. His best friend Eduardo Saverin (Andrew Garfield) is on hand to provide the scoring system, an algorithm previously used for ranking chess players.



It's such a success that it brings down the computer network at Harvard, gets Zuckerberg into trouble and of course takes his status with the ladies even lower. It does however impress the Winklevoss twins, Cameron and Tyler (Armie Hammer, both of them). They plan to launch their own website called Harvard Connection, a social networking website, with the main attraction being exclusivity to Harvard students.

They ask for Zuckerberg’s help and he agrees to work with them. Only that, Zuckerberg’s social interactions are about as false as your average Facebook user’s. He immediately sees a better idea and although he maintains a sham 'friendship' with them, he has no intention of helping them, as he sets up his own site.

Again Eduardo helps him, this time providing the finance to get the project off the ground. Once complete, they distribute a link to ‘thefacebook’ and it quickly becomes popular throughout Harvard. The ‘Winklevi’, as he calls them, are enraged that he effectively stole their idea.

The story zips along at a frantic pace as ‘thefacebook’ expands into more universities. Zuckerberg certainly comes over as a nerd but a determined one and also one that can be easily lead, if it gets him what he wants. Enter Napster co-founder Sean Parker (Justin Timberlake). Parker discovers Facebook in the bedroom of a girl from Stanford University, presumably he knew he was at Stanford because Stanford girls seem to have, rather helpfully, the words ‘Stanford’ written across the back of their knickers.



Eduardo is immediately sceptical of Parker, whilst Mark just about falls in love. As Parker persuades Zuckerberg to drop the ‘the’ and ingrains himself into Facebook's project, Eduardo gets more and more sidelined as Zuckerberg increasingly sides with Parker on business matters. Eduardo gets angry, freezes the company's bank account whilst simultaneously falling out with his girlfriend over why his Facebook profile still lists him as ‘single’. With such cast iron evidence that he’s having an affair at her fingertips his girlfriend sets fire to the scarf he just gave to her as a present. Yep that's Facebook.



Then when Eduardo discovers his share in the company diluted to next to nothing, he feels betrayed by his one-time best friend, he confronts him and announces his intention to sue. Parker, the wag, offers him his original stake back. Meanwhile the ‘Winklevi’, after much heart searching over the un-Harvard-ness of suing a fellow Harvardite, have also eventually decided to take Zuckerberg to court over intellectual property theft.



At first the film is a little hard to get the hang of. There is a lot of rapid fire dialogue and the format of the film is a little confusing at first. We are watching the two resulting court cases, or at least the two pre-trial deposition hearings, in tandem with flashbacks to the events being submitted as evidence in them, namely the founding of Facebook. Both lawsuits ultimately resulted in large out of court settlements.

This film come docudrama may be about Facebook but it’s also about the universal themes of friendship, loyalty and betrayal, where money and greed can ruin almost anything. The characters may represent today's world but the themes are as old as the hills.

The principal male characters were all pretty odious, so you don’t really care too much about what happens to them but then I guess they were all supposed to be, well, assholes, and to this end they all played their roles really well. It's hard to feel empathy with any them, well except perhaps a little for Eduardo, the outsider, who’s a far nicer guy than any of the others.



The film ends with Mark sending Erica, his ex, a ‘friend’ request on Facebook and then refreshing the page every few seconds searching for a positive response. After all, getting girls was the whole idea of the Facebook project in the first place.

As one of the lawyers puts it. ‘You're not an asshole, Mark. You're just trying so hard to be one.’

Zuckerberg may now be a millionaire but in one sense he’s learnt nothing at all.

The Social Network is an engaging film, a good film. It may not be a classic, but it’s trying so hard to be one.

Wednesday, 26 January 2011

Blue Valentine

Blue Valentine, pretty small town girl meets nutter with a ukulele and he falls in love, whilst she marries him for convenience... kind of. Happens all the time, just without the ukulele. This nutter though, does appear to quite charming. Well I liked him, at first.

What follows is a kind of a weighty relationship study. Several years Dean (Ryan Gosling) and Cindy’s (Michelle Williams) marriage is failing. They both know its failing but they just haven't quite reached the endpoint yet. He seems to want it to continue, she doesn’t.



The story of everything falling apart is told in parallel with the story of them/him falling in love. See I’m not convinced she ever loved him. We see how they met and how they fell for each other. In his case at first sight. In her case after he stalked her on the bus with a ukulele with lines like ‘In my experience, the prettier a girl is, the more nuts she is, which makes you insane’. She seems amused and sort of flattered that he can ‘compliment and insult somebody at the same time, in equal measure’.

He’s more nuts than she is though. Later he strums said ukulele in a shop doorway whilst warbling eccentrically the song ‘You Always Hurt the Ones You Love’, which should have been a warning to both of them, but it works, he pulls the girl and gets into her knickers. Which is impressively quick work until we find out that she’s had 'about' 25 partners from the age of 13.



Dean doesn’t know this though, so it comes as a bit of a shock to him when she almost instantly announces that she’s pregnant. Not that it’s his of course but courtesy of the guy she’s been hanging around with before Dean.

When she goes for an abortion and we learn about her promiscuity, we wonder why it’s taken her so long to get caught out? It’s an abortion she finds she can’t go through with and aborts the procedure part way through. Luckily for her Saint Dean is all too willing to devote his life to the gorgeous girl he’s just met and her unborn child, even after getting beat up by the biological father. So he marries her and raises her daughter as she’s his own.



Back in the present, we see their relationship deteriorate further. Cindy is stressed out, overworked and claims to be raising her husband along with her daughter. He meanwhile still appears to be infatuated with her and puts up with more rejection than most people could stomach but for her, it’s clearly already all over. Cindy notes early on that her parents very quickly fell out of love with each and wondered how anyone can trust their feelings when they can just disappear like that? It’s like she was waiting for it to happen.

Yet he still tries to breathe life back in to their relationship with a perhaps ill advised and ill timed trip away to a motel for a night. She's not keen, not keen at all. Especially when it turns out the room they book is a futuristic themed room that looks like the inside of Dr. Who’s Tardis or as Dean describes it a ‘robot's vagina’. Perhaps romance died then.



Perhaps because I'm a man I look at Dean and wonder what it is that he did wrong. I felt sorry for him; on the surface he's done a lot for her but now she seemed to be out of gratitude and now more narked about what he hadn't done. Get a better job for instance. Although probably just so that she could afford to go back to medical school.

True, somewhere along the way, his character has changed. The nice guy started to smoke too much, drink way too much and become very short tempered. Here lies the problem with the film. Just when did this character change occur? When did their relationship suddenly go bad? There seemed to be a bit missing in the middle between the past and the present, a big bit.

Dean say early on about girls in general that 'they spend their whole life looking for Prince Charming and then they marry the guy who's got a good job and is going to stick around'. So perhaps he knew it wasn’t going to last. A better observation would have been 'don't marry someone you just met ten minutes ago and who is pregnant by someone else'.

Gosling and Williams are both very good in this, although only Williams got an Oscar nomination yesterday. The film itself, whilst a good watch, is flawed and nothing special, nothing we haven’t seen before, like say in Revolutionary Road. The film itself got a nomination in the now expanded list of ten Best Film nominations but if they’d stuck to the original five of old, I guess it wouldn’t have.

Tuesday, 25 January 2011

Oscar Nominations 2011

BEST PICTURE

Black Swan
The Fighter
The King's Speech
The Social Network
True Grit
127 Hours
Inception
The Kids Are All Right
Winter's Bone
Toy Story 3

BEST DIRECTOR

Darren Aronofsky - Black Swan
David O Russell - The Fighter
Tom Hooper - The King's Speech
David Fincher - The Social Network
Joel Coen and Ethan Coen - True Grit

BEST ACTOR

Colin Firth - The King's Speech
Jesse Eisenberg - The Social Network
James Franco - 127 Hours
Javier Bardem - Biutiful
Jeff Bridges - True Grit

BEST ACTRESS

Annette Bening - The Kids Are All Right
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winter's Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine

BEST SUPPORTING ACTOR

Christian Bale - The Fighter
John Hawkes - Winter's Bone
Jeremy Renner - The Town
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The King's Speech

BEST SUPPORTING ACTRESS

Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Melissa Leo - The Fighter
Hailee Steinfeld - True Grit
Jacki Weaver - Animal Kingdom

BEST ORIGINAL SCREENPLAY

Another Year
The Fighter
Inception
The Kids Are All Right
The King's Speech

BEST ADAPTED SCREENPLAY

127 Hours
The Social Network
Toy Story 3
True Grit
Winter's Bone

Monday, 24 January 2011

Obituary: The Screen Room

I found out last night whilst checking their website that Nottingham’s smallest and in fact the world’s smallest (check the Guinness Book of Records), cinema is no more. The Screen Room, in Hockley and just across the road from our favourite cinematic haunt Broadway, had been closed over Christmas but now will not be reopening.



I'm on their mailing list but they didn't tell me, either that, or they tucked it away at the bottom of their last email and I didn’t see it. Well, at least I suppose it was a fitting low key end for a low key sort of place. The cinema was a mere 15ft by 15ft, had one screen and just 21 seats. Because of its size, the projector was behind the screen, unlike in a conventional cinema.

Once a porn cinema it opened in its current guise in September 2002 and showed mainly independent films and was great for catching things you'd missed at Broadway. You could though book absolutely any film you liked if you rented the whole place out.

According to the manager there, their nine year lease had simply come to an end and they chose not to renew it. ‘Time to move on!’ their website says. They leave the place on their own terms and debt free. So if anyone fancies taking it on, despite its smallness, it appears to be a going concern.

The Screen Room is survived by several local independent cinemas. The four screen Broadway of course, Derby Road’s traditional Savoy, Belper’s Ritz and Derby's new Quad.

Oh and if you’re missing an umbrella, give them a call, apparently they have at least thirty of them in lost property.

The place will be missed.

Sunday, 23 January 2011

127 Hours

Tonight '127 Hours'. A film I fancied seeing but was unsure as to whether I could get through it. I warn my partner that I'll probably faint on her.

Danny Boyle's film tells the true story of Aron Ralston (James Franco), a reckless young adventurer who spends his weekends bombing around America’s wilderness.

The film opens with Ralston packing his gear, but unfortunately not his Swiss Army knife, for a trek into Blue John Canyon in Utah. He jumps on his mountain bike and is off determined to traverse his route 45 minutes quicker than the guide book suggests is feasible.



After a stint on his bike, he’s locks it up and continues on foot, running. It’s a fast moving start to the film and the pace doesn’t let up when he rescues two female hikers Kristi (Kate Mara) and Megan (Amber Tamblyn) who are lost. This, you get the impression, is the speed at which Ralson lives his life.

He spends time walking with the girls, showing them his beloved canyons and how to drop, rather scarily, into an underground pool, where they spend a while repeating the drop and swimming.



Then just as quickly he says goodbye to them and heads off on his own canyoneering. 'We did not even feature in his day' they say, disappointed. Before he departs they invite him to a party, look for the huge Scooby Doo they tell him, but they know he won’t show. Ralson is his own man. Little did he know that they could well have been the last two people he ever saw.

Then the pace slows down, as he takes a tumble, a boulder falls on him and traps his arm. He makes frantic efforts to pull himself free but gradually it dawns on him that he is stuck and this is where he will stay, and we will stay with him, for the next 127 hours.



Ralston, being the sort of guy he is, had not told anyone of his plans and therefore assumes no one will come looking for him. It is just him, the boulder and a fight to survive. He starts chipping away at the rock with the only knife he has, a cheap one, ‘what you'd get if you bought a $15 flashlight and got a free multi tool’. It doesn’t help.

He spends the next five days eking out his water supply and when that runs out, he has to drink his own urine. Because this is Danny Boyle we get to see this from the inside of Ralston's water pack.

Ralston re-examines his own life, philosophises, battles the elements, hallucinates and even fantasies for the best part of four days. Some of it is real in flashback, some of it wishful and hopeful thinking.

Dehydrated and delirious, we see him wonder about the two hikers and there are also a few Scooby Doo induced illusions about the party he's been invited to. Whether this is the same party as the naked one he imagines in a people carrier I’m not sure.

In fact, it’s so terribly ‘Black Swan’ (that we saw yesterday) at times. Two consecutive days, two films, two lots of hallucinations.

He thinks about his ex-girlfriend (Clémence Poésy), who dumped him for being too self centred. His ex turns out to be no other than Fleur Weasley nee Delacouer, we saw her get married last year. These Harry Potter people get everywhere.

He also feels regret. Regret at not returning his mother’s phone calls and for not seeing enough of his family. Regret at not telling anyone where he was going. Whoops. He does a darkly humorous talk show style interview with himself on his camera admitting this failure. Then he carves his name, along with his dates of birth and death, into the canyon wall before videotaping his last goodbyes.



Throughout his time stuck in the canyon we have seen his life perspective change from being a total loner to suddenly include other people, his family, his friends, the two female hikers, even his ex. Together they have given him the will to survive.

Finally he decides he has the courage and the means to extract himself from his predicament, whilst we wonder what we would do if placed in similar circumstances. Problem is you know what's coming. You know how all this ends before you even step foot in the cinema, hence my partner’s initial reluctance.

Ralston starts to amputate his trapped arm at the elbow. First he snaps the bones because he knows he won't be able to cut through them. It’s enough to make you feel faint as it’s all captured painfully on screen. I tried to look away but oddly couldn’t. At which point I believe I blacked out. Oops.

Then without an arm, Ralson still has to abseil out of the canyon and walk out of the valley, where at least he gets to drink from a lake. Finally he encounters a Dutch couple on holiday who help him get rescued.

It’s a tribute to Boyle that he kept us engaged in the film for the length of Ralson's ordeal, the boulder incident occurs very early in the film, but he does. Once trapped, the film becomes a one man show starring James Franco and his facial expressions. Franco puts in a brilliant performance. The camera is right in his face the whole time and shows us graphically as the situation gradually takes its toll on him. In the end 127 hours turns out to be less a film about a man who cuts off his arm and more one about why a man cuts off his arm. It’s a performance that ought to snatch the Oscar out of Colin Firth’s hands but we’ll see.

Ralston survived and lived happily ever after but how many of us would have died in that canyon?

He now has an artificial arm, his real arm was eventually retrieved by park authorities and cremated by Ralston, who then went back to the canyon to scatter the ashes there.

127 Hours is an experience that I survived. I think. Unforgettable, for several reasons.

Time to put my head under the cold tap, grab something to eat, and get a stiff drink.