Tag: Movie Review

Mustang

Director: Deniz Gamze ErguvenMustang

Screenplay: Deniz Gamze Erguven and Alice Winocour

Starring: Gunes Sensoy, Dogba Doguslu, Tugba Sunguroglu, Elit Iscan, Hayda Akdogan and Erol Afsin.

Originally screened in the Directors Fortnight section at the 2015 Cannes Film Festival and nominated for Best Foreign Language Film at the 88th Academy Awards.

Set in Inebolu, a Black Sea village 600 kilometres from Istanbul, Mustang is about the freedom of five young sisters with wild hair trailing down their backs, with a glance and an innocent smile that can lead to so much trouble.

Brought up by their grandmother after the death of their parents at an early age, the sisters are suddenly, overnight, declared whores who need to be married off before they lose their virginity.

The girls are banned from going to school and bars are installed in the windows of the house: a prison built with good intentions.

The girls remind one of these wild horses, the Mustang, so free and shameless; so comfortable in their own skin facing towards the sun, socks stuffed down bright pink lacy bras and imagined sea shells found under a sea of blankets.

I can relate, growing up as the youngest of three girls on a farm in the middle of no-where.

Running through paddocks, playing chasie on hay bales; skinny dipping in the pool.  Idyllic days.  But society catches up.

Mustang depicts the fight between the new world and the tradition of the old and how the expectations of society can do so much damage to the individual.

Trapped and forced into marriage – what a nightmare.

What l enjoyed most about the film was the lack of vanity in the characters or the style of film.  It didn’t feel like I was watching a movie but was given a hidden window into the secret world of the young sisters.

Mustang doesn’t romanticize the characters, the behaviour felt authentic: these are wild young girls, not angels.

I loved how there was no pretention in showing how girls actually behave and the pressures that have to be tolerated to a point of change or destruction.

The beautiful sisters are so free and shameless because there’s nothing to be ashamed about being young and beautiful.  And the film captured this beauty so well, the girls unaware of people seeing their wild spirit, deciding they need to be broken.

I was captivated by these young sisters, from start to finish.

As her first feature film, Deniz Gamze Erguven has given us a story that feels like it should already have been told, and I congratulate this fresh view of life that is usually hidden behind closed doors.

 

Hunt for the Wilderpeople

PGHunt For The Wilderpeople

Director: Taika Waititi

Based on the book: ‘Wild Pork and Watercress’, written by Barry Crump

Cast: Sam Neill, Julian Dennison, Rhys Darby, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Troy Kingi, Cohen Holloway, Stan Walker, Mike Minogue, Hamish Parkinson, Lloyd Scott.

Hunt for the Wilderpeople is tongue-in-cheek and heartfelt where the characters are able to take a laugh at themselves ‘cause it’s all heart bro.

There are some familiar faces here – a solid performance from Sam Neill (Jurassic Park (1993, 2001), Peaky Blinders (since 2013), The Piano (1993)) as the reluctant crusty ‘uncle’, Hec Faulkner; Rachel House (Whale Rider (2002); Boy (2010)) as Paula, the overzealous welfare worker and Rhys Darby (Flight of the Conchords (2007-2009); What We Do in the Shadows (2014)) as the ‘bushman’, Psycho Sam.

But the standout for me was Julian Dennison (Paper Plans (2014)) all of 13 years old, as Ricky Baker.  This kid has talent, so-much-so, I couldn’t imagine anyone else playing the wanna-be-gangsta, Ricky.

I love hot water bottles (particularly now it’s getting to winter here), I love dogs, love the bush and aunties with cats on their jumpers.  And I love how this movie was about a foster kid trying to find his way and how an old crusty character can warm to a kid who’s his own person just like him.

There’s a poetry in the camera work (cinematographer, Lachlan Milne) – this is beautiful scenery of green bushland taken from up high, then down to running waterfalls, lakes mirroring an orange sky to the mud and rain of the bush; locations including Piha, Karekare, Bethells Beach, Horopito and the Kaimanawa Plains.

A lot of thought was put into the scenes, the director Taika Waititi (Boy, Eagle vs Shark, What We Do in the Shadows) waving his magic touch with the shadows of leaves on the car windscreen; the silhouette of fence posts in the dusk, balanced with the authentic flavour of performance, without too much polish and keeping a tight rein on the editing (Luke Haigh).

A film where the characters felt real, if not caricature in nature: you’re bound to meet one in the bush or down the street in New Zealand.  And that’s the point of difference with this film: a New Zealander flavour of the bush with cold and beauty combined with character.

Look, some of the humour was a bit cheap, more for the kids or young at heart.  But this was just a few jokes – mostly I was smiling with a sometimes tear in the eye.

Hunt for the Wilderpeople makes you want to love people for who they are, not who they’re supposed to be.

Sometimes a stray gets found and given a home.  Sometimes the ones who are lost and unloved can be found, only to run away in the bush and get lost and then become a gangsta running from the cops, yo.

What can I say, one of my favourite Leonard Cohen songs (The Partisan) was part of the soundtrack, so yes I admit this film got under the skin.

One of those funny ones that make you cry a bit because it’s also sweet.

The Nice Guys

Director: Shane BlackThe Nice Guys

Writers: Shane Black; Anthony Bagarozzi

Cast: Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Yaya Dalosta, Keith David, Lois Smith; Kim Basinger.

Harking back to the funky-soul disco era of the 1970s, The Nice Guys is a private detective, who-done-it comedy, with a bit of action on the side.

The scene is set when Misty Mountains (yes, her name referring to her boobs) comes to a dramatic end – assets revealed in life but covered in death, because hey, she’s human and this is a classy film.

Now, Amelia Kuttner (Margaret Qualley) is being followed.  She hires Jackson Healy (Russell Crowe), muscle who is paid to deter those, well, who need deterring.  His line of enquiry leading to Holland March (Ryan Gosling), a private detective also on the case.

Delving into the world of ’70s pornography, dirty deeds are uncovered circling closer and closer to those targeting Amelia.

A classic storyline, yet, it’s the characters Healy, March and March’s daughter, Holly (Angourie Rice) who are the focus of the film.  And the success of the film comes from the perfect casting of Gosling alongside Crowe.

It’s a pleasure to see Gosling playing a light-hearted character after all his seriousness in the past (Half Nelson (2006), The Ides of March (2011), The Place Beyond the Pines (2012) and more recently, The Big Short (2015)).  Gosling’s character, March, is a funny bastard.  Either he’s a natural comic or director Shane Black deserves a tremendous amount of credit as March was the highlight of the film for me.

Russell playing, Healy: as always the steadfast meat-head with a heart of gold.

The two characters had a great chemistry, like the small dog yapping at the big.  I wondered if there was a genuine annoyance from Russell Crowe regarding Gosling.  But with a clever script, there were many moments for laughter.

Add the background scenery of horses get-up as unicorns, protesters playing dead in gas masks and some well-placed action (I was about to get bored near the end until the action kicked in); you’ve got an entertaining film.  I’m still grinning about March falling, yet again, and somehow surviving.

But, honestly, there wasn’t a lot of depth here.

There were definite moments of wit and cleverness but the story barely held together at the end.  The action got ramped up so I forgave the fading narrative.  It depends on what mood you’re in.

If you’re looking for a, who-done-it with wit and action, this is a great film.

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https://www.youtube.com/watch?v=z-_HQ0bUzS8

Whisky Tango Foxtrot

Directed by: Glenn Ficarra, John RequaWhisky Tango Foxtrot

Screenplay: Robert Carlock

Based on: ‘The Taliban Shuffle: Strange Days in Afghanistan and Pakistan,’ by Kim Barker

Starring: Tina Fey, Margot Robbie, Martin Freeman, Alfred Molina, Billy Bob Thorton, Steve Peacocke; Christopher Abbott.

Comedy/War/Drama?

Kim is a 40 year old copy writer who spends her time on an exercise bike going no-where.  No matter how hard she peddles, Kim just isn’t getting anywhere.  Her life is going backwards.

Presented with an opportunity to get out from behind a desk and report in front of a camera in Afghanistan, Kim leaves her boyfriend and comfortable life for the chaos of the Kabul Bubble where shit literally flies through the air.

Whisky Tango Foxtrot (I’m thinking military speak for WTF) is a juxtaposition of genres: war, comedy and drama.

It’s hard to categorise Whisky Tango Foxtrot.  There’s some dark humour here: Kabul International Airport A.K.A Killed In Action.  But I would say this movie is a drama with the main character, Kim Barker (Tina Fey), having a midlife crisis.

At the beginning, I was concerned the film was falling firmly on the ‘My life journey’ style of film, but thankfully, with the introduction of characters in Afghanistan, the film took off on its own journey with the focus on the characters and the reality of life in the ‘ka-bubble’.  

I wouldn’t call the film a comedy, even though Tina Fey (known for her parts as a comedian) is the protagonist, but there are funny moments with the misunderstandings between different cultures, and the inherent humour of Iain, the Scottish photographer.  Yes, this is mostly a drama with the elements of war: gun fire, bombs blasting and drones flying, played over with a sometimes cheesy soundtrack.  It was a strange juxtaposition between this romantic drama and comedy set on a backdrop of the war in Afghanistan.  This wasn’t a MASH situation.  There were some serious thought-provoking moments.  And it worked.

I enjoyed watching this film because I liked the characters.  The translator, Fahim Ahmadzai (Christopher Abbott) was a standout with warm eyes and a genuine soul; then there’s the security guy Nic (Steve Peacocke), fellow journalist, Tanya Vanderpoel (Margot Robbie) – yes the film was heavy on the Aussie actors not that it’s a bad thing!  Then there’s the photographer Iain MacKelpie (Martin Freeman), the politician Ali Massoud Sadiq (Alfred Molina), the general Hallanek (Billy Bob Thorton) and then the people of Afghanistan.

This was a well-rounded story, and yes, it was heart-warming.

It was just some of the moments were strange.  For example, Kate reporting in front of the camera only to realise she’s standing near a dead body hidden under rubble but for an arm.  Not funny, just a bit strange.

The mission undertaken by marines with the green of night vision but with a romantic soundtrack playing, also strange.

But the strength of the storyline with the careful handling of the characters by directors, Glenn Ficarra and John Requa (Crazy, Stupid, Love (2011); Focus (2015)), Whisky Tango Foxtrot was an enjoyable film to watch.

 

Captain America: Civil War

Directed by: Anthony Russo, Joe RussoCaptain America Civil War

Screenplay by: Christopher Markus, Stephen McFeely

Based on: Captain America by Joe Simon, Jack Kirby

Starring: Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Chadwick Boseman, Elizabeth Olsen, Paul Bettany, Jeremy Renner, Paul Rudd, Emily VanCamp, Tom Holland, Frank Grillo, William Hurt; Daniel Brühl.

With no expectation going in, I was pleasantly surprised by gutsy action and a well-thought out storyline.  And yes, I’m just going to say it, Captain America: Civil War was heart-warming.

To be honest, the Captain America character has never appealed to me.  As Tony Stark/Iron Man (Robert Downey Jr.) says, ‘Sometimes, I just want to punch you in your perfect teeth’.

However, the film celebrates difference of opinion and differing values and cultures and that’s a definite positive of this film.

Civil War is about friendship and the difficulty in accepting differences between friends.  Who’s to say they’re right and who is wrong?  People have their reasons whether it be loyalty, the idea of doing the right thing, of looking after the little guy; and then there’s the bad manipulating the good.

The huge number of strong characters could have led to confusion, but the well-paced storyline gave every character their point and time in the spotlight.

I liked the addition of the cat-man, Black Panther (Chadwick Boseman).  And the threat of cheesiness was nicely averted with humour; the characters able to make fun of themselves and each other, particularly Iron Man and Ant-Man (Scott Lang) – just hilarious!

I admit I was a little confused at times regarding the history of the characters and how they came to fight together, which means I need to go back and re-watch some of the previous films.  And that’s a lot of watching.  Civil War is the third in the series of Captain America.  And then you have Avengers (2012) and Avengers: Age of Ultron (2015).  Plus there’s all the Iron Man series and of course the films casting all the other characters…  So there wasn’t really anything new here, either.

But when I find I’m entertained at the beginning, the middle and the end, I say that’s a good movie.

 

Pawno

Director: Paul IrelandPawno

Screenplay: Damien Hill

Cast: Damien Hill, John Brumpton, Maeve Dermody, Mark Coles Smith, Kerry Armstrong, Malcolm Kennard, Brad McMurray, John Orcsik, Mark Silveira.

A day in the suburb of Footscray.

Pawno is a well-paced, character driven film with a great soundtrack.  A snapshot of Footscray culture showing insight into the need to belong with a bit of humour thrown in the mix.

I remember when I first moved to Melbourne in the ’90s, walking to the Footscray train station after staying at a friends the night before.  Suddenly, there was this young Vietnamese guy asking me, ‘Are you chasing?  Are you chasing?’

A catch phrase if I was looking for a hit.

Did I look like I was chasing?  I probably did that morning, hungover, a skinny 18-year-old heading for the train station on a Sunday morning.

Footscray is known for its drug culture.  But there’s so much more to this suburb, shown so well in this film.

The characters are the story.

The director, Paul Ireland, shared the difficulty in finding two actors who could play the part of Pauly (Mark Coles Smith) and Carlo (Malcolm Kennard), the two junkies drinking their dose of methadone, passing the day; great mates that’ll break your heart.

Friendship and humour can get a person through the day, through the quiet desperation of needing that hit.  The mateship of these two junkies is a delight even though the tragedy is obvious.  It’s such a pleasure to see the good boys underneath the bad.  To see the life behind the begging.  There’s a dark humour here, shown with a depth of understanding.

Then there’s Les Underwood (John Brumpton), owner of a Pawn shop: what a great place to show each character, to show the underbelly when in need of a loan.

Les is a wise and warm character on the one hand and a no-nonsense man, on the other.  An iconic Aussie male who’s seen it all and can tell the bullshit from the genuine.

But love his dog Ruby, you love the man.

It’s a fine line between making a profit and giving someone a loan out of mateship.  Sometimes, it’s brutal.

John tells a mother (Kerry Armstrong) looking for her junkie son, ‘The young keep their own time.’

What more can he do?

‘I’ll let you know when he pops up again.’

Then there’s the shy Danny Williams (Damien Hill) working alongside John as his assistant.  A gentle character who in finding his mental stability begins his search for love.  The community embraces Danny, accepting those who are really trying versus the real desperates, the junkies who are still chasing, baby bottle in hand.

Damien Hill was also the screenwriter of Pawno, and I’m not surprised he has a background in the theatre as it’s the dialogue that makes this film such a success.

The addition of the young blind girl playing the ukulele adds an emotional note, knowing she’s not quite right, but her heart is there, in her playing.  In the Q&A session, the director, Paul Ireland said it took just one take at each location for her to get it right.  And it’s beautiful, her voice and her playing.

All of the characters are flawed.  Each with their own battle of mental illness, heartbreak, addiction; loneliness.

It would have been easy to get bogged down in the melancholy, but there’s humour here, the focus is on the good: the poem written to the beautiful girl in the bookshop, the drummers tapping out a heartbeat and the dance of a local in appreciation, the expression of graffiti and the love of a dog.  Pawno shows life in all its complications with the simplicity of a leaky kettle or a favourite mug.

I was surprised there wasn’t a greater focus on the Vietnamese culture.  Walking the main street, you will see nothing but Vietnamese restaurants with aquariums full of what’s to eat.  And this could have been better represented in the film by showing more of the signage, hearing the language.

Scratching the surface of the Vietnamese culture would have added a greater weight to the film but I appreciated the thought put into each character who was shown.

You don’t need to throw a lot of money at a film when you’ve got characters with depth.

A bit of compassion goes a long way.  Sometimes, it’s enough.  Sometimes it’s a pinch on the inner arm, just to know you’re alive.  That inner voice saying, ‘I am here.  I am here.’

 

The Witch: A New-England Folktale

Director and Writer: Robert EggersThe Witch: A New-England Folktale

Starring: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson; Bathsheba Garrett.

A serious film that picks at the heart of our psyche – being part of the social group versus apart and left in isolation, waiting for the devil in the woods.

In the 17th century, being cast out meant the threat of starvation, lack of others outside the family for partners and left at the mercy of the elements.  A time for belief in God.  But not in the winter time.  The creaking of the pine trees speak of winter.  The witches are the only ones who can survive in the forest.

The Witch is an authentic film pulling the audience back to times where evil is present because life is just as cruel.

I can understand the worship of nature where the power is unknown.  God is the only amulet against the power of the forest.  But when God was most exalted and prayed upon, He was most absent.

To control the nature of man equals control of the elements.  It’s a cruel concept.  And depicted so well in this film.

A failed crop would equate the man failing to provide through lack of work or lack of faith.  The enslavement of women to the care of children, to clean and cook.  If the woman rebelled it was because she was faithless.  And you can imagine the temptation to run off naked into the forest to become a witch.  But this film depicted the true horror of witchcraft.  The taking and killing of babies to make lotions, to make them young; to be able to fly.

It was subtle, how direct and writer Robert Eggers showed the disintegration of this family.  The Sanpaku eyes, where the white part of the eye is visible under the iris representing approaching danger; the attraction of accidents and violence – The ignorance of the skill of dogs sensing danger.  And the soundtrack was used well to keep the film moving forward.

However, I admit, I was bored at times.

I can understand why Robert Eggers won the Sundance directing award for this movie.  And I want to give full credit, but I can’t, because it was just such a dry film.  Deep but dry.

Worth a watch with the concept handled well.

 

Eye in the Sky

Director: Gavin HoodEye In The Sky

Screenplay: Guy Hibbert

Starring: Helen Mirren, Alan Rickman, Aaron Paul, Barkhad Abdi, Lain Glen, Phoebe Fox, Jeremy Northam.

Drama/Thriller

I was completely absorbed by this film, from beginning to end.

I’m not a fan of war movies.  I find the violence a little too real and disturbing because it is all too true.  But Eye in the Sky isn’t one of those blood and guts type of films, it analyses the hierarchy, the politics of war.  It makes murderers of all involved.

What a fascinating take on such a complicated issue.  We are at war, but from the comforts of our homes; directions are made behind closed doors and bombs dropped from drones.  War, in these days, is an ethical conundrum.

There was no loss of momentum in this film, even though the focus was a quiet examination made through dialogue between the characters; the suspense in waiting for difficult decisions that must be made. Not an easy task and very well handled by director, Gavin Hood (Tsotsi (2005), X-Men Origins: Wolverine (2009), Ender’s Game (2013)).  He lets the characters tell the story in the simplicity of one day, one long moment shown in all its depth and complexity.  And using this linear time-line and keeping it simple, the film felt authentic.

Helen Mirren was perfectly cast as Colonel Katherine Powell.  A tough as nails, uncompromising military soldier who never waivers from her duty.  And mixed emotions seeing Alan Rickman in his final performance as Lieutenant General Frank Benson: a sympathetic character showing his humanity under the cast iron soul of a soldier.  Hard to believe this brilliant actor will no longer grace our screens.

It was interesting to have the curtains drawn back to show what happens behind the closed doors of war.  I can only sympathise with the people who have to make decisions to try and save as many lives as possible.  Deciding what are the legal, ethical and moral ramifications behind the killing of people in a different country – and whose life is worth more.

Eye in the Sky was thought-provoking, suspenseful and moving without theatrics.  A film to get people talking about issues that need to be spoken about.

 

A Bigger Splash

Rated: MA 15+A Bigger Splash

Director: Luca Guadagnino

Screenplay: Dave Kajganich

Story: Alain Page

Starring: Tida Swinton, Dakota Johnson, Ralph Fiennes, Matthias Schoenaerts, Corrado Guzzanti, Lily McMenamy, Aurore Clément; Elena Bucci.

An English language Italian-French erotic thriller.

After having throat surgery, Marianne Lane (Tida Swinton) goes on a retreat from her rock star career with her lover, Paul (Matthias Schoenaerts).

The film opens to an idyllic life of sun, mud, the blue of the ocean and the relaxation of naked lovers lounging by the pool.  Until Harry (Ralph Fiennes) arrives.  Bringing his long lost daughter, Penelope (Dakota Johnson) with him.

I’d never thought of Tida Swinton as sexy until seeing her playing Marianne.  Think, We Need to Talk about Kevin (2011), Constantine (2005) and I’ll never forget her in Orlando (1992).  But there’s a genuine love and warmth in this silent yet expressive character.  And the chemistry between Marianne and Paul is totally believable.  As is the subtleties of the narcissism of youth in Penelope and the unbalanced, lost, selfish but, gotta love him for his dancing moves, Harry.  The guy dances like a demented chicken.

And I admit I became a bit jealous of the love between Marianne and Paul, so intimately portrayed to the audience.

What a great mix of characters.  All so well cast and well played.  At one point Harry states, ‘Honesty is the greatest fidelity.’  Where Paul responds, ‘The world isn’t ready for your honesty.’

Set on an island somewhere between Sicily and Tunisia, the elements are used to build the tension: the desert winds, the porcelain faces of pots; ruined boats flaking red and blue and the lost immigrants appearing from behind crumbling buildings set on baron clifftops.  And the ever present snakes.

Director, Luca Guadagnino shows the story using the landscape and montages, almost glitches in the flow to set a slight unease in the audience.  There’s a tension that brews in this film and I loved the classic soundtrack used to set the flavour of the film giving a clarity to the mystery, almost like cleansing the palate.

There’s a fair bit of nudity here, but the film has such a mature feel, it’s just another part of the character’s personality.  How comfortable they are naked in front of others.

The only negative is there was a loss of momentum where the peak of the film was reached too early.  But the story continued giving a greater depth of character.  That looking back with regret, or the feeling you never have to do that stupid thing again.  Or, hell, maybe I will.  But now things are different.  Life is different.  And the consequences of previous choices are now being felt.  And either forgotten, held for ransom, cut away, forgiven or gotten away with.  Life; people.  You just don’t always know what you’re going to get.

I enjoyed watching this film, the subtleties of each character and the beautiful scenery.

Nice to watch one made for the adults.

 

London Has Fallen

Rated: MA15+London Has Fallen

Directed by: Babak Najafi

Screenplay by: Creighton Rothenberger, Katrin Benedikt, Chad St. John, Christian Gudegast

Story by: Creighton Rothenberger, Katrin Benedikt

Starring: Gerard Butler, Aaron Eckhart, Morgan Freeman, Alan Moni Aboutboul, Angela Bassett, Robert Forster, Melissa Leo and Radha Mitchell.

A sequel to the 2013 film, Olympus Has Fallen, London Has fallen is an action thriller that was better and bloodier than expected.

Obligated to attend the state funeral of the British Prime Minister, the President of the United States (Aaron Eckhart), along with the majority of the world’s leaders, come under attack by the Pakistani terrorist and arms dealer, Aamir Barkawi (Alan Moni Aboutboul).

Gerard Butler playing the secret service agent, Mike Banning, isn’t my favourite action man.  And the chemistry between Mike and his wife Leah (Aussie actress, Radha Mitchell) was strained if not painful to watch.  But there were glimmers of a personality under all that strutting – ‘I don’t know about you but I’m thirsty as fuck,’ being one of the very few human moments.  He’s a man made of, ‘Bourbon and bad decisions’.  But yeah, some of the dialogue was pretty bad.

This is a big budget film with buildings blown up, the Chelsea Bridge disintegrating and the top of Westminster Abby toppling to the streets of London.  If it wasn’t for the seeming required cheese that these ‘American President versus Terrorist’ movies always seem to require, this would have been a very good film.

I like my thrillers and there was plenty of action here – car chases and machine guns popping like fireworks.  There were moments reminiscent of an Army Action kill ‘em all PlayStation game.  Good stuff!

Having the Brits on board only helped balance the typical cheese of the American style, one-sided ideal of the live and die mantra for the American Dream.  Even with Morgan Freeman’s baritone, some of the dialogue was hard to swallow.

The screening of the movie is timely with the recent terrorist attacks on Brussels.  A very sad day.  And some politics are discussed here.  The required need to continue the fight against terror rather than do nothing.  To engage the world.  The fact America has been under attack for centuries and that they will remain.  It is frightening, this terror business, this blowing up of innocent people.  And I don’t want to get into politics here.  But there are attacks happening and I guess the movie shows a perspective.  Anyway.

A lot of cheese, but some good action here with a big budget to make the film look impressive on the screen.

 

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