Run Solomon Run

One would think that when it comes to the concept of slavery, that there’s no way to newly shock viewers with the horrors of the Deep South in the 1800s. Yet 12 Years A Slave manages to make the ordeals that the protagonist Solomon Northup witnesses and experiences wincingly real. Perhaps what makes his story so much more painful is the injustice that he suffered – Northup is kidnapped and sold into slavery at the beginning of the film, and then traded like cattle between different masters. McQueen’s long and unrelenting shots when slaves are being violently beaten serve as a reminder that the wounds being inflicted may never heal, and as a viewer it is very hard not to look away. This is not a film that will leave you feeling happy, but  you will be able to appreciate it for the true work of art that you have watched.

Evil Nuns!

Having heard Philomena being billed as ‘Steve Coogan going serious’ I was expecting a sombre tale of injustice and suffering at the hands of some evil nuns. Though it contained this in spades, it was also utterly hilarious! It passed the six laughs test about 10 minutes in, with most of the humour coming from the miss-matched pairing of an old irish lady and a London journalist. I can’t remember the last film I watched where I went from laughing to tearing up within a couple of seconds. This feat alone awards the film two enthusiastic thumbs up!

New Trailers Round-Up

Several new trailers have surfaced recently for high-profile projects for which I have (mostly) strong feelings. Let's take a look.

I have a problem with unoriginal film ideas, so it'll be no surprise that I have reservations about this re-hash of the classic story. It doesn't look atrocious, but at the same time I'm guessing it's not going to redefine anything either. As flawed as Baz Luhrmann's attempt was, at least he had a refreshing approach. One thing I will say to its merit is that it has cast age-appropriate actors (just about) and I was very impressed by Hailee Steinfeld's performance in True Grit. We'll just have to wait and see.

I read the book on which Ender's Game is based and, though slow-moving at times, was an interesting read. As long as Hollywood hasn't turned it into another dull Space flick I'm on board.

Lastly, the new film in the Hunger Games trilogy, Catching Fire. I liked the first film a lot more than I thought I would, but this one has a much tougher job in pulling an interesting adaptation from worse source material. The book was fine, but the plot contrivance to get our heroine back into the arena was painful to say the least. We do get the introduction of a new character though (Finnick Odair, not seen in the trailer) who is pretty damn awesome.

Why I Don't Like Musicals

I would like to introduce this post with a disclaimer. As a film viewer, I will go out of my way to find at least one redeeming quality in every film I see, however challenging that may be. I am therefore the last person to immediately dislike something without good reason, just because of its style or genre. Now on with the show!

Because of the impending release of Les Misérables on DVD, I have been exposed to multitudes of publicity for it and other films of the same genre. One piece that stuck in my mind in particular featured the reviewer saying, and I quote, "if you don't like musicals, you're wrong". Naturally, I'm going to disagree.

The reviewer in question said that the reason some people just don't like musicals is because they don't like how characters will be walking down the street and suddenly burst into song. But you wouldn't say the same thing about a sci-fi where a man can fly or Wolverine can have claws, he goes on to elaborate. According to him, if it's fine in sci-fi films or fantasies it should be fine in musicals too.

Here's my problem: In sci-fi/fantisy films, you the viewer have bought into a universe where abnormal things happen – it's in the canon, it's 'realistic'. In musicals however, you're introduced to a normal place – everyday life – where everything is as it is in reality; yet in this universe, people are allowed to inexplicably warble on about their feelings. It violates the narrative, in the same way that a McDonald's would in a film set in North Korea.

But that's not to say that I hate or can't watch all musicals. There are several that I absolutely love, for one common key component; they parody the genre. In the musical episode of Buffy The Vampire Slayer for example, entitled Once More, With Feeling, the rationality behind musicals is explored, and the fact that people suddenly start singing and dancing in tune is an actual plot point. That's the kind of universe I can get behind.

I suppose the one straight-up, normal musical that I do like is The Sound Of Music, but only because I saw it when I was too young to know any better. And also Singin' In The Rain, just because of Donald O'Connor.

Cannes Cravings

Watching the amazing 'videblogisodes' from Empire Magazine in Cannes is making the fact that I fact that I really really want to go even more painful. It looks like a creative Mecca (though I'm sure it's not so perfect in reality) where I could bring a film one day, perhaps. Do yourself a favour and watch episode 2 now:

If worst comes to worst, I've thought of a back-up plan. Even if I don't manage to make it to Cannes as a film maker, I could always go as an interpreter! I'm nearly fluent in French, and even the highest of film stars need their hallowed words translated, right? I am of course thinking of Steven Spielberg, this year's Jury President. It's not impossible, is it?

10 of the Best: #9

In at number nine 9 is a film that, when I watched it, it felt like an old spielburgian I had never seen before, but should have. Super 8 has unavoidable similarities to films such as E.T: The Extra-Terrestrial, but does not come off as a rip-off. Set in a small town in Ohio, it tells the story of Joe Lamb, a 14 year old boy who has recently lost his Mother, and witnesses a massive train crash and tries to uncover the mysteries surrounding it. How did the train crash? Why was it derailed by one man in a car driving straight for it? His search leads him to discover the strange white cubes that the train was carrying are as far from what they seem as possible…

Meanwhile, Joe and his friends are making a sci-fi-slash-zombie film with a super 8 camera for which Joe is the make-up artist. Through this he meets Alice (Fanning), the main and only actress on their film. Elle Fanning's character is on paper simply the object of Joe's romantic affections, but she has made the character much more than that. I was blown away by her acting, and in my opinion she stole a show with so many strong components.

Everything comes to a head when the army arrives in town with the purpose of collecting all the white cubes from the train. The problem? Joe keeps one in his room...

10 of the Best: #10

I've decided to start a series where I share my 10 favourite films of all time. Keep in mind: this list is subjective, so try not to quiver with rage if I don't mention E.T or 2001, or whatever floats your boat. To put this list in context, I have seen a lot of films, maybe even too many. So for a film to be in my top 10 is the biggest of deals.

Number Ten:

A Fistful of Dollars: 
Directed by Sergio Leone, Starring Clint Eastwood

Made in 1964 as a fresh take on what had then become a tired genre, this spaghetti-western spurred (see what I did there?) two equally as good sequels, the most famous of which being The Good, The Bad And The Ugly. 

Clint Eastwood plays an unnamed bounty killer, who uses the feud between two rival families who both seek control of the small mexican town to his advantage. He is a taciturn, watchful anti-hero, and an incredibly cool one. All does not go according to plan of course, when the Man-With-No-Name runs into some trouble with one of the families and, for lack of a better phrase, shit goes down. 

Favourite Quote:

MWNN: [Before a gunfight, to the undertaker.] Get three coffins ready.

MWNN: [After same gunfight, to the undertaker] My mistake: four coffins.