Film

Black Mass

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25/11/15

Time was, when Johnny Depp’s name attached to a movie could be interpreted as a guarantee of quality, but to be fair, it’s been a while since that maxim held true. A once keen ability to pick the right project has lately foundered amidst a welter of vanity puff-pieces. So it’s heartening to report that Black Mass is a major step in the right direction, with Depp submitting his best performance in a very long time.

Here, he’s depicting real life  villain James ‘Whitey’ Bulger, a career criminal who operated successfully around his home town of Boston over a period of thirty years, largely because his brother, Bobby, was a senator and his best friend, John Connolly,  an FBI agent. Bulger cannily formed an ‘alliance’ with Connolly, trading inside information on his rivals to ensure that he could operate his web of vice and murder with complete impunity.

Depp has worked hard to make himself look unattractive – complete with thinning hair, bad teeth and pale blue eyes, he’s hardly recognisable as his former self. Initial fears that this is simply going to be a ‘makeup led’ performance are soon quashed, as he submits a convincing turn as a repellent psychopath, a man who can skip from helping an old lady with her shopping, to shooting a man point blank in the face, without raising so much as an eyebrow.

There’s a lot of unflinching violence on show here, but its matched by a sharp script by Mark Mallouk and Jez Butterworth and there’s the added bonus of a supporting cast to die for – Joel Edgerton, Benedict Cumberbatch, Kevin Bacon, Peter Sargaard… Seriously, there’s enough talent on show here to fill several movies; but there’s no denying that this is Depp’s film and he has a field day with it.

Like many real life stories, if presented as a piece of fiction, this would seem unlikely. Stay in your seat for the closing credits which offer glimpses of the real protagonists and we’re finally able to fully appreciate the lengths to which director Scott Cooper has gone to ensure that his actors resemble the major players.

4.2 stars

Philip Caveney

 

 

 

The Hunger Games: Mockingjay Part 2

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21/11/15

Another day, another dystopia.

So, one of the biggest movie franchises of recent years grinds inexorably to its conclusion and the overriding question is this: is there another blockbusting series in the cinematic universe that is so monumentally dull? Seriously, I know this series isn’t really aimed at somebody like me, but my goodness, it moves so slowly and when you find yourself sitting there thinking about what you might have for breakfast tomorrow, that’s surely not a good sign.

At the film’s start, Katniss Everdean (Jennifer Lawrence) is nursing a bruised throat, delivered courtesy of her old squeeze Peeta (Josh Hutcherson) now a brainwashed wreck thanks to the fiendish ministrations of President Snow (Donald Sutherland). Enlisted to lead a mission into the heart of the capital, Katniss enlists alongside her other squeeze, Gale (Liam Hemsworth). And guess what? Peeta goes along too, despite the fact that he keeps trying to kill members of his own squad. Go figure.

What follows is a long series of misadventures as the team are systematically despatched by bombs, bullets and er… oil. In between, we are treated to Katniss trying to choose between her two suitors. Will it be hunky Gale or unreliable Peeta (and if you have to think about that, for very long, then you haven’t really absorbed the message thus far)?

To be fair, there’s a decent sewer-set action sequence towards the final third (though the attacking creatures look like they’ve been drafted in from a far better film, Neil Marshall’s The Descent) and then there’s some more explosions before we’re treated to a ‘surprise’ twist which only the visually impaired won’t have seen coming. And of course, this being the final episode, there’s a syrupy coda, which seems intent on undermining the kickass female role that Lawrence has worked so hard to develop.

Of course, one cannot deny the financial success of this series – people are suggesting that together with the Bond and Star Wars franchise, it will single-handedly restore the fortunes of the cinema industry. But the supposed wisdom of the ‘political messages’ incorporated here are little more than fridge magnet sentiments – and it’s particularly galling to see the late Philip Seymour Hoffman’s final screen moments wasted on this bombastic sludge.

At least the series is finished – that is, until author Suzanne Collins decides to rewrite the first book from the point of view of President Snow. Don’t laugh, it seems to be the prevailing trend.

1.5 stars

Philip Caveney

 

The Dressmaker

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21/11/15

Myrtle ‘Tilly’ Dunnage is back in Dungatar, Australia. It’s a dreary, small-minded nothing of a place,  but there are demons to confront and scores to settle, and Tilly won’t rest until she’s righted those old wrongs. There’s magic (and marijuana) in her fancy-fabric bag, and – armed with her trusty Singer – she stitches up the spiteful mob.

The Dressmaker starts off wonderfully, with languid, hazy landscapes stretching out across the screen. Tilly (the ever-fabulous Kate Winslet), is as incongruous as they come, bringing glamour and a swagger to a tired, washed-out town. It’s a cartoonish, fairy-tale-ish film, with the characters writ large – and, at least to begin with – this is part of its charm. There are echoes of Edward Scissorhands here, both in the storytelling style, and in the bold, broad-strokes design. Tilly ‘rescues’ the town’s women with preposterous costumes; before long, they’re all tiptoeing along the dusty streets in high heels and cocktail frocks, corseted and primped for the daily drudge. They feel sexy and powerful, but they’re just pawns in Tilly’s game; it’s no coincidence that her own wardrobe becomes more muted as she reels them in.

The cinematography is beautiful; the acting sublime (with excellent support from Judy Davis, Kerry Fox and Hugo Weaving, all on finest form). The first two-thirds of this film are a delight. How disappointing then, to find the story arc fatally disrupted, and a final third that feels ridiculous, hysterical and hideously prolonged. There is a clear ending to this tale, and it occurs at about the eighty-minute mark; thereafter it’s an incoherent mess – and it can’t recover from this flaw.

3.5 stars

Susan Singfield

Steve Jobs

16/11/15

Steve Jobs is a strange sort of movie. Danny Boyle’s valiant attempt to capture the wayward genius of Apple’s head honcho is a film that really could only have been made after the man’s death. If he’d still been alive he’d have sued the makers for every penny they had. Not because it’s inaccurate, you understand, simply because that’s the kind of man he was.

Set mostly at the launch of three Apple products – the original Macintosh, the ill-fated Next cube and finally, the iMac, the set up is more like that of a theatrical production – and for all Boyle’s claims that this is a ‘standing-up’ movie rather than a ‘sitting-down’ one, it still comes across as predominantly talky. The script, by Aaron Sorkin, is a cut above most movie dialogue you’ll encounter, which certainly helps, but this frankly isn’t in the same league as The Social Network, with which the film will inevitably be compared.

Jobs (Michael Fassbender), quickly demonstrates the kind of behaviour that had him classed as a major pain in the backside by pretty much everyone who had the misfortune to work with him. He’s obsessed with tiny details, unwilling to take anyone else’s views into consideration and equally unwilling to take responsibility for his daughter, Lisa, who he claims might not actually be his child. His long-suffering assistant, Joanna Hoffman (Kate Winslet) is lumbered with the unenviable task of keeping him on track and we see clashes with bearded workhorse Steve Wozniak (Seth Rogan) and conversations with the closest thing that Jobs had to a father-figure, John Sculley (Jeff Daniels) – unless of course you include his actual biological father, a restaurant owner who used to boast that Jobs ate in his establishment, without ever finding out he was actually waiting on his own son.

Boyle’s films are usually adrenalin-fuelled, razzle-dazzle affairs, so this slow burning, stage bound production will inevitably prove a disappointment to many. Certainly, early indications are that the movie is not exactly putting bums on seats – but it wins through in the end by virtue of Sorkin’s edgy script and a soaring conclusion, where everything finally falls into place.

4 stars

Philip Caveney

Beasts of No Nation

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15/11/15

The world is changing and so are the ways in which movies are funded. Take Beasts of No Nation, for instance – an original production from Netflix, it was afforded only a brief theatrical outing, and it’s probably the last thing you would have expected to be produced by a popular streaming company. It’s a bleak and harrowing look at events during a civil war in an unnamed African country. A young boy, Agu (an extraordinarily affecting debut by Abraham Attah) plays happily with his friends in a country ruled by government troops; but when a rebel force’s resistance starts to gather pace, Agu’s family is caught up in the ensuing chaos. His Mother is forced to flee the country, while his schoolteacher father and his older brother are executed when they are mistaken for rebels. Suddenly a virtual orphan, Agu manages to escape the massacre and flees into the jungle.

There, he is discovered by the rebels, who are led by the charismatic ‘Commandant’ (Idris Elba). He enlists Agu into his rag-tag army, where the boy undergoes a harsh indoctrination into the ways of warfare. Some of the ensuing scenes are unflinchingly brutal and we soon discover that the Commandant’s ebullient image conceals a darker, more predatory nature. BONN is in no way an easy film to watch – but it’s doubtless an important one and all credit to Netflix (and to co-producer Idris Elba), for having the guts to back such a searing and thought-provoking story. Credit also should go to director Carey Joji Fukunaga, who handles his difficult material with great skill, knowing exactly when to cut away from the carnage.

Will Agu survive his ordeal? And if he does survive, will he be traumatised for the rest of his days? You’ll need to watch the film to answer those questions, and it’s there to stream on Netflix, any time you’re ready, but be prepared -you’ll be enlisting for a bloody and uncompromising journey into the heart of darkness.

4.5 stars

Philip Caveney

The Lady In The Van

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14/11/15

Based on Alan Bennett’s memoir and adapted from his 1999 West End play, The Lady In The Van features Alex Jennings as the great man himself, and is the true story of Miss Shepherd (Maggie Smith), an elderly transient who parked her beaten up old Bedford van in Bennett’s driveway and ended up staying there for fifteen years. The film’s a total delight, offering Maggie Smith a gift of a role as the obstinate, curmudgeonly and sometimes downright rude, Miss Shepherd, while Jennings’ assured turn as Bennett is so much more than just an uncannily accurate impersonation; indeed, here we get two Alan Bennetts for the price of one – the man who writes about his life and the one who actually lives it. With this simple but brilliant device, the film has a lot to say about the very nature of writing and the way in which real events are sometimes adapted for the purposes of entertainment. ‘But that didn’t really happen,’ writer Bennett will occasionally announce, like some glum member of a Greek chorus lurking in the background.

The story opens with a brief glimpse into Miss Shepherd’s past, the single traumatic event that initiated her deterioration into vagrancy, and then we witness her arrival in the street in Camden Town where Bennett has just purchased a house. We meet the other inhabitants of the street and witness their reactions to having this tragic creature parked nearby, an interesting mixture of liberal guilt and open disgust. Miss Shepherd’s toiletry arrangements are rudimentary to say the very least, while her open disdain for anyone who tries to help her, would probably move Ghandi to violence.

There’s so much to enjoy here. Bennett’s wry asides are sometimes cripplingly funny, Maggie Smith gives a triumphant performance in a role she was born to play and there are cameos from some big names, including one from each of the boys in the film of The History Boys. While much of the emphasis is on comedy, the film’s latter stages are deeply affecting and more sensitive viewers may find they have occasional recourse to a pack of tissues, and yet the script easily resists cheap sentiment.

Perfectly judged, beautifully acted and cannily scripted, there’s really not much here to criticise – just plenty to enjoy.

5 Stars

Philip Caveney

SPECTRE

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08/11/15

The James Bond movies seem to have settled into a regular pattern – a decent outing alternating with a not so decent one. I’ve been following the films since Dr No and was initially delighted with Daniel Craig’s efforts. Casino Royale delivered a much needed kick up the franchise, even if most of its chops were nicked from The Bourne Identity. Craig seemed to cleave closer to Ian Fleming’s vision of his infamous antihero and the silly gimmicks were kept to a minimum. Quantum of Solace felt like a decidedly patchy follow-up, which never really built up a head of steam. Skyfall of course, kicked things clear out of the stadium, becoming the most successful Bond film of all time, which leaves returning director Sam Mendes only one direction in which to take things. Down.

In the latest outing, Bond is (once again) looking like he’s all washed up. He’s gone out on his own in search of the orchestrator of a sinister organisation and M (Ralph Fiennes) has no option but to order him to stand down. Not that it deters him at all. With the help of Q (Ben Wishaw) and Moneypenny (Naomie Harris) he loads his gun and heads out after the bad guys. Before you can say implausible, he’s heading off to a variety of locations to hunt down whichever evil mastermind is behind the latest series of outrages. Meanwhile, the headquarters of MI6, bombed to destruction in Skyfall, have been replaced by a brand new super dooper high rise building, masterminded by C (Andrew Scott) who may as well have the word ‘dodgy’ tattooed on his forehead.

The film starts promisingly with a pre-credits sequence set amidst Mexico City’s El Dia De Muerte celebrations. There’s a Touch of Evil style tracking shot, some massive explosions and a helicopter-set punch up that redefines the word ‘thrilling.’ If the rest of the film was up to this standard, it would be a wonderful thing indeed. Instead, after Sam Smith’s forgettable theme song, (too shrill by half) we’re treated to some exposition, which, after that brilliant opening salvo, seems to move with all the urgency of molasses in winter. It takes quite a while for the film to recover – there’s a forgettable car chase, a punch up on a train that echoes Connery’s fight with Robert Shaw in From Russia With Love, a new love interest with Gallic moody monkey Lea Seydoux and a brief snogathon with Monica Bellucchi that looks like it’s crawled straight out of the sexist 60s. Things don’t really pick up much until chief villain Oberhauzer (Cristophe Waltz) puts in a belated appearance, whereupon we’re treated to a bit of torture, (always a great way to focus the attention), followed by what ought to be the finale.

Except that it’s not. There’s another finale, which though decently executed feels like a sequence too far (and judging by the legions of audience members paying a visit to the loo, we weren’t the only ones who felt this way). SPECTRE is decent entertainment and it’s savvy enough to reference many of the earlier movies, but it’s not strong enough to take its place with the best examples of the series. Some tightening up would have helped it hit all the right targets, but as it stands, this falls into the usual pattern. ‘Bond will return’ promises a credit, but will he be Daniel Craig? Watch this space.

3.8 stars

Philip Caveney

The Program

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06/11/15

Lance Armstrong was the consummate all-American hero. He famously overcame testicular cancer and went on to win the Tour De France seven times in a row. Along the way, he founded a cancer charity, became a spokesman for the underdog, inspired people to excel and made millions from sponsorship and endorsements. It was all based upon a lie. He was using performance enhancing drugs to achieve his spectacular results and when the truth finally came out, his glorious career lay in tatters.

All this, of course, is well known. Now here’s Stephen Frears biopic, which dramatises the story. What it is, is a stripped-down, turbo-charged version of the events, but it’s light on truth and even lighter on detail. We first meet Armstrong (Ben Foster)  when he’s in his 20s, when he realises pretty quickly that he’s never going to become a winner in his chosen sport, unless he joins in with the practise of doping, something that most of his competitors seem to be well versed in. He makes friends with journalist David Walsh (Chris O Dowd) who is initially a fan; but when Armstrong starts to easily win races that he’s previously failed at, alarm bells start to go off in Walsh’s head. The problem is, why do his fellow journalists fail to detect something fishy going on? Soon, Armstrong and Walsh are bitter enemies.

The main reason to see The Program is to relish Ben Fosters’ extraordinary performance in the title role. His depiction of an obsessive man consumed with hubris is quite extraordinary and the fact that he physically resembles Armstrong is just the icing on the cake. But back to the film’s shortcomings. For us to fully appreciate Armstong’s fall from grace, it would be necessary to learn more about his private life. But this is simply airbrushed over. A five year marriage to Kristen Richard is reduced to a single scene of them walking down the aisle together. There’s no sign of the three children they had. Likewise, his year long engagement to musician Sheryl Crow. The only mention of her is that the two of them are ‘friends’. And finally, his relationship with longterm girlfriend Anna Hanson, (who he’s still with) isn’t even mentioned, let alone the two kids they had together.

Stephen Frears is a veteran director, so I can’t believe he’s simply chosen to skip over such important details. Could it be that certain people didn’t want to be involved? At any rate, The Program is perfectly watchable, but it feels suspiciously like the edited highlights of a movie – the full impact of his disgrace fails to come across, largely because we don’t see the repercussions it has on those who loved him. So, in a strange way, the film is as much of a cheat as Armstrong himself.

Don’t get me wrong. It’s perfectly enjoyable fare. But you’re left with the conviction that it could so easily have been something much more than that.

3.8 stars

Philip Caveney

He Named Me Malala

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03/11/15

There are all kinds of movies for all kinds of audiences; and then there are films that are so important, you feel they should be required viewing for the entire population of every country it’s screened in. So it’s rather dispiriting to attend this advance showing of He Named Me Malala to find that only a dozen or so people have turned out to see it, while just next door, several screens are packed to bursting point for the latest Bond movie.

The Malala in question, is, of course, Malala Yousafzai, the young Pakinstani girl who in 2012 was shot in the head by Taliban soldiers for having the effrontary to campaign for something unthinkable: the right of a female to an education. They’d thought to make an example of her but against all the odds, she survived, to become something much more powerful than a martyr. She has become a figurehead for all women who long for and work towards equal opportunities. In 2014, she was awarded the Nobel Peace Prize, at which point the leaders of the Taliban must have realised that they had, almost literally, shot themselves in their collective foot.

This affecting documentary, directed by Paul Weitz, visits Malala in exile at her home in Birmingham. She is interviewed extensively as is her activist father, Zaiuddin, along with her mother and two brothers. The rest of the film is made up from newsreel footage, reenactments of some of the key scenes in her life and some eye-catching animation sequences which give an insight into the community in which she grew up. Malala is unbelievably charismatic and articulate beyond her years. It’s ironic that her name came from the folk story of a legendary young girl who led her country’s warriors into battle with the British and was shot dead in the process. We see her conversing with Presidents and Prime Ministers, we hear her speaking to the United Nations and we begin to appreciate that it’s more than just circumstance that has put her into the the world’s gaze. What she has to say is extraordinarily affecting and it’s a cold soul indeed who won’t tear up at the film’s poignant conclusion.

As a reviewer, I might argue that the cinematography could have been better, that the score might have been improved, that certain ideas were not pursued to their full extent; but given the incredible power of the subject matter, and the charisma of Malala herself, I can’t really do anything else but give this full marks and implore people to go and see it while you have the opportunity. Bond will be around for ages and sadly, based on the evidence of tonight’s screening, this lovely film may not.

5 stars

Philip Caveney

The Savoy Cinema/Dark Horse

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22/10/15

We’re at the cinema again and the film we’re here to see is Dark Horse, a charming documentary about the racehorse Dream Alliance. Bred by a consortium of working class people from a former pit village in Wales, the horse went on to become a major player on the racetrack and this is his story, told by the people of the village. It’s an absolute charmer of a film and one which I would normally award more review space to, but tonight is a little bit different, because it’s mostly all about the cinema; the recently refurbished Savoy in Heaton Moor, and frankly that’s something I never expected to be able to say.

The Savoy has been in Heaton Moor since 1923 and it’s seen some changes along the way, not all of them for the better. The last time I was here was shortly before it closed down and the place was in desperate need of some TLC. Grubby, dilapidated and worn down by years of neglect, there were maybe half a dozen people in the audience. I remember joking that I wouldn’t visit again unless I’d had my malaria shots first. But what a change is here, my friends! What a change indeed.

As members of the Friends of the Savoy, we saw Dark Horse at one of the free screenings the Mundin family have set up as an introduction to the venue. On arrival, it was apparent that work wasn’t quite completed. The exterior fascia was still only partly in position and there were heaps of builder’s rubble to negotiate (this despite the team seeming to work every hour of every day to meet their deadline). Those iconic pillars were back, even though they are reproductions, the originals having been so badly damaged in the hideous 70s conversion, they had to be taken down. The place is close to looking its old self (see vintage photo above). Once through the doors though, it really was eyebrow-raising time. What was once a shabby boxlike foyer has now been opened up, with luxury seating for those who wish to quaff a quick drink before the show (people very much like us!)

But it’s when you go into the auditorium that the transformation really hits you. Wow! Can this actually be the same place? The looks of delight on the faces of each successive person who came up the stairs told the story. The word ‘luxurious’ is the first one that springs to mind – and the design team have cleverly avoided turning the place into one of those utilitarian boxes that seem to be all the rage now, opting instead for a traditional look, all wine red velvet, soft cushions and art deco flourishes, a look that hints at the long tradition of the Savoy. The size of the place was also a shock. Around the time of my last visit, much of the back of the cinema was cordoned off and you didn’t really get the full impression of the length of the place, which now seats around 850 customers. We were lucky enough to secure one of the plush double sofas towards the back  and I can’t ever remember watching a film in such total comfort.

Oh and in case you were thinking that old and classic meant shonky equipment, don’t be fooled! The Savoy utilises the latest digital technology and crystal clear Dolby surround sound.

This is a cinema lover’s delight and Heaton Moor is incredibly lucky to have it. What’s more, the owners have compiled a programme of great films, including some live link ups for all the theatre and opera lovers in the community. There will be screenings aimed at senior citizens and screenings aimed at youngsters; seriously, they’ve put some thought into this. You’ll find their new website at savoycinemaheatonmoor.com (not to be confused with the old one, which is still lurking about out there, you be careful!)

The Savoy is something to be cherished, so please repay all that hard work by supporting the place. It’s one of only a few independent cinemas still existing in the North West. To step into that auditorium is like stepping back into a more gracious age, a time when cinema was King. The good news is, it looks as though those days are back.

Oh, and I nearly forgot. The bar does an excellent sauvignon blanc!

Dark Horse 4.5 stars

The Savoy Cinema 5 stars