Call Me By Your Name
Call Me By Your Name Armie Hammer and Timothée Chalamet Credit: Sayombhu Mukdeeprom/Sony Pictures Classics

08/11/17

This slow, languorous, coming-of-age film by Luca Guadagnino has been stirring up some Oscar buzz recently, but it’s been a hard film to view with only one showing a day at the multiplexes – and even that in the morning! It’s easy enough to appreciate why it isn’t considered a ‘bums on seats’ vehicle – weighing in at two hours and twelve minutes, it certainly takes its own sweet time to play out and with not an awful lot in the way of storyline, it was never going to drag in the superhero crowd – but it recounts a tale of a young boy coming to terms with his own burgeoning sexuality, eloquently and without sensationalism. And that’s surely something worth supporting.

Set in Northern Italy in 1983, this is the story of seventeen year old Elio Perlman (Timothy Chalamet), a talented young musician who leads a very privileged existence in the country house belonging to his parents, a Professor of Classical Antiquity (Michael Stuhlbarg) and his wife, Annella (Amira Casar). With a cook and a gardener to cater for their every whim, there isn’t much to do to pass the time but lounge indolently around in the sunshine, eating, drinking, reading books and occasionally splashing about in a whole host of watery locations. Things change dramatically, however, when young and impossibly handsome American research assistant, Oliver (Armie Hammer) arrives at the house for a six week stay. At first, Elio finds the newcomer brash and arrogant, (and so do I, come to think of it) but as the barriers gradually start to come down, the two young men bond over their shared Jewish heritage and their love of music – and it isn’t very long before Elio realises he is falling hopelessly and wretchedly in love with Oliver…

That’s pretty much it as far as story goes, but there’s plenty here to enjoy, not least the ravishing cinematography that will have you pining for a long summer holiday in Italy. Chalamet is clearly something of a find, managing to convincingly demonstrate all of Elio’s doubts and fears, while Armie Hammer has clearly come a very long way since The Lone Ranger. A concluding speech by Stuhlbarg’s character felt a little overcooked, but I was nonetheless glad it was there, because here was a parent being completely non-judgemental about the sexuality of his son, which is a pretty rare, but very welcome thing to witness in a film.

There probably isn’t a great deal more to say about this, except perhaps, that in these short-attention-span times, films like this don’t often see the light of day – and if cinema chains won’t offer people enough opportunities to see them, they certainly aren’t going to survive for very much longer. If this comes to a screen near you, do take the opportunity to see it. It’s really rather charming.

And as for that Oscar buzz? Well, we’ll see in the fullness of time. It’ll be rather ironic if it wins something – a film that hardly anyone got the chance to see.

4.4 stars

Philip Caveney

Suburbicon
Left to right: Julianne Moore as Margaret and Matt Damon as Gardner in SUBURBICON, from Paramount Pictures and Black Bear Pictures.

07/11/17

A recent viewing of the trailer for Suburbicon led me to observe that the film looked ‘Coenesque’ – so it comes as no great surprise to learn that is actually based around an abandoned 1980s Coen Brothers screenplay, which has been reworked by director, George Clooney and by screenwriter, Grant Heslov. Fans of the brothers grim, may notice a passing similarity to the plot of one of their finest offerings, Fargo. Having said that, this film steers its own course and certainly has plenty to recommend it.

It’s the 1950s and the titular Los Angeles community styles itself as a kind of dream home for middle America, proudly boasting that in its idyllic realm, there is no crime and everybody is welcome – that is until the Mayers family takes up residence. The Mayers , you see, are African-Americans and it’s soon made abundantly clear to them that the all-compassing welcome doesn’t actually apply to them. (It’s interesting to note that this part of the story is based on a real life family, the Myers, who suffered similar problems when they moved into a residence in Charlotteville Virginia in 1957). What starts as a few silent protesters balefully watching their home steadily builds until things degenerate into an all-out riot.

But while everyone’s focus is on the Meyers’ house, it’s clear that something very unpleasant is happening right next door. Young Nicky Lodge (Noah Jupe) is woken one night by his father, Gardner (a beefed up Matt Damon) who tells him that a couple of intruders are in the house and he is to do whatever they tell him. As Nicky watches dumbfounded, Gardner, his crippled wife, Rose and her twin sister, Margaret, (both played by Julianne Moore) are all chloroformed to unconsciousness, shortly before he is given the same terrifying treatment. When he wakes up, he learns that Rose has died – and pretty soon, his Aunt Margaret moves into the house to lend her support. Nicky gradually begins to understand that things are not quite as they seem…

One of Suburbicon’s strengths is that much of the story is seen from Nicky’s point of view and the growing realisation that he is living in a poisonous environment is expertly handled. His burgeoning friendship with young Andy Meyers (Tony Espinosa) is also nicely reined in, just two young boys getting amiably along, the message all the stronger for not being hammered home with a mallet. This being a Coen storyline, there are of course a couple of memorable villains (Alex Hassell and Glenn Fleshler, doing a kind of demented Laurel and Hardy routine) and there’s a nice cameo by Oscar Isaac as a snoopy insurance investigator.

As the story accelerates towards its conclusion, we head into Pardoner’s Tale territory, as everyone homes in on the lure of a huge insurance payout – but Nicky (and the Meyers family) are the only characters here who really deserve our compassion, and the film kept me rooting for them right up to the end.

4.6 stars

Philip Caveney

Gerald’s Game

06/11/17

I remember reading Steven King’s novel on its release in 1992 and thinking to myself, ‘Well, here’s one of his books they’ll never be able to make into a film.’ This was the time when moviemakers were happily turning everything he was involved with into motion pictures, (even, it seemed, his shopping lists), so this was quite a claim, but everything about the story – it features pretty much a single protagonist who is chained to a bed throughout proceedings – seems to suggest it’s a cinematic non-starter. Clearly, nobody has mentioned that to writer/director Mike Flanagan; and it’s to his credit, that he makes a pretty decent fist of this Netflix Original.

Jessie Burlingame (Carla Gugino) and her husband, Gerald (Bruce Greenwood), attempt to spice up their flagging marriage by heading off to their remote summerhouse for a weekend of carnal pleasure, in which Gerald wishes to investigate the possibilities of a little bondage. Almost before you can say, ‘bad idea,’ Jessie is handcuffed to a bed and Gerald (don’t worry, this really isn’t a spoiler) has dropped dead from a massive heart attack. Awkward! Unable to get up off the mattress, Jessie has time to regret leaving the back door open (really?) and encouraging a hungry stray dog to come around and get himself something to eat… also, who is the mysterious Moonlight Man, who keeps appearing from time to time? Is he merely a hallucination? The image of Jessie’s own impending death? Or something much more prosaic?

Given the problematic storyline, Flanagan manages to walk a tricky tightrope between prurience and suspense – and his technique for ‘opening up’ the story is cleverly done. A recurring flashback to Jessie’s childhood cleverly echoes the point that she’s always been held prisoner by a man’s sordid intentions; and, if you thought Greenwood’s presence here was going to be fleeting, think again. There’s also a mercifully brief but extremely visceral sequence that will have the hardiest souls averting their gaze as it unfolds in all it’s bloody detail.

King’s books rarely get the screen adaptations they deserve – even the recent, highly acclaimed It, fell somewhat short of the mark in my opinion – but this is a palpable success and it’s right there on Netflix whenever you feel hardy enough to give it a whirl.

3.8 stars

Philip Caveney

Ferris Bueller’s Day Off

05/11/17

The John Hughes season at The Cameo concludes with what might just be his most enjoyable movie. First released in 1986, it recounts the adventures of its titular hero, a wise-beyond-his years teenager, intent on taking the day off high school, even though he’s in danger of not graduating. With his best friend, Cameron (Alan Ruck), and his girlfriend, Sloane (Mia Sara), in tow, he sets off to raise hell  in and around the city of Chicago. Meanwhile, his nemesis, school principal Ed Rooney (Jeffrey Jones), goes in deadly pursuit, intent on bringing down the kid who has outsmarted him all year long.

Unlike some of Hughes’ other movies (Sixteen Candles, I’m looking at you!), Ferris Bueller’s Day Off has aged splendidly. Matthew Broderick is incredibly appealing in the lead role – you fully understand how he can charm his way out of difficult situations – and Hughes’ celebration of teenage culture wins spectacularly because you sense his genuine liking and respect for his protagonists and his insistence on never talking down to them. The scene where Ferris gatecrashes a parade and delivers a spirited rendition of Twist and Shout never fails to make me smile.

With the benefit of hindsight, it’s fun to speculate that Jennifer Grey as Ferris’s long-suffering sister, Jeanie, was still ten years away from taking the world by storm in Dirty Dancing; that Alan Ruck was at the beginning of an acting career that endures to this day; and – oh yes – the cameo for ‘kid in the police station?’ Could that be…? Yes, it is. Charlie Sheen, making his twelfth film appearance. As a kid busted for drugs…

You could argue that it’s just a piece of fluff, but fluff is rarely done as well as this joyful, exuberant, and consistently funny slice of eighties entertainment – and what a pleasure to see it back on the big screen. Don’t forget to hang on for the post-credit bit. This may be the first film to actually feature one.

4.2 stars

Philip Caveney

The Killing of a Sacred Deer

04/11/17

Yorgos Lanthimos’s previous film, The Lobster is a real divider of opinion. Many people love this dark dystopian comedy, while others just can’t get their heads around the surreal craziness of the plot. I suspect the same fate awaits The Killing of a Sacred Deer, which, while it heads into much darker territory than its predecessor, still offers us a story that has very little to do with any kind of perceived reality. And yet, for all that, this bizarre fable about the nature of sacrifice is a powerfully compelling tale that exerts a real grip.

Heart surgeon Steven Murphy (a hirsute Colin Farrell) enjoys a successful career. Married to ophthalmologist, Anna (Nicole Kidman), and the father of Kim (Raffey Cassiday) and Bob (Sunny Suljic), he seems content with his life but talks only in the most banal terms about the dullest subjects – an early discussion with an anaesthesiologist about a watch that Steven is thinking about buying sets the tone.  

We soon learn, however, that Steven has a secret. He is meeting regularly with teenager, Martin (Barry Keoghan) and, inevitably, we suspect that there’s something sinister going on. But the film is full of misconceptions. Martin, it turns out, is the son of a man who died on Steven’s operating table and the surgeon is simply trying to be nice to him, possibly because he feels a sense of guilt about what happened. Steven, we discover, is fond of a drink and may not have been entirely sober when he went into the operating theatre. As the film develops, Martin begins to inveigle his way more and more into the Murphy household and even insists that Steven should come to his house and meet his mother (an unsettling cameo from Alicia Silverstone), who Martin claims ‘has feelings’ for Steven. But then Martin says something that will change Steven’s life forever. It’s in the nature of a prediction – and means the surgeon having to make the most difficult decision of his life…

This is a fascinating tale, expertly told. Though it has no rational explanation, there’s a mounting sense of dread throughout and the story (co-written by Lanthimos and Efthymis Filippou) seems to delight in exploding received wisdoms about how people will act under certain conditions. A mother will always put her children first, right? Siblings will always look out for each other, yes? Well, in this film’s worldview, nothing can be taken for granted.

If I’m honest, the movie overstays its welcome somewhat. With twenty minutes cut from the running time, this would have been stronger, but nevertheless there’s still plenty here to enjoy, not least Keoghan’s wonderfully dead-eyed performance as the teenage boy who comes to exercise complete control over the Murphys. Oh, that title, by the way, refers to the myth of Iphigenia, so those of you who have studied the classics might have some intimation about where the story is headed.

As I said at the beginning, some people will inevitably hate this film. For me, though not perfect, it’s even stronger than The Lobster, and I for one will be fascinated to see where this exciting and highly original film-maker goes next.

4.4 stars

Philip Caveney

Murder on the Orient Express
Murder on the Orient Express (2017) Kenneth Branagh

03/11/17

Let’s face it, we know what we are going to get with this one. Agatha Christie’s story is a classic of its kind, and Poirot’s style of detection a thing of wide repute. The trailer makes it clear that this incarnation doesn’t stray far from the cosy murder-as-family-entertainment tradition, so we settle in for a glossy, star-studded slice of nostalgia; we know it won’t be challenging but we think it might be fun.

And it is fun, to a point. It’s handsomely done, with glorious vistas, and the opening scenes in Istanbul are wonderfully vibrant, teeming with life and energy. Kenneth Branagh is convincing as Poirot, as pedantic and idiosyncratic as Christie paints him in her books. And the unthinking decadence of the upper classes is beautifully clear, their sumptuous surroundings barely noted, the train’s luxury accepted and dismissed.

It’s a shame, then, that we never feel any sense of claustrophobia, even when the train breaks down, and everyone is trapped in the middle of nowhere, even when the sleazy Edward Ratchett (Johnny Depp) is murdered. I won’t give any spoilers here, just in case,  although I imagine most people know the plot; suffice it to say, I know there are reasons why the suspects’  reactions are not as we might initially expect, but still… No one really mixes; no one seems irritated with anyone else; they’re all so separate, as if they’re not in close proximity. It’s all plot and no character, despite the starry cast.

The starry cast is a problem too. They’re all magnificent, but I only know that from their other work, not from what they do here. There’s nothing for them to do. Michelle Pfeiffer, as Caroline Hubbard, is perhaps the luckiest; there’s some substance here, so she can milk her role. But to under-use actors as fine as Olivia Colman, Judi Dench, Daisy Ridley, Leslie Odom Jr., Penelope Cruz et al is criminal: these are all essentially cameos.

In the end, sadly, this is just a pointless remake of what is – sorry, Agatha fans – a silly story. It’s not awful – everything is bigger here, including Poirot’s moustache – it’s just not very good.

3 stars

Susan Singfield

Loving Vincent

02/11/17

Once in a while a film comes along that is so original, it almost defies definition. This Polish-UK collaboration, is one such film. Billed as the first ‘fully-painted’ feature, it represents ten years’ work by more than one hundred artists. Shot conventionally at first, with a cast of distinguished actors, all chosen for their similarities to characters in Van Gogh’s art, each frame (and there are 165,000 of them) has then been painstakingly overpainted with oils. The result is that the screen seems to writhe and flicker with vibrant colours, the technique plunging the viewer headlong into the artist’s idiosyncratic world. At first, the effect is dazzling, almost overpowering, but once you settle into it, you begin to take notice of the story, which is presented rather like a detective mystery. Did the famous artist really commit suicide? Was he murdered? Or was he the victim of a childish prank gone wrong?

It’s a year since Van Gogh’s death and Armand Roulin (Douglas Booth), the son of Vincent’s close friend, Postman Joseph (Chris O Dowd) is charged with the thankless task of delivering the artist’s final letter to his brother, Theo. Armand reluctantly heads off to Paris where he talks to Pere Tanguy (John Sessions), who tells him that the letter cannot be delivered, as Theo too, is dead. He also assures Armand that Vincent was happy in the days leading up to his death and would never have dreamed of killing himself. Intrigued by this information,  Armand heads for Auvers Sur Oise, the little town where Vincent spent his last days, and starts looking for answers. But it seems everyone he talks to has a different opinion about what might have happened to him…

There’s no doubting the care and attention to detail that filmmakers Dorieta Kobiela and Hugh Welchman have lavished on Loving Vincent – and it’s amazing to note, that no matter how manipulated the film images are, the actors are always identifiable as themselves, even whilst looking exactly like their portrait counterparts. Jerome Flynn who plays Doctor Gachet is a particularly good example of this. The scene where we first meet him is like watching a famous painting come to life. I particularly like the regular monochrome flashbacks, where a more photorealistic technique is employed, which offers a welcome break from the barrage of multi-coloured visual fireworks. Lovers of Van Gogh’s work will have an absolute field day here spotting all the references to his most famous paintings (there are 120 of them) and though the various theories surrounding the artist’s death are nothing new in themselves, it’s interesting to have them presented for consideration in this way. It’s good too that we are left to make up our own minds about which particular theory to believe.

Does this work as a movie? Yes, I think so, but it certainly won’t appeal to everyone. If you don’t care for the artist’s work, this certainly isn’t going to float your boat. Loving Vincent has a limited release across the UK and may end up finding its biggest audiences on the small screen, but if you do get the chance to see it in a movie theatre, then go and immerse yourself in Vincent’s world. It really is quite an experience.

4.4 stars

Philip Caveney

Duet For One

31/10/17

King’s Theatre, Edinburgh

Tom Kempinski’s Duet for One has enjoyed considerable success – both critical and commercial – since it was first staged in 1980. And this production, directed by Robin Lefevre, has much to recommend it, not least an incredibly detailed set showcasing Dr  Feldmann (Oliver Cotton)’s extensive music collection.

But, somehow, it leaves me cold. I don’t think it’s the acting. Belinda Lang is wonderfully acerbic as Stephanie, the famous violinist struggling to cope after being diagnosed with multiple sclerosis. She’s funny and sad, strong and brittle, and her bravado and vulnerability are beautifully played. Cotton has a lot less to do as Feldman – this is undoubtedly Stephanie’s play – but he makes a decent fist of it, manipulating the many long silences expertly. And there’s a delicious awkwardness created by the direction, a horrible claustrophobia in Feldmann’s office, highlighted by Stephanie’s frustrated wheeling around the space in her motorised wheelchair, sitting staring at blank walls, turning her back on Feldman (and on us).

The problem, for me, is the play itself. I don’t think there’s enough in it, and what there is doesn’t quite convince. It all seems a bit one-note; nothing changes – not really. Sure, Stephanie is forced to confront reality, her façade of ‘getting on with it’ steadily eroded so that she has to finally face the truth of her situation, but it doesn’t feel like enough. Where’s Feldmann’s development? What does he learn from Stephanie? What’s the point of depicting a relationship like this one if there’s nothing symbiotic there?

In the end, it all feels too didactic (the lines about citalopram and venlafaxine in particular are as clunky as can be), like an advert for therapy, pop-psychiatry in play-form. It’s terribly earnest – dare I say, pompous? – and, despite those excellent performances, it really doesn’t work for me.

2.9 stars

Susan Singfield

 

 

The Meyerowitz Stories (New and Selected)

30/10/17

Hold the front page! Adam Sandler has made a good film! No, seriously, I’m not making this up. He’s one of the featured performers in Noah Baumbach’s The Meyerowitz Stories (New and Selected) and he’s pretty damned good in it.

Of course, those who know these things will already be aware that, in 2002, he made a film called Punch Drunk Love directed by Paul Thomas Anderson, and he was pretty good in that too. (At a push, I’d even argue that The Wedding Singer is a decent movie.) But even his most avid fans will have to admit that such occurrences are pretty rare and that most of his considerable cinematic output is either to be avoided like the plague or to be viewed in that ‘so bad its good’ ironic sort of way.

Here, Sandler plays Danny, the son of Harold Meyerowitz (Dustin Hoffman), a once acclaimed sculptor who, through a combination of bad luck and bad business decisions, now finds himself coasting on his previous successes, doomed to watch helplessly as other, less talented (at least in his estimation) artists, receive all the adulation that he thinks is his by right. Because of Harold’s single-minded determination to bolster his own ego, Danny has never really enjoyed anything approaching a career (he’s a failed musician), but has pretty much devoted his life to helping his daughter, Eliza (Grace Van Patten), achieve her ambitions to become a film maker.

Danny’s sister, Jean (Elizabeth Marvel), is also terribly unfulfilled, the kind of character who drifts along through life going wherever destiny takes her and it’s clear that she too has suffered because of her father’s emotional distance. Harold is now bumbling through a marriage (his fourth) to the alcoholic Maureen (Emma Thompson), but, when an unexpected illness threatens to carry him off, Danny and Jean’s half-brother, Matthew (Ben Stiller), comes to visit. Matthew is a highly-motivated and very successful businessman, who is trying to sort out his father’s financial straits but, when the three offspring come together for the first time in years, old resentments soon come bubbling to the surface…

This is the kind of territory Baumbach excels at and he has an absolute field day here. The story is told in episodes, each one jumping forward a little in time and there’s a delightful recurring motif of Danny losing his temper and the camera cutting away as if to censor his outbursts. Hoffman is excellent as the highly manipulative Harold and Stiller delivers a nice performance as a man being torn between caring for his father and punching him on the nose. There’s even a delightful cameo from Sigourney Weaver as… well, Sigourney Weaver. If you are expecting to see this at the cinema anytime soon, don’t be misled. This is another Netflix Original, ready for viewing at any time by its customers. However much traditional filmgoers may resent this phenomenon, it’s clear that it’s here to stay. Netflix has recently announced that they will be ramping up their production slate – and, as long as they continue to make quality films like this one, I say good luck to them.

Tune in and check this out – if only for the novelty of seeing an Adam Sandler movie that doesn’t make you reach of the ‘off’ switch.

4.4 stars

Philip Caveney

Breathe

28/10/17

Breathe is the true story of a man’s quest to manage a cruel and debilitating illness with the help and devotion of his friends and family. It’s the kind of thing that used to be dubbed ‘Oscar bait’ and I wouldn’t be at all surprised to see it nominated for a gong or two somewhere down the road. It’s also an unusual choice for actor Andy Serkis’s directorial debut (okay, so it’s not really his debut. There’s an animated version of Jungle Book waiting in the wings, its release date pushed back a year because Jon Favreau got there first – but that, as they say, is another story). Breathe is compelling stuff, sensitively directed and beautifully acted by the cast.

The story begins in England in the 1950s, where Robin Cavendish (Andrew Garfield) meets Diana (Claire Foy) at a village cricket match and promptly falls head over heels in love with her. Almost within minutes, it seems, the two of them are inseparable and Robin has whisked Diana off to Kenya, where he works as a ‘tea broker.’ (Don’t ask.) It’s all terribly romantic and terribly British and, when Diana announces that she is pregnant, it looks as though their future together is assured. But then, without warning, Robin is struck down by polio and overnight finds himself paralysed, able only to move his facial muscles and unable to breathe without the use of a ventilator. Diana manages to get him back to a hospital in England but Robin quickly sinks into depression. In the 1950s, polio sufferers were expected to live out the rest of their days in hospital, but Diana knows that what Robin wants more than anything else is a chance to escape…

There’s no denying that it’s a remarkable story. Serkis first came to it when he worked with the couple’s son, Jonathan, who is these days a film producer (he’s produced this film, in fact). Garfield does an incredible job, reduced as he is for the most part, to acting only with his face, and Foy is also impressive as the resourceful Diana (though curiously, despite the fact that Robin ages convincingly throughout the film, she seems to look exactly the same in every scene). There’s splendid support from Tom Hollander, in a dual role as Diana’s twin brothers, and from Stephen Mangan as the Doctor who takes up Robin’s cause to help free hundreds of disabled patients from their hospital incarceration. It would take a stern soul indeed not to feel moved to tears at various points in the story and I doubt there’s anyone who won’t experience a genuine thrill of satisfaction when Robin is finally allowed to go home to his wife and child.

If I have a problem with the film, it’s largely due to the trailer. There’s a tendency these days for trailers to show far too much and I feel this is the case with Breathe, where it is essentially a potted version of the entire movie. As a result – accomplished though the film is – there are no real surprises, because I pretty much know exactly what is going to happen. Now, Serkis can hardly be blamed for this… but I really wish that film companies would rein themselves in and leave us a little more to discover for ourselves.

Rant over. Breathe is a charming and affecting film, one that’s well worth seeking out. (If you haven’t seen the trailer, so much the better!) It’s been accused of glossing over some of the more unpleasant details of the illness it deals with, but the scene where the Cavendishes visit a hospital in Germany to see how polio sufferers are treated there doesn’t pull any punches. Sometimes things really do change for the better and Robin Cavendish, who helped affect that change, really does deserve to be recognised for his achievements.

4 stars

Philip Caveney