Kailey and Dan finally get to have their say on The Hobbit, meanwhile at the arthouses the Paris Child Protection Unit has a lot on its plate, Charlotte Rampling is a femme fatale and Donald Trump meets his Scottish match. Also, a clip from our i/v with RealD CEO Michael Lewis.
Has any rock group inspired – and paid for – as much cinema as the Rolling Stones? From Jean-Luc Godard’s Sympathy for the Devil to Scorsese’s gilded concert footage for Shine a Light in 2009, the Stones have woven themselves into film history at the same time as they became rock legends. The Maysles Brothers’ Gimme Shelter is even in the Criterion Collection and footage from it informs a central chapter in Brett Morgen’s documentary (auto)biography of the band, Crossfire Hurricane.
As the 1969 Altamont free concert deteriorates into murderous anarchy, the still-living Stones provide their own 40-year-on perspective in croaky voiceover and it’s these audio-only reminiscences that provide the main novelty of a film that – at only two hours – struggles to contain the full majesty of “the greatest rock and roll band in the world”. There’s plenty of unseen (by me at any rate) new backstage and behind-the-scenes footage too, in an intricately edited portrait which is as honest as any band-authorised and Jagger-produced documentary is likely to be.
Like students swotting for exams New Zealand film distributors seem to have run out of year for all the films they have to release so there are some really big names being squeezed into the next two weeks. If you can’t find something to watch on – the inevitably wet – Boxing Day next Monday, then I suspect you don’t really like movies at all. And if that sounds like you, why are you still reading?
The biggest of the big names this Christmas has got to be The Advenures of Tintin. Despite Steven Spielberg’s name on the tin, it’s almost a local production when you consider the technology and skills that went into its manufacture, so we all have a small stake in its success. Luckily, Europe has embraced it so a second film has already been confirmed – and will be made here.
But enough of the cheerleading – what did I think of it? It’s good, really good. The performance capture and character design works better than ever before, Spielberg has embraced the freedom from the laws of physics that animation allows and throws the camera around with gay abandon – but always with panache and not to the point of motion sickness. Many of the visual gags are terrific and Andy Serkis as Haddock proves that there is no one better at acting under a layer of black dots and ping pong balls.
For years I’ve been complaining about films that give audiences everything on a plate – they tell what you should be thinking and feeling, leaving no room for us. This week I have nothing to complain about as three out of our four make you work for your rewards (although three tough emotioanl and intellectual workouts in one weekend turns out to be pretty draining).
Derek Cianfrance’s Blue Valentine is a terrific indie achievement, brave and uncompromising, emotionally raw but intelligent at the same time. A relationship is born and a relationship dies. Bookends of the same narrative are cleverly intercut to amplify the tragedy (and tragedy is a fair word to use – there’s a beautiful child getting hurt in the middle of all of this).
Dean (Ryan Gosling) and Cindy (Michelle Williams) meet and fall in love. He’s a dropout starting again in New York. She’s a med student with an unhappy home life and a douchebag boyfriend. Five or six years later she’s a nurse trying not to think about unfulfilled potential and he’s a house painter who drinks too much.
It’s been a weekend made for movie watching with cinemas across the city groaning under the weight of patrons escaping the filthy weather. It’s been so busy, in fact, that I failed to get in to either screening of The Last Station that I tried to attend – sold out at the Lighthouse and the Penthouse. Obviously, I should know better than to not book in advance on a holiday weekend but it means that I’m one down on the reviews I planned to offer you this week.
Instead of Tolstoy and his Russian cultural legacy, then, we kick-off with Sex and the City 2, a film that already has had some notoriously vicious reviews, and it deserves every single bit of vitriol the world can throw at it. SATC2 is an artifact of pure evil, a hate crime disguised as a puppy. I thought that the first film was pointless and dumb, but didn’t realise how offensive and pernicious the values on display actually are. There’s not a character in this film that isn’t a narcissistic whiner, stuck in their privileged little bubble, willfully ignorant of anything other than themselves and the fantasy world they live in.
Oh, what kind of year is 2008 that has two Coen Brothers films within it? In February I was swooning over No Country for Old Men and now, just a few short months later, I’ve been treated to Burn After Reading, a scathing and bitter comedy about modern American ignorance. It’s a vicious, savage, despairing and brilliant farce: full of wonderful characters who are at the same time really awful people.
John Malkovich is Osbourne Cox, a failed CIA analyst who loses a disk containing his memoirs. It’s found by Hardbodies gym staff Frances McDormand and Brad Pitt, who decide to blackmail him so that she can pay for some unnecessary cosmetic procedures. Meanwhile (and there’s a lot of meanwhiles), Malkovich’s wife (Tilda Swinton) is having an affair with sex addict George Clooney, who is cheating on her, and his wife, with Internet one night stands (that include the lonely McDormand). The disk ends up at the Russian Embassy, Pitt ends up in the Chesapeake and the only truly nice person in the whole film ends up with a hatchet in his head.
It’s no accident that this collection of mental and spiritual pygmies can be found populating Washington D.C. Over the last eight years it has become the world centre of incompetence, venality, short-sightedness and political expedience and the film plays as an enraged satire about the end of the American Empire. We can only hope.
The self-indulgent partnership between Ridley Scott and Russell Crowe gets another trot out in Body of Lies, a laboured action-thriller about anti-terrorism in the Middle East. Half-decent Leonardo DiCaprio is the lead. He plays honourable field agent Roger Ferris, hunting the Osama-like Al Saleem from Iraq to Jordan via Amsterdam and Langley. Crowe spends most of the film coaching DiCaprio via cellphone and a good olé boy Southern accent. The twist in this film is that he is a boorish, ignorant, arrogant oaf who fails to appreciate that winning hearts and minds is essential to win the war on terror: DiCaprio’s character, an arabic speaker with an appreciation for the region and its people, is continually being hung out to dry by his bosses who simply don’t think the Middle East is worth anything more than the oil that lies beneath it.
Unfortunately for Body of Lies (a terrible, meaningless title), the whole film is thick with cliché and while Scott’s eye for a set-piece remains keen his ear for dialogue is still made of tin.
Another terrible nothing title (but for a better film) is The Duchess. A naïve young Spencer girl is plucked from Althorp to marry a powerful older man. She soon finds that it is not a love match and that her emotionally closed off husband sees her as a baby factory while he enjoys life with his mistress. Our heroine uses her celebrity to bring attention to political causes and falls in love with a handsome young man, but happiness and freedom is always too far away. Sounds familiar, I know, but this story isn’t set in the 1990’s but in the 18th century and this Spencer isn’t Diana, but her eerily similar ancestor Georgiana (Keira Knightley).
Knightley is fine as the spirited, but eventually broken, young woman; Ralph Fiennes has good moments as the brutish Duke of Devonshire and Charlotte Rampling delivers another icy turn as Georgiana’s calculating mother. The Duchess is a fine history lesson with some nice observations: my favourite is the paparazzi at every social occasion, pencils sharpened to sketch the scandals as they unfold.
Sadly, I have been too busy in recent weeks to preview any of the titles in this year’s Italian Film Festival but the programme looks a good and interesting one as always. The films in the Italian Festival have always leaned towards the commercial and this year is no different. Crowd pleasing comedies like The Littlest Thing rub shoulders with romances like Kiss Me Baby, dramas (The Unknown Woman) and thrillers: Secret Journey. My pick looks like it could be a combination of all those genres, the romantic black comedy Night Bus. Moving to the Embassy this year should do the event the power of good but it’s a pity about the poorly proofed programme though.
Printed in Wellington’s Capital Times on Wednesday 15 October, 2008.
Notes on screening conditions: All three films were screened at the Empire in Island Bay. Body of Lies and The Duchess were at public screenings and Burn After Reading was the Sunday night print check (for staff), so thanks to the Empire people for inviting me to that.