I love it when a film raises the stakes. Done with wit, it can drag you back in to a film you might have been drifting away from. Done with smarts, like Susanne Bier’s Danish drama In a Better World, it can drag you to the edge of your seat.
About two-thirds in to the film there’s an event that forces a central character to confront his own principles – values he has been carefully (and selflessly) teaching his kids – and he has to question whether those principles are really doing him any good in a world that refuses to honour them in return.
The character is Anton (Mikael Persbrandt), a Swedish doctor working in a sub-Saharan refugee camp where – in addition to the usual litany of drought-related problems – he’s patching up pregnant women brutalised by the local warlord. He’s troubled by the circumstances but smug about his role in the aid process. Perhaps he should be paying more attention to back home though, as his oldest son Elias (Markus Rygaard) is being bullied at school and taken under the wing of cold-eyed psychopath Christian (brilliant William Jøhnk Nielsen), grieving the cancer death of his mother and taking his quiet rage out on the world.
Earlier this year I arbitrarily decided that the Hannah Montana 3D concert movie was not cinema and chose not to review it. Now, a few short weeks later, I exercise my right to indulge in rank hypocrisy by stating that the U2 3D concert movie is cinema and, thus, belongs in this column. Pieced together from concerts in soccer stadia across Latin America (plus one without an audience for close-ups), U2 3D is an amazing experience and truly must be seen to be believed.
I hadn’t expected the new digital 3D medium to be used so expertly so soon but creators Catherine Owens and Mark Pellington have managed to make the entire stadium space manifest with floating cameras and intelligently layered digital cross-fading, giving you a concert (and cinema) experience that can not be imagined any other way. Even if you are not a U2 fan this film deserves to be seen as an example of the potential of 3D to transform the medium.
It is, of course, completely brilliant. And loud. And while it’s not quite as perfect as predecessor (and cinema re-definer) Shaun of the Dead, Hot Fuzz is as entertaining a night out as you’ll find anywhere.
Co-creator Simon Pegg plays PC Nicholas Angel, top cop, so good he’s making the rest of the Met look bad. He’s reassigned to the sleepy west country village of Sandford where, apart from a one-swan crime-spree, the peace is never breached. Of course, in a picturesque English village nothing is what it seems and Angel and partner Danny Butterman (Nick Frost) are going to bust this thing wide open, whatever “it” might actually be.