Tag Archives: wolf

FILM REVIEW: The Witch

The Witch is a story of folklore, pieced together from various documented historic accounts of dark deeds and happenings alleged to have transpired in New England in the sixteen hundreds.

A devoutly christian family having relocated from their farmstead in England have set up their home and joyless religious existence on the edge of an impenetrable woodland.

Here they live a simple life of subsistence until one day, from virtually right under the nose of eldest child, Thomasin, (Anya Taylor-Joy), the family’s newborn child disappears, never to be seen again.

There follows some brief footage of the baby in the hands of a naked presence, illuminated by fire light, in the middle of the woodland. This renders redundant – though not to their knowledge – the family’s certainty that the baby had been snatched by a predatory wolf.

A period of deep mourning and much religious, verbal self-flagellation follows – as though this doleful family needed another excuse for such dispirited behaviour!

Sadly for them, it’s merely the start of a catalogue of cursed happenings.

With the family’s corn crop inexplicably failing and a gathering belief in their minds that the devil is very much at work amongst them, an ever increasing level of in-fighting and peculiar behaviour envelops the family. Emboldened though by an unshakable religious fervour, they seek to rid themselves of that which is fast becoming impossible to repudiate; they are under some sort of evil curse.

As the succession of disquieting occurrences mounts up, the family – at their wits’ end -perform ever more exasperated religious rituals and procedures, desperate to restore some semblance of normality to their lives once again.

If only it was so easy.

Director Robert Eggers paints a very bleak picture here in The Witch. Indeed, if we were to pick a handful of textbook elements generally deemed necessary to construct a successful horror film, this ‘bleakness’ is just one of many boxes successfully ticked in this tale of good and evil.

William (Ralph Ineson) and Katherine’s (Kate Dickie) stern, Puritan collective persona, the cold unfamiliarity of the use of an olde English dialect, the possessed, synchronised over exuberance of a pair of creepy twins, and the demonised movements and bleatings of Black Phillip, the goat, are all, in their way, classic staples of the horror genre, and when underpinned by a sparing use of Mark Korven’s discordant, glissando string and eerie vocal score, they serve to lend The Witch seemingly all the ingredients necessary with which to achieve a truly memorable and unsettling outcome.

On the one hand I’m in agreement with those that believe The Witch to be a well-worked and engaging piece and one that does indeed play upon its audience’s fears of witchcraft, the dark arts and the occult… to a point.

On the other hand, I’m also in agreement that there’s definitely something missing; for whilst the film’s bleak, doomed outlook, relentlessly sinister atmosphere and scenes of crazed possession carry it so far, the real question, as with all horror films, remains: “Does The Witch truly get under the skin and generate genuine discomfort and fear in its audience…?”

As nobly as it tries – and it really does – not for this particular viewer.

I suppose a ‘horror’ film must live and die by such criteria which in this case is a shame, as with a few notable scene exceptions, it can’t be said that The Witch truly delivers on that front. Taken however as an interesting, at times strange and slightly unsettling piece, full of atmosphere, The Witch is memorable, perfectly decent and more than deserves an audience.

 

 

 

 

 

 

 

 

 

 

 

Wayward Wolf: FILM OF THE YEAR 2014

If a 2014 film review of the year is written in a forest and no one is around to read it, does it have any impact on people’s lives whatsoever? Does anyone care? Does it even exist? Well, there’s probably no better site to find out…

Welcome to the second, annual Wayward Wolf film of the year awards hosted here on my site (but chiefly in my head), in front of an imaginary crowd of glamorous sorts, dressed to the nines; award acceptance speeches scribbled on bits of paper, ready for the big moment.

I set myself a target to take in fifty new release films at the cinema this year and whilst that was always going to be a tad optimistic, I at least hoped to beat 2013’s respectable haul of thirty.

Ultimately though, it was twenty-seven cinema visits in 2014 for this here film buff. Not bad I suppose and although the number is slightly down on 2013 and one of those twenty-seven ultimately counted towards 2013’s stats, the quality of 2014’s offerings was arguably higher, over all, than the preceding year. Swings and roundabouts and all that.

Enough with the amateur statistics and general ramblings and on with the show.

Before revealing my pick of the bunch, here’s to the outstanding ten contenders of the year, in an ‘as they were seen’ order, only:

All Is Lost – A tense tale of survival against all odds and a film of very few words.

The Wolf Of Wall Street – Classic Scorcese and an absolutely fantastic, larger than life romp through a world of finance and debauchery.

Dallas Buyers Club – Matthew McConnaughey on top form as an HIV victim doing what he can to shake up the medical system in the 1980s Aids climate of fear and rejection.

Her – A mesmerising and touching tale of virtual love in a futuristic age.

Calvary – Set on the beautiful landscapes of coastal Ireland, this ‘who’ll do it’ is as much an examination of the Catholic church’s place in modern society as it is an excellent thriller.

Tom A La Ferme – A mysterious and disturbing story of a small, dysfunctional family unit and an uninvited guest. Bleak, yet gripping viewing.

All This Mayhem – One of the best and most messed up documentaries I’ve seen in a long while. Brilliant, euphoric and tragic in equal measures.

Boyhood – A truly beautiful and heart warming film made against all the logistical odds. One that should resonate with us all. Stunning cinema.

Night Crawler – Jake Gyllenhaal portrays a creepy, psychotic loner, ‘working’ his way to the top of the ‘shock news reporting’ game through any means possible.

Mr Turner – Another gem from director Mike Leigh, portraying the life and times of the artist William Turner. Visually stunning and engaging on so many levels.

All tremendous and all worthy of a watch for such a wide variety of reasons, but there can be but one winner and as difficult a task as it was to whittle it down, I’m plumping for the truly wonderful ‘Boyhood’ as my film of the year for 2014.

FILM REVIEW: Boyhood

So, that was the best, but what was the worst film? I don’t really like to dwell on the negatives in cinema, but the wooden spoon this year was a pretty clear winner, ‘Bad Neighbours’ ; not a film I’ll be revisiting in any sort of hurry, let’s just say that, but just incase you’re intrigued:

FILM REVIEW: Bad Neighbours

One final thing. I decided to place ‘Blue Is The Warmest Colour’ in the 2013 category in the end, despite seeing it in January of 2014, due to it actually being released at the tail end of 2013 and consequently it narrowly edged out ‘The Act Of Killing’ to become 2013’s film of the year; you know, just incase you were wondering!

So that’s it. 2014’s over – and what a memorable year for film it was.

Here’s to 2015!

Until then folks.

Wayward Wolf Full 2014 Film Listings Table (in order of preference):

1. Boyhood

2. The Wolf of Wall Street

3. Dallas Buyers Club

4. Her

5. Calvary

6. All This Mayhem

7. Mr Turner

8. All Is Lost

9. Night Crawler

10. Tom A La Ferme

11. Locke

12. Under The Skin

13. Blue Ruin

14. Magic In The Moonlight

15. ’71

16. Lucy

17. Tracks

18. Jimmy’s Hall

19. Vi Är Bäst (We Are Best)

20. Interstellar

21. Unknown Known

22. The Railway Man

23. Dawn Of The Planet Of The Apes (3D)

24. Yves Saint Laurent

25. Chef

26. Bad Neighbours

 

 

 

 

 

FILM REVIEW: Interstellar

I’ve seen far-off planets, failing planets, new planets, star constellations and alternate universes.

I’ve witnessed black holes, worm holes and event horizons.

I’ve looked on in awe at mile-high tidal waves and vast dust storms sweeping mercilessly across American corn rows.

I’ve observed flying craft docking in deep outer-space and marvelled at mind-bending quantum physics.

I’ve seen astronauts struggle with matters of the heart, of life and death; the birth of new generations and the cryogenic preservation of the old…

…and on top of all of this, I’ve been vibrationally rattled to the back teeth by an impressive Odeon, IMAX sound system.

Yet somehow I still feel curiously dissatisfied?

But why?

Interstellar, incase you’ve been living on some far-away planet for the last few months, is a story of space exploration and an attempt to colonise new planets on which the human race can re-start; a situation brought about by the increasingly uninhabitable nature of planet earth.

Matthew McConnaughey puts in a heavyweight lead performance of some note and he’s well supported by Hollywood’s finest. Anne Hathaway, John Lithgow, Matt Damon and even the old master, Michael Caine all put in strong performances, key to Interstellar’s plot.

Special effects (achieved impressively without the use of CGi) are very special indeed; big, bold and convincing, yet still organic and with a very ‘real’ feel to them.

There’s a strong and distinct storyline and the dialogue is mercifully, relatively schmaltz-free and believable.

Indeed, there’s actually so much to admire about Interstellar and the hugely ambitious cinematic project that it undoubtedly is, but therein lies the problem; it actually feels simply too ambitious.

On the one hand we have a very human story of the tight bonds of family and of love and longing, whilst on the other (and at times it could be said, rather shoe-horned in), we have an improbable story of space adventure, discovery and a dabble into the world of quantum physics. Even if we suspend our disbelief for a moment and take the film on face value, for what it really is, Interstellar just doesn’t convincingly marry these two elements together; to my eyes at least.

That said, you can see what Christopher Nolan was trying to achieve and there are very definitely moments of great poignancy and emotion throughout, as well as a big, cinematic dose of the  ‘wow’ factor thrown in, as you might expect from a Christopher Nolan offering.

I have a hunch that Interstellar will actually improve through repeat watchings. It’s certainly the sort of film that would benefit from it, if only to fully comprehend and appreciate some of the more complex, scientific concepts and ideas covered.

It’s a long film, yet strangely it never really allows us the ‘time and space’ to truly ponder and contemplate the enormity of the subject matter; instead we are whisked along in a fast and furious succession of thrills, spills and set pieces.

Credit to Nolan, he maintains this momentum throughout; no mean feat for a movie that clocks in at a bum-numbing 166 minutes, but it is at times somewhat at the expense of what is essentially a rather moving ‘human’ sub-plot.

I can’t help making comparisons with the 2013 film ‘Gravity’ which, whilst perhaps not being quite as ambitious, scientifically-speaking, was nevertheless a film that I feel was far more successful in blending the disparate aspects of space adventure with matters of the heart and resulted in a film that simply worked, from start to finish.

It is of course not a sci-fi competition though and I’d urge anyone to go and see Interstellar; you’d actually be missing out if you didn’t.

It’s a very enjoyable three hours or so and a lot of love and dedication has been put into its creation, that much is obvious; just don’t be expecting the hollywood classic that it’s been painted out to be…

…it isn’t.

 

 

 

 

 

 

 

FILM REVIEW: Mr Turner

Mike Leigh has always been an expert observer of character, seemingly wringing every last drop of inspiration from those that he works with and the development of his characters is always to the fore in any of his films. So proves to be the case once again with this superb biopic of the great British painter, Joseph Mallord William Turner.

Whether Turner’s character and nature is accurate here or not I couldn’t say and is not necessarily important; we must however at this point, without further ado, praise the magnificent Timothy Spall whose portrayal of a man of few words and the proverbial bear with a sore head, is quite possibly a career best.

A sneering disdain for small talk and flowery waffle, he grunts and grimaces his way through life, driven by an admirable, all consuming, burning passion for his work, often to the exclusion and detriment of those around him, be they his peers, his family or those whose affection for him will forever be largely unrequited; and all the while, one senses that behind his secretive nature and rituals of self-preservation, there’s a man that wants to be heard, appreciated and to be loved.

Not only does Mr Turner offer richly developed, beautifully observed characterisation, but equally as impressive is the magnificent cinematography which rather cleverly, and if the knowing ‘ooohs’ and ‘aaahs’ from those watching around me were anything to go by, very faithfully seems to capture the true essence of Turner’s work, presenting each new scene and location in such a way as to imitate his paintings, with much emphasis on the use of the dawn light, lending a kind of soft, gentle haze to each backdrop; a nice touch, apparent to even those of us with only a limited knowledge of the great art masters.

The film traces the development of Turner, the artist revered by all, to a man ridiculed by many for pushing his own boundaries into an area too experimental for its time. T’was ever thus…

Mike Leigh has worked his magic once again with just the right balance between the serious and the lightly comedic in this, his ode to a true genius.

Marvellous.

GIG REVIEW: David Icke – Wembley Arena, 2014.

In rooting around the internet, hoping to unearth a mainstream review of the aforementioned gig, I happened upon a piece by Will Self relating, to some extent at least, to David Icke. It was from back in 2012 from Self’s Madness of Crowds column for the New Statesman magazine, in which Self, a confessed non-Icke type, suggests that through meeting someone who did believe in Icke’s theories and by whose own personal story of sufferance yet selfless caring, Self was suitably touched, he not only gained a deep respect for this someone, but in some ways a sort of small respect by proxy for David Icke himself.

Perhaps that’s stretching the truth a little, but in Self’s own words, “I don’t believe in Icke for a second – but I do believe in Raj (Self’s friend), fervently. And if great crowds of Raj-a-likes believe Icke speaks sense then it’s a mistake to dismiss their belief as mere ignorance and credulousness.”

It’s refreshing to hear. Self is clearly not sold on the Icke, dot-connecting view of life, the universe and everything – fair enough – but when the world is seemingly awash with academics and folk at the so called ‘pinnacle’ of their respective fields who are quick to dismiss, out-of-hand, any other possibility of ‘how it is,’ Self at least is big enough to admit that there can potentially be, given the right set of aligning circumstances, more than one way of looking at things. Life and ‘how it is’ is not necessarily a fait accompli.

Indeed, to the vast majority, the world is ‘what we know’ and any other possibilities therefore are not truly infinite, but instead finite, made up only from within the  boundaries of our imaginations, which of course are dictated by what we already have come to know and accept could be possible – It’s the trapped, bubble mindset view of mankind and one that polices itself, chastising and ridiculing those that dare venture out from its safe, yet limited visual range.

It’s good therefore to know that there are people out there that are willing not just to pin-prick that bubble, but to attempt to remove it entirely, sticking their heads above the parapet, fully aware of the implications that could follow.

This of course leads us nicely on to the man himself, Mr David Icke; a man that’s been exploring the nature of the world and reality for a cool quarter of a century now, ever since his ‘eureka moment’ back in 1989; a man who was ready and willing to impart his findings to a gathered throng on an overcast, Autumnal day in North London.

It’s fair to say that Wembley was a home crowd for Icke on this occasion, supportive and providing the kind of arena (excuse the pun) in which David Icke thrives these days; indeed the sort of setting that is actually essential for Icke’s views to be allowed to come across unencumbered by the inevitable interruption and censorship that the vast majority of mainstream media outlets can’t help themselves but provide.

I’ve actually been to Icke’s marathon day seminar events on two prior occasions to this. Once back in 2009 in Gothenburg in an event that really wrong-footed me. An incredibly emotional and even overwhelming experience at times, something I simply wasn’t expecting. The time prior to that was at London’s Brixton Academy.

Both of these events had felt quite dry and functional (not a bad thing); but definitely events more tailored to the die-hard ‘fan’ (for want of a better word), although saying that, it really opened my eyes as to what a David Icke ‘fan’ actually is. The sheer variety and wide spectrum of people that felt compelled to listen for a whole nine hours, on both occasions, to the middle-aged man with the big ideas, from the little old Isle of Wight, was heartening. No right wing, fascist, jew haters here; the type that lazy media hacks would have you believe follow Icke into and around his nut house; just a collection of open-minded, inquisitive people of all types and persuasions.

October 2014 Wembley Arena felt like a slightly different beast, not least in that it was punctuated occasionally by music from bands and some tremendous African-influenced drumming with ‘free’ dance to accompany, even provoking the arthritic sixty-two year old himself to shuffle about on stage in the sort of joyous, contented abandon that could bring a smile to anyone’s face. Certainly, when one is fully aware of Icke’s story and the kind of ridicule, persecution and back-stabbing that the man has endured at times over the last twenty-five years, it’s truly uplifting to see him, no matter your feelings or convictions about his output, in such a good place in his life now, surrounded by so many people that care and believe in him or even just those that were curious enough to turn up and actually find out a little of what he’s really about. Both of Icke’s sons were in attendance too; both contributing here in different, very positive ways.

Jaymie Icke (his youngest) has by all accounts, spent the entire year leading up to the day, organising the entire event, whilst eldest son and musician Gareth provided, with his band, excellent musical respite from the seminar sessions, fitting of the big Arena they were playing in.

Interestingly, Gareth had by all accounts been offered a handsome contract from one of the major record labels with two stipulations; disown your father and change your name. Needless to say, neither happened and the label reps were told where to shove their contract.

Good.

But what of the day’s content? Afterall, that’s what everyone came for.

To be honest and without deliberately avoiding the question, trying to summarise eleven hours or so of information into one, media-friendly paragraph, phrase or soundbite, or even to create what I believe would be termed a David Icke ‘elevator pitch’ (in business circles), would be to do the man a massive discredit and thoroughly under-sell his life’s work. The world is an impatient place and everyone seemingly needs everything in double-quick time; to be fed information in easy-to-digest, bite-sized, dumbed-down chunks and quite simply, it doesn’t work that way. You simply have to put in the hours. Pick up one of Icke’s books and read it, cover to cover or maybe attend one of these seminars if you get the chance and thereby get a good overview. Anything less is denying yourself the more complete and revealing picture and the opportunity to fashion an informed, personal opinion, rather than the fallback of borrowing someone else’s.

There’s certainly some weird and wonderful stuff that’s covered and things that I myself don’t fully buy into, but as I’m quick to point out to both myself and others, there’s as much chance of that being down to my own limitations in what I perceive to be possible, as to what actually is possible, yet lies outside the boundaries of my own, restricted knowledge base.

All we know is that none of us know everything. That really is the bottom line. Once we accept that, we can set about opening our minds and I, for one, like to keep an open mind.

At 9pm or so, along with a number of other suitably enlightened souls, I finally departed the venue with a tired brain and aching back. Watching for eleven hours from the flanks, with a twisted torso, is not something I whole-heartedly recommend, although Danny, (the physics major and self-confessed ‘truth investigator’ sat to my right for the day; all dreadlocks, wide-eyed enthusiasm and rainbow rhythm dance moves – think Jez and Mark in Peep Show), entertained me suitably throughout, making the physical aches and pains a little more bearable!

Above all though, I left with a feeling that the trappings of mainstream media just cannot provide; a feeling that I’d not been treated like an idiot.

I should add here that Icke was still going strong at this point, introducing enthusiastically yet another band, as the final, truly uplifting segment of his show continued, unabated. Impressive and inspiring in equal measures, so much so that I felt a little guilty for sneaking out half an hour before the event finally wrapped up for the day. Still, I’d racked up ten and a half hours of credit. I think I can be forgiven.

You take away what you will from a David Icke gig. As the man himself has said in the past, “The last thing the world needs is another bloody prophet telling you what to do, so here’s some information, it’s up to you what you do with it.” Quite right too.

David Icke is an information gatherer and dot connector. Much of ‘his’ information is not his at all but gleaned from a multitude of other sources, always however researched to a particularly thorough degree.

You may not buy into Icke’s view of things or the outcomes that he derives, but if people are to discredit him, then they owe it to themselves to thoroughly investigate what he actually represents before they do so, rather than taking the easy route that so many do,  passing the ‘David Icke’s a conspiracy theorist nutter’ lazy, media opinion off as their own.  Failing this, one really does forgo the right to an opinion; not just on this, but on any subject at all.

I like the man. I like his contrary stance on things, it sits well with me and my own particular views and leanings that I’ve adopted over the years and having monitored Icke’s output closely since the turn of the century, I don’t really need any convincing that the man speaks more sense than potentially not; certainly more sense than any political figure, past or present, that I can think of, in my lifetime.

Twenty-five years of travelling the planet, researching the madness of the world we live in and the nature of reality – all in search of the truth; that, in my eyes, if nothing else, deserves a bit of respect.

 

 

 

 

 

 

 

 

 

 

 

FILM REVIEW: Night Crawler

Night crawler? Skin crawler more like.

Louis (Jake Gyllenhaal) is a petty criminal, an opportunist and a most disturbing man in anyone’s book, displaying more than his fair share of psychopathic traits.

Having stumbled upon the murky world of late night, sensational journalism, he spends his nights obsessively capturing as much exclusive video footage as he can from Los Angeles’ litany of nightly accidents, homicides and other scenes of misfortune, in order to sell it on to news stations, for a fee.

Cold-heartedly he engineers his way up the ladder of this cut-throat business, looking after number one, displaying a tunnel-vision, showing little or no regard for those affected around him. ‘Empathy for one’s fellow man’ it’s fair to say, does not rate highly in Louis’s list of priorities.

Bit by bit, Louis sinks deeper and deeper into the mire in his quest for success and everything that his very transactional view of the world, desires.

It’s a gripping tale, told brilliantly by director Dan Gilroy, creating at times excruciating levels of tension and all done with some very dark, dark humour.

Gyllenhaal is stupendous and freaky in equal measures, whilst Riz Ahmed, his hapless side-kick and Renee Russo, one of the objects of Louis’s desires, are both excellent in their respective roles. A special mention also for the brilliantly named news anchor, Kent Shocknek, played here by, Kent Shocknek; yes, that really is his name.

Only in America…

Gilroy creates just the right atmosphere throughout, capturing the soullessness of the sprawling Los Angeles suburbs whilst revealing the cut-throat, superficial and deeply immoral nature of ‘shock news’ media.

One of the best things I’ve laid eyes on all year. This shouldn’t be missed.

FILM REVIEW: ’71

“We look after our own in the army, Cook.”

When private Gary Cook is deserted behind enemy lines by his troop, amidst the chaos of a full-blown riot, it sets up the kind of scenario you’d expect Hollywood to have air dropped Nicholas Cage into. “One man’s mission impossible… Against all odds, he’s going home…”

Mercifully, he isn’t and it’s not. This is ’71, an ultra gritty tale of a soldier trying to escape with his life, scared witless by the pitiful cauldron of hate and madness that was 1970s Northern Ireland.

There are no heroes here and no sides taken, just pawns caught up in the mess, either indoctrinated by belief systems or by ‘the system’ itself. It’s not as simple as them against us for Cook, if it was, perhaps he’d have a fair chance; instead, the confusion of subterfuge on both sides leaves us asking, “who can you trust?” and more importantly, “what are their underlying motives?”

It’s a minefield for sure and a pretty tense one at that; gripping from start to finish, something director Yann Demange deserves big credit for, ratcheting up the suspense throughout.

Whilst Cook’s part as the lone, would-be escapee is down-played by the director a little, in favour of those plotting and conniving around him, his sense of fear and bewilderment is palpable and conveyed convincingly. A naive, reluctant soldier, right in the thick of it. A pawn in the game, if ever there was one.

A very minor criticism; the ending. It feels like a bit of an afterthought. Without giving anything away, you can see the point that the director is trying to make, but that point is in itself a big topic, deserving I felt of further expansion.

Don’t let that detract though from what is a really good film.

“They don’t care about you. To them, you’re a piece of meat. You want to know what the army is? It’s posh cunts, ordering thick cunts to kill poor cunts…”

Probably a fair summation of the brass tacks of this war and every war before and since.

See it.

FILM REVIEW: Chef

I really do want to say nice things about ‘Chef.’ It’s certainly a film with its heart in the right place and there are definitely good things to be had from this warm-hearted and at times rather amusing tale.
It was written by the always excellent Jon Favreau, who plays the film’s lead, Carl Casper, a divorced, frustrated chef, trying  to bring creative fulfillment to his career whilst simultaneously being the perfect father to his son Percy, played by Emjay Anthony in a sweet yet limited role.
The casting is a strange one. On the plus side, characters like Martin, Carl’s right hand man (played by John Leguizamo) lend some much needed, enthusiastic savvy to proceedings, yet a series of short cameos by Scarlett Johanssen, Dustin Hoffman and most bizarrely, a slightly megalomaniacal Robert Downey-Junior, are rather baffling; almost like token gestures in the grand scheme of this film; a heavyweight favour to the director perhaps or maybe an insistence from the film’s sponsors? Who knows.
The premise of the film is that Chef Casper’s ‘touch paper’ is lit when a renowned food critic drags his name through the mud, professionally slaughtering his menu in the process (the menu Casper had wanted to scrap but was duty-bound to serve) and the whole situation is exacerbated when Casper’s social media inadequacies lead him to inadvertently start an ever escalating, public slanging match on Twitter.
Everything comes to a head when Casper loses his marbles in front of the critic, somebody films it and the video goes viral. Needless to say, Casper’s career hits the buffers over night.
‘Chef’ should really kick-on from here and become the clever little film about work / life balance and the perils of social media in the hands of the uninitiated, that it promises to be, but it’s here in fact that it seriously loses its way.
It’s not the fact that the storyline is necessarily weak, the problem is simply that all of the good ideas in this film seem somewhat swamped beneath a rather clumsy, schmaltzy and at times contrived script and screen play which do none of the characters, no matter how well played, any favours at all. Indeed, from here on, it’s a predictable sequence of clichéd events, set pieces and scenarios with the mother of all toe-curling endings; not to mention the whole thing is basically an on going advertisement for Twitter.
The feel good film of the year?
Not for me. Feel good films whilst admittedly generally being  schmaltzy, predictable affairs, rely heavily therefore on the viewer buying whole-heartedly into the characters to such an extent in fact that whatever unlikely twists and turns a plot may take along the way, it doesn’t really matter; we celebrate the unlikely or the  down right ludicrous because quite frankly, we’re in for the ride!
Sadly, Chef combines predictable schmaltz with half-baked, rather forced characterisation and for all its eagerness to please, that’s just never going to work.
It’s all a bit of a shame really because there’s definitely a nice little film buried in there somewhere.
All of that said, it still has its moments and it remains worth a watch.

 

FILM REVIEW: Bad Neighbours

I’m sure I read a favourable review somewhere about ‘Bad Neighbours’ recently or I may have dreamt it? More likely is that I simply willed a good review from my subconscious, such is the paucity of genuinely, laugh-out-loud films, that truly sustain their comic intensity from start to finish.

I wasn’t expecting much from this Nicholas Stoller offering… and I wasn’t disappointed in that regard.

Bad Neighbours is pure Hollywood, bums-on-seats, comedy-by-numbers kind of stuff. It sticks to the same, tired old formula, namely; everything in the garden’s rosy – along comes a big problem – what are we going to do? Cue conflict, followed by solution and soul searching. Ultimately everything works out in the end and most importantly of all, we all learn a good moral lesson from it as good prevails, hurrah!

It is of course unfair to judge a formulaic Hollywood comedy by its form and structure alone. These films are more often than not simply cobbled together as some kind of feature-length vehicle for the day’s latest comedian / comedic actor, but it is fair to judge it on whether it makes us laugh throughout and although that’s a subjective kind of thing, I have to say, Bad Neighbours falls badly wide of the mark on that front.

But why?

It could be the fact that the characters seemed at best two dimensional, lacklustre and are never really ‘examined’ or allowed to be truly comedic in their own right. How often do we watch a film purely for the comedy gold, ludicrous / slapstick acting of one key character, conveniently overlooking the fact that the film itself is essentially rubbish? Perhaps the fact that the madcap antics of a college fraternity house have been lampooned so much more convincingly in other films or maybe the script was just plain poor and actors that otherwise might have made a good fist of things are left to struggle through, manfully?

That said, there’s probably still just enough nonsense in this film to keep the target audience happy – just – but essentially Bad Neighbours is simply not convincing on any level at all, be it comedic acting, ‘gross-out’ gags or genuinely funny one-liners. It struggles on all fronts and not even the lovely Rose Byrne or the sight of a ‘ripped’ Zac Efron can save this one.

In the film’s defence, there were, admittedly, a couple of laugh out loud moments for me, but they were  few and far between and certainly not enough to sustain it.

It’s not completely without positives and it’s certainly not the worst film I’ve ever seen.

Errr… I think I’ll just leave it at that.

FILM REVIEW: Jimmy’s Hall

There will be many better equipped than myself to speak knowledgeably of the politics and struggles of Ireland in the early part of the 20th century. This and the power and influence of the Roman Catholic Church very much form the backdrop to Ken Loach’s most recent, excellent offering, ‘Jimmy’s Hall.’

Based on a true story, a small, rural town is offered the chance to recapture its former spirit and social heart and soul when favourite son Jimmy Gralton returns from some years away in New York City, coming home to his mother, the woman he loved and to a town that has not forgotten the man and ‘legend’ that he was and has remained in the minds of many, before he left.

Initially reticent, but under enthusiastic pressure from the locals that a decade earlier had helped Jimmy build a community hall in which they could read, sing and dance freely, out of sight of the oppressive, overbearing nannying of a disapproving church, Jimmy agrees to be the catalyst once again to enable the people to re-live former glories by re-opening the hall and thus begins the struggle between the highly influential Church and although now slightly muted, the very much indefatigable spirit of the town folk.

In true Ken Loach style, the characters are superbly well formed, very real and difficult not to take to our hearts. Jim Norton (Bishop Brennan of Father Ted fame to many) in particular is superbly well cast as Father Sheridan but in this instance, his rather draconian and dogmatic persona is anything but ‘boot up the arse’ material, instead he’s very much a figure commanding begrudging local respect, holding much influence over the town and its proceedings.

Injustices, moral victories, moments of great joy, farce and I must admit, more than a few moments when it ‘got a little dusty’ in the cinema, all blend together to make Jimmy’s Hall an excellent film and a true highlight of 2014.

I genuinely loved this; you’d need a heart of stone not to.

Once again, thank you to Greenwich PictureHouse for yet another excellent, members’, free screening.

FILM REVIEW: Tom à la ferme

I saw the strap line of a review for ‘Tom à la ferme’ just after watching the film; it read, “dark yet strangely romantic.”

I’d go along with that although I’d also add “disjointed” and “complicated” but that’s “disjointed” to the film’s advantage and “complicated” in the way that only the most dis functional of relationships can be at times, be they relationships of the family or of passion.

It’s this sort of blend of ingredients that renders us utterly unable to avert our eyes or quell our ever growing sense of intrigue and it makes for a very unsettling, yet captivating viewing experience; “captivating” being very much the key word here.

Add to this, secrets and lies, a mild case of Stockholm syndrome, misplaced love, abuse and an overall sense of deep-rooted unhappiness and that’s quite a messed up recipe.

A mother from a family ‘unit’ that’s almost entirely unravelled, grieving for the loss of a son she really knew very little about. She lives in a world of denial with an elder, psychotic son that she can barely bring herself to love. He himself harbours  a sinister past and an equally unsavoury present, in a town that has disowned them both.

…and then there’s Tom, unwittingly stumbling into the middle of it all.

Will he be the catalyst for the building of family bridges or will his own truth (bizarrely perhaps the biggest unspoken secret of all) be the final straw? The tale unfolds…

This certainly ain’t Disney, but it’s an excellently observed piece from director and lead role (Tom) Xavier Dolan and definitely one of the year’s highlights to date.

FILM REVIEW: BLUE RUIN

A reluctant, blundering vigilante hobo with tunnel vision; driven by fear and with a score to settle… that’s Blue Ruin.

It’s a gripping thriller and real edge of the seat, heart in the mouth stuff, but that’s as much to do with Dwight (the film’s main character) and his own ineptitude when it comes to the killer crunch, as it is to do with the relentless, ‘eye for an eye’ premise of the plot.

A trained assassin Dwight is not.

Jeremy Saulnier’s direction is superb, so much so that Dwight’s fears are genuinely palpable and consequently they very much become our fears too.

What would we do if plunged into this very same, no-win scenario? Would we flee and hide or face up to things with a steely determination to seek vengeance, all the while scared out of our tiny minds?

There’s really no option in Dwight’s mind and certainly no going back, as an increasingly messy trail of carnage is left in his wake.

Blue Ruin is fairly Tarantino-esque in some ways; wickedly dark, sometimes brutal,  but with the tongue always firmly in cheek.

It’s a bloody mess, but it’s bloody good!

 

FILM REVIEW: TRACKS

A 1,700 mile trek across some of Western Australia’s deserts may not sound like everyone’s idea of fun, but ‘Tracks’ is the true story of one lady, Robyn Davidson and her attempt to do just that, with an entourage of four camels and Diggity the dog in tow.

Whilst Mia Wasikowska seems excellently cast as Robyn, the film’s success is every bit as much due to our emotional investment in and  attachment to the five animals that make the journey with her. It soon becomes apparent as the terrain becomes more inhospitable  and unforgiving that it’s the animals’ reactions and instinctive behaviour under such conditions that are just as important to the adventure as the physiological and psychological issues that unfold for Robyn herself.

It’s not so much a story of wanderlust, but of the need to get away from everything and more importantly everyone, but there’s a gradual realisation for Robyn that although her journey is indeed about removing herself from the company of other people and the many negatives that they represent in her mind, it’s this intense, extended period of relative isolation, as well as chance encounters with both native Aboriginals and well meaning folk along the way, that ultimately reaffirms her need for people too.

‘Tracks’ is a beautiful film in many ways, not least for the majestic cinematography and the engaging animal scenes throughout; a visually exquisite, life-affirming, beautiful film.

 

WAYWARD WOLF: COMMENT: The Shakespeare Half Marathon 2014

Shakespeare Half Medal

Well, that was highly enjoyable and another excellent effort from the Rotary Club of Stratford-Upon-Avon for this, one of my very favourite half marathons in the running calendar, this year commemorating the would-be 450th birthday of William Shakespeare.

Perfect conditions (for the runners at least) prevailed with overcast skies, a light breeze and occasional ‘spits’ of rain, so there could be no complaints for those runners seeking a good time and… a good time.

Talking of which…

One of these days, I’ll put together a training schedule and actually stick to it; post winter malaise has been severe this year, but I had enough in the tank today to just sneak inside my previous best time, set, strangely enough, some years back on this very course, with a new personal best of 1:47:18*

*Unconfirmed officially yet, but there or thereabouts.

I’ve not run this course for a few years now and a few things have changed since last I was here. The start has moved to Church street and the finish threw me a little, taking a slightly different route through the park, but still very much the same, enjoyable course around the town and the surrounding, undulating  countryside.

Finally, two big thank yous:

Firstly, to Tina and Gary Taylor and their very excellent bed and breakfast ‘First-Night’ in Stratford-Upon-Avon. I’ve been staying there for years now and they always go out of their way to make sure everything is just as YOU need it. A 7am breakfast, especially for race day was a lovely touch and above and beyond the call of duty. Thank you Tina!

http://www.first-night.co.uk

Secondly, a big thanks to Mick and Phil who took pity on this shivering Londoner as I made my way into town early this morning giving me a lift in their van to the race start area.

For those unaware, Mick and Phil are the awe-inspiring, Dad and Son marathon running team from Stratford-Upon-Avon. Phil is disabled and Mick runs each course, pushing Phil’s wheelchair. I’ve encountered them on a few occasions (often as they’ve passed me en route, mid-run!) They’re an inspiration to us all, Find out more at:

http://micknphil-marathonlads.com/

Incidentally, Shakespeare himself crossed the line today in 2 hours, 11 minutes or so, or at least someone dressed in Elizabethan regalia vaguely resembling him did; it was hard to tell though, he had a hat on.

Wonderful occasion. Wonderful day.

FILM REVIEW: LOCKE

Everything can be fixed. There’s always a solution… Or is there?

‘Locke’ is the story of how any of us, no matter how in control of our lives we assume we are, can see the whole thing come crashing down around us through just one moment of weakness. None of us are infallible.

Tom Hardy expertly portrays Ivan Locke, a highly honourable, dependable and meticulous construction site foreman, battling manfully and methodically, as is his nature, to stay on top of his rapidly crumbling existence, as a catalogue of hellish, personal and professional logistical scenarios unfold, all of his own making.

Director Steven Knight has certainly taken a brave stance basing an entire film on just one visible character, a night drive and a series of increasingly desperate phone calls, but it works and does so convincingly.

Littered with metaphors, innovative and engaging throughout, Locke is a definite ‘must see’ for me.

 

 

 

 

FILM REVIEW: Vi är bäst! (We are the best)

Well, well, well. Some of life’s little treats sometimes come from the most unexpected of sources and a Sunday morning, free viewing of this Swedish offering, thanks to the ever excellent Greenwich Picture House Cinema, was just precisely that.

Aside from testing my poor Swedish language skills, it was an opportunity to reminisce a little following my relatively recent time spent in the wonderful land of Sweden.

‘Vi är bäst’ is a delightful, gem of a film, acted out by a young, ever so naturally talented cast that had me hooked from start to finish.

On a personal note, a particular highlight was the amusing Västerås lampooning. Västerås is a Swedish town in the province of Dalarna that I’m rather familiar with (and have absolutely no problem or axe to grind with at all, I should add).

The all girl, punk outfit improvise on the night of ‘Tomta Rock’ and re-write their ‘Hate the Sport’ anthem to instead ‘Hate the Västerås’ thus getting under the skin of some irate locals and earning the unenviable moniker of ‘Communist Cunts’ in the process! Only a dutiful Santa Claus is on hand to avert much ensuing carnage.

It’s all most amusing, but I suspect it will be lost on those unfamiliar with the territory.

“They say that punk rock is dead, well it isn’t” – and that’s the premise of this innocent, coming of age tale that’s touching, charming and amusing in equal measure.

Highly enjoyable, early 80s, Swedish fun.

Mycket bra!

 

 

FILM REVIEW: UNKNOWN KNOWN

“An absence of evidence is not evidence of absence” – the words of Donald Rumsfeld, then Defence Secretary to the George W Bush administration in his party’s defence of the WMD issue.

‘Unknown Known’ is an all attention and focus, Errol Morris documentary on Donald Rumsfeld, one of the most influential figures in shaping the last 40 or 50 years of U.S and indeed world politics.

I know I certainly had my own personal opinions of the man going into this film and to be honest, nothing has really changed having seen it except perhaps a little grudging respect that this most slippery of super-sharp, career politicians is and has been a master of what he has always done, putting a positive or at least palatable spin on the unpalatable; or should that be, making excuses for the inexcusable?

My own opinions aside (formed as much outside of Rumsfeld’s days as the Secretary of Defence  as within), how well does this ‘spotlight on one man’ documentary work as a film?

Well,  it’s cleverly put together in a mostly nonlinear fashion, using interview techniques that probe for answers without ever demanding them, instead attempting to allow Rumsfeld to fall into his own webs of spin, backed up by substantial film and television footage and indeed vast archives of memos and documents that Rumsfeld himself dictated over the entirety of his career. It’s an intriguing spectacle.

One shouldn’t fall into the trap of seeing this film as an attempt at one up-man-ship for the left over the right or Democrat over Republican in this case, for as Rumsfeld himself says (and I found myself in a rare moment of agreement), to loosely quote, “Barack Obama opposed every national security measure that George W Bush put in place in the wake of the Iraqi conflict, yet, to this day, not one of those policies has been overturned, so we must have been doing something right…”

Perhaps, or more likely it’s a prime example of both political sides being driven by one agenda politics, irrespective of what their illusory political leanings may appear to be.

That, I feel is far a far more likely scenario and maybe a lesson in there for those that choose to nit-pick at the minutiae of political policies ignoring the bigger and more obvious political picture.

Personally, I’d like to have seen some focus on the man’s heavy corporate, political leanings and affiliations; potentially as damning in many ways as the military-related subject matter, but maybe that’s for another day.

Not one to break any box office records this, but a fascinating glimpse nonetheless at a man who’s been up to his neck in the cloak and dagger, shady dealings of U.S and world politics for many a decade.

Draw your own conclusions. I have mine…

FILM REVIEW: ALL IS LOST

I, like many others, have always felt drawn to the ocean and perhaps that sways my opinion somewhat, but I doubt there will be a more engaging film this year.

‘Our man’ is the sole cast member, yet the end credits roll on forever which just goes to show you how difficult and involving it must have been to pull the intricacies of this film off convincingly, yet, Robert Redford plays his lone part imperiously throughout in this tale of nautical survival against the odds.

2013 was a fantastic year for film and 2014 is off to a cracking start*

*Yes I’m aware this was released on Boxing Day 2013. Details, details…!

FILM REVIEW: THE RAILWAY MAN

With 12 years a slave sold out and American Hussle just somehow not fitting the bill, ‘The Railway Man’ it was.

It’s decent. Strong performances across the board in a true story of war and redemption. It did feel somewhat swamped by an incessant film score and the plot did at times feel a little contrived and so I did have to remind myself that it was in fact based upon a true story (although clearly affected by A little bit of Hollywood licence, naturally!)

It certainly has its moments though, particularly a very emotionally charged ending.

All in all? Well worth a watch.

FILM REVIEW: BLUE IS THE WARMEST COLOUR

Utterly, utterly magnificent.

It was a 2013 film and that makes it retrospectively my film of the year for 2013 displacing the truly amazing ‘The Act Of Killing’, but I saw it this year and that means I very much doubt anything will come close to it in 2014.

Lea Seydoux and particularly Adele Exarchopoulos are incredible in this, Abdellatif Kechiche’s masterpiece.

I have umpteen superlatives to gush, but I’ll spare you my ramblings, suffice as to say; this really is quite simply stunning ladies and gents.

FILM REVIEW: THE WOLF OF WALL STREET

Oh yes! Classic Scorcese. Fantastically entertaining, The Wolf of Wall Street really took me back to the evergreen ‘Goodfellas’ in its style and super slick direction. A fast paced, frenetic, white knuckle ride which never loses momentum and an anti-hero that you just can’t help siding with. Again, like Goodfellas, this is a film that won’t only stand up to repeat viewing but that positively demands it and I bet it won’t lose any of its appeal in doing so! Di Caprio is of course immense, as ever.

What more can you say?

Miss this, miss out!

FILM REVIEW: Dallas Buyers Club

 

“That’s some toxic shit to put into your body… What a surprise, FDA approved”

I still remember vividly, as a kid, listening to the radio Luxembourg signal weave in and out, on a little transistor radio under my pillow and the very earliest news reports of ‘another man being diagnosed with AIDS,’ back when no one was truly aware of the widespread devastation it was going to cause. That and adverts for Cuticura, mildly medicated soap.

Seems a life time ago now, but the Dallas Buyers Club takes us back to those late 70s / early 80s days when HIV was a quick death sentence and the public’s media-fed fear was hysterical to say the least; anything but sympathetic and understanding.

Although not exactly loveable, McConnaughey’s character is a resilient and somewhat inspiring one in his battle to save both himself and others albeit helping himself, financially in the process. All this in spite of the ever politically motivated FDA. Some things never change there.

It’s excellently done and McConnaughey turns in another superb, star performance.

Quite a nostalgic one for me this and really highly recommended.

FILM REVIEW: HER

There were times whilst watching ‘Her’ that I was neither convinced by concept nor execution, but it’s a film which has been slowly evolving in my brain ever since and convincing me more and more that it’s actually a really clever piece of poignant film making. Perhaps it’s the subject matter, perhaps it’s the futuristic, contemporary backdrop; I’m a sucker for that kind of thing. Then again, perhaps it’s the sincerity of the relationship played out, no matter how unbelievable at times, resonating on a deep level. ‘Her’ when you really sit down and think about it though, is a very excellent tale of true love and loss. Some will dismiss it out of hand and I can actually understand that, but it’s one which continues to live with me long after the final credits have rolled.