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Non-Review Review: Real Steel

Well, at the very least, Real Steel confirms that Hugh Jackman is a bona fides movie star (as if X-Men Origins: Wolverine didn’t already do that). It proves that the actor can pretty successfully anchor and ground any high concept blockbuster in a charming performance, one that’s engaging and witty enough to allow the audience to overlook some of the movie’s more obvious flaws. Still, despite the rather wonderful special effects and the strong cast, I left Real Steel feeling just a little bit strange, as if I’d been watching a movie that I appreciated, but never really engaged with.

And in the neon orange corner...

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Non-Review Review: Footloose (2011)

Footloose is a strange beast. On one hand, it copies huge swathes of text from the original film, with lines spoken almost verbatim. On the other hand, the movie has the courage of its convictions, daring to update the story for modern times, adding quite a bit of modern subtext to the film. I think this approach is part of the reason the film works so well, but also its chief weakness. For all its clever insights and wonderful thoughts on the cost of security, it does wind up feeling just a tad heavy-handed. Still, it’s perhaps the best “dance” movie I’ve seen since the original 1984 version, so it must be doing something right.

Everybody cut loose!

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Non-Review Review: The Remains of the Day

It’s a sad truth that Emma Thompson and Anthony Hopkins are rarely handed roles that allow them to demonstrate their true abilities. The Remains of the Day is an absolutely stunning period drama from Merchant Ivory (which sounds far more impressive than any functional “combination of last names” really should). It’s a rather beautiful look at the classically romantic British character, but also an absolutely scathing attack upon it. It’s a brilliant examination of the inherent tragedy of the stereotypical British detachment, the capacity to maintain emotional distance in order to endure whatever life has to offer. Mister Stevens is the quintessential English butler, but he’s also one of the most tragic central characters I think I’ve seen in quite some time.

All that Remains...

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Non-Review Review: Cyrus

Cyrus is a film that it’s hard to work up passion about in either direction. That’s not necessarily a bad thing, to be entirely honest – I don’t actively dislike it or anything like that. It’s just an honest reflection on this attempt to merge the indie “mumblecore” sensibilities with more conventional mainstream movie-making. It’s funny in places, and features a great cast, but it ultimately feels far too self-assured, and more like it’s comfortable with its indie-movie clichés, rather than trying to tell its own story.

Family dysFUNction...

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Non-Review Review: The Three Musketeers (2011)

“Guilty pleasure.” That’s a phrase that feels strangely appropriate when referring to Paul W.S. Anderson’s The Three Musketeers. It’s silly and daft, and has two fairly fundamental flaws, on top of the cheesiness that’s going to divide audiences straight down the middle. However, despite these fairly central and hard-to-avoid problems, it also features a knowing self-awareness, an appealingly straight-forward approach to the fact that is so very silly, a (mostly) great cast and some rather wonderful steam-punk production design. It’s not going to appeal to everybody, but I actually warmed quite a bit to it.

Four of a kind?

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Non-Review Review: Snake Eyes

Snake Eyes could have been a much better movie than it ultimately turned out be. Brian De Palma can be a frustratingly uneven filmmaker, but the basic premise of the movie isn’t sort of promise. A murder mystery and conspiracy thriller in a crowded auditorium, with the investigating officer a corrupt cop? That’s a fairly interesting hook right there, even before you add Nicolas Cage and Gary Sinise to the mix. Unfortunately, the movie never seems entirely sure what it wants to be, ultimately serving as a random mish-mash of different elements that never add up to a conclusive whole.

In the Nic of time...

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Non-Review Review: The Inbetweeners

In fairness to The Inbetweeners, it’s relatively smartly written, well-acted by the cast involved, and entertaining – if incredibly predictable. However, I can’t help but wonder if it feels already outdated – the concept of a bunch of young British males heading to an exotic Mediterranean island as a hedonistic paradise is the kind of thing that already felt old-fashioned when shows like Ibiza Uncovered were all the rage in the late nineties, and we’ve already seen any number of movies on the topic, with Kevin and Perry Go Largeeven adapted from another British television show. The Inbetweeners has enough charm to make it almost to the end, but it just feels much more generic than it really ought to.

Not so fab four...

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Non-Review Review: Midnight in Paris

A special thanks to the IFI for sneaking us into an advance screening. If you’re interested, they’re hosting a season of actors-turned-directors through October, with Woody Allen’s Purple Rose of Cairo among those screening.

“You inhabit two worlds. So far, I see nothing strange.”

“Of course, you’re a Surrealist.”

– Man Ray takes Gil’s time-traveling confession quite well

Woody Allen has, to a greater or lesser extent, been heavily influenced by Europe in the past few years. Ignoring Whatever Works, he’s clearly been inspired by the great European cities. Vicky Christina Barcelona is perhaps the most obvious, if only because it was perhaps the most critically and commercially successful, but London has also produced works as diverse as Match Point and You Will Meet A Tall Dark Stranger. Still, if you’re going to work with the major European cities, it seems pointless to avoid Paris, the city of lights and lovers, home to generations of artists for decades upon decades, it has earned a reputation as one of the most powerful and inspiring locations on the face of the planet. Allen does his subject proud, producing what is certainly his best film since his trip to Barcelona, and one I’d rank considerably higher in my own estimation. It seems that even the cynical Woody Allen can become something of a romantic in Paris.

The importance of being Ernest...

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Non-Review Review: World’s Greatest Dad

It’s hard to talk about World’s Greatest Dad without spoiling it, but I’m going to try. I’m going to try, because – despite the fact that every article discussing the film spoils a fairly key plot development – it’s a movie that’s best seen with relatively little idea of where the plot is going. Bobcat Goldthwait’s satire on fame, the price success and the public’s desire to rewrite an unsavoury history is dark, but never unnecessarily cruel, and feels strangely relevent without ever feeling too forced or unnatural. It’s acerbic and well-observed, without ever being tasteless or needlessly offensive – which is a rather wonderful target for a comedy like this to hit. The fact that Goldthwait has given Williams one of his better roles in recent years is also quite an accomplishment.

Too cruel for school?

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Non-Review Review: Bad Lieutenant – Port of Call New Orleans

Bad Lieutenant: Port of Call New Orleans is a mess of a movie. I don’t mean that as praise, nor do I mean it as criticism. It’s just a jumble of ideas and scenes, plot contrivances and random incidents, all tied together through the central performance of Nicolas Cage as Lieutenant Terrence McDonagh. Watching the film, I’m not entirely convinced that it really works, but I do have increased respect for Nicolas Cage, who seems to hold Werner Herzog’s shattered examination together through the sheer force of his performance.

Off the cuff...

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