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Non-Review Review: The Hangover, Part III

There was a time when The Hangover seemed like a breath of fresh air. It wasn’t so much an original story or set-up. Rather, it was a devil-may-care attitude and unrepentant immaturity. It was bold and it was willing to do absolutely anything it needed to in order to get a laugh. It worked because of that sheer commitment and energy, energy that is mostly absent from this final instalment. “Leslie Chow is madness,” a character boasts at the climax of the film, talking about one of the franchise’s popular recurring characters – but he may as well be talking about the film itself. “You don’t talk to madness,” he insists. “You lock it in your trunk…”

It’s a nice call back to the very first film and the first time we met Ken Jeong’s “Mr. Chow”, but it also speaks to the weaknesses of The Hangover, Part III. Somewhere along the way, the madness was lost. The high-octane “anything can happen” spirit of the original film leaked out of the two sequels. I’m fonder of The Hangover, Part II than most, but it is a cheap imitation, a repeat of a joke that was hilarious the first time and passable a second.

It’s to the credit of Todd Phillips that he doesn’t try to emulate the same formula a third time. I appreciate that a few efforts are made to push the trilogy into a shape resembling a circle, but it feels so much more contained and so much more rote than it did all those years ago.

I wouldn't get too excited, Alan...

I wouldn’t get too excited, Alan…

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My 12 for ’12: The Dark Knight Rises & Blockbusters with Brains…

I’m counting down my top twelve films of the year between now and January, starting at #12 and heading to #1. I expect the list to be a little bit predictable, a little bit surprising, a little bit of everything. All films released in the UK and Ireland in 2012 qualify. Sound off below, and let me know if I’m on the money, or if I’m completely off the radar. And let me know your own picks or recommendations.

This is #1

There’s a popular idea that just because a movie makes a lot of money, or just because it attracts a large audience, or just because it features fantastical elements, that it is somehow unworthy of discussion and debate. The Dark Knight Rises has been a divisive film, sparking a lot of debate about its relative merits and those of Christopher Nolan, the director and co-writer. Following on from the massive success of The Dark Knight, Nolan opted for an unconventional approach for his sequel. Structurally and tonally, The Dark Knight Rises represented a significant departure from The Dark Knight. While the The Dark Knight had been an urban crime thriller exploring the wake of 9/11, The Dark Knight Rises was an epic social drama pondering how divided American society had become.

It isn’t quite as fantastic as The Dark Knight, but it was strong, bold, vibrant and challenging film making – proof that budget does not belie brains.

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My 12 for ’12: Silver Linings Playbook & Earning Your Happy Ending

I’m counting down my top twelve films of the year between now and January, starting at #12 and heading to #1. I expect the list to be a little bit predictable, a little bit surprising, a little bit of everything. All films released in the UK and Ireland in 2012 qualify. Sound off below, and let me know if I’m on the money, or if I’m completely off the radar. And let me know your own picks or recommendations.

This is #7

The term “uplifting” is thrown around a lot these days. Happy endings are very funny things. They seem to be a given for most major Hollywood films, and so there’s a degree of predictability to them. And yet, despite that, there’s also usually a sense that they are somewhat contrived or manipulated or otherwise the result of a rigged game. In order to raise the stakes, films will generally put our characters in peril, and create a massive sense of jeopardy for our heroes to overcome in order to secure the inevitable happy ending. However, as time goes on, we become increasingly cynical and sceptical, so those stakes get higher and higher. The ending remains guaranteed, so making the threat so much more menacing means we have to suspend greater and greater levels of disbelief in order to accept that everybody involved lived happily ever after.

Your ability to accept Silver Linings Playbook will directly correspond to your ability to accept an improbably neat happy ending. However, what distinguishes David O. Russell’s latest film from the bulk of the other “uplifting” examples of modern cinema is the fact that the stakes manage to seem far more emotional and psychological than literal and tangible, and that the characters involved feel so much more real.

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Stuck in the Moment: The Mood for a (Particular) Movie…

I’ve been thinking a bit, lately, about how I form an opinion about a particular film. Of course, it should be somewhat objective. I should be able to take out any possibly subjective influences and divorce a movie from any of those countless outside factors, to judge it entirely on its own merits. (Or, as the case might be, its lack of merits.) However, I am honest enough to admit that this isn’t always the case. There are any number of reasons I might feel a particular way about the movie. I find J. Edgar interesting to place in the context of Clint Eastwood’s body of work. I approached Cabin of the Woods with an admitted fondness for cheesy horror. I’ll admit that these facets colour my opinions somewhat – I am more likely to respond to a film that resonates with me on something I feel strongly about.

However, sometimes that influence factor isn’t anything to do with the movie in question at all. Sometimes, I can’t help but wonder, whether my opinion is down to something as arbitrary as the mood I was in when I watched the film.

I will not have my tastes subjected to this sort of double-guessing!

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Non-Review Review: Silver Linings Playbook

It’s very hard to find a movie that deals with mental illness in a compassionate way, let alone without descending into cheap emotionally-exploitive hokum. The story of Pat Solitano, coping with his “undiagnosed bipolar” disorder by returning home, Silver Linings Playbook manages to be sincere without being cheesy, to be warm without being soft and to be human without being melodramatic. Returning to his parent’s house, Pat stumbles across Tiffany, another “broken bird” dealing with her own personal issues. Silver Lining Playbook is the story of two extremely damaged people helping one another in the most human way possible.

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