THE BURFORD TOP 10: GUILTY PLEASURES AKA THE FILMS I LOVE TO HATE

Posted on June 12, 2013 by MoodyB

These are films that have gaping plot holes, Pierce Brosnan attempting to sing, illogical endings, terrible acting and dialogue, Pierce Brosnan attempting to sing, and sometimes not even a particularly good story but yet still we cannot help but love them and find them immensely enjoyable as they must have some undeniable redeeming feature. This is my personal top ten of films I love to hate. If anyone has their own personal suggestions then please suggest away as I may not have seen them.

1. Independence Day (Roland Emmerich, 1996)

guilty pleasure 1

No list like this would be complete without a Roland Emmerich film and Independence Day is surely his 9th symphony! This has all the Emmerich trademarks: The illogical and incredibly cheesy ending, the casual racism of anyone who is not American, the dog survives (yes, you remember the scene!), clunky and clichéd dialogue, clichéd characters and the fact that America always saves the day.  However it is over two hours of outrageous popcorn pleasure and of course who can forget that speech…

2. Face/Off (John Woo, 1997)

guilty pleasure 2

The most outrageously audacious plot imaginable complete with flaws and gaping holes galore. However it is delivered in such a stoic, fast paced bonkers way complete with trademark John Woo over the top violence, along with Cage and Travolta having a scenery chewing competition that it somehow really works!

3. The Expendables 2 (Simon West, 2012)

guilty pleasure 3

Number one was itself a guilty pleasure, but number two flexes its huge greasy muscles and raises the bar so much higher with an I-do-not-give-a-shit growl! As much fun as number one was, it did feel a little too serious in intention though if not so much in execution. There were lame attempts at character development and making serious points. However, number two knows its place and capitalises on that. The plot is beyond basic and there are no attempts at any character development, but when all these aging action heroes are quoting each other’s films, overacting, delivering cheesy one liners and more than happy to mock themselves it is impossible not to have a smile on your face.

4. Con Air (Simon West, 1997)

guilty pleasure 4

So what would the US authorities do? Shoot down a plane filled with convicted criminals above the desert or let it crash land in Las Vegas and completely destroy the strip, probably killing and injuring a huge number of innocent people? Well, (spoiler alert) as the plane has Nic Cage, his huge mullet and a toy bunny on board then of course they will choose not to shoot it down! This testosterone fest has no concern for logic or pretty much anything but is so much fun with Malkovich, Cusack and Cage all flexing their muscles with outrageous aplomb. This film is worth a watch solely for Cage’s serious and dry as the desert delivery of the immortal line “put the bunny back in the box”. Also, what other film has the audacity to end with a notorious rapist and child murderer having such a comic and happy ending as much as Steve Buscemi’s Garland ‘The Marietta Manglar’ Greene?

5. Cliffhanger (Renny Harlin, 1993)

guilty pleasure 5

Stallone again, and Cliffhanger serves as an example of how to make an appalling film as there is everything and then some more wrong with this. A wafer thin plot, Stallone climbing mountains in just a t-shirt, various different ranges of atrocious acting, clichéd one dimensional bad guys, clunky dialogue and no characters we actually genuinely care about. However the scenery does provide a spectacular setting and there are so many memorable scenes. Craig Fairbrass’ outrageously overacted ‘soccer’ speech delivered superbly in a cockney geezer accent (his own), Frank’s death complete with Michael Rooker’s screaming, John Lithgow chewing the scenery whenever he is on screen to name a few. However for me the pivotal scene is the one that sets the standard, the opening scene. It is not just Stallone’s mumbled delivery of the immortal line “you’re not gonna die” (she does), but have a look in the background and you will see Frank (Ralph Waite) laughing his arse off! How the hell did the editors miss that one!?!

6. Mamma Mia (Phyllida Loyd, 2008)

guilty pleasure 7

What is bad about it? Well there is Pierce Brosnan’s ‘singing’, the extremely cheesy storyline, Pierce Brosnan’s ‘singing’, the lamest possible narrative simply there to embarrassingly incorporate as many Abba songs as possible, Pierce Brosnan’s ‘singing’, terrible directing and cringe worthy dialogue in between the songs, everyone over acting and then singing badly, the fact it basically feels like a fly the wall document of lots of Hollywood a-list actors having a piss up and attempting karaoke, oh and did I mention Pierce Brosnan’s ‘singing’?

What is good about it? All of the above!

Basically, it somehow works! Even if just how it does remains one of the greatest mysteries known to man.

7. Harley Davidson & the Marlboro Man (Simon Wincer, 1991)

guilty pleasure 8

In my view this is a truly underrated buddy movie and is beyond silly. Mickey Rourke and Don Johnson are having so much fun that is impossible not to like this. Plot? Well there is a kind of plot but it is best not to worry about that as the action set pieces get increasingly silly. Also, what other film has a group of men wearing long black leather coats led by an apparently indestructible Daniel Baldwin shooting machine guns in it?

8. St. Georges Day (Frank Harper, 2012)

guilty pleasure 9

The most recent addition to this list, and one of the (unintentionally) funniest films of recent years. This is a film so poorly written, poorly acted and quite frankly (no pun intended) deluded that it is pure comedy gold. The dialogue is like no other film you will ever see. The secret behind this great comedy is that Frank Harper and his mates believe they are making a serious epic gangster film, and you can tell that they genuinely think that some of the plot ‘twists’ are legitimately clever. Their stoicism, ignorance and deluded stupidity are actually beyond words. Trust me, seeing is believing and not many films make me laugh as much as this one and my life almost feels so much better for this film’s existence! Thank you Frank!

9. Lone Wolf McQuade (Steve Carver, 1983)

M8DLOWO EC004

Chuck Norris is not only the definition of manliness but his films are something else and for me this is his masterpiece. What lies behind this film’s true greatness is that it takes itself so seriously. The Ennio Morricone rip off music suggests that they think they are making a truly serious western and the god awful story line gives a platform for Norris’ ‘range’ of acting. Of course let’s not forget the iconic scene where they bury Chuck in the dessert in his truck but he still drives out and of course David Carradine’s jumper!

10. Jaws: The Revenge (Joseph Sargent, 1987)

guilty pleasures 11

In some ways this is the highlight of the franchise mainly due to Michael Caine’s where-is-my-paycheque performance. Some of his lines are incredible. There is also the god awful plot, where Ellen Brody believes the shark has a personal vendetta against her so to get away from it she goes to the Bahamas! Hmmm, I believe there is a slight flaw in that plan. The shoe string budget itself provides with ‘action’ set pieces that are pure comedy gold. This film is also worth mentioning in the same vein as classics such as Mega Piranha (2010), Mega Shark Vs Giant Octopus (2009) and the John Barrowman masterpiece, Shark Attack 3: Megalodon (2002). Its a shame I have limited myself to only a top 10!

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OZ THE GREAT AND POWERFUL (Sam Raimi, 2013)

Posted on June 12, 2013 by MoodyB

oz the great and powerful

 

Starring: James Franco, Mila Kunis, Rachel Weisz

You may like this if you like: Cirque du Soleil: Worlds Away (Andrew Adamson, 2012), The Wizard of Oz (Victor Fleming, 1939), Alice in Wonderland (Tim Burton, 2010)

Small time circus magician and all round conman Oscar Diggs (Franco), or Oz as he likes to be called is hurled away in a hot air balloon by a tornado only to find himself in the magical land of Oz. This is a land in turmoil with the evil Evanora (Weisz) having banished her sister Glinda (Michelle Williams) from the Emerald City. There is a prophecy that a great wizard of the same name as the land will save the people of Oz, and ever the conman and liking the riches that he would receive as king Diggs claims to be their wizard. Not just a conman, but also a ladies’ man, to justify her becoming the wicked witch of the west, Diggs also breaks Theodora’s (Kunis) heart. Now Diggs and Glinda must somehow lead the people of Oz into battle to retain their emerald city and stop Evanora and Theodora from ruling on fear. However, as he is not actually a wizard or indeed a particularly brave man, Diggs must rely on what he does best if he is to help the good people of Oz claim their victory.

So here we go again, another reboot of a well known story. Once again we have an attempt at an origin story that somehow has not been legally allowed to use certain characteristics of the original stories, even despite Disney attempting to take over the world these days. Well that does not seem to matter too much as this Oz is a fun enjoyable romp that is perhaps a little overlong and hollow but made with the best of intentions.

The excellent opening credit sequence attempts to set the tone and the fact that the film is in monochrome and old fashioned 4:3 ratio until we enter Oz is a nice touch but a demonstration of one of the major Achilles heels of this film.  This is a film constantly referencing the past which can be fun but makes it hard to judge this film in its own right when it almost gives off the feeling that it does not aspire for that. Oz itself is a beautifully crafted and lush landscape. However with an estimated budget of $215 million that should be a given.

Despite the 130 minutes running time surprisingly very little actually happens and the story itself feels a little flat, contrived and hollow. James Franco’s natural charisma and crooked grin are perfect for the role of Diggs but as his inevitable character arc develops he becomes a little less convincing. As a complete conman and fraud he is very hard to like at first and up to the very end we are given a protagonist with very little redeeming qualities. This also brings into question whether the title of the film is intended to be ironic.

The story involving Mila Kunis’ Theodora and how she becomes the wicked witch of the west is especially lame and hurried; even though Kunis herself does well with the little material she is given. Michelle Williams and Rachel Weisz are predictably very well suited to their respective roles. However the decision to place the same actors in both Oz and the real world characters was a strange one in my view. It suggests the whole thing may be going on inside the protagonist’s head which is quite frankly just unhelpful.

However, despite the flaws Oz is still very enjoyable fun. There could have been perhaps more laughs, especially more of the banter between Diggs and Finley (Zach Braff) his winged monkey servant. The final action set piece is very well handled and the use of Diggs’ talents done with spectacular and effective intelligence. Weisz and Williams get their chance to do battle to with genuine magic, but again Kunis has very little to do.

Overall, Oz the Great and Powerful not only has a slightly inappropriate title and will probably not live long in the memory, but it has enough good intentions and visual flair to be a light hearted and enjoyable watch.

6/10

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BURFORD BACK IN TIME: OVER THE TOP (Menahem Golan, 1987)

Posted on June 11, 2013 by MoodyB

over the top

 

Starring: Sylvester Stallone, Robert Loggia, Susan Blakely

You may like this if you like: Rocky IV (Sylvester Stallone, 1985), The Karate Kid (John G. Avildson, 1984), Top Gun (Tony Scott, 1986)

The excellently named Lincoln Hawk (Stallone, of course) is a struggling trucker trying to rebuild his life (aww!). After the death of his wife he tries to get to know his estranged son, but his wealthy grandfather (Loggia) wants him to have nothing to do with Hawk (boo!). To prove to his son that he is not a complete loser and win the truck that will keep his livelihood Hawk uses his considerable talent for the epic sport of arm wrestling (!) to enter the world championships and try to win (yay!).

This is a film that could have only been made in the 80s, with a picture like that and a film about arm wrestling?!? Is there any point in actually reviewing it? Probably not, but here goes:

Well this film is pure cheese and Stallone, never the best actor out there I guess wanted to prove there was more to him than boxing and John Rambo. So he went for a film about arm wrestling, naturally! Well this film is of course terrible; a painstakingly predictable story line, clunky and cringe worthy dialogue and an obligatory 80s techno soundtrack. However, saying that it is tremendous fun. Firstly, as a PG rated film it is family friendly and so it is one the whole can family can watch (CAN being the key word there). Of course there is some outrageously blatant attempt to make arm wrestling a metaphor for not being afraid to follow your dreams and overcome any challenges you face, but that is best ignored.

I must confess I did find it very funny and admittedly this may because I am watching it so long after it was made, but films like this do age very well as they do work as guilty pleasures. The attempts at ‘character development’ are so bad they are just funny watching them now. However, though as this is the 80s it is a little hard to tell, but I think this film does not take itself too seriously and just tries to be good natured and fun. Fun it certainly is and in the final third when we get to the arm wrestling world championships the cheesy music and montages make for extremely entertaining and amusing viewing. Yes of course there are homoerotic undertones, with plenty of scenes of sweaty men staring into each other’s eyes. However the scene where Stallone enters the final (I won’t spoil the result) is pure comedy gold.

Cheesy, predictable, a little gay and very, very 80s, Over the Top has many, many things wrong with it but is still tremendously entertaining fun. This film probably works best if you have some friends over and plenty of alcohol and I can guarantee that for 90 minutes (thankfully that is it) everyone will be entertained and be in a good mood.

5/10

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BLOOD (Nick Murphy, 2012)

Posted on June 11, 2013 by MoodyB

Blood

 

Starring: Paul Bettany, Mark Strong, Stephen Graham

You may like this if you liked: Insomnia (Christopher Nolan, 2002), Mystic River (Clint Eastwood, 2003), Shadow Dancer (James Marsh, 2012)

Joe and Chrissie Fairburn (Bettany and Graham) are two police detectives constantly living in the shadow of their father (Brian Cox) who was a brutal but highly decorated police chief. After a young girl is brutally murdered the two are desperate to uncover the identity of the killer. Joe is still haunted by past mistake he made involving lost evidence which led to a suspect being freed and committing murder. They believe they have found the culprit in local man with a past criminal record Jason Buleigh (Ben Crmpton) but do not have enough evidence to keep him in custody. Feeling humiliated and desperate to make Buleigh confess the two of them resort to extremes which have tragic consequences. Now with blood on their hands, the two of them are forced to also investigate a crime they themselves committed as well as still trying to solve the original crime.

Blood is written by Bill Gallagher and based on his 2004 TV series Conviction and though the effort he has made converting this into a 90 minute drama is commendable it also provides him with immediate limitations and restrictions. I know I am not the first to say this, but there is so much to fit into this restricted running time that everything rushes by so quickly when time was really needed to develop these very troubled characters. The script itself is still a strong one with subtext and body language used very effectively but if we are to care about these characters (which do have compelling individual stories) then we need to be given longer with them. This is especially the case as this is not really a crime thriller as such, more a psychological drama on the human condition. The whole police and murder element plays more of a narrative tool of telling a story that contains themes of family, guilt, obsession and how we can be our own worst enemy. I can imagine they simply did not have the budget to extend the running time and were worried that a longer running time may put people off, but for me even an extra twenty minutes of detailed character development would have made a difference.

To say this film does not work would be doing it an injustice as it is a very watchable and very well made thriller. It does feel cinematic visually and there is a real genuine atmosphere of desperate misery to the whole thing with the excellent cast all giving committed turns. All characters involved do have genuine depth but are simply not given the time needed. There are some huge moments from the past that have had deep effects on the personalities of these characters but they are mentioned as quickly as possible like they are an inconvenience which just does not allow us to feel the empathy for these characters that we probably should. This means that at first we find it hard to care for Bettany’s character and cannot sympathise with his extreme actions. As the plot develops we do find ourselves caring for them and empathising with their situation and the film creates a tense atmosphere that genuinely tightens the noose around the neck of all these characters.

Overall, Blood is a well written, acted and made film that is both compelling and watchable. However for a film that should be a character study that is more of a slow burner, it develops at such a breakneck speed which only serves as a constant reminder as to why the TV series was probably better and more fulfilling.

6/10

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BURFORD BACK IN TIME: BLOOD CREEK (Joel Schumacher, 2009)

Posted on June 10, 2013 by MoodyB

blood creek

Starring: Henry Cavill, Dominic Purcell, Michael Fassbender

You may like this if you liked: Outpost (Steve Barker, 2007), Dead Snow (Tommy Wirkola, 2009), Devils of War (Eli Dorsey, 2013)

Originally made in 2009, but shelved and then released here straight to DVD in 2011 to capitalise on Cavill and Fassbender’s rise (sounds ominous doesn’t it?) Blood Creek could even be accused of starting the current trend of Nazi zombie films. I hope Joel Schumacher is proud of himself! I was going to confess that I bought this from Poundland (yes for £1) but I personally thought it was quite a shrewd investment. Set in modern day West Virginia Blood Creek tells the story of Evan Marshall (Cavill) a paramedic whose brother Victor (Purcell) mysteriously disappeared several years ago. When Victor suddenly reappears one night he tells Evan to pack the rifles, Evan asks no questions (!) and does so and the two of them seemingly go on a mission to get revenge on those that captured Victor. As we had learned in quite a long monochrome prologue, in 1936 a family was visited by Nazi Professor Richard Wirth (Fassbender – Yes!) who specialises in the occult and experimenting on reincarnation. It turns out that Wirth has been experimenting all these years on individuals and soaking up their life to keep him alive, and Evan was the one that managed to escape. Now they must somehow kill this Nazi mega zombie before he manages to become powerful enough to be completely indestructible and probably try to take over the world or something. Also he can bring the dead back to life to fight for him so that should prove quite a challenge!

Still reading? I am impressed. Well as much of a cheap nasty B movie as that sounds, and yes of course that is exactly what it is, I have seen far, far worse. Blood Creek is pure come-in-from-the-pub-while-eating-a-takeaway-stuff, but is admittedly tremendous fun. This film must have had a substantial budget and that is what probably makes it so outrageously entertaining as admittedly there are no lulls in the pace and the increasingly gory (and even more increasingly silly) action does not really stop. To criticise this film for defying logic would be like criticising Richard Curtis for his films being predictable and cheesy. Joel Schumacher was obviously having fun making this film and it never takes itself seriously at all (thank god).

This is daft, gory fun and the decent action along with half decent turns from Cavill and Purcell make this a lot more watchable then anyone would ever believe. Fassbender hams it up perfectly complete with German accent and makes a great Nazi zombie hybrid type thing. If you want some gore, laughs and action served up in equal measure then Blood Creek is one of the better B movies out there. There are a lot of Nazi zombie films around these days but due to its budget and some decent actors this is probably the best of them.

5/10

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BURFORD BACK IN TIME: THE MOUSE THAT ROARED (Jack Arnold, 1959)

Posted on June 10, 2013 by MoodyB

the mouse that roared

 

Starring: Peter Sellers, Jean Seberg, William Hartnell

You may like this if you liked: Dr. Strangelove (Stanley Kubrick, 1964) Murder By Death (Robert Moore, 1976) Passport to Pimlico (Henry Cornelius, 1949)

The Duchy of Grand Fenwick, situated in deepest Europe, is the smallest country in the world but thrives due to high demand for its unique wine. When an imitation is produced by the USA their economy suffers disastrous consequences. The Queen (Sellers) and the Prime Minister (Sellers again) decide the best course of action to rescue their economy is to declare war on the richest and most forgiving country in the world (USA) but lose and live of the very generous aid the ever charitable Americans will give them. After deciding to ‘bravely’ lose the war they decide to send Tully Bascombe (Sellers once again) to lead on army to New York to immediately surrender. Unfortunately when the army arrives there is a Governemnt ordered mass evacuation due to the invention of a Q bomb. Somehow the Gran Fenwick army capture the Q bomb and its creator and win the war and the world’s greatest powers descend on Gran Fenwick to become their ally. They are now one of the world’s most powerful nations, but what the hell are they going to do with all this power?

Peter Sellers is in my view one of the greatest comic actors of all time and The Mouse that Roared is predominantly an advert for his incredible talent. He plays three characters here and as usual his comic timing is spot on. However there is more to this film than that as contained within the narrative is some biting satire that is as relevant today as it was back then. The whole take on world wars is still relevant and the scene when diplomats from various countries play a monopoly style game called ‘diplomacy’ proves that there is genuine wit and just a total reliance on Seller’s slapstick comedy. Of course the comedy does feel a little simple and a little dated, and some scenes drag a little due to the fact this film is over 50 years old but it is still tremendous silly fun. At less than 90 minutes this film does not outstay its welcome and is extremely easy to watch. If you are looking for something to watch that is both fun but genuinely amusing too then The Mouse that Roared is perfect.

7/10

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BEHIND THE CANDELABRA (Steven Soderbergh, 2013)

Posted on June 10, 2013 by MoodyB

behind the candelabra

Starring: Michael Douglas, Matt Damon, Rob Lowe

You may like this if you liked: Milk (Gus Van Sant, 2008), Kinsey (Bill Condon, 2004), Wilde (Brian Gilbert, 1997)

Based on an autobiographical novel, Behind the Candelabra tells the story of the six year relationship between superstar Las Vegas pianist Liberace (Douglas) and his young lover Scott Thorson (Damon). Thorson is a young dog handler brought up in a foster home and after first meeting Liberace the two of them strike up an immediate bond that is both passionate and genuinely intimate. At first Scott cannot get enough of the excess but after a while he finds it suffocating and Liberace’s unique way of living too much. Due to Liberace’s sexuality being a secret, Scott can never talk to anyone about the truth and he is even forced to lose weight and have plastic surgery to look a little more like his lover.

Branded as ‘too gay’ for a cinematic release in the states, Steven Soderbergh’s apparently (once again) final film as director is receiving a deserved theatrical release here in Europe. Credit has to go to HBO for funding this as what has been produced is a thoroughly entertaining, well made and extremely well acted film. There does not appear to be a huge budget and admittedly as most of the film is set in doors with very steady camerawork it does not feel particularly cinematic. The story itself also contains very few dramatic twists and turns and will hardly have anyone on the edge of their seat. However that for me is irrelevant as this a film about performances and indeed performance, and keeping the whole thing together and giving the film so much emotional depth are Damon and Douglas giving career best performances.

The role of Liberace would be so easy to get wrong, but yet Douglas seems to get it exactly right. Playing a gay man pretending to be straight but performing quite a camp show is most definitely not easy. It would be so easy to overact and make the character appear a clichéd caricature but Douglas captures perfectly all the unique characteristics of a deeply secretive man producing a naturally charismatic and very likeable character, despite all his obvious flaws and vanities. Admittedly the film could have dived deeper into Liberace’s mind and his back story but he is kept suitably enigmatic. The film is essentially presented throw Thorson’s eyes and we only know what Scott does about this very unique man.

Despite having less material and his character of Scott being less flamboyant than Liberace Matt Damon gives emotional substance to his role which was always going to be crucial for this film to work. It would be so easy to let the excesses of this lifestyle get the better of you when it is such a dramatic culture change and despite his character flaws, Scott is an extremely sympathetic character.

Behind the Candelabra also works as a commentary on the shallowness of the celebrity lifestyle and the whole culture itself and due to the repression of Liberace’s true sexuality does contain bigger themes. Dan Akroyd’s selfish manager and Rob Lowe’s sleazy plastic surgeon are very effective at depicting just how hollow and vain the whole culture is. However these are never overdone as this would distract from what is essentially a story of one man. The tone and style of the film is consistently kitsch and always fun, and certainly remains extremely watchable and entertaining throughout.

When the pressures of the lifestyle take the inevitable strains on Scott and Liberace’s relationship again the plot takes no dramatic twists, but both characters provide the emotional substance to keep us caring. Towards the end there is also a particular scene that contains genuine emotion and compassion giving the whole film an emotionally satisfying conclusion.

Immensely enjoyable and watchable, Behind the Candelabra is held together by two superb performances providing a fascinating depiction of a genuinely fascinating character.

7/10

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NEIGHBOURING SOUNDS (Kleber Mendonça Filho, 2012)

Posted on June 10, 2013 by MoodyB

neighbouring sounds

 

Starring: Irma Brown, Sebastião Formiga, Gustavo Jahn

You may like this if you liked: Home (Muzaffer Özdemir, 2011), Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011), Elena (Andrey Zvyagintsev, 2011)

Neighbouring Sounds tells the intertwining lives and individual stories of the middle class residents of a street in Recife, Brazil’s fifth largest city. With their own personal anxieties and fears in a country dominated by class division and fear, they hire a private security firm to look after their street which brings both feelings of safety but new anxieties.

For me personally, Neighbouring Sounds is at its most effective when you think about it after seeing the whole film. In fact while writing this review I have grown to like the film even more as I have thought about it. This may be partly down to its ‘unconventional’ narrative; do not expect character arcs or narrative closure. For me this is an extremely effective depiction of themes that dominate throughout the narrative. These themes are of fear and anxiety that appear to be an everyday occurrences living in a Brazilian city. This is also a fascinating depiction of a different Brazil that most of us in the Developed World rarely see. We are used to seeing stories of the poverty and drugs of the shanty towns, but as one of the worlds emerging markets Brazil will inevitably have a growing middle class. Neighbouring Sounds provides in my opinion a compelling and almost educational exploration of a society that is evolving and the new social challenges this new Brazil faces. The middle classes may have the wealth, but still their lives seem to be dominated by as much anxiety, paranoia, uncertainty and fear as those suffering poverty. In fact it seems that having money only brings more worry into their lives.

The tower blocks the characters live in feel and look like expensive prisons, characterless dull grey buildings that even have bars on the windows. The films camera work depicts perfectly this feeling of isolation and claustrophobia with many scenes behind fences and grated doors. At 131 minutes this is a long film and does require effort and attention. If you have had a long day and are feeling wiped then I would not recommend sticking this on, but if you want a film that challenges and informs in equal measure using subtle cinematic techniques then this fits that criteria perfectly. I must confess that when watching it I found certain scenes a little boring and did not see the point at the time. However it was then when analysing the film overall that I realise that actually every scene is significant at exploring the narrative’s central themes and ideas. Each character’s individual story and place in the power structure of this street when taken into context of the entire film appears to possibly represent the changes that Brazil as a whole is facing as a developing economy. Some of these characters concerns seem a little pathetic in the grand scheme of things showing that maybe some of these people live a hollow and sheltered existence that can come with never having money problems. However, life always presents problems and challenges and sometimes having money can generate different and sometimes more challenging problems, especially in such a divided society like Brazil.

There are a few moments that show the past and aerial shots showing the shanty towns that are literally next door the other side of a huge fence. This shows a country divided where a majority of the population are being left behind and this will only inevitably cause a divided and conflicted society, pretty much run on fear. The characters who work for the security firm have their own individual stories to tell and also play a significant role in several plot developments, but I will not reveal those of course.

Neighbouring Sounds does require effort and patience, but this is amply rewarded by a film that explores one universal theme, fear. Using sound, camera work and metaphors to maximum effect, this is a film that provides a fascinating and informative exploration of an expanding social class in Brazil and perhaps also the shallowness of thinking anyone can buy happiness and peace of mind.

8/10

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ROBOT & FRANK (Jake Schreier, 2012)

Posted on June 9, 2013 by MoodyB

robot and frank

 

Starring: Frank Langella, Liv Tyler, Peter Sarsgaard

You may like this if you liked: Song for Marion (Paul Andrew Williams, 2012), The Best Exotic Marigold Hotel (John Madden, 2011), The Guilt Trip (Anne Fletcher, 2012)

Set in the near future, Robot and Frank tells the story of Frank (Langella) an elderly ex cat burglar who lives alone with a gradually diminishing memory. Unable to care for him due to living a distance away and due to Frank’s refusal to move to a retirement home, Frank’s son Hunter (James Marsden) buys Frank a robot (voice by Sarsgaard) to look after him. This being the future, this robot is able to care for him like another human being and is just as intelligent and able to think and converse for itself. At first extremely reluctant, Frank comes to like the robot and utilises the slight flaws in its programs to teach it to help him commit a jewellery heist on the yuppies who want to modernise his beloved library to help him roll back the years. However with his increasing memory loss and dementia, Frank faces greater challenges to deal with and learns more things about himself than he ever wanted to anticipate.

Quite a strange concept isn’t it? Well it certainly is, but for me this film surprisingly works. There is quite a demand it seems these days for films about ageing, referred to as the so called ‘grey pound’ and Robot & Frank contains the same fundamental melancholic themes associated with these films, but certainly deals with them in a slightly different  and ultimately very effective way. Of course the plot development involving Frank’s relationship with ‘Robot’ is predictable, but somehow avoids the normal clichés due to a very strong and witty script. Other than that this is a refreshingly original and quirky plot full of surprises that is a very enjoyable watch from start to finish.

Despite the sci-fi element of the plot, this is dealt with in a very matter of fact way and we pretty much straight away accept that element of the plot. There are many slightly fantastical developments in the plot, but the tone is consistently a mixture of melancholic and quirky making this forgivable. There are maybe a few developments in the plot that are a little forgettable, but overall they are always predominantly depicted in a fun quirky almost caper like tone.

The more serious melancholic themes associated with old age are never forgotten and these are dealt with genuine sentiment avoiding over emphasis or cliché. The relationship between Frank and ‘Robot’ for me actually developed into a genuinely sentimental one as themes of loneliness, companionship and an ability to accept a changing world are dealt with in a very effectively and a very involving way.

The acting from the entire cast is superb and perfect for the tone of the narrative. Langella captures the various emotions his character would be feeling perfectly. Peter Sarsgaard’s voice is perfect and the best robot voice since Kevin Spacey in Moon. The supporting cast of Marsden, Liv Tyler and Susan Sarandon are also very effective in their individual roles.

My only criticism is that the character of Frank is a little inconsistent, I know this may be partly due to his condition but there are a few occasions when he is actually hard to like due some of the things he does. There is also a more dramatic moment towards the end which perhaps added very little. However, Robot & Frank is otherwise a really enjoyable and genuinely sentimental film.

A slightly bizarre concept that surprisingly works; Robot & Frank combines quirky fun and genuine sentiment very well to produce an original take on what it must be like to face old age. A witty script and effective performances provide a really enjoyable watch.

7/10

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THE LIABILITY (Craig Viveiros, 2012)

Posted on June 8, 2013 by MoodyB

the liability

 

Starring: Tim Roth, Jack O’Connell, Talulah Rilay

You may like this if you like: Blitz (Elliot Lester, 2011), The Hit (Stephen Fears, 1984), Down Terrace (Ben Wheatley, 2009)

19 year old Adam (O’Connell) is a tearaway teen that tries the patience of his mum’s gangster boyfriend, Peter. After Adam rights off his expensive Mercedes, Peter decides to give him a job so he can start paying him back: To work as a driver for a ‘business associate’, Roy (Roth) who ‘fits kitchens’. However Roy is of course a hit man with plans of this being his last job and things start off smooth but when a crafty and mysterious Latvian woman (Riley) witnesses their ‘job’ events spiral out of control leading to a dramatic and tense game of cat and mouse.

First, I feel it is necessary for me to give a word of warning to anyone who reads the back of the DVD cover while perusing the DVD aisles. Those clever people in marketing appear to be attempting to sell this film as something it is not. They seem to be describing The Liability as some kind of dark, intense action thriller that ‘fans of Kill List will love’. Well, it is nothing like Kill List as the tone is actually quite tongue in cheek and The Liability was more in my view a darkly comic thriller. This tone seems intentional and I actually felt the film was better and much more enjoyable for it. The story developments are quite predictable with only a couple of real surprises and I think it would be fair to say they did not have the budget to make it a more explosive action packed thriller. In this case Craig Viveiros and screenwriter John Wrathall made the right choice to add some dry humour. There is a slight tongue in cheek tone that is definitely there throughout the entire narrative and this really works in the film’s favour. The Liability will not exactly have you on the edge of your seat but for me it is a surprisingly watchable and enjoyable film.

One of the strengths here is the characters are very likeable; Jack O’Connell is at first a little annoying but does actually become quite likeable and endearing. Tim Roth gives a really good performance that is darkly charismatic and slightly bordering on parody, but it somehow works really well and keeps the whole film together. Peter Mullan overdoes it slightly in his role, again making his character bordering on parody, but as it kind of fits with the whole tone of a film that appears not to take itself too seriously at all then it is just about forgivable. Talulah Riley’s character is the spanner in the works that keeps the plot plodding along and she delivers a quietly effective and very watchable performance.

At only 82 minutes The Liability is a film that does not outstay its welcome and it is obvious that with a bigger budget they could have potentially done more in terms of action and maybe plot. I would not suggest anyone rushes out to watch it, but it is entertaining enough and surprisingly funny. There are most definitely worse things to fill 80 minutes. Hopefully next time Viveiros and Wrathall will be given a bigger budget, and then we shall see what they can really do.

5/10

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