Thursday, 27 February 2020

February 27th
The Invisible Man
Motherless Brooklyn
Miss Fisher and the Crypt of Tears
The Professor and the Madman

Two stand-out films release this week, plus two that get a generous "maybe" from me. I always note with interest the divergent critical opinions on certain films. As I always say - you be the judge!

The Invisible Man
Director: Leigh Whannell 
Length: 129 mins
© Universal - a  thrilling film that successfully scared me
out of my wits 
The first film version of this book, based on an HG Wells sci-fi novel, was in 1933. This latest remake takes an inspired modern twist, putting it squarely in the #metoo age, with the main female character being a victim of an abusive husband. Cecilia (Elisabeth Moss), escapes from her controlling husband Adrian Griffin (Oliver Jackson Cohen), a renowned genius is the field of optics. She is helped by her sister Emily (Harriet Syer), and friend James (Aldis Hodge), a policeman. But can she really ever escape the clutches of her abusive ex? For me, a good scary film is all about what you cannot see, and this one, obviously, has that element in spades. Whannell is a genius with his camera angles and subtle sounds and movements - enough to terrify the wits out of me. When Cecilia becomes certain she is being stalked by someone she cannot see, but no-one else believes her, her sanity is put into question, which provides another powerful element of a strong horror tale. Moss, iconic star of the Handmaid's Tale, is terrific, as is the entire cast. There's a goodly dose of gore and violence towards the end, and the film's denouement ventures squarely into the typical American style of hunt/chase/kill, but overall it is a stand-out thrilling, chilling tale. It even presents a credible scientific premise to invisibility (maybe), while the taut twists at the end keep one on the edge of the seat till the final scene. I loved it!
4 - highly recommended!

Motherless Brooklyn
Director: Edward Norton
Length: 146 mins
© Roadshow - noir detectives, racial discrimination,
murder and mystery - and an unforgettable
lead character. 
New York in the 1950s: Lionel Essrog (Edward Norton) suffers from Tourettes and OCD, but has a brain like a steel-trap for remembering detail. He works for a rundown detective agency in New York. When his boss Frank Minna (Bruce Willis) is killed, Lionel determines to track down who did it and why. His search leads him to property developer Moses Randolph (Alec Baldwin), and to Laura (Gugu Mbatha-Raw), who is protesting the demolition of Brooklyn community housing, and whose relatives run an atmospheric jazz nightclub. Based on a 1990s novel, but reimagined as a noirish "gumshoe" detective story, this is a tour-de-force for Norton, (co-writer, director and star!) whose tic-driven character is mesmerising. Mbatha-Raw is magnetic in an intelligently written female role, while Willem Dafoe and Bobby Carnevale add to a top-notch cast. Every small role is equally compelling and 100% credible. The themes of big business, power, corruption, greed, politics and disregard for vulnerable groups are as relevant today as then. The period is gloriously recreated, with cars, costume, lighting and camera angles spot-on. Add in a brilliant, evocative soundtrack of jazz (some of it as live performances), and you have a film that is already one of my top so far this year.
4.5 - wholeheartedly recommended!
(Since some churlish critics seem down on it, I recommend you to this longer piece which totally expresses my feeling for this film: https://www.filmink.com.au/reviews/motherless-brooklyn/ 

Miss Fisher and the Crypt of Tears
Director: Tony Tilse
Length: 101 mins
© Roadshow - a stunning-looking film that 
misses the mark for me
Melbourne Detective Miss Phryne Fisher (Essie Davis) is in Jerusalem in 1929 to rescue a young Bedouin girl Shirin (Isabella Yena) who has been falsely imprisoned. From there she goes on to unravel a desert mystery, involving emeralds, curses, and the disappearances of Shirin's tribe. Full disclosure: I've never watched the TV series, yet I'm told it's a monumental hit with its world-wide die-hard fans, who have contributed almost $1 million in kickstarter money to help the film get made. Maybe my ignorance colours my view of the film. Respected colleagues tell me it is a spoof; I got no sense of that at all. To me it's a derivative take on an Indiana Jones style adventure mystery, with a plot nowhere near as good and confusing to follow, made worse by wooden scripting and dialogue. Good points however must be noted - the production is a triumph - it looks glorious in crisp vibrant colour, Phryne's costumes are eye-catching, and the camels and desert scenes steal the show. Nathan Page as Phryne's repressed love interest Detective Jack Robinson, and Rupert Penry Jones as a London cop hanging about in British-mandated Palestine both come over as bland, while the "action" is twee, contrived, and has little momentum.  Probably the less said from me the better; it's possible I've entirely missed the point, so two possible ratings:
2 - you've got better things to do with your time!
3.5 - Phryne fans should definitely go see it!

The Professor and the Madman
Director: Farhad Safinia
Length: 125 mins
© Transmission - an unlikely friendship results
from a monumental task
Prof James Murray (Mel Gibson) takes on the daunting task of compiling the most comprehensive dictionary ever. He co-opts volunteer contributors from all over the world. Dr Minor (Sean Penn), contributes thousands of words, but when it comes time for acknowledgments it seems the Doc is a murderer incarcerated in a lunatic asylum. (He's suffering schizophrenia, induced by his experiences in the US Civil War.) A friendship between the men develops, along with a questionable romance between the widow Merrett (Natalie Dormer), whose husband Minor accidentally murdered. Based upon the true story of the compiling of the Oxford Dictionary in 1857, this (possibly) fascinating tale makes for less than fascinating viewing.  Yes, there are interesting snippets about language and the origins of words, and the overall story has potential, but it may be just too hard to bring such a literary feat into the visual realm of gripping cinema. Sean Penn is impressive (is it overacting, or the credible embodiment of lunacy?) but Gibson's Scottish lilt borders upon incomprehensible. However, production values are terrific, as is cinematography, and the insight into the vile treatment of the mentally ill is probably a high point of the film. Eddie Marsan, Jennifer Ehle, Stephen Dillane and Steve Coogan are notable additions to the cast, but overall for me the film fails to soar.
2.5 - maybe!

Tuesday, 18 February 2020

February 20th
Richard Jewell
In My Blood It Runs
Transitions Film Festival
Fantastic Film Festival

As well as one new doco release, and a fine feature film, two excellent (totally different) festivals come to our screens this Thursday. I've decided to publish early this week, which should give you the chance to do your research and figure out what you may wish to choose from the festivals. 

Richard Jewell
Director: Clint Eastwood
Length: 129 mins
 © Warner Bros/Roadshow - an amazing true story of
injustice. Top performances here. 
In 1996, as Atlanta prepares to host the Olympic Games, a bomb explodes in Centennial Park. Security guard Richard Jewell (Paul Walter Hauser) helps to save many lives, and is lauded as a hero. But heavy-handed FBI  investigators, led by Tom Shaw (Jon Hamm) devise a half-baked theory that heroes are often the perpetrators, and that Jewell fits the profile. Soon the hapless man's life becomes a living hell. Hounded by the FBI, crucified by the press, he turns to off-beat attorney Watson Bryant (Sam Rockwell), to help prove his innocence. Here's another film based upon a true story, and proof (if it was needed) that Eastwood has not lost his mojo. The film is staunchly anti-FBI tactics, and gives the media vultures a huge serve, especially Kathy Scruggs (Olivia Wilde), an obnoxious journalist who will do anything for a story. Eastwood extracts the most incisive performances from his cast. Hauser is both restrained and mesmerising as Jewell, Rockwell magnetic as the kind-hearted, generous-spirited lawyer, while Oscar-nominated Kathy Bates gives one of her best performances as Jewell's mum. Topped off with a fine score, this film raises important issues of justice, accountability, and compassion.
4 - highly recommended!

In My Blood It Runs
Director: Maya Newell
Length: 85 mins
The film has an intricate program of screenings and Q & A sessions. In Melbourne it runs for one week at Cinema Nova, and one-off screenings elsewhere. For other cities and states, visit:
https://inmyblooditruns.com/screenings/

 © Fan Force - through a child's eyes - the world as it is
for our Aboriginal people 
Dujuan is a ten-year-old Indigenous kid, growing up near Alice springs. He speaks English plus three First Nations languages, but is considered a failure in the school system, where he plays up and runs away. By comparison, on his ancestral homelands, he is confident and knowledgeable, and is considered to be a young healer who has inherited his powers from his ancestors. This critically important doco sees the complex issues raised in the film through the eyes of Dujuan and his family. The magnitude of the issues alluded to in this film is overwhelming - the role of indigenous people in their own education systems, the injustice of juvenile detention centres (with horrendous rates of Indigenous incarceration), white society imposing its education and values upon Indigenous society, and at the heart the love and support of close-knit families looking for better ways to navigate a bi-cultural society. The film has already screened at many overseas doc-festivals, and is critically important viewing for all Australians who hope to understand the vexatious issues surrounding our relationship with our First Nations people.
4 - highly recommended!

The Transitions Film Festival
February 20th - March 6th 2020
Cinema Nova, Astor, and a few smaller venues in inner Melbourne
For more information and other states visit: www.transitionsfilmfestival.com/
For a full Melbourne program, visit: www.transitionsfilmfestival.com/melbourne-program-2020/

With the tagline "Visions for a Better World", this is one of the most inspiring and possibly important festivals out there. The Transitions Film Festival showcases groundbreaking documentaries about social and technological innovations, revolutionary ideas and those trailblazing people who are leading the way to a better world. It is the only festival of its nature in the Australia, and one of the few in the world that focuses upon the challenges of our time, and their possible solutions. More than 30 experts are involved in panel discussions which accompany the films. 

I've been fortunate to preview a few:


Chuck in deep conversation with robotic
girlfriend, Harmony
Hi AI: This is a fascinating doco on the human/robot interactions that are already taking place around the world. In Texas, lonely Chuck picks up Harmony, a robot girlfriend he takes with him on a road trip. Harmony has been programmed to trot our some pretty intellectual conversation pieces. It's not the sort of sleaziness you might expect; more a touchingly poignant comment upon Chuck's loneliness and desperation for connectedness.  In Japan Grandma has robot boy Pepper delivered to her house. She tries to converse with him, to keep her brain alive, but the mischievous fellow, who has been programmed to speak with a child's voice, is no true conversationalist. In shopping centres in Japan robotic receptionists interact with customers. Throughout the doco, researchers and scientists show off their progress, and demonstrate the advancements they are making in this technology that is already on our doorsteps. Compelling and thought-provoking stuff. 

The Whale and the Raven: How do small communities achieve a balance between preserving their natural treasures, and coping with the promise of an economic boom that will threaten the very things they wish to protect? Remote Gil Island, just off British Columbia, is a haven for humpback whales and other endangered species, but a proposed thoroughfare for tankers carrying Liquid Natural Gas is threatening the pristine ecosystem. This doco looks at how First Nations people and ecologists are working to prevent a possible disaster. Footage of the whales and the natural beauty is wonderful, and the story is highly relevant to so many parts of today's world.

Magic Medicine: If you've seen Fantastic Fungi at Cinema Nova recently, you'll know of the possible powers of using Psylocybin, the active ingredient in magic mushrooms, for medicinal purposes. This doco tracks several depressed people, who are undergoing the first approved medical trial of the drug. It's quite an insight into the nature of depression (which many don't understand within themselves), and of the "trips" they go on to see if they can reconnect with something in their pasts which is causing their current problems. Fascinating stuff!

The Story of Plastic: Yeah, yeah, we all know we should be recycling our plastic. But according to this alarming doco, that is not the solution; we should be stopping plastic at its source, and that source is the global corporations of the fossil fuel industry, pushing the endless creation of  plastic to keep that industry afloat. This one is a real eye-opener, and highly disturbing. The visuals of choked rivers, waterways and oceans, set against the greedy corporate machine should get every viewer stirred up and pushing for change.  

Push: Anyone trying to buy a house knows how prices are skyrocketing, making it unaffordable for many. But even worse, the opportunity for low-income folk to live in affordable rental accommodation is being destroyed by faceless greedy corporate monsters, who buy up apartment blocks that are used for cheap housing, gentrify them, and bump up the rents. The tenants are then forced to the edges of cities, or become homeless. This problem is escalating world wide and the filmmaker looks at ways to combat it. 

I am Human: Looking like a sci-fi film come to life, this doco is the extraordinary story of how the cutting edge of science is put to work on humans to solve pressing medical problems. Teams of neuroscientists track brainwaves to help tetraplegic Bill use only the power of thought to move his paralysed hand.  Stephen receives a bionic eye implant that helps him regain a level of sight. Anne suffers Parkinson's disease, but a deep-brain stimulation helps her regain a level of fluid, normal function. This is mind-blowing technology - the future of science is upon us, along with the possible implications of what happens when scientists can download your brainwaves or create superhuman powers. Once our brains are connected to computers, are we still human?

The Fantastic Film Festival
February 20th - March 4th 
Lido Cinema, Hawthorn 
For more information and Sydney info: https://www.fantasticfilmfestival.com.au/


From their publicity comes this: Offering up its own distinct perspective on genre and alternative cinema, the festival features dystopian zombie mutants, reality-bending psychological terror, dreamlike animations, and a healthy dose of gore . . Offering up its own distinct perspective on genre and alternative cinema, FFFA marries (un)guilty pictorial pleasures with subversive storytelling that hacks away at conventions, unearthing core truths that are typically shied away from: from hard-hitting sociocultural commentary, to unique perspectives on what’s widely taken for granted.

This is the inaugural festival, which will also screen in Sydney. 
Never a good idea to go for drinks with
a serial killer. 
I've had a sneak peek beginning with a film that was nominated for a Golden Bear at the Berlin FF and is directed by award-winning German director Fatih Akin. The Golden Glove tells the true story of serial killer Fritz Tonka, a psychopath who terrorised women in Hamburg in the 1970s. A well-deserved Best Actor Award went to Jonas Dassler who plays Tonka. This is an uncompromising look at an ugly world of sad lonely women, who are desperate (or stupid?) enough to go home with this misogynistic lunatic. It is a strongly directed film, and the sordid atmosphere and people who inhabit the bar of the film's title will stay with you a long time. The movie is an alarming insight into the mind of a serial killer, but it comes with a HUGE warning - the incidents, language and general abhorrent behaviours will be very disturbing for some viewers.
Thrilling and thought-provoking. 
By contrast Swedish feature Suicide Tourist, is a less repugnant, but equally strong film. If you're a fan of Nikolaj-Coster-Waldau (Jamie, in Game of Thrones), you won't want to miss him as Max, a man suffering a brain tumour, who decides to check in to a Swiss clinic which specialises in assisted suicides, with a side-serve of the last fantasy one might wish to fulfill. I can't profess to fully grasp the twists of this plot - suffice to say it's gripping, with some interpretation left to the viewer's imagination. The clinic, known as hotel Aurora, seems to have a dark mysterious agenda, and Max's experience, by the end, leads him to question his own perception of reality. As well as delivering a level of thriller/horror, the film is a moving look at the serious issue of the right to end one's life.  

Wednesday, 12 February 2020

February 13th
The Leunig Fragments
Emma
The Lighthouse
The Guide to Second Date Sex

The Oscars (and the rest of awards season) have now come and gone, and the film world is buzzing with Parasite's coup - four Oscars: Best International Feature Film, Best Picture, Best Director and Best Original Screenplay. But that doesn't mean there aren't heaps of new and exciting releases this week, and next week two new festivals come our way.  

The Leunig Fragments
Director: Kasimir Burgess
Length: 97 mins
 © Madman - art; poetry; philosophy,
cartooning - the film embodies much of this
enigmatic genius
Michael Leunig - An Aussie living treasure, a household name, beloved by many, misunderstood or even hated by others. Full disclosure - I'm a card-carrying Leunig fan, and have been for decades. But the revelations and sensibility of this film surprised even me. It is profound, sad, joyous, beautiful, and poetic. The film is no standard biopic, but is indeed fragments of the man's life; sensory memories (re-enacted, beautifully shot) of seminal moments in his youth, issues he has felt strongly about and that have inspired his artwork, claymation animations of some of his cartoons, and overall Michael's poignant ponderings upon mortality (his own and that of others). The paradox of a shy man thrust into the limelight is there, and such friends of his as Philip Adams and Richard Tognetti also shed light on the reclusive artist. One stand-out sequence has singer Katie Noonan performing a Leunig song with a symphony orchestra as Michael draws one of his signature works. Another has him visiting Joan, a much-loved teacher who helped him become "himself", after she's had a stroke. A voice-over near the end of the films says, "Leunig has left behind a body of work that celebrates the complexity and imperfection of life." It is this imperfection, a perplexing life with no hard and fast answers, with endless moments of sensory and emotional responses, that really speaks to me in both Michael's work, and this glorious film, which is totally in the spirit and style of the genius artist.
4.5 - wholeheartedly recommended!

Emma
Director: Autumn de Wilde
Length: 124 min
 © Universal - what a delight, on every level
In England in the 1800s, Emma Woodhouse (Anya Taylor-Joy) lives with her morose father (Bill Nighy) in the village of Highbury. The Woodhouses are extremely rich, and Emma, though declaring she'll never marry, delights in matchmaking her friends and meddling in everyone's romantic affairs. To elucidate further on the plot would take forever; suffice to say this is the umpteenth remake of a classic Jane Austen novel, and what a delight it is. Where to begin? I'm first struck by the glorious production values - this film looks outrageously beautiful, from its settings, to its costumes, to its attention to period detail. In certain scenes I gasped at the magnificent cinematography. The casting is perfect. Taylor-Joy gives her Emma an edge that makes one almost hate her for her petty, mean-minded meddling, and her excessive snobbery and vanity, and yet there is enough subtle undercurrent of personal growth and self-awareness to make us love her. All the cast fill their roles perfectly, with special mentions of Mia Goth, as Emma's best friend Harriet and Bill Nighy, the master of the sideways glance, as Emma's father. Broody, handsome Johnny Flynn is just right as the love interest, George Knightley. As with most Austen stories, everyone is a potential love interest, but there is much more to this tale than misplaced affections, afternoon tea, fine frocks, and gossiping. Ultimately it is a story of self-recognition (and of course love), but this version has a surprisingly modern resonance, and enough satirical bite, nipping at the heels of its pompous, self-absorbed, or social-climbing characters. I loved it and don't let anyone who derides it as a "chick flick" put you off what is a total entertainment for all.
4.5 - wholeheartedly recommended!

The Lighthouse
Director: Robert Eggers
Length: 124 min
 © A24 - madness, masculinity, isolation - all
in a day's work for these guys
Anyone who saw Egger's first film The Witch will know he is no run-of-the-mill director. From Gothic horror to the horror of isolation, he knows how to do it. Here we meet Winslow (Robert Pattinson) who is sent to work for four weeks as assistant to lighthouse keeper Tom Wake (Willem Dafoe). The arduous physical work is backbreaking, and some of it repellent. Wake is a slave-driver, but as the weeks wear on conflict between the men gives way to endless drunkenness, singing, dancing, and, for Winslow, disturbing hallucinatory visions of mermaids. This is an uncompromising film, in its view of what could happen when two blokes are holed up together in forbidding circumstances. Eggers shoots in black and white, its crispness accentuating every oppressive detail. Shots of the lighthouse's machinery and the hypnotic light itself (which Wake forbids Winslow to go near) create a mesmerising atmosphere. If there's allegory here, I think it's gone over my head, but as a mere vision of claustrophobia, madness and mateship, with rivetting performances from the men, it's a real cinematic treat (though not for everyone), with plenty to ponder on, especially in the light of its perplexing ending. 
4 - highly recommended!

A Guide to Second Date Sex
Director: Rachel Hirons
Length: 98 min
 © Icon - hmmm - they look as bored as I was
Laura (Alexandra Roach) and Ryan (George Mackay - of 1917 and Ned Kelly fame) meet in a bar and head home together, where they end up in bed. The sex is fumbling, awkward, in fact quite disastrous. However, they decide to get together for a "real date", which doesn't quite go as planned. Both have been scarred by previous relationships, and, while they obviously like each other, imagining in their heads scenarious of great times together, neither seems to have a clue how to behave with each other. There's potential here for a fun story, especially for folks young enough to remember the awkwardness of first sex, but for me the attempts at humour don't work. Ryan's Indian housemate is an exploitative creep (never fodder for my laughter) and there is something very cringeworthy and forced about much of the dialogue. (Yes, I know the characters feel uncomfortable, that that shouldn't detract from the film's entertainment value.)  Hirons developed the film for a stage play, and I think it could have worked much better in that context. Maybe novices to dating will have fun with it, and I'm just an old curmudgeon.
2 - you've got better things to do with your time!



Thursday, 6 February 2020

February 6th
For Sama
Colour out of Space


Excitement! The Oscars are just around the corner. This week sees the release of one of this year's nominees for Best Documentary Feature. It is superb. and for sci-fi fans, there is a freaky, cultish sci-fi offering, starring the ever-crazy Nicolas Cage.  

For Sama
Director: Waad Al-Kateab & Edward Watts
Length: 96 min
 © Umbrella - prepare to be moved to tears
with this unflinching documentary
In 2012, director Waad was a marketing student at Aleppo University where students began to protest the oppressive regime of Bashar al Assad. As the protests escalated, it became all out war between the rebels in Aleppo and the government forces, backed by the Russians. Around that time Waad met a courageous young doctor, Hamza. Over five years, Waad filmed everything that took place in the besieged city, as she and Hamza married, Hamza set up a hospital, she gave birth to Sama, and gradually Aleppo was turned into rubble. Waad says she made this film to tell her daughter Sama why her parents decided to stay, rather than run for their lives. A finalist for this year's Best Documentary in the Oscars, For Sama is a searing look at the horrors of the Syrian war. Some footage is filmed shakily on mobile phones, some on handy cam, but all of what is shown is immediate, horrific, distressing, and at times inspiring. The courage and dedication of the hospital staff; cameraderie among friends; children still able to play and laugh, parents' love for their kids - all these are juxtaposed with traumatic scenes of injury, blood, death, bombing, grief, and the utter inhumanity of that war. The film had me in floods of tears - to think people have endured such oppression and suffering. It's not new, but the way Waad has captured it, and her co-director edited it, creates a powerful movie that will stay with you and remind you of the insanity of so much of today's world. Tragically, it still goes on in Syria with the same dictator in power.
4.5 - wholeheartedly recommended!

Colour Out of Space
Director: Richard Stanley
Length: 110 min
 © Umbrella - prepare to be weirded out, 
even grossed out - but entertained
Nathan Gardner (Nicolas Cage), his wife Theresa (Joely Richardson) and their three kids have recently headed to the countryside to escape the city hubbub and live a tranquil rural existence on an idyllic New England property. Nathan wants to farm alpacas (so cute, stars of the film), Theresa is recovering from cancer, and the kids are a weird bunch, daughter Lavinia a self-styled witch, son Benny a stoner, and youngest Jack a cute oddball. Local water engineer Ward (Elliot Knight) and forest-dwelling crazy recluse Ezra (Tommy Chong) round out the cast. Life is disrupted when a meteorite crashes into their yard. The meteorite "evaporates" overnight, but some strange alien life force or pathogen begins to cause havoc - coloring the air, creating lurid flowers, and infecting everything it contacts - including Nathan and his family. Based upon a short sci-fi story by HP Lovecraft, this is one of the oddest films I've seen in a while. The opening scenes are mesmerisingly beautiful, with towering, (but slightly menacing) trees. Overall, the cinematography is stunning, and Cage (love him or hate him) gives one of his most crazed, out-there performances, which, unfortunately, towards the end runs the risk of becoming laughable, though it does capture one's attention! The film gets more horrific (think body horror) and bizarre as it goes along, but I guess this goes with the genre. However, I can't say I was bored, and I suspect for fans, it has the potential to become a cult classic. 
3- recommended (if only for Cage-o-maniacs and to see the alpacas)!