Review - The East (2013 - Dir. Zal Batmanglij)

And so we get to the final of the FA Cup of Actors. Ellen Pages pits her wily scissor kick skills against the solidity of Émilie Dequenne's back four. Ellen Page kicks off with her effort - which I'd fancied watching for a while - The East.

Sarah (Brit Marling, who also co-wrote this along with starring in obscurendure favourite Another Earth) works for an elite intelligence firm looking after the interests of their big business clients. She is tasked with infiltrating a group of anarchists, The East, who have been naughtily upsetting these big business types, for example, pouring a load of oil into the house of the CEO of a company that has allowed a huge oil spillage in the ocean; an eye for an eye, no more, no less. As often happens in these situations, Sarah becomes attached to the group and everything gets a bit morally grey.

This for me was the greatest aspect of this film; I was constantly thinking about whether what The East were doing was justified or not. There is no doubt about the companies being entirely dodgy - as they generally are - but do they deserve some of the group's punishments? And just as Sarah becomes emotionally involved with the members, so does the viewer. It's all rather cleverly done. 

Initially I was thinking that both Brit Marling and Ellen Page had been miscast. I just couldn't see them being part of this group. As the plot develops it turns out that the members all came from middle class families, but they were sick of the  consumer crazy madness we now live in and the companies that drive it. They go dumpster diving to get their food, and they don't do too bad. I'm not convinced I could do it though. Added to this the characters in the group all have a grudge to bear against one of the corporations they are up against, so by the end the casting was spot on.

But given that this is Ellen Page's entry she isn't actually in it that much, and it isn't one of her better performances. If she goes on to win the competition, she has done so on the back of far greater performances than her own: Brit Marling's here and Cillian Murphy's in Peacock. Even so, the FA Cup has been about how wisely the actors choose their projects so it's maybe fair enough.

But Brit Marling owns this film. She goes from company drone to portraying a full on anarchist in a very convincing manner. She flits between the different states as she goes back to her real life. Through her acting it is easy to see her attachments growing to the group, but is she able to keep enough of a distance to continue doing her job professionally?

Easily the worst thing about The East is the most useless, tame version of spin the bottle I've ever seen. It's rubbish. There's plenty of hugging and a bit of lady kissing lady action. But the kinkiest it gets is when one character kisses a lady's belly button. Once. Big deal. 

The East gives the viewer plenty to think about after the film has finished, which is pleasant. (It makes you wonder whether the actors involved lead a less consumer driven lifestyle now.) But this film is more likely to change someone's viewpoint (as Fight Club changed mine) than Tinker Bell and the Pirate Fairy. It's the moral quandaries that raise this above the average and give it a healthy rating of...
6.5/10
evlkeith

If you like this you could also try:
Dawn of the Dead, Fight Club.

Review - Peacock (2010 - Dir. Michael Lander)

Here we are at the semi-finals of the FA Cup of Actors then and our first match is between Ellen Page and Jennifer Connelly. Now, when Peacock came up for Ellen Page I thought that she'd blown it. I didn't fancy this in the slightest. I'm not that keen on Susan Sarandon and I haven't liked anything that Cillian Murphy has done, (either of the first two Batman films or "it's not a zombie film" 28 Days Later) he's way too slinky for my liking. Things aren't looking good for Pagey (a bit like when half of your players have the flu and the opposition forces you to change ends after the toss).

But crikey, (and maybe even blimy) it's actually not too bad. In fact, it's pretty good. And shock of shocks, Cillian Murphy's performance is great. Let's find out more...

For once I'm going to quote directly from IMDb to give you a little portion of background info: "A train accident in rural Nebraska gradually unveils a mystery involving the town's bank clerk." The reason why I've thieved this is because it gives away nothing, which is dandy. It's good to see that the person writing this knew that to say any more would be to spoil everything about the film.

The director describes this as psychological horror, which I would agree with. It's part drama, part mystery, part thriller and part horror. Fitting it into an existing genre is very difficult, which is generally a good thing; it shows the film-makers have tried something different. Another positive is that the ending is ambiguous leading to plenty of post-film chat.

Cillian Murphy is the major revelation of Peacock. This is a mightily impressive performance, without which the film wouldn't work, and at worst would become laughable. One scene in particular, where there is a certain amount of deception going on, borders on stunning. Changing my mind about someone is pretty hard going so well done Mr Murphy.

Ellen Page, meanwhile, is badly miscast. Her acting is up to her usual standard but I just can't see her as living in a trailer park, and selling her body for cans of Special Brew. Added to that, she doesn't look like a natural born smoker. I can see why they jumped at the chance of having Pagey in their film but for me it was a mistake. If she gets through this semi-final, she's pulled it off by bringing in the ringer Cillian Murphy who should have been in the running for an Oscar.

I've found it really hard to give this a rating. It's worth seeing for Murphy's performance alone (which I would give a 9/10). Overall though, I'm glad that I've seen Peacock but it's not a film that I would watch again, basically down to personal taste. If you like Psycho and Lars and the Real Girl then you will probably enjoy this. 
6/10
evlkeith

If you like this you could also try:
Psycho, Lars and the Real Girl.

Review - Tsotsi (2005 - Dir. Gavin Hood)

When South African street hoodlum Tsotsi pinches a car from a well-to-do suburban couple the last thing he expects to find on the back seat is a baby. From this point on our hero’s life changes on a variety of levels as caring for the infant conjures up feelings of empathy, memories of his past and his hopes and aspirations. Yes it’s a little like a gritty version of 'A Christmas Carol', but how could that ever be a bad thing?

The film has its wince inducing moments, firstly as Tsotsi and his gang rampage around Johannesburg and latterly as he clumsily attempts to care for the baby. Any new parents could do a lot better than ignoring Tsotsi’s guide to looking after infants, especially nappy changing, feeding, transporting in a carrier bag and insect infestation. Ultimately, however the film leaves you with a lovely warm feeling as if you are soaking in a lovely warm bath of hopefulness for humanity, but without the candles and Lush bath bomb filth.

The lead, Presley Chweneyagae, deserves credit for producing this feel good factor as he struts around the township eliciting feelings of both fear and sympathy. Like the rest of his gang, he’s believable, detailed and likeable. Also worthy of special mention is the lovely Terry Pheto, who portrays a single mum who befriends Tsotsi. She oozes positivity, love and wholesomeness as if she’s some kind of supernatural South African earth mother on a mission to save the lost boys of the township.

It’s a great film without ever reaching the heights and complexities of City of God. South Africa has so much potential for gritty offerings and I’ll definitely be looking up other options from the country over the next year. Some lovely imagery, a great soundtrack and a meaningful story means that this is certainly worth a couple of hours of your time.

7/10
Doccortex

If you like this you could also try:
City of God, Gomorrah. 

Review - Let's Talk About The Rain (2008 - Dir. Agnès Jaoui)

We return to rank outsider Jamel Debbouze who managed to impress with his first round effort, Outside the Law, in this year's FA Cup of Actors. He is up against some stiff opposition in this match though (James Stewart) so he better be on top form if he wants to be a giant killer. Here he is then in Let's Talk About The Rain.

Agathe Villanova (played by the director) is a politician being interviewed for a documentary by Michel (co-writer Jean-Pierre Bacri) and Karim (Debbouze). Agathe's sister and her husband, plus Karim's mum, get thrown into the mix and the relationships get increasingly complicated due to numerous affairs. None of the characters are particularly happy throughout the majority of the film but will they attain a greater level of contentedness by the finale?

The first half an hour or so is not that engaging and, as you've probably guessed, it takes a while to work out who's who and what their initial relationships are to each other. But once everyone has been identified things start to improve and it develops into a pleasant little tragicomedy that manages to raise a few smiles.

One of the most amusing characters is the sister's husband. His son is choking so Michel deals with it with a good hearty slap to the back. Problem solved. But no. Laddo complains that he did it wrong. He should have used the Heimlich manoeuvre. Brilliant idea mate. Give him serious internal injuries rather than try a less harsh method first. Top parenting. He also moans at his wife for that most heinous of crimes: reading in bed. They really should bring back the birch. Okay, so maybe he's more irritating than amusing, but I laughed at him regardless.

A slightly more traditional comic figure is Michel, who makes documentaries for a living. He is truly a premium quality professional; he doesn't press record before the interview starts and misses getting some cracking footage and has a tendency to be generally incompetent. But at least he's got the cheeky fellow Debbouze to help him out.

He's his usual likeable self and shows that he has a wider range than just war films. Subtlety is the key here as he contemplates having an affair with his co-worker. He is completely believable and is in good company with an equally impressive cast. I wasn't looking forward to his films at the start of this competition but he's managed to get past my gruff miserable shield and be adopted as one of obscurendure's favourite actors.

The film deals with the lofty themes of depression and the role of women but it still manages to throw in a sheep gag. And no, not a dirty one. Dear me. The comedy here comes from the noise they make and their ability to follow people down country lanes. I did say that it was a pleasant little film.

It all adds up to a well-made subtle film that is quietly entertaining. But for me, the spark that takes it into the above average category just wasn't there. For you, it may well be. I enjoyed it but it's not a film that I'd watch again. James Stewart will be raring to go and donning his shin guards when he sees the rating this one's been given (if he was still alive, admittedly) and I'm doubtful that Jamel can pull off anything better than a draw in this match. It's a shame. But you never know...
5/10
evlkeith

If you like this you could also try:
Look At Me, Two Days, One Night.

Review - A Scanner Darkly (2006 - Dir. Richard Linklater)

Having never read Philip K. Dick’s novel, I came to A Scanner Darkly somewhat cold. It’s visually stunning, with a semi-animated style that feels like you’re watching a graphic novel that has come to life. The colours are rich, the effects are impressive and the acting shines through the stylised video filters. In short it should be a great film, but this science fiction adaptation left me feeling strangely empty and unfulfilled.

There’s some big hitters on the acting team; Keanu, Woody and Robert all put in suitably quirky, edgy shifts. And Rory Cochrane’s mentally tortured character steals the show at times with a sweaty, itchy performance perfectly in keeping with the story. His insect plagued introduction is the best scene in the whole film. Lovely Winona is her usual exemplary self and so much more natural and assured than that critically acclaimed show off Natalie Portman (Winona better than Portman!? No way! - evlkeith). Even in animated form, she’s a sensual, detailed and engaging character.

So what goes wrong in this tale of near future clandestine observation and designer drug culture? In some ways it’s a triumph for style over substance. The film looks and feels so great that the story seems a tad plodding and predictable by comparison. Basically, we’ve heard it all before; totalitarian states abusing our personal liberties and freedoms and it’s done so much better in both 1984 and A Brave New World.

As a graphic novel it would work perfectly; that slow release story unfolding before your eyes. As a filmic version of a graphic novel it all happens just too fast and the plot seems weak as a result. It’s a great and unusual experience and those more familiar with the novel may have taken more from proceedings than my limited grasp of the ‘Scanner World’, however it feels like a case of snatching defeat from the jaws of victory. In so many ways a classic film, but just like Substance D it ultimately leads you nowhere.

 5/10
Doccortex

If you like this you could also try:
Renaissance, Cypher.

Review - The Girl on the Train (2009 - Dir. André Téchiné)

Back to the FA Cup of Actors again and here we are with the odds on favourite Émilie Dequenne. She faces Barbara Crampton in this match so surely she's got it all sewn up already. Let's see...

The Girl on the Train is similar to films like The Child and The Son in that it sets up a situation and then sees how people would behave in that given situation. This is a film of two halves even to the point of being broken down into two chapters. The first part shows what has been happening in the life of Jeanne (Émilie Dequenne) as she finds a new boyfriend (Nicolas Duvauchelle) and moves in with him as part of a caretaking duo. But there's something a bit suspicious about him. Maybe she should have worked this out when he plays a particularly nasty practical joke on her - I'd have been out of the door like a shot - but she sticks with the shifty little guy. Suffice to say things go wrong and Jeanne pretends to have been part of an anti-semitic attack on a train.

The second chapter deals with the consequences. At one point a young lad asks Jeanne why she did what she did. She doesn't know. I can't say I do either. I don't think that it would have been my course of action if I'd been in her position (if I was seeking attention I would buy a wide-brimmed pink felt hat, a fur coat, cigars and a chihuahua and then prance about, to a suitable disco soundtrack, through the back streets of Grimsby, that'd get a fair bit of attention) yet her choice to be a total liar does tie together lots of things that have been happening in her life. It's a shame that the boyfriend thread of the story seems to get lost though.

You then get to see people being people and dealing with the predicament they're in. It's interesting in its own way but is never convincingly gripping. There is a fair amount of following Jeanne around, she's normally rollerblading so the camera looks back at her as she skates along, but it's not quite as much fun as following a woodwork teacher around for ages and ages. And ages (The Son). 

I've got quite a binary character, 0 or 1, on or off, right or wrong, but this film actually managed to throw up some interesting grey areas: Is the boyfriend really that dodgy? Is it better to keep quiet about it all being a lie? And is Jeanne really to blame for the way that the incident is sensationalised? If you watch it, you can make up your own mind.

So what we have here is a well-acted (it's got Émilie Dequenne in it, what were you expecting?) slice of understated French drama set against a backdrop of anti-semetic attacks. I still find it quite hard to buy into Jeanne's actions, but seeing as though it's based on a real-life incident, people can obviously be driven to do these things. I found it entertaining enough and thought-provoking at times but it's not one of my favourites, although due to the quality nature of the film-making on show, I'm sure that there will be people out there who like this a lot more than I do. Maybe you are one of those people?
6/10
evlkeith

If you like this you could also try:
The Child, The Son, Rosetta.

Review - Melinda and Melinda (2004 - Dir. Woody Allen)

Radha Mitchell managed to get through the first round of the FA Cup of Actors despite a relatively poor showing: 3/10 for Surrogates and 4/10 for Thick as Thieves. Her second round opponent, Ellen Page, has had a good rest since her first entry but Mitchell is thrown straight back into the action with Melinda and Melinda. Will those tired legs let her down or will quality shine through?

Directed by Woody Allen, Melinda and Melinda looks at what happens when you tell essentially the same story as a tragedy or a comedy (it's not exactly the same story but we'll come back to that later). It's all a little bit Sliding Doors and it gives Radha Mitchell a chance to show off her acting chops. Her performance is probably the most impressive thing about this film. Although it's impressive on a technical rather than an engagement level. She plays the two Melinda's in different ways: one is a likeable friendly lady who has problems but is getting on with life, the other is an irritating smoking obsessed curly haired neurotic. Yet the writing didn't lead to me particularly care about either of them.

The story starts with Melinda crashing her friends' dinner party. She's had a bad time with her relationship and needs a place to stay. Her buddies try to set her up with a lucky fellow. But obviously things aren't that simple.

As you can see from above, the story is pretty slight. This is a consequence of the fact that it's told twice. My problem with Melinda and Melinda is that the tragedy isn't that tragic and the comedy, while the better of the two, isn't that funny. In my mind a tragedy should have a really bleak ending, worse than the majority of things that generally happen in real life. Yet here the ending is a tad too pleasant for my liking despite being the downer that tragedies require. It also cheats on the endings because the finale of the comedy is upbeat. I would have liked to have seen exactly the same story told in the two different ways.

The comedy is okay but only ever managed to squeeze a smile out of me (rather than the belly laughs that The Sleeper promotes). I never like the idea of watching Will Ferrell in films. I don't know why but I'm not that keen. Yet I've liked him in the only two films that I've ever seen him in: Elf and this. I never said I wasn't highly irrational. All the way through his performance I could picture Woody Allen: the writing and Ferrell's delivery add up to a quality Woody Allen impression. This was probably the role Allen would have played in the days when he feasibly could have wooed Radha Mitchell.

One upside of Melinda and Melinda is that it has dispelled the horrible visions of Mitchell dancing with Banderas in Thick as Thieves. Here she gets to dance again, with another slimy character, but it's not disturbing in the slightest. This shows that the blame lies squarely at the unmoving feet of Banderas.

To surmise, Melinda and Melinda fails to deliver as either a tragedy or a comedy. And as a drama it fails too due to a lack of empathy for the characters. It seems that playing too many games in a short space of time has led to some serious crampage for Radha Mitchell. It's likely now that the semi-final beckons for Ellen Page (unless Inception or X-Men: The Last Stand come up that is).
3/10
evlkeith

If you like this you could also try:
Sleeper, Vicky Cristina Barcelona.

Review - City of Men (2007 - Dir. Paulo Morelli

I’ve been craving a good old fashioned grit-fest and wasn’t disappointed by Morelli’s City of Men. There’s Brazilian gangsters with guns, women with guns and children with guns, all blasting each other in a favela based battle for the supremacy of their home area on a hill. The only person without a gun is a children’s football coach and I don’t need to tell you what happens to him. Woven into the mayhem is the a story of friendship, struggle and discovery for the two central characters Acerola (Douglas Silva) and Laranjinha (Darlan Cunha) that provides the necessary hope and warmth to lift this above usual gritty fair. Don’t get your hopes up however, there’s no-one in underpants shooting machine guns, a complete absence of prostitution and a mysterious lack of the ubiquitous handheld gritty camera work.

Cut through all that gritty shooting and this is a lovely story. The tale of two boys in Rio de Janero as they graduate from boys to men is both warming and disturbing as they unlock the secrets of their past, against the background of poverty, deprivation and flying bullets. In a way they circumvent the violence, the drug gangs and the intimidation and live their lives in a separate bubble where hope, humour and love triumph over the general sense of nastiness. Both boys put in determined and believable acting shifts and are always natural, likeable and in the end we really care about their fates.

All the other characters may or may not be ‘actors’ as is often the norm in South American grit-drama, but all are enthralling and never break the veil of reality. The city is almost a character in its own right and from the sunshine of the beach to the ramshackle homes in the favela, the director lovingly depicts and portrays both its visual beauty and its inherent issues with equal measures of sensitivity and shock factor. It’s an intelligent piece of film making that allows us to understand the actions of the characters even if we can’t empathise with them.

All in all, it’s a great film, and as with all the best gritty films it tempers all that unsavouriness with lashings of hope. It’s a recipe for a satisfying viewing experience for grit-fans across the globe. It’s nowhere near as good as City of God, but it’s head and shoulders above the likes of Gomorrah. Add some brutal Elite Squad style cops, a seedy nightclub lavatory scene and Gael Garcia Bernal in a Zorro mask and you’d be looking at a 10/10, but as it stands, it’s a…

8/10
Doccortex

If you like this you could also try:
City of God, Gomorrah.