Contents: 3-13:
Reviews of this month’s film....
4-5
8-9
6-7
10-11
14-15:
On DVD this month...
15:
A list of DVD releases for this November
16-17:
In cinema next month...
17:
A list of films set to be released in December
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Creator:
Contributors:
Charlie Derry http://www.charliederry.com charlie.derry@live.co.uk
Darryl Griffiths @LegallyBOD http://moviemarker.co.uk/
Editor’s Note:
Ben Harris @benh4rris http://mrreviewblog.blogspot.co.uk/
Hello to new contributor Daniel Prinn this month, and what a great selection of films we’ve been able to review!
Daniel Prinn @DanielPrinn http://filmcraziest.wordpress.com/
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Reviews of this month’s film...
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The Master Paul Thomas Anderson the directorial heavyweight with a trained eye for the unconventional. Prosthetic penis’ in Boogie Nights; raining frogs in Magnolia; garnering a solid performance from the comedic marmite that is Adam Sandler in Punch Drunk Love; with his exemplary directorial prowess, trademark dissections of leftfield subject matters and delicate interchanging between father/ son, boss/protege relationships, Anderson has been propelled into the top bracket of great Hollywood ‘artistes’. Now, after a prolonged five year hiatus, he’s back with his most enigmatic and ambiguous effort to date - The Master. The film has already sparked outrage in it’s build up as cynics imply Anderson’s latest is a vicious attack towards Scientology. However, scratch the glossy surface and you soon appreciate the director’s agenda is more extensive in length and detail. Set against the backdrop of post World War II America, we are introduced to the unpredictable force of nature that is Freddie Quill (Joaquin Phoenix). A naval veteran/victim of such punishing national duty, it’s unfortunate to find Quill has returned home metaphorically speaking ’lost at sea’. Surviving on a day to day basis through his indulgence of alcoholic beverages and far from subtle when attracting the opposite sex, Quill’s temperament continuously proves his downfall. Quill eventually seeks comfort on another water based vessel, where he encounters the larger
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than life Lancaster Dodd (Philip Seymour Hoffman). Aided by his loyal wife Mary (Amy Adams) and his enthusiastic collective of ‘believers’, Dodd is a sophisticated figure overflowing with philosophical jargon and charisma. A spearhead for a religious movement entitled ‘The Cause’, Dodd willingly takes Quill on as his latest ‘experiment’ in an attempt to repair his mental state and banish the anger that has consumed him. With Dodd attempting to unleash his teachings on a nationwide scale, can he triumph in such a power struggle against the naysayers whilst maintaining his own sense of duty to Quill? Or is there an element of truth to the claims his therapeutic brand has an underlying sinister motive? The Master is not a slice of cinema confined to a rigid narrative structure, with Anderson opting for a more abstract and scattershot approach more fitting of a Terence Malick film with the themes ‘explored’ open to interpretation. Eluded to in its minimalist trailer, Dodd’s leading of ‘The Cause’ indeed fits the criteria of cult. But instead of playing the traditional religious card in Dodd being a modern day Jesus with his trustee ‘disciples’ hanging on and spreading his every word, Anderson shows restraint and instead provides parallels with modern day America. Perhaps it’s social commentary on the director’s part to question first and foremost the notion of dictatorship and such a person’s
delusions of grandeur in spoonfeeding and ultimately seducing the masses with ideas devoid of coherence. Freddie’s ‘arc’ proves relevant in this sense also. Cutting a disillusioned figure, is Anderson aiming for a sly political statement by implying that the country is unable to facilitate and offer suitable help to war veterans of the present day (Iraq) pulling out? It’s most vague aspect is arguably it’s most audacious, planted by a key line of dialogue early on ‘People on the outside will not understand the condition you men have.’ and an unsettling photograph session involving Freddie and a customer. The suggestion of emasculation and the repression of male homosexuality. The Quill/Dodd dynamic alone is borderline bromance and their verbal exchanges bristle with intensity, culminating in a very peculiar and understated ‘sing-along’. But Dodd’s barrage of quickfire trial and error ‘sessions’ for Freddie’s ‘benefit’, for example staring at another guy for a minute without speaking, bring out uncontrollable and animalistic urges associated more with the male form. Is Dodd’s real motive actually to provide a warped ‘cure’ for a ‘condition’ in the 1950′s deemed sinful and immoral? Shifting into more conventional analytical territory, the performances are a collective tour-de-force. Phoenix is an astonishing continuation of Anderson’s infatuation with tortured lead protagonists. With his ever increasing erratic
Release Date:
16th November 2012
Director:
Paul Thomas Anderson persona and skewered figure movements, his portrayal of Freddie Quill is a simmering powderkeg always daring to ‘explode’. The ever reliable Philip Seymour Hoffman as Lancaster Dodd is a classic case of being precise and gung-ho in public, uncertain and defensive when away from the frenzy surrounding his ‘work’. Plus is it a mere coincidence considering the 1950′s setting that such a commanding figure is blonde with blue eyes? Amy Adams’ portrayal of Peggy is another welcome layer of intrigue, with the film only sporadically implying she has more of a hand in ‘The Cause’ than Dodd. Anderson’s direction as ever is immaculate and saturated in beauty. The luminous blue seas, the sun glistening mid-shots of Phoenix on the run or Hoffman roaring along on a motorcycle, the overall composition of sequences intertwined with the inspired synchronised use of it’s musical score gives the film a near ‘poetry in motion’ feel. Where in There Will Be Blood had a delightful knack for the theatrical, The Master signifies the director at his most composed. Make no mistake, this is a surreal and challenging beast with it’s emphasis on character instead of genuine story likely to infuriate a select few. But The Master is an outstanding and unforgettable thought provoker that will marinate in your mind for days. PTA - we are not worthy.
Famous Faces:
Philip Seymour Hoffman, Joaquin Phoenix and Amy Adams
Written by Darryl Griffiths @LegallyBOD
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t s u R
& e n o
B
Release Date:
2nd November 2012
Director:
Jacques Audiard
Famous Faces:
Marion Cotillard and Matthias Schoenaerts
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Directed by Jacques Audiard, Rust and Bone is based on Craig Davidson‘s short story collection of the same name. The film follows killer whale trainer Stephanie (Marion Cotillard) who, after suffering a horrible accident that has left her with a lifechanging disability, finds friendship in Ali (Matthias Schoenaerts), a street fighter who has been put in charge of his young son after leaving Belgium to live with his sister and her family. First off, I have been watching the trailer for this film for months, but Rust and Bone wasn’t what I was expecting at all. This is both a good and a bad thing. The soundtrack (excluding Katy Perry) and cinematography are huge qualities of the film. Together they create a beautiful piece of filmmaking, but I was hoping for more underwater scenes with the orcas which I think would have really benefited the film and strengthened its premise. Instead, we were faced with more of a focus on the male character, and
whilst the scenes with his son provoke a lot of emotion, the scenes of fighting didn’t give the contrast I was hoping for. The violence loses the films allure that it started off with, focusing on a less appealing side to the film then it started off with and losing its focus on Stephanie and Ali’s relationship, and on Stephanie altogether. In the end, it was all just a bit too random, as the accident turns Cotillard’s character to the oddest of situations. A mix of contrasting scenarios that have no real connection at all, the film is just a series of different events that help both characters deal with their physical and emotional limitations. It has heart, there’s denying that, but it felt far too scattered to me. It’s the acting that stands out, though. Marion Cotillard and Matthias Schoenaerts are both excellent, each giving very natural and intensely moving performances. But, again, I was expecting more passion in their relationship so I was somewhat let down by that. Whilst the relationship that
begins to evolve between them helps Stephanie to deal with her disability, there was nothing else to it until the very end, which by this point had lost all its impact. It is a romance of rehabilitation, but not a romance, and barely a love story at all. Scoenaerts’ character is far too selfish to feel any engagement in their chemistry, so it was difficult to feel compelled by them. Despite this, Cotillard is one of my favourite actresses so it was hard not to fall in love with her performance and therefore find some of the story quite moving. Overall, the film just didn’t have the captivating power that I was so ready to feel from it. I just expected a little more from the trailers, as the story stretched out lost the effect that the trailers managed to capture in a couple of minutes. For me, it was the change in character focus where it went wrong for me, but it’s still a very tense drama that is undoubtedly worth the watch.
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T he Twilig Breaking Da The final film in a franchise adapted from Stephenie Meyer‘s supernatural romance novels, Breaking Dawn – Part 2 is the fifth and final instalment to the love-it-or-hate-it Twilight Saga, concluding the series with the second part of the adaptation of her final novel, Breaking Dawn. Directed by Bill Condon, who also directed Breaking Dawn – Part 1 which was released this time last year, Part 2 picks up with newly turned vampire Bella Swan (Kristen Stewart), her now vampire husband Edward Cullen (Robert Pattinson) and their newborn half-human/ half-vampire child Renesmee (Mackenzie Foy). When the news reaches the Volturi, however, the coven begin a plan to destroy the Cullen family for bringing an immortal children into their world. On the brink
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of a vampire war, the Cullen’s must gather vampire clans from around the world, but will it all end in disaster? Or will the new powers of Bella and her daughter be strong enough to defeat the coven? So The Twilight Saga has finally come to an end, and overall I have been on very neutral grounds about the franchise on a whole. Whilst I am a fan of the books, the films have never done Stephenie Meyer‘s work enough justice in my eyes. I’m not saying the books are a masterpiece, far from it, but they are much more enjoyable than the adaptations. With this final instalment, however, I can’t help but feel a little sad that it’s all come to an end. The first film will always be my favourite instalment, but the final two Breaking Dawn chapters come close behind
and that’s because, for the most part, they stick with a focus on the novels more adult themes. Breaking Dawn was my least favourite novel out of the franchise altogether and with Part 1 out of the way, I was worried that what was left to come wouldn’t be worth a film on its own. What’s so great about this second part to the final novel, however, is that director Bill Condon felt comfortable enough the change the film’s ending. Personally, I think that this is the smartest moves that the franchise has made, bringing in a sense of emotional engagement and something for its fans – and to some extent its non-fans – to appreciate. The film isn’t fantastic and it certainly has its flaws – the action is good compared to the other films in the franchise but
ght
awn
Saga: - Part 2
only okay in general, and the CGI is pretty good (but then it needed to be with all those heads being ripped off!). The film certainly has its cringey moments still, too, with scenes that come off more awkwardly on screen than how they read, but I still came away really enjoying what I had seen. I would even go as far to say that it was quite sad. It was an easy franchise to become emotionally invested in, especially with the characters, no matter how disappointing some of the instalments may have been. Condon’s twist, as well, built up this emotional engagement brilliantly, testing the audience’s reactions and therefore pushing them to know how they felt about the franchise as it came to an end. Of course, it’s never going to convert its haters, but we knew
that a long time ago. It does take a good turn, focusing on vampire rivalries and a darker side to their existence rather than how they glitter in the sun and fall in love with humans, but this focus has come far too late to pick up any new fans. It’s always been a franchise that you either love or hate (though I do feel in the middle about it, myself.), so you will have made your mind up about this film already, no doubt. Nevertheless, as a half-fan, Condon really has done a great job of adapting the final novel and, whilst I preferred Part 1 overall, this final instalment is still up there compared to New Moon and Eclipse. It may not be the greatest of films, but it brings a decent end to the franchise, and is a fairly good adaptation overall.
Release Date:
16th November 2012
Director: Bill Condon
Famous Faces:
Kristen Stewart, Robert Pattinson and Taylor Lautner
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Silver Linings Playbook
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He may have reaffirmed his masculinity by metaphorically ‘sparring’ with the rough and ready duo of Christian Bale and Mark Wahlberg for The Fighter, but behind the visceral depictions of boxing was the David O Russell trademark of dissecting the dysfunctionality of family and relationships. With his latest effort Silver Linings Playbook (originally the brainchild of novelist Matthew Quick), he catapults such an element into the forefront of the narrative, accentuating it for comic and dramatic effect in equal measure. Based in the heart of Philadelphia, Pat (Bradley Cooper) has hit the infamous rock bottom phase of his life. Initially confined to a local mental facility for a duration of eight months with no thanks to a relentless altercation, he reluctantly accepts the invitation from his domineering parents (Robert De Niro and Jacki Weaver) to be closer to home. With the circumstances of such an intense ‘event’ still eating away in his psyche, Pat desperately seeks a form of comfort as he attempts to rebuild his damaged enthusiasm for living. Reading the works of Ernest Hemingway and floating around the house whilst his dad Pat Sr’s obsesses in peculiar fashion over the Philadelphia Eagles football team, fails to prove an effective form of medicine. Whilst she is undoubtedly an emotionally challenging figure, Pat develops a fondness for feisty brunette Tiffany (Jennifer Lawrence). Herself reeling from the tragic death of her crime fighting husband Tommy and frustrated
by her sister’s (Julia Stiles) interfering and ever present judgement, Pat and Tiffany soon become each other’s figurative shoulder to cry on whilst in turn a consistent thorn in the side brought on by their anxieties. Could such a fragile situation really be their salvation? Silver Linings Playbook may have the contemporary subject matter of mental illness coercing through its veins, but David O Russell has instilled an old school sheen and authenticity to the film’s complexion. The script’s wit and poignancy is impressively played out on screen, with the camera work perfectly mirroring the nature of a scenario and perhaps the characters involved. Whether it’s the intimacy and tenderness caught by a close up shot of De Niro and Cooper engaging in conversation or the dynamic tracking shots of Lawrence and Cooper awkwardly bickering down the street, Russell’s prompting of an emotive response is first-rate without feeling manipulative. Russell’s visual palette indulges in the grimness of grey being a fitting representation of the on screen collective’s general emptiness, whilst gradually turning up the ‘contrast’ to fit the mood of a crowd pleasing pay-off. From a performance perspective, it’s near note perfect from the A grade talent involved. Bradley Cooper, well renowned for his goofball antics in the Hangover films, his stripped bare (calm down ladies!) performance as Pat is a career best. The chemistry between Cooper and his female equal is wholly believable, with Lawrence’s spunkiness and
unfiltered demeanor a joy to behold when in lesser hands could have been infuriating. After such an illustrious career, it’s easy to slip into ‘autopilot’. However, Robert De Niro proves there’s life in the old dog yet with a laugh out loud turn as Pat Sr and one that’s clearly invigorated the on screen legend. The film’s narrative trajectory is certainly a tad predictable. But in expertly encapsulating the pressures and stresses of everyday life which are consistently down played in mainstream cinema, Silver Linings Playbook’s all round honesty and sincerity is refreshing. It’s 2012 counterparts’ technical flashiness and bombast may result in the film being overlooked come awards season, but Playbook is a zingy and truly excellent film that may make you, for once, crave that ‘happy ending’.
Written by Darryl Griffiths @LegallyBOD Release Date:
21st November 2012
Director:
David O. Russell
Famous Faces:
Bradley Cooper, Jennifer Lawrence and Robert De Niro
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Rise Of The Guardians Wait a minute, wait a minute! Who’s Jack Frost, again? Is he that one guy that’s always nipping at everyone’s noses? When a forgotten bogeyman from the Dark Ages called Pitch launches an assault of fear on earth, the Immortal Guardians are all called to fight off against him to maintain the innocence of children all over the world. The beginning feels sort of like one student in high school is trying to write a report, but they’re having trouble organizing their thoughts. That being said, the beginning is an introduction to the characters which feels a bit disorganized. Though, after a small amount of time, it finds its pace and the story just gets better and better. This is a great time of year to try to build up the spirits of children everywhere. This is brilliant because this time around, it is not all about Ole’ Saint Nicolas. Everyone gets their chance to shine in this. The Guardians are just great, and they give all the figures, that children believe in, the chance to show their flares. There’s of course Santa Claus, but this time around he has a funky Russian-esque accent offered by the voice work of Alec Baldwin. He is pretty traditional looking, but he also seems pretty edgy because of his ‘Naughty’ and ‘Nice’ tattoos on his forearms. He offers some insight onto who’s actually making the toys at the North Pole. Apparently, it’s a bunch of Yeti’s, they only make the
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pointy-hatted elves think they’re making the toys. Who knew? There’s also the Easter Bunny. Hop was the last Easter-themed flick, but the Guardians‘ Bunny makes the little Easter Bunny from Hop look very ordinary. Here, Hugh Jackman offers some great voice work to this character, and in the process he makes him Australian. He’s a six foot-two Easter Bunny that has a sweet boomerang, that makes him feel like he just stepped out of a video game. There’s the Tooth Fairy, voiced by the beautiful Isla Fisher, who’s a mix between human and hummingbird. There’s also the mute Sandman (who isn’t voiced by anyone, the studio dodged a bullet casting this guy) who communicates with symbols and funny gestures. There isn’t any explanation necessary on what these two do. Though, this next character, you might need a little introduction to him. The new Guardian in town is the wayward Jack Frost (voiced by Chris Pine). No, not anything like a snowman or Martin Short’s version of him. All Jack wants to do is cause snow days and havoc, but he wants to have a little fun while doing it. He constantly wonders of his true destiny, and he is a character that knows what it feels like to be invisible. Another character that knows what it feels like to be ostracized and forgotten is the film’s main antagonist, Pitch Black (voiced by Jude Law). Pitch is a jagged-toothed
Bogeyman that wants to instill fear in the hearts of children everywhere. His main motivation of doing this is so he can teach the Immortal Guardians the feeling of loneliness and invisibility he has felt for hundreds of years. He wants to be the big guy on campus for once. Pitch’s main rivals are both Jack Frost and the Sandman. When Pitch steals Frost’s memory of a former life, Frost’s motivation is to retrieve this very valuable material. Frost is also on the fence about his destiny, and he relates to Pitch from time to time because he, too, knows what it feels like to be overlooked because of his juvenile behaviour. The main conflict between Sandy and Pitch is simple. The Sandman brings happy dreams to the children of the world, while Pitch brings dark nightmares. Sandy is obviously not very happy about this, and you won’t like him when he’s angry. However, these are not the only conflicts – the characters are all given their time to shine, so it never feels as if there is one primary character. There was a concept that came to mind when both the characters of Pitch and Man on the Moon (the moon practically, it’s like God to the Guardians) were initially introduced. It brought to mind the concept of how Lucifer was cast out of Heaven by God, because he wanted to be the head honcho. A plot point that I attempted to predict is that Pitch may have once been a Guardian, but then he was
cast down because he was turning evil. That’s just a thought that came to mind because of the good vs. evil forces. The message is one of the finest in animated films this year: if you believe, it will overcome all fear. It’s greatly displayed in this family film. Like Monsters, Inc. was with Pixar, this DreamWorks’ edgy children’s and family film. It’s a sort of strange concept that works pretty well. Pitch, the Bogeyman, is sometimes depicted so ominously, it might be a little too hard to handle for the smaller children. There is also some thematic material that can get quite dark. However, there is enough innocent humour to level it all out. The 3D effects are sometimes gimmicky, but that’s okay. While it is sometimes gimmicky, there are also many cool effects that bring very inventive animation to life even more vibrantly. Rise of the Guardians is a slightly flawed animated adventure that may have some deeply thematic material and action sequences that could be mildly scary for small children. The main flaw is the beginning, because it feels disorganized – but it finds its pace soon enough. The story is wildly inventive, as are the alterations of the beloved Guardians. It’s a great thing to teach the kids this holiday season – don’t just believe in Santa Claus, believe in the other figures too, when their time of year comes around, at least.
Written by Daniel Prinn @DanielPrinn
Release Date:
30th November 2012
Director:
Peter Ramsey
Famous Faces:
Hugh Jackman, Alec Baldwin and Isla Fisher
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On DVD this month...
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November DVD Releases: The Amazing Spider-Man Date: 26th November Peter Parker finds a clue that might help him understand why his parents disappeared when he was young. His path puts him on a collision course with Dr. Curt Connors, his father’s former partner.
Brave Date: 26th November
Magic Mike Date: 26th November
Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse.
A male stripper teaches a younger performer how to party, pick up women, and make easy money.
Ted Date: 26th November As the result of a childhood wish, John teddy bear, Ted, came to life and has been by John’s side ever since - a friendship that’s tested when John’s girlfriend wants more from their relationship.
Men In Black 3 Date: 5th November Agent J travels in time to MIB’s early years in the 1960s, to stop an alien from assassinating his friend Agent K and changing history.
Friends With Kids Date: 12th November Two best friends decide to have a child together while keeping their relationship platonic, so they can avoid the toll kids can take on romantic relationships.
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In cinemas next month...
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December’s Cinema: The Hobbit: An Unexpected Journey Date: 13th December A curious Hobbit, Bilbo Baggins, journeys to the Lonely Mountain with a vigorous group of Dwarves to reclaim a treasure stolen from them by the dragon Smaug.
Pitch Perfect Date: 21st December
Life Of Pi Date: 20th December
A freshman at Barden University is cajoled into joining The Bellas, her school’s all-girls singing group. Injecting some much needed energy into their repertoire, The Bellas take on their male rivals.
A young man who survives a disaster at sea is hurtled into an epic journey of adventure and discovery. While cast away, he forms an unexpected connection with another survivor ... a fearsome Bengal tiger.
Seven Psychopaths Date: 5th December A struggling screenwriter inadvertently becomes entangled in the Los Angeles criminal underworld after his oddball friends kidnap a gangster’s beloved Shih Tzu.
Safety Not Guaranteed Date: 26th December
Celeste & Jesse Forever Date: 7th December
Three magazine employees head out on an assignment to interview a guy who placed a classified ad seeking a companion for time travel.
A divorcing couple tries to maintain their friendship while they both pursue other people.
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