THE WOLF OF WALL STREET

THE WOLF OF WALL STREET is crazy gonzo fun for about an hour.  And then it's still sporadically funny but the complete lack of character or indeed plot development starts to nag at you.  And while it's nagging you think, haven't I seen all this before, thematically at least, in GOODFELLAS and CASINO?  And then, in the final half hour of this over-long three hour film, you get the first indication of the dark side of the excesses of greed and addiction - the first actually profound exploration.  And it's just too late.

Which is not to say that Martin Scorsese hasn't achieved a great deal with this film. No-one depicts hedonism with his sense of energy, flair and superb synchronisation of music cues. And my god, Leonardo diCaprio and Seth Rogen really commit to their performances.  To see the two rookie stockbrokers sneak out the back of a restaurant, smoke crack and then go skipping and jumping through the car-lot like naughty children is a joy.  To see them, now super successful, crippled by quaaludes, bodies spasoming, fighting over a kitchen counter is physical comedy of the highest form.   To be sure the intervening two hours contain many a funny scene.  The serious discussion about dwarf tossing, referring always to the dwarf as 'it' is funny as hell.   But there's an uneasiness in the gonzo nature of this film, and Scorsese's resistance to any dark backing.  Surely it must be possible to make a movie about superficial greedy people that is not itself superficial and egregious?

Because, make no mistake, the tone of this film for the majority of the run-time is one of admiration for these charming gonzo folk.  It's swallowed the hype for the most part.  It makes zero attempt to show the impact of these swindlers on the ordinary folk whose money they have invested in worthless stock, while taking massive commission. The 'hero' has an earnest first wife who is dispatched in a divorce quickly and is never seen again.  What's even worse is that Scorsese clearly isn't actually interested in the con.

Jordan Belfort (DiCaprio) was a real life broker who operated a 'boiler plate' scheme - that means you set up a call centre and randomly cold call dumb schmucks and get them to invest their money with you. It works because they are ignorant and greedy. The so-called investments are actually in worthless 'penny stocks' - companies so small that they aren't on the main stock market and so fly under the radar of the big investment banks.  And the real con, is that the brokers take 50% commission. So they take your $10,000, invest $5,000 in stuff  that's worthless, and keep the other $5,000.  In addition to this con, Jordan also ran two other cons. First, he would bring a new company to the stock market, but instead of selling the new shares in the market, he would pocket them himself, in secret, drive up the price and then sell.  Second, he was wholesale exporting cold hard cash to a secret bank account in Switzerland.

Scorsese barely tells you any of this. In fact, time and again in Jordan's speeches to the audience he says something like 'You don't understand what I'm saying, or care, so let's just flick to another picture of me snorting coke from a hooker's arse.'  I find this just as patronising as the original boiler plate scam - assuming the audience is as gullible and greedy for excess and dumb as the scammed investors.  Scorsese is truly giving a massive Fuck You to all of us.  Compare the approach taken here to J.C.Chandor's marvellous MARGIN CALL - the only movie to really GET Wall Street.  The tragedy here is not that Scorsese fails, as Oliver Stone did with WALL STREET 2 - the tragedy is that Scorsese doesn't even try.

So when you strip out any interest in Wall Street, and any interest in what's really behind all this excess psychologically, what you basically get is a gag-reel full of drug-fuelled pratfalls and brilliantly kitschy 1980s clothes.  It's funny but it's empty and too long given the paucity of its ambition.

But is it worth seeing anyway? Here I'd have to say 'yes'.  The Matthew McConaughey cameo is genius - as if anyone isn't already convinced that this is truly HIS time in the sun.  The physical comedy is fantastic.  DiCaprio's quaaluded-up attempt to get to his car is worth awards glory on its own.  But be prepared, amid these wonderful set-pieces, for boredom. And don't expect Scorsese to move beyond the thematic work that has, by now, become cliché - sudden wealth, hot wife, doofus sidekick, hubris, nemesis.  Where's the personal growth? Both on the part of Jordan Belfort AND on the part of Scorsese?

P.S. If in your publicity material you're making great claims for screenwriter Terence Winter's background in investment banking, don't show the tickers for Black Monday as GREEN when the RED was dripping on the walls, dumbass.

THE WOLF OF WALL STREET is rated R in the USA and 18 in the UK for very strong language, strong sex and drug use. The movie has a running time of 180 minutes.

THE WOLF OF WALL STREET was released last year in the USA, Canada, France, Albania, Croatia, Greece, Hungary, Iceland, Lebanon, New Zealand, Macedonia, Serbia and Slovenia. It was released earlier this month in Egypt, Argentina, Chile, Israel, Uruguay, Finland, India, Poland, Belgium, Denmark, Kuwait, the Netherlands, Portugal, Singapore, South Korea, Mexico, Romania, Sweden and Vietnam. It will be released on January 17th in the UK, Ireland, the Czech Republic, Germany, Pakistan and Spain.  It will be released on January 23rd in Australia, Italy and Brazil; and on January 24th in Japan; on January 31st in Norway and Russia; on February 7th in Russia, Estonia and Latvia; on February 13th in Hong Kong; on February 21st in Lithuania; and on February 28th in Turkey.

This review is available as a podcast. You can listen directly below or subscribe to Bina007 Movie Reviews in iTunes.

Fear and loathing on the Oscar campaign trail

Superpac-sponsored TV spots pillorying Mitt Romney as a tax-evading French-speaking hippie have nothing on the dirty tricks campaigns being perpetrated against the front runner in the Oscars race: The Artist. Before the nominations, the negative campaigning focussed on Kim Novak's assertion that she felt "raped" by The Artist's composer, who had quoted from Bernard Hermann's Vertigo score.  This hysterical interview was pitiable as a comment on a once famous and now forgotten actress' desire to get back into the headlines by any means necessary. It was also a risible mis-reading of a film whose exact purpose is to repackage Tinseltown's history.

Post nominations, the campaign stepped up a notch. The Artist had only been surpassed by Martin Scorsese's "Hugo" in the number of noms, but this was offset by the fact that "Hugo" didn't have anyone competing in the major acting categories. Evidently Berenice Bejo wasn't going to unseat La La Land's darling, Meryl Streep, but Jean Dujardin was becoming a real threat to "Gorgeous" George Clooney, nominated for The Descendents.  The response was swift: PR agency prepared talking points urging the Academy to vote American.  Counter-publicity reminded voters that despite the nationality of the leads The Artist remained a US financed film with a US crew, US extras and US sets.

Protectionism, while unsavoury, is mild compared to the deliberately generated frenzy doing the rounds in LA this week. Campaigners have accused Dujardin of misogyny, citing posters publicising his forthcoming US film release, "Les Infideles", feature a leering Dujardin peering through a woman's long be-stockinged legs.  Once again, this is a spectacularly moronic mis-reading of the film and its poster. Loosely translated as "The Players", it's a comedy that satirises the typical boorish unreconstructed French man, rather than celebrating him. Moreover, in the nastier strains of LA gossip,  Jean Dujardin is now being equated with Dominique Strauss-Khan: the former IMF Chief infamously perp walked to prison on what turned out to be flimsy allegations of rape. In the batshit crazy logic of the negative campaign, scratch the surface of any Gallic charmer and you find a sexual harrasser.

All of this low-rent nastiness is far from edifying and stands in stark contrast with the carefully manicured conservative glamour of the Oscar ceremony itself.  That said, this contradiction works well as an analogy for Hollywood, and the wider LA media industry.  Dining at Capo in Santa Monica or Fig and Olive in West Hollywood or at Bazaar at the SLS in Beverly Hills, this week, I was shocked anew at the dangerously forced beauty of the diners putting on a show around me. They reminded me of that line in F Scott Fitzgerald's Tender Is The Night, referring to Violet McKisco "all the prettiness had been piped to the surface of her".  That's La La Land in a nutshell: a desperate and delusional battle to affect apparently effortless success.

London Film Fest 2011 Day 7 - THE ARTIST

Jean Dujardin and Berenice Bejo, the stars of
THE ARTIST, at the UK premiere at the
BFI London Film Festival 2011.

Michael Hazanavicius’ charming silent movie about the end of silent movie-making stars Bérénice Bejo and Jean Dujardin (of the recent secret-agent spoofs OSS 117) as actors Peppy Miller and George Valentin, who fall in love against the dreamy backdrop of an early golden-age Hollywood. When the talkies take off, George, the go-to man of the silent picture, finds himself outcast by a determined and winning Peppy, a role in which Bejo dazzles, and where THE ARTIST might have kept up with her singular energy it slows to the nostalgic time spent by George in relative poverty and obscurity. Nonetheless, Dujardin's performance remains a broad and irresistible focus, and there may be no modern leading man better suited to the demands of the silent movie genre. Rare in any case does it seem to enjoy watching actors watching themselves on screen.

THE ARTIST played Cannes, where Jean Dujardin won Best Actor; Toronto and London 2011. It is on release in France. It opens in the US on November 23rd; in Italy on December 9th; in Spain on December 16th; in Greece on December 22nd; in Germany on January 26th and in Hong Kong on February 9th.

London Film Fest 2010 Day 4 - LITTLE WHITE LIES / LES PETITS MOUCHOIRS

LITTLE WHITE LIES is a superb film from French writer/actor/director Guillaume Canet (TELL NO ONE.) It is laugh-out-loud funny; wryly observed and reduced me to tears. What more could one want?

In a bravura opening sequence, Ludo (the beautiful, hilarious Jean DuJardin) is horrifically injured in a motorcycle crash. We watch his close friends gather at the hospital, distraught, but convincing themselves that they should still take their summer holiday in Bordeaux. After all, Ludo is in intensive care, and they can do nothing for him. It's a marvelous scene and reminded me of Austen's opening in Sense and Sensibility where Mr and Mrs Dashwood reason their relatives out of a bequest, all the time reassuring themselves that they are doing what duty requires of them. The friends then proceed to Max and Veronique beautiful summer home, where their neuroses, romantic entanglements and narcissism will be exposed. Francois Cluzet is absolutely superb playing the stressed-out, up-tight successful businessmen, ruining his and everyone else’s holiday with his strict schedules and castigation of his staff. But Max has another reason to be stressed out – his long-time, very married, friend Vincent (Benoît Magimel) has told him he’s in love with him! Poor Vincent’s wife, Isavelle (Pascale Arbillot) has no idea, other than that her husband would rather binge on chocolate than sleep with her. And then there’s Marie (Marion Cotillard), a beautiful woman who may or may not be in love with the injured Ludo, but is also being stalked by a soft-hearted musician, who turns up unexpectedly at the house with a guitar and an atmosphere of awkwardness. And finally we have two single men - Éric (Gilles Lellouche) and Antoine (Laurent Lafitte) – the former denying he is in love, the latter desperately, delusionally, boringly so. All of this emotional indulgence is played out in sharp contrast to Jean-Louis (Joël Dupuch) – the proprietor of a local beach-side restaurant who has to listen to all these characters whining, all the time fulfilling their expectation of him to play the role of jovial provincial host.

LITTLE WHITE LIES is a long film that doesn’t feel long, because we’re immersed into the emotional lives of a large cast of characters, all of whom are slightly eccentric and yet very much rooted in real life. Maybe it’s the kind of people I hang out with, or the fact that I’m much the same age as many of these characters, but it felt as if Guillaume Canet had perfectly captured the way in which an old bunch of friends interact. I found myself laughing with them, rather than at them, willing them to succeed in their romantic games, and moved to tears by their tragedies. I left the cinema feeling like I’d had an emotional work-out but also sad to be leaving their company. And that, I think, is pretty much the best praise one can give a film – when it immerses you in a world that feels authentic and makes you glad to spend time there.

LITTLE WHITE LIES played Toronto 2010 and goes on release in France and Belgium on October 20th.

OSS-117: LOST IN RIO - sporadically funny French spy spoof

The OSS-117 movies are French parodies of the early Bond movies, where Bond was a slick-haired, cock-sure spy in a flash car and a shiny suit, bedding women to cheesy 1960s background music. The latest release, RIO NE REPOND PLUS or LOST IN RIO, sees the hapless French spy Hubert Bonisseur de la Bath dispatched to Rio to purchase a microfilm containing the names of French collaborators from a Nazi colonel. On the way he teams up with a beautiful Mossad agent called Dolores, the Nazi’s hippie son Heinrich, and a CIA agent called Trumendous. As with the previous OSS-117 flick, when the movie works, it works because of star Jean Dujardin’s tremendously funny facial expressions coupled with the fact that he really does have the cheesy grin and good looks of Sean Connery. There’s also a lot of verbal humour around Hubert’s verbal clumsiness in dealing with women, Mossad and Germans. The resulting film contains more than its fair share of laugh-out loud moments, even if the source of the humour is sub-Austin Powers. The problem is that this film is too long and contains too many scenes that just don’t work, especially early on in the film. For instance, the character of CIA agent Trumendous, who seems to just laugh and swear for no reason, simply doesn’t work as a spoof of Felix Leiter. I would’ve preferred a shorter, more tightly written movie, with a runtime of maybe 80 minutes rather than 100 minutes. This would’ve put the sequel up there with the first movie, CAIRO, NEST OF SPIES, which felt like it had a lot more energy and more consistent laughs. So, maybe one for DVD.

OSS 117 - LOST IN RIO / RIO NE REPOND PLUS was released in Belgium, France, Latvia, Greece, Russia and Kazakhstan in 2009. It is currently on limited release in the UK.

Bina007's most spine-tinglingly awesome moments of 2008 - or why I still enter every movie theatre in joyful hope!

To quote last year's post: "It may be hard to believe when you read an excoriating review, but every time I sit down to watch a movie I do so in joyful hope. I can't explain how much I love cinema. Ever since I was a little girl there seemed to be something magical about a beam of light that transformed a negative into a living and breathing story. So in a rare annual moment of warmth and optimism, here follow those flashes of brilliance that reminded me - amidst the sequels, threequels and hopeless failures - just how wonderful cinema can be. Note that this list is significantly different from my Best Films of 2008 list (found in a drop-down box in the side-bar). Even piss-poor flicks can have moments of inspiration - which is a faintly hopeful thought."

1. When Rambo Strangles The Guy So Hard He Breaks Through His Skin and Blood And Veins and Shit Start Spurting Out. The long-awaited RAMBO flick was clearly piss-poor but among all that irony-free absurdity there was one moment so transcendentally ridiculous it gave me one of the biggest belly-laughs of the year!

2. The Sound-track and Cinematography as Daniel Plainview Rushes to the Oil Platform to Save His Son. A breathtaking moment of pure cinema in THERE WILL BE BLOOD - stunning cinematography, unbearable tension, intense orchestral score. This was cinema at its most visceral and inescapable and audacious. I'm still sore that the soundtrack was disqualified from the Oscars on a technicality. 

3. Michael Pitt Scares the Bejesus Out of the Middle Classes in the Final Frame of FUNNY GAMES. A movie so brilliant Michael Haneke had the arrogance to make it twice, this time with the angelic looking Pitt holding the audience's eyes in the final frame. Are we being warned that we're next or indicted for sado-masochistic voyeurism? Genius.

4. Hrithik Roshan's Dance Routine to Main Aisa Kyun Hoon Establishes Him As the Best Song and Dance Man in Cinema since Gene Kelly. Hrithik Roshan is a hoofer. He knows dance and not in the over-choreographed Michael Jackson c.Thriller style that most Bollywood movies adopt. Pure talent. Pure entertainment. The best traditions of Hindi cinema.

5. When Dawn Slices Off Tobey's Cock With Her Vagina Dentata. Seriously funny. (Probably not if you're a bloke, admittedly). And by far the best reason to watch the teen horror cum political satire, TEETH. 

6. When The Joker Slams The Droog's Face Into the Pencil. Great horror is not what you're shown but what you imagine. A lightening bolt of pure fright energises an over-long and over-worked Batman sequel.

7. When The Joker Rides Through Gotham Triumphant, His Head Out The Window Of a Moving Car. One of the most spine-chilling images of 2008. Shame Nolan didn't have the balls to end THE DARK KNIGHT on that image, creating a second part finale as powerful as EMPIRE.

8. When The Thief Chases The Cop In JAR CITY. I can't escape why this scene is funny. It doesn't sound funny when I try. Just please try and seek out this superb Icelandic comic thriller. Please.

9. Hellboy and Abe Listening to Barry Manilow's "Can't Cry Without You" closely tied with Johan Krauss kicking Hellboy's ass in the Locker Room. Pure Comedy Gold.

10. JAAACK!!!! The not unattractive and yet infinitely goofy Jean Dujardin as pre-Bond spoof Agent OSS-117. At times, this actor's facility for physical comedy almost touches Sellars in the Clousseau movies. Perhaps the most unexpected belly-laugh of the year - given that Professor007 and I were in an art cinema famed for showing turgid self-righteous foreign language flicks. 

OSS 117: CAIRO, NEST OF SPIES - if you can't beat them....

A few years before Ian Fleming invented James Bond, Jean Bruce invented his French equivalent, Hubert Bonisseur de la Bath, alias OSS 117. Both fictional spies travelled the world, fighting megalomaniacs, shagging hot chicks and generally saving the day in a manner that now seems hopelessly out of date. Both also inspired movies, although the Bond series was exponentially more successful. By 2006, both franchises faced the same problem. The classic spy thriller had fallen into self-parody - the gadgets and chicks formula had been discredited - and spoofs like AUSTIN POWERS were making more money. The Bond franchise responded by becoming more serious and stripped down and, to my mind, boxed itself into a corner with CASINO ROYALE. By contrast, the OSS 117 franchise decided to co-opt the critics, exploiting the camp, kitsch tendencies of the 60s spy flicks - essentially spoofing itself.

The resulting movie is a beautifully crafted spoof that had me laughing out loud throughout. The plot sees Agent 117 (Jean Dujardin) sent to Cairo to investigate the murder of another Agent and good friend, Jack Jefferson (Philippe Lefebvre). In addition, 117 has to bring peace to a country riven between royalists, islamists and various colonnial powers. On the way, he'll fight with chickens, shag an Egyptian princess, face-off with Nazis and generally cause offense! The movie has a lot of fun exploring the latent homo-eroticism of the relationship between agents (not least between Bond and Leiter in the novels.) But the most fun comes from the film's recreation of the shooting style of Dr No era movies: period costumes, dodgy fight scenes, rubbish back-projection, jazz-filled sound-tracks...!

Jean Dujardin is absolutely perfect as Agent 117. He looks like a young Gallic Sean Connery in his 60s suits and brilliantined hair. But he also has a real talent for physical comedy and several scenes are up there with the best of Inspector Clousseau. Just keep an eye out for a scene where he dances the twist at an Embassy ball. I can't wait till the next 117 movie. Absolutely perfect for a miserable Sunday afternoon!
CAIRO, NEST OF SPIES / OSS 117: LE CAIRE NID D'ESPIONS was released all the way back in 2006 in France, Belgium, Greece and Russia. It was released in 2007 in the Philippines. It was released earlier this yaer in Spain, the US and Brazil and is currently on release in the UK.