Sundance London 2012 - NOBODY WALKS

NOBODY WALKS is a beautifully made drama in which very little happens and yet the viewer feels intimately connected to each character, and invested in the emotional response to each situation.  The performances are subtle and brave; the visual design of the film stylised and impactful: the overall effect one of establishing and maintaining an uneasy tone where seemingly banal occurrences hide emotional crises.

The single plot point that sets the movie off is the introduction of a newcomer to a family that is playing at being beautiful and privileged but evidently isn't functioning at a very basic level. The newcomer is vibrant, sexy Martine (Olivia Thirlby) - a young experimental filmmaker from New York. The family consists of psychologist Julie (Rosemarie Dewitt), her daughter Kolt (India Ennenga), her husband, Peter (John Krasinki) and their son.  Peter is a sound designer helping Martine out with her film, but while he feels an attraction to her, its Martine that initiates the relationship.  This doesn't go unnoticed by Julie, who is also facing temptation from her inappropriately keen patient (Justin Kirk). Meanwhile, the daughter, Kolt, is envious of Martine's flirtation with Peter's assistant David; equivocal about dating the sweet but unexciting Avi; and sleazed upon by her Italian tutor.

What I love about this film is that characters do things that may or may not be morally reprehensible but their motivations and the morality of their actions is always ambiguous and the more interesting for that.  Is there something more honest in Peter's reaction to Martine than in Julie's response to her parents?  And what are Martine's real motives? Is she consciously exploiting her sex appeal or a victim of men projecting their desires and assumptions onto her.  It's this kind of provocation that makes NOBODY WALKS such an elusive and fascinating film.  I hope it gets the distribution it deserves.

NOBODY WALKS played Sundance and Sundance London 2012.  It will be released in the USA on October 12th 2012.The run-time is 83 minutes.

IT'S COMPLICATED - fails to be subversive

IT'S COMPLICATED wants to be a romantic-comedy that subverts convention by giving us an old formerly married couple indulging in an affair. Whether or not you will like this film basically rests on whether you find the concept of Meryl Streep declaring, "turns out, I'm a bit of a slut" funny or not. Sadly, writer-director Nancy Meyers does not develop the humour beyond the initial concept. Oh, I forget, she has ex-husband and current lover Alec Baldwin sneak around Meryl's house peering into windows at her new date (a completely under-used Steve Martin). Baldwin trips and falls. Oh, how funny.

Thin comedy aside, what else does this movie offer? A risible attempt to actually examine the impact this affair would have on the husband's new younger wife, her son, and on the couple's grown children. Any attempt at emotional profundity is undercut by the fact that the script is superficial; Alec Baldwin simply doesn't have the acting range; and Meryl Streep chooses not to use her god-given talent but instead simply mugs to camera.

Worst of all, this movie - which seeks to oh so daringly depict love among the fifty-somethings as a valid concern in our youth-obsessed age - is itself ludicrously obsessed with surface appearance. Indeed, it plays less like a rom-com and more like a feature length advertisement for life in Santa Barbara - all gorgeous properties, perfect interior design, chi-chi food stores, and sweeping drives. When Meryl Streep laments the fact that it took her ten years to get over her divorce and feel confident enough to remodel her house and get the kitchen she always wanted, you look at her current kitchen and wander what the fuck is her problem.

Overall, this is a movie about a bunch of people who live a life of over-designed ease. They are all basically self-obsessed and unlikeable. I didn't buy that they were having a genuine emotional journey. I didn't want them to live happily ever after. I wanted the movie to end very, very quickly indeed.

IT'S COMPLICATED was released in the US, Belgium, France, Greece, Hungary, the Netherlands, Slovenia, Canada, Finland, Spain and Norway in 2009. It is currently on release in the UK, Australia and Argentina. It opens next weekend in Israel, Russia, Singapore and Estonia and opens on the 21st in Denmark, Germany and Sweden. It opens in Croatia on January 28th, in Romania on February 19th, in Japan on February 19th and in Brazil on February 26th. It opens in Turkey on March 5th and in Italy on March 19th.

AWAY WE GO - twee

AWAY WE GO is a great step forward for Sam Mendes, whose previous directorial efforts (AMERICAN BEAUTY, REVOLUTION ROAD) have been story-boarded and designed to within an inch of their lives. In this film, he hangs loose, allowing his story and characters room to breathe. The movie looks and feels lo-rent, almost casually thrown together, rather than distracting us with a high-gloss finish. Great.

Problem is, Sam Mendes hasn't moved beyond his other fatal flaw as a director - being patronising. I have yet to see a Mendes movie that does carry with it an air of smug self-satisfaction. AWAY WE GO features John Krasinki and Maya Rudolph - two actors better known for comic roles on TV - in a semi-serious character driven drama. They are well-adjusted, right-thinking, warm-hearted, in-love and pregnant. When his parents decided to move to Antwerp on the eve of the birth of their child, this prompts a crisis. Well, no, they are too banal to ever have a crisis. Rather, the young couple are concerned that they haven't figured out how and, indeed, where, to live. So follows a road trip, visiting friends and family, hoping to learn.

The couple are basically good people (and indeed, are portrayed by good actors). As shown here, they don't really have anything to learn. This is a road-trip with no real emotional journey. The couple are confronted with a series of increasingly caricatured couples, and it's a no-brainer that these are not the guys to learn from. In particular, the hippie couple depicted by Maggie Gyllenhaal and Josh Hamilton were so absurd they completely took me out of the film. And then it all winds up with an ending that is as schmaltzy as it unbelievable.

AWAY WE GO was released earlier this year in the US, Canada, Greece, Denmark, the Czech Republic, Israel and the Netherlands. It is currently on release in the UK and opens next week in Belgium. It opens in October in Finland, Norway, Germany, Australia, and Romania. It opens in November in New Zealand, Portugal, Sweden, Argentina and Spain. It opens in Russia on December 10th.

LEATHERHEADS - in which Clooney tosses up genres like so much confetti

Yet another flaccid movie squelches its way into cinemas this weekend. In another directorial effort, George Clooney unsuccessfully splices together the under-dog sports genre, the screwball comedy and the 1960s sex comedy. He chooses to set the unhappy cocktail in prohibition-era America.

Clooney plays an ageing lothario struggling to keep his pro-football team above water in the era before mega-bucks sports. He does so by hiring a fantastically popular college player, who's a war hero to boot (John Krasinski from the US version of THE OFFICE - wasted in this role.) The old hand may be resentful of the young gun's newfangled methods, but he loves the massive increase in gate receipts. Problem is that a feisty investigative reporter (Renee Zellwegger) is trying to expose "The Bullet's" impressive war record as a hoax, as well as causing romantic jealousy all round.

The sports movie component of LEATHERHEADS is fairly thin. It's basically just a wry comment on the irony of getting what you wished for. In order to survive, the team bring about a mew commercial era, but that very commercialisation means an end to the good old rough-and-tumble of the sport they loved.

As for the rom-com element, I found it pretty weak. Sorry to sound ageist, but Renee Zellwegger is simply too old for the part and partly for that reason she has no chemistry with John Krasinski. It looks like Mrs Robinson's trying to mack onto the new kid, rather than a genuine love triangle with Clooney. I'm also a little bit tired of Zellwegger trying to pull off these Doris Day sex-comedy roles. Clooney desperately wants the banter between his and Zellwegger's character to be brilliantly witty, but it's obvious and flat. And, despite her feminist aspirations, Zellwegger's character rolls over annoyingly easily.

LEATHERHEADS is on release in the USA, UK, Ukraine, Canada, Estonia and Italy. It opens on April 23rd in France; in Argentina on May 8th; in Australia, the Netherlands, Denmark, Norway and Sweden on May 30th; in Germany and Spain on June 5th and in Belgium on July 2nd.

LICENSE TO WED saps my precious bodily fluids

Jesus Tap-Dancing Christ! Do these people realise that it is a PRIVILEGE to be able to make a movie? That thousands of imaginative, talented kids DREAM of these kind of production budgets and distribution deals? Do these guys even know the aggregate economic output WASTED by all us poor fools who've had to PAY to have our precious bodily fluids sapped by this creepy little TURD of a movie?

Be very clear. This movie sucks ass. This should not be a surprise. The writers have written nothing of note before. The director has done some TV and that's it. The plot is basically empty. Two blandly beautiful kids have to attend "Reverend Frank's" pre-marital counselling class before he'll marry them. In other words, this is a vehicle for Robin Williams' peculiar brand of brash, irritating, re-hashed humour. And, personally, I haven't found Williams funny since 1987.

LICENSE TO WED is on already polluting mutliplex screens in the US, Greece, Puerto Rico, the Philippines, Australia, Hong Kong, Malysia, New Zealand, Mexico, Spain, the UK, the Netherlands, Singapore, Belgium, Egypt, France, Argentina and Italy. It opens next weekend in Germany, Brazil and Iceland. It sleazes its way into Israel and Japan in September and into Norway in October 2007.