FRUITVALE STATION

Oh dear. The poor women next to me was in floods of tears and actually apologised for crying to me when the lights went up.  This may well be a peculiar trait of the English: apologising for a visceral emotional reaction.  I rather gather that this has been the response of the majority of viewers of FRUITVALE STATION - the critically acclaimed debut feature from writer-director Ryan Coogler. He has evidently made a deeply-felt earnest and politically charged film, and audiences are responding in kind.  After all, who can't feel sorry for a charming, fallible, but loving son, boyfriend and father who, through no fault of his own, ends up getting shot by a policeman at the metro station that gives this film its title.  The real Oscar Grant didn't deserve to die.  But he also deserves a better film than this piece of emotionally manipulative hagiography.

Ryan Coogler's conceit is to give us the man on the day before he died, enlightening only with a flashback to his time in prison and his beef with a fellow prisoner.  We see Oscar as a loving if occasionally unfaithful boyfriend, raising his daughter Tatiana responsibly, and supported by a loving extended family. It's certainly a far cry from the cliche of young black men raised by single mothers, ditching their multiple baby-mamas and up to no good.  To be sure, he's done time, and he has a cowardice when admitting to his family and friends that he's lost his job, but deep down we know Oscar is a great guy.  Why? Because he helps a pregnant woman take a leak and cradles a dying dog.  The problem is that this is a whitewash. The incident with the dog just didn't happen, and other factors we should have known about aren't mentioned.  Most crucially, the way the movie wraps up leads the audience strongly to believe that Oscar was deliberately shot by a racist cop, when the truth could be that it was just an honest mistake. Who knows?  The point is that the film doesn't admit of an alternative narrative and in doing so becomes trite propaganda.

Okay. So what if we were to approach this film as fiction and ignore any attempt at veracity, how does it work as pure drama? The opening shot of found footage showing a young man brutally treated on a metro platform is powerful and throws us into the action.  The opening scenes of the movie give us a character sketch of his relationship with his girlfriend that is deft and interesting. But then, as he roams around for the day getting ready for his mother's birthday party the movie loses pace and interest. We are marking time, hungry for character development.  The set piece confrontation at the metro station is brilliantly tense and horrific, if one can draw oneself back into the film, but just as you think "this is a tremendous movie" it descends into hackneyed E.R. territory and then into its politically simplistic ending.  So, a movie that doesn't quite cohere - that doesn't quite convince - hanging on the shoulders of a masterful set piece. A tremendous waste.

FRUITVALE STATION has a running time of 87 minutes and has been rated R in the USA and is rated 15 for strong language, violence, and injury detail.

FRUITVALE STATION played Sundance 2013 where it won both the Best Drama and Audience Award and Cannes where it won the Un Certain Regard - Avenir award. It also won the Independent Spirit Best First Feature Award. It opened last year in the USA, Singapore, Greece and Turkey and opened earlier this year in France, Denmark, the Netherlands, Sweden, Belgium, South Korea, Portugal, Brazil, Italy, Japan, Hong Kong, Taiwan and Germany. It opens in the UK and Ireland on June 6th.

London Film Festival Day 12 - HAMLET 2

HAMLET 2 is so ridiculous it shouldn't work, but I can happily report that Steve Coogan's latest comedy is laugh-out loud funny from start to finnish. Coogan plays a failed actor, reduced to embarassing commercials and piss-poor high school plays. Even his personal life is a mess - he's unable to get his sarcastic, unsupportive wife pregnant. But despite all this, Dana Marschz remains upbeat about life and art and his enthusiasm is infectious. Even though his plays are openly mocked, he sees no reason not to stage a high school musical called "Hamlet 2". The concept is simple: with the aid of a time machine, Hamlet can stop everyone from getting killed at the end of Hamlet 1, which was, after all, such a downer! The resulting musical, featuring songs about getting "raped in the face" and "sexy Jesus" attracts the ire of the local school board and the attentions of the ACLU before becoming, PRODUCERS-style, a runaway success.

HAMLET 2 is a satire on movies like the HIGH SCHOOL MUSICAL franchise, where discussing sexuality is forbidden, and those awful high school dramas like DANGEROUS MINDS where a white teacher saves poor ethinic kids through the redemptive power of...er..Dylan Thomas and kung fu. The writing may be uneven, but more often than not, the satire hits home, and Steve Coogan is just fantastingly funny to watch. I also loved the ironic use of Elisabeth Shue as a disenchanted actress called "Elisabeth Shue", now working as a nurse. You also get some brilliant scene-stealing from Catherine Keener as Dana's wife and Amy Poehler as the ACLU lawyer.

HAMLET 2 played Sundance and London 2008. It opened earlier this year in the US, Canada, Iceland, Greece and Romania. It opens on November 28th in the UK and in the US on August 27th 2009.

BE KIND, REWIND - a love letter to VHS

BE KIND REWIND is the first of two movies starring Danny Glover as an old man forced to adapt to modernity. In this film he owns a crusty video shop in New Jersey. The building is so decrepit that the local council is going to demolish it to put up some shiny new condominiums. And in the age of DVD blockbusters, all Mr Fletcher's customers are leaving him for his rival West Coast Video. Glover plays Mr Fletcher as hardened to life's knocks. He faces up to reality, decides to move his stock to DVD and, if all else fails, to grit his teeth and move to the Projects. Against Mr Fletcher's realism we have the delightful optimism of Jack Black, Mos Def and Melonie Diaz, aka Jeff, Mike and Alma. These three goofballs decide to replace the videos that Mike has accidentally magentised with a bunch of home-made 20-minute "homages"/spoofs or "Swedes". These movies become super-popular with the customers, tired of homogenised Hollywood fare. Audiences delight in their shared experience of classic movies - the scenes we all know by heart - and finally start taking part themselves. Of course, the Feds stomp on the vids for copyright infringement, but not before one final hurrah - a movie about Jazz piano legend Fats Waller. Never mind that Waller didn't actually grow up in Passaic, NJ. That's the joy of shared memory and experience - we own it, and we can change it!

The first hour of this movie shows us the machinations of how all the video tapes got wiped. It's a pretty convoluted tale and has none of the honest simplicity of the similarly themed movie, SON OF RAMBOW: A HOME MOVIE. The movie only really feels like it lifts off in the second half hour, when the gang starts making the flicks. Cinephiles will take sheer delight in seeing those childhood movies recreated. As Michel Gondry proved in last year's outstanding THE SCIENCE OF SLEEP, he is the king of things to make and do. I also love the theme of the flick - far better to go out and do stuff yourself - gonzo-style - than be the passive recipient of other people's dreams.

You can't deny that the movie has a lot of heart. And I always find that Jack Black is more funny when restrained by a strong ensemble cast and director - so I prefer him here to, say, NACHO LIBRE. Mos Def is charming, and it's great to see Melonie Diaz (who's been consistently impressive since RAISING VICTOR VARGAS) get a proper starring role too.

My only real criticism is that BE KIND REWIND takes too long to get to the good stuff, and that everything about how we get to the Sweded films seems hopelessly contrived. If you like this film, I strongly recommend you check out SON OF RAMBOW to see how the same light-hearted material can be grounded in something real and, therefore, all the more emotionally engaging.

BE KIND, REWIND played Sundance and Berlin 2008. It opens in the US and UK today. It opens in March in France, Israel, Iceland, Norway, Australia, Singapore, Finland, Turkey and Russia. It opens in April in Spain, Sweden and Argentina. It opens on May 8th in the Netherlands.