BLENDED

BLENDED is the latest in the series of harmless rom-coms starring Adam Sandler and Drew Barrymore as Jim and Lauren. In this iteration they play a widower and a divorcee respectively who go on a horrible blind date where he takes her to a Hooters and pays her no attention.  Naturally they are opposites. She's a professional closet organiser and so is portrayed as uptight and overly controlling, with her two boys dressed in smart suits. He's a sports-nut with there girls dressed in athletic wear.  Neither parent is coping particularly well with their kids going through puberty. 

The plot kicks off when Lauren's best friend ends her relationship with Jim's boss freeing up a luxury holiday that the boss had booked. They both get to go with their kids, and while they start of hating each other and protesting that they aren't dating - well, you can guess what happens. 

The humour is very very low key indeed. It's not really a laugh-out-loud movie. But I did, in spite of my in-built cynicism, feel that trademark Sandler-Barrymore warm cuddly feeling and I genuinely liked these people and wanted things to work out. There are no surprises, and I knew I was being manipulated by a script that repeated a tried and trusted formula. But I just couldn't help it.  And you know when I knew this movie was really working?  Terry Crews.  When I first saw his cameo as a South African singer I thought, my god, is this borderline racist?  By the end, I just went with it, and even found it funny. So yes, there's nothing original or pioneering here.  But it works.  It really does.

BLENDED is rated PG-13 and has a running time of 117 minutes. BLENDED is on release in the USA, UK, Ireland, Germany, Puerto Rico, Austria and Canada. It opens on May 30th in Thailand, Bulgaria, India and Vietnam.  It opens in June in Argentina, Bolivia, Chile, Singapore, Uruguay, Colombia, Cyprus, Pakistan, Belgium, Iceland, Kuwait, the Philippines, the UAE, Australia, Lebanon, Peru, Indonesia, Panama, Turkey, Azerbaijan, Greece, Romania, Taiwan, Mexico, Spain, Finland and Sweden. It opens in July in Italy, Denmark, Croatia, Hungary, Israel, Macedonia, Portugal, Serbia, Russia, Slovakia, Ukraine, Poland, Venezuela, South Africa, the Czech Republic, Hong Kong, Slovenia, Estonia, Lithuania, Latvia, Norway, Brazil and the Netherlands. It opens on August 6th in Egypt, and in Japan on March 11th 2015.

CAPTAIN AMERICA: THE WINTER SOLDIER 3D brought to you by proud sponsor, Edward Snowden

CAPTAIN AMERICA: THE WINTER SOLDIER is an utterly satisfying comic-book summer blockbuster but I wonder how certain members of the audience will view its earnest liberal political agenda.  Which is to say that I agree with absolutely everything this movie says about the trade-off between freedom and security, but even I found the messaging rather heavy-handed. So much so that this movie could've been sponsored by Wikileaks or the Edward Snowden defence fund.  That said, it's the most politically engaged, elegantly written Marvel movie, so I'm really not complaining.

As the movie opens we see the formerly cryogenically frozen super soldier Captain America unfrozen and working for SHIELD  As well as catching up on fifty years worth of pop culture, he's also struggling to reconcile his earnest no-nonsense good guy values with his current job enacting secret missions in a world without clear-cut enemies. His boss, Nick Fury, isn't helping by being all paranoid and on the verge of launching three super-fighters capable of taking out terrorist threats before they happen, with the co-operation of World Security Council chief Alexander Pierce.  But soon Fury is the subject of an assassination attempt, Captain America himself is under attack, and Hydra is rearing its many-heads once again.  His only allies are the newly contemplative Natasha Romanoff aka The Black Widow and the similarly earnest Sam Wilson aka The Falcon.

There's a lot to love here without the politics. The dialogue is smart, if not as constantly wise-cracking as an IRON MAN movie.  I love the genuine chemistry between Chris Evans' Steve Rogers and Scarlett Johansson's Natasha.  I love the elegant way in which the scriptwriters (Christopher Markus and Stephen McFeely) give us the prequel backstory by way of a museum exhibit.   The plot has a pleasing complexity without seeming wilfully obscure, and it allows minor characters a chance to shine - not least Sebastian Stan in what could've been a thankless cameo role as The Winter Soldier but drips with melancholy.  I even love the behind the scenes stuff - particularly the subtle ageing make-up on Hayley Atwell's Peggy Carter, the gorgeous hand to hand combat choreography, and the cinematography from Trent Opaloch (DISTRICT 9) that's less than the motion sickness of Bourne but still engrossing enough to keep us on the edge of our seats. So kudos to the unlikely directors, the Russo brothers, for pulling it all together.

But this movie ultimately stands or falls on how you feel about its politics because, believe you me, this kind of earnest engagement with a highly contemporary issue is bold and brave, not least because of its ramifications for SHIELD within the real-life complex commercial universe that Marvel has established.  I love that beyond all the fighting this is ultimately a thoughtful, provocative and bold film - one that, like Captain America himself, has the courage of its convictions and a kind of audacity that is rare in a summer blockbuster.  That audacity caps itself off in the anti-casting of arch-liberal Robert Redford as a hawk, and the wonderfully subversive final scene involving Jenny Agutter.  We've come a long way from THE RAILWAY CHILDREN!

CAPTAIN AMERICA was a great summer blockbuster.  Its sequel is something more than that.  A great entertaining movie but one that also has the courage to pose serious questions about our world and doesn't patronise the audience with easy answers.

CAPTAIN AMERICA: THE WINTER SOLIDER has a running time of 136 minutes and is rated PG-13 in the USA and 12A in the UK for infrequent moderate violence.

CAPTAIN AMERICA: THE WINTER SOLDIER is released this week in the USA, France, the UK, Belgium, Ireland, Italy, South Korea, Norway, the Philippines, Poland, Sweden, Argentina, Germany, Denmark, the Netherlands, Portugal, Singapore and Spain. It is released on April 3rd in the UAE, Australia, Greece, Hong Kong, Macedonia, New Zealand, Russia and Thailand; on April 4th in Bulgaria, Canada, China, Estonia, India, Iceland, Lithuania, Mexico, Peru, Romania, the USA (wide release) and Vietnam; on April 9th in Serbia; on April 10th in Brazil, Hungary and Cambodia; on April 11th in Turkey; on April 19th in Japan.

ABOUT LAST NIGHT

ABOUT LAST NIGHT is a romantic comedy from director Steve Pink (HOT TUB TIME MACHINE) based on the 1980s David Mamet play "Sexual Perversity In Chicago" and remaking the 1980s movie starring Rob Lowe and Demi Moore.  In this iteration we have two contemporary African American couples discussing sex and dating.  Kevin Hart and Regina Hall (THINK LIKE A MAN) play Bernie and Joan who have a one-night stands at the outset of the film and so introduce their friends Danny and Debbie, played by Michael Ealy (BARBERSHOP) and Joy Bryant (Parenthood).   

I started off really hating this movie and maybe that's because it focusses up front on Joan and Bernie, who come off as crass, drunk and trying to be funny. It's the kind of humour that asks you to laugh when a couple try to have sex on a toilet and accidentally hit the flush.  But at least Kevin Hart was sporadically funny whereas the handsomely banal couple Danny and Debbie are just going through the motions of every other relationship drama we've ever seen on screen.  They have an instant chemistry - all is loved up - they move in - he feels cramped - they have a massive argument - they could cheat with ex-es - they don't because they are fundamentally nice people. 

I did eventually mellow forward this film. It's an easy enough watch even though it doesn't surprise AT ALL.  For instance, you just know that when Danny takes Debbie to the old Irish bar he visited as a kid, and sees it fall on hard times, that there's going to be some kind of hipster-ish extreme makeover.  The actors are ok.  Kevin Hart and Regina Hall have their comedic moments. But it's one for DVD night at best.

ABOUT LAST NIGHT has a running time of 100 minutes and is rated R.  The movie is on release in Canada, the USA, Kenya, Nigeria, the UAE, Bahrain, Iraq, Jordan, Kuwait, Lebanon, Oman, Qatar, Syria, Egypt, Ethiopia, Vietnam, Ecuador, Australia, South Africa, Malaysia, Uruguay, the UK and Ireland.  It opens in April in Philippines, Thailand, India, Chile, Indonesia and New Zealand. It opens in May in Denmark and Taiwan, in June in Hong Kong and Germany.

X-MEN: DAYS OF FUTURE PAST

X-MEN: DAYS OF FUTURE PAST is a long and convoluted film. That it remains engaging says something for the quality of the cast it has assembled, the ballsiness of its premise and the elegance of its action scenes.

The movie sees Wolverine sent back in time to the 1970s by Kitty Pryde to persuade Professor X and Magneto to come together and prevent Mystique from being captured by an evil inventor called Trask.  He will create robots called Sentinels who use Mystique's own mutated blood to become the ultimate Mutant killing machines.  If she isn't stopped Mystique will unleash a future in which Mutants are all but extinct.  But the mission isn't an easy one. Wolverine has to persuade a disillusioned, drugged up Professor X to help; he has to bust Magneto out of prison for killing JFK; and that's before he even gets to Trask.

The cast is impeccable. Fassbender vs McAvoy as Magneto vs Professor X is just the ultimate buddy movie with consequences.  You need actors will real heft to pull of a man scarred by the Holocaust and another who has to go back into his wheelchair for the good of humanity.  Jennifer Lawrence plays a woman on the brink of a massive ethical decision. The new additions are Peter Dinklage as the bad guy, Trask, fine but nothing spectacular, and Evan Peters as Quicksilver. (Yes, you're right - a different Pietro Maximoff to the one in AVENGERS....)  Peters doesn't have much to do, but he does star in the most awesome action sequence of any X-MEN movie to date, in which he goes so fast the reality around him slows down and he literally re-arranges bullets in the air.  Amazing scoring for that scene too. As for Hugh Jackman as Wolverine, well, he's played Wolverine so many times by now I almost don't think of him as acting anymore.

The heart of the film is the relationship between Mystique and Magneto.  Is he going to stay good or go bad?  And between Charles Xavier and, well, the world. Is he going to give in to depression or grasp the future, the future he can create?  It's this more than anything else that keeps us coming back to the franchise.  It's not just ever bigger and bolder action sequences but that these are grown up, complex, scarred characters that wrestle with their doubts and dissatisfactions. There are no easy choices. Everything carries weight. Everything matters.  That's what elevates X-MEN, and this instalment in particular, to something very special indeed.

X-MEN DAYS OF FUTURE PAST has a running time of 131 minutes and is rated PG-13. The movie is on global release.

ONLY LOVERS LEFT ALIVE - LFF 2013 - Day Eleven - Super late review!

So here's a super-late review of the gloriously weirdly wonderful romantic-comedy ONLY LOVERS LEFT LIVE from art house director Jim Jarmusch (THE LIMITS OF CONTROL).  I originally saw this flick at the London Film Festival, and then watched it again on Valentine's Day at the BFI.  I resisted reviewing it because sometimes the movies you truly love are the hardest to write about. Somehow it's easier to pinpoint exactly why you hate hate hate hate hate a movie and far harder to articulate that nebulous feeling of unashamed joy when you luxuriate in a movie that's uniquely wondrous. But, as this flick is still on a few arthouse screens in the UK, here goes....

ONLY LOVERS LEFT ALIVE tells the story of two ancient vampires called, in biblical simplicity, Adam and Eve.  When we meet them, they're living apart. She's in the richly decorated decadent Tangier, hanging out with her friend Marlowe (wry jokes about ghosting Shakespeare), and generally looking effortlessly punk-rock-chic.  He's hanging out in decaying Detroit, writing awesome moody music on self-consciously old-school tech, procured by his cluelessly half-baked muggle friend Ian.  

Adam's in a funk, and Eve comes to rescue him. What's funny and sweet about their relationship is that after all those centuries it has matured into a kind of docile middle-aged marriage and yet we still feel they're passionately in love with each other, and utterly good people who make each other better, which is ultimately the aim, right?  He shows her his decrepit post industrial city by night, dodging fan-girls, and all seems wistfully melancholy until Eve's little sister Ava turns up and throws everything into chaos.  There's a lot of fun to be had at Adam's deadpan response to Ava's hell-raising antics, and the key plot point is that it forces our Lovers onto a plane to Tangier, leaving their ethically sourced blood supply behind them.

Throughout all of this, Jim Jarmusch seems to be engaging us in an elegy for high culture.  Adam is weary with superficial modern culture - the source of his depression - and longs for a greater more glorious past.  Eve might try to snap him out of this, mocking Byron as an old bore, but there's a feeling that the times of great dandy fashion and music and writing is over and they are not just the Only Lovers Left Alive as in the only truly passionate people left, but the only Lovers of Art left in a modern world denuded of taste. To that end, Eve's little sister with her insatiable immediate and unfiltered appetites might remind us of modern pop-culture - superficial, insatiable, undiscriminating.  If Eve's reading Marlowe, then Ava's reading TMZ. 

All of which makes this movie sound rather pedagogic but it's only after I watched it, and rewatched it, and pondered it, that I came to this awareness. When you're in the movie, you're enjoying the wonderfully attenuated, chiselled beauty of Tom Hiddleston and Tilda Swinton, and utterly buying into their love story.  You're enjoying the wonderfully curated ramshackle houses that they live in.  You're glorying in the very British humour delivered in particular by Hiddleston and his interplay with Anton Yelchin as Ian. Plus, did I say that the music is just insanely wonderful?

Really, there's nothing not to like here.  And if you've found Jim Jarmusch inaccessible and wilfully obscure in the past (as I have) then please don't let that put you off this beautifully shot, deeply affecting film.

ONLY LOVERS LEFT ALIVE has a running time of 123 minutes and is rated R in the USA and 15 in the UK for strong language.  

ONLY LOVERS LEFT ALIVE played Cannes, Toronto and London 2013.  It was released in 2013 in Russia, Croatia, Switzerland, Japan and Germany. It was released earlier this year in Greece, South Korea, the Netherlands, Sweden, Turkey, Belgium, France, the UK, Ireland, Romania, Poland, Taiwan, Denmark and Finland. It will be released in the USA on April 11th, in Australia on April 17th, in New Zealand on May 1st, and in Spain on June 27th.

BFI FLARE - Opening Night Gala - LILTING

LILTING is a movie that drips with sincerity and authenticity and makes you cry - but not in that emotionally manipulative way that a film like THE BLIND SIDE brings you to a crescendo of weepiness - but in the quiet way that a movie about real loss can. And despite all this - and its profound investigation of grief and the guilt around caring for our ageing parents and the difficulty of coming out - and the way in which we circumscribe our communication to shelter others or shelter ourselves - it's actually a properly laugh-out-loud funny film! That all this comes from a first-time feature writer-director is just astonishing!

The movie is about unpicking the memories and emotions around a dead young man called Kai (Andrew Leung) who lived in  London with his long-time partner Richard (Ben Whishaw) but hadn't come out to his possessive mother Jun (Pei-Pei Cheng).  We begin the movie after his death but in a series of elegantly languidly interlaced flashbacks we get to know and sympathize with Kai over his genuine love for his mother but the way in which he feels trapped by his dependence on her. Meanwhile, in the present, as his boyfriend struggles to grieve for Kai, we see him start to visit her in a nursing home, despite her evident dislike for the rival for her son's attentions, and the ambiguity surrounding how much she really knows about the nature of their relationship.  Much of the humour of the film comes from the incipient relationship between Jun and another resident at the home, Alan (Peter Bowles). Initially, Richard introduces them to a translator (Naomie Christie) to aid their romance, but soon as Naomie becomes more involved in their lives, it's Richard and Jun that she mediates and translates for. 

I want to emphasize just what a beautifully elegant and softly woven film this is.  How authentic and conflicted the relationships feel, and just how good the performances are, so that even in the midst of selfish arguments you can sympathize with each participants.  I left the cinema having laughed out loud but also having quietly cried - feeling that I really knew these people and desperately cared about what was going to happened to them.  I can't tell you how infrequent an experience that is at the cinema and how much these unique voices must be supported.  Moreover, why isn't Ben Whishaw more famous? 

I suppose the final question is, with the movie featuring a gay couple, and centering on the issue of coming out, whether this is exclusively a gay interest film.  I would argue that it deserves a far wider audience that that.  The issue of how we as vital children relate to our ageing parents is universally relatable as is the idea of what we choose to say and with-hold in our relationships.  This is a wise film indeed. 

LILTING played Sundance, where Urszula Ponticus won the cinematography award for World cinema - Dramatic,  and BFI Flare 2014.  It will be released in the UK and Ireland on June 20th.