THE PLACE BEYOND THE PINES

Writer-director Derek Cianfrance follows up his critically acclaimed, intimate, raw portrait of an unraveling marriage, BLUE VALENTINE, with what he describes with a male melodrama about fathers and sons.  Both movies are an unflinching examination of real people making bad decisions for the best of reasons. But where VALENTINE feels brutally real, PINES has a self-conscious symmetry - a deliberate interweaving of plot points and characters that lifts us out of the real and into the archetypal.  This is a movie that is architectural - whose structural underpinnings are it's point - and that willingness to put the whale-bones outside of the flesh almost, but not quite, threaten to obscure our emotional response to the material. That it doesn't, speaks to the fine performances at the heart of the movie.

As the movie opens, we see a bravura tracking shot of Ryan Gosling's motorcycle stuntman, Luke, walking through the back-alleys of a circus, his small-town fans cheering him as he enters the tent. Three stuntmen will ride bikes over and around each other in the tight confines of a rotating metal framed ball  - an elaborate metaphor for the feat that Cianfrance is trying to pull of with this film.  

The first act of the film is Luke's story.  He rolls back into town to find he fathered a baby after a one night stand with Eva Mendes' Romina. She's living with Kofi (Mahershala Ali) - an archetypal good father who can provide everything Luke can't - a house, stability, commitment.  Somewhat predictably, Luke falls into bank robbery, tutored by Ben Mendelson's Robin, with immediate success but ultimately catastrophic results.   The hackneyed tale of a heist gone wrong is elevated by Ryan Gosling's absolute commitment to the role, the high-energy cinematography, the creeping sense of foreboding and, perhaps surprisingly, Eva Mendes.  There's a scene where Romina is asking Luke how he's going to take care of her, and Luke begs her not to talk down to him, not to assume he's as worthless as everyone else thinks he is, that is absolutely heartbreaking.  It's heartbreaking because we see how desperate Luke is to break the cycle of absence and neglect that he lived through, and heartbreaking because we know that Romina loves Luke, but that she loves her son, and his future, more.  

In the second act of the film we focus on Avery (Bradley Cooper) - the cop that gets shot in an altercation with Luke.  He's also a young father, also trying to do right but caught up in nefarious shit. His story is also mired in predictability - Ray Liotta cast as a corrupt cop - and the pace is much slower.  I have always thought Bradley Cooper a good actor, but at first I thought his performance in this segment fell rather flat. I just wasn't convinced he'd found the character. And then I realised that this was exactly what we were meant to be falling, because Avery hasn't found his character.  He's a guy constantly defining himself against other's expectations.  His father, a judge, wants him to be a lawyer. The police chief wants him to be a hero.  The rozzers want him to take the cash. And he thinks he wants to just be a good dad.  Turns out, he wants more. It's a subtle performance, and one that's nicely complemented by Rose Byrne as his wife.

In the final act of the movie, we fast forward to the present day, where Luke and Avery's sons are now teenagers at the same public school, although from radically different economic backgrounds. Indeed, Avery is now a man of some power and complacency, and his son  AJ (Emory Cohen) is a sinister, drug-fuelled bully.  Already exploited by AJ, when Luke's son Jason (Dale DeHaan) figures out their fathers' relationship he flips into a spiral that brings Avery face to face with his past in a lurid, melodramatic denouement that is at once utterly unrealistic and majestic.  Bradley Cooper is masterful in his final scene.

What should we make of this film? Clearly, it's macro structure forces it into highly stylised pairings and plot points, but this is not a weakness.  It gives colour and provocation, and doesn't alienate us because each section is so filled with deep emotion and finely shaded moral dilemmas.  In other words, this movie has heart as well as style.  In fact, it's something of a tour de force. 

THE PLACE BEYOND THE PINES played Toronto 2012 and is already on release in the USA, France, Denmark, Finland and Spain. It opens this weekend in Belgium, Italy, the Netherlands, Singapore, Norway, and Sweden. It opens on April 12th in the UK, Ireland, Greece and Lithuania.  It opens on April 18th in Russia. It opens on May 2nd in Croatia; on May 9th in Australia; on May 24th in Poland, Taiwan and Japan; on June 14th in Turkey; on June 20th in Germany and on June 28th in Mexico.

The film has a running time of 140 minutes and is rated R in the USA.

Londn Film Fest Day 10 - BAD LIEUTENANT: PORT OF CALL NEW ORLEANS

Werner Herzog's remake of the 1992 Harvey Keitel flick BAD LIEUTENANT is insane. Herzog is basically inviting us to join with his actors in laughing at the crime thriller genre. To say that the performances are hammy, or that the direction is off-the-wall, doesn't even begin to capture it. Problem is, with everything subordinated to a cheap laugh, there's nothing to hold our attention for the two hour run-time.

The original flick was directed by Abel Ferrara. It was a gritty, sleazy exploitation film about a New York cop strung out on drugs and booze, investigating the rape of a nun, whose forgiveness of her attacker, the cop can't understand. It was down and dirty, sure, but it was serious, after its own fashion. I was expecting a similar tone to this remake. After all, the new flick is written by William Finkelstein, whose credits include NYPD Blue, Law & Order and Murder One. But no.

Nic Cage stars as a corrupt cop, self-medicating for back pain with smack and crack he hustles from people he's taking down. His girlfriend (Eva Mendes) is a hooker, he's running up serious gambling debts, and he's trying to bring down a local drug baron for executing a Senegalese pusher and his family. The cop claims that there's no limit to what you can achieve when you concentrate, which is like a kind of insane joke at the centre of the film. Because just when the cop should be interrogating someone, or investigating a crime scene, Herzog decides to spend a few minutes in extreme close-ups of iguanas set to a hammy version of "Please release me". In one shot, you can actually see Cage in the background cracking up. By the time Cage's character is ruffling the feathers of a "connected" client of his hooker girlfriend in Biloxi, the movie has truly jumped the shark into "just for laughs" territory. I mean, you can admire Herzog's insanity all you like, but what really is the difference between this flick and SNAKES ON A PLANE?

Some reviewers are going to try and sell you the idea that this movie is so ludicrous it's brilliant. Nope. If this were directed by anyone other than Herzog, they'd be calling it an over-long pastiche B-movie and giving it one star. Don't believe the hype.

BAD LIEUTENANT: PORT OF NEW ORLEANS played Venice, Telluride, Toronto and London 2009. It opened this autumn in Italy, Greece and Israel. It opens on November 6th in Romania, on November 20th in the US, on December 2nd in Belgium, on January 8th in Sweden, on January 15th in Germany, the Netherlands and Austria, and on March 3rd in France.

CLEANER - justifiably overlooked DVD of the month

Renny Harlin (DIE HARD 2) directs a contemporary thriller penned by debutant writer Matthew Aldrich. The whodunnit has a nice original concept - Samuel L Jackson plays an ex-cop widower who runs a company that specialises in cleaning up crime scenes. All goes tits up when he cleans up a particularly grizzly murder BEFORE the police have been called in, thus flushing away the evidence. The problem is that the whodunnit is fairly obvious thanks to the type-casting of Eva Mendes as a femme fatale and the fact that you wouldn't cast Ed Harris for anything other than a leading role. Moreover, Sam Jackson's personality and same-y acting once again overwhelms any particular nuances in his character. In fact, I was pretty undewhelmed by the performances of all three leads. Only Keke Palmer does a decent job playing the daughter of the Sam Jackson character. So, despite striking visuals and a rather deliberately artful voice-over style, definitely one to avoid.

CLEANER played Toronto 2007 and was released in Finland, Denmark, Norway, Russia, France, Taiwan and Israel last year. It was released in Japan earlier this year and will be released in Spain on June 12th. It went straight to DVD in the US, UK and Australia.

THE SPIRIT - disastrous noir spoof from Frank Miller

"The only thought in my mind was, 'It's too big — I can't possibly do it.' And I refused. And about three minutes later as I was at the doorway, I turned around and said, 'Nobody else can touch this,' and I agreed to the job on the spot".

Frank Miller should have trusted his instincts and passed up the opportunity to go solo and direct the feature length adaptation of Will Eisner's seminal 1940s weekly serial. 

The strip was a noir thriller about a rookie cop brought back from the dead, living under his grave stone, investigating crime in Central City. Miller gives the book the same treatment as SIN CITY - using digital backgrounds penned largely in gray scale with occasional flashes of iridescent red - and the film is extremely stylish as a result. Miller also does the decent thing in consigning The Spirit's politically incorrect sidekick "Ebony White.

Every other directorial choice Frank Miller makes is wrong. First, let's talk casting. Gabriel Macht lacks charisma as The Spirit. All the other actors turn in hammy, self-referential performances that are painful to watch. It's not entirely their fault. Miller has directed this movie as a pastiche. The movie literally takes the piss out of itself like some dumb SCARY MOVIE flick. The result is a complete waste of time: alienating, unfunny, plain embarrassing.  I just feel that Samuel L Jackson in particular needs to be really careful about taking these sorts of role - after SNAKES ON A PLANE and his increasingly mannered performances he's in danger of turning into a self-parody.  Jackson plays The Octopus.  Uh-huh.  Not only do we see The Octopus' face but we get to see him dress up as a Samurai, and as a Nazi, for no reason than because Miller wanted a bit of sport.  I mean, seriously, how crass can you get?

Avoid at all costs. 

THE SPIRIT is on release in Indonesia, Italy, Portugal, Singapore, Spain, the USA, Australia, Taiwan, France, Iceland, the UK, Denmark and Israel. It opens next week in Israel, New Zealand and Poland. It opens on January 15th in Russia, Brazil and on January 22nd in Argentina, Finland, Iceland and Norway. It opens on January 29th in Germany, on February 19th in the Czech Republic, on February 25th in Belgium and the Netherlands. 

THE WOMEN (2008) - deliberately confused?

THE WOMEN is a rather baffling film about four privileged middle-aged women who are struggling to balance careers with families and to maintain dignity in the face of societal pressures to look young. It centres on a country-house wife called Mary (Meg Ryan) who has put her career on hold to be a supportive wife and mother only to discover that her husband is cheating on her with a perfume counter girl (Eva Mendes). Not only that, but Mary is betrayed by her best friend Sylvie (Annette Bening), a magazine editor who trades gossip on her friend's marriage in order to keep her job.

The message of the movie seems to be that female friendship is as important, if not more so, than a good marriage. It's also that women should be "selfish" and put their career and happiness first. Moreover, women should not bow to societal pressure to look young or have sex early. As Annette Bening's character says "This is my face, deal with it." All good, empowering stuff.

Then again, the message of the movie seems to be "It's hypocritical: it's complicated". After all, how can we not notice that Meg Ryan has had significant and devestating plastic surgery, and looks very different from Annette Bening who is ageing more naturally. Mary's mother (Candice Bergen) has a face lift, and Mary supports that decision. Maybe female empowerment is about being empowered to cave in to pressure and not feel guilty?

I'm not sure if THE WOMEN is a good movie or not. It seems to be genuinely confused about what it wants to say and as such it's hard to pin it down. The performances are fine and it looks polished. The issues it raises are important and of interest to modern career women. Yes, it's slippery in terms of its messages but maybe that's deliberate - maybe that accurately reflects women's odd relationship with their own self-image.

Insofar as the movie provoked me into thinking about big life-issues margibally more than it irritated me with it's clumsy product placement, I guess I would give it a qualified thumbs-up.

THE WOMEN is on release in the USA, Canada, Romania, Turkey and the UK. It opens in October in Puerto Rico, Argentina, Russia, South Korea, Poland, Italy and Spain. It opens in November in the Czech Republic, Norway and the Netherlands. It opens in December 11th in Germany; on December 26th in Finland and on January 28th in France.

WE OWN THE NIGHT - exceptional cop thriller cum family drama

WE OWN THE NIGHT is a solid, well-made crime thriller set in late 80s Brooklyn. But at heart it's a story about two very different brothers and how they come to the point where they can finally admit that they love each other. That's what makes it exceptional. The first brother is Joseph, played by the much under-estimated Mark Wahlberg. Joseph is a decent family man and conscientous cop who followed his father into the force. Joaquin Phoenix turns in a searing performance as the second son, Robert, who has become a night-club manager with connections to Russian drug-dealers. Through the film, we see Robert forced to choose between the police and his adopted friends. Both brothers are deeply affected by the events: both make sacrifices. There are no pat happy endings, but there is genuine character development. Kudos to writer-director James Gray.

I really loved every aspect of this film. The production is flawless. The film-makers perfectly recreate the look and feel of the late 80s and the sound design is exceptional - particularly in the wire-tapping scene and the car chase scene. But the best part is that no character's actions or words ever seem out-of-character or sacrificies to plot exigencies. Kudos to writer-director James Gray.

WE OWN THE NIGHT played Cannes 2007. It was released in the USA, Canada, Norway, the Philippines, Brazil, Greece, Denmark, Bulgaria, Belgium, France and Romania. It is currently on release in Finland and the UK and opens next week in Iceland. It opens in January in Estonia, Russia, Sweden and the Netherlands. It opens in February in the Czech Republic, Argentina and Germany and in Spain in March.

GHOST RIDER - Forecast is for "bad craziness"

When is "bad craziness" not a good thing? When it's so bad, it goes past being crazy and back to bad again. Before we get to the review I should probably explain how psyched I was about seeing GHOST RIDER. What wasn't to like?! I was all set for a popcorn-tastic, camp classic roller-coaster-ride of motorcycle stunts, supernatural bad-asses and cheesy gags. After all, there's no way you can play the following plot without your tongue in your cheek: a kid called Johnny Blaze (!) makes a deal with the devil to save his father from death by cancer only to see the father die in a motorcycle stunt anyways. Years later, Mephistopheles (Peter Fonda with an insanely bouffant blow-dry-job) forces JB (Nic Cage to honour his contract and harvest souls. Oh yeah, and JB has a childhood sweetheart called Roxy (Eva Mendes) reappear on cue as a TV reporter, and Mephistopheles has a son called Blackheart eager to push daddy into early retirement.

If anyone was willing to accept this movie as a light-hearted romp, it was me, but I was sorely disappointed. It's so flat and long-winded and plain dull that you just can't overlook the absurdity of the thing. In the prologue, the kid who plays Cage Jr is wooden. In the main body of the film, Cage and Mendes have no chemistry. Frankly, I was bored.

GHOST RIDER is on release in Egypt, Indonesia, Kuwait, the Philippines, Taiwan, Australia, Malaysia, Qatar, Russia, Singapore, Estonia, Iceland, Latvia, Mexico, Spain, Turkey, the US, Finland, Belgium, France, Germany, New Zealand, Austria, Bulgaria, Norway, Poland, Sweden, Croatia, Hungary, Brazil, Denmark, the UK and Japan. It opens in Hong Kong next Friday and in Argentina, Portugal and Italy the following week. It opens in the Czech Republic on March 22nd and Israel, the Netherlands and Venezuela the following weekend.

THE WENDELL BAKER STORY - sweet comedy from three of the four Wilson brothers

THE WENDELL BAKER STORY is a rare find - a comedy that is both sweet and subversive. It is well acted, laugh-out loud funny, sweet without making you want to use a sick-bag and "feel good" in the good sense of the phrase.

Wendell Baker makes a living selling fake drivers licenses from a mobile home to illegal Mexican workers in Texas. When he gets out of jail he takes up a job at a retirement home where he makes friends with the residents, has to deal with a mean head nurse, and tries to get back his ex-girlfriend.

The movie has a super cast. Eva Mendes (Will Smith's squeeze in HITCH) is the woman Wendell tries to win back. The residents of the nursing home include Kris Kristoffersen ("The Blade Trilogy") and Harry Dean Stanton ("Paris, Texas"). One of the funniest scenes in the movie centres on Harry Dean Stanton, who is 80 years of age, chatting up two young chicks in a grocery store.

The movie is written by and stars Luke Wilson, perhaps most famous to multiplex movie-goers as the boyfriend, Emmett, in the "Legally Blonde" films. But when not earning the proverbial phat cash from autopilot "cute boyfriend" roles, Luke Wilson is part of the quirky comedy troupe headed by Wes Anderson, who directed "Bottle Rocket", "Rushmore", The Royal Tenenbaums and "The Life Aquatic with Steve Zissou". The movie also stars Luke's brother Owen and Seymour Cassell, who are also Wes Anderson regulars.

I think that THE WENDELL BAKER STORY's cast has mis-led some viewers into expecting it to be like a Wes Anderson movie. But they should remember that it is OWEN, not LUKE, Wilson who collaborates with Anderson on his screenplays. This is a very different movie. Less visually indulgent, less blackly funny, and more of a straightforward romantic comedy. Luke and Andrew Wilson (another brother and the director of the movie) should be judged on their own efforts, and while THE WENDELL BAKER STORY is not going to revolutionise the movie industry, it does make us laugh.

I don't know of any release dates for this movie, but it is doing the Festival circuit so keep an eye out...I suspect it may end up (undeservedly) in "straight to video" hell.

HITCH - formulaic rom-com saved by Will Smith

HITCH is a paint-by-numbers romantic-comedy featuring Will Smith and Eva Mendes, Kevin James and Carmen Diaz-lite, Amber Valetta. Smith plays a “date doctor” who specialises in coaching men with low self-esteem on how to appear attractive to their dream-women. He is helping the earnest, sweet, but unattractive Kevin-James-character win the misunderstood social butterfly Amber-Valetta-character over. Cue lots of “odd couple” type jokes. Meanwhile he is also wooing the Eva-Mendes character. This chick has a lot of trust issues, and is also the gossip columnist who exposes the James-Valetta relationship. Cue lots of comedy-misunderstandings.

Now, I have nothing against romantic comedies per se. It just so happens that the majority of romantic-comedies produced by Hollywood studios are formulaic superficial nonsense, usually designed as vehicles for some cute star and directed by a talentless hack. In addition, they mostly have plots that rely on key members of the cast forming ridiculous misunderstandings of each other’s motives and actions that in the real world would be cleared up in a second, but in the tortuous world of celluloid dating take a more marketable ninety minutes to unravel. In the case of HITCH, the hack director is Andy Tennant, who seems to specialise in these disposable comedies. (I submit that monstrously flawed Reese Witherspoon-Josh Lucas vehicle, SWEET HOME ALABAMA into evidence for the prosecution.)

Having said all this, I actually rather enjoyed HITCH and that is down to one factor alone: Will Smith. It is testament to how charming Will Smith is that he can single-handedly sell you a movie that is the utterly formulaic. In fact, he is so charming that he can almost makes us believe that men would actually pay the “date doctor” to learn cheesy lines like, “life is not the amount of breaths you take, it's the moments that take your breath away.” Or that women would be impressed by lines like: “Never lie, steal, cheat, or drink. But if you must lie, lie in the arms of the one you love. If you must steal, steal away from bad company. If you must cheat, cheat death. And if you must drink, drink in the moments that take your breath away.” As you can see from these *choice* quotations, HITCH is a really schmaltzy movie. Its appeal rests solely on casting Will Smith in the lead role. I think that alone just about saves it from the trashcan of cinematic history. But, it’s a close call.

HITCH is already on release in the US, Germany and Austria and opens in the UK today. It opens in France next week.