MEMOIR OF A SNAIL****

I finished the film year strong with a double-bill of films about miserable life experiences tempered by kindly grandma figures who like the TV comedy show The Two Ronnies. In the first, by Adam Elliot (MARY & MAX) we are in a stop-motion depiction of childhood in 1970s Melbourne, Australia.  Grace (Succession's Sarah Snook) is a sweet but nerdy girl obsessed with snails, and beloved by her brother Gilbert. The first in a series of awful events results in her being split from that brother and fostered by a couple of swingers. Meanwhile, Gilbert is fostered by a couple of religious fundamentalists who want to suppress his incipient homosexuality.  As an adult, Grace is alone but for her kindly old grandma-substitute friend Pinky (Jacki Weaver). Even her fiancé isn't all he's cracked up to be  As with BETTER MAN the film does end with Grace creating a safe and happy space for herself, and letting go of some of her childhood trauma. But the overall feel of the film is - as with Elliot's prior works - miserabalist. If anything shitty can go wrong for Grace it will. As ever, the animation is beautifully rendered. There's something so unique and expressive in Elliot's style that you want to pause frames to pick up on the detail. But I found this inverse WALLACE & GROMIT just a bit too unrelenting in its sadness.

MEMOIR OF A SNAIL has a running time of 95 minutes and is rated R. It played the BFI London Film Festival 2024 and will be released in the UK on February 14th 2025. It was released in the USA in October.

THE DISASTER ARTIST

THE DISASTER ARTIST is the story of a cult character called Tommy Wiseau and the cult film he accidentally made, called The Room.  I'd not heard of or seen the former before James Franco championed their cause with this film.  It turns out that Wiseau was and remains a deeply shady figure - no-one knows his age, origin, or where he got his money. As the film opens Wiseau (James Franco) is attending acting classes in San Francisco. He's rich, thickly accented, and delusional about his talent. Nonetheless, he takes up with his friend Greg Sestero (Dave Franco) and they move to LA to find work.  Being talentless, and for Wiseau, also creepily weird, unsurprisingly no-one hires them. And there the story should've ended. Except that Wiseau is delusional and rich, so he decides to make his own movie! The wastefulness is extreme - he buys both film and digital cameras, builds sets unnecessarily, and starts work on a film that he truly believes is going to be great. Except that it's appalling, hampered in no small measure by his own awful script and acting. And this goes hand in hand with increasingly dictatorial and mean-tempered behaviour on set. Still, the juggernaut moves toward its opening night and when the audience laughs AT rather than WITH the film, Wiseau chooses to believe that he was making a comedy all along. He keeps the film in cinemas for two weeks on his own dime, hoping to qualify for the academy awards. Of course, it doesn't make money or get any awards, but sinks into obscurity until it gains a "so bad it's good" rep at midnight screenings.

I had a good time watching THE DISASTER ARTIST until I didn't. By that I mean that Wiseau is a weird enough character, and James Franco's impression is so superb, that it's truly captivating. But about half way through the film, I realised that there was nothing else in this film for me. The painstaking recreation of seminal scenes in The Room didn't interest me. It's a bad film being made badly! So the overall verdict is - THE DISASTER ARTIST is worth seeing for Franco's impression of Wiseau - but as it doesn't actually dig behind that persona - or give us anything but a cliched friends falling out narrative arc - it outstays its welcome.

THE DISASTER ARTIST has a running time of 104 minutes and is rated R. It is rated 15 in the UK for strong language.  

The film played SXSW and Toronto 2017 and opened last year in Australia, Canada, the UK, Ireland, the USA, Philippines, UAE, Argentina, Netherlands, Norway, Iceland and Spain. It opens on Jan 4th in Portugal; on Jan 11th in Hong Kong; on Jan 12th in Finland and Romania; on Jan 19th in Mexico and Taiwan; on Jan 25th in Brazil and Greece; on Feb 1st in Germany and Denmark; on Feb 9th in Poland and Sweden and on March 7th in France. 

DAVID STRATTON: A LIFE IN FILM - BFI London Film Festival 2017 Preview

Director Sally Aitken's DAVID STRATTON: A LIFE IN CINEMA is one of those films that makes you fall in love with cinema all over again.  It's a must for cinephiles and especially for lovers of Australian cinema.  I must confess, however, that I sat down to watch it never having heard of the titular film reviewer. But it turns out that he's actually something of an icon - the Aussie Roger Ebert, say.  He started out living in England, before moving to Australia, and discovering his adopted country through its cinema. Obsessed with movies, he realised he could watch films for free if he volunteered as an usher at the Sydney Film Festival. He then worked his way up the be the festival's director for many years, before working as a critic for Variety, and then hosting a hugely popular and influential TV review show in Australia. Even now his passion for cinema is undimmed, and he teaches a seemingly never-ending class on world history at Sydney university.

The still-English accented Stratton takes us through his life and the development of Aussie cinema by highlighting movies that he thinks are exceptional but also personally important to him.  So we get Aussie classics like PICNIC AT HANGING ROCK and recent films like MURIEL'S WEDDING by way of fan favourites like STRICTLY BALLROOM.  But he also subtly teaches us about the first time we saw an Aussie female director, or Aborigines take lead roles, or when Geoffrey Rush was the first Aussie to win an acting Oscar for SHINE.  He takes us through the Ozploitation trend and into the birth of arthouse cinema. And we even learn that the first ever feature film in the WORLD was an Aussie film about the Kelly gang. 

What I loved about this film was seeing actors and directors from Peter Weir to Nicole Kidman to Russell Crowe to David Michod discussing their films with Stratton - the insights and the debates. The most controversial of these is over the white supremacist film ROMPER STOMPER, starring Crowe, that Stratton thought was well made but actively dangerous.  The director hasn't gotten over the slight but Crowe is surprisingly gracious.  We also see Stratton change his mind over the Aussie classic THE CASTLE. 

Having watched this film, I desperately want to buy a compilation of Stratton's written reviews, to sit alongside those from Sarris, Kael and Ebert. He seems like such an insightful, historically literate critic.  This documentary has also given me a list of Aussie films recommended by Stratton that I can't wait to watch. To that end, it's a great doc insofar as it has deepened my understanding of old favourites and provoked a hunger to get to know more about Australian cinema.

DAVID STRATTON: A CINEMATIC LIFE has a running time of 97 minutes. It played Cannes 2017 and opened earlier this year in Australia. There are still tickets available for both screenings at the BFI London Film Festival. 

STOKER

"A high camp B-grade thriller more akin to Dark Shadows than Oldboy."

What is that we love about the cinema of Park Chan Wook?  For me, there are so many things:  the carefully staged tableaux; the precise use of colour as symbolism; the willingness to mine the very darkest areas of human psyche - sexual violence, incest; the melodramatic plots of vengeance and redemption; the rich vein of black humour.  When you watch a Park Chan Wook film you know you will be taken somewhere unique and memorable.  Looking back now, it's been years since I've seen his work, but certain scenes are still vivid in my mind.  Lady Vengeance plunging her face into the redemptive white tofu.  Her daughter holding a knife to her throat, threatening her Australian adoptive parents to take her back to Korea.  Mr Vengeance slashing the Achilles tendons of his victim in the water.  The amazing, almost video-game shot, of Oh Dae Su violently dispatching the guards of the prison-hotel. 

All this should explain why I was left cold by STOKER.  It's Park Chan Wook's first American film, and is about as watered down and weak-minded as Wong Kar Wai's incredibly disappointing MY BLUEBERRY NIGHTS. I'm not sure whether something was literally lost in translation, or whether the American producers constrained Park Chan Wook's trademark hypnotic excesses.  Maybe it was the script by Wentworth Miller,  better known as the actor who played Michael Scofield in Prison Break - a script that teases us with the potential for deep dark sexual secrets, and taboo attractions but doesn't have the courage to take us deep into depravity.  Which isn't to say that STOKER is a subtle, discreet film. While it dances round the edges of chaos, it contains performances of high camp.  Both Nicole Kidman and Matthew Goode have line deliveries that are flat out funny, and not in a good way.  Too often scenes which should be menacing and uncomfortable are just absurd.

But to go back to the beginning, STOKER is not a horror film and certainly contains no vampires or references to Bram Stoker.  Instead, it plays like a high-camp B-grade thriller, akin to DARK SHADOWS.  We open with a kooky family in an isolated country house.  India Stoker (Mia Wasikowska) is a withdrawn emo teenage girl mourning the death of her father Richard (Dermot Mulroney).  Her alcoholic mother (Nicole Kidman) flirts outrageously with her mysterious brother-in-law, but Uncle Charlie (Matthew Goode) seems transfixed on his niece instead. She resents him, but is also darkly attracted to him, and so chooses to overlook the strange and threatening events that seem to surround him.  Moreover, she is a slippery and unreliable point of view.  Is she fantasising, remembering, distorting the truth?  

All of this seems like a great set up for some truly messed up taboo familial craziness and violence, but sadly it all ends with a whimper rather than a bang.  By the time we got to anything faintly resembling craziness the movie had lost all credibility.  There was no emotional heft and investment similar to the Vengeance films, where I cared deeply what happened to the main characters. The only saving graces were Mia Wasikowska's finely modulated performance, cinematographer Chung Chung-hoon' luscious visuals and Nicholas deToth's editing.  There's a scene where Nicole Kidman's hair morphs into a field of grass.  It's the image that I'll remember in ten year's time, if I remember this poor excuse of a film at all.

STOKER played Sundance 2013 and will be released on March 1st in the UK, Ireland and the USA. It opens in Singapore and Taiwan on March 7th; in Greece, Italy and Romania on March 28th; in the Netherlands on April 11th; in Argentina and Iceland on April 19th; in Denmark on April 25th; in Belgium, France, Portugal, Brazil and Mexico on May 2nd; in Chile and Germany on May 9th; and in Australia and New Zealand on August 29th.

STOKER has a running time of 98 minutes and is rated R in the USA.

London Film Fest 2012 - Day 11 - SILVER LININGS PLAYBOOK (SURPRISE FILM)

David O Russell brought arthouse integrity and quality to the underdog sports movie with THE FIGHTER, and pulls the same trick on the rom-com genre with SILVER LININGS PLAYBOOK. It's a clever, funny, superbly acted movie with a visceral, up-close and uncomfortable shooting style that almost fools you into thinking that it's a braver, more unconventional movie than it really is.  At its heart, the movie is a basic one - boy meets girl, girl loves boy, boy's too hung up on former lover to realise he loves girl, there's a dance contest, they kiss, the end. The twist is that he's bipolar and just out of a mental institution, she's a widow with massive SLAA issues, his dad's OCD  with anger management issues, and his mum's clearly an enabler. The film's plot is driven by the unhealthy quid pro quo: she'll help him contact his ex (against whom he has a restraining order) if he'll participate in a dance contest with her.

David O Russell's script (based on Matthew Quick's novel) is whip smart and crackles with energy.  Jennifer Lawrence and Bradley Cooper have real chemistry and seeing them spar is one of the joys of the film.  It's great to see her broaden her range beyond put-upon hardened teen and similarly it's great to see him move beyond pretty-boy wise-ass roles. There are mis-steps to be sure -  the age difference threw me off and I never really bought it.  The inclusion of an African American character (Chris Tucker is his most modulated and impressive performance to date) only to have him, per movie cliché  contribute to a dance scene by having the white characters "dance blacker". And that schmaltzy final declaration could've come out of a risible Richard Curtis movie.  But overall, it was fun to spend time with the main characters and feel the grunginess of working class Philadelphia through  Masanobu Takayanagi's (WARRIOR) frenetic camerawork. 

SILVER LININGS PLAYBOOK played Toronto 2012 where David O Russell won the People's Choice Award for Narrative Feature. It was the surprise film at London 2012. The film will be released in the USA, UK, Russia and Iceland on November 21st. It opens in Portugal on December 6th, in Sweden on December 21st, in Germany, Norway and Turkey on January 4th, in Spain on January 11th, in France and Australia on January 31st, in New Zealand and Bulgaria on February 8th, in Argentina on February 21st, in Belgium and the Netherlands on February 27th, in Italy on March 14th and in Denmark on April 25th.  

THE FIVE YEAR ENGAGEMENT

THE FIVE-YEAR ENGAGEMENT is a banal, over-long romantic comedy firmly in the will-they-won't-they-oh-get-on-with-it.  Jason Segel and Emily Blunt as two people so manifestly right for each other, that one can only lose respect for them and their relationship by the amount of faux-obstacles they put in the way of the final, compulsory, over-the-top, wedding scene.  

He's a successful San Francisco chef who moves with her to Michigan for he dream university job. Reduced to selling tacos he becomes resentful, and she resents his resentment.  A mild indiscretion on each side leads to a temporary break-up and a third act epiphany and reconciliation.  I say that very quickly - in reality it's an hour of really dull cinema. 

Whatever comedy there is, is provided by Community's Alison Brie as Blunt's sister, complete with pitch perfect English accent, and her husband. They even steal the show at the leading couple's wedding!  Poor Rhys Ifans is saddled with the most unbelievable Professor in film, and Mindy Kaling, as his research assistant, is utterly wasted. 

What's really sad is that the dilemma posed by this movie is a real one. Lots of us have been in relationships where one person has to take a back seat to the other's career, whether because someone had to move to get a degree or a job, or whatever. It's a real everyday problem.  This movie had the potential to introduce some authentic, clever, observational comedy.  But I'm guessing that neither screenwriter has been in that position and that neither really gets it.

Overall, this is the second piss-poor film that Jason Segel and writer-director Nicholas Stoller have been involved with since GULLIVER'S TRAVELS. Enough already.  

THE FIVE-YEAR ENGAGEMENT was released earlier this year in the USA, Canada, Australia, New Zealand, Iceland, Serbia, Slovenia and Taiwan. It is released today in the UK, Ireland and Lithuania. It opens next weekend in Croatia, the Netherlands, Russia, Poland and Turkey. It opens on July 5th in Israel, on July 12th in Germany, on August 1st in Belgium and France, on August 10th in Mexico, on September 7th in Spain, and on September 28th in Italy.

The movie is rated R and is 124 minutes too long.

ANIMAL KINGDOM

ANIMAL KINGDOM is a fascinating but not flawless Australian crime thriller that has garnered critical acclaim, not least in a Best Supporting Actress nod for Jacki Weaver. The feature debut of writer-diretor, David Michod, it's the kind of movie that has so much ambition, and has so many individual moments of brilliance, that you can't wait to see what the director does next, even though the product before you is fairly raw. 

The movie is loosely based on a true story of armed robbers in late 80s Melbourne. As we meet the characters, that era of armed robbers and corrupt police is coming to a close. The criminal Cody family is being hunted by the police, and once cornered, turn on each other. The film watches their disintegration and the shifting allegiances and power positions within the familial set-up. We see the weak killed; the under-estimated rise to the top; the old order removed and the so-called establishment side-lined. The nominal paterfamilias is "Pope" Cody (Ben Mendelsohn) - a man who we must assume was to be feared but who know, though still capable of extreme acts of violence - seems lost - uprooted - almost tragic. He is a man out of time. The world is moving on but he doesn't know what to do. His brothers are similarly adrift. Darren (Luke Ford) is scared and parasitical, just looking for another leader to cling to. Craig (Sullivan Stapleton) takes refuge in drugs. And into this mix comes "J" - their teenage nephew whose mum OD'ed and who looks brainless, comatose, and like a patsy in the making. But the REAL power in the family is the creepily over-emotionally involved mother, played by Jacki Weaver. A woman who'll call you "darling" and "love" while arranging your murder - a woman who epitomises the maternal survival instinct. It's a chilling and often blackly funny performance. 

ANIMAL KINGDOM is at its best when it's documenting the shifting power-structure within the family and watching these apparently fearsome robbers looking ineffectual. I love that David Michod has the confidence NOT to turn this into a courtroom drama, even though the final third of the movie is all about a big case. Rather, he cares about the "before" and "after". The scheming, the prep, the digesting of the results. In that way, this becomes a movie that constantly pulls the rug out from under your expectations. It feels satisfyingly dense and hangs on several highly impressive performances - Jacki Weaver, Ben Mendelsohn and Guy Pearce as the cop. But the movie has its flaws. I regretted never seeing the family at the height of its power against which to contrast its fall. Sometimes, when the guys were being completely ineffectual, it felt implausible that they had ever committed the crimes they were accused of. At times, the plot felt too messy - too hard to disentangle. Sure, it's great for a director to trust his audience and introduce ambiguity - especially regarding the final scene. But earlier on, some of the exposition seemed murky to me. And finally, a lot of the film just seemed plain implausible. I didn't buy that the girlfriend's family would let her hang out with "J". I didn't buy how she exited the film. And I really didn't buy the transformation of "J" at the end of the film. Major problems. Still, for all that, this is a brave movie containing powerful performances, and I can't wait to see what David Michod does next. 

ANIMAL KINGDOM played Sundance 2010 where it won the Grand Jury Prize for World Cinema - Dramatic. It opened last year in the USA, Canada and Poland. It opened earlier this year in Spain and Finland and is currently on release in Denmark and the UK. It opens in France on April 27th. Jacki Weaver was nominated for Best Supporting Actress at the Oscars and Golden Globes but lost to Melissa Leo for THE FIGHTER. She did however win at the National Board of Review awards.