JUROR #2****

I am not exactly sure why JUROR #2 slipped from view and made poor returns but it is a good old-fashioned, handsomely made, twisty courtroom drama. 

Nicholas Hoult (NOSFERATU) stars as Justin - a recovering alcoholic with a heavily pregnant wife.  Early into a criminal trial for murder Justin realises that the man on the stand is innocent of brutally bludgeoning his partner because it was actually Justin who was returning from a bar, having nearly relapsed, and thought he had hit a deer. He did get out of the car to investigate, but not finding anything, drove off.

So what should he do? Should he confess, knowing his history of DUIs will make his testimony unreliable? Should he agitate in the jury room for a mistrial?  And what of the prosecutor (Toni Colette), who needs a conviction for her re-election campaign?

The film works as a backward-induced whodunnit. Is the jury going to figure out what really happened?  It also works as case study of moral code, much as SMALL THINGS LIKE THESE will. How far has Justin truly reformed? 

As I said, there's nothing particularly new or inventive here, but the script was clever and tight, the performances solid, and I was thoroughly engaged throughout. It's kind of amazing that nonagenarian Clint Eastwood can still churn these things out.  It feels like a film that we used to make in the 80s - intelligent smart thrillers for adults. Maybe that's why it couldn't find its place at the Box Office.

JUROR #2 is rated PG-13 and has a running time of 114 minutes. It was released last month.

Random DVD Round Up - POMPEII

In fairness, we don't look to Paul W S Anderson for films of complexity and artistic daring.  DEATH RACE and RESIDENT EVIL and MORTAL KOMBAT are movies designed for teenage boys that celebrate violence and musclebound men.  No cliche of dialogue is left unused in films of hollow CGI and scarce intelligence.   What's actually amazing is that actors of quality are still willing to star in them. His latest cinematic offering is a sword and sandal epic called POMPEII which borrows heavily from GLADIATOR but has none of its swagger and style.  In fact, its closer to SPARTACUS in terms of cheap CGI, cheesy dialogue and cardboard cut out heroes and villains - but without the soft porn.  GAME OF THRONES' Kit Harrington has packed on the muscle to play the hero - a Celtic gladiator called Milo.  Naturally, he strikes up an unlikely love affair with the aristocratic Cassia (Emily Browning), inspiring the anger of the evil Senator Corvinus (Kiefer Sutherland doing god knows what as an accent/speech impediment.) This leads to a TITANIC style showdown of unsurpassed stupidity and vacuity. I cared not a jot for any of the characters and simply grew more and more irate and how brazenly the cut and paste narrative had stolen plot devices and characters from better films. No matter how much you think you are in love with Jon Snow, you MUST avoid this film at all costs.  And to be frank, as much as I love Kit Harrington in GAME OF THRONES, he this film shows little evidence of any ability to carry of the leading role in a major film.

POMPEII is a POMPEII has a running time of 105 minutes and is rated PG-13.  The movie was released in spring 2014 and is now available to rent and own.  It goes on release in Turkey on October 31st 2014.

George Ghon on MELANCHOLIA

Andreas Gursky's Rhein II

Doom and gloom are high on the agenda nowadays. Lars van Trier’s poetic Melancholia is one of the more beautiful jigsaw pieces that deal with the sombre mood in an arresting way, creatively speaking. A big blue planet named Melancholia approaches earth on a trajectory, which will eventually lead to a fatal crash, terminally extinguishing humanity. Given that background, we follow the wedding party of Justine (Kirsten Dunst) at a remote, neo Gothic estate, owned by the rich husband (Kiefer Sutherland) of Justine’s sister Claire (Charlotte Gainsbourg). The newly wed couple (with Alexander Skarsgård as Michael) arrives in a pristine mood, trying to wiggle their oversized limousine up a narrow mountain road, delaying their arrival, but keeping their state of general excitement and mutual enjoyment. Only when faced with the party guests, her parents (a confused John Hurt and a cold Charlotte Rampling), and her unscrupulous boss (Stellan Skarsgård), Justine’s fragile emotional composure comes to light and we witness the mental pains of a pretty girl, which seems to have, by all conventional standards, a pretty good life. 

If we remember the Justine of de Sade’s eponymous novel as a victim of society in pre-revolutionary France, whose virtuous intentions get callously exploited by powerful figures (representations of church/law/aristocracy), Lars van Trier’s character is a bit more subtle, her suffering largely self-inflicted, or so it seems. There is no apparent traumatizing event that links to her mental condition. The Melancholia from which she suffers comes out of the blue, like the menacing planet that is spiralling towards earth on its fatal course. On a superficial level it could be afflicted by it, but speaking in more symbolic terms, the planetary crash could act as metaphor for the threat that Melancholia, the illness, is to contemporary society. In this context, Slavoj Zizek’s book ‘Living in the End Times’, which was originally published in 2010, gains new relevance. In a chapter on depression he asks the crucial question: ‘If the twentieth century was the Freudian century, so that even its worst nightmares were read as (sado-masochistic) vicissitudes of the libido, will the twenty-first be the century of the post-traumatic disengaged subject (…)?’ The libido recedes in that transformation, leaving Thanatos to overpower Eros. 

Or the libido takes its funny turns, to say the least. Instead of procreating with her understanding husband, Justine opts for the quicky with the dumb office boy on the nightly golf course to momentarily please her wavering sexual desire. It has to be said that the men in this film don’t live up to their roles. The boss is an asshole, the father doesn’t listen, and the only thing the brother in law can think of is his money. The male characters are bystanders on the sideline, one-dimensional lightweights that merely accessorize the plot, which is driven by the emotionally complex interactions of the two sisters, Justine and Claire. As the end of the world approaches, they have to face the tragedy without any masculine comforting. Claire is ridden with terror, but Justine doesn’t fear the approaching apocalypse. Mankind is evil, she concludes, and the universe better off without it. She is longing to die, can’t wait to swap the bland reality she experienced for something that might turn out to be spiritually more fulfilling. 

This abstract desire to annihilate the human race and trade it in for something more sublime, is equally apparent in Andreas Gursky’s photograph Rhine II, which just sold for $4,3m at Christies in New York and broke the prize record in a photography sale. The large print shows the grey Rhine River framed by its green bed under a foggy sky. Ultra-minimalist composure, strangely attractive, but with every human trace carefully removed in the retouching process of the digital file. Why are the aesthetes longing for a post-human equilibrium so much these days? Both Gursky and van Trier suggest a pretty radical solution to the struggles of society in the 21st century: Complete wipe out. Let’s hope that this message can be seen in a metaphorical way, too, and be understood as a mere hint that it is time to change, soon. 

MELANCHOLIA played Cannes 2011 where Kirsten Dunst won Best Actress, and Toronto. It opened earlier this year in the Czech Republic, Denmark, Norway, Poland, Sweden, Finland, Russia, Kazakhstan, Ukraine, Brazil, France, Estonia, the Netherlands, Greece, Ireland, Romania, the UK, Germany, Italy and Hungary. It opened earlier in November in Spain, Canada and the US. It goes on release in December in Portugal, Slovenia and Australia. It opens in January in Hong Kong and Turkey and in February in Japan.

MONSTERS VS ALIENS - nothing special

MONSTERS VS ALIENS is a rather didactic, sporadically funny CGI animated film from DREAMWORKS - the studio that brought you SHREK. In contrast to SHREK, the incessant pop-culture references have been toned down, as have the fart jokes. Indeed, this movie makes a stab at being sweet and relying on old-fashioned physical humour in the manner of PIXAR movies. What hasn't changed is the classic DREAMWORKS didactisim. If SHREK is all about not being superficial and having self-esteem, MONSTERS VS ALIENS reads as a proto-feminist tract on female self-empowerment. Now, I'm the last person to object to such material, but it should at least be leavened by a steady stream of jokes. And on that score, MONSTERS VS ALIENS is well behind MONSTERS INC or THE INCREDIBLES, if not as out and out dull as BOLT 3D.

Reese Witherspoon is typically charming and engaging as Susan - a woman transformed in size and strength when hit by a meteor. She is sequestered by the government with other monsters, renamed Ginormica and asked to take-on an alien invasion by Gallaxhar, who covets her new powers. The movie is about Susan learning to embrace her strength and not to underestimate herself. It's also about her dumping her callow boyfriend (Paul Rudd) who can't cope with dating a woman who is more famous and powerful.

Where the movie does well is in its set-piece action sequences. I also loved Seth Rogen, Hugh Laurie and Will Arnett as the Monsters; Rainn Wilson as Gallaxhar and, most of all, Kiefer Sutherland as General W.R.Monger. I was less impressed by Stephen Colbert as President Hathaway (although that may have been due to his part being under-written - the scene where the President greets the alien probe is painfully unfunny.) But my biggest criticism is that the movie's moral message was just very heavy-handed and got in the way of the fun.

Finally, a quick word on the increased use of 3D. This movie uses 3D in the old fashioned "stuff coming out of the screen at you" manner rather than the pretentious "immersive" technique used in BOLT. I'm not convinced that either add anything to the movie-going experience. Rather, aren't we all convinced that it's just a cynical ploy to foil the pirates? The only recent movie I've seen where 3D actually enhanced the experience was Gil Kennan's brilliant MONSTER HOUSE.

MONSTERS VS ALIENS is on release in on global release.

THE RIVER QUEEN - costume epic catatastrophe

THE RIVER QUEEN wants to be a lavish historic adventure. It wants to have the mesmerising visuals, lyrical beautiy and epic scope of a Terrence Mallick flick. It wants to tell us something profound about conflicting loyalties and the search for identity. Director Vincent Ward and DP Alun Bollinger certainly succeed in shooting some wonderful footage of New Zealand, and the production designers certainly envelope the frontier garrisons and interior villages of the nineteenth century in sufficient mist and grime. Even Kiefer Sutherland convinces with a broad Irish accent as a soldier working for the British. He complements a cast rich with talent - not least Stephen Rea as an ex-pat surgeon and Samantha Morton as his daughter Sarah.

THE RIVER QUEEN is fundamentally Sarah's story. She throws off convention as one might take off a coat. She falls for a Maori man and bears him a child, who is then abducted by his grandfather. In love with a Maori, mother to a Maori son, but serving the British despite herself being an oppressed Irishwoman, Sarah must struggle with her own identity and loyalties. Moreover, her son has been raised a Maori and sees no need to return "upstream".

This could have been a great picture, but the movie is incoherent. The editing is jarring, the story meanders and character motivations are unclear. This is particularly true of Sarah. She seems to flit between her Maori lover (Cliff Curtis) and Kiefer Sutherland's Irish captain with little reason.

Presumably someone decided to throw a heavy layer of voice-over onto the movie to give the audience a hope of keeping up. Sadly, the narration doesn't help our understanding but adds to the frustration and irritation. The whole thing is basically a straight-to-DVD write-off. Presumably the only reason it's even getting a UK release it to cash in Samantha Morton's domestic popularity and Kiefer Sutherland's residual popularity for 24. Certainly, the marketing campaign is very misleading. Fans of 24 should be aware that he has only a small role.

THE RIVER QUEEN played Toronto back in 2005. It was released in New Zealand and Australia in 2006 and in Kuwait and Spain in 2007. It is currently on release in the UK.