Random DVD Round-Up 2 - SEX AND THE CITY 2

I didn't hate SEX AND THE CITY 2 as much as I thought I would, but then again, my expectations were very low indeed. I'd never been a fan of the series. I didn't relate to a bunch of women defined by their conspicuous consumption of luxury goods or the apparent contradiction of wanting to be both sexually liberated AND pining for a rich husband. The show, and indeed the first movie, wanted to both have its cake and eat it, and was expressed with a vulgarity of tone, and shameless excess that seemed to undercut its wannabe-serious political agenda.

Fast forward to 2010 and the release of SEX AND THE CITY 2, and the franchise's crass vulgarity has been amped up even more than I thought possible, simply by transferring the four most egregiously consumerist girls in the US to the most egregiously consumerist nation on earth, the UAE. The resulting film feels like a 2 hour info-mercial advertising Abu Dhabi as a vacation resort just so long as you don't want kiss in public, and of course, conditional on you having $22,000 a night for a suite. The plot is the same-old bullshit we got on the TV show: privileged women whining about how tough life is. Miranda (Cynthia Nixon), the lawyer, is angry because her male boss dismisses her. Rather than deal with it maturely, she just quits. This is meant to be seen as a victory. Charlotte (Kristin Davis), having sweated spinal fluid to catch a rich husband and have two children, is tired and pissed off with being a mother, despite the fact that she has full-time help. Carrie (Sarah Jessica Parker) is angry her husband is, well, old, and wants to stay in, and when her book gets a bad review, kisses an ex- in a fit of pique. Her husband's reaction to this is just plain unbelievable. And finally, Kim Cattrall is eating hormones to stave off the menopause, and angry she can't fuck anyone she wants in public in a Muslim country.

Now, there are some moments when the movie feels vaguely interesting. I mean, it's nice to see women actually speaking openly about menopause and hot flashes. And yes, being a mother to small kids is hard. But the movie consistently fails to make itself relatable beyond this. There are few casual sentences referring to the awful economy, or congratulating mothers who survive without help, but when uttered by women in a $22,000 a night suite, it just feels condescending - as condescending as Carrie tipping her Indian butler so that he can fly home and visit his wife.

I guess it must sound like I'm criticising the movie less than criticising the lifestyle of the characters, but in a franchise that sells a lifestyle choice, I think that's fair game. But even if I bought into its lifestyle, would I like the movie? Nope. Because even on its own terms, it fails. The fashion is not fabulous but looks horrid. The women don't look wonderful in their middle age, but haggard and trying to hard. The shooting style is pedestrian and the direction workmanlike at best. And just what was that Liza Minelli song and dance number? Did they take her face and morph it onto a different body? It just looked plain weird.

SEX AND THE CITY 2 opened in summer 2010 and is now available to rent and buy.

Late Review - MR NICE

Director Bernard Rose takes a break from contemporising Russian literature, with his straight-ahead adaptation of Howard Marks' autobiography, MR NICE. The charm of Marks' story is that he stands against the cliché of the drug dealer typically seen in films. He doesn't grow up in a mean urban setting - he doesn't push drugs to survive - he isn't particularly flash - he doesn't do whores - he's faithful to his wife and kids - and he studiously avoids Class A drugs - both dealing them and taking them. In fact, he is rather more like a hero of an Ealing Comedy - stumbling into drug dealing quite by accident and permanently amused that he is getting away with it.

Marks was basically just another middle-class kid studying at Oxford and smoking hash when a mate asked him to do a favour and drive a car stuffed with drugs back from Germany. Marks was quite happy to quit teaching for easy money-making and soon hooked up with the Provos to bring his hash into UK airports without the inconvenience of customs checks. Before long he's got the biggest outfit in the UK and tries to crack America. Moreover, he's been recruited by his old college chum to be a spy in Kabul - after all, he moves in circles they can't penetrate! The first time he's busted for dealing he gets off on grounds so spurious he seems to be amazed, but he does eventually serve time - and not because of hubris, or narcissism, or betrayal - but basically because he was too bored to quit.

The film is charming and fun, and uses a deliberately lo-fi amateurish style, with live action footage digitally inserted into grainy old vintage footage of the 60s and 70s. Rhys Ifans is suitably bumbling and charming as Marks and he and Chloe Sevigny as his wife seem genuinely in love. I also love David Thewlis - who has just that edge of danger required to play the Provo, Jim McCann. The charm and the fun is entirely in keeping with Marks' carefully cultivated persona as Mr. Nice. Yes, that was his real alias, but he also wants to be seen as basically a good guy. To that end, this movie drips with family values, and to watch it, one would think that his wife and daughters never blamed him for one second for being absent from their lives. The film also refuses to question how far his involvement with the Provos was morally pretty nasty - after all, the dodgy money they were earning wasn't going into real estate, was it? And there is a deliberately cultivated equivocation about how far he ever really did any spying for the British.

So, MR NICE is basically a rather fawning film - frothy, light, charming, disposable. It doesn't get to grips with Howard Marks - but provides him with a yet another self-justificatory platform. Is that bad? Who knows. But there is something rather, well, distasteful in an international drug dealer who consorted with the IRA palming himself of as a charming rogue.

MR NICE is currently on release in the UK.

GROW YOUR OWN - brave, bleak British comedy

GROW YOUR OWN is a brilliantly well-observed black comedy. Directed by Richard Laxton and shot by David Luther, it has the same bleak look as LIFE AND LYRICS and is unafraid to show the grimier aspects of contemporary British life. Writers Frank Cottrell Boyce (24 HOUR PARTY PEOPLE, A COCK AND BULL STORY) and Carl Hunter have penned a subtle tragi-comic script about an issue that haunts contemporary Britain: immigration. Neatly, they set movie in an allotment - that most British of inventions. The locals initially object to the "invasion" of their land by asylum seekers from the Middle East, Africa and China. So, when a mobile phone company offers them five grand if they sacrifice a plot to a phone mast, they are only too happy to secretly ear-mark one of the immigrant's patches for the concrete rollers.

The writers use this issue to explore knee-jerk reactions to immigration and the difficulties faced by both sides as they get used to each other. There is more than a smattering of laugh-out loud humour, but this is always under-cut by the serious subject matter. To that end, it helps that the movie has an ensemble cast that has the range to play both comedy and serious drama, not least Omid Djalili, Eddie Marsan and Olivia Colman. Best of all, there aren't any Hollywood endings although my one criticism is that the film-makers can't resist an opportunity to stoke up the angst. This is especially evident in Benedict Wong's portrayal of a Chinese immigrant. By the end, the emotional manipulation starts to grate, and throws off the previously finely balanced black comedy. Nonetheless, this movie is definitely worth checking out.

GROW YOUR OWN is on release in the UK.

OVER THE HEDGE - job done but no trimmings

OVER THE HEDGE is a new animated movie that will keep your kids occupied for 90 minutes. It's full of cute animals doing funny stuff. The idea is that there are a bunch of foragers who wake up from hibernating all winter. Instead of waking to the usual lovely field, they are faced with a giant hedge. For, over the winter, that field has been developed into a nice gated community filled with fat Americans who have super-stocked double-barrel fridges. The foragers are nervous of these new inhabitants and reluctant to look for food over the hedge, but they are egged on by a new arrival: super-smoove R.J. R.J. reckons he can outsmart the humans, the Verminator and the neighbourhood cat. What he doesn't tell the other cute animals is that he has an ulterior motive - if he doesn't replace all the food he stole from a mean bear by full moon, he's toast.

The movie is full of all those good moral lessons that you want your kids exposed to. Family is important, and it is better to be selfless than selfish. And like I said, the animals are really cute. But OVER THE HEDGE does nothing more than the basics. The voice cast is for the most part fine. Great comic actors such as Eugene Levy and Catherine O'Hara are wasted on limited material. Avril Lavigne has about three lines and was no doubt recruited solely to boost the teen box office. Bruce Willis does his usual smart-ass schtick on autopilot. The only really impressive performances are by William Shatner as a Luvvie Possum and Thomas Haden-Church as the hysterically deluded pest-controller - The Verminator. Oh yes. As usual, Omid Djalili steals every scene he is in as the persian house-cat.

But the biggest let down is that there isn't more humour for the grown-ups. Normally I wouldn't sweat that too much. After all, if the kids are happy then the genre-box is ticked. But somehow, with OVER THE HEDGE, I expected more. That's because the flick is based on a cartoon strip that has real bite. The concept is that a bunch of cute animals look over the hedge at us crazy-ass humans and make biting satirical comments at our expense. Apart from one montage taking the piss out of our chronic food dependency, in this movie, cute wins out over satire.

OVER THE HEDGE was released in the US in May is on release in Australia. It goes on wide release in the UK on June 30th. It hits continental Europe the following weekend.

ALIEN AUTOPSY - sporadically funny, usually dull, British "comedy"

The ALIEN AUTOPSY of the title refers to the mythic footage that was supposedly taken at a US army base in the 1940s. The footage apparently shows army officials disecting an alien. Fast forward to 1995. A British chancer called Ray Santili allegedly uncovers this footage and sells it to the world's TV stations, where it is greeted with awe and then scepticism. Fast forward to 2006, and now, for your viewing pleasure, we have ALIEN AUTOPSY, the movie: a low budget British comedy about the infamous hoax.

I have to admit that this movie is far better than we had any right to expect given that it stars two British "entertainers" called "Ant and Dec" - self-styled cheeky Geordie chappies who have fashioned a career in Light Entertainment. True to their TV form, Ant and Dec inject a sort of low-key sporadic humour to the film - especially in the scenes where the hapless crew re-shoot the autopsy while the Gran passes round sausages on sticks. And, for all people forced to live in and around the 1970s horror that is the Barbican, there is a sustained joke at the expense of the Museum of London: surely the most ugly and pointless of London's tourist attractions. Lovely. But I just felt that a lot of great comic talent had been wasted. Why hire Jimmy Carr and Omid Djalili and then give them nothing to do? Whenever the movie strays out of Islington - to the house of a laughably bad Hungarian mafiosi, for instance - it becomes deathly dull. Worse still, Ant and Dec look hopelessly out-of-depth when sharing screen time with screen-legend Harry Dean Stanton. Stanton acts everybody else off the screen and spends most of his time looking like a deeply pissed-off refugee from a better movie. What possibly induced Harry Dean Stanton to appear in such mediocre fare?

ALIEN AUTOPSY goes on release in the UK on April 7th 2006.

CASANOVA - gorgeous but neither funny nor particularly romantic

CASANOVA is not a good movie. For a romantic comedy, too much of the comedy relies on physical slapstick and too little on verbal wit. There are no laugh-out-lines and some of the players are horribly mis-cast. Jeremy Irons, who plays the Catholic inquisitor, and so should have some of the best comic lines about the Catholic Church, simply cannot play comedy. The romance is there, but there is little chemistry between Heath Ledger and Sienna Miller, playing Casanova and Francesca Bruni respectively. For real romance, we must look to the marvellous and beautiful actress Lena Olin, who plays Francesca's mum - and of all people, Oliver Platt! Although Platt is cast as the fat lard-merchant that Francesca may be forced to marry, by the end of the movie, he is the closest thing we have to a romantic hero! And for real laughs, Omid Djalili steals the show. On a technical level, the faults are less obvious, but those with a sensitivity to these things will notice some ropey special effects when Casanova escapes over the roof-tops of Venice and later when he takes off in a hot air balloon. The foreground action has been "cut and pasted" onto a background and we can see the lines!

Having said all this, there are some good things in this movie which save it from being tossed into the trash-can of romantic-comedies, alongside Just Like Heaven and Bewitched. For a start, it looks gorgeous. Never has Venice looked so beautiful, so decadent, so scrumptious. Exterior shots have majesty, intererior shots are breathtaking, costumes are lavish. Still, visual flair is not enough and I found myself looking at my watch rather often during this flick. Worse still, I found myself comparing it to the infinitely better recent BBC adaptation - a common theme for today's reviews. The BBC had a fraction of the cash but produced a film of double the beauty, four times the comedy, and eight times the intelligence. So, if you want to see David Tennant and Peter O-Toole share the honours as Casanova, click here. And if you want to see a good romantic comedy, go rent THE 40 YEAR OLD VIRGIN instead.

CASANOVA premiered at Venice 2005 and is already on release in the US, Austria and, as of yesterday, in the UK.