MARRIAGE STORY - BFI London Film Festival 2019 - Day Six

Writer-director Noah Baumbach has created, in MARRIAGE STORY, the best Woody Allen film since the late 1980s. I'm not entirely sure how I feel about a director so closely replicating the technique of another even if it's a technique I so admire and it's done so well.  But if I push that slight queasiness to one side, I have to admit that MARRIAGE STORY is one of the most authentic, heartfelt and beautifully acted relationship dramas I've seen in some time, and I hope that Baumbach, Scarlett Johansson, Adam Driver and Laura Dern are duly reward with award nominations.

The story is a deeply personal and relatable one.  It's based on Noah Baumbach's own divorce from Jennifer Jason Leigh, and acted by Scarlett Johansson in the midst of her own divorce.  Two fundamentally decent good people find they cannot live together anymore.  The husband - a theatre director - feels that his wife, his star actress - has cooled sexually, resents her for his having been married and faithful in his prime, and so has an affair.  The wife resents the fact that her career has been subsumed into his, that he so steadfastly considers them a New York family when she wants to go back to LA, that she's never given the chance to direct.  In the most trenchant line of the film, her lawyer points out that when he wants something it's a debate, but when she wants something it's just a discussion.

They begin the divorce process hoping not to involve lawyers. They have precious little money to split - the only real contention is custody and specifically where their primary home will be - are they a New York or LA family. But as she files for divorce when shooting a pilot in LA, as her kid was born in LA, he's in school there while she shoots the pilot, it all seems to go in her favour. Moreover, she hires a no-nonsense cut-throat lawyer played by Laura Dern, while he hires a decent lawyer played by Alan Alda. This all winds through - we get an absolutely superb, unrelenting, vicious, heart-wrenching, set piece argument - and the case is settled. The irony being that if he'd agree to just spend a year in LA in the first place they might never have gotten divorced in the first place.

I really love this film. There's something so honest about their mutual resentments, about her need to break free, about his complete lack of awareness.... There's also something so tragically well-observed in how the expensive lawyers think it's all about victory, and are actually social friends outside of the courtroom, and don't really care about the clients at all. There's a wonderful moment of subtle acting near the end when her lawyer has managed to squeeze out another concession from him, but a concession she even wanted, and when the lawyer says "you won!" you can see her wince.  

This is Scarlett Johansson operating at a level we haven't seen before - establishing herself as a truly gifted and mature actress. And in combination with her surprisingly tragicomic, charismatic performance in JOJO RABBIT - this truly is her year.  And I guess I'm overall pleased that someone is giving us complicated adult dramas of the calibre of late 80s Woody Allen, even if it isn't Woody himself. 

MARRIAGE STORY has a running time of 136 minutes and is rated R. The film played Venice, Telluride, Toronto and London. It will get a limited theatrical release in November before being released on Netflix on December 6th.

THE LAST DANCE aka STICKY NOTES

Amanda Sharp's debut feature is a quiet but powerful relationship drama between an emotionally damaged aspiring dancer (Rose Leslie) and her rogueish dying father (Ray Liotta).  Liotta is superb as the father - a jazz fiend, good-time guy with scant regard for actual conventional parenting.  He manages to make an unsympathetic character nuanced and if not entirely understandable then at least authentic.  Rose Leslie is less impressive in a role that is somewhat cliched - the damaged girl with crazy hair and too much jewelry who has weird sex and scorns the nice guy (Justin Bartha) who actually wants to be her girlfriend.  I'm also not sure the film really needed the third act twist.  More positively, I really liked the cinematography and score, and will be keen to see what Amanda Sharp does next.

THE LAST DANCE aka STICKY NOTES has a running time of 90 minutes and is available on streaming services. 

BETTER LIVING THROUGH CHEMISTRY

BETTER LIVING THROUGH CHEMISTRY is a cool dark comedy feature from first time writer-directors Geoff Moore and David Posamentier. It stars Sam Rockwell as a bored suburban pharmacist married to a hyper competitive wife (Michelle Monaghan).  He falls for a glamourous rich bored housewife (a wonderfully slick Olivia Wilde) and their joint use of drugs gives him the confidence to get petty revenge on the people who've held him down until the drug use spirals out of control and the DEA get on his back.  The whole thing gets unravelled in an elegant manner and despite the overall tone of wry dark humour, perfectly captured in Jane Fonda's voice-over and the ironic sound-track, there's actual deep emotion  in there. The final scene between Rockwell and Wilde subverts the fantasy elements of the film in a genuinely affecting way.  I really want to see what these directors do next.  I also really want to see more of Sam Rockwell. Why isn't he a bigger star? When he can do proper gonzo goofball comedy and proper depth? 

BETTER LIVING THROUGH CHEMISTRY has a running time of 91 minutes.  It was released earlier this year in the USA and is currently available on DVD.

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.

KILLING THEM SOFTLY

KILLING THEM SOFTLY is an unrelentingly bleak and cynical examination of mid-level criminals in a bad economy.  It chronicles an America bloated and decayed, with a soft belly and a smack addiction, where "hope you can believe in" is just a pathetic fairytale.  America is a business not a democracy, and this movie is about getting paid.  To that end, it is fitting that nothing that happens in this film is a surprise.  The wheels of capitalism, whether on Wall Street or trashy motels, grind on regardless.

The first act sees ex-con idiots Frankie (Scoot McNairy - IN SEARCH OF A MIDNIGHT KISS) and Russell (Ben Mendelsohn - ANIMAL KINGDOM) hired by The Squirrel (Vincent Curatola - THE SOPRANOS) to knock off a card game.  The twist is that because the host of the game, Markie Trattman, (Ray Liotta) is known to have held up his own card game once before, the suspicion will fall on him and they'll get away scott free.  The second act sees a dull bureaucrat (Richard Jenkins) hiring muscle to kill not just the guilty trio but also Trattman.  For confidence to be restored to the "market", justice must be seen to be done, even if the underworld have gotten the wrong end of the stick. The bureaucrat hires Brad Pitt's hitman, Jackie Cogan, who in turn brings in James Gandolfini's Mickey, only to realise that Mickey is not fit for purpose. The final act sees Cogan resigned to the task at hand.

There is a grim inevitability to the crime and punishment narrative. But that doesn't mean that the film has no dramatic tension.  The initial heist is painfully, terrifyingly drawn out.  And the final execution is expected but unbearably tense.  I've never seen a punishment beating look so visceral as when Trattman is beaten by two goons.  I've never seen an execution look simultaneously so beautiful and so desperately anonymous as when Trattman is off'ed. I've never seen a smack addict getting high so imaginatively depicted than when DP Greig Fraser (SNOW WHITE AND THE HUNTSMAN) photographs the perceptions of Russell.

But we all know that director Andrew Dominik is the master of the technically brilliant set-up - the unbearable tense pregnant pause.  That's partly what made THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD an instant pantheon movie - and probably the best film I've ever seen at the London Film Festival.   That film coupled stunning visuals and a foreboding mood with a sickening, fascinating obsessive love story.  It had heart  - a twisted heart, admittedly - but an emotional centre for us to hold on to.  Similarly, Dominik's first film CHOPPER had audacious visuals and superlative editing, but it's success hinged on the charisma and horror of the central character.

The problem with KILLING THEM SOFTLY is that it works at an intellectual but not an emotional level. This is quite deliberate.  Dominik is making an intellectual point - about the decadence and squalor of the USA  - the bad economy - falling wages, rising bureaucracy - that it's just about getting paid, and getting paid is getting harder.  I didn't find the political analogy over-bearing as I know some critics have. I found it not just valid, but urgent.  The problem is that the cynicism of the film is alienating - almost unbearably so.  Dominik just doesn't give us anything to hold on to. And as a result, his latest film is less than the sum of  its parts.

KILLING THEM SOFTLY played Cannes 2012 and opened this weekend in Ireland, Spain and the UK. It opens next weekend in Slovenia. It opens on October 11th in Australia, Hong Kong, Italy and Argentina; on October 18th in Argentina, the Netherlands, New Zealand, Russia, Estonia and Lithuania; on October 25th in Greece; on November 1st in Portugal and Norway; on November 9th in Mexico; on November 16th in Poland; on November 23rd in Bulgaria; on November 29th in Germany and the USA; and on December 5th in Belgium, France and Denmark. 

YOUTH IN REVOLT - affected nonsense

YOUTH IN REVOLT is an 89 minute quirky hipster comedy that felt like it last three hours, irritated me with its affectations, and didn't make me laugh. It stars Michael Cera as the same character he always plays - an unthreatening, horny teenage boy, desperately courting a cooler girl who stoops to conquer on account of his taste in films and music or whatever. It's the same schtick that was cute in JUNO, became less so in NICK AND NORAH'S INFINITE PLAYLIST, positively irritated in PAPER HEART, and really, really pissed me off here. He needs to stretch himself and try something different. Or at least deign to inflect his voice on occasion.

Anyways, in this particular film, Cera plays a kid called Nick Twisp, a sensitive loner who has good manners, likes Sinatra, and wants to travel the world. He meets the girl of his dreams and, hipsters being self-involved, she's his female double - an unthreatening hipster loner who dreams of a tall French boyfriend. Both of these kids speak like no-one you've ever heard of, and hatch up plots that are contrived and distancing, including getting expelled, trashing several cars, and drugging people. Of course, Nick Twisp doesn't really need a double to end his loneliness - he already has the voices in his head - his bad alter-ego, European play-boy Francois, and his feminine alter-ego Carlotta. Stop me if I'm freaking you out.

I think we're meant to find the incidental characters amusing - Ray Liotta as the sleezy cop; Zach Galifianakis as the loser boyfriend; Steve Buscemi as the dad; Fred Willard as the liberal neighbour; Justin Long as the doped up brother - but I found them to be under-used and unfunny. I can't disguise how tired I am of Cera. But I guess my real problem is with Gustin Nash's script based on C.D.Payne's novels. This film is too absurd to get emotionally involved in, but not stylised enough to be as good as, say, THE ROYAL TENENBAUMS.

YOUTH IN REVOLT played Toronto 2009 and is currently on release in the USA, Canada and the UK.

OBSERVE AND REPORT - the second "comedy" in a month to feature a rape scene*

Director Jody Hill seems to have a talent for taking talented comedians and putting them in deeply unsuccessful vehicles viz. Danny McBride in THE FOOT FIST WAY and now Seth Rogen in OBSERVE AND REPORT. Apparently, Hill's aim was to create a dangerously subversive black comedy that captured the tragic loneliness of human existence a la TAXI DRIVER (I kid you not.) Such a movie would've been superb, if not highly derivative of Scorsese and de Niro's own KING OF COMEDY. But Jody Hill's film is neither black comedy nor conventional comedy. It's just poorly written, ill-concieved and boring. It takes a special skill to make comedy that is truly bleak but still entertaining. Ricky Gervais pulled it off with his TV series THE OFFICE, and in film, IN BRUGES and BAD SANTA were funny but tragic at the same time. It takes a writer who can finely judge the balance of tone and who is unafraid to mine human vulnerability. No matter how self-interested and callow David Brent is, we have to still like him, still see ourselves and our own vulnerabilities in him, otherwise, he just becomes an unlikeable idiot and we switch the TV off.

The first problem is, then, that Seth Rogen's character isn't likeable or sympathetic. In fact, he is singularly unpleasant chap. Like Paul Blart: Mall Cop, he's an out-of-shape security guard who dreams of being able to use firearms and to win the hot blonde chick of his dreams. Unlike Paul Blart, he's demeaning to co-workers, lacks any self-awareness and drugs, then rapes the girl of his dreams. (Yes, she may drunkenly ask him to continue, but someone who has taken a bottle of pills and vomited on the pillow is in no position to give informed consent.)  Even if it weren't for this decidedly unpleasant plot turn, the movie would be a failure because it simply generates no laughs. I swear the only time I even smiled was when Aziz Ansari, playing a retailer, has an argument with the jumped-up mall cop and calls him out for his racist, bigoted attitude. The pacing is slow, Ray Liotta is on auto-pilot, there isn't enough of the brilliant Anna Faris, and there's too much offensive bullshit.

Jody Hill needs to watch THE OFFICE, BAD SANTA, IN BRUGES and KING OF COMEDY before being let near a script again.

*The first was THE BOAT THAT ROCKED. Because if trying to trick a girl to have sex with Boy Y when she thinks she's going to be fucking Boy X isn't attempted rape, what is?

OBSERVE AND REPORT is on release in the US, Canada, Iceland and the UK. It opens on May 8th in Estonia and Romania; on May 14th in Australia, Russia and Lithuania; on May 22nd in Norway; on May 29th in Finland and South Africa; on June 11th in the Czech Republic and Bulgaria; on June 18th in Germany; on July 10th in Italy; on September 4th in New Zealand and on September 25th in Sweden.

London Film Fest Day 12 - BEE MOVIE

BEE MOVIE is a new CGI animated flick from Dreamworks. It features a bee called Barry who decides to break out of the monotony of working in the hive and makes friends with a florist called Vanessa. Barry also discovers that big food companies farm hives for honey and get fat off the profits. So he sues them in the Supreme Court and duly wins back all rights to honey for the bees. Now drowning in the globe's honey stocks, the bees no longer need to make any more. So they kick up their heels. As a result, the flora and the fauna of the world dies out through lack of pollination. Barry and Vanessa must therefore make a last ditch attempt to pollinate the last batch of flowers on earth.

The movie is very smart and very witty as one would expect from a project created by, written by and starring Jerry Seinfeld. As a naive bee entering the world for the first time, Seinfeld can comment on all the craziness he sees. And yes, he is basically just Seinfeld as a bee. There is no other characterisation to the part. Luckily, just being Seinfeld is probably enough to give the audience its ticket-price worth of belly-laughs.

Problem is that other than the disposable one-liners, there's not much to this film. The animation is pretty basic - not a patch on recent Pixar efforts or indeed old-school stop-mo flicks like MAX AND CO. Perhaps more seriously, the movie doesn't have much heart. Law suits and work-life balance are not the stuff of memorable films and BEE MOVIE lacks the emotional centre of a TOY STORY or RATATOUILLE. And this seems to me to be a constant complaint with Dreamworks animation films. They are all funny, more or less, but are technically weak and have no heart. The only real hit they've had was SHREK and that franchise has delivered diminishing returns. By contrast, films like TOY STORY, FINDING NEMO and RATATOUILLE have real stories, character development and emotional pull as well as the quick-fire wit.

So BEE MOVIE gets a qualified thumbs-up. You will, no doubt, have a good time. But I doubt you'll take it to your heart.

BEE MOVIE premiered at London 2007. It opens in Russia, the US, Singapore, Mexico Spain and Taiwan in November and in Argentina, Australia, Hungary, Brazil, Iceland, Belgium, France, the Netherlands, the Czech Republic, Germany, Greece, Slovakia, Turkey, the UK, Slovenia, Italy, Denmark, Finland, Sweden amd Norway in December 2007. It opens in Japan and Egypt in January 2008.

WILD HOGS isn't well-judged but it is funny

WILD HOGS is an alpha-gamma Big Studio Comedy. The plot is ropey, the character development non-existent, the jokes occasionally homophobic, and the Kyle Gass cameo redundant. In fact, it's everything you expect from the Hollywood production line. But I can't deny that when it works it really works, and as Doctor007 and I had at least a dozen laugh-out loud-moments, I have to give it a qualified thumbs-up.

D'apres CITY SLICKERS, the basic premise is that four middle-aged guys (William H Macy, John Travolta, Martin Lawrence and Tim Allen) get off the suburban treadmill and take a road-trip on their motorcycles to rediscover their youth. The early comedy successfully spoofs the Born-to-be-wild myth of easy riders, but John C McGinley of SCRUBS fame is saddled with an uncomfortably homophobic cameo that sours the mood. Pretty soon though, the movie is back on track. The WILD HOGS manage to piss off some hard-core bikers. (Hard-core, within the context of a Disney movie, mind you.) The denoument sees them in a stand-off, defending a bunch of innocent townsfolk, A-team stylee.

There's nothing big or clever here. For the most part, the humour consists in guys slapping cattle, getting hit in the crotch with baseballs and William H Macy in a Snoopy-as-the-Red-Baron helmet. But after a seriously hard day crunching numbers, this was exactly what the Doctor ordered. Plus, the script was surprisingly witty - surprising that is, until I realised that it was penned by the guy behind ARRESTED DEVELOPMENT and MY NAME IS EARL - two shows I love. The Brucey Bonus is a neat spoof of EXTREME MAKEOVER: HOME EDITION at the end.

So, WILD HOGS may not be clever or even consistently well-judged, but it is a bunch of fun, and while I entered the cinema stressed-out and pre-occupied I left with a smile on my face.

WILD HOGS is on release in the US, Australia, New Zealand and Russia. It opens in Estonia and Iceland this weekend and in Belgium, Argentina, the Netherlands, Denmark, Norway, Spain and the UK on April 13th. It opens in the Philippines, Austria, Germay, Hungary, Malaysia, Singapore, Brazil, Italy, Latvia and Sweden on April 20th. It opens in Turkey on April 27th and in France on June 13th.

REVOLVER - You are not as clever as you think you are, Guy.

You know what? REVOLVER really is not an execrable pile of cinematic wank. I regularly see movies that are far less interesting, well-made and compelling. To name but a few, REVOLVER is significantly better than Rumour Has It. Things that we think are good? As with all Guy Ritchie movies, REVOLVER benefits from a wonderful display of visual style, some decent Tarantino-goes-cockney one-liners, and some cool editing. I am always happy to hear the phrase "Jog On" in any high-budget flick. Notably, a lot of scenes get spliced, and messed up in terms of the time-line. A lot of critics have complained that this makes the movie impossble to follow. Not so, the movie is perfectly comprehesible. The problem is that the BIG IDEA that Ritchie thinks is frickin' clever and radical is actually fairly banal and, for any cineaste worth their salt, possible to crack in around the first fifteen minutes of the flick. Basically, the movie features Jason Statham as Mister Green, a sometime cardster who has spent seven years in solitary. He emerges with the perfect gambling strategy courtesy of the chess master and arch conman in the adjacent cells, and proceeds to take on his enemy, Macha, played by Ray Liotta. Meanwhile he is befriended by a couple of zen-like loan sharks, who help him face up to Liotta's mafiosi, a bunch of random Yakuza and the mysterious "Mr Gold." Stuff happens. There is, it turns out, a point to Statham's incessant and alarmingly Frank Butcher-like internal monologue. However, the cinema-goer does not reach a state of enlightenment at the end of the movie. Ritchie clearly think he is laying The Knowledge on us, but frankly, his visual and narrative metaphors are way too obvious as is his blatant ripping off of the infinitely better flicks, Fight Club and The Usual Suspects. Lars von Trier made a film called The Idiots, to which the tag-line was, "you are not as clever as you think you are." Sobering thought, and one that Guy Ritchie should contemplate.

REVOLVER premiered at Toronto 2005 and went on release in the UK and France in September 2005. It is now available on DVD.