LAST NIGHT IN SOHO**** - BFI London Film Festival 2021 - Day 4

Edgar Wright (BABY DRIVER) returns to our screens with a brilliant thriller that's more murder mystery than horror film.  It stars Thomasin McKenzie (JOJO RABBIT) as a young fashion student called Eloise who is obsessed with all things 1960s thanks to her awesome grandma (the iconic Rita Tushingham). The key plot device is that Eloise can, M Night Shyamalan style, see dead people, and soon becomes obsessed with the glamorous Sandie (Anya Taylor-Joy - EMMA) who rented Eloise's bedsit decades earlier.  As Eloise lives through Sandie she experiences the exhilaration of dancing in the Cafe de Paris and being seduced by Matt Smith's charming music manager, Jack. But soon the night-time dreams become nightmares as we learn that Jack is pimping Sandie out, and watch Sandie transform from free-spirited confident young woman to a weary, angry woman who doesn't believe she's worth saving. This allows for one of the most powerfully emotional scenes in the film, set-up by many previous mirror shots where Eloise and Sandie can almost interact with each other: Eloise tries to punch through a mirror to get Sandie to look at herself/Eloise and confirm her worth.

To say more would be to spoil the plot twists carefully laid down by screenwriter Krysty Wilson-Cairns (PENNY DREADFUL) and the marketing department. What I will say is that Wilson-Cairns script is delightfully authentic in its depiction of mean girl verbal violence and more profoundly of sexual exploitation. And as with all Edgar Wright films, the use of music is exceptional. I also loved the design team's recreation of a seedy Soho that has all but disappeared now, filtered through DP Chung-Hoon Chung (THE HANDMAIDEN)'s neon lights and rain splashed streets. But most of all, this was just a really enjoyable film that genuinely surprised me - both with its satisfying plot twist AND with its thought-provoking depiction of a bright young girl's slide into prostitution.

I'm only docking it a star because of Thomasin McKenzie's inconsistent and distracting West Country accent.

LAST NIGHT IN SOHO is rated R and has a running time of 114 minutes. The movie played Venice, Toronto and the BFI London Film Festival and will be released in the UK and the USA on October 29th. 

SPOILERS BELOW: This film has a REALLY clever marketing and misdirection plan. The trailer and media coverage lead us to believe it's a horror film rather than a murder mystery because Matt Smith's Jack is depicted as the bad guy. We go into the film thinking that the real mystery is whether Eloise will go mad and whether anyone will believe her when she tells them Jack killed Sandie.  My first inkling that this was not the game was when Sam Claflin turned up as a vice squad officer. Why hadn't he been in any of the media coverage or on the red carpet. Why hadn't I spotted him in the IMDB credits? Well obviously because we need to believe that Terence Stamp is the older version of Jack for the misdirect to work. And I checked. Even on the film's end credits, Sam is just listed as playing Punter number 5. Random side-note - I've long thought Claflin would make a great Bond and in his suit and slightly sixties fuller hair I was confirmed in this belief.

BIG EYES

BIG EYES is a well-acted biopic starring Amy Adams as Margaret Keane, whose husband Walter (Christoph Waltz) passed off her phenomenally popular if schmaltzy portraits of big-eyed kids as his own  throughout the 1950s and 1960s.  Finally she struck up the courage to leave him and then to sue him, proving beyond doubt she was the artist when the judge asked them both to create one  of the iconic pictures. This story is retold by Tim Burton in one of his least Burton-esque pictures. It doesn't star his typical actors and doesn't have his typical trademark gothic style.  That's actually a good thing, because this is a great and claustrophobic story about a woman suckered into a lie by a good liar, and suffocated by the consequences. All you need to do is cast two good actors, stand back, and let them do their thing. And this is exactly what happens.  Christoph Waltz is perfectly cast as Walter. He's charming and his energy wraps you up and makes it convincing that a good, if shy woman could be carried along on the crest of a wave and not realise she had imprisoned herself before it was too late.  And Amy Adams has that amazing mix of vulnerability of strength so that both her complicity and then her escape feel authentic. In a sense,this is a story of a abusive marriage.  There's no beating or drinking but that tell-tale symptom - a loss of self, vanishing into oneself - is there. Apart from the beautifully enacted drama, what else is there? One trademark flash of Burtonism - a spooky gothic nightmare in which everyone Margaret meets has her big eyes - and pointed cameos from Terence Stamp as an unimpressed art critic and Jason Schwartzman as a jealous gallery owner.

BIG EYES has a running time of 106 minutes and is rated PG-13.  BIG EYES is on release in the USA, Spain, Canada, the UK, Ireland, Taiwan, Greece, Italy, Poland, Hong Kong, India and Latvia. It opens on January 15th in Israel, Malaysia, Russia, Estonia and Romania; on January 23rd in Japan; on Japan 29th in Brazil, Singapore and Iceland; on February 5th in Australia, the Netherlands, New Zealand and Lithuania; on February 12th in Iraq and Kuwait; on February 19th in Hungary; on February 25th in Philippines, Portugal and Croatia; on March 5th in Denmark, Mexico, Sweden and Turkey; on March 12th in Chile, Peru and Finland; on March 18th in Belgium and France; on March 27th in Norway; on April 16th in Argentina; on April 23rd in Germany and on July 24th in Venezuela. 

Some thoughts on WALL STREET (1987)

Oliver Stone is left of centre in his personal politics. How ironic, then, that his iconic 1980s morality tale, WALL STREET, single-handedly persuaded the teenagers of my generation that, rather than being teachers, doctors or engineers, what we really wanted to be when we grew up was Liquid. “Rich enough to have your own jet. Rich enough not to waste time. Fifty, a hundred million dollars, Buddy. A player. Or nothing.” Sure, the movie was an alleged morality tale and social critique. It took a naïve kid called Bud Foxx who traded insider information and his loyalty to his father’s little airline for a ticket to the big time. Naturally, he then got skull-fucked by his supposed mentor, Gordon Gekko. Foxx ended up in jail, and so did Gordon. But before we got to that point we saw a young kid living in a flash Manhattan apartment, date a hot blonde chick, eat at the best restaurants, and bask in the glory of the most charismatic man alive, Gordon Gekko. We wanted what Bud wanted, and so what if Gordon was a bit too sharp? – when he spoke about taking sleepy companies and making them profitable, it made sense! This man was dangerous PRECISELY because he was right. Greed was good. Greed was going to turn around over-unionised, over-bureaucratised corporations and increase profits. And don’t think Oliver Stone didn’t know what he was doing. As much as he gives Hugo Chavez a more than fair hearing in his latest documentary, half of what Stone’s doing isn’t applauding Chavez' Marxist policies but being dazzled by Chavez' power. WALL STREET is a film about power – and what makes it a great film – is that it shows how power is both repellant and fascinating. This is the ultimate human tragedy.

WALL STREET was both genius by design and favoured by good fortune. The good design lay in three things: a great script; great direction; and a great leading performance. To start with Stanley Weiser’s script, it’s about as near to perfect as you can get. You start with something rock-solid but not unusual: starry eyed boy tempted by fortune, sells his soul, loses everything, but finds himself. But then you add something truly original – you put that archetypal story in a world that few ordinary people have experienced – Wall Street – but which they were bound to be fascinated by, given its power and glitz. Finally, you express this story in a series of eminently quotable one-liners - “Lunch is for wimps” - “Money itself isn't lost or made, it's simply transferred from one perception to another” - “If you need a friend, get a dog.” 

And then you anchor the whole package in a speech so logical, so persuasive and so dangerous, that today most bankers of my generation can still quote it in full: 

“The richest one percent of this country owns half our country's wealth, five trillion dollars. One third of that comes from hard work, two thirds comes from inheritance, interest on interest accumulating to widows and idiot sons and what I do, stock and real estate speculation. It's bullshit. You got ninety percent of the American public out there with little or no net worth. I create nothing. I own. We make the rules, pal. The news, war, peace, famine, upheaval, the price per paper clip. We pick that rabbit out of the hat while everybody sits out there wondering how the hell we did it. Now you're not naive enough to think we're living in a democracy, are you buddy? It's the free market. And you're a part of it. You've got that killer instinct. Stick around pal, I've still got a lot to teach you.” 

If we look at the direction and the leading performance, that iconic speech is a great place to start. Michael Douglas, with his good looks, slicked back hair, designer suits, and charisma, was everything Gordon Gekko should be. He was the guy whose self-belief was so over-powering you wanted to be in his world.    And look at how Oliver Stone films that great speech. It’s basically a still camera, with no cut-aways. In other words, Stone has the good sense to let the man take centre frame and hold our attention with his words.

True success requires not just talent but luck, and Wall Street had the luck of being released at a time when a lot of people realized that something was afoot, but hadn’t yet seen it articulated. We knew that bankers were becoming more aggressive and that ordinary people were getting caught up in an equity boom – we knew that Reagan and Thatcher had somehow changed the rules of the game – that we could want to make money without being embarrassed about it – but no-one had come out and just plain said it. Gordon Gekko took what everyone was feeling, took it to its logical conclusion, and brought it out into the open. He scared us with his candour – but there was also a crucial recognition and identification. WALL STREET didn’t just echo the zeitgeist, it told us what it was and reinforced its importance. So much so, that when we look back at that era, it’s Gordon Gekko, with his DynaTac phone, who still best articulates the mood of the time.

WALL STREET was released in 1987. Michael Douglas won the Best Actor Oscar beating William Hurt for Broadcast News; Robin Williams for Good Morning, Vietnam; Jack Nicholson for Ironweed; and Marcello MAstroianni for Dark Eyes.

VALKRYIE - superficial conspiracy procedural

VALKYRIE is a straightforward conspiracy procedural about Claus von Stauffenberg's failed assassination of Hitler and anti-Nazi coup. Given that we all know the bare bones of the story, it's laudable that writer Chris McQuarrie and director Bryan Singer manage to sustain tension. Indeed, when Stauffenberg gets back to Berlin, convinced that Hitler is dead, and starts convincing territories to join his cause, I almost believed that the SS might capitulate to the sheer force of Tom Cruise's personality. In particular, I really like the fact that McQuarrie manages to open up the movie from being about an assassination to the wholesale seizure of power - a far more difficult feat.

Where the movie fails is in its ham-fisted, clumsy dialogue. Lines like, "To understand National Socialism, you must understand Wagner". The movie also has a tendency to slip into kitsch. Note the fetishistic treatment of Stauffenberg's glass eye. Would Stauffenberg really have put his glass eye into a glass of whisky to summon the attention of Fellgiebel?

I was also a bit disappointed that Singer didn't have more ambition. To say that this movie basically succeeds as a B-movie is to admit that Singer hasn't even bothered to make a more psychologically involved film. After all, the key point of this movie is that in a country where decision-makers were too self-interested, weak-willed, callow and drunk on power and ideology to make a stand; a small group of men did. Why them? Yes, Singer and McQuarrie do hint at Stauffenberg's faith as a driver, but what about his sense of obligation as an aristocrat or his political views? This movie raises more questions than it answers.

VALKRYIE is on release in the US. It opens on January 22nd in Australia, Austria, Germany, the Netherlands, South Korea and the UK. It opens on January 28th in Belgium, France, Russia, Finland, Iceland, Norway, Spain, Sweden and Turkey. It opens on February 12th in Egypt, Argentina, the Czech Republic, Portugal, Singapore, Brazil, Estonia and Poland. It opens on February 20th in Denmark; February 27th in Italy; March 12th in Croatia; and March 20th in Japan.

YES MAN - lukewarm funny Jim Carrey rom-com

From the guys who directed THE BREAK UP and FORGETTING SARAH MARSHALL comes a luke-warm funny, but rather sweet romantic-comedy starring Jim Carrey and Zooey Deschanel.

Critics have unfairly dubbed YES MAN a shameless remake of Carrey's earlier hit LIAR LIAR, maybe because both contain a "high concept" about a man constrained to change his personality. In LIAR LIAR, a sleazebag lawyer is cursed to tell the truth for a whole day, resulting in lots of the trademark Carrey physical comedy as the lawyer's body rebels against his brain. By contrast, in YES MAN, Carrey voluntarily decides to say "yes" to life and shake-off the shy insularity that has imprisoned him post-divorce. As a result, we have a lot less physical comedy and the performance is much smaller than some fans might expect. I actually really liked Carrey in this new-found acting style - he works really well as a slightly goofy rom-com hero, and he has real chemistry with Zooey Deschanel.

The nascent romance between Carey and Deschanel provides the backbone of the movie, but the real humour is provided by the supporting cast. Danny Masterson (THAT 70s SHOW) is funny but under-used as best-friend Rooney and Fionnula Flanagan has a poor-taste but very funny cameo as a vampish grandma. But the guy who really steals the show is Rhys Darby, of FLIGHT OF THE CONCHORDS fame, who plays a David-Brent-esque boss. Comedy gold.

Overall, YES MAN isn't going to set the world on fire, but if you take it for what it is, it's a perfectly pleasant way to spend ninety minutes. Perhaps more of a DVD and pizza night movie than a trip to the cinema, though.

YES MAN is on release in Singapore, South Korea, Spain, Sweden and the US. It's released next week in the UK, Portugal, Finland, Iceland, Norway and Poland. It's released on New Year's Day in Belgium, Australia and Greece and on January 8th in Egypt, Croatia, the Netherlands, Slovakia and Switzerland. It's released on January 15th in Argentina, Russia and Estonia and on January 22nd in Israel, Austria and Turkey. It's released on January 30th in Brazil; on February 12th in Hong Kong; on February 19th in Germany and on March 20th in Japan.

GET SMART - mis-fire

GET SMART is a big-budget Hollywood remake of the old US TV series in which a clutz secret agent called Maxwell Smart was helped by his beautiful, competent, partner, Agent 99. In this new version, the writers decided to make Smart actually quite clever, and a decent, charming guy to boot. Agent 99 is also a little softer round the edges and despite the wide age difference between the actors - Steve Carrell and Anne Hathaway - they actually have good chemistry. I like that Smart and Agent 99 are a better match for each other and bought into their relationship. Sadly, everything around that central relationship is pretty weak, ripping on Bond movies and ENTRAPMENT. The plot is thin, and aside from location work in Russia, it's all very pedestrian. Alan Arkin and Hiro from HEROES are wasted in small roles, and Dwayne "The Rock" Johnson needs to progress beyond this material. On the whole, one for DVD at best.

GET SMART was released in June in Bolivia, Chile, Greece, Peru, the Philippines, Singapore, South Korea, Thailand, Brazil, India, Panama, Taiwan, the US, Argentina, Indonesia, Australia, New Zealand, Puerto Rico, Colombia, Mexico, Uruguay and Venezuela. It was released in July in Italy, Kuwait, Estonia, Romania, Austria, Germany, Russia, Spain and Hong Kong. GET SMART is currently on release in Hong Kong, Portugal, Egypt, Iceland, Israel, the Netherlands, Hungary and the UK. It goes on release next weekend in Croatia, Denmark, Finland and Sweden. It opens in September in Belgium, Norway, France and Japan.

WANTED - offensive, derivative, stupid

WANTED is the kind of unintelligent macho bullshit that appeals to the lowest common denominator. In particular, it'll appeal to every pathetic geek who dreamed of being swept into a more exciting life by a hot chick. In this case the geek is the newly buff James McAvoy, who despite the body-building remains far more convincing as the nervous schmuck than as the hard-as-nails assassin. The hot chick is Angelina Jolie, who does nothing more than look cool. Why does a woman of such obvious intelligence and acting ability persist in such roles? Morgan Freeman plays the arrogant prick directing the group of assassins in picking off seemingly innocent people. Apparently it's all okay because the Loom of Fate says so. I was pretty disturbed that this movie took an hour to even ask the question of whether murder is ever justified and by how quickly it brushed it off.

Maybe I'm taking all this too seriously? Let's consign our brains and ethical sense to the boot of the car, and go on pure adrenaline. How does WANTED fare qua action flick? As with all of Timur Bekmambetov's movies, the visual style is MATRIX-lite. It's all bullet-speed photography. The sole innovation is to have the bullets curve. A-HA!!! I'm sorry but that does not fill a 2 hour movie. What you don't get with WANTED is a fully fleshed alternate world that contextualises all the violence. WANTED is about beating the crap out of people. Period. NIGHT and DAY WATCH have higher stakes, and more respect for old-fashioned stuff like proper plotting and dialogue and emotional pay-offs. By contrast, the supposedly emotional plot-twist in WANTED just looks like a cheap rip-off of EMPIRE STRIKES BACK.

Basically, this is a big budget blockbuster aimed at mindless adrenaline junkies. It's got a big cast and a big marketing budget. But don't let that fool you. It's no less puerile and fascist than the widely derided NEVER BACK DOWN.

Don't believe the hype.

WANTED is on release in the UK, Czech Republic, Hungary, Russia, Singapore, Slovalia, Slovenia, South Korea, Canada, Estonia, Finland, Hong Kong, Lithuania, Panama, Poland, Turkey and the USA. It opens next weekend in Italy and Venezuela. It opens on July 16th in Indonesia, Belgium, Egypt and France. It opens on July 31st in Romania and Australia. WANTED opens in August in Mexico, Braziln and Denmark, and in September in Germany, the Netherlands, Spain, Sweden and Japan.