Random DVD Round-Up - WHIP IT

WHIP IT is a pretty conventional, but charming, coming-of-age flick directed by Drew Barrymore and starring JUNO's Ellen Page. It feels old fashioned - in the way the sports movies and coming-of-age dramas used to be, before they got satirised in movies like DODGEBALL. The kitsch feel stems partly from the deliberately down-at-heel suburban production design, and from the fact that the heroine is torn between her mother's obsession with beauty pageants and her own attraction to Roller Derby - and both seem anachronistic. But it also stems a little from the straightforward narrative arc, the fact that the happy ending is never really in doubt and the rather simplistic shooting style. The fact that this is Barrymore's debut directorial feature shows in her rather unimaginative handling of the Roller Derby scenes in particular.

Ellen Page plays seventeen-year old, suburban, Bliss Cavendar. Her mother, seeing it as a route out of town, makes her enter beauty pageants where she has to extol traditional feminine virtues. But Bliss decides to rebel by lying about her age and joining a Roller Derby league. She meets tough women with real lives, learns to be aggressive, and gets her first boyfriend. But, as in the way of these three act coming of age flick (see WAYNE'S WORLD, even), Bliss ends up pissing off everyone who loves her - her best friend, her mum, her dad, and potentially her team. Of course, in the movies, as opposed to real life, when you have a bratty teen "coming of age", everyone is remarkably forgiving and loving.

So, all in all, you have to ask what really is the point of WHIP IT? A movie so familiar it feels like a US version of BEND IT LIKE BECKHAM subbing roller debry for soccer.

Additional tags: Robert Yeoman, Dylan Tichenor, The Section Quartet, Juliette Lewis, Andrew Wilson, Landon Pigg, Alia Shawkat, Zoe Bell, Ari Graynor, Carlo Alban, Daniel Stern, Shauna Cross

WHIP IT played Toronto 2009 and was released in 2009/2010. It is available on DVD and on iTunes.

CERTIFIED COPY - A noble failure

Reknowned Iranian auteur, Abbas Kiarostami, has made his first non-Farsi feature, CERTIFIED COPY. The movie plays as a two-hander between Juliette Binoche, who won an award at Cannes for her performance in the film, and opera-singer William Shimmel, who makes his feature debut. He plays an English author called James Miller, in Italy to promote his book. Its central idea is that copies are as valuable as originals - and indeed, that all originals, in art, are essentially copies of the real-life model anyway. Pulled away from his lecture, Binoche's character leaves a note inviting him to meet the next day. She is a fan - he has to sign many copies of his book for her - but then again, she doesn't seem to agree with his central thesis. The opening half hour sees them argue of the nature of worth and beauty. She is fan - nervous, following his direction - and he seems irritated, spending time with her merely to pass time. The movie is hard to engage with - the conversation is too dry, too stilted - maybe a fault of the translation? The only thing that held my attention was the recognition of familiar Kiarostami tropes - conversations in cars, mobile phones interrupting conversations, the inability to communicate. The movie seems strange, disconcerting, and rather boring - but was this deliberate - the calm before the storm?

Something changes in the movie when the protagonists drive to a Tuscan hill-town and take a coffee. James describes the inspiration for the book - having observed a scene with a mother and son in Florence. He does not finish describing it, but it has a deep emotional impact on Binoche's character. Was she the mother? Why is she crying? Why does he callously get up to take a call regardless of her distress? We will never know - this just isn't that kind of film. The second occurrence in the cafe that shifts the gears of the film is that the proprietress mistakes them to be a married couple. Binoche's character falls in with the mistake, and soon James does too. The tension increases - the disquiet increases. By playing husband and wife without ever discussing why or whether too, they don't just flirt, or have moments of tenderness, but bicker and disagree. Binoche's character resents her husbands long absences and neglect of their teenage son. Using the man in front of her as a proxy - a copy - she vents her frustration and he responds in kind. The intensity of the exchange makes us wonder if they are really acting or if they were acting in the first part of the film - are they really husband and wife?

The film is hard to read - or rather there are many ways in which to read it. But what troubles me is that I can't read its success because even the performances are hard to pin down. Is William Shimmel a wooden actor - outclassed by Binoche? Or is he playing a character that's meant to be wooden, callous, emotionally avoidant? Is Binoche's performance bad because it occasionally veers into hamminess? Or is she playing a woman who is melodramatic, emotionally unstable, needy?

Overall, I found CERTIFIED COPY intellectually interesting but ultimately unsatisfying. I admired it more than enjoying it. It raised interesting questions about proxies and originals, and the difficulty of communication. But it also raised too many questions about the essential quality of the performances - and I suspect the answers would not be forgiving to either actor. So, overall, a noble failure, but far better to fail at something provocative and slipper than mundane.

CERTIFIED COPY played Cannes 2010 and was released in France, Italy and the Netherlands earlier this year. It is currently on release in the UK.

SALT - Ain't nothing wrong with thrills and spills

An  ex-KGB goon walks into a CIA building in DC and outs an alleged Soviet mole, who is planning to assassinate the Russian President in New York in 24 hours time. For the rest of the movie, that mole has to rush to New York; infiltrate the Russian renegades who are trying to trigger a nuclear war; protect the US president; and all the while avoid the clutches of CIA Counter-Intell. Is this a job for Kiefer Sutherland in 24? Or Tom Cruise in Mission Impossible? Nope, in a nice piece of counter-programming, it's a job for Angelina Jolie, as Eveline Salt.

I had a lot of fun watching SALT. It's not a particularly clever film, and certainly not memorable, but for two hours it held my attention with great action set-pieces and better than typical acting for a genre movie. Note, for example, a scene in which Salt is on a boat, surrounded by KGB goons who have apparently done something she should feel upset about. Jolie has to play woman who is deeply upset, but pretending not to be - all the while giving the audience enough ambiguity that they wander who's side she's really on. Added to that, you get a supporting cast of the calibre of Liev Schreiber as her CIA boss, and Chiwetel Ejiofor as the Counter-Intell chief. So, all in all, two enthusiastic thumbs up. Not every movie needs to be Bergman. And while we're waiting for MGM to restructure its debt and push put another Bond flick, this will do very nicely.

Additional tags: Stuart Baird, John Gilroy, Daniel Olbrychski, Daniel Pearce, Hunt Block, Andre Braugher, Olex Krupa

SALT is on global release.

SCOTT PILGRIM vs. THE WORLD - Heart-stripped Part Deux

So, I want to state that I DO think I have a sense of humour and I'm not some kind of kill-joy. It's not that I hate all things comic book or gamer or hipster, although lately Michael Cera has started to annoy me with his one-note, "hey I'm so geeky, but in a sort of superior way to you", schtick. I think what gets me with these hipsters is the fact that they're all making so much damn mainstream money out of trying to be counter-cultural. Like you can be counter-culture when your interviewed in Interview magazine. Anyways, despite my hipster-fatigue, I was REALLY looking forward to SCOTT PILGRIM vs THE WORLD for the simple fact that I think its director and co-adapter, Edgar Wright, is some kind of comedy genius. This is the man who, with SHAUN OF THE DEAD and the absolutely amazing HOT FUZZ made movies that combined a post-modern, slippery playfulness take on genre-cinema with real heart. And, boys and girls, you gotta have heart. Without heart - without characters that we emotionally engage with - no movie, no matter how clever and witty and inventive, is worth my time. And SCOTT PILGRIM really wasn't worth my time.

This is the concept. Scott Pilgrim is a loser, hipster, geek who plays in a band. He has no money but he can still afford cool trainers. (See video above.) He's dating a psycho-stalker high school chick called Knives Chau who is NOT as cool as her name would suggest and definitely needs to get to a SLAA meeting. But he really wants to be dating a hipster chick called Ramona Flowers, who has outlandishly coloured hair and Seven Evil Ex-es. I have yet to fathom why either girl would want to date Scott - let alone his ex-es, band-mate Kim, and now-successful rock-star, Natalie/Envy. He's a scrawny, incompetent, infantile guy who looks pre-pubescent. I mean, I know some girls like unthreatening, but this is unreal. Anyway, back to the movie. By quasi-dating Ramona, Scott unleashes the Seven Evil Ex-es who he has to fight, video-game stylee, in order to be with her; or gain self-respect; or discover who he really wants to be with; or something. Honestly, by about fight number three I was seriously losing interest. A mock video-game fight HAS NO STAKES. If you lose you don't die - you just click for your second life. If you win, there's just another stupid fight around the corner. And who cares who these characters end up with anyways? Yes the visual tricks are fun - the little knowing comments editorialising the action - and yes, it IS funny to take the piss out of Vegans and pretentious record producers but COME ON! This movie is a one-trick pony. Clever for the first ten minutes, but then repetitive, trite and superficial. I want and expect more from Edgar Wright. I want to see real friendship on screen - friendship like that shared between Simon Pegg and Nick Frost in SHAUN and HOT FUZZ. Not this heart-stripped clever-clever nonsense.

Additional tags: Michael Bacall, Bryan Lee O'Malley, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin, Anna Kendrick, Ben Lewis, Aubrey Plaza, Nigel Godrich

SCOTT PILGRIM vs. THE WORLD is currently on release in the US, Canada, New Zealand, Australia, Russia, Kazakhstan, Ireland, the UK and Iceland. It opens in late September in Croatia, Estonia, Sweden and Israel. It opens in October in Finland, Norway, Turkey, Greece, Brazil, Argentina and Singapore. It opens in November in Malaysia and Italy and in December in Greece and Spain. It opens in January 2011 in Germany and the Netherlands.

The Fast Jimmy Memorial DVD Review - DEFENDOR

Trailing in the shadow of KICK-ASS comes a low-budget flick called DEFENDOR - the directorial debut of writer/actor Peter Stebbings - that got a limited release in the US and goes straight to DVD in much of Europe next Monday. Woody Harrelson stars as a sweet guy suffering from the delusion that he is a super-hero called Defendor, who can fight evil villains a jar of angry wasps and a baseball bat. Naturally, he gets the shit kicked out of him, but not before he is rescued by/rescues a crack-whore called Kat (Kat Dennings - NICK AND NORAH'S INFINITE PLAYLIST). Before the inevitable third-act redemption, Kat plays to Defendor's delusions by making him think that her ex-boss/pimp is his arch-enemy, and the rest of the movie shows how Arthur/Defendor tries to navigate real-life crime-busting. This is inter-cut with footage of him going through therapy with his psychiatrist, played by an amused by sympathetic Sandra Oh (GREY'S ANATOMY).

Overall, the movie is an interesting watch because Woody Harrelson commits to the role and brings a sort of goofy charm to it that he hasn't had on screen since back in the days of CHEERS. The supporting cast is generally strong - particularly Elias Koteas as undercover cop Chuck Dooney. And the tech credits are particularly impressive for a low-budget venture: props to DP David Greene. But there are problems with the flick. In front of the camera, I had a tough time buying into Kat Dennings portrayal of the hooker with a heart of gold. In every film she makes she carries herself and speaks like a wise-ass hipster. This is fine for a film like  NICK AND NORAH but really jars in DEFENDOR. She just doesn't sound convincing as a girl who lives on the streets. The second problem is on the page - the script is too uneven in tone. Does Peter Stebbings want this to be a goofy comedy, poking gentle fun at Defendor? Or does he want this to be an emotional drama about too damaged and unlikely people finding a connection? Neither was committed to.

So, would I recommend DEFENDOR? Yes, it's good enough for DVD night and has an interesting approach to superhero movies. But for my money, if you really want to see a sensitive and beautifully acted examination of super-hero as delusion, check out SPECIAL.

Additional tags: Peter Stebbings, Clark Johnson, Lisa Ray, A C Peterson, Kristin Booth, Charlotte Sullivan, John Rowley, David Greene, Geoff Ashenhurst

DEFENDOR played Toronto and Whistler 2009 and went on limited released in the US and Brazil earlier this year. It is straight to DVD in the UK on September 9th.

THE GIRL WHO PLAYED WITH FIRE - heart-stripped

Lisbeth Salander, a young, rebellious, autistic computer hacker, returns to Stockholm to enforce her revenge on her sexually abusive state-appointed guardian, Nils Bjurman. But, soon after, Bjurman is murdered, along with two young investigators who were about to expose a sex-trafficking scandal, in which he was implicated. The police think Lisbeth is the murderer and she goes on the run. Only her old lover and friend, Mikke Blomkvist; her current lover Miriam; her old boxing buddy (real-life star) Paolo Roberto, and her kindly first guardian, Holger Palmgren, believe she innocent. But they can't track her down to help her. As it so happens, it was Blomkvist's magazine that was going to be publishing the sex-trafficking expose, and as he picks up the trail of the gangster Zala, he is led back to Lisbeth, who also believes that Zala was involved in her scandalous abuse as a child. So unfolds the true story of Lisbeth's god-awful childhood, and the reality of the complicity of the Swedish state in her abuse.

I loved Daniel Alfredson's faithful adaptation of Swedish thriller, THE GIRL WITH THE DRAGON TATTOO. It was a well-acted, competently-made crime drama with a convincing relationship at its heart - that between campaigning journalist, Mikke Blomkvist; and his sometime researcher and lover, Lisbeth Salander. Salander's character - emotionally avoidant, scrupulously fair, kick-ass - is the most sale-able thing about these books. But it also makes them hard to access at an emotional level, without the reader being able to experience her through the softer focus of her friendship with Mikke, her loyalty to her lover Miriam, and her respect for her old guardian, Holger Palmgren. The problem with the sequel, THE GIRL WHO PLAYED WITH FIRE, is that we don't get enough of the relationships - we simply don't see Lisbeth on screen together with Mikke, or Holger or Miriam, long enough to engage emotionally. And without that, the movie just becomes a crime procedural. Worst of all, because most people who watch this film will be fans of the book, a crime procedural to which we already know the answer. To be fair, partly this is unavoidable. The film-makers have to stick to the broad outline of the book, and to that end, they have no choice but to keep Mikke and Lisbeth apart. But, Stieg Larson gave us compensation in the novel. He gave us the reunion of Lisbeth and Palmgren, something which is skated over very quickly in the film - and most importantly, he gave us the intriguing character of the cop, Jan Bublanski - charged with tracking "murderer" Lisbeth down, but a man who instinctively knows something far more murky has been going down. With only a small role for Jan, and a resultingly small role for the police in the investigation, the movie seemed to have no centre, no momentum, and no interest for me. I was actually bored by it, and was really very disappointed indeed.

THE GIRL WHO PLAYED WITH FIRE was released in the Nordics, Italy and Spain last year, and was released earlier this year in Greece, the Netherlands, Germany, Austria, Estonia, Portugal, France, the US and Argentina. It is currently on release in the UK and opens in September in Japan and Singapore.