Review: Les Combattants
Released: 19th June
Certificate: 15
Director: Thomas Cailley
Screenwriter: Thomas Cailley, Claude Le Pape
Cast: Adèle Haenel, Kévin Azaïs, Antoine Laurent, William Lebghil, Thibaut Berducat, Nicolas Wanczycki
In his debut feature director Thomas Cailley delivers a fresh, funny and poignant take on post-adolescent romance. Amiable but aimless, Arnaud (Kévin Azaïs) is contemplating joining the family’s timber business after the unexpected death of his father. However, he is knocked out of his summer reverie by a chance meeting with the fierce-tempered and survival skill-obsessed Madeleine (Adèle Haenel). Drawn to her sense of purpose, he follows her into a two-week boot camp for paratrooper hopefuls. But when the course turns out to be quite different from what either of them was expecting, they form a strong bond.
Anchored by a sharp script, Les Combattants is truly brought to life by the performances of its two leads, in particular Haenel as Madeleine. She perfectly embodies the character’s sense of extreme frustration with the world and everyone in it and her inner turmoil when her disappointment with the army (in one scene she is tartly told “this isn’t about survival, it’s about duty”) and her growing feelings for Arnaud begin to destabilize her single-minded focus on preparing for survival in the –to her mind- imminent collapse of civilisation.
This quest for purpose (or the desire to be free from the obligation it implies) is a running theme throughout the film, from Arnaud’s reluctance to contemplate his future, to his friend Xavier’s need to move abroad ‘(France is dead’), to his brother’s quest to keep the family business going, to Madeleine’s survival obsession. While this sounds a bit introspective, the wry humour with which these issues are expressed and addressed prevents the whole thing from becoming an exercise in navel-gazing. If anything, Cailley appears to be poking gentle fun at the existential angst of his contemporaries, the so-called millennial generation. The comedy is understated- found mainly in significant glances and a gentle situational absurdity- and the camera cleaves close to the actors’ faces to allow those looks to land.
This understanding of the intrinsic ridiculousness of life and well-drawn central relationship makes up for the occasional plot contrivance and the lightly-sketched supporting characters. A late-stage shift in tone brings a sense of gravity to the proceedings, underscoring the sympathy that Cailley feels for his characters, for all he likes to make fun of them, and the moments of genuine jeopardy underscore just how far Arnaud and Madeline have managed to get under each other’s (not to mention the audience’s) skin.
Verdict: 4/5
Image credit: allocine.fr
Review: Spy
Released: 5th June
Certificate: 15
Director: Paul Feig
Screenwriter: Paul Feig
Cast: Melissa McCarthy, Rose Byrne, Jason Statham, Miranda Hart, Jude Law, Peter Serafinowicz
The latest from Paul Feig (Bridesmaids, The Heat), stars Melissa McCarthy as Susan Cooper, a brilliant CIA analyst who guides the every move of suave field agent Bradley Fine (Jude Law) through his earpiece. When criminal mastermind Rayna Boyanov (Rose Byrne) captures Fine while he’s out hunting a stolen nuclear bomb, and reveals that the identities of all active CIA field agents have been compromised, Susan convinces the top brass to send her out on a recon mission.
After playing second fiddle in hits for years, it’s a delight to see McCarthy in a centre-stage role with a satisfying character arc to get her teeth into. Watching Cooper go from retiring Midwestern modesty (baking cakes for colleagues’ birthdays while quietly pining after Fine) to growing confidence to all-out badassery is an absolute thrill. McCarthy is one of those comic actors who make humour look effortless, and the camera gives her space to mine every scene for its full comic potential. Supporting comedy stalwarts Byrne, Miranda Hart as office chum Nancy, and Peter Serafinowicz as amorous Italian agent Aldo all provide solid support, either as foils or co-conspirators. Jason Statham is an unexpected hit, lampooning his hard-man persona as gravel voiced agent Rick Ford, who can’t quite stomach being placed on the bench while rookie Cooper goes into the field. Unfortunately, although Jude Law has many strings to his bow, comedy isn’t particularly one of them, and encumbered by a bizarre American accent (presumably the producers realised that the CIA was becoming overrun with Brits) he fails to shine in this role, leading to a slightly unimpressive opening few scenes.
Although consistently funny (particularly for lovers of slapstick and expletive-laden badinage), Spy’s humour is by and large rather broad, meaning it never quite matches Bridesmaids for acerbic rigour. However, it also places less reliance on pathos and is therefore by some accounts a lot more fun, although those who admired Feig for his hard edge may be disappointed here. This aside, as far as the Hollywood knockabout comedy canon goes it is gratifying to see a film in which a fat, female lead character is shown to be intelligent, competent and physically capable (not to mention desirable), and where the humour never sinks to cheap gags about weight. Unfortunately this achievement is undermined by a repetitive sexual harassment joke which feels a bit old-fashioned (although is almost worth it for Cooper’s incredulous response: “was Pepé le Pew not available!?”). Despite these reservations, Spy quickly recovers from its slightly slow start to deliver a fast-paced and funny two hours with laughs aplenty and some thrilling (and well choreographed) action set-pieces.
Verdict: 4/5
Image credit: foxmovies.com/movies/spy
Review: Appropriate Behaviour
Released: 6th March
Certificate: 15
Director: Desiree Akhavan
Screenwriter: Desiree Akhavan
Cast: Desiree Akhavan, Rebecca Henderson, Halley Feiffer, Scott Adsit
At a time where the cinematic and televisual landscape seems teeming with stories focusing on young bohemian New Yorkers, it can be difficult to stand out from the crowd. However, writer, director and star Desiree Akhavan’s hilarious, wry and surprisingly sweet tale of a bisexual brooklynite (Shirin, played by Akhavan) attempting to recover from an explosive break-up with her first girlfriend, Maxine (Rebecca Henderson), is a true gem.
Told in jumbled flashback interleaved with current events in chronological order, Appropriate Behaviour uses a series of vignettes to build up an impressively comprehensive picture of Maxine and Shirin’s courtship and break up, and Shirin’s attempts to reset her life in the aftermath. The use of cues in the present to trigger flashbacks, while a much used device in cinema, is done with enough subtlety that the segues seem natural, and lends the film a cohesion in that it allows the audience to truly get inside Shirin’s head and become part of the action.
A piece like this can fly or fail on the success of its comedic beats, and thankfully Appropriate Behaviour triumphs in this respect. Eschewing mumblecore improvisation for a more deliberately engineered approach pays off in spades, as the carefully constructed turns of phrase have both a verisimilitude and a razor-sharp focus. In one scene, Shirin’s boss Ken (Scott Adsit), upon discovering her Iranian heritage, says ‘I was just reading this article in Vice about the underground hip-hop scene in Tehran… are you part of that?’ to which Shirin replies, ‘no… when I go [to Iran] I mostly watch Disney videos with my grandmother while she untangles jewellery.’ This deadpan delivery is a particular talent of Akhavan’s, and watching the emotions play about her face as Shirin reacts to the situations around her is an absolute joy. Special mention must also go to Halley Feiffer as Shirin’s best friend Crystal, who shines in the film’s more comically absurd moments, particularly one very funny sequence in which they encounter an unexpectedly intense lingerie shop assistant (Kelly McAndrew). Unsurprisingly considering the subject matter, the comedy is occasionally near the knuckle, but despite a few cheap shots the humour stays on the wry side of arch and never feels deliberately mean-spirited.
Although the comedy is great, there’s also a vein of pathos running throughout which adds depth to the piece. Shirin struggles to reconcile her queer identity with her interpretation of the Persian culture to which she belongs, and fears coming out to her parents. The strain this places upon her relationship with Maxine, and indeed with her family itself, adds a substantial undertone which grounds the more whimsical aspects of the film, bringing it a greater emotional impact than it might otherwise have had. The close camerawork underscores the dramatic moments, again placing the viewer within the scene to allow them to experience the way in which the characters react to one another. The subtle performances from the cast mean we can see every murmured sweet nothing or loaded barb land upon its recipient, bringing an almost theatrical sense of presence (both in the physical and temporal sense) to the proceedings.
Bittersweet, knowingly strange and frequently hilarious, Appropriate Behaviour is an accomplished first feature, balancing wry and bawdy humour with a nuanced portrayal of bisexuality, love and heartbreak.
Verdict: 5/5
Image credit: appropriatebehaviourmovie.com
Review: Birdman, or (The Unexpected Virtue of Ignorance)
Released: 1st January
Certificate: 15
Director: Alejandro González Iñárritu
Screenwriters: Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo
Cast: Michael Keaton, Edward Norton, Emma Stone, Andrea Riseborough, Naomi Watts, Zach Galifanakis.
As the old saying goes, if you bring a gun onstage in act one it sure as hell better go off in act three. In director Iñárritu’s frenetic exploration of the psyche of an ageing blockbuster star a prop gun is not only brought onstage but is waved around and accused of looking too fake. Misinterpreted Chekhovian proverbs aside, this motif encapsulates the tone of Birdman: irreverent, postmodern, with the adrenaline-fuelled pulse of a thriller pumping steadily at its periphery.
Riggan Thomson (imbued with quivering exasperation by Keaton), former star of the Birdman popcorn franchise, has now burnt through his money and is seeking to stake a claim to credibility by writing, directing and starring in a Broadway play. However, standing in his way are a jumble of obstacles, not least his own guttering grip on reality. He is haunted by the voice of his former character, who seems to have nothing more complementary to say about him than the journalists and critics (amongst them Lindsay Duncan delivering a stunningly scabrous performance) who seem affronted at Thomson’s attempts to gatecrash the supposedly serious and noble tradition of theatre.
The irony, gleefully explored by Birdman, is that the theatre, not least Riggan’s narcissistic and demanding co-star Michael Shiner (Edward Norton), is just as fraught with pitfalls and nonsensical non sequiturs as tinseltown. As the camera follows Riggan through the green rooms, corridors and lighting rigging of the theatre (few sequences take place outside of it), panning to catch a conversation or take in action happening in a wider frame, the audience becomes part of Riggan’s perceptual state. Time shifts unevenly- a pre-rehearsal conversation gives way suddenly to the first preview night- and fantastical elements appear and dissolve, creating an enjoyable puzzle surrounding what might be real and what might be imagined. The imagery gleefully oscillates between ethereal and earthy, with one conversation between Riggan and his ex-wife (Amy Ryan) taking place while he lies prone on the countertop in his grungy dressing room in an eerie facsimile of a wake. That is not to say the film ever becomes languorous or dreamlike in an obvious sense. On the contrary, Antonio Sanchez’ corybantic drum score drives the action forward as Riggan and co. hurtle towards opening night, and the disaster or salvation it may bring.
The ensemble of strong performers and equally strong characters elevate Birdman, allowing the script to have its intended impact. Zach Galifanakis excels in a rare straight-man role as Thomson’s frazzled producer, Jake. Emma Stone makes everything looks easy beyond daughter Sam’s intimidating fortress of eyeliner, and makes an impact beyond the modest amount of screentime the story allows her. Supporting thesps Lesley (Naomi Watts) and Laura (Andrea Riseborough) nurse motivations and insecurities of their own while the collaboration-cum-rivalry between Riggan and Shiner (creatures composed entirely of motivations and insecurities), which threatens to bubble over both on and offstage, is a joy to watch.
All of this adds up to a spectacle of skilfully deployed chaos which waxes philosophical without taking itself too seriously, offering a satirical commentary on the business of theatrical entertainment. Admittedly, it sometimes gets a little caught up in its own excesses (a kiss between Lesley and Laura is hard to interpret as anything but pure voyeurism), and the lack of racial diversity in the cast is concerning. However, overall it is a very enjoyable piece. Cinéastes will relish tying themselves in knots attempting to unpick the clues to interpreting the cheekily ambiguous ending, while everyone else can just enjoy being along for the ride.
Verdict: 5/5
Image credit: youtube.com/user/FoxSearchlight
Review: Paddington
Released: 28th November 2014
Certificate: PG
Director: Paul King
Screenwriter: Paul King
Cast: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Madeleine Harris, Samuel Joslin
The eponymous childrens’ book and TV character is given a 21st century makeover in this charming family film. Hailing from Darkest Peru, a young bear has to leave his idyllic home life when an earthquake destroys his dwelling and claims the life of his uncle. He hitches a ride to London, where an explorer once promised his family that they’d receive a warm welcome. However, he quickly discovers that London in 2014 doesn’t stop to tip its hat jovially and comment on the weather with strange visitors. Enter the Browns, a middle class London family who get more than they bargain for when they agree to take in the young bear ‘just for one night.’
A rarity in modern remakes of much loved classics, Paddington hits all the right notes. This is mainly due to a strong cast: Bonneville, Hawkins and Walters are all British stalwarts but the young actors do extremely well considering most of their scenes probably involved acting to a tennis ball on a stick. Ben Whishaw brings a wonderful cadence to the voice of Paddington; he is innocent without being childish, straightforward and yet strangely knowing, and Nicole Kidman is clearly enjoying hamming it up as the diabolical taxidermist villain.
The story progresses nicely, and touches on some very salient themes, such as modern middle-class fear of the unfamiliar and of those seeking a helping hand. There is an argument to be had about whether the film over emphasises Britain’s historical hospitability: while Britain’s mass acceptance of German WWII refugees is referenced, there is no mention of the chilly reception experienced by West Indian workers encouraged to immigrate to rebuild the country in the aftermath of that same conflict. However, the musical interludes by calypso outfit D Lime are at least a nod to a cultural heritage that stretches beyond Europe.
Despite its dramatic underpinnings, Paddington is at its heart a comedy, and a smart one at that, featuring a raft of well-choreographed physical humour (the audience I saw it with were in gales of laughter) and plenty of other jokes if slapstick isn’t your jar of marmalade. The rich and detailed sets provide an almost Aardman level of in-frame jokes and features which will reward repeat viewing.
Verdict: 4/5
Image credit: http://www.facebook.com/PaddingtonBear
Review: Pride
Released: 12th September
Certificate: 15
Director: Matthew Warchus
Cast: George MacKay, Ben Schnetzer, Joseph Gilgun, Imelda Staunton, Bill Nighy, Dominic West, Andrew Scott
An England beset by homophobia, a year-long miner’s strike and a burgeoning AIDS crisis seems an unlikely setting for a comedy. However screenwriter Stephen Beresford neatly realises both the comic and tragic potential of the story of a group of London-based gay and lesbian activists determined to support the striking miners in the industrial action of 1984-1985.
The film begins at the London Gay Pride parade in 1984, where 20-year-old “I don’t want to be too visible” Joe (George MacKay) is reluctantly pulled into out-and-proud ideas man Mark’s (Ben Schnetzer) group of bucket-shaking activists. Noticing that the tabloids and police are demonising the striking coal miners in much the same way they demonise the gay and lesbian community, Mark and his band of activists decide to lend their support. Unfortunately, the unions are too embarrassed to take their money. In fact, everyone is until a garbled phone message leads to the group travelling to meet Paddy Considine’s Dai, a representative from a small mining village in rural Wales. While the council members (including Bill Nighy, Imelda Staunton and the fabulous Jessica Gunning) get over their initial trepidation to welcome Lesbians and Gays Support the Miners (LGSM), not everyone is happy.
Pride is a film of ideas neatly explored and skilfully juxtaposed, where –fittingly- it doesn’t help to hold on to judgements made in the first instance. Dominic West’s disaffected actor has hidden reserves of charm and compassion, flighty Mark is able to keep pushing the LGSM forward despite setbacks, and Joe finds courage he never knew he had. Prejudice- not just hatred or disgust but the idea of thinking you know exactly how someone is going to be before you meet them- is unsurprisingly a running theme. The representatives of the village council fear how their masculine, blue collar residents will react to the arrival of LGSM, and the group has trouble recruiting gay men who have suffered homophobia in rural communities in their past. Joe’s mother’s pronouncements on the loneliness of the gay ‘life’ contrast starkly with his broad grin after his first LGSM weekend. The ensemble cast work well together and the characters and situations are well realised, and Pride neatly pulls off the trick of balancing sometimes riotous humour with naturalistic pathos , a hallmark of British comedy.
Verdict: 4/5
Quote: “We’re just on our way to Swansea for a massive lez-off!”
[Image credit: http://www.bbc.co.uk/bbcfilms/film/pride ]
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