Film Review: Young Adult

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With superlative writing, directing and performances, Young Adult is one of the best comedy dramas in recent years. Jason Reitman’s film is a must see.

Mavis Gary is an author of young adult literature living in Minneapolis. Following her recent divorce, Mavis decides to return to her small hometown in Minnesota to try to rekindle the flame with her high school boyfriend. He is, however, married with a newborn baby…

It is the erudite combination of skilful directing, magnificent writing and an astonishing central performance that makes Young Adult such a fantastic movie. Not only is Mavis such a well written character, but she is depicted with the upmost authenticity. Despite some rather unsavoury traits, Mavis still resonates with audiences because she is so believable. Thus, viewers will side with her precisely because she is a flawed character.

Young Adult is an acutely affecting film, thanks to this brilliant depiction. Even those who find it difficult to relate to Mavis’ actions should find the film resonant. This is due to the fact that the themes are depicted so convincingly. The return to a glorious past, an isolated life, depression and an uncertain future are all ideas that should resound with viewers both younger and older than the protagonist.

Diablo Cody’s screenplay is fantastic, and definitely her best work to date. The dialogue is great, expeically the conversations between Mavis and Matt. These scenes combine humour with refreshing honesty. Young Adult’s pacing is also good. The film never feels rushed or dragged out.

Jason Reitman’s directing is both stylish and subtle. Reitman seems to have his own style, one that is not glaringly obvious, but one that differentiates him from other contemporary directors of comedy drama. After the critical and commercial success of his previous efforts, it is a real shame that Young Adult has not received the recognition it deserves during the award season.

Charlize Theron is superb as Mavis Gary. It is a testament to Theron’s versatility that she is able to play the character so authentically. Patton Oswalt provides excellent support as Matt, while Patrick Wilson is well cast as Buddy.

Young Adult may not please those looking for a stereotypical Hollywood comedy drama. Everyone else should find it captivating. Young Adult is a fine piece of filmmaking.

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Film Review: Carnage

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Roman Polanski’s Carnage works fantastically well as a portrait of social etiquette and the human condition. The film should have audiences laughing, although it has a deeper resonance than simply humour.

After Nancy and Alan Cowan’s son gets into a playground fight with the son of Penelope and Michael Longstreet’s son, both sets of parents agree to resolve the dispute at a meeting. The meeting begins cordially, with all four adults agreeing on the best course of action to take. It does not take long, however, for the atmosphere to descend as the bickering begins…

Originally a play, it is easy to see why Carnage would work on stage, with the vast majority of the action taking place in one apartment. Thankfully, Yasmina Reza’s screenplay also works well on screen. With a running time of under ninety minutes, Polanski’s film feels brisk and energetic. Sufficient time is allowed for the situation to develop, but incidents never feel laboured.

Carnage explores the dynamics of appearance and social conventions in a way that is both humorous and thought-provoking. The breakdown of etiquette is something that is directly referenced by the characters. It is as if the couples undertand their social faux pas, but are too overcome by the notion of carnage to stop themselves. The desintegration of normal social behaviour is depicted in a realistic way; it is gradual rather than rushed.

Comedy in the film is frequent and hits the right note. There is some physical humour, which does generate laughs. More integral than this is the wit of the screenplay, with cutting remarks inducing much of the comedy. Polanski’s direction is great in balancing movement in the very controlled environment.

Performances from the four leads are excellent. Christoph Waltz, in particular, excels as Alan Cowan. Waltz brings energy to the role, as well as relish in the demise of social etiquette. Kate Winslet holds her own as Cowan’s wife Nancy, while Jodie Foster and John C. Reilly make good antagonists in the form of the Longstreets.

Carnage is a great comedy. The film depicts a level of intelligence, which does not detract from the universal enjoyment of it all.

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Film Review: Chronicle

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Chronicle is a highly enjoyable science fiction film. Don’t be deterred by the age of the protagonists; the film should satisfy a wide demographic.

Teenager Andrew decides to start filming his day-to-day life; a clear indicator of his detachment from fellow students and the social order of the American high school. When his cousin Matt and popular classmate Steve find something unusual at a party, they ask Andrew to come along and film it. The trio soon discover some unusual side effects…

Chronicle is a very entertaining directorial debut from Josh Trank. The reason the film functions so well is because it fulfils the regular super hero movie tropes, but in a way that is fresh and interesting. The screenplay by Max Landis is great in its ability to combine teen concerns with a science-fiction narrative.

Characters in Chronicle appear multi-faceted. At first, the three main players seem like broad stereotypes. However, complexities arise as the film progresses. The interactions between these three in particular come across as authentic. There is some good humour that helps to balance the later seriousness of Chronicle. The film’s initial set up works well to absorb viewers; there is sufficient mystery which is retained for a significant part of the duration.

The handheld camera works well in Chronicle. There seems more of a point to the characters filming, compared with many ‘found fotage’ films. The special effects are decent, with some impressive sequences. The film exhibits elements of certain 1970s films, notably Superman and Carrie. Thankfully Chronicle does not attempt to rip them off; they appear as slight influences instead.

Dane DeHaan is fantastically cast as Andrew. He certainly looks the part of the isolated teen, with mannerisms to match. Alex Russell and Michael B. Jordan share great chemistry as Matt and Steve. Chronicle should certainly raise the profile of these three actors.

Josh Trank and Max Landis have produced a great film. Chronicle functions superbly as a sci-fi/superhero/teen movie hybrid and is highly recommend for those with an interest in any of these film genres.

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Drive Tweet-Along #DriveTime

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To celebrate the release of Drive on Monday, something rather interesting is being organised in the evening for Twitter users. Fans of the film are encouraged to start watching the film on DVD at 8pm GMT on Monday 30th, and tweet along using the hashtag #DriveTime. Drive is a fantastic film which is sure to encourage debate. Perhaps someone will tell us where to get the infamous satin jacket. Or maybe pontificate on changes made from James Sallis’ novel (which, shockingly, I have actually read). I will be throwing my two cents in at @heartthetalkies.

Drive is released on DVD and Blu-ray on Monday 30th January 2012.

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Film Review: The Woman in Black

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James Watkins’ adaption of Susan Hill’s novel is a decent supernatural horror. Not quite as unnerving as the stage play, the film nevertheless should satisfy those looking for a fright.

Arthur Kipps is a young lawyer tasked with travelling to a remote village in order to clear up some business with the sale of a house. With his young son reluctant to be parted from him, Kipps is met with hostility when he arrives in the village. When he visits the estate, he notices a mysterious woman in black…

The Woman in Black is a decent ghost story which is very disconcerting at times. There are some great scares, which are likely to disquiet even the most hardened of viewers. Director Watkins excels in generating tension; there are scenes in the film which are finely executed.

The film makes a few changes from the novel and stage play. Most of these are suitable, although there is a scene in The Woman in Black involving the car that is rather implausible and spoils the film to a certain extent. More of the action takes place in the village but away from the estate. This fills in some of the gaps of events only mentioned in the stage play. Otherwise, the film retains they key devices used to scare viewers.

The Woman in Black exudes an over-produced gothic atmosphere that is entirely in keeping with the tone of the film. Visual effects are thankfully kept to a minimum, with Watkins relying far more on sound and lighting to generate the apprehension and fear. The woman could have been less present and more vacillating in the first half of the film, in order to retain mystery. Notwithstanding, the film is still affective as a supernatural horror.

Daniel Radcliffe delivers a uninspiring performance as Arthur Kipps. In scenes of terror Radcliffe is fine, as he only needs to portray anxiety. It is the other scenes, when dialogue delivery is required, where is poor skills become apparent. Ciarán Hinds fairs better as Sam Daily, while Janet McTeer offers a good performance as Mrs Daily.

Although it has some flaws, The Woman in Black should appease those looking for a good fright. The easily scared will have a turbulent hour and a half.

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What the American Pie: Reunion Trailer Tells Us About the Film, and Life

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A new trailer has been released for American Pie: Reunion, which is out in cinemas on 6th April 2012. Several things can be ascertained from viewing the trailer.

1. The debauchery will arise from limited sources

Most of the original crew from the American Pie film have settled down, according to this trailer. That means any lewd behaviour is likely to come from Stifler and some of the secondary characters. This suggests that the film may take a similar format to 2003′s American Pie: The Wedding.

2. Stifler’s Mom and Paul Finch may not get together

The end of the trailer points to a new liaison between Stifler’s Mom and Jim’s Dad. This would indicate that Stifler’s Mom and Paul Finch have finally moved away from one another. A key dynamic throughout the series, it will be interesting to see how this plays out in the film.

3. The soundtrack should be fun

Just like previous instalments, the soundtrack sounds like it will be populated by fun, pop-punk music. Blink-182 and other similar bands featured on the soundtrack for the first film, and the trailer suggests we can expect more of the same from American Pie: Reunion. It seems like the film will take 1990s and early 2000s teens make to their youth.

4. Most of the cast have aged well

Given the thirteen years that have passed since American Pie‘s release, most of the cast look similar to how they did in the first film. While Mena Suvari, Alyson Hannigan and Jason Biggs still appear youthful, the beard and hair combo is doing nothing for Kevin, played by Thomas Ian Nicholas. Tara Reid also looks good, despite her well-documented troubles in the intervening years.

5. Anyone the same age as the characters is now official old

Anyone who was in their late teens when American Pie came out is now as old as Father Time. According to the trailers, they should have settled down, have had a child and be working in a middle-management office job. American Pie: Reunion is sure to be a nostalgia trip, but may remind viewers just how much time has passed since the first film.

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Film Review: Haywire

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Given the talented cast and director involved with this project, Haywire is a disappointing film. At best, the film is mildly entertaining, although it never really engages the viewer.

Mallory Kane is a freelance operative, working for a company that hires out her services to government and other powerful figures. After a mission goes wrong, Mallory discovers that she has been betrayed. On the run, Mallory must find out the truth and fight to stay alive…

Haywire is very much a by-the-numbers action thriller, offering little innovation or surprise. The narrative is predictable, with the flashback format doing little to alleviate this. Haywire features the usual themes of double crosses and omnipotent agencies, which is fine but for the lack of development or decent storytelling. Moreover, anyone who has seen the Haywire trailer will have had the movie ruined as it gives everything away.

The only thing that distinguishes Haywire from a plethora of similar action films is its choice of protagonist. It would be refreshing to have a female hero at the centre of Haywire if the depiction of her character was not so lacklustre. Apart from the fact that she is a good-looking female, everything about Mallory suggests stereotypically male traits. She uses force to fight back against her male antagonists, rather than having to use ingenuity. Her seduction, for want of a better word, of one of the male characters is also very masculine. Mallory is the only female in the film except for a few extras, yet she is a man in all but gender.

Characters in Haywire are barely developed. Mallory’s relationship with her father is presumably meant to humanise her, but does little to endear the audience to her character. Similarly, Kenneth and Aaron are too one-dimensional for the audience to care about.

Performances in the film are fine. Gina Carano does a decent job as Mallory, excelling in the fight sequences. Ewan McGregor, Michael Douglas, Channing Tatum and Antonio Banderas are given little to do in their narrow roles. Director Steven Soderbergh appears to think that quirky angles are enough to make a straightforward action thriller.

Haywire is not painful viewing, but neither is it particularly enjoyable. Give it a miss.

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Young Adult Clip

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Charlize Theron plays a fiction writer who returns to her hometown in Young Adult. In what I have heard about it so far, Theron’s character is similar to Cameron Diaz’s in Bad Teacher. Young Adult is directed by Jason Reitman and written by Diablo Cody, which gives certain expectations. I have also heard a rumour that Young Adult features a fluffy dog, which elevates it to must-see level. In the above clip, Mavis meets her ex-boyfriend’s baby for the first time. I’m not going to lie, sometimes I act just as awkwardly when people present me with their offspring. Young Adult reaches UK cinemas on 3rd February 2012.

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Film Review: J. Edgar

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Clint Eastwood’s J. Edgar offers flashes of greatness, but ultimately is weighed down by its flaws. The film is interesting, but fails to satisfy.

J. Edgar Hoover became the first director of the FBI. After a quick rise in through the ranks of the Bureau of Investigation, Hoover’s successes were well publicised. Although he was the face of crime fighting in America, J. Edgar held secrets of his own…

Director Clint Eastwood seemingly has good intentions with J. Edgar, but comes up short. The film appears as if it will be told in flashback format at first. However, the film frequently jumps from the present day to different periods in history. Given the lack of immediate information regarding the setting, it may take viewers a few moments to identify the era and event in different scenes. In one sense, covering most of Hoover’s career offers a suitable biopic of the life of a prolific character. Nevertheless, Eastwood may have done better to explore a handful of key events in more detail, rather than the constant jumping from decade to decade and back again.

Dustin Lance Black’s screenplay is uneven. There are some good scenes between J. Edgar and long-time confidant Clyde, which explore the close relationship between the pair. Likewise, some of the scenes with Hoover and his mother give some context to his later behaviour. However, there is an over reliance upon grand posturing dialogue, perhaps to mask J. Edgar‘s lack of substance at times. Moreover, some scenes are awkwardly written, while others seem surplus to requirement. The film could have also been trimmed to under two hours, which would have made for a more enjoyable picture overall.

Performances in J. Edgar are good for the most part. Leonardo DiCaprio delivers a strong performance as the title character. It will be surprising if DiCaprio does not receive an Oscar nomination for this performance. Armie Hammer is also solid, however both he and DiCaprio are hindered by some cumbersome prosthetics. The prosthetics used on Hammer in particular seem to alter him far too drastically. Naomi Watts is suitably cast in a minor role, while Jeffrey Donovan’s impersonation of Robert Kennedy is so abysmal it seems like a parody.

The costumes in J. Edgar are fantastic. The art direction is also great in producing the authenticity of the period settings. Hoover was an intriguing character, it is a shame that J. Edgar is not better executed.

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Thoughts on David Fincher’s The Girl with the Dragon Tattoo

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I have come to the conclusion that Stieg Larsson’s Millennium trilogy must be literary dynamite. The first novel must combine the descriptive prowess of Charles Dickens, the wit of Oscar Wilde and Agatha Christie’s flair for mystery. For what else could explain the success of a book that has spawned two mediocre film adaptations?

When I first heard about an English-language cinematic adaptation of The Girl with the Dragon Tattoo, I really could not see the point given how recently the Swedish film had been released. I was much more enthused when news of David Fincher and Trent Reznor’s attachment to the project was announced. Fincher would be the man, I thought, to fix the numerous flaws present in Niels Arden Oplev’s cinematic version of the book. The narrative would be tidied, the pacing would be rectified, and the film would sound fantastic to boot.

Unfortunately only one of these three is true of Fincher’s version of The Girl with the Dragon Tattoo. It is pretty tough going when the best thing about a film is the title sequence. It is worse when that film is almost two and a half hours long. The title sequence is amazing, the combination of the visuals and the version of ‘Immigrant Song’ by Trent Reznor, Atticus Ross and Karen O works sublimely. However, the rest of the film is a let down. Although it is more stylish than its predecessor, the flaws are all too apparent.

This leads me to believe that The Girl with the Dragon Tattoo is not a very good story. The murder mystery premise is intriguing enough. However, it is poorly executed; the climax of the action arrives prematurely. This poor pacing means that the ending feels as if it lasts for an age. Moreover, if this mystery is secondary to the two protagonists’ journeys, than the characters should be more interesting. Neither Lisbeth nor Mikael are particularly fascinating characters; they offer nothing that really engages the viewer. Without a good narrative or absorbing characters, David Fincher’s film simply offers decent visuals and a great soundtrack.

In summary, no more film versions of The Girl with the Dragon Tattoo should ever be made. David Fincher should be more picky about his projects. So should Trent Reznor, who should return to contributing to film projects of the same calibre as David Lynch’s Lost Highway.

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