Review: The Sapphires

If you’re going to make a film about the true story of an Aboriginal girl band touring war-torn Vietnam in 1968, you’d better make sure it’s got more than enough comedy to offset those extremely serious bits of warfare and prejudice. Thankfully, director Wayne Blair and the writers (Briggs and Thompson) manage to negotiate the bumps and shooting to produce an appealing blend of laughs and tear-inducing moments set in a particularly memorable period of history.

The three singing sisters Gail (Deborah Mailman), Julie (Jessica Mauboy) and Cynthia (Miranda Tapsell) from Cummeraganja in the Australian outback meet Chris O’Dowd’s failing entertainer Dave when they enter a talent competition in their nearby town full of ‘Gubbas’. After the locals ignore or unofficially disqualify them for being black, the women reveal their seemingly hare-brained idea of responding to an advert for singers wanted in Vietnam to entertain the troops. Dave hasn’t got anything better to do so he appoints himself as manager and gets them an audition in Melbourne. There, they are joined by vocally talented cousin Kay (Shari Sebbens) who’s been living as a white person since she was snatched from their community as a child. See, serious bits.

They get the gig and find out that while it’s easy to forget you’re living in a warzone as you’re belting out the soul numbers and shaking your tail feather, sometimes reality comes back with a bang.

The initial temptation would be to write off The Sapphires, or mark it down by comparing it to other ‘singing poor girls made good’ films but there is such a feel of goodnatured acceptance that to mark it down is to ignore the spirit of the film. Yes, they are girls but here we are not concerned with just how sparkly their outfits are, or how much cleavage they show, or even the romances. We are concerned with the journey and the unusual circumstances they all have to get used to on their trip around Vietnam.

The song selection is, erm, groovy, the bluntness balances out the kitsch and a little bit of history thrown in is always good for context: I declare The Sapphires to be a good all-rounder and more than the sum of its individual parts.

* * * 

Review: The Oranges

The Oranges refers to the location of the film, West Orange, New Jersey; an unremarkable slice of suburbia where not a lot happens but which holds the often undelivered promise of a sedate and safe life. The film concerns the frictions of two not so neighbourly families who live in the kind of tree-lined street that you’ve seen in a million U.S. comedies.

The film is narrated by Vanessa (Alia Shawkat) who lives at home and wants to be a designer after completing her degree but realises that a job at a furniture chain store is about all she can expect in terms of fulfilling her dreams. Her unhappily married parents, David (Hugh Laurie) and Paige (Catherine Keener), being both self-absorbed and single-minded, don’t realise the damage that their marriage is causing the confused and frustrated Vanessa.

Living opposite to the conflicted Wallings are the Ostroff family, comprised of Terry (Oliver Platt), Carol (Allison Janney) and daughter Nina (Leighton Meester). Nina, unlike her contemporary, has at least broken free from suburban safety to see the world, but has returned after being cheated on. Unable to get on with her mother, Nina seeks solace in neighbour David. With the feeling being mutual, sparks are set to fly.

If only the characters in the film were properly developed with a real emotional depth, but as it is, we get a bunch of cyphers picking scabs off one another in the vain hope of point scoring. Whilst the film does have snarky, smart and snappy dialogue, it’s masking the fact that none of the characters are particularly likeable. Nina’s free-spirited nature is spoilt by her attention-seeking and selfish ways, Terry is socially inept and Carol is often hysterical and overbearing, leaving sweary Vanessa as the most normal of the characters. Paige goes off the rails in spectacular fashion, becoming both a humanitarian and a destroyer of Christmas gnomes, in a scene right out of a Chevy Chase film from the 1980s.

The acting is decent, but this great troupe of actors has little to work with beyond the sniping. This is sitcom cinema at its most inoffensive, and we know that, whilst dysfunction is everywhere in families, it’s not just confined to the middle-class suburbanites;  there’s not much insight beyond the obvious, the alienating and what’s played out in obvious visual motifs and contrived confrontation.

* * 

Review: Argo

Testing the familiar waters of missing child drama Gone Baby Gone and Boston-set thriller The Town respectively, Ben Affleck emerged drowning in critical acclaim as he relentlessly attempted to transition from critically ridiculed actor to capable director. With his latest film Argo, he straps the weight of a remarkable politics-heavy true story [albeit declassified] to his broad shoulders.

The premise is authentically set in the midst of the Iranian Revolution of 1979, expertly set up through unsettling real footage and inventive storyboards. With the country’s inhabitants growing restless, they launch an all out siege upon the US Embassy based in Tehran. Fifty-two people were left to play the unfortunate role of ‘hostage’. A select few however, end up escaping from their clutches and seek comfort in the open arms of a Canadian ambassador (Victor Garber) and the surroundings of his respectable home.

Back on home turf, specialist exfiltrator Tony Mendez’s (Ben Affleck) creative juices are flowing as he plots an audacious plan. Proposing the ’6′ adopt false names and careers as a hotshot film crew in order to deceive the natives, Mendez enlists the toast of Tinseltown in the form of John Goodman’s Oscar Make-Up winner John Chambers and Alan Arkin’s veteran producer Lester Siegel. Prove that Iran would be an ideal and legitimate backdrop for a science fiction project bordering on parody? No wonder Bryan Cranston’s CIA boss starts sweating profusely.

Affleck directs Argo with a sense of urgency and vigour that compliments the execution of Chris Terrio’s tough talking and witty script beautifully, displaying biting satire on the dissection of the Hollywood film industry and then compelling drama as the film draws ever closer to its pulsating finale.

The performances also prove potent. With Affleck preferring an unshowy approach to his character, he leaves the show-stealing moments to his impressive ensemble as they run rampant. The cynical, wisecracking antics of duo Goodman and Arkin are a particular highlight but thankfully such entertaining moments never land the film on rocky ground and away from its true context.

Outstanding in its attention to detail and brimming with intelligence, Argo takes an outlandish story and wrings every drop of excitement out of its proverbial pores. It also provides Affleck with a resounding and possibly very rude response to his critics.

* * * * *

Review: Let Fury Have The Hour

D’Ambrosio’s documentary focuses on the artists who were inspired to do something about their disgruntlement. The canvas here is fascinatingly broad: it’s easy to believe street art developed during this period but who knew skateboarding could be so political? The sheer range of those speaking is so intimidating – from Public Enemy’s Chuck D to prolific historian Stanislao Pugliese. After everyone has explained their inspiration, the focus slips and D’Ambrosio seems unsure of how to conclude. People start talking about rather different things, although hearing US comedian Lewis Black admit he can’t treat Sarah Palin as a real person is amusing. Despite taking its eye off the prize towards the end, Let Fury Have the Hour does extremely well to synthesize its vast range of material, giving these inspiring artists the social history they so richly deserve.

* * *

Review: Ginger & Rosa

Sally Potter seems to have dedicated herself to small niche films but Ginger & Rosa is a return to mainstream, with an impressive supporting cast which include Christina Hendricks, Annette Bening and Timothy Spall. Nevertheless, it still feels like a Sally Potter’s movie, raw and powerful, that relies entirely on performances. An exceptional Elle Fanning, 13 at the time of shooting, leads the movie, with Nivola at his best and a very good debut from Englert. Ginger & Rosa beautifully captures a moment in the life of two teenagers within an important moment in history. The advancing nuclear threat becomes the best reminder that life is there for the taking as Potter delivers an intimate and powerful coming-of-age drama.

* * *

Review: Anna Karenina

Set in late-19th-century Russia high-society, the aristocrat Anna Karenina enters into a life-changing affair with the affluent Count Vronsky. Knightley and Taylor-Johnson capture the combined naivety and selfishness of this couple well, providing a suitably torturous viewing experience. Those characters on the sidelines of this melodramatic affair are those which provide the most colour and, erm, character. Konstantin Levin (Domhnall Gleeson, son of Brendan) has high ideals and is in love with Princess Kitty (Alicia Vikander) but thinks himself not good enough, despite working hard on his farm and treating his workers very well. Anna’s brother Stiva (Matthew Macfadyen) is a consummate flirt and adulterer but his long-suffering wife Dolly, played by the charming Kelly MacDonald, is easily persuaded to forgive. Jude Law is solemn and works the imperial Russian beard and moustache combo well. All of these are good performances and you wish you could have seen just a little more of them. The most surprising thing about Anna Karenina is the staging, providing a clever way to get around the clichés that appear to contribute to the downfall of many of these costume-focused films. At times it does seem a little twee but overall the film is imaginative, colourful and holds the attention tightly.

* * * 1/2

Review: The Perks Of Being A Wallflower

An introvert freshman is taken under the wings of two seniors who welcome him to the real world. Providing the sterling voice-over is Percy Jackson’s Logan Lerman. Due to lacklustre film choices, Lerman hasn’t made much of an impact on the big screen but he finally shines bright as a naïve and complicated teen. Also Ezra Miller makes an impression as Sam’s gay stepbrother, Patrick. He grounds the character, beaming with self-acceptance and confidence but relies on Chbosky’s strong writing to steer clear of becoming a stereotypical victim [a slight departure from his role as sociopath in We Need to Talk About Kevin]. Lastly, Emma Watson leaves behind Hermione Granger once and for all. Her American accent isn’t fully convincing at times but, for a girl who has played the same character for ten years, she gives a solid and natural performance. With surprising depth, authenticity and three superb leads, The Perks of Being a Wallflower manages to be a likeable and touching adaptation.

* * *

Review: Frankenweenie

Young Victor conducts a science experiment to bring his beloved dog Sparky back to life, only to face unintended, sometimes monstrous, consequences. There are storyline plot holes along the way, and maybe a sense of having been here before. Also we must point out that it felt a little too adult in its scary moments for children to be watching it, especially the last twenty minutes which become a bit crazy with all the monsters on screen. It’s taken a dark and stormy night to re-animate Tim Burton’s career, one when he’s thrown all the classic horror films into a stop motion machine and pumped out a dazzling modern take on his macabre childhood. Overall, Frankenweenie is a small return to form for Mr. Burton.

* * 1/2

Review: Taken 2

In Istanbul, retired CIA operative Bryan Mills and his wife are taken hostage by the father of a kidnapper Mills killed while rescuing his daughter. The first film, Taken, was no masterpiece, but it had a drive and a sense of urgency that’s absent here. Taken 2 succeeds as an efficient outing for its lead’s grimly relentless brand of virile, dogged fortitude. You only wish it made better use of the particular set of skills he has acquired over a very long career, skills that make him anything but a nightmare for people like us. Another reason Taken 2 fails to meet up to expectation is it may well be one of the worst edited action films I’ve seen in a long while, poorly executed fight scenes mixed in with some hopeless dialogue.

* *

Review: Yuma

The story begins three years after the fall of the communist regime. Zyga (Gierszał) is sick and tired of watching the colourful world only in magazines. Zyga wants to take control of his own life post-communism, but unwittingly gets caught up with gangsters which in time leads to chaos and moral anarchy. After the transformation to capitalism, poverty and humiliation rule on his side of the border. Zyga crosses to the other side of the river, where the Germans seem to have it all, and reaches out for a better life. Before he realizes what is happening, money and power overtake his naive dreams of a better life and things spiral out of control.

The turn of the 1980’s and 1990’s was a time of transformation in Poland, politically and socially. During the film we see Zyga handing out stolen Adidas and Ray Bans, which in turn makes him a Robin Hood of his community. It’s moments like these, you begin to feel a sense that Yuma is a film that has the same tangible and toughness of a Shane Meadows film. Heartfelt portrayals of tough times in society, delicately touched with genuine performances, build throughout the first half of the film leading the viewer to emotionally invest in what will hopefully be a gripping end.

Yuma has some lovely touches including nods to spaghetti westerns, beautiful cinematography, and interesting town and rural landscapes. Characters like Zyga, Halina and Abbot are very well played. However, some scenes were completely unnecessary. Some elements of the film such as music and photos, gave a aesthetically pleasing look and feel, but certain moments fail to capitalize on the build, falling flat and leaving you feeling a little emotionally cheated.

Director Peter Mularuk does a great job in showing us the difference between the two worlds, which is colossal. The last ten minutes of this film is full of desire for revenge, human stupidity, and pleasing to the eye imagery. At times, Yuma is a gripping drama about the rise and fall of Zyga, but a failure to hold on to the emotion the viewer has invested during the first half of the film, ultimately dampens the viewers overall opinion. 

Review: Santa Sangre

Fenix is confined to a mental hospital. To find out why he is there, the film flashbacks to his childhood as a performer in a circus. He performed in the circus with his mother and father who were a trapeze artist and a knife-thrower. As well as being a circus performer, Fenix’s father is also a leader in a religious cult, until everything goes awry. When Fenix’s father is unfaithful, his mother goes about taking revenge but his father retaliates and chops off her arms before killing himself. Traumatised by witnessing this terrible act, Fenix goes insane leading to him being sent to the mental hospital we see him in at the start of the film. Fenix escapes and rejoins his surviving mother and against his will becomes “her arms” leading to the two of them to embark a crusade of murder.

Santa Sandre, meaning Holy Blood, is a cult psychedelic horror film directed by Alejandro Jodorowsky and was originally released in 1989. Santa Sandre is being re-released into cinemas again so new generations can enjoy this weird, strange, and visually stunning film in a digitally remastered version. This will mainly appeal to horror fans and drive-in movie fans, but Santa Sandre will hopefully be enjoyed by a curious movie goer. It’s films like this, that can ignite a love and appreciation for film in the casual film fan.

Director Jodorowsky is best known for films like El Topo, The Holy Mountain and Dune, all feature bizarre and dreamlike imagery that Santa Sangre possess. Jodordowsky pulls off a film that delivers his staple surreal imagery blended together with mysticism and provocation. Santa Sangre is a film that has a nightmare-esque feel running continuously throughout but seemingly feels very liberating at the same time. Jodorowsky mixes together the religious overtones and nightmare violence beautifully without them ever feeling contrived.

Santa Sangre is a movie everyone should experience. It is a full on, one hundred mile an hour, haunting, and violent experience. You can hardly call this film boring, moreover, gorgeously photographed and crammed with imagery. Not many films can whet the appetite from the get go and leave you wanting more when the final credits roll up. Santa Sangre ticks many boxes and still to this day, deservingly holds onto to its title as one of the best cult films of it’s generation.

* * * *

Review: Killing Them Softly

Jackie Cogan is a professional enforcer who investigates a heist that went down during a mob-protected poker game. The film is set before President Obama was elected and is not exactly subtle with its social commentary about modern day America and how the idea of being “one people” is nonsense. The political aspect is a tad on-the-nose but there’s something to be admired about a film going all out in that respect, as bold in its social commentary as it is in its visceral, gut-wrenching scenes of violence. What may seem like just another generic crime thriller on the surface is elevated to a level of its own thanks to impressive technical filmmaking, a smart script and brilliant performances. Unashamedly throwing its audience into the deep end of things with dense conversations that go on longer than your average film of its type, this is an uncompromising and handsomely made modern day crime tale that puts a fresh spin on a familiar set-up. Dominik has now solidified himself as a true talent of modern day filmmaking, able to bring something exciting to whatever material he chooses. One of the year’s best films.

* * * *

Review: Looper

In 2072, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe, who one day learns the mob wants to ‘close the loop’ by transporting back Joe’s future self. On paper the idea of Levitt and Willis playing the same person 30 years apart is just not convincing but it’s made so because the film plays things with such a straight face. That’s not to say it doesn’t know how to have a laugh as there are plenty of knowing jokes sprinkled throughout the narrative but when it matters the film take its ideas, its action, its characters, itself as a whole seriously thus allowing the audience to buy into it all. It’s refreshing to see that something as smart as this can still be made on occasion in Hollywood. Looper provides the best of a lot of different worlds, blending clever ideas, cool visuals and genuinely exhilarating action into a sci-fi package that engages the senses as much as it does the intellect.

* * * 1/2

Review: The Campaign

In order to gain influence over their North Carolina district, two CEOs seize an opportunity to oust long-term congressman Cam Brady by putting up a rival candidate. Their man: naive Marty Huggins, director of the local Tourism Center. The Campaign lacks the true bite of political satire the set-up had the potential for and its uneven approach, plus a tacked on sentimental ending, makes it somewhat of a disappointment. It only gets by thanks to two spot-on comedic performances and the fact that there’s so many gags that a decent amount of them are bound to, and do, hit the intended mark. However, when the funniest part of your movie is seeing a baby get punched in the face you know you’re in trouble.

* * 1/2

Review: Sinister

Found footage helps a true-crime novelist realize how and why a family was murdered in his new home, though his discoveries put his entire family in the path of a supernatural entity.Predictably the plots creaks and wobbles as it gets into the inevitably heightened third act, with a few too many instances of over explanation and connecting of the dots that frankly we could have worked out on our own, thank you very much. There’s also a character that pops up here and there throughout who is basically a convenient plot device for Ellison to get some necessary information. It’s this need to lay things out in black and white that ultimately holds Sinister back from being truly great.

* * *