Drama

American Honey

Director: Andrea Arnold (2016) BBFC cert: 15

No one in cinema captures the grim essence of poverty with the clear eyed compassion of Brit director Andrea Arnold. Now she’s taken her unique talent across the pond for this extraordinary road trip through the heartlands of the USA.

When Ridley Scott made Thelma and Louise (1991) he embraced road trip convention by choosing a widescreen format. The master stylist painted beautiful landscapes on which to place his characters, though his glorious images were at odds with the desperate plight of the women.

Arnold’s decision to film in a boxlike aspect ratio creates a cage to reflect the limited life of her characters. Plus it allows the face of her lead to frequently fill the frame and these portraits create intimacy and empathy.

Always a challenging and uncomfortable ride, we’re made to experience the forlorn apathy, hopeless hedonism and rootless grind of the lives of a crew of travelling magazine salespeople.

It’s an episodic tale with undertones of Dickens’ Oliver Twist. An 18 year old named Star escapes her chaotic and abusive life. She sprints away to be recruited by a cocky and flamboyantly dressed team leader who is himself under the thumb of a snarling gangmaster.

Arnold points to the hypocrisy of avowed Christians, the tremendous disparity of wealth distribution and the casual drift in and out of criminality. She’s very concerned with the vulnerability of her characters who are physically and emotionally damaged. Their dreams for life are desperately small and pitifully beyond their means.

Star’s interactions with insects, dogs, turtles and a bear are all witness to her development. By turns selfish, courageous, impulsive, sexy, damaged and guilt ridden, she is the most real person you will meet in cinema this year. It is a breathtaking debut by Sasha Lane.

Shia LaBeouf plays Jake with the devil may care of the Artful Dodger, giving a performance to suggest he’s the great actor he’s always told us he is. As their combative boss, Krystal, the smouldering attitude of Riley Keough burns an after-image on the screen every time she appears.

A triumph for all involved.

★★★★★

@ChrisHunneysett

 

 

Inferno

Director: Ron Howard (2016) BBFC cert: 12A

Hellfire and brimstone are as nothing to the purgatory of watching Tom Hanks stumble about Italy as the bible bothering super sleuth, Robert Langdon.

Returning for his third outing in the role, it’s an apocalyptic adventure every bit as preposterous as the previous ones, The Da Vinci Code (2006) and Angels And Demons (2009). Possibly even more so.

A mad scientist considers the human race to be a virus and so has plans to release a disease which will wipe out half the planet’s population.

Langdon begins the film in a state of amnesia like a geriatric Jason Bourne. After that the film plays out like a James Bond adventure from the late Roger Moore era.

Ineffectual henchmen wander sumptuous locations while a powerful covert organisation patrols the globe in a supertanker. Sadly missing the daft innuendo, knowing camp and reassuring winks to the audience, you’ll be praying for the halcyon days when Moore’s eyebrows would go off half cocked.

It’s a divinely ridiculous mashup of pedestrian shoot-outs and discussion of the renaissance poet Dante, whose death mask is missing from a museum. Langdon is the number one suspect and together with his doctor he must evade the authorities and save the world.

Dr. Sienna Brooks is played by young Felicity Jones and thankfully her character has a grand-daughterly relationship with Langdon. Fortunately our hero’s love interest is more age appropriate and is played with grace by glamourous Danish actress, Sidse Babett Knudsen.

There are visions of hell on earth, conspiracies abound, priceless art is destroyed and Langdon has time for a nice cup of coffee. Director Ron Howard gives the film as much energy as possible and astonishingly everyone involved keeps a straight face.

Don’t worry if you miss this apocalypse, no doubt Brown will be back with another one soon.

★★☆☆☆

@ChrisHunneysett

 

 

The Girl On The Train

Director: Tate Taylor (2016) BBFC cert: 15

Calling at all stations to murder via stalking, infidelity and kidnap, this chilly mystery drama still manages to be a very dull journey.

Not afraid to upset the hardcore fans of the best selling book on which it’s based, the setting has been changed from the UK to the US. Yet Brit born and naturalised US citizen Emily Blunt doesn’t mind the Atlantic gap, being suitably downbeat and occasionally manic as Rachel, the girl on the train.

While on her daily commute to New York, Rachel sees what she thinks is evidence linked to the disappearance of a local girl. Megan was a nanny to the daughter of Anna, now happily married to Rachel’s ex husband. Haley Bennett and Rebecca Ferguson form a formidable acting trio alongside Blunt.

Best known as Phoebe from TV’s Friends, Lisa Kudrow’s brief appearance makes you wish you were watching that show instead, it doesn’t help she’s playing a character called Monica opposite one called Rachel. Although always a welcome screen presence, employing an actress whose career has been defined by light comedy jars with the resolutely grim mood.

As a police detective, Allison Janney explains to Rachel and to us, exactly how increasingly preposterous her story and behaviour are. It’s great to have a film with this many dominant female roles.

I imagine the cop character is supposed to represent the perception of the tendency of state authorities’ to victim blame in domestic abuse cases. But such is the far fetched nature of the story, you can’t help but nod along with her unsympathetic incredulity.

These ridiculous plot twists means we can’t take any of it seriously. It fails in every way to be a hard hitting examination of domestic abuse. And taken as a rabid potboiler, it lacks the trashy sense of fun and gleeful malice which made David Fincher’s Gone Girl (2014) such an entertaining watch.

Lies, memories and fantasies combine as the silliness unfolds from the differing point of view of the three connected women. We see how they perceive one another is far different to the truth of their circumstances.

The extreme dullness of the villain may well be a comment of the banal nature of everyday evil, but I greeted the unmasking with a shrug of indifference. Plus the silly finale caused giggles at the world premiere, which I can’t imagine is the response the film-makers were aiming for.

The story pootles along through a flat landscape of scenes devoid of big screen spectacle and it feels like a lacklustre Sunday evening TV mini-series whodunnit.

But not one worth missing Poldark for.

★★☆☆☆

@ChrisHunneysett

 

 

 

Little Men

Director: Ira Sachs (2016) BBFC cert: PG

Greg Kinnear stars in this sincere and stagey snapshot of awkward adolescence. Brian is a struggling actor who inherits his father’s apartment and takes his family in a socially downward move from Manhattan to Brooklyn.

Brian is the smallest man in the film, buffeted by a domineering sister, emotionally blackmailed by his conniving tenant and frozen out by his distant wife. Talia Balsam, Paulina Garcia and Jennifer Ehle skilfully sketch the three very different women.

The focus of the story falls on the growing relationship between his son Jake and Tony, the son of the downstairs tenant. Theo Taplitz and especially Michael Barbieri are remarkably assured as the odd couple thirteen year olds, one artistic and shy, the other outgoing and sporty.

The hint of unrequited feeling from one of the boys is one of a number of plot strands the film fails to commit to. More than one character may be having an affair and past relations are hinted at. Half formed characters mingle with jokes about the plays of Chekhov.

It’s nicely observed and consistent of tone. But just like Brian, the film would rather bury itself in art than risk creating any emotional scenes.

★★☆☆☆

@ChrisHunneysett

 

The Girl with All the Gifts

Director: Colm McCarthy (2016) BBFC cert: 15

Unwrap this British action thriller which flowers into a fresh take on the zombie apocalypse.

Young Sennia Nanua gives an endearingly open performance as a teenager of prodigious mental ability. She and her classmates are prisoners in a military research station. Outside of lessons they’re kept in solitary confinement and under armed guard.

Gemma Arterton plays Helen, a gold hearted gun toting teacher who has a maternal bond with Melanie. Along with Glenn Close’s dedicated scientist, Paddy Considine’s gruff army sergeant and Fisayo Akinade’s dim squaddie, the five develop a dysfunctional family dynamic.

Outside the base the majority of the population are suffering from a fungal infection to the brain. This has turned them into fast moving mindless monsters, reminiscent of the manic ‘infected’ from Danny Boyle’s 28 Days Later (2002). They are nicknamed ‘the Hungries’ and can be killed by the traditional bullet to the head.

The Girl With All The Gifts is based on the book of the same name by Mike Carey, and it was no surprise to learn the author is a former writer for the cult British comic, 2000AD. Still going strong it is soon to publish its 2000th issue and was recently the subject of a highly entertaining documentary, Future Shock! The Story of 2000AD (2014).

Like all British sci-fi of the last thirty years, this story’s roots are deep in the fertile soil of the self-styled ‘Galaxy’s Greatest comic’. The hallmarks of its best stories are all present here; extreme violence, sardonic humour, strong characters and a twist at the end.

Also the script mines Greek myths for inspiration and throws in baby-eating rats and mother-eating babies into the gory mix. Plus it draws on elements of John Wyndham’s evergreen novel Day Of The Triffids (pub. 1951) as well as William Golding’s The Lord Of The Flies (pub.1954).

The set designers have had great fun turning the West Midlands into an overgrown urban tundra. The make-up artists have a field day and the sound engineers go all out to scare us with an impressive variety of blood curdling noise.

Always keen to keep shovelling on the action, The Girl With All The Gifts offers sufficient rewards for those who dig zombie films.

★★★☆☆

@ChrisHunneysett

Captain Fantastic

Director: Matt Ross (2016) BBFC cert: 15

Book yourself a seat on an anarchic bus ride as Viggo Mortensen puts himself in the driving seat for an Oscar.

The magnificent performance from The Lord Of The Rings (2001-03) star is the irresistible emotional engine powering the quirky narrative.

He plays Ben Cash, an uncompromising father of six whose values and unique parenting style are tested on a road trip of self discovery.

Having rejected consumer society, Ben lives with his home schooled children in a secluded mountain yurt, living off the land in a survivalist fashion.

The kids are well educated and versed in the arts, philosophy and science, as well as being in tip top physical shape due to diet and rigorous exercise regime.

Following the death of his beloved wife in hospital, Ben has five days to travel across the USA for the funeral. But Ben is threatened with arrest by his estranged wealthy father-in-law if he attends the service.

A ferocious Frank Langella deserves a second Oscar nomination to go with the one he earned for political drama Frost/Nixon (2008).

Travelling in a battered old school bus, the kids’ see the US is an alien world full of fat, consumer driven, screen addicted idiots. Perceived as strange for their non-comformist views, their attempts to engage with the outside world flags up the flaws in Ben’s approach.

The tremendous young cast burn through their scenes with energy and charm, working from the director’s smart script, rich with character, humour and sadness.

Brit actor George MacKay is endearingly gawky as Ben’s rebellious eldest son, Bodevan. While scene stealing poppet Shree Crooks is the smallest child who gifts us the biggest laughs.

Despite the low budget the film looks fabulous, capturing the majestic expanse of the US with an admiring eye.

As the family cross the US the recalls Little Miss Sunshine (2006), but where that beauty pageant road trip dissected US culture from within, this one does so from the outside looking in.

This is less sentimental and more moving. Back then the Sundance festival hit Little Miss Sunshine ram-raided it’s way to two Oscar wins from four nods and it’s easy to imagine Captain Fantastic doing something similar.

Mortensen is a physical actor with a great ability to suggest internal angst. As far back as Tony Scott’s submarine thriller Crimson Tide (1995), he excelled at portraying self doubt.

What could be a depressing grind through grief and regret goes off-roading to become a  joyous celebration of family life. It’s a first class journey all the way.

★★★★★

@ChrisHunneysett

 

 

 

Cafe Society

Director: Woody Allen (2016) BBFC cert: 12A

In his latest comedy drama, writer/director Woody Allen serves up his hallmark witty lines and jazz soundtrack with a sumptuous 1930’s glamour.

Flitting between LA and the Big Apple, the plot turns on a love letter written by legendary Hollywood lover, Rudolph Valentino.

A multitude of deftly sketched characters breeze through a revolving door of family dinners, weekend brunches, pool parties and nightclub cocktails.

Between the name dropping, back stabbing and infidelity, several murders occur and there’s an entertaining encounter with a prostitute.

Kristen Stewart stars as Veronica, a down to earth secretary involved in a love triangle with her boss and his young gopher. Steve Carell plays Phil, a powerful Hollywood agent while Jesse Eisenberg is his neurotic New York nephew, Bobby.

The latter essays the role Allen would once have played himself. Wisely the veteran filmmaker remains behind the camera and engineers a nice turn of mood from breezy romance to poignant longing.

Cafe Society is a pleasant place to while away a quiet afternoon but it’s extreme familiarity may not encourage you to return in a hurry.

★★★☆☆

@ChrisHunneysett

 

Kids In Love

Director: Chris Foggin (2016) BBFC cert: 15

This sunny British coming of age drama has the blissed-out colour saturation of a London lifestyle commercial. And is populated by characters of a similar emotional depth.

It’s a big step down for Will Poulter after his excellent playing alongside Leonardo DiCaprio in the Oscar winning The Revenant (2016).

He’s curiously lethargic as Jack, a gap year student who gives up his trip to South America when he falls in with a wealthy bohemian crowd.

The charity chugger rejects his secure middle class background and future law career to pursue his passion for photography and a flaky French beauty called Eveleyn.

Model turned actress Alma Jodorowsky gives an uneven performance and generates an alarming lack of chemistry opposite Poulter.

Evelyn has a shady boyfriend and lives in a large shared house with a group of carefree bright young things who spend their time in the capital’s cafes, clubs and street festivals.

They’re played with a nicely judged light comic touch by Preston Thompson, Gala Gordon and Cara Delevingne.

Though the latter is on far more animated form than her lamentable turn in recent super hero disaster Suicide Squad (2016), her performance is really more of an extension of her carefully cultivated public image than a dramatic role.

These are adults not kids and there’s not much love between them.

★★☆☆☆

@ChrisHunneysett

 

The Childhood Of A Leader

Director: Brady Corbet (2016) BBFC cert: 12A

A powerful tone poem more interested in character than plot or historical detail, this is a period drama framed as a horror movie.

It’s an impressive directorial debut by American Brady Corbet who also wrote and produced. The Childhood Of A Leader received its world premiere at the Venice International Film Festival where it won Best Debut film and Best Director.

Former pop star Scott Walker provides a blisteringly percussive avant-garde soundtrack, the photography is hauntingly beautiful and the design is rich with period texture. All of which contribute to the heavy atmosphere of foreboding.

But the oblique storytelling is as frustrating as it is compelling.

Young Brit actor Tom Sweet is impressively controlled and angry as a young boy whose  experience in France have tragic repercussions.

Berenice Bejo and Liam Cunningham are icily convincing as emotionally distant parents who find the behaviour of their angelic looking son increasingly difficult to handle.

Stacy Martin and a bearded Robert Pattinson add to the fetid domestic atmosphere. The former plays a language teacher with more than one admirer and the latter appearing as a journalist.

In the aftermath of the First World War, the boy’s stern father is part of the American negotiating team to the Treaty of Versailles in 1918.

Humiliated, deceived and punished, the boy absorbs the lessons of manipulation and control. His character is a reflection of the European political theatre and the disastrous consequences of his father’s failings at work are repeated and magnified in his son.

★★★☆☆

@ChrisHunneysett

 

Sweat Bean

Director: Naomi Kawase (2016) BBFC cert. PG

Savour the texture and flavour of Japanese life in this award winning culinary drama which leaves you warm and satisfied.

Masatoshi Nagase plays Sentaro, a street food vendor who specialises in his traditional red bean pancakes.

Business is slow until he takes on the elderly Tokue as an assistant. Kirin Kiki is well cast as the wise owl who has a special effect on their customers and the business.

The odd couple share a subtle simmering chemistry as Sentaro finds pride in his craftsmanship  and Tokue finds purpose and a new lease of life in her role of tutor.

As the cross-generational friendship develops, the tender script stresses the value of patience, discipline and the experience of the elderly. A small and sweet success.

★★★☆☆

@ChrisHunneysett