London Has Fallen

Director: Babak Najafi (2016)

Take cover as this big, dumb action sequel drops into cinema with the subtle grace of a lead balloon.

Gerard Butler is in age denial mode as Secret Service agent Mike Banning, the kick ass star of Olympus Has Fallen (2013). He knows no fear, mercy or decent banter.

It’s a noisy barrage of gun battles and explosions with torture to break the tedium. Cars collide, helicopters crash and the touristy bit of the capital are trashed.

Impressive physical stunts are undermined by some poor CGI, ridiculous dialogue and unintentionally funny moments.

Following the sudden death of British PM, Banning must leave his pregnant wife behind and postpone his resignation plan to accompany the US President to the state funeral in London.

As global leaders gather to pay their last respects and with the streets of London protected by fighter jets, horses, dogs, armed police and snipers, an army of terrorists launch an attack on the steps of St Paul’s cathedral.

With London transport on lockdown and the emergency services incapacitated through terrorist infiltration, it’s up to Banning to drag the President to safety.

Aaron Eckhart sighs, frowns and worries about being tortured on Youtube. This demonstrates his scant faith in Banning’s abilities to save him.

Back in the US, Morgan Freeman’s Vice President chuckles his way through the crisis and talks about his fishing.

Boro girl Charlotte Riley keeps her native accent as an MI6 agent. Her forthright intensity   is in contrast to the joshing efforts of  to shame.

Moments of social realism break out during lulls in the mayhem. The British cabinet is portrayed as posh, smug and stupid and the Italian PM is seen having a tryst with a woman half his age.

No one should expect political discourse from this determinedly violent and witless entertainment which assumes flag waving and drone strikes are the price of a free West.

Banning’s impassioned invocation of a 1,000 year rule is delivered without thought to historical precedent.

The leaden script pays lip service to the qualities of the British, despite London being taken down in a matter of minutes and Banning elbowing aside an SAS squad to do their job for them.

It also makes laughably sure the audience is painfully up to speed with the thin story.

Air raid sirens warn the population to stay at home. You can’t say you haven’t been warned.

★★☆☆☆

 

 

 

Hitchcock/Truffaut

Director: Kent Jones (2016)

This documentary is a respectful introduction to the work of two hugely influential film makers, Alfred Hitchcock and Francois Truffaut.

In 1962 and accompanied by a translator and a photographer, the young French director spent a week with the British master.

The lengthy interviews were recorded and turned into a book.

Now directors including as Martin Scorsese, Paul Schrader, Wes Anderson and David Fincher discuss how that book is considered a bible of film making.

There’s wonderful footage from Hitchcock classics such as North By North West (1959) and from his pre-Hollywood work.

A disproportionate time is spent discussing the merits of Vertigo (1958). Despite a surprisingly low key Scorsese’s best efforts to convince, I remain immune to its obsessions.

The dynamic between the two men hints at more than the documentarians intended to show.

Though The Birds (1963) was still yet to come, Hitch was at the tail end of his career while the young French dynamo had made a blistering start to film with The Four Hundred Blows (1959) and Jules Et Jim (1962).

Undoubtedly Truffaut was a consummate networker and had built his career on befriending powerful older men and persuading them to mentor him.

Claiming he wanted to record Hitch’s thoughts to establish his reputation as an artist not merely an entertainer, Truffaut comes across as disingenuous, grasping for Hitch’s knowledge to further his own career.

The ageing Hitch was not immune to the Frenchman’s flattery and within a couple of years Truffaut completed the British sci-fi feature Fahrenheit 451 (1966).

Both men had formative experiences of the criminal justice system early in life and there’s discussion how much this informed the frequent occurrences of punishment and guilt in their films.

Enjoyable but far too brief, Hitchcock/Truffaut works best during the moments Hitch interviews are used as a commentary to his own unique vision.

★★★☆☆

Truth

Director: James Vanderbilt (2016)

Best switch channels than tune into this ham fisted drama about the fall of real life TV journalists.

A self serving and poorly constructed script plus an over wrought tone destroys the solid work of stars Robert Redford and Cate Blanchett.

He plays venerable journalist and avuncular TV anchorman Dan Rather, a surrogate father to his producer Mary Mapes.

Under ratings pressure she breaks a big story about the military service record of the young George W. Bush who is seeking a second Presidential term.

But when the story unravels due to a dodgy dossier, unreliable witnesses and thin evidence, the journalists become the story and must fight to save their careers.

Mary is a driven, intelligent, and contradictory but is an unsympathetic figure who prefers to cry conspiracy than recognise her own weaknesses.

Thinly written supporting characters have barely there interactions before being forgotten about.

The film touches on several styles and genres, wildly snatching at a tone to give meaning to the dull drama playing out.

In the style of a heist movie, a crack team of journalists is assembled but given absolutely nothing to do before quietly slipping out of the movie.

It then becomes a busily plodding procedural movie with moments of courtroom and sporting drama.

Despite protestations of political impartiality, rival TV networks seem to fighting a proxy election campaign with the CBS employees firmly in the Democratic Party anti-Bush camp.

The script makes grandiose claims about the power of journalists to influence elections but with a week being a long time in politics, the decade old story has little contemporary resonance now Bush is long out of high office.

There is none of the relevancy of the recent Best Picture Oscar winning Spotlight (2016). It also lacks that films extraordinarily rigorous storytelling.

In bizarre scenes devoid of irony, ordinary citizens are seen gazing in wonder at Dan read the news. They’re primates reaching out to the monolith in Kubrick’s 2001: A Space Odyssey (1968).

Truth is a hymn to the memory of Rather whose name means little to a UK audience. It also a lament for the good old days when the news wasn’t subject to a political agenda prescribed by wealthy owners. (Ha!)

 

 

Hail, Caesar!

Director: Joel & Ethan Coen (2016)

The knives are out for golden age Hollywood in this sly satire from the mercurial talent of the Coen brothers.

In typical fashion they combine the writer/director/producer roles. After the run of more serious fare of Inside Llewyn Davis (2013) True Grit (2010) and A Serious Man (2009) they’re back in the enjoyably goofy form of their early career.

The off screen sensibilities of tinseltown are merrily mocked as singing cowboys, dancing sailors and whip happy Romans collide in a series of films within a film ranging from film noir and musicals to costume drama.

In his fourth film for the Coens, George Clooney plays kidnapped star Baird Whitlock.

Capitol Pictures sends a ‘fixer’ Eddie Mannix to find the dim actor so their prestige big budget biblical epic can be completed.

For Brolin it’s his third Coens’ feature after the two westerns No Country For Old Men (2007) and True Grit (2010).

Perfectly cast in the role of Mannix, Josh Brolin carries the film on his broad, pin striped suited shoulders, stomping about town and wrestling with his conscience over a career decision he’s being pressured to make.

Mannix has no specific job title but does possess a large office, an attentive PA and a direct line to Mr. Skank, the never seen mogul of Capitol Pictures. Directors and actors queue in Mannix’s office to petition for his services.

Mannix is that most pejorative Hollywood term, a suit.

They are the most maligned creatures in Hollywood, commonly regarded as mammon obsessed philistines and monstrous butchers of creative endeavour.

It’s an extraordinarily daring in joke to present Mannix as a squared jawed and gimlet eyed hero in the style of Raymond Chandler’s fictional private detective Phillip Marlowe, and it’s played always with a straight face.

For the devout and humble family man Mannix, film making is a religious vocation, a secret cigarette is his only vice.

Brolin has played a spin on the character before in the overblown and undercooked Gangster Squad (2013). The Coens have riffed on Marlowe before in the joyous The Big Lebowski (1998).

There’s an attache case of cash, mistaken identities, romance, religious discussion and foul mouthed bathing beauties. The fishy tale even features a fabulous water sequence in the style of Esther Williams featuring Scarlett Johansson as a mermaid.

With a gang of disaffected revolutionary screenwriters powering the plot, it’s a mashed up antidote to the po faced sanctimony of Trumbo (2016).

Clooney is entertaining when aping the heavy acting style of classic Hollywood hero such as Charlton Heston, but lacks the light comic touch of his co-stars.

Michael Gambon raises a droll smile as the narrator, Jonah Hill makes a fleeting appearance and Channing Tatum performs a tremendous song and dance routine.

However everyone is outdone by Ralph Fiennes who in a late screwball career move is fast becoming the funniest man in film.

The many films within a film are rendered through brilliant technical skill, captured in customary consummate grace by perennial Oscar bridesmaid, Brit Roger Deakins.

Shot with loving panache, Deakins’ 12th collaboration with the Coens is suitably visually pristine and rich. His lens steps smoothly from genre to genre with immaculate grace and accuracy.

In this arch and sometimes affectionate comedy, the sharp stabs of humour are all the more effective for  being delivered at close range from under a cloak of friendship.

Et tu Brute indeed.

★★★★☆

Oscar box office 2016

Best film nominees
Spotlight
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room

Oscar predictions 2016

Best supporting actor nominees
Sylvester Stallone, Creed
Christian Bale, The Big Short
Tom Hardy, The Revenant
Mark Ruffalo, Spotlight
Mark Rylance, Bridge of Spies

Best supporting actress nominees
Jennifer Jason Leigh, The Hateful Eight
Rooney Mara, Carol
Rachel McAdams, Spotlight
Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs

Best actor nominees
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl

Best actress nominees
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Charlotte Rampling, 45 Years
Saoirse Ronan, Brooklyn

Best director nominees
Adam McKay, The Big Short
George Miller, Mad Max: Fury Road
Alejandro Gonzalez Inarritu, The Revenant
Lenny Abrahamson, Room
Tom McCarthy, Spotlight

Best film nominees
Spotlight
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room

Secret in Their Eyes

Director: Billy Ray (2016)

In my eyes there’s far too little mystery in this plodding political pot boiler.

The star of 12 Years A Slave (2014) Chiwetel Ejiofor is now 13 years an investigator, that’s the time his character Ray has spent hunting for a killer.

As talented as the public school educated British actor is, he fails to convince as a blue collar New York cop.

Ray’s convinced he’s found the man responsible for the murder of the daughter of former colleague Jess.

Julia Roberts performance has been described as ‘brave’, meaning she wears no make up.

To borrow Stephen Fry’s ungentlemanly phrase from the Baftas, she looks, albeit intentionally, like a bag lady.

Nicole Kidman’s glamorous District Attorney is reluctant to jeopardise her career by reopening the case on the basis Ray’s flimsy evidence.

There are corruption, confessions, chases, interrogations, break ins and some waffle about baseball.

The story switches between two years, most of what happens in 2002 lacks tension and 2015 is too concerned with Ray trying to resolve a romantic obsession.

The top drawer cast are on great form and none disappoint as in turn they’re granted the space to demonstrate their considerable ability.

But we’re not terribly invested in the characters and the script isn’t interested in the plot and moments of humour are misjudged as the cast strive to carry weighty themes.

Based on an Argentine film The Secret in Their Eyes (2009) it’s been heavily retooled for the American market.

There’s an effectively created mood of paranoia and uncertainty in the aftermath of 9/11.

Addressing the attacks’ effect on the American psyche, the script demands the US bury its grief and stop feeling guilty over allowing it to occur.

Arguing the US must in future deliver swift and terminal justice to wrong doers is an insular and biblical view point which may play better across the pond than over here.

★★★☆☆

The Forest

Director: Jason Zada (2016)

There’s a cabin in the woods and paranormal activity occurs in the fog, but this supernatural horror contains meagre thrills.

When American teacher Jess is presumed dead in a supposedly haunted Japanese forest, her twin sister Sara is convinced she’s alive and sets out to find her.

Natalie Dormer is great in both roles which allow her to be intelligent and resourceful, to howl like a banshee and in a brief flashback banter with herself.

She hooks up with Taylor Kinney’s expat journalist Aiden, and Yukiyoshi Ozawa’s Forest guide Michi who help her in her hunt.

Aokigahara Forest lies at the base of Mt. Fuji and is a location of ancient and mystical beauty.

Oozing atmosphere and flesh eating maggots by day, at night it’s a very crowded place indeed.

A shame the script couldn’t find something more ghoulish to populate it.

★★☆☆☆

 

 

King Jack

Director: Felix Thompson (2016)

There’s a royal heart powering this coming of age adventure which captures the agonies of teen life with a clear and unsentimental eye.

In a small down market US town, Jack is engaged in a running feud with the older local bully.

Charlie Plummer stands out in a tremendous young cast whose captivating performances are full of nuance and honesty.

Resentful when his single parent mother lumbers him with his 12 year old cousin. A day of selfies, cigarettes and switchblades leads to a momentous party.

Assured and engaging, King Jack’s harsh charm disguises it’s thoroughbred cinematic breeding.

★★★★☆

 

Grimsby

Director: Louis Leterrier (2016)

Super spy James Bond meets TV’s Shameless in this offensively funny action comedy.

Borat star Sacha Baron Cohen stars as super chav turned secret agent Nobby Grimsby.

As producer, writer and lead actor he takes comic pot shots which rake across satire, slapstick, sex and stupidity. The successful ones strike their target with explosive effect.

A cast iron structure has the weaker first half ticking along with underclass chaos and well choreographed action scenes, stealthily setting the audience up for the outrageously gross second half.

Though the script seems to want to mock and defend chav culture, it isn’t wildly successful doing either.

With his Liam Gallagher attitude, Frank Gallagher dress sense, Britpop tunes and wandering northern accent, Nobby seems based on the wrong side of the Pennines.

The town of Grimsby is never the target, the film could have been called Oldham, Bolton or Rochdale for all it matters to the plot.

Football fan and prodigious procreator, Nobby is reunited with his long lost brother Sebastian, a smooth British spy.

He’s played by  a commendably game for a laugh Mark Strong, the pair making themselves the butt of all the best jokes.

After a thwarted assassination during a symposium held by Penelope Cruz’s charity boss, the footie mad brothers Grimsby are hunted around the globe.

They must clear their name, prevent a genocide and try to attend the World Cup Final in Chile.

As Nobby’s wife Dawn, Australian actress Rebel Wilson is a slatternly housewife, Isla Fisher is in Miss Moneypenny mode and Ian McShane is a generally disbelieving M type.

Among the beer bellied drinkers at the local pub, Ricky Tomlinson, Johnny Vegas and Jon Thomson there’s professional northern support.

Swilling about in it’s own magnificent bad taste, Grimsby is the first great comedy of 2016.

★★★★☆