Film Reviews by Alphaville

This 2007 light thriller is based on a promising original idea but it never reaches any great heights and was overlooked at the time. Nevertheless it’s a classy production that’s worth a look. Samuel L. Jackson, playing against type as an ordinary Joe, runs a company that cleans up the bodily mess left behind when someone dies. Then one day he has to clean a messy murder scene at the house of a missing politician… Given a good plot, director Renny Harlin can usually be relied upon to get the most out of it, and he does so here. It’s a thriller with virtually no action and a disappointing ending, but it bowls along interestingly enough for its 86-minute run time.

Well-made Aussie movie about a nasty big pig. It’s generic stuff but well above average, with effective characters and a well-drawn bush community in peril. In tone it’s more akin to Tremors than an out-and-out horror movie. The boar itself is a suitably gruesome B-feature monster. Using humour as well as drama, writer/director Chris Sun gets you involved with the ensemble cast and keeps you guessing about which of the likeable characters is going to be gored next.

Don’t be fooled by the posters featuring Bruce Willis and Adrien Brody. Willis makes a few brief appearances as a training officer and blink and you’ll miss Brody’s cameo. This is a Chinese film with 90% Chinese dialogue about the 1930s war with Japan. As in an old Cowboys and Indians film, all the Chinese are heroes while all the Japanese are demons. The acting is awful, the direction is staid and the cgi aerial battles are so precisely perfect it’s like watching a cartoon. An overused effect is debris flying at the camera as if it’s 3D. You’ll hate this film, especially if you’ve been fooled into watching it by the plugging of American star involvement. The whole project is a cynical disgrace.

Based on her previous soporific character study films, Lynne Ramsay is a peculiar choice of writer/director for a film based on a thriller. She even admitted in interview that she doesn’t know how to direct action. So when the plot requires action, she mostly ignores it and merely films the aftermath, deliberately avoiding excitement. For her one attempt at filming a fight scene, she simply waves the camera around maniacally.

When a plot kicks in after the confused opening, it’s about a grizzled Joaquin Phoenix searching for missing girls. Not that the plot matters. This is mostly about following Phoenix around as he interacts with his aged mother, goes shopping, shambles this way, shambles that way... ‘How’s Janice?” asks his mother. “Who’s Janice?” he says. If only Janice from Friends would turn up to enliven matters. Get on with it!

If you’ve seen previous Ramsay character studies you’ll know what to expect. It’s dismal stuff. Dialogue is delivered oh-so-slowly and deliberately, static silent head shots are held to the point of tedium, poor shot choices are everywhere. Like many others, this reviewer eventually ran out of patience and zapped to the final scene, which was clichéd as well as dismal.

If you’re into film, you have to be into Godard. This reviewer rates his Alphaville as one of the best films ever made (hence my CP nickname). Redoubtable is an irreverent, unsympathetic but humorous take on him at the time of the 1968 Paris riots, when he was beginning to give up mainstream cinema for something more political and radical. Even his fellow revolutionaries want him to go back to making films like his old ones.

It’s based on the books by Anne Wiazemsky, his then wife and muse, so she is inevitably the more sympathetic character. The French title Le Redoubtable is more apt because the film draws parallels between Godard and the revolutionary submarine of that name that was launched at the time.

The American title Godard Mon Amour is perhaps meant to be ironic but it suits the film’s tone, which is surprisingly light and humorous throughout. It even plays the bloody Paris riots to a jaunty score. Godard is shown as a buffoon, with a recurring theme of him getting his glasses broken in various confrontations with the police. Louis Garrel plays the part perfectly, as does Stacy Martin As Anne Wiazemsky.

The most fun for Jean-Luc fans comes from the way director Michel Hazavinicius uses Godardian visual flourishes to tell the story, such as the b/w nude poses of La Femme Mariée and the talking to camera of Masculin Féminine. The funniest scene has a full-frontal naked Jean-Luc saying there’s never a justification for nudity in films.

The film’s subject matter will hold little appeal to a multiplex superhero audience, but it’s lively, colourful, imaginative and a must for Jean-Luc fans. If you can get past the anti-Godard bias, it’s a reminder of how inventive cinema can be.

Do we really need another cold war submarine movie? The film is based on a 2012 book and adds nothing new to the genre. This time Gerard Butler is the captain, there’s skulduggery beneath the Arctic waves and his sub is sent in to find out what’s going on. You’ll get a laugh after five minutes when he’s hunting with bow and arrow in the high Bulgarian mountains and the caption says he’s in Scotland. All the usual tropes and chain-of-command technical dialogue is present and correct, as are the usual cgi shots of the sub skimming past the camera through murky waters. Will the Russian torpedoes sink Gerard? You get one guess.

A second even less interesting strand of plot has Gary Oldman playing a warmongering politician in Pentagon discussions about what to do. Two clichéd plots in one film not enough? Okay, let’s add in a rogue Russian general with weapons at his disposal. To say nothing of some happy-clapping at the end.

That said, this is a well-paced and never-boring film. Even the clichéd stuff has a cosy familiarity. If only Gerard wasn’t cooped up in his control room with nothing to do to flex his muscles, because there’s a third strand of plot involving a Black Ops raid on the general’s base, and this one does pack some excitement. Brit Toby Stephens is the leader but it should have been Gerard. As he’s also the film’s producer it was maybe too much for him. As he says on the DVD Xtras, that’s the part you’d expect him to play.

Overall the film gives a two-hour easy watch and the DVD Xtras are also worth catching. Gerard is always an enthusiastic interviewee and director Donovan Marsh delivers an interesting commentary for cinema buffs telling us how it was all done.

This is trashy bargain basement filmmaking from director Shane Black. It does no justice at all to one of the better sci-fi franchises. Our heroes are a clichéd bunch of macho military morons. The unique Predator visual effects are minimal. It’s all just swearing and running around with big guns. “Can I interest you in getting’ the f--- out of here?” asks one. “Getting ’ the f--- out of here is my middle name,” replies another. That’s the moronic level of the dialogue. As the plot and characters are ludicrous, there’s so little drama that the action becomes tedious. The hip-hop ditty playing over the trailer is another example of the incompetence shown in the whole project.

James Franco tries his hand at a post-apocalyptic Mad Max-type movie, directing himself as a motor bike pack leader with bad teeth, and the result is equally bad. The plot, in which a prince from The Oasis tries to reach Paradise Beach with a female robot for medicine to save his dying mum is ridiculous. None of it makes any sense. There are slo-mo druggie scenes, Lesbian scenes, sleazy brothel topless dancer scenes and too many close-ups of Franco’s teeth.

Most of the 84 minute film features Franco and his mates riding their bikes aimlessly across the desert landscape. The Sonoran Desert of Southern California is beautifully filmed with a smoothly tracking camera, but it soon feels like watching an endless motocross documentary.

This is basically another socialist diatribe from director Mike Leigh, full of tell-don’t-show speechifying in place of character and plot. He has previous. Watch with scepticism. “Liberty or death,” chant the crowd. The suffrage meeting in Manchester 1819 was certainly so poorly policed by the cavalry that it caused a disaster, but this is for the indoctrinated only.

Judging by his plot analysis, the previous reviewer seems to have been watching a different film. Compared to unwatchable gung-ho shaky-cam special forces actioners such as Mile 22, this is a virtual cinematic masterpiece. Characters have real depth, the plot is intriguing, the South African locations are beautifully filmed, Ethan Hawke and Xu Qing are winning leads, Paul Anderson makes a commendable adversary and everything builds to a surprising and compelling climax. There’s an added sci-fi element, which you’ll know if you’ve watched the spoiler trailer or read spoiler reviews, and some poignant moments along the way.

Director Brian Smrz made his name as a stunt director and this is his second film as director. His 2008 debut Hero Wanted is also worth checking out. To Peter Berg, Paul Greengrass and other shaky-cam directors: Watch and learn.

This revenge actioner begins brilliantly and becomes increasingly engrossing as it progresses. Cuba Gooding is the accidental hero who saves a child from a car accident before falling foul of a bunch of bank robbers. His nicely understated performance is a welcome antidote to the usual macho character out for revenge. The elliptical post-Pulp-Fiction plot constantly surprises and the climactic confrontation with Derek the nasty Scotsman and his gang is both exciting and poignant.

Director Brian Smrz made his name as a stunt director and this 2008 film is his first as director. His second – 24 Hours to Live – is even better and well worth checking out. He’s a director in total command of his medium. See if you can work out how the masterful opening tracking shot was done. He does a fine line in ambivalent baddies and creates characters that have real emotional depth. Hero Wanted is as much about loss and grief as about revenge. Smrz is one of the few action directors with heart. He’s worth catching. The DVD has a fascinating feature commentary by him, Gooding and one of the writers.

This is a film about a troupe of young “dancers” cavorting around a dance hall to disco music. There’s a lot of hands-in-the-air arm-waving. Someone spikes the sangria with LSD then there’s a lot of shouting and screaming. It’s an ensemble piece with no interesting characters and no plot. All the action takes place in the one location. It’s like an amateur student drama. Towards the end it’s filmed upside down in red tones. Presumably that’s meant to be a metaphor. It certainly impressed gullible critics at arty film festivals. It’s so ridiculously repetitive and OTT it’ll make you laugh before fast-forwarding to the end or just giving up on it.

The DVD Extras are far more interesting. There’s a discussion of the music used and a feature on director Gaspar Noé’s career, which will make you want to watch his next film even less.

Another in-yer-face actioner from director Peter Berg and this one’s a complete mess. In SE Asia a team of US special forces has to move a defector 22 miles from a city centre to a plane. Characters shout and swear at each other incessantly. The camera shoots them too close-up, often focussing on irrelevant detail. The action is shot with a handheld camera and chopped up by over-editing into a complete mish-mash. It’s difficult to get a handle on anything that’s happening, especially as the plot doesn’t set in until half-way through the movie. To confuse matters further, there are even unnecessary time jumps to a future debriefing of the operation.

As if this wasn’t all gung-ho enough, usual Berg lead Mark Wahlberg this time plays a character with a hyperactive disorder. His macho monologues are painful. Indonesian star Iko Uwais plays the defector, but he’s basically shoehorned into the film for a couple of martial arts fights that are shaky-cammed and edited to oblivion.

Any good points? It’s so ridiculously bad that it’s a primer on how not to shoot action and the DVD contains a raft of extras on filming for the first time in Bogota, Columbia.

Although promoted as an erotic thriller, this is more of a mystery than a thriller and will be too deliberately paced for many. It’s lifted out of the ordinary by its weirdness, its erotic charge and Francois Ozon’s faultless direction. The stunning opening close-up, for example, dissolves from a vulva into an eye.

All you need to know is that our heroine gets herself involved with two psychiatrists, who are physically identical but have very different personalities. If you don’t know what trisomy is, you will after this, to say nothing of the medical condition that leads to the film’s climax.

The DVD includes an interesting interview in which the director talks about the techniques he used (split screen, zooms, mirrors etc.) to add playfulness to the film. If only he’d added a faster pace and more danger. Worth a watch, though.

Austere inconsequential Polish paint-drier set in 1960s Poland and shot in more than fifty shades of grey. It’s little more than a series of stark stills that capture a downbeat mood but zero drama. The trailer adds dramatic music and fast edits to make it look interesting, but you’ll be disappointed if you expect the film to do likewise.

It’s about a novitiate nun finding out about her Jewish past. Scenes are shot with interesting off-kilter compositions, sometimes containing heads that actually talk, but there’s nothing of any interest being said and what little plot there is goes nowhere. It seems to last much longer than its 80 minute run-time. It’s Emperor’s Clothes cinema that sucks the life out of the medium and has naturally won awards from juries who love to wallow in arty minimalism.