Films I loved in March 2017

1 April 2017
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Hugh Jackman as Logan in Logan

Despite enjoying the original 2000 X-Men film and its 2003 sequel, I’ve been mostly indifferent to the franchise and its increasingly complicated mythology. So I was pleased to discover that Logan was more-or-less a standalone film that only required a general knowledge of Logan aka Wolverine’s (Hugh Jackman) backstory. I was then exhilarated to discover that the bleak tone and strong violence allowed for some of the most captivating action sequences I have even seen in a superhero film, but most of all I was won over by the strong characterisation and tonal seriousness that made it the first superhero film to truly stand out from the pack since Christopher Nolan’s Batman films. And while Logan is overt with its western iconography and even directly references Shane, the film the kept on coming to my mind was Clint Eastwood’s 1992 masterpiece Unforgiven, which like Logan is a beautiful, bitter and brutal swansong to an onscreen persona.

Clash

Clash

Egyptian filmmaker Mohamed Diab uses a number of cinematic devices in Clash that I often respond well to, including setting the film over a limited period of time and bringing together a diverse group of characters who are then stuck together in single location. Taking place from one afternoon until early morning during the 2013 Egyptian riots, the entire film is set in the back of a police van that is filling up with members of the Muslim Brotherhood and opposing pro-military supporters. While a lot of the film is about the tension within the van between the characters, it also captures the growing instability outside that is witnessed through the van’s barred windows. It’s a sad and angry film about what has happened to the filmmaker’s country, but there are also brief moments of calm and humanity that transcend the divides.

Salesman

Taraneh Alidoosti as Rana in The Salesman

The Salesman once again demonstrates Iranian filmmaker Asghar Farhadi’s mastery of layered cinematic drama. Various ethical questions are explored as actor/teacher Emad (Shahab Hosseini) becomes increasingly fixated in discovering the truth about what happened to his wife Rana (Taraneh Alidoosti) during a traumatic event that occurs early in the film. And as the audience – and Emad – constantly second-guess what took place, we also constantly shift position on how to best respond. Farhadi is able to generate enormous sympathy for his characters, while also being extremely critical of some of their actions. Farhadi’s ability to explore issues of morality within the framework of an engaging dramatic mystery makes him not just an immensely talented filmmaker, but also a deeply humane one.

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Scarlett Johansson as Major in Ghost in the Shell

Based on my limited knowledge of the Japanese manga series Ghost in the Shell (I’ve only previously seen director Mamoru Oshii’s 1995 and 2004 animated films) this new live-action USA variation by director Rupert Sanders is far more focused on using the franchise’s cyberpunk scenario to deliver spectacle rather than explore philosophical questions. Taken then on its own terms, this 2017 film is an exhilarating, beautiful and inventive science-fiction/action film that favourably evokes classics of the genre such as Blade RunnerRoboCop and The Matrix. For once the artificiality of the CGI setting and the uncanny quality of many of the characters works strongly in the film’s favour, but mostly this film continues to showcase Scarlett Johansson as one of the greatest action actors currently working in film.

A Man Called Ove

Rolf Lassgård as Ove in A Man Called Ove

The Swedish film A Man Called Ove is unashamedly a crowd pleaser, but with enough restraint and sincerity to prevent it from ever becoming saccharine or melodramatic. The concept of a grumpy rule-obsessed elderly man who begins to rediscover his humanity is hardly breaking new ground, but the combination of dark humour, and the strong performances by the protagonist and supporting cast, lifts it several notches above similar films. This sad, funny and entertaining film about coping with grief and finding empathy for others is ultimately very sweet.

Angela Davis

Angela Davis in 13th

And finally, while Ava DuVernay’s documentary 13th has been available on Netflix for a while now, I only caught up with it this month and I’m extremely glad I did. While specifically examining how mass incarcerations in the USA is a modern manifestation of slavery, it more generally is a history of racism in America. What really struck me is how convincing DuVernay presents evidence to reveal that racism against African-Americans has long been a political and economic construct, which has relied on popular culture to create and reenforce hateful and harmful stereotypes. Often confronting, but always with integrity, this is essential viewing.

Thomas Caldwell, 2017
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Films I loved in February 2015

1 March 2015
Oscar Isaac as Abel Morales and Jessica Chastainas Anna Morales in A Most Violent Year

Oscar Isaac as Abel Morales and Jessica Chastain as Anna Morales in A Most Violent Year

Abel Morales (Oscar Isaac) works in an industry dominated by organised crime and yet refuses to live like a gangster in JC Chandor’s  A Most Violent Year, a film that refuses to behave like a gangster film despite bearing many of the characteristics of a gangster film. In some ways, A Most Violent Year is the film that The Godfather Part III wanted to be as it is about a man who aspires to run his oil-heating business legitimately, but whose connections to the underworld undermine him at every turn. Isaac even channels the energy of a young Al Pacino and the whole film, which is set in New York City in 1981, feels like a New Hollywood film, in particular the ones that starred Al Pacino and/or were directed by Sidney Lumet. However, I think Chandor is looking even further back to Elia Kazan’s films of the 1950s and 1960s, which were also character driven pieces that were considered realist at the time, and were full of social and political commentary. The shot of Issac as Abel standing on top of an oil truck echoes the shot of Marlon Brando as Terry Malloy in On the Waterfront standing on the rubble heap. In both shots the Manhattan skyline is behind them in the distance, suggesting how both characters loom large in their small pocket of the world, but are still a long way from the life they dream of.

A Most Violent Year is most effective in its explanation for why Able is struggling so hard to achieve his goals despite working hard and maintaining a sense of honour and decency: he believes the myths of capitalism and the American Dream. He thinks honesty will triumph over ruthlessness and deceitfulness, and he believes fair competitions exists as opposed to an ongoing cycle of people just trying to screw each other over. As his wife Anna (Jessica Chastain) tells him, he only has the success that he has because her father was once a powerful and wealthy criminal. Anna is the voice of reason in this world of moral compromise while Abel is naive. The tragic lesson of this sophisticated drama is that in the end its more important for many to plug the flow of oil than the flow of blood.

Colin Firth as Harry Hart in Kingsman: The Secret Service

Colin Firth as Harry Hart in Kingsman: The Secret Service

I’ve never read anything by Mark Millar, but I really enjoyed Wanted and Kiss-Ass, which like Kingsman: The Secret Service are based on comics he’s written.  Directed by Matthew Vaughn (who also directed Kick-Ass) it follows what has become a familiar Millar storyline, where somebody ordinary and a bit hopeless gets the chance to become extraordinary in a world filled with ultra violence. In Kingsman the ordinary person is Gary ‘Eggsy’ Unwin (Taron Egerton), an unemployed English teenager living on a council estate. Under the mentorship of secret agent Harry Hart (Colin Firth) Eggsy is given the chance to join the elite secret intelligence agency, the Kingsman. While the results are designed to be a parody and homage to some of the sillier films in the Bond franchise, the kinetic action and ridiculously high body count feels more like what a Bond film would resemble if Takashi Miike were the director.

While the violence is excessive and inventive, the real subversion is found in the narrative. The villains of the film are the 1%  – leaders of business and government who are happy to sacrifice the other 99% of the world’s population to maintain their lifestyle. And while the gentleman spy premise seems to initially exist to deliver the exploitive spectacle of the upperclass beating the shit out of the lower-class, the film soon establishes the notion that a gentleman is defined by a person’s attitude, not their class or gender. And as for the now controversial gag at the end of the film? It’s there to mock and highlight the absurd sexism of how so many Bond films end, but I don’t think the joke is particularly good nor does it suit the tone of the rest of the film. It’s a small detail and doesn’t overall detract from all the other giddy visual pleasures. The scene in the hate-group church alone is enough for me to want to revisit Kingsman again soon.

David Oyelowo as Martin Luther King Jr in Selma

David Oyelowo as Dr Martin Luther King Jr in Selma

There are several reasons why Selma rises above many other based-on-true-story films. Writer/director Ava DuVernay focuses on the Selma to Montgomery marches for voting rights in Alabama in 1965, but places the events as just one chapter within the ongoing US civil rights movement. At the centre of the film is Dr Martin Luther King Jr (David Oyelowo), but the film also acknowledges the many other leaders and supporters of the movement. The film is set in the past, but DuVernay contains several moments, in particular the scenes between King and President Lyndon B Johnson (Tom Wilkinson), to draw parallels between the historical events and contemporary issues. Both the moral and pragmatic dynamics of the movement are explored, and instead of resorting to sentiment the film allows the events to speak for themselves.

Edward Snowden and Glenn Greenwald in Citizenfour

Edward Snowden and Glenn Greenwald in Citizenfour

At first Citizenfour seems like a matter-of-factual and almost dry documentary about whistleblower Edward Snowden’s 2013 revelations to the media about the extent in which the  United States National Security Agency is spying on its own citizens. However, the moment when it becomes clear that filmmaker and journalist Laura Poitras was one of the first people Snowden contacted and spoke to, and that Poitras taped those meetings that are now in the documentary, the significance of this film becomes apparent. The events Poitras has documented have since had profound effects on political discourse and debate surrounding the use of technology and personal liberties. Citizenfour reveals Snowden to be a rational and intelligent man who had wrestled with the decision to reveal his information and ultimately decided to sacrifice life as he knew it for the greater good, arguing that a government willing to sacrifice the freedom and privacy of its citizens ‘limits boundaries of their intellectual freedom’. By the end of the film we see scenes that suggest that the paranoid Cold War thrillers of the 1970s and the high tech surveillance thrillers on the 1990s were grounded in far more factual detail than imagined.


On a much lighter note, a couple of really fun films came out on home entertainment in Australia in February. The New Zealand film Housebound  is one of the best horror/comedies I’ve seen for a long time (I regard the equally brilliant What We Do in the Shadows as more of a comedy deriving humour from horror tropes than an actual horror/comedy).  Great characters, droll humour and an effective escalation of scares and gore; this variation on the haunted house story is terrific.

I also had a great time with the latest film by Japanese maverick Sion Sono, Why Don’t You Play in Hell? While Suicide Club and Love Exposure are still my favourite Sono films, this one comes a close third. A large ensemble of characters, multiple storylines and a hyperactive style, Why Don’t You Play in Hell? brings together a team of renegade filmmakers and rival yakuza gangs for a delirious and hilarious climatic bloodbath. Within all the chaos Sono is also able to express his fondness for the dying art of shooting films on 35mm, which is fair enough as even fake blood spurts look better on film than CGI blood.

Thomas Caldwell, 2015

On a quick personal note, I am thrilled and honoured to have recently been awarded the Ivan Hutchinson Award for writing on Australian cinema at the AFCA 2015 Film & Writing Awards, for my article ‘Anger and Banality in Ghosts… of the Civil Dead. Thank you to the Australian Film Critics Association, all the writing award judges and Senses of Cinema.