Edward Scissorhands
Tim Burton and Johnny Depp have becoming increasingly known as the filmmaking team of unintentional nightmares. However that is certainly not the case when the highly influential cult classic Edward Scissorhands (1990) is involved.
Influences haunt the film throughout, the first straight off the bat as the creation by the The Inventor (awesomely Vincent Price) of Edward openly suggests Frankenstein, both in Mary Shelley and numerous other iterations. The grandmother relating the kid the film in the form of a bedtime story recalls The Princess Bride (noting that is a trope with origins far longer than that book/film). There is a Blue Velvet (1986) era Lynchian sheen to the hyper-suburbia settings. It takes a lot of storytelling skill to be so openly influenced by greats that have come before, but to never feel derivative or lesser as a result. Like a great musical cover, homage such as this, whilst not necessarily surpassing the source, can provide something different and equally worthwhile. This even extends to the central character of Edward, who evokes the character of Pinocchio, with his exaggerated boyishness and the sense that while close, he’s not quite human.
Living in an age of films with exhausting, lengthy set-ups (hell, that’s the entire function of some films), this sort of floors you with how quick it gets rolling. Edward is on his way home with his adoptive family within about the first 15 minutes. From there, a lot of the early joy of the film comes from the domestic minutiae, such as Edward attempting to put his pants on. Throughout the entire film, but especially in these parts, Johnny Depp gives a performance with a physicality that borders on slapstick. Happily, going back 25-odd years means that the performance is not weighed down by his atmosphere sucking shtick. The other lead, Winona Ryder gives what is also probably the best performance of her career. She brings a whimsy and teenage hard-headedness to her role and quickly accelerates the strong bond between her Kim and Edward, which does not really get going til a fair way through the film.
For a relatively modern film, Edward Scissorhands has exceptional reach. The film is a big (borderline obsessive) touchstone for the goth and emo subcultures, as well as being a formative film for a huge range of people outside of that. Given I don’t and never have belonged to either of those subcultures, I won’t presume to know the entire connection. Part of it would be the presentation of notions of ‘right’ and how that does not always represent the nicest or most humane thing to do. But I would also guess the fact that the film is something of a portrait of an outsider plays a major role. The film both works and doesn’t on this front, with Edward’s difference accepted and feeling slightly exploited throughout. Though what it does capture very well is how if you’re different, any mistake will have you judged completely, through the prism of magnifying and demonising one’s quirks.
There is something distinctive about the aesthetic design of the film. Sure there is a dash of the Lynchian as I mentioned earlier, but Burton possesses that and turns it into something of his own. Predominately this is achieved by splashing light gothic elements and tone throughout the visual look, providing an old fashioned contrast to the sheen. This combination suits the character of Edward perfectly. Even the casting seems to tap into this vibe, especially that of Vincent Price, who cooped up in that scary house on the hill, channelling Dr Frankenstein, functions as both an aesthetic choice and smart piece of casting. Throughout, the filmmakers seem to be toying with the look of it all, the house on the hill for example looks intentionally fake. This toying with form, across a range of the aspects of the film, is something Burton seems far beyond now. On some rare occasions, the film does feel a little over-stylised. But unlike Burton’s later films it never feels as though the showy style has become the point of the film, the attention to story and emotion is never overwhelmed. Danny Elfman is a composer indelibly linked to Burton’s work. I can’t say I have seen all of the films they collaborated on, but I struggle to imagine any of the scores being better than this one. Like so much else in the film, there is a playful interaction with something of the past, in this case classical music. The result simultaneously evokes the suburban and just as importantly deftly emphases that light gothic sensibility which makes the film so unique.
Verdict: Tim Burton is so often a maligned filmmaker that it is genuinely illuminating to go back and see what made him a visionary in the past. As far as film fables go, Edward Scissorhands is a genuinely great piece of cinema, whimsical yet laden with meaning. As strange as it is on some levels the film has such a huge following, it makes a whole lot of sense on plenty of others. Longneck of Melbourne Bitter
Progress: 121/1001
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Once
Once (2006) was one of those strange films for me, where a bunch of people I respect all recommend it to me, and yet I still can’t get enthused about checking it out. Tis probably time I learned my lesson, because I often end up being a big fan of such films, and this is no exception.
I knew that this film had a small budget, but this is truly micro-budget stuff and it is so invigorating to see a film like this have such a monumental following. This is not a particularly nice looking film. It often looks quite cheap and digitised, which is a further testament to how the filmmaking on display has connected with many, many people. Given the way it combines love story and musical though, perhaps the following is not such a surprise. The non-professional actors do occasionally stick out. But as soon as another song is weaved seamlessly into the film, you will stop caring. And reflecting back on the film, the acting is not something that negatively impacts on being able to appreciate the film.
Of course such a focus of the film is the music and there are some great tunes right from the start. Not the usual catchy twee rubbish you are used to from films musicals either. The songs are genuine too, not looking to subvert anything or be ironic at all. The opening stages of the film are so music heavy that it almost functions like an ambitious music video. The frequency tapers off, but the way that the songs naturally land as part of the narrative means they never feel like they stick out or that the director felt it was time to squeeze another one in simply for the sake of it. The more scripted aspects of the film did feel a little clunky and even trite initially. But as the story progresses and goes a bunch of places, both wholly expected and totally not, these sequences bothered me less and less. The basic plot points are quite stock standard, but the thematic and psychological approach taken to them separates Once from the pack.
Verdict: Once feels as much like a concert film as anything else, which is no bad thing. The film starts slow but as it grows into its unconventional storytelling, you will gladly go along for the ride. Especially as the really beautifully done musical interludes come thick and fast. Pint of Kilkenny
Progress: 120/1001
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Worth Watching January 2015
Always one of my bigger months in terms of viewing numbers, this January was no different. It’s a pretty wide range this month, with a couple that would end up on my end of year lists, some acclaimed art house entries that fell a little flat for me, a bunch of disappointing horror flicks and plenty more. Actually this month is notable for the fact that I suspect it is the most ‘not worth watching’ films in a single month. Take a read and share your thoughts in the comments section below.
Worth Watching:
- Zombeavers (2014), Jordan Rubin – My expectations for a film for that title were utterly sky high. And it at least partially delivers. The opening is exceptional. Bloody, funny, silly 80s inspired slasher riffing. It’s set on a lake of course and toys with slasher convention such as the use of killer’s eye view. It does taper off a little, but there are fun and very funny moments at regular intervals.
- The Hobbit: Battle of the Five Armies (2014), Peter Jackson – I do think some of the derision aimed at this film is a bit premeditated. This is flawed and not as good as the second film. But it’s still really excellent large scale fantasy filmmaking to be thankful for. The main issue is that it feels like the stakes in this are the lowest of any of the Middle Earth films. But the main battle, which is basically what the film is all about, is pretty innovative and exhilarating with some definite shocks in there too. I definitely did not see some of the deaths coming.
- Starred Up (2013), David Mackenzie – A very matter of fact British prison film. Like any great prison flick, it illustrates the various power structures that are inherent in the institutions as a concept. Young lead Jack O’Connell is really good, bringing the requisite muscular intensity to his role. Ben Mendehlson though steals the show a bit. He’s fuckin explosive here. It’s a relatively lean film, without a strong plot. But the themes of power and father/son relationships negate the need for one. Gritty.
- Community Season 4 (2013), Dan Harmon – I think this is a bit of an underrated series overall. The supposed down-points are not quite as pronounced for me as others. Tis nice to see Gillian Jacobs’ Britta back at the forefront a little more, just as she was right back at the start. The casting throughout is excellent, with people like Ken Jeong and Jim Rash doing stunningly hilarious work. It brings major laughs, but is whip smart as well, both inverting and conforming to the structure and norms of a comedy series.
- Big Hero 6 (2014), Don Hall & Chris Williams – Disney are just miles out in front of Pixar at the moment and are crushing them with a really diverse range of stories. This is a wonderfully geeky adventure story, with some really heavy moments thematically. Mortality and power are both explored on a number of occasions. It balances fun and depth well, assisted by a supporting cast of fully formed characters. Both a superhero film and an exceptional adventure tale.
Not Worth Watching:
- Blue is the Warmest Colour (2013) Abdellatif Kechiche – The film situates itself firmly in teenhood, but at time does not ring true in that regard (a teenager in France not knowing lesbians exist, really?). The infamous sex scenes are wonderfully shot and it is notable for how realistic they are. The best aspects of the film revolve around intimacy, with Adele’s resultant sexual awakening feels the freshest of anything. Most of the rest is just far, far too talky and the audience is for some reason not privy to some of the most important parts of the relationship arc.
- All is Lost (2013), J.C. Chandor – This is muted, understated stuff for the most part. There’s much to respect: the quiet and solitude of the film, Redford’s piece of singular acting and the procedural focus that the movie takes. But I struggle with these films so reliant on monumentally ill-equipped sailors. This dude can barely even use a radio or navigate using a compass. Overall it’s a frustrating experience, with a few silly sequences betraying the rest of the film.
- Nurse (2013), Douglas Aarniokoski – A Dexter style ‘righteous’ serial killer in the health profession is an interesting horror concept. It is not rendered particularly well here though. There is a certain sexiness to it early on. But the acting, including from the usually decent Paz de la Huerta, is abysmal. Some promising, borderline feminist schlockiness, quickly gives way to awful effects and troubling plot utilisations of rape. Also abandons its premise almost immediately and delivers something much less interesting.
- Tim’s Vermeer (2013), Teller – Think I’m one of the few who did not dig this film. There’s some good stuff here – crippling self doubt of an artist, or a ‘regular joe’ in this case, the intriguing idea of Vermeer using tech and engaging sequences of the painting process. But it’s a pretty ugly film, not at all cinematic in its make-up. The major issue for me though was that I just could not get past the notion that Tim is just a very rich, very privileged dude playing with his toys and stroking his intellectual ego.
- St Vincent (2014), Theodore Melfi – Totally dire. Takes a special brand of material to make such a charismatic cast so overwhelmingly bland. Bill Murray shows occasional glimpses of his spark. But Melissa McCarthy, one of my favourite actresses, is totally wasted. Naomi Watts fares no better, as a Russian sex worker she is face-slappingly awful. It aims for quirky, heartfelt and hilarious. With this script though, it is far away from any of those things.
- Afflicted (2013), Derek Lee & Clif Prowse – Given how strongly it starts makes how poor this film ends up all the more disappointing. The ‘Youtube doco team’ structure and excellent acting early on are both refreshing. But it fails to scare and the life of a vampire aspects feel so sluggish, despite the occasional interesting note being hit as they look for their next ‘fix’. Then horror focused middle section turns into a shitty first person action film.
- The Water Diviner (2014), Russel Crowe – This really is the worst of Aussie film. Bland beyond belief, designed to be as unchallenging as possible. It’s almost uniformly average, aside from the occasional jaw-dropping piece of awfulness. A couple of slow-motion scenes and a comical CG fire fit the bill. For the most part, especially in the early battle scenes, this is a cheap looking film. Actually it reminded me a lot of a mid-90s TV mini-series ‘event’, both in regards to looks and plot.
- The Armstrong Lie (2013), Alex Gibney – Gibney is more or less without peer in terms of documentary making, but even he struggles to overcome the sheer sliminess of his subject. Even now, the introspection of what he has done seems more or less lacking in Armstrong. So whilst we get a solid portrait of a scumbag, one who has no qualms about abusing his power to further himself and a glimpse at just how disingenuous a human being can be, that’s not quite enough. It’s quite staid and uncreative in its construction compared to Gibney’s best, and Armstrong perhaps gets off a little easier than he should have. An unfocused film.
- The Double (2013), Richard Ayoade – This is one of a number of recent films that have just felt like ‘Gilliam-lite’ to me. The worldbuilding here is slack and uninnovative. Jesse Eisenberg plays one of those annoying characters to whom everything bad happens. The doppelganger construct at the heart of the film is a little clumsily handled and is taken the most obvious places. The film also feels a little insincere, filled to the brim with faux quirk. Of note though are the excellent performances from both Eisenberg and Mia Wasikowska.
- See No Evil 2 (2014), Jen & Sylvia Soska – The delightful old school slasher vibe of the first briefly carries over, especially with the morgue setting. However the awful script and acting quickly overwhelms proceedings. The kills are strangely structured too, balance between what to show and what to hide feels out of whack and the attempts to create tension are lame. Given I loved the first film and have heard so many positive things about the Soskas, this was a major disappointment.
For wrestling fans like me, the fact Kane wears a mask is basically the best thing about this film.
- Birdman (2014), Alejandro Gonzalez Inarritu – I liked a lot of the elements of this film. The performances from Keaton, Norton, Stone and I think an underrated Watts are all excellent. The score is innovative, the distorted, old sounding drums were a unique backing to the film and its style. But stylistically I wasn’t moved by it and the faux one-shot technique is barely noticeable. Thematically I could see all the points being made about ego, the plight of the artist and the role of the critic, but they just did not resonate with me. There’s not much of a narrative here either, and what there is just serves as a frame to hang thematic elements from.
If you only have time to watch one Big Hero 6
Avoid at all costs The Water Diviner
Related beermovie.net articles for you to check out: Worth Watching January 2014 and Worth Watching January 2012.
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Quick Review: Wyrmwood
Low budget Aussie horror-comedy Wyrmwood (2014) was one of my top 10 anticipated films of the year. Looking to circumvent recent disastrous box-office efforts by Australian films, those behind this flick decided to try something a little different. A one night only (conveniently Friday the 13th) big screen release, to be followed by a presumably a big home formats push.
Unfortunately I forgot to take a notepad to the screening tonight, so this will not be one of my usual rambling epics. But I did want to share some thoughts on the film. Firstly, I do love the fact that they tried something a little different in terms of release. It appears to have worked as well. This was a very busy Friday night in Canberra – it was the Brumbies first game of the season and the booze and food laden Multicultural Fest is a massive deal. However, the screening I attended was totally sold out, indicating there is a strong buzz around the film.
The crowd that was there were totally involved in the film as well. They were really ready to laugh and the film got a great reception. Dare I say, most people liked it a little more than I did. As with essentially all low-budget horror films, the script does have its issues. There are occasional moments where it goes interesting places and builds up some mythology – the biblical explanation for the name is one that particularly sticks in my mind. But there is also plenty of poor dialogue that fails to drive the story as it should. I think that films such as this can get by with an average script, if they have a strong story. But unfortunately, the arc of this film is pretty weak. It’s a pretty stock standard horror-comedy narrative, which gets bogged down by a subplot that leaves one of the most promising characters sidelined for a lot of the film. If only there was more of the mythology that is occasionally hinted at, because it could have really set the film apart from the norm.
All of the performers in the film are clearly having a good time here and it is hard not to go along with their boisterous turns. In fact, strangely for a film at this budget level, I don’t think I could really fault any of the performances. Keith Agius, Bianca Bradey and Leon Burchill in particular excel. Perhaps the greatest achievement of the film is the production values. There is a great amount of craftsmanship on display. You never really notice the budget at all and the filmmakers obviously targeted where they wanted to use their funds well. The brilliant looking exploding heads and zombie make-up help to immerse you in the film in a way that the story unfortunately doesn’t.
Verdict: In the end, Wyrmwood is a film to be admired rather than outright loved (well for me at least). The filmmakers have done an incredible job to produce this and get it to such a wide audience with the budget they had available to them. Unfortunately the weak story prevents the film from reaching the cult classic heights I had so hoped for. Schooner of Carlton Draught
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Memento
Christopher Nolan is an exceptionally divisive cinematic figure. But before The Dark Knight Rises (2012) and Interstellar (2014) split opinion of him, he was beloved. And perhaps no film was more responsible for his adulation by cinephiles than the non-linear murder mystery Memento (2000).
At its simplest level, Memento is the story of Leonard, a man trying to solve the mystery of who killed his wife. The film is perhaps most famous for the manner in which its non-linear narrative literally unfolds. Leonard, who has amnesia, slowly pieces together what happened to his beloved and records the memories he needs to hold on to in tattoos. This structure, along with the performances, are the chief joys of the film. One issue for me is that both the structure of the film, and the establishment of Leonard as a character, means the success or otherwise of the film is predicated totally on the twist that is obviously coming. In the end it fell slightly flat for me, perhaps because I had seen similar before (though admittedly, they may have been made after this film). Having said that though, whilst the main twist has been seen plenty of times before, there is plenty of embellishment around that which satisfies here.
Coming relatively close to L.A. Confidential (1997), Memento represents the golden age of Guy Pearce as a Hollywood leading man. He continues to ply his craft in a range of really good supporting roles, but in terms of carrying a film, he is seemingly not held in the same regard these days. Here, Pearce conveys a man obsessed with routine and structure, two things he considers to be his salvation from the existential weight of his condition. Along with the excellent Carrie-Anne Moss, Pearce also brings a strong emotional core to his character which drives the narrative along and pushes it in different directions. I always like it when a film approaches a genre in a totally different way. Memento is a police procedural encased in a structure you would more associate with sci-fi. It’s a combo that works really well, even making the tired Groundhog Day (1993) style structure feel ingenious. Nolan chooses to start the film with the central mystery (seemingly) being solved and unfolding back from there, which to any fan of crime fiction, immediately invokes our favourite reveals at the end of crime stories. But the director toys with those expectations throughout, always a step or two ahead of us.
Verdict: Perhaps seeing it for the first time in 2014 has diminished the impact of Memento for me. On one level, I don’t quite see the hype. But on another level, this is a very good film, which feels nicely quirky and small in comparison to much of Nolan’s later work. Stubby of Reschs
Progress: 119/1001
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Snowpiercer
Nothing gets me excited like a film that has truly split opinions. So by the time I finally got around to watching Snowpiercer (2013) a couple of weeks ago, my expectations were pretty high. I don’t particularly fit into the love or hate camps for this film, but that is not to say that the experience was a letdown.
The film is set in a frigid near-future, where attempts to reverse the effect of global warming have backfired spectacularly. Only a very small amount of people survive, circling the earth perpetually on a train known as the “rattling ark” (a name I love as a piece of imagery, but which is never really utilised as it could be). The class system sees the poorer people contained at the back of the train, with the hedonistic rich folk up front. The rebellious underclass decides to fight back, which involves battling their way to the front of the train to take control. From this initial set-up, there is a charmingly natural video game level style progression along the train. For me, the best moments of the film were the action beats. They utilise the train setting best, as it is in those moments that you really feel the claustrophobic surrounds of the train pressing in on the combatants. The action also gives us the most riotously enjoyable silly moments of the film, such as the set-piece involving a night-vision massacre in a tunnel. Snowpiercer is best when it keeps it simple early, focusing on the journey to the front of the train, rather than as the action reaches the front of the train, where things get a little silly and focused on clumsy attempts at showing the hedonism of the rich.
There is more than a hint of old school sci-fi to Snowpiercer. It opens with images of chemtrails, and the music over the image definitely invokes an 80s Cold War paranoia vibe. Much of the film seems like an affectionate nod to that era of the genre. The presentation of the film, its high-concept construction and especially the class concerns that are so prevalent in much of classical sci-fi. There is little subtlety to how these class themes are drawn. But for the most part they work well, hitting there mark a lot more than the ham-fisted barbs thrown the way of organised religion which just seem a far too simplistic, superficial and tacked on to be at all satisfying.
It is quite strange to consider a film such as Snowpiercer a performance piece, but there are a lot of fantastic talents plying their trade here in what is a refreshingly multicultural cast. Chris Evans delivers a very different everyman hero to his combination of hyper-masculinity, hyper-everyman shtick from the Captain America films. It’s much more of a real character than Cap, with an inherent weakness that bubbles over throughout the film. Tilda Swinton is spectacularly over the top as an early villain, though it has to be said, she feels like she is in a completely different film… almost certainly one directed by Terry Gilliam. Actually the aesthetic of the film overall gradually shifts from a griminess to a rather Gilliam inspired one. There are strong hints of the visual and tonal style of something like Delicatessen (1991) through much of this. Even down to the look and feel of the technology of the film, which is definitely not steampunk, but there are certain parallels to that sub-genre that can be drawn. It became too familiar for me though, distracting even, and left me yearning for the earlier sequences that felt so dirty, decrepit and grimy that they stood out
Verdict: Snowpiercer is at its best when it sticks to the simple action premise of getting from one end of the train to the other. The film makes for a unique experience and one that should be checked out if you have the slightest interest at all. I just found that the stylistic and narrative meanderings lessened the overall film. Stubby of Reschs
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Quick Comic Review: Marvel Star Wars #1
You could be forgiven for missing the fact that Marvel’s Star Wars #1 hit the shelves a couple of weeks ago. In a year that will be fit to bursting with Star Wars hype left right and centre, it was strangely muted on my Twitter and elsewhere that this book was being launched. I would be curious to see how the sales stacked up. The owner of my local comic book store told me that there were a mind-boggling 15 or so variant covers, so Marvel were obviously expecting a fair amount of rabid fan interest.
I grabbed a copy when I saw it down at the local. I didn’t take notes or anything whilst reading through, but here are some brief thoughts on what I liked and what I didn’t. Anyone else read this?
Things I liked:
- The art on feature panels/pages (Vader’s first appearance, the final page) is really sharply done and suggests the grandest moments of the films.
- They get the character design about right. They look close, but not too close to the actors who play them in the films
- Atmosphere – this feels like a Star Wars story. There is a comforting familiarity to it that is not present in the worst Star Wars productions.
Things I didn’t:
- The tone – whilst it feels like Star Wars, something is just slightly off about the tone. The lightness or comedic shading not quite right. Han’s interactions with C3PO for example, really don’t zing like they should.
- Some of the panels outside of the feature ones I mentioned above range from the bland to the downright shoddy.
- The comic is a victim of its construction. The fact it takes place immediately following episode IV means that whilst the beats will be unfamiliar, there is little tension in terms of the overall arc. We know where this story and where all of these characters end up. That’s not fatal, many prequels have the same issue. But future issues will need to overcome this to make it feel fresher and more necessary.
Verdict: This is an ok start. No doubt any big Star Wars fans have already snapped it up. But I would recommend it for anyone with the slightest interest in the films. If anything, following this comic and the other Star Wars titles that will pepper the year will help get you involved in the hype for Episode VII. Having said that, whilst I will return to the series, I will want to see a bit more from it if I am going to for out every month. Stubby of Reschs
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2015 Preview: Top 10 anticipated films
I quite like the exercise of looking ahead at the year of film we have to look forward to. Even though my lists pretty much always focus on big blockbusters, rather than the indie/sleeper films that will no doubt populate my best of 2015 list. For reference, none of the films on my 2014 most anticipated list made my top 10, though two of them did get honourable mentions. Hell two of the entries on last year’s list didn’t even get released in ’14 (one appears below in a slightly modified version, the other is Jupiter Ascending which I am still really excited for, but I won’t repeat here). This year I have tried to include some smaller films in this list, rather than the usual nine or ten big budget ones. Anyways here we go, ten I am looking forward to in no particular order.
Jurassic World
I have concerns about this film. But I want it to be good so bad, that I am sort of just wilfully ignoring them. I’m a massive fan of all of the original trilogy, I think the fundamental concept of the series is sound, am a huge Chris Pratt fan and I think Colin Trevorrow is an interesting choice as director. I will be happy if this sticks closely to the formula of the earlier films and features plenty of dino chases and people getting limbs torn off. But I just can’t stop fretting about the totally unnecessary hybrid dinos.
Knight of Cups
On last year’s list I had ‘Whatever Terrence Malick releases this year’. Unfortunately that turned out to be nothing. But it looks like we will definitely see this, still rather shrouded in secrecy film, this year. With a cast that will potentially include Christian Bale, Cate Blanchett, Natalie Portman, Antonio Banderas, Freida Pinto, Isabel Lucas, Imogen Poots and Jason Clarke (hard to know exactly due to Malick’s infamous cutting approach) and what appears to be a more modern setting than his usual fare, this will hopefully be an interesting addition to one of the greatest filmographies in cinema history.
Star Wars Episode VII: The Force Awakens
I’m pretty excited to see this. But to be honest, I am more interested to see the excitement and fandom build to a crescendo over the course of the year. This will be the biggest film event for a long while and it is difficult to imagine the film not smashing a record or three. I like the Star Wars films, though I was never swept up in them as a kid like so many. But I am definitely keen to see this continuation of the original films, with the first trailer suggesting the film will definitely play as a true sequel to that beloved trilogy.
Spectre
As a massive Bond nerd, I adore this poster.
I am a lifetime James Bond fan. I’ve spoken on a number of occasions about how this series of films were really my entry into the world of film. The end of Skyfall essentially hit re-set on the series for the umpteenth time and also suggested that the next arc will be a real throwback in terms of story and characters. Anyone who knows the Ian Fleming books will be super-excited by that title and if Cristoph Waltz really is playing Blofeld, this could capture the spirit of the absolute pinnacle of the series.
Two Pixar films
We can all agree that Pixar are in an almighty funk. It’s a testament to their early work though that a year without a release from them, like 2014, feels incomplete. Thanks to that fact though, we are scheduled to get two this year in Inside Out and The Good Dinosaur. I have reservations about both of them, but given they are both original properties, let’s hope they regain some of Pixar’s old magic. Especially The Good Dinosaur, so we can hopefully have two classic dinosaur films in one year. Everyone likes dinosaurs as much as I do right?
Wyrmwood
The trailer for this film broke a little while ago, and has me super excited for this Aussie zombie flick. It looks like a hell of a lot of fun, some of the actors involved are lesser known favourites from out here and most exciting of all, it seems to be trading in some broad Australian humour that is actually bloody funny. I really hope they pull this off, because if they do, it could be a much needed Aussie box office hit.
The Hunger Games: Mockinjay Part 2
Part 1 of this was exceptionally close to making my top 10 of 2014. I thought the direction that film took the series, after the first two pretty similar entries, was pretty bold, when more of the same would have done. I am doing my absolute best to avoid info on the final film. But I will be intrigued to see where they go from the dark, propaganda focused war film that was Part 1.
Z for Zachariah
Craig Zobel’s previous film Compliance, whilst not perfect, was one of the most deeply unsettling cinematic experiences of recent times. This film looks like it will be completely different territory. It’s based on a classic sci-fi novel and stars big names such as Margot Robbie, Chiwetel Ejiofor and Chris Pine. It’s looking like this will be more post-apocalyptic survival tale than realistic fast food store set thriller. Though a small cast, a hallmark of the earlier film, remains here, promising an desolated vibe that characterises the most haunting of post-apocalyptic films.
Macbeth
When done well, Shakespeare on the big screen can be one of cinema’s great joys. The personnel involved here give a lot of hope that this will be the bard done right. We have the director of Snowtown Justin Kurzel, the best actress in the world Marion Cotillard along with Michael Fassbender, taking on one of the most famous of Shakespeare’s plays in what looks like a pretty traditional adaptation. Hopefully this gets a good cinema release after what I suspect will be a pretty extensive festival run.
Selfless
The mark of how blind a fan of Tarsem one is depends on their reaction to the sickly style over substance of Mirror Mirror. I really liked that film. It wasn’t quite on the level of The Fall or even The Cell but Tarsem is perhaps the most interesting visual director alive today. Anytime he makes a film, I want to be seeing it on the biggest screen possible. This one will explore themes of consciousness and ageing starring awesome people like Matthew Goode. There does not seem to be a whole lot out there about it, but I suspect it will be damn pretty. It has been bumped a couple of times, which could suggest a lot of post-production work to flesh out Tarsem’s visuals.
Related beermovie.net articles for you to check out: 2014 Preview: Top 10 Anticipated films and 2013 Preview: Top 10 Anticipated films.
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2014 in Review: The Top 10
The fact every year is a good year for cinema is a sentiment I have grown to appreciate more and more over the last few years. Whether or not you think a year was slightly better or worse than another, the bottom line is we are blessed to see a hell of a lot of great movies each and every year.
So here are my absolute favourites of 2014. I mentioned it when introducing my bottom 10 of the year, but it bears repeating here. To be eligible for this list, a film must have had its first cinema or straight to DVD/VOD release in Australia during 2014. Festival only films are not eligible if they have a wider 2015 release forthcoming. But if they don’t seem to be getting any broader kind of release, I will highlight them here.
Honourable mentions: Almost too many to mention really. It wasn’t the best year for blockbusters, but I loved Guardians of the Galaxy like everyone, loved Godzilla unlike plenty of people and for the second year running feel a bit shitty that a Hunger Games film missed out on my top 10, because Mockinjay Part 1 took a huge budget franchise a pretty bold place. As almost seems to be the norm, last year was a great one for docos. Film about film Room 237, Come Worry With Us, the very important Aussie doco Utopia, Next Goal Wins, Freeload and another Aussie entry All This Mayhem were all excellent whilst music doco Muscle Shoals was the best of the lot. It was a weak year for horror and comedy though. Ti West’s The Sacrament sucked me in big time, whilst What we do in the Shadows brilliantly trod the line between both genres. Drama wise Her was great, as were Inside Llewyn Davis (my favourite Coen Bros film), Pride, Calvary and Jimmy’s Hall. On a more arthouse front, Marion Cotillard gave the year’s best performance in Two Days One Night, we all found out that Iranian vampire films were a thing we loved with A Girl Walks Home Alone at Night and The Congress melted my mind. Almost there now. The Aussie industry again made exceptional work with far too few people here seeing it. The two aforementioned docos, three films below and Predestination and Charlie’s Country both being incredible mean there is plenty to catch up on.
10. Noah
I can see why people took issue with this film. It does have fallen angel rock monster thingamajigs after all. But more importantly, this is a very rare ideas driven blockbuster that refused to pander to the studio or the supposed evangelical Christian target audience. I have no idea how this film got released as it did, much more an Aronofsky film than a biblical one. It’s hard not to love how the director took a source where we all thought we knew what we were going to get, and totally flipped it. What we are left with is something visually unique (just think of how average Ridley Scott’s Exodus film looked in comparison) and one of the most ideas rich blockbusters I’ve seen in a long time. It will challenge you to consider the environment, the way you interact with those around you, family structures, what you eat and what you think of “the creator”.
9. 52 Tuesdays
The first of three Aussie films on this list and almost certainly the least known of them. The film focuses on two characters undergoing transitions – one a teenager going through a year of great change and awakening. The second her mother, undergoing a female to male transition. The film has a Boyhood esque structure as it was filmed on each Tuesday of a whole year. It further plays with structure by having the teenager Billie talking straight to the camera. It’s this teenage character who is the focus of the film really, her experience of her mother transitioning, whilst she awakens sexually is a lot for a character to bear. The performance of Tilda Cobham-Hervey in the role is pretty special, conveying the tumultuous year whilst also convincing as a playful teen. This is a unique film, both in terms of subject matter and construction, and announces a couple of really promising Australian talent on both sides of the camera.
8. Big Hero 6
Wow, Disney is on a hell of a roll lately and this is my favourite of the lot of them. Not only that, they are making quite a diverse range of films right at the moment. This one plays a fair bit older than is the norm and as a result adult viewers like myself will feel it all the more. Death is present, as it so often is. The concept of power and its (ab)use is a major theme and there is a truly creepyarse masked villain. The film manages to function as a piece of classic Disney filmmaking as well as a really good superhero team origin story. All the characters are wonderful and fully formed. This is an awesomely geeky adventure story and I struggle to recall a stronger adventure film made this decade.
7. The Rover
This film seems almost forgotten already, which is a damn shame. I think it is a much more interesting film than David Michod’s beloved Australian gangster film Animal Kingdom. This is a sprawling, thought provoking film centred on the arresting outback visuals and Guy Pearce’s grimy performance. Set in a near future, it’s really a window into Australia’s blighted present, as greed and environmental exploitation rule above all else whilst the indigenous experience in this country is also touched upon. There is a stillness in the film that some may find too slow, but for me allows for reflection upon the themes on screen and absorption of what is being told.
When’s the last time you saw a great doco that was quite simply a beautifully drawn love story? So much of what I say to recommend this film, makes it sound like I am lessening its ambition. It’s just a love story. It’s just one guy’s tale. It’s just a simple film about family. But by not attempting to make the film anything grander than that, director Elvira Lind ensures that it stands out in a sea of docos that are trying to tell you theirs is the most important story to be told. Having said all that, seeing trans stories like this on screen is so new and as such there is an inherent importance to it. But it is so refreshing to see a film that is not totally obsessed or focused on the trans aspect of a person. Rather the film is a reflection of how that aspect interrelates with everything else that makes up Ryan Cassata – his family, passions, loves, growing up and working out what the hell to do in life. Given Ryan is also a talented muso the film is also elevated by the incorporation of his music, especially those songs he wrote for his girlfriend, into the film.
5. John Wick
If you told me at the start of the year that a straight up Keanu Reeves action film would make my top 5, I would have laughed and thought you and idiot. But after a little more reflection, I would have come to realise how awesome such a film must be. This film came from nowhere and totally blew me away. It feels like there is nothing to distinguish it – tis a gun heavy, moderate revenge film. The choreography is spot on without being showy. The plot has the occasional flourish to set it apart. The cast, led by John Leguizamo and Keanu Reeves are above average. But basically, the sum here is greater than its parts, and I cannot wait to grab this on blu-ray, kick back with a beer and watch it over and over again.
4. The Raid 2
Can’t really believe my top 10 of the year has two pretty much straight action flicks. I liked the first film in this series, though I have to say I probably was less a fan than most. So many action films try and cram too much into the fight sequences. But never has freneticism in choreography been such as strength, as it is here. The action is blistering, sprawling, at times over the top, but no matter what is happening the camera-work ensures it always remains easy to watch and be wowed by. I’ve never seen action sequences as good as this. Some have issues with the lengthy plot of the film. But it actually worked really well for me as a contemporary gangster film and I was enthralled by the various power plays and lobbying that was going on. I also felt that from a pacing perspective, these sequences brought me back down nicely in between fight scenes. We’ll see if I stand by this little bit of hyperbole in five years, but for me this really is one of the best action films of all time.
3. Interstellar
Much, though obviously not all criticism of Nolan’s films comes from a nitpicky critical approach. For some people, small issues around plot or logic affect the enjoyment of his films as wholes. But for this film especially, the director’s grand vision totally won me over. The film has a number of my ‘favourites’ for the year. Hans Zimmer’s score is undoubtedly the one that stands out to me the most this past year. And some of the set pieces, spaceships careening through black holes or the wondrous dangers that await on new, uncharted planets quite literally took my breath away. This is definitely a flawed film, it’s unwieldy and Nolan struggles to keep it all under control. But by aiming so high, even where he misses, you have to applaud it. Visually awe-inspiring, surprisingly (for the genre) emotional and challenging on a bunch of levels, I kind of suspect this may end up being the enduring classic of 2014.
Very little this year has made me as happy as seeing this film really blow up internationally. I toddled off to see this film by myself on my birthday, a couple of beers in hand. That may be my standout cinema going experience of the whole year. This is a terrifically frightening horror flick, with a thematic depth that really opens up over repeat viewings. It is both about a supernatural threat and the (perhaps much more real) threat of grief. It’s spearheaded by one of 2014’s best performances from Essie Davis, the realism and feeling of her frazzled mother somewhat reminiscent of Cotillard in Two Days, One Night. The influence of haunted house films was plain to see, though it never felt derivative, in much the same way as The Conjuring by James Wan. But even though it recalls a number of other films, this feels a whole lot different to pretty much everything I saw last year and the credit there is certainly writer-director Jennifer Kent’s. Her perspective is a fresh one and I cannot wait to see her make films for years and years to come.
1. The Broken Circle Breakdown
I always worry that my lists will automatically favour films released toward the end of the year, because they will be fresher in my mind. Whilst that is probably true to some degree, I first saw this film when assessing it for a festival 18 months ago. I was pretty sure then it would be my number one of 2014, and none of the amazing films I have seen since have matched this film experience (an experience I have revisited on a number of occasions without lessening the film’s greatness). Like so many great films, this is a challenging one. Whilst tackling the theme of grief head on, the non-linear storyline means that the depths of sadness sits alongside the heights of life, alongside new love, fantastic gigs or awesome sex. The cracking bluegrass soundtrack begs for comparison to O Brother Where Art Thou but it’s unique to this film and much more enmeshed in the plot than in that film. Buy this soundtrack. I have it, and I listen to it often (I’m listening to it now). I don’t cry often when watching films, but I have cried each of the three times I’ve watched this. There is something frightening, challenging and exhilarating about a film that captures life, in all its brilliance and ugliness, as well as this film does.
Related beermovie.net articles for you to check out: 2013 in Review: The Top 10 and 2012 in Review.
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2014 in Review: The Bottom 10
When I first sat down to write this list, I was worried that I hadn’t seen enough terrible stuff to make a bottom 10 worth writing. But man was I wrong. It may have been a great cinema year, but wow was there some rubbish. I mean not even the latest Transformers film could crack my main list. Check out my 10 least favourite releases of the year below. A few of these may be a touch controversial. Share your thoughts in the comments if you agree or disagree. Also, usual disclaimer, these are my least favourite films from last year, not necessarily the ‘worst’.
Films that received cinema (not festival) or straight to DVD/VOD releases in 2014 in Australia are eligible. If I have done a full review of the film on the site, that is hyperlinked.
(dis)honourable mentions: It was another pretty bad year for comedy, though I found that it was the indie attempts at the genre such as Life After Beth, Kebab and Horoscope and St Vincent which struck me as the worst of the bunch, rather than the more mainstream efforts which just settled in as decidedly average. Also on the indie, more festival side of things, The Salvation was a terrible attempt at a western, whilst one of Philip Seymour Hoffman’s last ever film roles went totally to waste in God’s Pocket. It was a particularly awful year for horror films I thought, with Nurse bungling its premise, V/H/S Viral being straight up terrible and Oculus somehow gaining a lot of love whilst boring me to tears. And of course, just like every year there were a fair number of blockbusters that sucked big time, just slightly less than those below. I’m looking at you 47 Ronin, Transformers: Age of Extinction, Need for Speed, Robocop and Pompeii.
10. Monuments Men
The trailer for this film, which was one of those I seemingly couldn’t avoid for months, hinted that controlling the tone of this WWII caper could be an issue. I don’t think anyone anticipated it would be such an issue though. What is left is a middling mess of a caper film without any lightness and a war film with no real weight and no real villain. It is difficult to imagine that a film with this cast could be so bereft of anything worthwhile. The inept script ensures that this is an utter failure rather than a near miss.
Seriously, Marvel can’t get their hands back on Spidey quick enough. Sony just continue to waste this fantastic property, and they fell into the Spider-Man 3 (2007) trap of having too many villains but not developing any of them fully. As a result characters such as Electro and Rhino were totally wasted. Not to mention the chemistry between Emma Stone and Andrew Garfield which deserves a much better film. In a sea dominated by the MCU, by the numbers plotting such as this film’s just doesn’t cut it anymore. We need something more than moderately competent, CGI drenched fighting.
False advertising
Of all the films on this list, this one is the most comically inept. Reimagining iconic characters is hard, as the creators of the film found out with this disaster that takes itself far too seriously. It’s the kind of material that results in even the excellent performers involved (Aaron Eckhart, Bill Nighy, Yvonne Strahovski etc) being awful. They nail the ugly mid-90s CGI look perfectly and appear to have had a small child write the script though. There was so much potential for B-movie fun here, but there was absolutely zero fun to be had with this one.
7. The Water Diviner
This film did really good box office numbers for an Aussie film, which was a great note to finish the year on. Just a shame that so many people chose this, rather than some of the incredible Aussie features that came out in 2014. A good friend of mine (who is also a fantastic filmmaker) described this as ‘everything that is wrong with the Australian film industry’. I can’t really argue with that. It’s lowest common denominator stuff, by the numbers, sentimental rubbish. Frankly, it’s difficult to imagine a more searingly average film and I’m not joking, at one point my jaw dropped at the sheer awfulness of it all.
6. Transcendence
Oh we were all excited for this one. Great cast, Nolan’s long-time cinematographer Wally Pfister making his directorial debut and all that jazz. But this was just terrible. There is an ever so brief smattering of interesting ideas that is almost immediately overwhelmed by cliché. Blighted by silliness as well as a tepid script that makes great performers like Johnny Depp, Rebecca Hall and Cillian Murphy totally uninspiring. Most surprising of all given the director, it’s a really ugly film. It all feels like a film that does not know what it wants to be.
5. Nymphomaniac Part 2
I was in two minds whether to include this, given this two part cut was not overseen by Von Trier. But in the end, it was a 2014 film and is more than deserving of its place. Part 1 of this epic had some interesting ideas and went some interesting philosophical places. This second part throws all that away in an almost absurd manner. Much of it descends into a platform for Von Trier to launch into some ill-advised personal rants on political correctness and free speech. Clearly a little Cannes derived points scoring. The patter of the dialogue all of a sudden becomes forced and annoying. The narrative just heads in strange, unbelievable directions. Worst of all is the ending, which just utterly betrays one of the characters that has been established and pretty much undermines the four-odd hours you have just sat through. Von Trier at his worst.
4. A Million Ways to Die in the West
There were bad 2014 comedies, and then there was this. I’ve never really watched Family Guy, but I was a fan of Ted (2012). So I was hoping for a silly, occasionally crude, western homage. This is garbage though. Seth MacFarlane has zero charisma or gravitas as a leading man. If he wants to keep making films, he definitely should not cast himself. Worst, and perhaps most surprisingly of all, this is a really unfunny film. It’s riddled with slapstick, but the creators don’t appear to have any eye for that tone of comedy, whilst the script is every bit as bad as others on this list.
3. Gone Girl
I know people will probably think I am a bit of a wanker for including this. But good lord I did not like this film one little bit. I am relatively alone here, but I actually think the storytelling is pretty poor. The twists just landed quite flat for me and a lot of the narrative seems to rely on strange, jarring coincidences. Not to mention that the last act is at times laughably terrible. The tone I assume that was being aimed for was something a little trashy elevated due to all involved. But I actually found this to be a deeply silly film. The gender politics of the film are a little troubling as well. I’ve heard one of the main characters described as a ‘heroine for the MRA movement’ and I think there is some merit in that. Worst of all though, this is just a meandering, poorly told crime film that I would have expected came from M. Night Shyamalan rather than David Fincher.
2. Hercules
As a lover of both B-movies and Dwayne ‘The Rock’ Johnson, I was pretty excited for this one, even with the presence of Brett Ratner. After a sexist and atrocious CGI laden first couple of minutes, I pondered walking out. I really should have too, it would have saved me a whole lot of pain. It does not improve one iota and the cliché and overwhelming predictability is mind numbing. Not even some swords and sandals style battlin fun can be found here. Instead, there are a series of achingly long, training montages and battle sequences that feel totally without any narrative importance, tension or creativity.
1. Teenage Mutant Ninja Turtles
There are plenty of the usual blockbuster, Michael Bay type complaints here. Too much CGI, no originality, a listless script and it looks like it cost about $5 to make. But there are also other issues which make this a little more heinous an act that has been wrought upon us. For starters, it trashes the Teenage Mutant Ninja Turtles as a property, screwing with the mythology and simply not respecting what these characters are. But worst of all is that this is a misogyny-laden film that is aimed at an audience of young males. Megan Fox’s April O’Neil is a target of constant and atrocious objectification. Think of how toxic that is. It is a genuinely dangerous thing for films that treat women this way to be helping mould how young people perceive the world around them.
Related beermovie.net articles for you to check out: 2010 in Review and 2013 in Review: The Bottom 10.
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