Film Pop: 12 Years a Slave

Year:  2013
Director:  Steve McQueen
Stars:  Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o
IMDb

Following Her, the second Best Picture nominee I managed to see on the weekend was the film everyone’s been talking about, the early favourite for the victory, 12 Years a Slave.  Both my girlfriend and I had been eagerly awaiting its UK release, even if our local cinema couldn’t make up its mind when it was going to have it in.  Based on the memoir of the same name written by Solomon Northup in 1853, 12 Years a Slave is the third feature film from British director Steve McQueen (and the third to feature Michael Fassbender).

12yasSolomon Northup is a black man living freely with his wife and children in Saratoga Springs, New York in the year 1841.  One day he is approached by two travelling entertainers who want him to join them as a violinist, only to be plied with alcohol one night and find himself in chains the next morning.  Now in the possession of white strangers, he is shipped down to New Orleans, given the new name “Platt” and sold to plantation owner William Ford (Benedict Cumberbatch).  Ford is (relatively) civil towards Northup, but is forced into moving him on after Solomon’s altercation with vicious carpenter Tibeats (Paul Dano).  He comes into the possession of Edwin Epps (Fassbender), a violent drinker who puts Northup to work in the cotton fields along with the rest of his slaves, the best picker among whom is young Patsey (Nyong’o).  Vulnerable Patsy becomes the object of Epps’ infatuation and he soon rapes her, defying the attempted protection of Solomon and the efforts of Epps’ wife Mary (Sarah Paulson) to revile her at all times.  Northup, aided by travelling worker Bass (Brad Pitt), finally makes his companions in the north aware of his situation and is brought back to his family, not before being forced to brutally whip Patsey under Epps’ coercion.

12 Years a Slave is for certain a good film; it goes further than almost anything before it in depicting the cruel reality of slavery in America.  Ejiofor produces a masterful, moving performance as a man fighting the worst injustice imaginable to be reunited with his family.  However, overall I felt a little let down by the hype surrounding the movie. It didn’t really shock me like I was expecting it to, but maybe that’s less the film’s fault and more the result of the industry’s tendency to fill feature after feature with awful human behaviour and the media’s subsequent eagerness to shout about how shocking it is.  Maybe it’s just me, but I know I’m not the first to say this.

12yas2 As well as this, It has been criticised by some for the fact that the director and lead actor are black British rather than African American, because they don’t have the heritage rooted in slavery to draw from; I admit to being too inexperienced to comment on this meaningfully.  It’s also received a decidedly mixed reception for its historical accuracy, variously being praised for its brutal depiction of the treatment of slaves and condemned for its omission of important themes from the book (such as the slaves’ never-ending attempts to escape).

Ultimately there’s nevertheless no denying that 12 Years a Slave is a film that will go down in history for the right reasons, and it’s a film that you need to watch.  To me it’s a victim of great overhyping, but it’s still a very good film and one of the top contenders for the top prize at this year’s Academy Awards.

My Rating: 7.5/10

Advertisements

Film Pop: Her

Year: 2013
Director:  Spike Jonze
Stars:  Joaquin Phoenix, Scarlett Johansson (voice), Amy Adams
IMDb

After the recent announcement of the main nominees for the 86th Academy Awards, I made it my goal to get up to date with as many of the films nominated for the leading categories as possible before the ceremony on March 2nd. This has admittedly gotten off to a relatively slow start due to my newly-acquired busy schedule, but this weekend I did manage to see two of the Best Picture nominated movies, beginning with Her, the fourth feature-length picture from acclaimed herposterdirector Spike Jonze.  Nominated for five Academy Awards, including Best Picture and Best Original Screenplay (although not Best Director), Her is a movie I knew very little about before viewing other than the general premise (and critical recognition).

Some time in the not-too-distant future, Theodore Twombly (Phoenix) is employed as a writer of (mostly love) letters for people unable to express themselves emotionally.  Theodore, having recently broken up with his wife (Rooney Mara), leads an ironically miserable life alone until he installs an artificially-intelligent operating system onto his technological devices (which were already omnipresent in his life).  Samantha, as she soon names herself (Johansson (voice)), is smart and funny, although initially very naïve. The two soon become fast friends, and after Theodore returns from a blind date gone bad, shortly enter into a romantic relationship.  This is not without its difficulties.  Despite the support of old friend Amy (Adams), Theodore and Samantha struggle against obstacles like the lack of physicality. But as Samantha grows it’s only a matter of time until Theodore is outgrown along with the rest of the human race;  Theodore is not alone in his circumstances, but he is nevertheless once again alone.

hergrab

Her is a very strange film; although marketed as a comedy-drama, what humour there is is very dark. From a futuristic take on “phone sex” right at the beginning of the movie it’s clear that Jonze isn’t going to hold back in making this film into exactly what he wants, and this is refreshing.  This also helped me connect with the characters, as the candidness of the perspective made them seem more real and relatable despite the surrealism. This was true to the extent I actually felt invested in the relationship between Theodore and Samantha to a greater extent than I do with many “real” on-screen couples; when Samantha is suddenly and unexpectedly unreachable I truly empathised with Theodore’s panic.  The casting is excellent and Phoenix is very believable as a lonely guy a little on the odd side (I’m very surprised at his lack of an Oscar nomination for the part).  There is however an odd feeling that there’s something missing that keeps the film as a niche drama and holds it back from blockbuster status; I can’t quite put my finger on it, but it might be linked to the general unease I felt from the story (this seems to be a strong theme in Jonze’s work).  Perhaps it’s because it’s a little too believable as the possible future of technology.  Nevertheless, I definitely enjoyed Her, and I would undoubtedly recommend it for a watch.

 

My Rating:  8/10

Film Pop: August: Osage County

Year:  2013
Director:  John Wells
Stars:  Meryl Streep, Julia Roberts, Juliette Lewis
IMDb

As the Oscars approach (with the main bulk of nominations being released today in fact), I recently came to the conclusion that it’s about time for me to kick into gear and get up to date with some of the films tipped for awards. The number of new releases that I actually managed to see in 2013 was pretty woeful, but between now and the 2nd of March when the 86th Academy Awards will be played out I intend to get a little more familiar with the nominees.  August:  Osage County, adapted from the award-winning play of the same name by Tracy Letts, is almost guaranteed a couple of nominations and is an outsider for a few more.

aoc1In the titular Oklahoma county, alcoholic former poet Beverly Weston (Sam Shepard) is interviewing young native American woman Johnna (Misty Upham) for the position of live-in carer for his narcotic-addicted cancer-suffering wife Violet (Streep).  When Beverly disappears, Violet summons her family for support:  sister Mattie Fae and her husband Charles (Margo Martindale & Chris Cooper respectively), and the Westons’ three daughters Barbara (Roberts), Karen (Lewis) and Ivy (Julianne Nicholson).  Strong-willed Barbara arrives with husband Bill (Ewan McGregor) and teenaged daughter Jean (Abigail Breslin) and immediately tries to wrest control of the family from her ailing, matriarchal mother, powerful despite her illness.  Often-absent Karen turns up with her latest boyfriend, sleazy Steve (Dermot Mulrooney) who soon sets about grooming 14-year-old Jean.  Youngest daughter Ivy lives locally and is single (at least as far as the rest of her family are concerned).  Beverly is shortly discovered drowned, having gone out alone on the lake in his boat.  After the funeral and the late arrival of Mattie Fae and Charles’s son Little Charles (Benedict Cumberbatch), the family proceeds to break down both emotionally and physically.  After a series of explosive confrontations and revelations Violet is gradually abandoned by her family and left broken, crying in the arms of quiet Johnna.

Happy families?
Happy families?

August: Osage County has been described as a “black comedy”, but in truth there’s very little comic about it.  It’s a very dark film, with light points few and far between.  In such a large, star-studded cast you might think that it would be hard to pick out individual performances, but this isn’t the case.  Unsurprisingly Streep steals the show as deeply afflicted Violet, and is a shoe-in for at least another Best Actress nomination (although an outsider for the win to strong favourite Cate Blanchett in Blue Jasmine).  Roberts, Lewis and Nicholson all play their respective parts superbly, although Roberts is of course no stranger to the “fierce, independent woman” role.  A special mention goes to Benedict Cumberbatch (who turned out to be the reason my girlfriend wanted to see this film) for a solid performance and an American accent that I’m assured by my Kentuckian other half was decent but no Okie (I paraphrase).  To be brutally honest the film doesn’t particularly stand out as anything special, but it’s worth a watch as a decent drama if you’re prepared for a depressing 2 hours and you want to see Meryl Streep do her thing.  And if it does get that elusive Best Picture nomination that’s only a bonus.

My Rating:  7/10

Film Pop: Anchorman 2: The Legend Continues

Year: 2013
Director: Adam McKay
Stars:  Will Ferrell, Steve Carell, Paul Rudd etc.
IMDb

2004’s Anchorman: The Legend of Ron Burgundy is widely regarded as one of the most popular comedy films of the last ten years, and so when in 2012 a long-awaited sequel was finally announced, there was a lot of excitement surrounding its release.  This ultimately came about in December 2013, and on the weekend, in a much-appreciated trip to the cinema, I went with my girlfriend to see Anchorman 2:  The Legend Continues.  We’re both fans of the original, and while there was a little apprehension (on my part at least) that it would be unworthy it was the anticipation of a good laugh that was the overriding feeling.  Spoiler alert:  we weren’t disappointed.

legendcont1Anchorman 2 finds Ron Burgundy (Ferrell) and his wife, Veronica Corningstone (Christina Applegate) as a successful anchor-couple for a high-profile news network in New York City, until Veronica is offered the nightly news alone and Ron fired by outgoing news legend Mack Tannen (Harrison Ford).  Ron, unable to accept his wife’s success, abandons her and his young son before spiralling into depression and alcoholism in his native San Diego.  He is offered a chance to join the revolutionary 24-hour news channel, which he accepts having rounded up his old news team of suave reporter Brian Fantana (Rudd), ignorant sportscaster Champ Kind (David Koechner) and unique weatherman Brick Tamland (Carell).  At the new network, Ron and his team are handed the graveyard slot by boss Linda (Meagan Good) and strike up a rivalry with classy anchor Jack Lime (James Marsden) while Ron tries to win back his wife from new “psychic” boyfriend Gary (Greg Kinnear).  The team devise an ingenious plan to boost ratings with popular stories about cats, cars and America while Brick strikes up a relationship with fellow oddball Chani (Kristen Wiig).  At the height of his popularity, Ron alienates his friends before becoming blind and moving to a lighthouse where he reconnects with his wife and son before regaining his sight and returning to news.  While on his way to his son’s piano recital, proving his worth as a father, Ron and the team are caught up in an epic newsteam battle including reporters from ESPN (Will Smith et al), CBC (Jim Carrey, Marion Cotillard et al), the BBC (Sacha Baron Cohen et al), the History Channel (Liam Neeson et al), Entertainment Tonight (Tina Fey, Amy Poehler et al) and MTV News (Kanye West et al).  Ron is rescued by his old San Diego rival Wes Mantooth (Vince Vaughn), with a little help from Gary’s psychic powers and Brick’s gun from the future.  The film ends, but not before Brick and Chani marry and Ron is saved from a shark by his faithful dog Baxter.

legendcont2
Man’s best friend… Shark’s worst enemy

So in the end my fears were almost totally unfounded, and The Legend Continues was a very funny watch.  The original cast remain dependably amusing (with a special mention to Steve Carell) while new additions such as Kristen Wiig and Greg Kinnear provide their fair share of laughs.  Although of course some of the plot is a little questionable, the outrageous nature of some of the humour as well as a ridiculous, unexpected series of cameos towards the end more than make up for this.  It’s not winning any serious awards, but it’s a seriously funny film if you like the kind of base humour characterised by the first film (and most Will Ferrell movies, to be honest).  It’s an entirely worthy sequel to 2004’s blockbuster, and it’s a whole lot of fun.

My Rating:  7.5/10

Music Pop: The Marshall Mathers LP 2

Artist: Eminem
Year: 2013
Example song:  Rap God

As I promised a good while back (in my first post in fact) I’ve finally managed to find the time to give The Marshall Mathers LP 2 enough of a listen to be able to say something about it.  As a big Eminem fan (second in my all-time most played list) I got hold of this album as soon as it came out and played it through within a couple of days.  It impressed me immediately, and it usually takes me a few goes to get into an album (for example Kanye’s Yeezus).  Last night I gave it another go and it’s only growing on me.

The LP opens with “Bad Guy”, a surprisingly long but certainly worthwhile sequel to “Stan”.  Eminem sings from the perspective of Stan’s little brother Matthew, who picks up the stalking baton with added thirst for revenge.  This flows into the album’s only skit before Zombies-sampling “Rhyme or Reason” and my personal favourite “So Much Better”, a hate-filled yet catchy song which reminds me of “Puke” from 2004’s Encore.

Then follows “Survival”, an aggressive, almost rock-y single which might even sound more at home on 2010’s Recovery.  “Legacy” and “Asshole” come next, two decent but unspectacular efforts.  “Berzerk” (the album’s first MMLP2single) is a good fun throwback to the Golden Age of hip-hop, with a couple of Beastie Boys samples, although it is perhaps a little incongruous to the flow of the album which is itself an homage to 2000’s Marshall Mathers LP.

In “Rap God”, Mathers boasts of his rapping prowess while simultaneously proving it with the performance. “Brainless” and “Stronger Than I Was” are good solid tracks, and “The Monster”, featuring Rihanna, is a good song but I’m not sure it deserves all the attention it’s getting.  “So Far…” and “Love Game” are again not bad but neither has apparently stuck in my mind.

The album heads towards a close with “Headlights”, an apology track to Eminem’s mother for all the blame he placed on her throughout his career.  The first time I heard this song I just sat there stunned, unable to believe my ears, but it seems that Marshall and Debbie Mathers have actually patched things up, hopefully for good.  It’s a decent song featuring Nate Ruess of fun., an artist currently popular with the industry as well as with me.  “Evil Twin”, the final track of the album proper (there is a lot of bonus material), is nothing special but not bad.

After the rubbish of Relapse and the more modern sound of Recovery, MMLP2 harks back to a much earlier time in Eminem’s career and feels more traditionally Marshall Mathers (hence the name, I guess).  Eminem refreshes his well-honed writing skills with a burst of fresh energy, reminding everyone why he was so successful in the first place and assuring us that even as he gets older he’s still got a reserve of that trademark enthusiasm to keep him going for another while yet. It’s perhaps a backlash to the criticism of his recent albums that they’ve been a little too “mainstream”.  This rap pioneer brought hip-hop to the mainstream, and he’s not going to let anyone say he’s abandoned it just yet.

My rating:  8.5/10

Film Pop: The Hobbit: The Desolation of Smaug

Year: 2013
Director:  Peter Jackson
Stars:  Martin Freeman, Richard Armitage, Benedict Cumberbatch (voice) et al.
IMDb

Yesterday for my birthday I was treated to a trip to the cinema to see The Desolation of Smaug, the second part of the big budget Hobbit trilogy.  Having only managed to catch 2012’s An Unexpected Journey a little over a month ago, I was well prepared for this two-and-a-half-hour journey into epicdom.

Following a Bree-based flashback, the film opens with Gandalf (Ian McKellen), Bilbo (Freeman), Thorin and the dwarves (Armitage et al.) fleeing from the goblin hordes before sheltering in the house of dwarf-hating shape-shifting smaugposterbear-man Beorn (Mikael Persbrandt).  Fortunately Beorn’s hate of dwarves is surpassed by his hate of orcs, so he protects the party and advises them that the only route they can take on their quest is through Mirkwood, the forest of the dwarf-hating elves (I’m sensing a pattern here).  Before entering Gandalf heads off on one of his characteristic mysterious quests, promising to meet up afterwards (pull the other one, wizard).  In the forest the elves, captained by the ever-popular Legolas (Orlando Bloom), help rescue the troupe from giant spiders but soon lock up the dwarves in their forest fortress.  Bilbo, by virtue of being able to turn invisible (some sort of magic, I suspect), evades capture as always and cunningly engineers everyone’s escape by floating them downriver in empty barrels, despite the combined efforts of elf and orc.  This is in fact the best sequence of the film, as we get to see the bloodbath everyone loves mixed with some beautifully choreographed scenes only made possible by dwarves in barrels.  They float to the mouth of a lake, and are smuggled into conveniently-named Laketown by the unpopular Bard (Luke Evans).  After winning over the  town, the dwarves make the journey to the Lonely Mountain minus the wounded Kili (Aidan Turner), caught in a love triangle between Legolas and she-Elf Tauriel (Evangeline Lilly), his loyal brother Fili (Dean O’Gormann) and Bofur (James Nesbitt), who drank too much and overslept.  Thorin, driven by Boromir-esque greed, brings the others into the mountain to reclaim the Arkenstone from the great dragon Smaug (Cumberbatch), while Laketown is ambushed by orcs and Gandalf confronts the Necromancer (also Cumberbatch) in a duel he can never win and ends up trapped (sound familiar?).  The picture ends with Smaug heading off to wreak havoc on Laketown, just like Bard warned.

Of course as the middle film of a trilogy there are no real conclusions of any sort, but there’s enough action to stand the movie mostly on its own and the character development, notably absent in the first film, is admirable in the second.  Perhaps this is a vote in favour of stretching the novel into three movies, as it would be nowhere near enough time to devote to more than a couple of characters were this not the case.  This is seen particularly in the case of young dwarf Kili, and, unlike for example Frodo and Galadriel, Legolas’s reappearance is actually worthwhile.  The introduction of Lilly (another TV actress) as Tauriel, a character not really seen in the book, surprisingly adds a welcome softer element to a film that might otherwise have been too action packed (i.e. the previous film).  It still retains the moments of humour, mostly provided by Stephen Hunter’s Bombur and Stephen Fry’s Master of Laketown.

smaugfry
This Guy.

Overall it’s fair to say that it’s pretty pointless watching this film if you haven’t seen An Unexpected Journey and don’t plan to see next year’s conclusion, There and Back Again.  In fact, it’s a bit pointless reviewing the film at all because if you’re interested in the series you’re obligated to watch it and if you’re not then it’s a waste of (quite a lot of) your time.  But I think it’s a promising improvement on the first film, and I think the average Tolkien-lover will find The Desolation of Smaug very enjoyable, which I can definitely say I did.

My Rating:  8/10

TV Pop: The Day of the Doctor

Show: Doctor Who
Year: 2013
Stars: Matt Smith, David Tennant, John Hurt

I think I can reliably assume that I’m not the only one blogging about this TV event (which I saw in a cinema) this week, but what better way to try my hand at a television review. I’ve been wondering about how to go about this; I probably experience as much through the TV as any other medium, but I’m at a dilemma as to how I approach reviews. Do I go by individual episode, series or show as a whole? Fortunately in this case I can happily postpone the real decision-making, as The Day of the Doctor is a convenient stand-alone episode which I can come at almost like a film with the added context of the Doctor Who world.

First I should outline my Who credentials. I’m a fan, but I’m no fanatic. I’ve seen every episode since the revival and not a single one of the original series, which I’m sure loses me lots of critic points. That isn’t to say that I don’t know the general plot leading up to the appearance of Christopher Ecclestone’s Ninth Doctor, and I do intend to one day watch all of the (surviving) episodes that I can get my hands on. As such nevertheless, I don’t feel that I really missed out on any plot points despite this gaping hole in my Who knowledge; dyed-in-the-wool(-scarf) fans know no more about the fabled Time War than I do. This was (mostly) an episode for everyone.

So to the plot. The Day of the Doctor sees The Doctor (Hurt) in his character-defining moment: on the verge of pressing the (big red) button to lock away Gallifrey, the Timelords and the Daleks in a timelock, effectively killing them all. The “galaxy eater” has a conscience, unnecessarily played by Billie Piper, who creates a time warp to show this Doctor (the “War Doctor”) the consequences to himself of this terrible decision. This takes the form of introducing him to two of his future incarnations – namely, his Tenth (Tennant) and Eleventh (Smith) regenerations. After being embroiled in a Zygon plot and locked up in the Tower of London by Queen Elizabeth I (Joanna Page), the Doctors are eventually able to devise a plot that may or may not have saved Gallifrey from total annihilation, utilising the help of every previous Doctor (and a future one).

In a story that answered many questions and asked even more, each Doctor gave an excellent performance. I particularly enjoyed the War Doctor’s comedic indignation at the “modern” doctors he is destined to become, while the Tenth and Eleventh poke fun at each other incessantly in a way that is very believable given their respective status. Joanna Page gives a humorous, if a little too Welsh, turn as the Virgin Queen. The story was funny and moving in equal measure, and amazed all in the large screening in which I partook. A personal highlight was the surprise appearance of Tom Baker, following his scarf which had been flapping around all episode. Although the 3D added almost nothing, overall the experience was visually stunning and emotionally exciting. The Christmas episode has been rubbish for a few years now, but it’s safe to say we’re all now eagerly awaiting the final appearance of Matt Smith and the proper introduction of Peter Capaldi (who may or may not be now the Doctor’s thirteenth and supposedly final form). With this and the Sherlock rumours, December 25th might well be shaping up to be a very special day.

My rating: 9/10