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The Radleys (2024)
Anticipation not realised, except for Rowan
The Radleys seemed like a great concept in this modern age of instant gratification, but the characters in this film about vampires practicing abstinence from their 'affliction' does not translate to a great film. You wait nearly two hours for the main plot point to resolve itself, and the climactic scene is one of incredulous disbelief - even I know you can't drive a broken real estate sign stake through a clothed body... The positive here is the character of Rowan Radley, played by newcomer Harry Baxendale. Harry thankfully has ample screen time to show us the only genuine character in the film - a lonely teen vampire who just happens to like other boys. The object of his affection is the only other character seemingly not appearing to overact, Evan Copeleigh, played with aplomb by Jay Lycurgo. Honestly, these two carry the film. Edit the rest of the film down from nearly two hours to 90 minutes, say, and lose many adult over- acting scenes and 6 becomes 8/10. NB; red wine does not look like blood... Kudos goes to the town of Whitby, which provides some gorgeous scene-setting long shots - and the overall cinematography is faultless, particularly the early scenes set in and around a ruined abbey and forest.
Donnie Darko (2001)
Still no better film plot to try and resolve
The film of the decade still for me, as I write this 23 years after viewing; the film still resonates all these years later, as I sit in a cinema awaiting an unrelated film to start. We can relate to the enigmatic and conflicted Donnie, ably depicted by Jake Gyllenhaal, and the seedy Jim Cunningham, one of the primo Patrick Swayze roles - oozing creep and promising salvation through fear - seem eerily familiar in 2024? Your engagement and enjoyment whilst watching this film can be put down to how you get your brain around the philosophy behind time travel, and the juxtaposition of the facade of American suburban life and teen angst. No wonder we couldn't fathom it in 2021! The director Richard Kelly uses 1980s pop anthems to magnificent effect, specifically for the opening scene, where Echo and the Bunnymen's Killing moon deliciously expediates Donnie's early dawn bicycle trip back down the mountain road back to his home in leafy well-off suburbia. Bunnies feature lots in this film! The Drew Barrymore scene at school resonates, with Head over Heels, by Tears for Fears, complete with an astounding tracking shot. Their hit Mad World gets the breathy atmospheric treatment also to great effect, with Gary Jules stepping in for Roland & Kurt. Incidental and orchestral music also is used to maximize the impact of the 'stupid rabbit suit' moments. Wow. You will never look at rabbits the same way again! I had to wait a while to see it at the cinema again, and made sure I was by myself - as my first viewing what peppered with my mate going "WTF" every other scene! Legendary.
Mud (2012)
McConaughey meets his cinematic matches
Grimy poverty, criminality and curiosity mix to make a terrific film which the Mississippi River should take a near-top billing. Titular character Mud (McConaughey) hides out on a mud island in a boat stuck in a tree from a previous riverine flood. He finds himself co-claimant to the boat when two early-teen boys (Sheridan and Lofland) stake their territory. The boys get caught up in Mud's muddy backstory, involving federal crime, riparian food supply via boat, and true love! Whilst McConaughey may be an old hand at this movie business, he is in danger of being sold down the acting river by his two young co-stars. How these two inhale their roles is remarkable. Lofland's Neckbone is no-frills, no-filter, blunt and, at times, deadpan hilarious - a masterpiece on how to underplay a role. You notice this as the character of faithful mate Neckbone holds up after repeated viewings, in particular the intensity of that stare of his! Sheridan's Ellis is more measured and delicately nuanced. Grappling with big emotional issues such as first love, familial conflict, and the prospect of his houseboat life coming to an end, you sympathize emphatically with him. His big show-down scene, dressing down Mud on the riverbank as if he were a child, deserves to be held up as a top ten cinematic moment on how to genuinely emote. Reese Witherspoon, Sam Shepard and Michael Shannon provide pivotal, if brief, supporting roles.
White Boy Rick (2018)
McConaughey & Merritt Juke It Out
In what must be one of the more bleak periods of Detroit's chequered history, a story of betrayal, familial fracturing, and desperation plays out. McConaughey & Merritt play father and son, respectively, in this film based on an incredible true piece of history. Senior plies the dodgy gun-dealer vein, whilst Junior falls in with the gangsters AND the FBI who either inhabit or patrol the shady side of town. McConaughey's character is a relentlessly upbeat guy who seems to love his children unconditionally, going to great lengths to protect them and give them some sense of a normal childhood. Bel Powley plays the daughter/sister who is a hard-hitting, unpleasant character, portraying addiction authentically. Bruce Dern has a few choice lines as the grandfather, particularly after Merritt's character nicks his prized Chrysler Imperial. However, this is Merritt's film, juking it out with McConaughey for screen kudos. That straggly moustache almost deserves a billing credit for making Merritt not look too young for the role! He carries the more dramatic moments of the film with ease, and really inhabits every scene - an essential part of the glue that holds everything together. Quite a feat when your character is a mid-teen gangster wannabe and FBI informant! An emotional telephone voice recording of the real Wershe Jr., shortly before he was paroled - about 17 years later from when the film ends - plays at the end of the film. It illustrated that he had inherited his father's upbeat persona, making this also an authentic ending to a true story.
Midas Man (2024)
Immediate mix of action and music
Epstein cut a tragic figure in the 'black and white' days of music history. Midas Man colours in the blank areas of a man who could not live with who he was. Brian Epstein's public life seems to be exemplary: successful businessman and manager of the greatest band of the time - the Beatles. Gerry and the Pacemakers, Cilla Black, and Billy J Kramer and the Dakotas were all also under his brand. In private, the man medicated himself with a cocktail of drugs, alcohol and meaningless sex with men. Jacob Fortune-Lloyd carries this film with aplomb. Immaculately attired, his intimately close narration-to-camera scenes are genuinely affecting, making you feel part of the narrative. This man has inhaled the essence of his character, and it shows. We sympathise with him as he battles his demons. The 'Four Hamburgers' - the Beatles - are well-chosen, with Jonah Lees being the most facially accurate, if not in stature. Leo Harvey-Elledge as George Harrison garners attention with his few lines - one to watch. Their music playing scenes contribute to the film, yet don't override the main plot of the film. The scenes of them playing are well thought through, with 'Besame Mucho' being most effective. You do not miss the absence of them playing original numbers, a nod to the early nature of the story, and they genuinely look like they must be playing the instruments. Kudos must also go to Darci Shaw as the bubbly Cilla Black, Milo Parker as Epstein's faithful secretary, and Jay Leno in a cameo as Ed Sullivan - almost unrecognisable. Emily Watson as Mrs Epstein is at her empathetic best, whilst Eddie Marsan has some choice final dialogue as Mr Epstein. Honourable mention to James Corrigan's character Nat Weiss, who has a lovely scene with Epstein near the end of the film. A mention must be made on how the film tells the story of the years going by, with Fortune-Lloyd on a treadmill getting served liquor and pills by off-camera actor's hands in a tunnel of bright colours - a grand effect. Weak points? Hard to call, yet the Ed Speleer's character, the main meaningful boyfriend of Epstein's that is portrayed in the film, lacks genuineness and seems underdone - apart from the killer US accent. Not doing a great accent was Eddie Izzard, who fails to hide his Irish lilt with what few lines he has. Epstein packed a lot into his 32 years, enough to be considered 'the 5th Beatle' by members of the band. This fact-based film fills in the tragic gaps with the genuine, warm portrayal of the titular role, and leaves you with some tears, yet in the end finds you with an appreciation of the drive of the man who saw the future in the Liverpudlian Cavern Club all those years ago.
The Goldfinch (2019)
A matrix of memorable faces
It is never a great idea to review something one month after viewing, yet the distillation period often provides the fodder for additional material to seep in from under the edges of the experience. The major theme of this film is to me one of empathy, with a distant side of mystery and adventure. Let us start with Oakes Fegley. Not your regulation teen, thank you casting director! His nuance and underplaying for this role is on the money. And when his character is required to emote, the amazing scene of Finn Wolfhard's character comforting him after a terrible dream is textbook acting in my books. Wolfhard has this wonderful role and leaves an angular silhouette long after the film has shifted to a later time period. The characters who play these two above-mentioned older roles now are Ansel Elgort and Aneurin Barnard, who share scenes of genuine action. Elgort is now an enigmatic antiques specialist, with Barnard his reunited, empathetic, friend.
The film's titular item is a 1654 painting of The Goldfinch which, like all art, represents subjective meaning and, in this instance, also alludes to the un-empathetic characters played by Nicole Kidman and Luke Wilson. But this is Fegley's movie. Intensity may have been his character's middle name...
Close (2022)
Youth acting masterclass
2022 NZIFF. Probably should have waited until tomorrow to do a more measured review, but watch this film for the acting masterclass from Eden Dambrine (Leo). To say so much with expressive eyes without uttering a sound; excitement, beguile, love, sorrow, terrible loss - one can't look away. What a find, and congratulations to the casting director. As for the film, kudos to the director Lukas Dhont for such exquisite framing, sequencing, colours and sound. Special mention to the flower farm hard work scenes, and the scenes following the boys at speed, whether running on a beach or through the flower farm, or on their bikes - amazing tracking. The topic of unbearable loss creating misplaced guilt is dealt with a sensitive directorial hand, and the maturity shown by a thirteen year old to navigate such a role must not go unrecognised. Also need to mention Gustav De Waele as the best friend of Leo and Igor van Dessel, Leo's brother - both are brilliant in support, and I also loved the subtle role of Leo's mother, played by Léa Drucker. But this is Eden Dambrine's film.
Call Me by Your Name (2017)
Exquisitely executed and profound
From the calls of the European swifts announcing the Italian village scenes to the almost painful-to-watch descent into hopeless lust of Elio (Chalamet, radiant), we get to be passengers in this juggernaut of gorgeousness. One moment is held up by many a review which I have trouble agreeing with - the monologue of Elio's father (Stuhlbarg). Rather stilted and slight false tone. Other than that, a masterpiece.
The Power of the Dog (2021)
Required viewing for those who like their Western plots slow-boiled
From Cumberbatch's leaden footfalls to Smit-McPhee's affected waif-like figure, Campion delivers a masterclass of misplaced machismo, wrapped up in a setting of magnitude. The setting of a remote Montana ranch is sensationally depicted by New Zealand's South Island, where overly-macho Phil (Cumberbatch) and brother George (Plemons) do their ranching. When George brings home a wife already with child (Kirsten Dunst and Kodi Smit-McPhee), Phil lurches into evil mode to try and evict the new arrivals. However, Peter, Phil's new nephew, is a power to be reckoned with, despite appearing effeminate and vulnerable. These traits are used to great effect, and will provide the thrust of the back end of the film. Over the course of the film, pressure builds, repression of a main character's traits becomes doggedly harder to disguise, and despair of another main character becomes most apparent. Seat squirming graduates to edge-of-seat sitting. Watch this film if you are a fan of slow-burning, character-driven thrillers; this one being powerfully assisted by an Oscar-nominated Smit-McPhee, punctuated by ferocious Cumberbatch's slow staccato spurred boot steps.