b-connal Reviews

Inherent Vice (2014)

Drenched in sex, drugs, corruption and confusion

[6/10 · 6 April 2015]

A film drenched in sun, sex, drugs, corruption and (a certain memory of the) seventies with mixed results.

I have longed for a return of the detective movie which has recently seemed the preserve of TV or HBO series and Paul Thomas Anderson approaches the genre from left-field which should be applauded. Denying the viewer all the necessary information to join all the dots, pacing which is languid and the creation of a heady atmosphere the film at times is intoxicating and confusing. Often you find yourself like Doc grasping for the information however Doc seems to have a clear overview while the viewer will often be lost. The choice of the viewer is either to go with it or get out.

If the viewer sticks with it they will be in for a long ride and there is no guarantee of being fully rewarded at the end.

I am a fan of Joaquin Phoenix and his performance maintains your attention especially the scenes with Benicio Del Toro however these still do not prevent you from getting lost in the haze.

Recommended for fans of the genre and Joaquin Phoenix but to fully enjoy the film you will have to be open minded and prepared to walk away from the cinema unsure of where you have been.

St. Vincent (2014)

The title tells you all and there are few surprises

[6/10 · 6 April 2015]

An ensemble cast led by Bill Murray who has been refining this role over the years (arguably since Rushmore) and is ably supported by the rest of the cast who also put in roles which they are comfortable and well known for. An exception is Naomi Watts who is a surprise as a pregnant 'lady of the night' and newcomer Jaeden Lieberher. Though the film does not often rise above the sum of its parts and the cast do not stretch themselves or go to new areas for them (exceptions are Murray in the second, Watts throughout and Jaeden Lieberher as Oliver who I hope to see in further films) there are a few moments which differentiate it from a very familiar plot and the predictable ending still has some emotional impact.

The fact that the ending is predictable and flagged early-on (the title of the film should leave no-doubt) means the exercise of the film becomes where can the viewer be taken before reaching the inevitable end point and to magnify the impact of the ending. The director, cast et al does this competently and has some success especially with some aspects of Vincent's back-story but not all.

A solid watchable film which is hard to criticise but there is little which differentiates it from the pack.

Shaun the Sheep Movie (2015)

Disappointing - does not stand out from the flock

[5/10 · 22 March 2015]

A below standard Aardman production only redeemed by excellent prison (animal control) scenes, Breaking Bad references and bold indie soundtrack which suggests the Music Director is a similar age to myself.

Shaun the Sheep Movie is a spin off from the TV series (which I am not familiar with) which itself is a spin off of Wallace and Gromit's Close Shave and it appears that the magic of the 1995 animated short has been wrung out of it after so many spins. At first glance the film contains everything you'd expect from an Aardman animation (charming animation, popular culture references and crazy action) however this feels like a case of ticking boxes rather than being the genuine heart of the movie.

However, the younger audience at the cinema enjoyed the movie and really empathised with Shaun and his plight towards the end so a success based on that however you wish they could see early Aardman material then that really would be a grand day out.

Selma (2014)

A very important film

[8/10 · 22 March 2015]

A very important film.

Gravitas and an intelligent perspective extends the film beyond a mere biopic of King Jr and gives it a wider focus highlighting the elements of strategy by the various sides and puts key members of the movement at the forefront alongside King Jr. The use of actual footage and FBI reports emphasises the challenge that the Civil Rights Movement and Black America faced . . . and still faces today evidenced by the shooting of Michael Brown.

The importance of the subject draws strong performances by each of the cast with special mention to David Oyelowo and Tom Wilkinson who are 3 dimensional in their acting and always convincing.

It Follows (2014)

A film which you can't leave behind

[7/10 · 22 March 2015]

A simple but clever premise which draws upon horror traditions, especially the work of John Carpenter, is sustained throughout the movie to produce a memorable and tense 100 minutes.

The subject of sex, sexuality, disease, the transition into adulthood (you sense the director believes too early transition) and relationships between friends and family are played out against the backdrop of a once great Detroit. The films opening scenes summarise the movie perfectly and convey the central themes of the movie expertly.

Essentially a horror movie with a strong idea and 'conservative' message its strength lies in the realistic portrayal of teenagers, their relationships and what they think is the right thing to do faced with the horror that faces them and to an extent cannot escape.

Still Alice (2014)

Powerful performance of decline and crisis

[8/10 · 22 March 2015]

A mothers (and family's) struggle with her onset of genetic Alzheimer's disease. Julianne Moore stars as the dissipating centre of the film. Her gradual decline, intelligently and sensitively portrayed by Moore who is worthy of her Oscar, is gradual but she suffers the greatest blows and though the impact is internal the pain and agony is felt throughout the family and indeed the cinema.

Though it seems at the moment that women in mainstream American cinema only get meaningful lead roles if they are a women in crisis, Julianne Moore embraces the opportunity and the rest of the cast in terms of performance cannot keep up.

The Voices (2014)

Schizophrenic and confused

[6/10 · 22 March 2015]

A macabre left field comic horror which misses the mark either as a comedy or horror. A part homage to Norman Bates the film is as schizophrenic and as confused as its main character. Lacking the directional commitment to a clear vision the film is an entertaining curiosity rather than a future cult classic. The end credits further reinforce the point that the film wanted to be more brazen and more stylised but ultimately highlights only the uncertainty of the previous 104 minutes.

Ryan Reynolds certainly carries the appearance of Norman Bates and in the past has shown his comedic nous but in The Voices never really convinces - whether this is due to the material, direction or lacklustre performance - you feel he is let down as the film never builds convincingly from a entertaining premise (which tires quickly).

One small aside is the name of the town and the mention of Lucifer gives the movie a hint of Paradise Lost (i assume intentional) which makes the end credits more interesting and a very different meaning to the film. However any extra thought given to the movie is unwarranted as the film itself gives so little.