Avid film score collector, film fanatic, reader (crime fiction/modern literature mostly), sports watcher - from a couch!
Also review Australian films at www.infilm.com.au
After the painfully intimate examination of a relationship unspooling from tender beginnings in the starkly illuminating Blue Valentine (2009), Derek Cianfrance expands the canvas for his follow-up, The Place Beyond the Pines (2012). More ambitious in scope, though arguably wrought with less success, the film expands into three interrelated stories, beginning with that of stunt biker Luke (Ryan Gosling), confronted after a performance by a young woman, Romina (Eva Mendes), he met on a previous tour through this dusty, forgettable place.
Though there is much mystery about Romina, there’s an undeniable magnetic pull for Luke and curious about this fleeting affair that might have amounted to more, he hangs around, especially after discovering her young child is tied to him by blood. He feels impelled to stay and perform peripheral parental duties but has neither the social skills to ingratiate himself into Romina’s good graces nor negotiate the mine field her current relationship with new flame Kofi (Mahershala Ali) poses.
As his displayed to stunning effect in Drive (2010), Gosling has the ability to convey deep emotions and impressions without uttering a single word: a portentous gaze, the ominous ebb in a conversation - these are treated as means to stress his character's non-verbal, intuitive reading of events. Flawed reasoning may ensue, leading to an eventual downfall like that of the enigmatically cool Driver in Nicolas Winding Refn’s stunning film, but Gosling’s directness of gaze and startling magnetism are now valuable assets for any filmmakers utilising his multi-faceted appeal.
The focus of the second stanza of Cianfrance's film’s then shifts to a police officer caught up in the preceding case. Played by Bradley Cooper, Avery fights both internal and external demons: his wife (an underused Rose Byrne) is desperate for him to leave the force, whilst some less than scrupulous colleagues, headed by Ray Liotta’s Deluca, would like to steer him down a path that illegally exploits his recently acquired but unwanted fame.
Cooper, whose turn in Silver Linings Playbook (2012) was a genuine career breakout, returns to more regulation work for Cianfrance. Something doesn’t ring true after the initial set-up of his character and as unlikely twists are worked their way into the mildly compelling narrative, the translucently understated work of Gosling earlier on becomes all the more glaring in its superiority. Things then take a more substantial turn for the worse in the film’s juddering, wholly unconvincing final stage, set 15 years down the track.
In conclusion, Cianfrance’s sophomore effort is decidedly front-loaded, beginning with its strongest, most indispensable tale. The middle peg is strong though hamstrung by a possibly miscast Cooper, whilst the final segment, painfully, becomes plagued by contrivances, awful acting, and the overwhelming stench of superfluousness as it strains to bring its overarching theme into the light, that being of the sins of the fathers poisoning the trail of their descendants’ lives. Kudos to Cianfrance for following through on the promise of his first film with another bleak, thought-provoking drama, but in the wash-up, an elongated, more richly developed first segment may have carried a film on its own.
Tabu, a film by Miguel Gomes, is a bold aesthetic experiment, utilising a traditional 4:3 ratio and the title of F.W.Murnau’s final work in 1931 as its inspiration. This a true original, an ultimately spellbinding story that will perplex and frustrate before its sly genius becomes obvious. My advice: stick with it and the end will not be so bitter; with a subtle, meandering romanticism, it won me over at the very point in which I felt myself becoming detached from its stylistic dissemination of the story’s basic components.
Divided into two, the film’s opening half, titled ‘Paradise Lost’, takes place in modern day Lisbon where the life of a crotchety, suspicious old lady, Aurora (Laura Soveral) is winding down. Friends with a stoic, melancholy local maid, Pilar (a memorable Teresa Madruga), Aurora becomes lost in sometimes incoherent reveries of time spent many years ago in Africa. In ‘Paradise’ we step back in time to the 1960’s to spy on a young Aurora (Ana Moreira) as she becomes drawn into an illicit romance with the suave Ventura (Carloto Cotta) behind the back of her oblivious husband (Ivo Muller).
I was fascinated not only by the construction of Tabu (2012) but by my own mutating reactions to it. This elliptical monochrome dream, where nothing and anything makes sense, begins intriguingly before seemingly grinding to a halt as the halfway mark approaches. The eccentricities pile up and frustrate leading to a state that’s dangerously close to boredom. Then a remarkable transformation occurs as the second half envelops you in its more conventional but spirited colonial tale. The final half hour in particular makes for mesmerising viewing.
There’s no doubt that the ravishingly eloquent verbiage of Ventura’s narration in the otherwise silent second stanza that brings the narrative to fully realised, poetic life. It’s a strange story, and one told with an almost unnervingly dispassionate edge initially before coalescing into something that possesses the fluidity and confounding power of our most compelling dreamscapes.
It’s quite possible that the brilliance of the second half may create a false impression of Tabu’s overall worth by glossing over the many deadening lulls in the early stages. But a second viewing is liable to flush out deeper meanings, connections and a far richer appreciation of what Gomes has achieved here.
Tabu opens in limited release in Australia on Thursday, May 16.
The incongruous sight of Susan Sarandon in an action vehicle for The Rock notwithstanding, there’s little in the way of novelty in Snitch. Unless you exclude the fact of Dwayne Johnson, a now ubiquitous and strangely magnetic screen presence, holding his own against the Oscar winning thespian who seems to be loitering in unforgivingly marginalised roles these days. As a noble man ensnared by sinister circumstances that push him to physically and mentally punishing extremes to protect his family, Johnson simply revels whilst Sarandon flounders in a cardboard cut-out portrayal.
There’s not a great deal of complexity in former stuntman Ric Roman Waugh’s latest film. Though social commentary about the less culpable victims of America’s war on drugs tends to sustain the narrative in a way that’s mildly didactic but palatable for audiences who can’t help rooting for the innocent even when they’re guilty.
Johnson’s John Matthews is one of those absentee father figures, having moved on to a second marriage and the raising of another child who naturally takes precedence in his life. The impressions we receive of these facts are consolidated in a scant scene or two and are perfunctory to say the least. When son Jason (Rafi Gavron) stupidly accepts a package sent to him by a trusted friend, the feds are there to pounce and so he’s tossed into a cauldron of legal complications that strip him of the liberty he’s taken for granted. His mother Sylvie (a suitably anguished Melina Kanakaredes) and father are confused by the system that can claim their ‘good boy’ and outraged by the harshness of his potential punishment.
Matthews is not one to sit and stew over his family’s plight however and decides to take matters into his own hands. He goes undercover and bringing down a drug cartel with only the reluctant aid of a former crim on his staff, Daniel (a fine Jon Bernthal), a federal prosecutor (Sarandon) and a totally unconvincing cop, (Barry Pepper whose implausible appearance may be part of a dare we the audience are not privy to).
Waugh’s film is, refreshingly, far less action-oriented than the trailers would have us believe. Rather, Snitch (2013) is about the rupturing of a typical family unit and the penalties we face for simple errors of judgement. Of course it’s also a dramatized illustration – inspired by ‘true events’ in case you were wondering – of the specious inequalities that see those on the lowest rungs of the ladder having their fingernails stripped off.
Johnson may not be the finest actor to grace the silver screen but there’s something eminently watchable about him and because of that Snitch is an enjoyable enough entertainment. It doesn’t aim high and delivers on it meagre promise. Johnson’s indomitable physical presence, bravado and predilection for choosing roles that flatter men of action do him little disservice. He’s clearly fulfilling the brief Hollywood executives have set out for him and doing so with his dignity intact.
Hey Bryn, Rialto Distribution have got this. Had the media screening last week and sadly it's only screening at the one cinema - the Nova - down here from the 25th. Hopefully it's getting some sort of a look in up your way too.
Great to hear that JD. It baffles me though how many people tell me how much they couldn't stand this. Obviously incapable of appreciating its finer, subtler qualities, which is a real shame.
Yeah mate, apparently it's painting and occasional theatre that will occupy his immediate future, perhaps TV work too if it's top-notch. But says he's done with features - a little sad, I love his chameleonic qualities even if his rapid output means he's a little hit and miss. The Limey, Underneath, King of the Hill and Out of Sight will long remain favourites.
Yeah, quite looking forward to seeing this again on DVD Janice, very underrated little film - and a creepy one too despite the conventional, manipulative chills.
Audacious choice JD, can't say I'm with you despite enjoying it a lot, but you're a critic of great conviction.
My favourite scene of the film, hands down, is the intro to Bardem's character: that single, long take shot over the tied-up Bond's shoulder, with Bardem descending in the lift at the other end of the building, then delivering that brilliant monologue as he slowly approaches. Magic. Just a brilliant scene in the way it's both devised and executed. So simple and yet, in today's rapid-editing overload how often do we see something similar in a big blockbuster? That's the true benefit of hiring artists like Mendes and Deakins.
I do love Thomas Newman's score too, one of modern cinemas most influential composers really stretching himself in a type of film he's never really been handed before.
Thanks JD, really is an interesting and little film - and certainly disturbing in its implications. Passed by in one cinema here without registering a blip on the radar, sadly, as so many smaller films do.
Skyfall is a weird top choice alright. Never been a Bond enthusiast though I did surprise myself with how much I enjoyed this - Javier Bardem certainly was a huge part of that. Loved his work here.
Safety Not Guaranteed almost tops my own Best of list too. Loved it with a passion.
Wes Anderson is a favourite of mine and I agree with what Bryn heard about it being one of his most accessible. It is - and one of his best for sure!
Looper was Rian Johnson's third excellent film though I prefer Brothers Bloom I think for its quirkier aspects.
The Master, Killer Joe, The Raid, Cabin in the Woods, Kevin, The Grey - I'm with you on all of those.
Prometheus though I was non-plussed by. Awful dialogue, overblown effects and the dire Noomi Rapace. Fassbender was the one shining light for me - yet another astonishing, commanding performance - even as a droid!
Bored witless by John Carter and The Dark Knight Rises was very good but well below the Ledger-infused perfection of the last film.
Chronicle was definitely a guilty pleasure.
Haven't seen Haywire, Bellflower, Savages, Coriolanus or Django yet.
Agreed Anon, considering the talent involved this was a huge disappointment, and as you said, the set-up was intriguing. But it all came unstuck in the third act.
Damn, fog, that is indeed a nasty spoiler slip! Still, there's much to enjoy here, surprisingly so since since I'm pretty apathetic when it comes to this series. It's been a string of non-events for me as an adult. I grew up with the Roger Moore films and loved Connery too, of course, but Brosnan (even though I actually do like him otherwise) never really cut it for me.
Agree Bryn, Gallo's appearance was just another badly misplaced joke.
The two films couldn't be further apart in terms of quality. By about the 30 minute mark it was irritating the hell out of me and never really improved. I still love Julie though.
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